title: ITC Entertainment

text: In 1978, ITC launched a subsidiary Marble Arch Productions for American-produced programmes, which subsequently in 1982, was renamed to ITC Productions. Through Marble Arch, it only gave them two sitcoms, "Maggie", which ABC aired from 1981 to 1982 and "The Two of Us", which aired on CBS, also that same season. On 20 August 1986, ITC Productions had branched out into the series arena, and decided to expand to first-run syndication and pay cable markets. In 1987, on the heels of the HBO pact, ITC Productions decided to expand a trio of feature films and added to its growing larder of network telefilms and miniseries on which ITC has traditionally concerned in the past few years. In 1990, ITC began placing Marble Arch up for sale amid financial losses. That year, Marble Arch's duties were assumed by Interscope Communications, a film and television production company. The company hasn't made productions until 1993 with a deal with producer David Gerber.


title: ITC Entertainment

text: In addition to television programming, ITC also produced several films. In 1976, the company teamed up with General Cinema Corporation to form Associated General Films, and produced films including "Voyage of the Damned", "Capricorn One", and "The Eagle Has Landed" but the partnership ended the following year.


title: ITC Entertainment

text: Other films produced by ITC include "The Boys from Brazil," "The Return of the Pink Panther," "The Last Unicorn," and a number of Jim Henson Company productions: "The Dark Crystal" and the first two Muppet films, "The Muppet Movie" and "The Great Muppet Caper." Initially, ITC productions were licensed out to other US studios for release until 1979, when ITC partnered with another UK-based production company, Thorn EMI Screen Entertainment, to create Associated Film Distribution, which would release films produced by each company, as well as pick-ups from other production companies. In 1979, the subsidiary Black Lion Films was founded in the manner of Thames Euston Films, but its best remembered production, "The Long Good Friday," was sold on to HandMade Films.


title: ITC Entertainment

text: In the summer of 1980, two films released by AFD within six weeks of each other helped lead to the distribution company's dissolution. "Can't Stop the Music", designed to be a showcase for Village People at the height of disco music, was released 20 June 1980, by which time disco's popularity had diminished and the form was experiencing a backlash from music listeners. The poorly reviewed film ultimately grossed $2 million on a $20 million budget. On 1 August 1980, the release of the poorly received "Raise the Titanic!" met with pre-release criticism from the novel's author, Clive Cussler, and recouped only a fraction of its costs; Grade himself retired from active film production, commenting that it would have been cheaper to "lower the Atlantic." Cussler himself told "People Weekly" Magazine, "The film was so poor, it boggles the mind."


title: ITC Entertainment

text: After the films' failures, ITC and EMI agreed to sell AFD and the distribution rights to its library to Universal Pictures, though the AFD films which were then in post production at the time were still ultimately released by AFD, to handle the release of the remaining pictures still in production at the time of the sale, beginning with "The Legend of the Lone Ranger," and including "On Golden Pond", "Sophie's Choice", "The Dark Crystal", and "The Great Muppet Caper". As January 2016 was beginning, while the various copyrights had reverted to their respective owners, Universal still maintained theatrical rights to most of the ITC and EMI films initially released by AFD. While in the UK ITC entered into a agreement with Lorimar for UK theatrical distribution of Lorimar's feature films


title: ITC Entertainment

text: In 1983, ITC produced and released the animated series "Thunderbirds 2086", which was not an original British series based on the Gerry Anderson Thunderbirds. It was actually an English dubbed version of "Scientific Rescue Team Technoboyager", a Japanese anime that has an identical premise to Anderson's Thunderbirds. ITC licensed the series for an English dub and re-imagined the series as set twenty years after the original, thus being an evolution of that same International Rescue Organization. However, the Tracy family and associated characters from the Gerry Anderson Thunderbirds are never mentioned.


title: ITC Entertainment

text: In 1990, ITC briefly attempted to enter the lucrative American game show market, with a syndicated revival of "Tic-Tac-Dough," which had previously run from 1978 to 1986 in syndication, alongside Barry & Enright Productions. However, the show was off the air by March 1991, mainly due to a glut of syndicated game show offerings during the 1990–91 season, as well as several changes in gameplay which were criticised, as was host Patrick Wayne.


title: ITC Entertainment

text: Today, the underlying rights are generally owned by ITV Studios Global Entertainment via ITV plc and its respective predecessors, although in most cases Shout! Factory now holds full worldwide distribution rights (with US theatrical distribution handled by Shout!’s Westchester Films division, passed on from former distributors Metro-Goldwyn-Mayer and Park Circus). In turn, Shout!’s video distribution rights in North America to a majority of the ITC Entertainment library were assumed from Lionsgate Home Entertainment.


title: ITC Entertainment

text: As for ITC's television output, Carlton (and later Granada and now ITV) released some of these shows on DVD both in Europe and North America. There were however a few exceptions: "The Adventures of Robin Hood" and the other swashbuckling adventure series of the late 1950s and early 1960s were released on DVD by Network, as was "Strange Report".


title: ITC Entertainment

text: Many of the drama shows from the 1960s and 1970s have since been released by Network as limited edition box sets.


title: ITC Entertainment

text: The Walt Disney Company has owned the "Muppets" franchise since 2004, including ITC productions "The Muppet Show", "The Muppet Movie", and "The Great Muppet Caper". The Jim Henson Company owns the ITC production "The Dark Crystal" as it had bought the film from the company after production had completed. The film's home video rights are licensed to Sony Pictures Entertainment, while its television broadcast rights are licensed to Sony Pictures Television.


title: ITC Entertainment

text: ITC produced and distributed a wide range of content across both film and television, over several decades. ITC productions and distributions crossed many different genres – from historical adventure, to spy-fi and action, and later into both children's and adult science-fiction – as well as films covering many different subjects.


title: ITC Entertainment

text: ITC had no studios of its own. Programmes were made in several facilities but most notably at ABPC's Elstree film studios (not to be confused with ATV's nearby Clarendon Road Studios, Borehamwood, which was a live/videotape facility, and now known as BBC Elstree). However, the MGM-British Studios complex at Borehamwood, the Rank Organisation's Pinewood and Shepperton Studios were also used.


title: Chunked transfer encoding

text: Chunked transfer encoding is a streaming data transfer mechanism available in Hypertext Transfer Protocol (HTTP) version 1.1, defined in . In chunked transfer encoding, the data stream is divided into a series of non-overlapping "chunks". The chunks are sent out and received independently of one another. No knowledge of the data stream outside the currently-being-processed chunk is necessary for both the sender and the receiver at any given time.


title: Chunked transfer encoding

text: Each chunk is preceded by its size in bytes. The transmission ends when a zero-length chunk is received. The "chunked" keyword in the Transfer-Encoding header is used to indicate chunked transfer.


title: Chunked transfer encoding

text: Chunked transfer encoding is not supported in HTTP/2, which provides its own mechanisms for data streaming.


title: Chunked transfer encoding

text: For version 1.1 of the HTTP protocol, the chunked transfer mechanism is considered to be always and anyway acceptable, even if not listed in the TE (transfer encoding) request header field, and when used with other transfer mechanisms, should always be applied last to the transferred data and never more than one time. This transfer coding method also allows additional entity header fields to be sent after the last chunk if the client specified the "trailers" parameter as an argument of the TE field. The origin server of the response can also decide to send additional entity trailers even if the client did not specify the "trailers" option in the TE request field, but only if the metadata is optional (i.e. the client can use the received entity without them). Whenever the trailers are used, the server should list their names in the Trailer header field; three header field types are specifically prohibited from appearing as a trailer field: Transfer-Encoding, Content-Length and Trailer.


title: Chunked transfer encoding

text: If a field with a value of "" is specified in an HTTP message (either a request sent by a client or the response from the server), the body of the message consists of an unspecified number of chunks, a terminating chunk, trailer, and a final CRLF sequence (i.e. carriage return followed by line feed).


title: Chunked transfer encoding

text: Each chunk starts with the number of octets of the data it embeds expressed as a hexadecimal number in ASCII followed by optional parameters ("chunk extension") and a terminating CRLF sequence, followed by the chunk data. The chunk is terminated by CRLF.


title: Chunked transfer encoding

text: If chunk extensions are provided, the chunk size is terminated by a semicolon and followed by the parameters, each also delimited by semicolons. Each parameter is encoded as an extension name followed by an optional equal sign and value. These parameters could be used for a running message digest or digital signature, or to indicate an estimated transfer progress, for instance.


title: Chunked transfer encoding

text: The terminating chunk is a regular chunk, with the exception that its length is zero. It is followed by the trailer, which consists of a (possibly empty) sequence of entity header fields. Normally, such header fields would be sent in the message's header; however, it may be more efficient to determine them after processing the entire message entity. In that case, it is useful to send those headers in the trailer.


title: Chunked transfer encoding

text: Header fields that regulate the use of trailers are "TE" (used in requests), and "Trailers" (used in responses).


title: Chunked transfer encoding

text: HTTP servers often use compression to optimize transmission, for example with or . If both compression and chunked encoding are enabled, then the content stream is first compressed, then chunked; so the chunk encoding itself is not compressed, and the data in each chunk is not compressed individually. The remote endpoint then decodes the stream by concatenating the chunks and uncompressing the result.


title: Chunked transfer encoding

text: In the following example, three chunks of length 4, 6 and 14 (hexadecimal "E") are shown. The chunk size is transferred as a hexadecimal number followed by \r\n as a line separator, followed by a chunk of data of the given size.


title: Chunked transfer encoding

text: Note: the chunk size indicates the size of the chunk data and excludes the trailing CRLF ("\r\n"). In this particular example, the CRLF following "in" are counted as two octets toward the chunk size of 0xE (14). The CRLF in its own line are also counted as two octets toward the chunk size. The period character at the end of "chunks" is the 14th character, so it is the last data character in that chunk. The CRLF following the period is the trailing CRLF, so it is not counted toward the chunk size of 0xE (14).


title: Omkar Kapoor

text: Omkar Kapoor is an Indian actor who works in the Bollywood film industry. He began his performing career as a child artist and worked in films like "Judwaa", "Hero No.1" and "Judaai". He made his Bollywood debut as a Parallel Lead actor with his movie "Pyaar Ka Punchnama 2".


title: Omkar Kapoor

text: Kapoor started his career with "Masoom", where he received immense popularity as a child artist and became the most favourite child artist of that time. Later he got a chance to work with several big stars of the Indian film industry, like Govinda, Anil Kapoor, Urmila Matondkar, Salman Khan and Sridevi.


title: Omkar Kapoor

text: Omkar Kapoor assisted Bollywood directors like Sanjay Leela Bhansali, Farah Khan and Ahmed Khan, but he really wanted to be an actor and hence gave many auditions, of which he bagged "Pyaar Ka Punchnama 2". In 2017, Kapoor starred as Mithilesh Chaturvedi in the web film "U, Me Aur Ghar" alongside Simran Kaur Mundi. In 2018, he starred as Ankush Patel aka Maggie in the Viu original series "Kaushiki".


title: Omkar Kapoor

text: In 2019, he starred as Varun Kumar Pandey in the comedy film "Jhootha Kahin Ka." Kapoor starred as Purva in the Zee5 web series "Bhootpurva." He also played the supporting role in web series "Bhram." In 2020, Kapoor played the role of Neel in the Zee5 short film "Forbidden Love: Arranged Marriage". In 2021, Kapoor starred as Dr. Abhijit Verma in the MX Player web series "Bisaat" alongside Sandeepa Dhar, which was directed by Vikram Bhatt.


title: Kenilworth Road

text: Kenilworth Road is an association football stadium in Luton, Bedfordshire, England. It has been the home ground of Luton Town Football Club since 1905. The stadium has also hosted women's and youth international matches, including the second leg of the 1984 European Competition for Women's Football final.


title: Kenilworth Road

text: The 10,356 all-seater stadium is situated in the district of Bury Park, one mile (1.6 km) west of the centre of Luton. It is named after the road which runs along one end of it, though its official address is 1 Maple Road. Kenilworth Road hosted football in the Southern League until 1920, then in the Football League until 2009, when Luton were relegated to the Conference Premier. It has hosted Football League matches once more since 2014.


title: Kenilworth Road

text: Floodlights were fitted in 1953, and the ground became all-seated in 1991. The record attendance of 30,069 was set in 1959, in an FA Cup sixth round replay against Blackpool.


title: Kenilworth Road

text: The ground is known for the artificial playing surface which was in place from 1985 until 1991, the unusual entrance to the Oak Road End, and the five-season ban on away supporters that Luton Town imposed following a riot by visiting fans in 1985.


title: Kenilworth Road

text: Luton Town moved to Kenilworth Road in 1905, leaving their previous home at Dunstable Road after their landlord sold the site for housing at short notice. The club's directors quickly procured a new site, and the club's first match at the new ground came on 4 September 1905—a 0–0 draw against Plymouth Argyle. Watford player C. Barnes scored the first ever goal at the stadium, in a reserve match. Originally known as Ivy Road, the new ground brought success with it—in their last season at Dunstable Road, Luton had finished second from bottom, but in the first at Kenilworth Road, Luton finished fourth in the Southern League.


title: Kenilworth Road

text: The ground has undergone several major changes since its original construction in 1905. The original Main Stand, boasting a press loft and a balcony above the roof, burnt down in 1921, and was replaced by the current stand before the 1922–23 campaign. The new Main Stand was split into two: the upper tier contained wooden seats, so there was a ban on smoking in the stand; the lower tier, which became known as the Enclosure, was terracing.


title: Kenilworth Road

text: When attendances were first counted, in 1932–33, Luton Town's average home attendance was taken at 5,868. Kenilworth Road's capacity of the time was 25,000, so it was not deemed necessary to improve the ground. However, only three years later, on 25 April 1936, a match against Coventry City attracted 23,142 spectators—at that time a club record. The decision was taken to renovate the stadium, already in disrepair, and work began at the end of the following season. The Kenilworth End terrace was extended, the Oak Road End received a roof and major work was done on the Main Stand. Following these steps, the ground was more in line with those of rival clubs, the capacity standing at 30,000.


title: Kenilworth Road

text: The first ten years following Kenilworth Road's renovation saw average attendances of between 15,000 and 18,000; a huge improvement on what the club had previously been able to attract. Floodlights were installed at the ground before the 1953–54 season, and used for the first time in a friendly against Turkish side Fenerbahçe on 7 October 1953. The Oak Road terrace was extended in 1955, and promotion to the First Division for 1955–56 saw the average attendance climb as high as 21,454.


title: Kenilworth Road

text: Renovation of Kenilworth Road was neglected for the next two decades—financial difficulties and the club's ambitions to build a new ground meant that regeneration was unaffordable, and would also prove unnecessary should relocation occur. However, following the rejection of several potential sites for a new ground, the club finally turned their attentions back to the maintenance of Kenilworth Road. The first real modernisation of the ground came in 1973, with the first addition of seats at the stadium since the construction of the new Main Stand in 1922. The Bobbers Stand became all-seated, while the rest of the ground remained terracing. The new look stand could hold only 1,539 seats, and as a result the capacity of the ground dropped to 22,601.


title: Kenilworth Road

text: A £1 million refurbishment got underway in 1985 with the introduction of an artificial turf playing surface, as well as the conversion of the ground to become all-seated, which began a year later in 1986. The Oak Road End terrace was filled with seats, while the Bobbers Stand had its seats ripped out to be replaced with executive boxes. The Main Stand's terraced enclosure received seats, and work also began on converting the Kenilworth Stand, which had a roof added to it at this time and would also receive seats in stages over the coming years.


title: Kenilworth Road

text: The David Preece Stand was erected in 1991, simply called the New Stand on construction. The most recent improvements to the ground came in 2005, when the conversion of the Kenilworth Stand was finally completed to bring the capacity to its present 10,356.


title: Kenilworth Road

text: On 24 March 2015 the ground was officially renamed "The Prostate Cancer UK Stadium" for one day, for the game against Wycombe Wanderers, in support of charity and raising awareness of prostate cancer.


title: Kenilworth Road

text: In 1985, following the lead of Queen Park Rangers' experiment at Loftus Road four years earlier, the grass pitch was dug up and replaced with an artificial playing surface. The surface, called Sporturf Professional, was manufactured by En-Tout-Cas, and cost the club £350,000. The first match on the new pitch resulted in a 1–1 draw with Nottingham Forest. The new surface quickly became unpopular with both players and fans, and was derided as "the plastic pitch". Protests about the quality of the pitch from other teams resulted in a meeting with a number of major clubs in 1989, mediated by a Football League Commission. The Commission concluded that the pitch had suffered excessive wear and tear from too much use, and Luton installed a replacement artificial surface, at a cost of £60,000, during the summer of 1989. The second artificial pitch was itself removed during the summer of 1991, following the banning of such surfaces by The Football League, and the club returned to a natural grass surface.


title: Kenilworth Road

text: On 13 March 1985, Millwall visited Kenilworth Road for an FA Cup sixth round match. After only 14 minutes the match was halted as the visiting fans began to riot. The referee took both teams off for 25 minutes, before bringing them back on to complete the match. Following the final whistle, and a 1–0 victory for Luton, another pitch invasion and subsequent riot by away supporters caused noticeable damage to the ground and the surrounding area. Many of those arrested turned out to be supporters of teams other than Millwall. The club's chairman, David Evans, reacted by imposing a ban on all away supporters from Kenilworth Road from the start of the 1986–87 season as well as introducing a scheme that would require even home supporters to carry membership cards to be admitted to matches. The Football League insisted that Luton relax the ban for League Cup matches, but when Evans refused to allow Cardiff City fans to visit Kenilworth Road for their second round tie, the club were thrown out of the competition. The ban continued for four seasons, with exceptions for cup matches, before Luton Town repealed the ban before the 1990–91 season.


title: Kenilworth Road

text: The ground was first constructed in 1905, soon before the club moved in. The club rented the ground until 1933, when newly appointed chairman Charles Jeyes organised the purchase of the stadium. The club retained ownership of the ground until February 1989, when the freehold was sold to Luton Borough Council for £3.25 million. The club was granted a seven-year lease at peppercorn rent for its continued use. This arrangement has been extended several times, and as of 2015 is due to end in 2028.


title: Kenilworth Road

text: The ground is made up of five stands—opposite the eponymous Kenilworth Stand is the Oak Road End, and to the left is the Main Stand, which is flanked to its right by the David Preece Stand. Opposite them stand a row of executive boxes.


title: Kenilworth Road

text: The Main Stand covers approximately two-thirds of the length of the pitch, though the attached enclosure is longer, covering the whole distance. The Main Stand, which seats 4,277 fans, also contains the dressing rooms, club offices and television gantry, as well as a number of supporting pillars, a car park and the Nick Owen and Eric Morecambe suites. To the Main Stand's right, in the corner above the end of the enclosure and next to the Kenilworth Stand, is the David Preece Stand, a family area which seats 711 spectators. The David Preece Stand acquired its present name in 2008, a year after the former player's death.


title: Kenilworth Road

text: Opposite the Main and Preece Stands are 25 executive boxes, which have an attached net to catch balls directed over them and a total capacity of 209. The Bobbers Stand stood here until 1986, when the seats were removed from the stand and replaced with the boxes.


title: Kenilworth Road

text: To the right of the Main Stand is the 3,229-seater Kenilworth Stand, which backs onto Kenilworth Road. The Club Shop is behind this stand, which was once an open terrace but is now a roofed all-seater stand. In the corner between the Kenilworth Stand and the boxes is the stadium clock.


title: Kenilworth Road

text: Opposite the Kenilworth Stand is the Oak Road End, which bears an electronic scoreboard on its roof and can seat a maximum of 1,800 fans. Originally a home section, the Oak Road End was turned into a stand for away fans only at the start of the 1991–92 season. Early in the 2013–14 season, the Oak Road End was re-opened for home supporters for fixtures where visiting support was predicted to be especially low, with the section for away fans moved to A Block of the Kenilworth Stand for these games. Later that season, it was announced that the stand was available for shared use between both home and away supporters, increasing Kenilworth Road's home capacity by 15%. The Oak Road End has an entrance that is often considered unusual, requiring spectators to go through an entrance built into the row of houses and up stairs to the stand.


title: Kenilworth Road

text: Luton Town have been looking for a new ground since 1955, when club chairman Percy Mitchell spoke of building a stadium "to hold 35,000 in comfort ... [and] get a lot of support which goes to London at the moment". However, due to unstable finances and an inability to find a site, no ground was built. The club proposed a move to Milton Keynes in 1982—according to "The Luton News", to play as "MK Hatters" in a "super-stadium"—but this was prevented by vehement protests in Luton, where supporters against such a move marched through the town to display their feelings. Despite consistent fan opposition to the idea, relocation up the M1 motorway to the new town was raised several more times over the next two decades; for example, The Football League refused Luton permission to move to Milton Keynes in 2000, saying that a member club was not allowed to leave its home town. Wimbledon F.C. was granted permission to relocate there in 2002, did so a year later and became Milton Keynes Dons in 2004.


title: Kenilworth Road

text: The first time Luton managed to get as far as a planning application for a new ground was when chairman David Kohler's Kohlerdome was proposed in 1995. The Kohlerdome was envisioned by Kohler as a 20,000 all-seater indoor arena with a retractable roof and pitch, hosting 85 capacity events each year. Kohler's plans, though ambitious, were perhaps not very realistic—the plans were turned down by the Secretary of State in 1998, with the reason given that the ground was not feasible unless the M1 motorway was widened. Kohler put the club on the market upon the plan's rejection and after a period under Cliff Bassett, the club came under the control of Mike Watson-Challis in 2000. Watson-Challis bought of land by Junction 10 of the M1 in 2001, intending to move the club there, but once again, nothing came of the scheme. In 2007, Jayten Stadium Limited were hoping to relocate the club to a new purpose built stadium at Junction 12, near Harlington and Toddington. This plan was very unpopular with both Luton Town supporters and the local authorities, but a planning application was still submitted by former chairman Bassett on the club's behalf. The application was withdrawn by the club almost immediately after the takeover by Nick Owen's Luton Town Football Club 2020 consortium in 2008.


title: Kenilworth Road

text: By 2012, the club was undertaking an independent feasibility study to determine a viable location to move to. Sites mooted included a ground built as part of a new housing development to the west of Luton and a site by the proposed Junction 11A of the M1, which is the preferred site of the local authorities. Luton Town did not rule out staying at a redeveloped Kenilworth Road, entering talks to buy the stadium back from the council in October 2012, but by mid-2015 these plans had been dropped in favour of a move to a new location. Managing director Gary Sweet confirmed that the club was in a position to "buy land, secure the best possible professional advice ... and to see the [planning] application process through to the receipt of consent." The club announced its new preferred location in December 2015—Power Court in central Luton, near the Mall and St Mary's Church. The proposals describe a 17,500-seater stadium ready for the start of the 2020–21 season.


title: Kenilworth Road

text: Planning permission for this ground, with potential to expand to 23,000 seats, was granted by Luton Borough Council on 16 January 2019.


title: Kenilworth Road

text: Kenilworth Road has been used occasionally by the England women's team. The inaugural UEFA Women's Championship in 1984 saw Kenilworth Road play host to the second leg of the Final against Sweden, won by Sweden on penalties. The most recent use of the stadium by the women's team was a 4–2 victory over Spain on 22 March 2001. Kenilworth Road has been used by England's under-17 team since the 1970s, most recently in a 3–0 win over their Italian counterparts in the 2007 FA International Tournament Final.


title: Kenilworth Road

text: The ground is home to the Hatters Study Support Centre, which provides local school pupils with ICT equipment, football training and lessons in numeracy and literacy. Kenilworth Road also hosts a number of local tournaments and events, including an annual youth competition organised by London Luton Airport.


title: Kenilworth Road

text: The highest attendance record at this stadium was 30,069 against Blackpool in the FA Cup on 4 March 1959. The highest attendance in the Football League was 27,911 against Wolverhampton Wanderers in Division One on 5 November 1955.


title: Kenilworth Road

text: The highest seasonal average for Luton at Kenilworth Road was 21,455 in the 1955–56 season. Luton's lowest seasonal average was 5,527 in 1998–99. The most recent season in which the average attendance was more than 10,000 was in the 1990–91 season, when the seasonal average was 10,313.


title: Kenilworth Road

text: The ground is located about half a mile away from Luton railway station, which lies on the Midland Main Line. Thameslink operate trains north to Bedford and south via London St Pancras to Brighton. East Midlands Railway operate trains north to Nottingham and Sheffield, and south to London St Pancras. Many of the roads near the ground are for residential permit holders only, meaning car parking at the ground is notoriously difficult. The number 31 bus, which is operated by Arriva Shires & Essex and runs every ten minutes from outside the railway station, stops at the junction of Oak Road and Dunstable Road. The Luton to Dunstable Busway includes a terminal behind the Main Stand on Clifton Road as part of the A, B, C and E routes running between Luton Airport and Houghton Regis.


title: AEK B.C.

text: AEK Basketball Club ( ; Αθλητική Ένωσις Κωνσταντινουπόλεως "Athlitikí Énosis Konstantinoupóleos", "Athletic Union of Constantinople"), also known as AEK B.C. or AEK, and more commonly known in European competitions as AEK Athens, is a Greek professional basketball club based in Athens, Greece, part of the major multi-sport club AEK. The club was established in Athens in 1924 by Greek refugees from Constantinople in the wake of the Greco-Turkish War (1919–1922).


title: AEK B.C.

text: AEK is one of the three most popular and successful teams in Greece (including Panathinaikos and Olympiacos) especially in European achievements, with millions of fans in both Greece and Cyprus


title: AEK B.C.

text: as well as in the Greek communities all over the world, mainly in Australia, United Kingdom and North America.


title: AEK B.C.

text: AEK was the first-ever Greek basketball team, not only to reach a European Cup Final, but also to win a European title. On 4 April 1968, AEK defeated Slavia VŠ Praha by a score of 89–82, in Athens in front of 80,000 fans. They have won the Greek League 8 times (1957–58, 1962–63, 1963–64, 1964–65, 1965–66, 1967–68, 1969–70, 2001–02), and the Greek Cup 5 times (1980–81, 1999–00, 2000–01, 2017–18, 2019–20), while they have also twice won the FIBA Saporta Cup (former European Cup Winners' Cup) (1967–68 and 1999–00). AEK won the Champions League on 6 May 2018, defeating Monaco by a score of 100–94 and the FIBA Intercontinental Cup on 17 February 2019, defeating Flamengo by a score of 86–70. Well-known players that have played with the club over the years have included: Rolando Blackman, Ricky Pierce, Danny Vranes, Ruben Patterson, Kurt Rambis, J.R. Holden, Willie Anderson, Joe Arlauckas, Anthony Bowie, Arijan Komazec, Martin Müürsepp, Josh Owens, Clint Richardson, Bill Edwards, Victor Alexander, Claudio Coldebella, İbrahim Kutluay, Pero Antić, Carl English, Pops Mensah-Bonsu, Bane Prelević, Georgios Amerikanos, Georgios Trontzos, Vassilis Goumas, Minas Gekos, Pavlos Stamelos, Kostas Patavoukas, Angelos Koronios, Michalis Kakiouzis, Nikos Chatzis, Jake Tsakalidis, Nikos Zisis, Nasos Galakteros, Vassilis Lanes, Dimos Dikoudis, Dimitris Papanikolaou, Ioannis Bourousis, Mario Chalmers, Jonas Mačiulis and Keith Langford


title: AEK B.C.

text: AEK B.C. has been named as the best Greek team in all sports, at either the sports club or national team level, in 1965, 1966, and 1968, by SJA of Greece (the Sports Journalists' Association of Greece, ).


title: AEK B.C.

text: The large Greek population of Constantinople, not unlike those of the other Ottoman urban centres, continued its athletic traditions in the form of numerous athletic clubs. Clubs such as Enosis Tataoulon (), from the Tatavla district, Megas Alexandros (), Hermes () of Galata, Olympias () of Therapia, and Kati Kioi () of Chalcedon, existed to promote Hellenic athletic and cultural ideals. These were amongst a dozen Greek-backed clubs that dominated the sporting landscape of the city in the years preceding World War I. After the war, with the influx of mainly French and English soldiers to Constantinople, many of the city clubs participated in regular competitions, with teams formed by foreign troops. Taxim, Pera, and Tatavla became the scene of weekly competitions in not only football, but of athletics, cycling, boxing, and tennis.


title: AEK B.C.

text: Of the clubs in the city though, football was dominated by Enosis Tataoulon and Hermes. Hermes, one of the more popular clubs, was formed in 1875, by the Greek community of Pera (Galata). Forced by the Kemalist regime to change its name to Pera Club in 1923, many of its athletes fled to Greece, and settled in Athens and Thessaloniki. The basketball team of AEK is actually the most successful among AEK's athletic departments. The obvious reason is the successes in general of Greek basketball, and that AEK's basketball team was the first ever Greek team to win an international trophy, in any team sport. Under Kostas Karamanlis' guidance, AEK won the club's first Greek League championship in 1958.


title: AEK B.C.

text: Kostas Dimopoulos, one of the creators of the AEK athletic club and footballer of the early years, had the idea of also creating a basketball team. His efforts quickly were matched by others who loved the sport of basketball. He then took over the leadership of the club's basketball department, and together with the "Simeonidi" brothers, "Eumenes Athanasiadis" and others, created the club's first basketball team. In the beginning, they took part in friendly games, where they made a good impression. After that, AEK won the first regional basketball championship that was played in Athens, which was organized by the local YMCA, in 1924.


title: AEK B.C.

text: In 1928, AEK took part in the first Greek basketball championship, in the Athens-Piraeus 1927–28 regional championship. In 1929, the Greek basketball championship was not held, and AEK did not play in any league. In 1930, the basketball section was not declared in any organized competition, with the effective efforts of Kostas Dimopoulos and his associates to do so, failing. The club's basketball section then remained in obscurity for many years. However, in 1949, it reappeared, and the club's administration of that time created a new and competitive team. In the 1952–53 season, AEK played in the Greek basketball championship for the first time since 1928. In the 1954–55 Greek League championship AEK had an impressive run, however, they finished behind Panellinios.


title: AEK B.C.

text: In 1958, AEK B.C., led by the player-coach Kostas Karamanlis, won their first Greek League championship, after defeating Panellinios in the final, by a score of 67–54.


title: AEK B.C.

text: The club also founded a women's section at this time, which lasted for a short time. The department had success with the four sisters Chorianopoulou sisters. However, the club did not give the necessary importance to the department, and it was later dissolved.


title: AEK B.C.

text: "The Union", in the early 1960s, won the Athens-Piraeus Regional Championship two times in a row (1960, 1961), but did not manage to become the national league champion of Greece. But the 1960s decade was to be the most important in the history of AEK's basketball club. The team's head coach of the time, Missas Pantazopoulos, created a great roster and led the team to the top of Greece. The club's leading figure during these years was Georgios Amerikanos, who was nicknamed "Global".


title: AEK B.C.

text: In the 1962–63 season, AEK won the first of four consecutive Greek League championships. In the next season, AEK's leading scorer was Antonis Christeas (4th overall in the league), and the club was once again the Greek League champion. In the 1964–65 season, Georgios Amerikanos was the top scorer of the league, and AEK were once again the Greek League champions.


title: AEK B.C.

text: In the following 1965–66 season, AEK won its 4th consecutive Greek League championship, and also became the first Greek basketball team to play in the semi-finals of the FIBA Europe Champions Cup (now called the EuroLeague), as they played at the 1966 Final Four, which was held in Italy. These successes were accompanied by an unfortunate large loss for the team. As one of the team's players, Giorgos Moschos had contracted cancer, but he managed to participate in certain competitions that year, before he died on 29 December 1966, at age 29.


title: AEK B.C.

text: The next season, AEK lost the Greek League championship to Panathinaikos. However, a year later, under head coach Nikos Milas, AEK returned to the top of Greece, as they won the 1967–68 Greek League season championship, without losing a game. Georgios Amerikanos was again the Greek League's Top Scorer.


title: AEK B.C.

text: AEK was the first ever Greek basketball team to participate in the FIBA European Champions Cup (now called the EuroLeague) Final Four, in 1966, which was held in Bologna, Italy. Two years later, AEK was the first-ever Greek team, not only to reach a FIBA European Cup Winners' Cup Final, but also to win a European-wide title. On April 4, 1968, AEK defeated Slavia VŠ Praha, by a score of 89–82, in Athens, in front of 80,000 spectators (at the time, the Guinness world record in basketball attendance) in Kallimarmaron Stadium. In 1970, AEK reached the FIBA European Cup Winners' Cup semi-finals, where the team was eliminated by JA Vichy, France, in what turned out to be the last year of the first "Golden Era" of the club's history. It was called the "Golden Era" because AEK dominated Greek basketball during the 1960s, winning the Greek League championship 4 consecutive years, in 1963, 1964, 1965, and 1966, as well as in 1968 and 1970; for a total of 6 titles in 8 years.


title: AEK B.C.

text: Although there are no official records with regards to the Greek Cup before 1975, according to some sources, AEK won the Greek Cup in the years of 1967 and 1971.


title: AEK B.C.

text: Over the next decades, AEK lost its prestige and managed to win only one trophy, the Greek Cup in 1981, under the direction of Coach Fred Develey, an American coach who previously was the head coach of Maccabi Tel Aviv and Aris of Greece, with superstar Nick Galis. In addition to winning the Greek Cup in 1981, AEK was also a finalist in the Greek Cup in 1976, 1978, 1980, 1988, and 1992, but failed to win in any of those years.


title: AEK B.C.

text: AEK made a comeback in the late 1990s, when the team played in six consecutive Greek Cup Final Fours in the years 1996, 1997, 1998, 1999, 2000, 2001, four consecutive Greek Cup Finals in the years 1998, 1999, 2000, 2001, winning the Greek Cup in 2000 and 2001. In 2002, AEK won the Greek League championship for the first time in 32 years, becoming the first team to win the Greek League championship after having lost the first two games of a 5-game playoff series. AEK lost the first two games of the series to Olympiacos, but managed to win the next 3 games, and take the series and the title 3–2. AEK also reached the Greek Playoff Finals in the years 1997, 2003, and 2005, and the Greek Cup Semi-finals in the year 2006.


title: AEK B.C.

text: In this same era, AEK again reached a high level in European-wide competitions. The team reached the FIBA EuroLeague's Final Four in Barcelona in 1998, and beat Benetton Treviso, by a score of 69–66, before losing in the EuroLeague Final to Kinder Bologna, by a score of 58–44. In 2000, on 11 April, AEK won their second international trophy, the FIBA Saporta Cup, by defeating Kinder Bologna 83–76. The next year, 2001, AEK reached the EuroLeague semi-finals, where they lost their playoff series against Tau Cerámica, in 3 straight games. AEK had success in the EuroLeague in the 2002 season, reaching the Top 16 phase, but the 2003 and 2004 seasons were disasters in the EuroLeague. In 2005, AEK once again shined and reached the Top 16, but a few losses prevented the team from reaching the EuroLeague playoffs.


title: AEK B.C.

text: After the 2005–06 season, the owner of the club and major shareholder cut off the club's funding, and various management schemes each year assumed the financial obligations of the club.


title: AEK B.C.

text: As a result, the roster gradually weakened year after year, the group declined each year to lower-level league positions and had even less success in European competitions, and the club's debts


title: AEK B.C.

text: that were accrued were impossible to pay. In April 2011, AEK was relegated down to the Greek Second Division (A2) due to serious financial


title: AEK B.C.

text: A new administration council, with Nikos Georgantzoglou as a president, defined by the Athens Court on 12 September 2011 so that the club could be saved and play in the A2 division.


title: AEK B.C.

text: In the summer of 2012, AEK's board of directors announced its participation in the Greek 3rd national category Greek B League ("B Ethniki") "Southern Group",


title: AEK B.C.

text: for the 2012–13 season, as an amateur club. The team had a record of 22 wins and 3 losses and was promoted to the A2 category.


title: AEK B.C.

text: In the 2013–14 season, AEK once again played in the Greek Second Division. Finally, AEK was the winner of the second division championship and won the league promotion to be able to play in the


title: AEK B.C.

text: top Greek League again, after a 3-year period of absence. AEK had a record of 23 wins and 3 losses during the Greek A2 Basket League 2013–14 season.


title: AEK B.C.

text: In September 2014, AEK overcame heavy financial problems, after Makis Angelopoulos bought the majority stake of the club's shares, just to return to the Greek elite level, and thus wanted to showcase its tradition and ambition in Greece and Europe. In the 2014–15 season, AEK finished in fifth place in the top-tier level Greek League, with 15 wins and 11 losses.


title: AEK B.C.

text: In the 2015–16 season, AEK returned to the European-wide 2nd-tier level EuroCup, for the first time since the 2006–07 season. AEK returned to the EuroCup, after having come off a return-to-form season, in which it finished fifth overall in the first-tier level Greek League, to reach the Greek League playoffs, after a seven-year absence. AEK then joined the newly formed FIBA Champions League, for the 2016–17 season. The team reached the 2016–17 FIBA Champions League Round 16.


title: AEK B.C.

text: On 17 February 2018, AEK won the 2018 Greek Cup Final against Olympiacos, by a score of 88–83, at Heraklion Indoor Sports Arena, on the island of Crete. It was AEK's first top-tier title won since they won the 2001–02 Greek Basket League season's championship.


title: AEK B.C.

text: On 6 May 2018, AEK won the 2018 FIBA Champions League final against the French club AS Monaco by a score of 100–94 in the Nikos Galis Olympic Indoor Hall of Athens. By winning the FIBA Champions League trophy, AEK earned the right to add a third star to its club crest. The team also qualified to participate in the next edition of the FIBA Intercontinental Cup tournament. In the following FIBA Champions League competition AEK was disqualified in the quarter-finals by the German side Brose Bamberg. Nevertheless, a bit earlier in the 2018–19 season, AEK became the global basketball champions, for the first time in their perennial history, by winning the 2019 FIBA Intercontinental Cup final against the Brazilian club Flamengo by a score of 86–70 in the Carioca Arena 1 of Rio de Janeiro. That marked the third FIBA Intercontinental Cup championship that was won by a Greek club, after Panathinaikos had won the 1996 FIBA Intercontinental Cup, and Olympiacos had won the 2013 FIBA Intercontinental Cup.


title: AEK B.C.

text: On 16 February 2020, AEK won the 2020 Greek Cup Final against Promitheas Patras, by a score of 61–57, at Heraklion Indoor Sports Arena, on the island of Crete. It was AEK's second national top-tier title in two years. On 4 October 2020, AEK lost by 85–74 from the Spanish side San Pablo Burgos in the 2019–20 FIBA Champions League final that was held in the Nikos Galis Olympic Indoor Hall of Athens. This was the second FIBA Champions League final in three years for AEK Athens. The team also holds the FIBA Champions League highest attendance record, as 17,984 fans attended the 2017–18 FIBA Champions League final in the Nikos Galis Olympic Indoor Hall.


title: AEK B.C.

text: In 1924, AEK adopted as their emblem, the image of a double-headed eagle. When AEK was created by Greek refugees from Constantinople, in the years following the Greco-Turkish War, and subsequent population exchange, the emblem and colours (yellow and black) were chosen as a reminder of lost homelands; they represent the club's historical ties to Constantinople. After all, the double-headed eagle is featured in the flag of the Greek Orthodox Church, whose headquarters are in Constantinople, and served as the Imperial emblem under the Palaiologos dynasty. The emblem of the department of AEK basketball has evolved over time. From 1924 to 2015, the emblem of the department was similar to that of the football club. Since 2015, AEK B.C. has created a new version of the emblem, by adding to it two stars at its center, which symbolize the club's 2 FIBA Saporta Cup European-wide titles.


title: AEK B.C.

text: The colours of yellow/gold, black and Imperial purple were adopted from AEK's connections with Constantinople and the Byzantine Empire.


title: AEK B.C.

text: AEK has a large fan base all over Greece. The majority of AEK supporters are refugees or have refugee descent from Constantinople, and people from the population exchange of the Minor Asia Catastrophe. Original 21 is the largest supporters group. The first attempt to organize AEK supporters was "Gate 21" (formed in 1975), which took its name from the gate in the Nikos Goumas Stadium at Nea Filadelfia, where the most hardcore fans of the club gathered. AEK also has many supporters worldwide, most of them being Greek immigrants, in places like North America, UK, Australia, and Cyprus.


title: AEK B.C.

text: The main rivalries of the AEK are the ones with Panathinaikos and Olympiacos. Against Panathinaikos, the rivalry started not only because of both competing for titles, but also because of the refugee ancestry of AEK fans, and by contrast, that Panathinaikos was considered to be the representative club of the old Athenian high class society. Against Olympiacos, the rivalry is mostly related to the football rivalry of the two clubs.


title: AEK B.C.

text: Note: The capacities listed are the capacities of the arenas at the time AEK used them, and are not necessarily the same as the arena's current capacities. Also, the capacities only list the arena's all-seat seating capacity (if applicable), and not the arena's total capacities. In addition, in some cases, the listed capacities only reflect the number of seats currently made publicly available for use, and may not reflect the number of total seats actually in the arena.


title: AEK B.C.

text: AEK was one of three Greek teams that had always competed in the first tier Greek competition, until it first experienced relegation following the 2010–11 season, and thus did not play in the top-tier in the 2011–12 season. AEK's course in the tournaments is in the table below.


title: AEK B.C.

text: AEK has links with many basketball clubs in Greece, and other countries where Greek immigrants and friends of the club live, like ΑΕΚ Stockholm B.C. in Sweden, and Greek clubs like AEK Argos B.C. and AEK Tripolis B.C.


title: Basel Convention

text: The Basel Convention on the Control of Transboundary Movements of Hazardous Wastes and Their Disposal, usually known as the Basel Convention, is an international treaty that was designed to reduce the movements of hazardous waste between nations, and specifically to prevent transfer of hazardous waste from developed to less developed countries (LDCs). It does not, however, address the movement of radioactive waste. The convention is also intended to minimize the rate and toxicity of wastes generated, to ensure their environmentally sound management as closely as possible to the source of generation, and to assist LDCs in environmentally sound management of the hazardous and other wastes they generate.


title: Basel Convention

text: The convention was opened for signature on 21 March 1989, and entered into force on 5 May 1992. As of September 2022, there are 190 parties to the convention. In addition, Haiti and the United States have signed the convention but not ratified it.


title: Basel Convention

text: Following a petition urging action on the issue signed by more than a million people around the world, most of the world's countries, but not the United States, agreed in May 2019 to an amendment of the Basel Convention to include plastic waste as regulated material. Although the United States is not a party to the treaty, export shipments of plastic waste from the United States are now "criminal traffic as soon as the ships get on the high seas," according to the Basel Action Network (BAN), and carriers of such shipments may face liability, because the transportation of plastic waste is prohibited in just about every other country.


title: Basel Convention

text: With the tightening of environmental laws (for example, RCRA) in developed nations in the 1970s, disposal costs for hazardous waste rose dramatically. At the same time, globalization of shipping made transboundary movement of waste more accessible, and many LDCs were desperate for foreign currency. Consequently, the trade in hazardous waste, particularly to LDCs, grew rapidly.


title: Basel Convention

text: One of the incidents which led to the creation of the Basel Convention was the "Khian Sea" waste disposal incident, in which a ship carrying incinerator ash from the city of Philadelphia in the United States dumped half of its load on a beach in Haiti before being forced away. It sailed for many months, changing its name several times. Unable to unload the cargo in any port, the crew was believed to have dumped much of it at sea.


title: Basel Convention

text: Another is the 1988 Koko case in which five ships transported 8,000 barrels of hazardous waste from Italy to the small town of Koko in Nigeria in exchange for $100 monthly rent which was paid to a Nigerian for the use of his farmland.


title: Basel Convention

text: At its meeting that took place from 27 November to 1 December 2006, the conference of the parties of the Basel Agreement focused on issues of electronic waste and the dismantling of ships.


title: Basel Convention

text: According to Maureen Walsh, only around 4% of hazardous wastes that come from OECD countries are actually shipped across international borders. These wastes include, among others, chemical waste, radioactive waste, municipal solid waste, asbestos, incinerator ash, and old tires. Of internationally shipped waste that comes from developed countries, more than half is shipped for recovery and the remainder for final disposal.


title: Basel Convention

text: Increased trade in recyclable materials has led to an increase in a market for used products such as computers. This market is valued in billions of dollars. At issue is the distinction when used computers stop being a "commodity" and become a "waste".


title: Basel Convention

text: As of September 2022, there are 190 parties to the treaty, which includes 187 UN member states, the Cook Islands, the European Union, and the State of Palestine. The six UN member states that are not party to the treaty are East Timor, Fiji, Haiti, San Marino, South Sudan, and United States.


title: Basel Convention

text: Waste falls under the scope of the convention if it is within the category of wastes listed in Annex I of the convention and it exhibits one of the hazardous characteristics contained in Annex III.


title: Basel Convention

text: In other words, it must both be listed and possess a characteristic such as being explosive, flammable, toxic, or corrosive. The other way that a waste may fall under the scope of the convention is if it is defined as or considered to be a hazardous waste under the laws of either the exporting country, the importing country, or any of the countries of transit.


title: Basel Convention

text: The definition of the term disposal is made in Article 2 al 4 and just refers to annex IV, which gives a list of operations which are understood as disposal or recovery. Examples of disposal are broad, including recovery and recycling.


title: Basel Convention

text: Alternatively, to fall under the scope of the convention, it is sufficient for waste to be included in Annex II, which lists other wastes, such as household wastes and residue that comes from incinerating household waste.


title: Basel Convention

text: Radioactive waste that is covered under other international control systems and wastes from the normal operation of ships are not covered.


title: Basel Convention

text: Annex IX attempts to define wastes which are not considered hazardous wastes and which would be excluded from the scope of the Basel Convention. If these wastes however are contaminated with hazardous materials to an extent causing them to exhibit an Annex III characteristic, they are not excluded.


title: Basel Convention

text: In addition to conditions on the import and export of the above wastes, there are stringent requirements for notice, consent and tracking for movement of wastes across national boundaries. It is of note that the convention places a general prohibition on the exportation or importation of wastes between parties and non-parties. The exception to this rule is where the waste is subject to another treaty that does not take away from the Basel Convention. The United States is a notable non-party to the convention and has a number of such agreements for allowing the shipping of hazardous wastes to Basel Party countries.


title: Basel Convention

text: The OECD Council also has its own control system that governs the transboundary movement of hazardous materials between OECD member countries. This allows, among other things, the OECD countries to continue trading in wastes with countries like the United States that have not ratified the Basel Convention.


title: Basel Convention

text: Article 4 of the Basel Convention calls for an overall reduction of waste generation. By encouraging countries to keep wastes within their boundaries and as close as possible to its source of generation, the internal pressures should provide incentives for waste reduction and pollution prevention. Parties are generally prohibited from exporting covered wastes to, or importing covered waste from, non-parties to the convention.


title: Basel Convention

text: The convention states that illegal hazardous waste traffic is criminal but contains no enforcement provisions.


title: Basel Convention

text: According to Article 12, parties are directed to adopt a protocol that establishes liability rules and procedures that are appropriate for damage that comes from the movement of hazardous waste across borders.


title: Basel Convention

text: The current consensus is that as space is not classed as a "country" under the specific definition, export of e-waste to non-terrestrial locations would not be covered.


title: Basel Convention

text: After the initial adoption of the convention, some least developed countries and environmental organizations argued that it did not go far enough. Many nations and NGOs argued for a total ban on shipment of all hazardous waste to LDCs. In particular, the original convention did not prohibit waste exports to any location except Antarctica but merely required a notification and consent system known as "prior informed consent" or PIC. Further, many waste traders sought to exploit the good name of recycling and begin to justify all exports as moving to recycling destinations. Many believed a full ban was needed including exports for recycling. These concerns led to several regional waste trade bans, including the Bamako Convention.


title: Basel Convention

text: Lobbying at 1995 Basel conference by LDCs, Greenpeace and several European countries such as Denmark, led to the adoption of an amendment to the convention in 1995 termed the Basel Ban Amendment to the Basel Convention. The amendment has been accepted by 86 countries and the European Union, but has not entered into force (as that requires ratification by three-fourths of the member states to the convention). On 6 September 2019, Croatia became the 97th country to ratify the amendment which will enter into force after 90 days on 5 December 2019. The amendment prohibits the export of hazardous waste from a list of developed (mostly OECD) countries to developing countries. The Basel Ban applies to export for any reason, including recycling. An area of special concern for advocates of the amendment was the sale of ships for salvage, shipbreaking. The Ban Amendment was strenuously opposed by a number of industry groups as well as nations including Australia and Canada. The number of ratification for the entry-into force of the Ban Amendment is under debate: Amendments to the convention enter into force after ratification of "three-fourths of the Parties who accepted them" [Art. 17.5]; so far, the parties of the Basel Convention could not yet agree whether this would be three-fourths of the parties that were party to the Basel Convention when the ban was adopted, or three-fourths of the current parties of the convention [see Report of COP 9 of the Basel Convention]. The status of the amendment ratifications can be found on the Basel Secretariat's web page. The European Union fully implemented the Basel Ban in its Waste Shipment Regulation (EWSR), making it legally binding in all EU member states. Norway and Switzerland have similarly fully implemented the Basel Ban in their legislation.


title: Basel Convention

text: In the light of the blockage concerning the entry into force of the Ban Amendment, Switzerland and Indonesia have launched a "Country-led Initiative" (CLI) to discuss in an informal manner a way forward to ensure that the trans boundary movements of hazardous wastes, especially to developing countries and countries with economies in the transition, do not lead to an unsound management of hazardous wastes. This discussion aims at identifying and finding solutions to the reasons why hazardous wastes are still brought to countries that are not able to treat them in a safe manner. It is hoped that the CLI will contribute to the realization of the objectives of the Ban Amendment. The Basel Convention's website informs about the progress of this initiative.


title: Basel Convention

text: In the wake of popular outcry, in May 2019 most of the world's countries, but not the United States, agreed to amend the Basel Convention to include plastic waste as a regulated material. The world's oceans are estimated to contain 100 million metric tons of plastic, with up to 90% of this quantity originating in land-based sources. The United States, which produces an annual 42 million metric tons of plastic waste, more than any other country in the world, opposed the amendment, but since it is not a party to the treaty it did not have an opportunity to vote on it to try to block it. Information about, and visual images of, wildlife, such as seabirds, ingesting plastic, and scientific findings that nanoparticles do penetrate through the blood–brain barrier were reported to have fueled public sentiment for coordinated international legally binding action. Over a million people worldwide signed a petition demanding official action. Although the United States is not a party to the treaty, export shipments of plastic waste from the United States are now "criminal traffic as soon as the ships get on the high seas," according to the Basel Action Network (BAN), and carriers of such shipments may face liability, because the Basel Convention as amended in May 2019 prohibits the transportation of plastic waste to just about every other country.


title: Basel Convention

text: The Plastic Waste Amendments of the convention are now binding on 186 States. In addition to ensuring the trade in plastic waste is more transparent and better regulated, under the Basel Convention governments must take steps not only to ensure the environmentally sound management of plastic waste, but also to tackle plastic waste at its source.


title: Basel Convention

text: The Basel Action Network (BAN) is a charitable civil society non-governmental organization that works as a consumer watchdog for implementation of the Basel Convention. BAN's principal aims is fighting exportation of toxic waste, including plastic waste, from industrialized societies to developing countries. BAN is based in Seattle, Washington, United States, with a partner office in the Philippines. BAN works to curb trans-border trade in hazardous electronic waste, land dumping, incineration, and the use of prison labor.


title: Tiffany lamp

text: A Tiffany lamp is a type of lamp with a camed glass shade designed by Louis Comfort Tiffany or colleagues, and made (in originals) in his design studio. The glass in the lampshades is put together with the copper foil technique instead of leaded, the classic technique for stained glass windows. Tiffany lamps are considered part of the Art Nouveau movement. A considerable number of designs were produced, from 1893 onwards.


title: Tiffany lamp

text: Due to Tiffany's dominant influence on the style, the term 'Tiffany lamp' or 'Tiffany style lamp' has been often used to refer to stained leaded glass lamps, even those not made by Louis Comfort Tiffany's company.


title: Tiffany lamp

text: The first Tiffany lamp was exhibited in 1893 and is assumed to have been made in that year. Each lamp was handmade by skilled craftsmen, not mass- or machine-produced. Its designer was not, as had been thought for over 100 years, Louis Comfort Tiffany, but a previously unrecognized artist named Clara Driscoll who was identified in 2007 by Rutgers professor Martin Eidelberg as being the master designer behind the most creative and valuable leaded glass lamps produced by Tiffany Studios.


title: Tiffany lamp

text: Tiffany's first business venture was an interior design firm in New York City, for which he designed stained glass windows.


title: Tiffany lamp

text: Tiffany lamps gained popularity after the Worlds Columbian Exposition in Chicago in 1893, where Tiffany displayed his lamps in a Byzantine-like chapel. His presentation caught the eye of many people, most notably Wilhelm Bode and Julius Lessing, directors of state museums in Berlin. Lessing purchased a few pieces to display in the Museum of Decorative Arts, making it the first European museum to own Tiffany glass. Though Tiffany's work was popular in Germany, other countries, such as France, were not as taken by it because of its relation to American crafts. Tiffany was only able to break into the French market by having the production of his works taken over by Siegfried Bing, with the assistance of many French artists. Without Bing’s access and contacts in Europe, Tiffany would not have had as much success selling his works to a European audience. Tiffany’s success throughout Europe was largely due to the success of his works in the German and Austro-Hungarian markets through a series of exhibitions beginning in 1897 at the International Art Exhibition in Dresden. After the partnership between Tiffany and Bing ended, interest in Tiffany products began to decline slowly in Europe.


title: Tiffany lamp

text: The Irregular Upper and Lower Border lamps carry an openwork crown edge that helps to simulate a branch, tree, or shrubbery. The Favrile category, which means handcrafted, identifies the first lamps Tiffany made with this label. His initials LCT, later replaced the Favrile stamp. The Geometric category, done primarily by the male craftsman, speaks for itself. The Tiffany craftsman used geometric shapes such as triangles, squares, rectangles, and ovals to form these patterns for these lamps. Next is the Transition to Flowers group, which is subdivided into the Flowered Cone and Globe lamps. All of these lamps follow a nature, or botanical, design using flowers, dragonflies, spiders with webs, butterflies, and peacock feathers. The difference within these two smaller categories is the difference in the lamp shapes, basically a cone and a globe.


title: Tiffany lamp

text: Every lamp is prepared by using the copper foil method. First a pattern for the lamp is drawn out on a heavy piece of cardboard. Next a number and glass color is written on the pattern piece. After the pattern is drawn and labeled, the glass is laid over it and traced. Once the pattern is traced onto the glass, the pieces can be cut and ground to their correct shape. Next the pieces need to be cleaned so the copper foil can be applied to the edges. The copper foil solution allows the pieces to adhere together. After the lamp has been placed accordingly and it is fully bonded, the edges need to be soldered together for a firm hold. Finally after the lamp has been soldered it is cleaned.


title: Gufi Paintal

text: Sarabjeet "Gufi" Paintal (born 4 October 1944) is an Indian actor and director. His most famous role was that of Shakuni in the TV serial Mahabharat. He is the elder brother of the noted comedian and character actor Paintal.


title: Gufi Paintal

text: Gufi Paintal is an Indian actor who appeared in some notable Bollywood movies in 1980s, as well as television serials and plays. He was born in a Sikh Family.


title: Gufi Paintal

text: Initially trained as an engineer, he would go on to follow his younger brother (who had been trained at the Film and Television Institute of India) into acting. Arriving in Bombay in 1969 and Gufi took up modeling, worked as an assistant director for movies and acted in various movies and serials. He has also directed his brother. His most well-known role is that of Mama (Maternal Uncle) Shakuni in the Mahabharat adaptation by B.R. Chopra and his son Ravi Chopra which Paintal himself recognizes as his best role. Indeed, he is so associated with his Shakuni character in India that Paintal presented a political discussion show on the news channel Sahara Samay in the character of Shakuni.


title: Gufi Paintal

text: Paintal has recently directed the movie, "Shri Chaitanya Mahaprabhu" which sketches the life of Chaitanya Mahaprabhu, a 16th-century devotee of Krishna who is recognised as an incarnation of the god by followers of Gaudiya Vaishnavism. The film was produced by Pawan Kumar with music by Ravindra Jain. In 2010 he was appointed head of facility at the Abbhinnay Acting Academy in Mumbai, a school established by his "Mahabharata" co-star Pankaj Dheer.


title: The Zutons

text: The Zutons are an English indie rock band, formed in 2001 in Liverpool. The band are currently composed of singer, songwriter and guitarist Dave McCabe, drummer Sean Payne and saxophonist Abi Harding.


title: The Zutons

text: They released their debut album, "Who Killed... The Zutons?" in May 2004 and achieved chart success with "Why Won't You Give Me Your Love?" and "Valerie", both taken from their second studio album "Tired of Hanging Around" in 2006. Both singles reached number 9 in the UK Singles Chart.


title: The Zutons

text: The band quietly disbanded in 2009, several months after they released the third studio album, "You Can Do Anything" in June 2008, with no official announcement. They ultimately reunited in September 2016 for a one-off show billed as "probably [the] last ever" in remembrance of their friend, actor and former Tramp Attack frontman Kristian Ealey. The band remained in contact and in November 2018 announced a spring 2019 tour to commemorate and perform their debut album.


title: The Zutons

text: The Zutons formed in Liverpool in 2001, taking their name from Captain Beefheart's Magic Band guitarist Zoot Horn Rollo. Dave McCabe had previously been in the band Tramp Attack. Both Pritchard and Payne were members of Edgar Jones' post Stairs band The Big Kids (with Sean's brother Howie Payne of The Stands). The band was originally a four-piece, before Payne's girlfriend Abi Harding began joining The Zutons on stage for a couple of songs mid-set, playing simple saxophone lines. The other band members liked the way her saxophone enhanced their sound and Harding became a full member, contributing vocals and sax.


title: The Zutons

text: Deltasonic head Alan Wills was initially dubious about the musical talents of McCabe: "I'd heard other bands Dave had played in and I thought they were all rubbish". The Coral's James Skelly was persistent in trying to convince Wills of his friend's potential and the breakthrough finally came when the bedroom demos of the newly formed Zutons persuaded the Deltasonic head into working with them.


title: The Zutons

text: At first, the band had to battle comparisons to The Coral. Both bands were Merseyside bands prominent members of the Liverpool music scene, on the same record label, shared the same producer, Ian Broudie, and were good friends, with McCabe having previously written songs with James Skelly. The band's music has proved difficult to categorize, being described as "psychedelic cartoon punk". McCabe, who is also the lead songwriter, includes amongst his influences Talking Heads, Devo, Sly & the Family Stone, Dexys Midnight Runners, Sublime and Madness.


title: The Zutons

text: The first record the band put out was the 3-track CD "Devil's Deal", released in September 2002. The following spring they released "Creepin' and a Crawlin'," and then the download-only single "Haunts Me" in November 2003. The band's "Z" logo was changed early in 2004 to avoid confusion with the Zenith logo.


title: The Zutons

text: The Zutons' debut album, "Who Killed... The Zutons?" was released in April 2004, and initially reached No. 13 in the UK album chart. However, after nearly a year later, it managed to move up to No. 9 in early 2005. The LP had a specially printed 3-D cover and came with Zutons 3-D viewing glasses, which many fans then wore to their concerts. Early copies of the album also included a bonus 4-track CD of alternative versions of their songs. The album was critically acclaimed and was a nominee for the 2004 Mercury Music Prize. The band themselves were nominated for the British Breakthrough Act award at the 2005 BRIT Awards. The album was later re-issued following the single "Don't Ever Think (Too Much)", with that song being added as track 13. The track "Confusion" was used in a Peugeot 307 car advert in the UK during 2004-2005.


title: The Zutons

text: The new album "Tired of Hanging Around" was released on 17 April 2006 and reached No. 2 in the UK album charts. The first single from the album "Why Won't You Give Me Your Love?" and the second single "Valerie" both peaked at 9 in the UK charts, a fair achievement considering their highest place previously had been with the single "Don't Ever Think (Too Much)" at 15. The band toured the UK in May 2006 following the release of this album. They played at the Jersey Live Festival on 2 September 2006 before their second UK tour which began in November 2006. In October 2006, they performed at The Secret Policeman's Ball. On New Year's Eve 2006, the Zutons appeared on Jools Holland's annual "Hootenanny" on BBC television on which they performed their songs "Valerie", "Why Don't You Give Me Your Love?" and "It's The Little Things We Do."


title: The Zutons

text: As the November tour began, the band gave an interview to STV discussing songwriting, making videos and their American dates with The Killers. In a separate interview, Payne complained about the tendency of music writers and magazines to generalise a particular city as the breeding ground of new 'movements', "A lot of bands get lumped in when they're in the same neck of the woods and journalists–especially in England–like to make a big deal out of that and make it into a scene, as if the individual bands aren't good enough to write about."


title: The Zutons

text: The band announced on 13 July 2007 that guitarist Boyan Chowdhury had left The Zutons, citing "musical differences". Although the band claimed Chowdhury's departure was a mutual decision, bassist Russell Pritchard remarked that "it was like splitting up with someone". In late 2007, Paul Molloy formerly of The Skylarks and The Stands joined the band.


title: The Zutons

text: The band released their third studio album titled "You Can Do Anything" on 2 June 2008. It was the band's first album to feature Molloy on lead guitar. The first single was "Always Right Behind You" which was released on 26 May 2008. The album was recorded earlier in the year in Los Angeles, California. On 17 May 2008 The Zutons appeared on Soccer AM as guest stars. They performed "Always Right Behind You" at the end to celebrate the last show of the season. In the summer of 2008, The Zutons had their first UK tour in 2 years. They were scheduled to play seven gigs in forest settings as part of The Forestry Commission's Forest Tour.


title: The Zutons

text: On 26 July 2008, The Zutons performed at Japan's Fuji Rock Festival for a third time. On 30 August 2008, the band appeared at the Indie Festival, Jersey Live, headlining the festival along with The Prodigy. Over the 2008 Christmas holidays, the Zutons were dropped from Sony/BMG.


title: The Zutons

text: Following a run of 2009 festival performances including Summer Sundae in Leicester and Wickerman Festival, the band quietly disbanded.


title: The Zutons

text: Pritchard joined Noel Gallagher's High Flying Birds, Molloy collaborated with Sean's sister, Candie Payne, before forming Serpent Power with Ian Skelly and joining The Coral and Sean Payne recorded with Miles Kane. In 2010, singer Dave McCabe was convicted of assault before releasing solo album "Church of Miami" in 2015. The Zutons' song "What's your Problem" was featured in a trailer for the 2012 movie "Wreck-It Ralph".


title: The Zutons

text: Chowdhury had formed a new band, the Venus Fury shortly after his departure from the band. In May 2013, he collaborated with musician David South and scriptwriter Michelle Langan to produce "Shoebox", a musical theatre play set in 1950s Liverpool. In 2016, Harding became the keyboardist and saxophonist for The Lightning Seeds, the band of the Zutons' former producer Ian Broudie.


title: The Zutons

text: In April 2016, three members of the band, including original guitarist Chowdhury, performed at a tribute concert for the Warrington indie rock group Viola Beach, whose members had died earlier that year in a car accident in Sweden.


title: The Zutons

text: On 23 June 2016, it was announced that the original line-up of the band would reform for a one-off gig at Mountford Hall, Liverpool, on 30 September 2016. A fundraiser in celebration of their friend, actor and former Tramp Attack frontman Kristian Ealey, who died earlier in the year. The show was billed as the band's "last ever". McCabe explained: "I'm not against doing gigs as The Zutons, it's the others who don't want to keep doing it, and I understand why. With two of them it's personal issues and Russ plays with Noel Gallagher." He also revealed that the band almost reformed in 2014 to mark the tenth anniversary of the band's debut album but that, "if The Zutons were ever to reform properly, I don't think it would be the original line-up".


title: The Zutons

text: In November 2018 the band announced a reunion tour to play "Who Killed... The Zutons?"' on its 15th anniversary. While original members Dave McCabe, Boyan Chowdhury, Sean Payne and Abi Harding were all on board, Russell Pritchard confirmed via social media that he was not taking part in the reunion tour. In place of Pritchard, Cast member Jay Lewis was recruited to play bass.


title: The Zutons

text: On 27 July 2021, the band announced via their Twitter page that they will support Nile Rodgers on one of the UK dates of his tour. They also confirmed that Rodgers would be producing the band's fourth studio album. On October 24, they posted a photo with Nile Rodgers shot in AbbeyRoad studios while working on their fourth album.


title: Jackson Nicoll

text: Jackson Nicoll (born December 1, 2003) is an American former actor, best known for portraying Billy, the grandson of the title character, in "" (2013).


title: Jackson Nicoll

text: Nicoll is from Seabrook, New Hampshire. His other credits include "The Fighter" (2010), "What's Your Number?" (2011), and "Fun Size" (2012).


title: Small Change (Tom Waits album)

text: Small Change is the fourth studio album by singer and songwriter Tom Waits, released on September 21, 1976 on Asylum Records. It was recorded in July at Wally Heider's Studio 3 in Hollywood. It was successful commercially and outsold his previous albums. This resulted in Waits putting together a touring band - The Nocturnal Emissions, which consisted of Frank Vicari on tenor saxophone, FitzGerald Jenkins on bass guitar and Chip White on drums and vibraphone. The Nocturnal Emissions toured Europe and the United States extensively from October 1976 till May 1977.


title: Small Change (Tom Waits album)

text: "Small Change" was recorded, direct to 2-track stereo tape, July 15, 19–21 and 29, 1976 at Wally Heider's Studio 3 in Hollywood under the production of Bones Howe. A multi-track recording was made as back up, and used when a reference Waits made to actress Jayne Meadows had to be changed. Howe recounted: "We set up at Heider's for that record the same way I used to make jazz records in the 1950s. I wanted to take Tom back to that direction of making records, with an orchestra and Tom in the same room, all playing and singing together. I was never afraid of making a record where the musicians all breathed the same air. Leakage is not a problem. In fact, it's a good thing — it holds a record together... He was always surrounded by the music and the records sound like it. We never used headphones. Never."


title: Small Change (Tom Waits album)

text: The album featured famed drummer Shelly Manne, and was, like Waits' previous albums, heavily jazz-influenced, with a lyrical style that owed influence to Raymond Chandler and Charles Bukowski as well as a vocal delivery influenced by Louis Armstrong, Dr. John and Howlin' Wolf. The music, for the most part, consists of Waits' gravelly, rough voice, set against a backdrop of piano, upright bass, drums and saxophone. Some tracks have a string section, whose sweet timbre is starkly contrasted to Waits' voice.


title: Small Change (Tom Waits album)

text: "Tom Traubert's Blues" opens the album. Jay S. Jacobs has described the song as a "stunning opener [which] sets the tone for what follows." The refrain is based almost word by word on the 1890 Australian song, "Waltzing Matilda" by A.B. "Banjo" Paterson, although the tune is slightly different.


title: Small Change (Tom Waits album)

text: The origin of the song is somewhat ambiguous. The sub-title of the track "Four Sheets to the Wind in Copenhagen" seems to indicate that it is about a time that Waits spent in Copenhagen in 1976 while on a tour. There, he apparently met Danish singer Mathilde Bondo. Indeed, in a 1998 radio interview, she confirmed that she met Waits and that they spent a night on the town together. Waits himself described the song's subject during a concert in Sydney, Australia in March 1979: "Uh, well I met this girl named Matilda. And uh, I had a little too much to drink that night. This is about throwing up in a foreign country." In an interview on NPR's "World Cafe", aired December 15, 2006, Waits stated that Tom Traubert was a "friend of a friend" who died in prison.


title: Small Change (Tom Waits album)

text: Howe was amazed when he first heard the song, and he's still astonished by it. "I do a lot of seminars," he says. "Occasionally I'll do something for songwriters. They all say the same thing to me. 'All the great lyrics are done.' And I say, 'I'm going to give you a lyric that you never heard before. Howe then says to his aspiring songwriters, "A battered old suitcase to a hotel someplace / And a wound that will never heal." This particular Tom Waits lyric Howe considers to be "brilliant." It's "the work of an extremely talented lyricist, poet, whatever you want to say. That is brilliant, brilliant work. And he never mentions the person, but you see the person."


title: Small Change (Tom Waits album)

text: The song has been recorded by Rod Stewart on two 1993 albums, "Lead Vocalist" and "Unplugged...and Seated" under the title "Tom Traubert's Blues (Waltzing Matilda)".


title: Small Change (Tom Waits album)

text: The album's closing song, "I Can't Wait to Get Off Work (And See My Baby on Montgomery Avenue)", has a simple musical arrangement, boasting only Waits' voice and piano, with bass by Jim Hughart. The lyrics are about Waits' first job at Napoleone Pizza House in San Diego, which he began in 1965, at the age of 16.


title: Small Change (Tom Waits album)

text: At the time of the recording of "Small Change" Waits was drinking more and more heavily, and life on the road was starting to take its toll on him. Waits, looking back at the period said:I was sick through that whole period [...] It was starting to wear on me, all the touring. I'd been travelling quite a bit, living in hotels, eating bad food, drinking a lot - too much. There's a lifestyle that's there before you arrive and you're introduced to it. It's unavoidable.


title: Small Change (Tom Waits album)

text: Waits recorded the album in reaction to these hardships. This is evident in the pessimism and cynicism that pervade the record, with many songs, such as "The Piano Has Been Drinking" and "Bad Liver and a Broken Heart" presenting a bare and honest portrayal of alcoholism, while also cementing Waits' hard-living reputation in the eyes of many fans. The album's themes include those of desolation, deprivation, and, above all else, alcoholism. The cast of characters, which includes hookers, strippers and small-time losers, are, for the most part, night-owls and drunks; people lost in a cold, urban world.


title: Small Change (Tom Waits album)

text: With the album Waits asserted that he "tried to resolve a few things as far as this cocktail-lounge, maudlin, crying-in-your-beer image that I have. There ain't nothin' funny about a drunk [...] I was really starting to believe that there was something amusing and wonderfully American about being a drunk. I ended up telling myself to cut that shit out."


title: Small Change (Tom Waits album)

text: Beyond the serious themes with which the album deals, the lyrics are often also noted for their humour; with songs such as "The Piano Has Been Drinking" and "Bad Liver And A Broken Heart" including puns and jokes in their treatment of alcoholism, with the added humour in Waits' drunken diction.


title: Small Change (Tom Waits album)

text: The cover art features Waits sitting in a go-go dancer's dressing room, with a topless go-go dancer standing nearby. It was alleged that the go-go dancer pictured is Cassandra Peterson, best known as the iconic character Elvira, Mistress of the Dark. Peterson, however, says she's not sure of the authenticity of this claim.


title: Small Change (Tom Waits album)

text: "Small Change" received critical reviews equal to or better than Waits' previous albums, and was at first a surprise commercial success, rising to #89 on the "Billboard" chart within two weeks of its release. Three weeks later, the album fell off the "Billboard" Top 200, and Waits was not to better its position until 1999's "Mule Variations".


title: Small Change (Tom Waits album)

text: When asked in an interview with "Mojo" in 1999 if he shared many fans' view that "Small Change" was the crowning moment of his "beatnik-glory-meets-Hollywood-noir period" (i.e. from 1973 to 1980), Waits replied: Well, gee. I'd say there's probably more songs off that record that I continued to play on the road, and that endured. Some songs you may write and record but you never sing them again. Others you sing em every night and try and figure out what they mean. "Tom Traubert's Blues" was certainly one of those songs I continued to sing, and in fact, close my show with.


title: Who's Nailin' Paylin?

text: Who's Nailin' Paylin? is a 2008 American satirical pornographic film directed by Jerome Tanner and starring Lisa Ann. It satirizes former U.S. vice-presidential candidate Sarah Palin. Besides being a parody of Sarah Palin, the film includes spoofs of Hillary Clinton, Condoleezza Rice, Todd Palin and Bill O'Reilly.


title: Who's Nailin' Paylin?

text: Produced by Hustler Video, the film was shot in two days and includes five hardcore sex scenes spanning from the Paylin character's college years, home life in rural Alaska, and the 2008 U.S. presidential election.


title: Who's Nailin' Paylin?

text: On October 31, 2008, Hustler announced that Lisa Ann was going to star in "Obama is Nailin' Palin?" a scene that continued on the adventures of Lisa as Sarah Palin except this time Barack Obama would be lampooned as well. The scene is only available through their Hustler members' website with no plans to release it on a DVD. This "bonus scene" was released on election eve November 3, 2008.


title: Who's Nailin' Paylin?

text: Hustler produced several sequels to "Who's Nailin' Paylin?" with Lisa Ann reprising her role, although they all used the real spelling of Palin's name- "Letterman's Nailin Palin", "You're Nailin' Palin" (an interactive point-of-view DVD with Alexis Texas as Miss California USA Carrie Prejean), "Hollywood's Nailin Palin" and "Who's Nailin Palin 2".


title: Who's Nailin' Paylin?

text: The film opens in Serra Paylin's living room, when two Russian soldiers knock on the door seeking a tow-truck to lend assistance with their smoldering tank. After some small talk, flirting, and a knock-knock joke, a threesome ensues.


title: Who's Nailin' Paylin?

text: The second scene, referring back to the first, opens with a newspaper headline exclaiming "Paylin endorses Russian penetration!" Then focus shifts to the Faux News Studio, where character Bill Orally sits at the news desk. Orally praises Paylin's recent work in foreign relations, and criticizes what he characterizes as the "hypocritical left".


title: Who's Nailin' Paylin?

text: The third scene takes place in a Washington, D.C. hotel. A female campaign intern is attempting to prepare Serra for interaction with the press. The intern attempts to teach Serra how to correctly pronounce the word "absolutely", which Serra comedically renders as "you betcha". After a frustrating session, Serra leaves in search of "a warm glass of moo juice and some shut eye". After Paylin leaves, the intern declares, "what a fucking air head". In response, Serra's husband slides out from under the bed and replies, "try living with her". The scene ends with an anal sex encounter between Mr. Paylin and the intern.


title: Who's Nailin' Paylin?

text: The fourth scene opens in Serra's bedroom, showing her falling into a fitful sleep, and segues into a dream sequence. In the dream, Paylin seduces her husband's business partner at their snowmobile dealership. The scene finishes with the encounter, returning to a Paylin continuing to toss and turn in her sleep.


title: Who's Nailin' Paylin?

text: The fifth scene is another dream, where Serra remembers her collegiate days at "The International University of I-DA-HO" in 1987. Young Serra listens and actively participates in a classroom discussion which focuses on topics in pseudo-science. Serra places the age of the Earth at 10,000 years and classifies fossils as a ruse by Satan to "trick mankind". After class, Young Serra asks the professor if he knows of any rituals to protect her from witchcraft. The professor assures her that vigorous cunnilingus will provide the required protection, and wastes no time demonstrating.


title: Who's Nailin' Paylin?

text: The sixth and final scene opens with a Bill Orally monologue delivered from the Faux News Studio. The Orally piece introduces a Paylin news conference in which she is to defend herself against charges of adultery. During a rambling monologue Paylin avoids answering the adultery question. After the press clears the room, the Hilly character emerges from beneath the podium. The film closes with a lesbian ménage à trois featuring Serra, Hilly, and Candilezza.


title: Who's Nailin' Paylin?

text: Just a few days after the conclusion of the 2008 Republican National Convention, producers for Larry Flynt Publications posted an anonymous help-wanted ad on Craigslist in Los Angeles. The ad called for "a Sarah Palin look-alike for an adult film to be shot in the next 10 days", and specified a salary of $3,000 for the role. According to sex writer Violet Blue, this represented a "pretty shocking" salary for the role.


title: Who's Nailin' Paylin?

text: After being selected for the lead role, actress Lisa Ann had only four days to prepare. The actress prepared for the role by studying Palin's mannerisms during the vice-presidential debate against Joe Biden, as well as Tina Fey's impersonation of her on "Saturday Night Live". She bought her Palin-esque costumes online from Macy's, and due to time constraints, altered the clothing herself. Filming began on October 11, 2008, and was completed in two days.


title: Who's Nailin' Paylin?

text: The film received mainly negative reviews. Critic John Patterson of "The Guardian" says that "the script's literary values are close to nil, and its political jabs... are often <nowiki>[close]</nowiki> to infantile." Patterson's review also cites "ridiculous dialogue" such as "Drill, baby, drill!" and "I'm speaking in tongues!"


title: Who's Nailin' Paylin?

text: On the other hand, the film's star Lisa Ann has received widespread attention for the role, including interviews by "Marie Claire", "Entertainment Tonight", and on radio shows. In the interview in "Marie Claire", Lisa Ann reports that fans have been supportive of the movie, calling it "shrewd" and "funny". The actress also feels the film has a "much broader range" than most adult films.


title: Who's Nailin' Paylin?

text: When asked about the possibility of backlash, Lisa Ann replied, "Maybe some crazy right-wing activist will try and burn my house down... But I put myself in that target spot and it is what it is."


title: Who's Nailin' Paylin?

text: On the "America's Newsroom" program on October 13, Fox News personality Megyn Kelly said that the film is "disgusting, it's dirty -- <nowiki>[the American people]</nowiki> wouldn't want to see it", and questioned the project's legality. Later in the program, defense attorney David Wohl said that the film could be viewed as "a political hit piece", in which case it might be legally actionable.


title: Who's Nailin' Paylin?

text: On November 1, 2008, the Masked Avengers comedy duo prank called Palin by pretending to be Nicolas Sarkozy. (See main article, The Masked Avengers' prank on Sarah Palin.) "Sarkozy" commented that he enjoyed seeing "the documentary on your life, Hustler's "Who's Nailin' Paylin?"", to which the real Palin replied, "oh good, thank you".


title: Who's Nailin' Paylin?

text: On the British comedy quiz show "QI", comedian Jimmy Carr opined that the film is "very good" and "it's a look-ee like-ee, but it'll do".


title: First Ivorian Civil War

text: The First Ivorian Civil War was a civil conflict in the Ivory Coast (also known as Côte d'Ivoire) that began with a military rebellion on 19 September 2002 and ended with a peace agreement on 4 March 2007. The conflict pitted the government of Ivorian President Laurent Gbagbo against a domestic insurgency led by the New Forces of Ivory Coast ("Forces nouvelles de Côte d'Ivoire").


title: First Ivorian Civil War

text: The war was preceded by a tumultuous decade in Ivory Coast, marked by an economic downturn and, following the death of long-time Ivorian President Félix Houphouët-Boigny in December 1993, a leadership succession crisis. The succession crisis manifested in a 1999 military coup d'état and a violent dispute over the result of the 2000 presidential election. Three successive Ivorian leaders – Henri Konan Bédié from 1993, Robert Guéï from 1999, and Gbagbo from 2000 – exploited the ideology of Ivoirité to repress and marginalise political opposition, notably by disqualifying Alassane Ouattara from contesting elections on the basis of his putative Burkinabé nationality; in the process, these leaders stoked ethnic tensions and xenophobic sentiment in the country. The rebellion which ignited the war was driven by forces which sought a re-run of the 2000 election and reform of exclusionary citizenship policies.


title: First Ivorian Civil War

text: War broke out on 19 September 2002 when troops opposed to President Gbagbo – and under the political leadership of the Patriotic Movement of Ivory Coast (MPCI, "Mouvement patriotique de Côte d'Ivoire") – attacked three Ivorian cities, including Abidjan. Though they failed to take Abidjan, the rebels quickly established control over much of the north of the country. Two new rebel groups along the Liberian border, the Movement for Justice and Peace ("Mouvement pour la justice et la paix") and the Ivorian Popular Movement of the Great West ("Mouvement populaire ivoirien du Grand Ouest"), battled government forces for western territory, before uniting with MPCI as the New Forces in December 2002. Across the country, opposition supporters clashed with the Young Patriots ("Congrès panafricain des jeunes et des patriotes") and other pro-government militias.


title: First Ivorian Civil War

text: The conflict attracted an extraordinary amount of international attention. Ivory Coast's former colonial power, France, launched a military intervention soon after the initial rebellion. Though Opération Licorne had a protection mandate and pleaded its neutrality in the conflict, the French intervention was attacked by Ivorian nationalists as a manifestation of neocolonialism, leading to sustained public demonstrations and, in November 2004, fatal clashes between French and Ivorian forces. The United Nations (UN) was involved in the conflict first through a political mission, the UN Mission in Côte d'Ivoire, and then through an ambitious peacekeeping mission, the UN Operation in Côte d'Ivoire, which deployed in April 2004 and absorbed the smaller contingent of peacekeepers that had been deployed earlier by the Economic Community of West African States.


title: First Ivorian Civil War

text: The violence had largely subsided by the end of 2004, but the country remained under "de facto" partition – with a rebel-held north and a government-held south – while the political crisis continued. Though the multi-party Linas-Marcoussis Accord established a power-sharing Government of National Reconciliation in early 2003, its provisions regarding disarmament and political reform were not implemented. A comprehensive political settlement was finally reached on 4 March 2007, when Gbagbo and the New Forces signed the Ouagadougou Peace Agreement in Ouagadougou, Burkina Faso. However, when Ivory Coast held presidential elections in 2010 – its first since 2000 – Gbagbo refused to accept the result, sparking renewed political crisis and the beginning of the Second Ivorian Civil War.


title: First Ivorian Civil War

text: When Ivorian President Félix Houphouët-Boigny died in December 1993, the end of his thirty-three-year presidency inaugurated a prolonged "crisis of succession", which destabilised Ivorian politics for the remainder of the decade. Since Ivory Coast's independence from France in 1960, Houphouët-Boigny had maintained Ivorian political and economic stability using mechanisms largely dependent on his own personal charisma, networks, and so-called Françafrique connections; the country lacked established mechanisms to regulate democratic competition. As required by the constitution, Houphouët-Boigny was succeeded by Henri Konan Bédié, the President of the National Assembly, who also replaced Houphouët-Boigny at the head of the ruling Democratic Party of Ivory Coast (PDCI, French: "Parti démocratique de la Côte d'Ivoire"). However, ahead of the 1995 presidential election, opposition politicians began to organise for democratic regime change in open and competitive elections.


title: First Ivorian Civil War

text: One powerful opposition leader was Laurent Gbagbo, whose Ivorian Popular Front (FPI, "Front populaire ivoirien") had long agitated for democratisation under Houphouët-Boigny. Another was Alassane Ouattara, Houphouët-Boigny's Prime Minister, who had launched an abortive challenge to Bédié's leadership in the weeks after Houphouët-Boigny's death, and who in 1994 split from PDCI to establish his own party, Rally of the Republicans (RDR, "Rassemblement des républicains"). Both opposition groups boycotted the 1995 election in protest of changes to the electoral code : Bédié's PDCI retained power, but at the cost of harming its popular legitimacy. After 1995, the opposition continued to gain political ground. This political change coincided, from the late 1990s, with renewed economic downturn in Ivory Coast, exacerbated by the liberalisation of key agricultural sectors, notably coffee and cocoa, under an International Monetary Fund (IMF) structural adjustment programme.