title: Miserere (Allegri)

text: The version most performed nowadays, with the famous "top C" in the second-half of the 4-voice falsobordone, is based on that published by William Smyth Rockstro in the first edition of the "Grove Dictionary of Music and Musicians" (1880) and later combined with the first verse of Charles Burney's 1771 edition by Robert Haas (1932). Since this version was popularised after the publication in 1951 of Ivor Atkins' English version and a subsequent recording based upon this by the Choir of King's College Cambridge, Allegri's "Miserere" has remained one of the most popular a cappella choral works performed.


title: Miserere (Allegri)

text: The "Miserere" is one of the most frequently recorded pieces of late Renaissance music. An early and celebrated recording of it is the one from March 1963 by the Choir of King's College, Cambridge, conducted by David Willcocks, which was sung in English and featured the then-treble Roy Goodman. This recording was originally part of a gramophone LP recording entitled "Evensong for Ash Wednesday" but the "Miserere" has subsequently been re-released on various compilation discs.


title: Miserere (Allegri)

text: In 2015 the Sistine Chapel Choir released their first CD, including the 1661 Sistine codex version of the "Miserere" recorded in the chapel itself.


title: Miserere (Allegri)

text: The work is set as a falsobordone, a technique then commonly used for performing psalm tones in a polyphonic manner. Allegri's setting is based upon the Tonus peregrinus. Verses alternate between a five-part setting sung by the first choir (vv. 1, 5, 9, 13, 17) and a four-part setting sung by the second (vv. 3, 7, 11, 15, 19), interspersed with plain-chant renderings of the other verses. Both choirs come together for a nine-voice finale in verse 20. The original vocal forces for the two choirs were SATTB and SATB, but at some point in the 18th-century one of the two tenors was transposed up an octave, giving the SSATB setting which is most frequently performed today.


title: Miserere (Allegri)

text: Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.


title: Miserere (Allegri)

text: Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.


title: Miserere (Allegri)

text: This translation is from the 1662 "Book of Common Prayer" and is used in Ivor Atkins' English edition of the "Miserere" (published by Novello):


title: Miserere (Allegri)

text: Against Thee only have I sinned, and done this evil in thy sight: that Thou mightest be justified in Thy saying, and clear when Thou art judged.


title: Miserere (Allegri)

text: Thou shalt purge me with hyssop, and I shall be clean: Thou shalt wash me, and I shall be whiter than snow.


title: Miserere (Allegri)

text: Deliver me from blood-guiltiness, O God, Thou that art the God of my health: and my tongue shall sing of Thy righteousness.


title: Miserere (Allegri)

text: For Thou desirest no sacrifice, else would I give it Thee: but Thou delightest not in burnt-offerings.


title: Miserere (Allegri)

text: The sacrifice of God is a troubled spirit: a broken and contrite heart, O God, shalt Thou not despise.


title: Miserere (Allegri)

text: Then shalt Thou be pleased with the sacrifice of righteousness, with the burnt-offerings and oblations: then shall they offer young bullocks upon Thine altar.


title: Knocked Loose

text: Knocked Loose is an American hardcore punk band from Oldham County, Kentucky, formed in 2013 and currently signed to Pure Noise Records. The band released its first studio album, "Laugh Tracks", in September 2016 through Pure Noise Records.


title: Knocked Loose

text: Knocked Loose's career in its current form began in 2013, but Garris has stated that he started playing with several of the band's current members in 2011 or 2012.


title: Knocked Loose

text: Their first studio material was an EP titled "Pop Culture", released in 2014 on Little Heart Records.


title: Knocked Loose

text: In 2015, Knocked Loose released a split with Damaged Goods on No Luck Records (and digitally via Little Heart).


title: Knocked Loose

text: In the Spring of 2016, Knocked Loose supported Counterparts on their headlining tour. Gideon & Expire also joined up as support. The band then embarked on a Summer tour supporting The Acacia Strain on their 2016 Common Vision Tour. Oceano, Culture Killer and To the Wind also joined up on the tour. Then in the fall, the band supported Stick to Your Guns on their Better Ash than Dust tour. Stray from the Path and Expire joined up on the lineup as support.


title: Knocked Loose

text: In 2016, the band announced their first studio album, titled "Laugh Tracks", would be released by Pure Noise Records, who they had signed to earlier that year. The album was released on September 16, 2016. On August 9, 2016, Knocked Loose premiered a new song off their upcoming album titled "Oblivions Peak". On May 31, 2017, the band released a music video for two combined songs from Laugh Tracks, "Billy No Mates / Counting Worms", with the video beginning with Billy No Mates and instantaneously moving into Counting Worms.


title: Knocked Loose

text: On June 6, 2017, Knocked Loose were announced to be supporting Every Time I Die along with Hollow Earth for a late 2017 tour of the United States, spanning September and October. A month later, in July 2017, the band announced a November UK tour, also supporting Every Time I Die but instead playing alongside Canadian hardcore band Comeback Kid for a select few dates. In the summer of 2017, Knocked Loose played every date of the Vans Warped Tour on the Full Sail stage alongside bands such as Trophy Eyes, Boston Manor, and Movements. Knocked Loose opened up for Eighteen Visions for two shows in December 2017 with Old Wounds and Tourniquet. In late 2017, the band announced their first US headlining tour for early 2018 with support from hardcore bands Terror and Jesus Piece, and label-mates Stone. However, before the tour, after members of Stone were accused of sexual assault allegations, Knocked Loose dropped them from the tour and replaced them with Year of the Knife.


title: Knocked Loose

text: Most of the dates of their first headliner were sold out which allowed them to open for Parkway Drive and for Thy Art Is Murder on their European tours and also to play a few dates on the main stage of the last Warped Tour.


title: Knocked Loose

text: In the fall of 2018, Knocked Loose opened up for Beartooth on their Disease tour with Sylar. Knocked Loose then embarked on a headliner in the Spring of 2019. The Acacia Strain, Harm's Way, Sanction and Higher Power all joined up as support. Knocked Loose then supported A Day to Remember in the Summer of 2019 with Boston Manor.


title: Knocked Loose

text: Knocked Loose's next record, A Different Shade of Blue was released on August 23, 2019. In support of the new record, the band embarked on a massive USA headliner throughout the fall of 2019. Stick to Your Guns, Rotting Out, Candy and SeeYouSpaceCowboy all joined up on the tour as support.


title: Knocked Loose

text: Knocked Loose went on a late Summer headliner with Gatecreeper, Magnitude and Kharma. The band then opened up for Gojira on their Fall 2021 tour with Alien Weaponry.


title: Knocked Loose

text: In October 2021, the band, without any prior notice, released their EP "A Tear In The Fabric Of Life". The concept record documents the "story of someone wading through ‘extreme grief'". An animated short film, which accompanies the entire span of the EP, was released at the same time. It was directed by swedish Director Magnus Jonsson. The release, as well as the short film, gained mostly positive reviews. Its song "God Knows" was elected by "Loudwire" as the 30th best metal song of 2021.


title: Knocked Loose

text: Knocked Loose have been categorized under several sub-genres by the media and publications alike, including metalcore, hardcore punk, and beatdown hardcore. "New Noise", when reviewing their debut album Laugh Tracks, described the band's sound as being akin to "Comeback Kid at their heaviest with some added doses of Slayer riffs and Code Orange-style malice". Bryan Garris, the band's lead vocalist, has described their sound as being "sandwiched between hardcore and metalcore", although he has stated that the band's intention was to produce a diverse sound that was difficult to categorize. Knocked Loose have been credited as one of the forerunners of the first-wave metalcore "revival" scene of the late 2010s, alongside bands such as Code Orange, Counterparts, Kublai Khan, Varials and Jesus Piece .


title: Knocked Loose

text: As is common within the metalcore and hardcore punk genres, Knocked Loose incorporate slow-tempo breakdowns into their music.


title: John Trudell

text: John Trudell (February 15, 1946December 8, 2015) was a Native American author, poet, actor, musician, and political activist. He was the spokesperson for the Indians of All Tribes' takeover of Alcatraz beginning in 1969, broadcasting as "Radio Free Alcatraz". During most of the 1970s, he served as the chairman of the American Indian Movement, based in Minneapolis, Minnesota.


title: John Trudell

text: After his pregnant wife, three children and mother-in-law were killed in 1979 in a suspicious fire at the home of his parents-in-law on the Shoshone-Paiute Tribes Duck Valley Indian Reservation in Nevada, Trudell turned to writing, music and film as a second career. He acted in films in the 1990s. The documentary "Trudell" (2005) was made about him and his life as an activist and artist.


title: John Trudell

text: Trudell was born in Omaha, Nebraska on February 15, 1946, the son of a Santee Dakota father and a Mexican mother. He grew up in small towns near the Santee Sioux Reservation in northern Nebraska near the southeast corner of South Dakota. He was educated in local schools and also in Santee Dakota culture.


title: John Trudell

text: At the age of 17 in 1963, Trudell dropped out of high school and left the Midwest to join the US Navy. He served during the early years of the Vietnam War and stayed in the Navy until 1967.


title: John Trudell

text: Afterwards, he attended San Bernardino Valley College, a two-year community college in San Bernardino, California, studying radio and broadcasting.


title: John Trudell

text: After leaving the military, Trudell had become involved in Indian activism. In 1969, he became the spokesperson for the United Indians of All Tribes' occupation of Alcatraz Island. This was a mostly student-member group that had developed in San Francisco. Trudell went to Alcatraz a week after the occupation started. He used his background in broadcasting and ran a radio station from the island through a cooperative arrangement with students at the University of California, Berkeley, broadcasting at night over the Berkeley FM station KPFA. The show was called "Radio Free Alcatraz". He discussed the cause of the occupation and American Indian issues, and played traditional Native American music. He criticized how "the system today is only geared toward white needs." He spoke for the many Indigenous people who believed they did not fit in with the then majority European-American population of the nation. He became a spokesperson for the occupation specifically and for the Alcatraz-Red Power Movement generally, as the author Vine Deloria, Jr. named it. Trudell was the spokesman for the nearly two-year-long occupation, until 1971.


title: John Trudell

text: After the failure of the federal government to meet demands of the protesters at Alcatraz, Trudell joined the American Indian Movement. It had been established in 1968 in Minneapolis among urban American Indians, first to deal with alleged police harassment and injustice in the law enforcement system. Trudell acted as its national chairman from 1973 until 1979. He took the position after the first chairman, Carter Camp, was convicted for actions related to a protest and was sentenced to jail.


title: John Trudell

text: On February 12, 1979, Trudell's wife Tina Manning and their three children, and his mother-in-law Leah Hicks-Manning died in a suspicious fire at the home of his parents-in-law on the Duck Valley Indian Reservation in Nevada. His father-in-law Arthur Manning survived. He was a member of the Duck Valley Shoshone Paiute 's Tribal Council which was working for treaty rights. Opponents included the local tribal police chief and the BIA superintendent, John Artichoker. Leah coordinated social services at the reservation. Tina had been working for tribal water rights at the Wildhorse Reservoir. Opponents of her campaign included officials of the local BIA, Elko County and Nevada state officials, members of the water recreation industry, and local white ranchers. Other activists have also speculated whether there was government involvement behind the tragedy. The house fire that killed Trudell's family happened within 24 hours of him burning a US flag on the steps of the FBI building in Washington D.C. in protest of the government's treatment of Native Americans and the Sioux Nation. Trudell believed that the fire was meant to threaten and silence him and his activist wife.


title: John Trudell

text: Trudell believed that the fire was arson, but the BIA police investigation claimed that it was accidental. In numerous interviews, he expressed distrust for the federal government and specifically the FBI. The FBI has been implicated in wrongdoing in Pine Ridge and other reservations during this period, which included offering monetary support to Dick Wilson's Guardians of the Oglala Nation (GOONS). Essentially the GOONS, paid by Dickie Wilson (who in turn was paid by the FBI), the then Band Council Chief (elected in what many believe was a rigged election) terrorized and murdered traditional Sioux people who spoke out against federal government treatment of American Indian people.


title: John Trudell

text: In 2004, Trudell testified in the federal trial of Arlo Looking Cloud, an Oglala Lakota American Indian Movement (AIM) member charged in the kidnapping and murder of Anna Mae Aquash, the highest-ranking woman in AIM, in December 1975. Trudell testified that Looking Cloud had told him that John Graham, another low-level AIM member, was the gunman in the murder. Trudell identified Graham from photographs. Looking Cloud was convicted in 2004 and sentenced to life imprisonment.


title: John Trudell

text: His testimony was part of the evidence considered by the Canadian judge who ordered Graham's extradition to the United States in February 2005. On March 2, 2005, the Native Youth Movement Vancouver announced a boycott of Trudell's music and poetry in retaliation for his testimony, and alleged that the FBI had killed Aquash. In 2010, Graham was convicted in a South Dakota state court of felony murder of Aquash and sentenced to life imprisonment.


title: John Trudell

text: Trudell was the co-founder, with Willie Nelson, of Hempstead Project Heart, which became a project of Earth Island Institute in 2012. Hempstead Project Heart is dedicated to raising awareness about the environmental, social, and economic benefits of legalizing industrial hemp in America.


title: John Trudell

text: Trudell was also involved with Seva Foundation and their Native American programs. He performed at numerous benefit concerts in support of their work.


title: John Trudell

text: In 1968, Trudell married his first wife, Fenicia "Lou" Ordonez, divorcing in 1970. They had one son Wovoka Trudell, who was born on Alcatraz Island and a daughter Tara Evonne Trudell.


title: John Trudell

text: In 1972, Trudell married Tina Manning, an activist of the Duck Valley Shoshone Paiute Tribe. They had three children together: Ricarda Star, Sunshine Karma, and Eli Changing Sun. In February 1979, Tina (who was pregnant), the children and her mother Leah Hicks-Manning were all killed in a fire at her parents' house on the Duck Valley Reservation. Her father Arthur survived. All of this occurred within a day of John Trudell burning the American Flag on the steps of the Capitol building in Washington D.C.


title: John Trudell

text: Trudell was in a relationship with Marcheline Bertrand, the mother of actress Angelina Jolie, at the time of her death from cancer in 2007.


title: John Trudell

text: In early December 2015, it was announced that Trudell was in the last stages of terminal cancer. His death was prematurely announced on the evening of December 4, 2015; his publicist asked for a retraction and the stories were largely removed from the websites where they had been posted. Trudell died on December 8, 2015. According to Independent Lens, one of his last statements was: "I want people to remember me as they remember me." After his death, a family member posted: "My ride showed up. Celebrate Love. Celebrate Life," on his Facebook page.


title: John Trudell

text: In 1979, Trudell met musical artist and activist Jackson Browne and became more interested in the musical world (and recording albums and performing his own compositions in live venues).


title: John Trudell

text: Trudell recorded an album "A.K.A Grafitti Man" ("graffiti" was misspelled in the title) with Kiowa guitarist Jesse Ed Davis that was originally available on cassette tape format only. This comports with the practice common to American Indigenous and other minorities of distributing music mixtapes. These tapes were captured live at group events and copied and distributed through non-commercial channels, like those of the San Francisco-based rock group Grateful Dead, Native American powwow music performances in general, and African American gatherings - whence came the expression Each One Teach One. These tactics were common also to an emerging grassroots movement that was arguably itself a "response" to the reactionary madness of slavery and/or military-industrial/imperialist hegemony flourishing since the 1980s.


title: John Trudell

text: In 1992, Trudell remade and re-released "AKA Grafitti Man" as an audio CD to substantial critical and popular acclaim.


title: John Trudell

text: Arguably his greatest musical success came with the 1994 album "Johnny Damas & Me" that was described as "a culmination of years of poetic work, and an example of a process of fusing traditional sounds, values, and sensibilities with thought-provoking lyrics, this time with urgent rock and roll."


title: John Trudell

text: His musical releases (many with his band Bad Dog) include "A.K.A Grafitti Man" (1986), "Heart Jump Bouquet" (1987), "Blue Indians" (1999), "Descendant Now Ancestor" (2001), "Bone Days" (2001), "Live A Fip" (2003), "Madness and The Moremes" (2007), "Crazier Than Hell" (2010), "Wazi's Dream" (2015).


title: John Trudell

text: Popular Music critic Neal Ullestad said of Trudell's live performances, "This isn't simply pop rock with Indian drums and chants added. It's integrated rock and roll by an American Indian with a multicultural band directed to anyone who will listen."


title: John Trudell

text: The closing sequence of Alanis Obomsawin's 2014 documentary film "Trick or Treaty?" is set to Trudell's song "Crazy Horse."


title: John Trudell

text: About six months after the deaths of his family, Trudell started writing poetry. He described his work, "They're called poems, but in reality they're lines given to me to hang on to." He has written many poems, including "Baby Boom Che" and "Rant and Roll," and hundreds of others.


title: John Trudell

text: In the 2010s he often shared recent poetic musings and written works-in-progress via social media, such as his Facebook page.


title: John Trudell

text: Various impromptu videos of Trudell in live concert appearances or addressing political, social, indigenous rights and educational groups are posted on Youtube, and although he was sought after by various print and broadcast media outlets for "sound byte commentary," Trudell preferred to speak in a less frenetic style directly to gatherings assembled for specific causes that he supported (e.g., advocating on behalf of re-legalizing hemp cultivation for its many beneficial uses, including sustainable paper pulp).


title: John Trudell

text: Trudell often used his poetry as lyrics for recordings, and began in 1982 to set them to traditional American Indian music, which also in the 1980s eventually led to the recording of "A.K.A Graffiti Man", as he struggled to make sense of bewildering situations that confronted him, including the loss of so many loved ones.


title: John Trudell

text: In late 1988, Australian rock band Midnight Oil invited Trudell (as Graffiti Man) to tour with them during their "From Diesel and Dust to the Big Mountain" world tour. They billed Trudell's part of the show as "Native American activist performance." Members of Midnight Oil played traditional instruments, sang in native American languages, and accompanied songs with heavy psychedelic Hendrix-style guitar, accompanying Trudell. This exposure brought Trudell new and larger audiences.


title: John Trudell

text: Trudell also toured in 1993 with Peter Gabriel's global WOMAD (World Music and Dance) production. He was billed as John Trudell, performing his traditional songs and reading his poetry.


title: John Trudell

text: In 2008, Trudell published a book, "Lines From a Mined Mind: The Words of John Trudell," a collection of 25 years of poetry, lyrics and essays.


title: John Trudell

text: Trudell created a career as an actor, performing in roles in "Pow Wow Highway" (1989), "Thunderheart" (1992), "On Deadly Ground" (1994) and "Smoke Signals" (1998) (as the Radio speaker Randy Peone on K-REZ radio). He was an adviser to the production of "Incident at Oglala", directed by Michael Apted and produced by Robert Redford. A kind of companion piece to the fictional "Thunderheart", the 1992 documentary explores facts related to the 1975 shooting of two FBI agents at the Pine Ridge Indian Reservation, for which Leonard Peltier was convicted in 1977. In "Thunderheart", Trudell played a character who resembles Peltier.


title: John Trudell

text: Dreamkeeper (2003) "The Legends of American Nations Come to Life" features several traditional native stories.


title: John Trudell

text: The filmmaker Heather Rae spent more than a decade making a documentary about Trudell, which was released in 2005. Her intent in "Trudell" (2005) was to demonstrate how his political and cultural activities were tied to contemporary history and inspired people. The film premiered at the 2005 Sundance Film Festival in the U.S. documentary competition. The movie has received a mixed response among film critics and viewers. Some claimed it to be thought-provoking and touching, while others suggested Rae made a one-dimensional biopic. The song used at the end of the film is "Johnny Lobo" about Trudell by Kris Kristofferson, from his 1995 album "A Moment of Forever".


title: John Trudell

text: His music draws from a blend of styles, including rock, blues and native beats, pop and political protest songs. He also draws from his own poetry. His music can be both insightful and funny.


title: Raja Harishchandra

text: Raja Harishchandra () is a 1913 Indian silent film directed and produced by Dadasaheb Phalke. It is often considered the first full-length Indian feature film. "Raja Harishchandra" features Dattatraya Damodar Dabke, Anna Salunke, Bhalchandra Phalke, and Gajanan Vasudev Sane and is based on the legend of Harishchandra, with Dabke portraying the title character. The film, being silent, had English, Marathi, and Hindi-language intertitles.


title: Raja Harishchandra

text: Phalke decided to make a feature film after watching "The Life of Christ" (1906) at a theatre in Bombay in April 1911. In February 1912, he went to London for two weeks to learn filmmaking techniques and upon return founded Phalke Films Company. He imported the hardware required for filmmaking and exhibition from England, France, Germany, and the United States. Phalke shot a short film "Ankurachi Wadh" ("Growth of a Pea Plant") to attract investors for his venture. He published advertisements in various newspapers calling for the cast and crew. As no women were available to play female roles, male actors performed the female roles. Phalke was in charge of scriptment, direction, production design, make-up, film editing, along with film processing. Trymbak B. Telang handled the camera. Phalke completed filming in six months and 27 days producing a film of , about four reels.


title: Raja Harishchandra

text: The film premiered at the Olympia Theatre, Bombay, on 21 April 1913, and had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall, Girgaon. It was a commercial success and laid the foundation for the film industry in the country. The film is partially lost; only the first and last reels of the film are preserved at the National Film Archive of India. Some film historians believe these belong to a 1917 remake of the film by Phalke titled "Satyavadi Raja Harishchandra".


title: Raja Harishchandra

text: The status of "Raja Harishchandra" as the first full-length Indian feature film has been debated. Some film historians consider Dadasaheb Torne's silent film "Shree Pundalik", released on 18 May 1912, the maiden Indian film. The Government of India, however, recognises "Raja Harishchandra" as the first Indian feature film.


title: Raja Harishchandra

text: King Harishchandra (D. D. Dabke) is shown teaching his son, Rohitashva (Bhalchandra Phalke), how to shoot with a bow and arrow in the presence of Queen Taramati (Anna Salunke). His citizens ask him to go on a hunting expedition. While on the hunt, Harishchandra hears the cries of some women. He reaches a place where the sage Vishvamitra (Gajanan Sane) is performing a "yajna" to get help from "Triguna" "Shakti" ("three powers") against their will. Harishchandra unwittingly interrupts Vishvamitra in the midst of his "yajna" by releasing the three powers. To appease Vishvamitra's wrath, Harishchandra offers his kingdom. Returning to the royal palace, he informs Taramati of the happenings. Vishvamitra sends Harishchandra, Taramati, and Rohitashva in exile and asks them to arrange for "dakshina". While in exile, Rohitashva dies and Harishchandra sends Taramati to ask the Dom king for arranging a free cremation. While Taramati is on her way to meet the Dom king, Vishvamitra frames her for the murder of the prince of Kashi. Taramati faces trial, pleads guilty and is ordered to be beheaded by Harishchandra. When he raises his sword to complete his task, a pleased Lord Shiva appears. Vishvamitra reveals that he was examining Harishchandra's integrity, returns the crown to him and brings Rohitashva back to life.


title: Raja Harishchandra

text: Other artists in the film were Dattatreya Kshirsagar, Dattatreya Telang, Ganpat G. Shinde, Vishnu Hari Aundhkar, and Nath T. Telang.


title: Raja Harishchandra

text: On 14 April 1911, Dadasaheb Phalke with his elder son Bhalchandra went to see a film, "Amazing Animals", at the America India Picture Palace, Girgaon. Surprised at seeing animals on the screen, Bhalchandra informed his mother, Saraswatibai, about his experience. None of the family members believed them, so Phalke took his family to see the film the next day. As it was Easter, the theatre screened a film about Jesus, "The Life of Christ" (1906) by the French director Alice Guy-Blaché. While watching Jesus on the screen, Phalke envisioned Hindu deities Rama and Krishna instead and decided to start in the business of "moving pictures". After completing his two-week trip to London to learn filmmaking techniques, he founded Phalke Films Company on 1 April 1912.


title: Raja Harishchandra

text: During his London trip, Phalke had placed an order for a Williamson camera and Kodak raw films and a perforator which reached Bombay (now Mumbai) in May 1912. He set up a processing room and taught his family to perforate and develop the film. Though Phalke was certain of his idea of filmmaking, he could not find any investors. So, he decided to make a short film to demonstrate the techniques. He planted some peas in a pot, placed a camera in front of it, and shot one frame a day for over a month. This resulted in a film, lasting just over a minute, of the seed growing, sprouting, and changing into a climber. Phalke titled this short film "Ankurachi Wadh" ("Growth of a Pea Plant") and showed it to selected individuals. Some of them, including Yashwantrao Nadkarni and Narayanrao Devhare, offered Phalke a loan.


title: Raja Harishchandra

text: In his Marathi language magazine "Suvarnamala", Phalke had published a story "Surabaichi Kahani" ("A Tale of Sura"). The story, which depicted the ill effects of alcoholism, was the first he considered for filming. After watching several American films screened in Bombay, he observed that they included mystery and romance, which the audiences liked. His family members suggested that the storyline should appeal to middle-class people and women and it should also highlight Indian culture.


title: Raja Harishchandra

text: After considering various stories depicted in Hindu mythology, Phalke's family shortlisted the legends of Krishna, Savitri and Satyavan, and Harishchandra. At the time, a play based on the legends of Harishchandra was popular on Marathi and Urdu stages. Friends and neighbours had often called Phalke "Harishchandra" for having sold all his belongings, except his wife's mangala sutra, to fulfil his filmmaking dream. Thus, Phalke decided on the legends of Harishchandra and wrote the script for his feature film.


title: Raja Harishchandra

text: Phalke published advertisements in various newspapers like "Induprakash" calling for the cast and crew required for the film. It was well-received and huge number of applicants came in for the auditions. Despite a growing response to the advertisement, he was not satisfied with the performers' skills. He discontinued the advertisements and decided to scout for the artists through theatre companies.


title: Raja Harishchandra

text: Padurang Gadhadhar Sane and Gajanan Vasudev Sane were among the first artists to join Phalke Films Company. The former was playing female roles in the Natyakala theatre company; the latter was performing in Urdu plays. Both joined for a salary of 40 per month. Gajanan Sane introduced his acquaintance Dattatraya Damodar Dabke. Phalke was impressed with his physique and personality and offered him the lead role of Harishchandra.


title: Raja Harishchandra

text: In response to the advertisement, four prostitutes auditioned for the role of Taramati. Phalke rejected them for not having satisfactory looks and revised the advertisement to read: "Only good-looking women should come for interview." Two more prostitutes auditioned but left after two days. A young lady, who was a mistress, auditioned and Phalke selected her for the female lead. She rehearsed for four days. However, on the fifth day, her master objected to her working in the film and took her away. In despair, Phalke also visited Bombay's red-light area on Grant Road in Kamathipura. He was asked either to pay a high salary or to marry the woman. One day, while having tea at a restaurant on Grant Road, Phalke noticed Krishna Hari alias Anna Salunke, an effeminate young man with slender features and hands. Salunke was working as a cook or waiter at the restaurant on a monthly salary of . He agreed to work in films when Phalke offered him a raise of five rupees.


title: Raja Harishchandra

text: Phalke auditioned many boys for the role of Rohitashva, son of Harishchandra and Taramati, but none of the parents would allow their children to work in the film as the character would have to live in the forests and was to die. Finally, Phalke's elder son Bhalchandra was assigned the role, becoming the first child actor in Indian cinema.


title: Raja Harishchandra

text: Phalke hired around forty people for his film studio known as a factory in those days. Since working in films was a taboo, Phalke advised his artists to tell others they were working in a factory for a man named Harishchandra. Phalke watched several foreign films to learn about screenplay writing and then completed the script for "Raja Harishchandra". The film had an all-male cast as no women were available to play female leads. After coming to the studio, male actors playing female roles were asked to wear saris and do women's chores like sifting rice, and making flour to help Saraswatibai. Though some actors were associated with theatres, most of the cast did not have any prior acting experience. Phalke ran several rehearsals with the actors. Often, he had to wear a sari himself and act out the scene. A number of photographs from English periodicals showing various facial expressions were hung up in the rehearsal studio. All the actors had to go through a mandatory exercise where they were asked to make similar faces.


title: Raja Harishchandra

text: About the same time, the Rajapurkar Natak Mandali drama company visited Bombay. Many of the company's shows were based on Hindu mythology. Phalke met the company's proprietor, Babajirao Rane, and explained his idea of indigenous film production. Rane was impressed by the idea and offered his support by lending his actors and their costumes. Phalke decided to use material like Harishchandra's crown, wig, swords, shields, and bows and arrows in the film. Phalke's brother-in-law owned two drama companies, Belgaokar Natak Mandali and Saraswati Natak Mandali. He offered similar help, but Phalke politely declined as the majority of the cast and crew were finalised. Phalke designed the costumes and stage scenes based on the paintings of Raja Ravi Varma and M. V. Dhurandhar. He painted the scenes for the palace, jungle, mountains, fields and caves himself on curtains. After the sets were erected for the indoor shooting, painter Rangnekar was hired for the monthly salary of 60.


title: Raja Harishchandra

text: Phalke imported the hardware required for the filmmaking and exhibition from England, France, Germany, and the United States from manufacturers including Houghton Butcher, Zeiss Tessar, and Pathé. This included negative and positive film stocks, cameras, lights, Film laboratory equipment, printing and editing machines, negative cutting tools, and film projectors. He decided to take on the responsibility for the scriptment, direction, production design, make-up, Film editing, and film processing. He asked Trymbak B. Telang, his childhood friend from Nashik, to come to Bombay. Telang was working as a priest at the Trimbakeshwar Shiva Temple. Phalke had taught him still photography as a childhood hobby. After his arrival, Phalke trained Telang in the operation of the Williamson camera and made him the film's cinematographer.


title: Raja Harishchandra

text: Production design for the film started after the monsoon season of 1912. While the sets were being erected at Phalke's bungalow at Dadar, an outdoor shooting was scheduled at Vangani, a village outside Bombay. Some of the male actors playing female roles, including Anna Salunke who was playing the female lead, were not ready to shave off their moustaches because it is part of one of the Hindu rituals to be performed after the death of one's father. Phalke persuaded the actors and their fathers to have the moustaches shaved and the unit left for Vangani.


title: Raja Harishchandra

text: The unit was lodged at the village temple and continued their rehearsals until Phalke arrived from Bombay. The villagers were frightened to see the troupe of people wearing costumes, wielding swords, shields, and spears while practising the scenes. They informed the "Patil" (village headman) that dacoits (robbers) had entered the village. He immediately reported to the "Faujdar" (commander) who visited the temple. The unit explained film-making to them, but the "Faujdar" did not believe their story and arrested everyone. When Phalke reached the village, he immediately met the "Patil" and the "Faujdar" explaining to them again about cinema and filming by showing them the equipment. Without loading film into the camera, he asked his unit to enact one of the film's scenes and went through the motions of filming a scene. After viewing the scene, the "Faujdar" understood Phalke's new venture and released everyone.


title: Raja Harishchandra

text: While playing with other children, Bhalchandra fell on a rock and his head started bleeding. Phalke treated him with a first aid kit, but he remained unconscious. Various unit members suggested that Bhalchandra should be taken to Bombay for further treatment and once he was completely recovered, shooting could be resumed. The scene that was to be filmed showed Rohitashva, Bhalchandra's character, dead on a funeral pyre. Resuming the outdoor shoot after Bhalchandra's recovery would have delayed the production and incurred costs. To avoid both, Phalke stoically decided to shoot the scene with the unconscious Bhalchandra. As in the legends of Harishchandra, the King along with Taramati and Rohitashva visit Kashi. It was financially challenging for Phalke to go to Kashi and shoot scenes there. So, he took his unit to Trimbakeshwar, where they camped for about a month and filmed the required scenes. Phalke used to develop the film at night for the scenes that were shot throughout the day. He would re-shoot the scenes next day if they were not of the desired quality. Filming was completed in six months and twenty-seven days to produce a film of ; about four reels.


title: Raja Harishchandra

text: Phalke used trick photography to shoot one of the scenes where the god appears and disappears from behind the smoke of sage Vishvamitra's "Yajna-kund". The film negative stocks used were of limited spectral sensitivity with low sensitivity to the red band of the spectrum; thus, sets, costumes, and artists' make-up artists avoided the colour red. During the early nineteenth century, plays had an introductory episode, a compere or a person who introduces the performers in a show. Unit members suggested the film should also have similar introductory episode with Phalke and his wife playing the roles of Sutradhar and Nati. Phalke agreed to the idea but could not convince Saraswatibai to act in front of a camera. Finally, Padurang Gadhadhar Sane played the role of Nati.


title: Raja Harishchandra

text: Phalke had difficulties arranging a theatre for screening as criticism of his work had already started. He decided to show the film to a select audience and arranged for a premiere at the Olympia Theatre, Bombay on 21 April 1913 at 9:00 pm. The invitees included doctor and public worker Sir Bhalchandra Bhatavdekar, scholar R. G. Bhandarkar, a judge of Small Cause Court Justice Donald, newspaper editors and representatives along with some intellectuals and prominent personalities from Bombay. As Phalke's infant daughter, Mandakini, was ill with pneumonia, his elder brother, Shivrampant, advised him to postpone the premiere to another day. But, as the invitations had already been sent and the theatre was available only on 21 April, Phalke could not change his decision.


title: Raja Harishchandra

text: Bhatavdekar introduced the premiere acknowledging Phalke for his "daring". Justice Donald noted that the film would help Europeans learn more about Hindu mythology. Anant Narayan Kowlgekar of "Kesari" in his review mentioned that "Phalke has grandly brought his skill to the notice of the world." "The Times of India" in their review noted the scenes depicted in the film are "simply marvellous" and "[I]t is really a pleasure to see this piece of Indian workmanship". With the favourable reviews generated, Nanasaheb Chitre, Manager of the Coronation Cinematograph and Variety Hall, Girgaon, expressed his desire to screen the film.


title: Raja Harishchandra

text: The film had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall. The show included a dance by Irene Delmar, a comic act by McClements, foot-juggling by Alexandroff, and Tip-Top comic items followed by the film. The show's duration was one-and-half hours with four shows scheduled a day at 6:00 pm, 8:00 pm, 10:00 pm, and 11:45 pm. An advertisement for the film published in "The Bombay Chronicle" had a note added at the end that the ticket rates would be double the usual rates. The film had a houseful run for a week, and it was extended for twelve more days. A special show was scheduled on 17 May for women and children only at half rates. Initially, 18 May was advertised as the last show, but the film continued its screening due to popular demand. It screened continuously for twenty-three days until 25 May and was screened at the Alexandra Theatre on 28 June. "The Bombay Chronicle" in its issue of 5 May 1913 mentioned that "this wonderful drama is splendidly represented by the company of actors" and praised the "beauty and ingenuity" with which Phalke succeeded in presenting the film scenes.


title: Raja Harishchandra

text: News of the film's success in Bombay spread across India and there were demands to screen the film in various locations. As there were no film distributors in those days, Phalke had to move the film, the projector, an operator, and some assistants from place to place. When the film was screened for a week at the Nawabi Theatre in Surat, Phalke signed a temporary agreement for 50% partnership with the theatre owner. Despite advertising the film, at its first showing the film met with a lukewarm response. Disappointed by the earnings of only 3, the owner asked Phalke either to cancel the show, increase its length, or reduce ticket prices. Phalke politely rejected these suggestions. He issued an advertisement in the Gujarati language calling on people to see "57,000 photographs of three-quarters of an inch width and two miles length", for just one Indian anna. He also had his actors enact some of the film's scenes at the town's crossroads. The promotion had the desired effect and earnings increased to 300. Later, the film was also screened at Pune, Colombo, London, and Rangoon with Marathi and Hindi-language intertitles.


title: Raja Harishchandra

text: Film historian Firoze Rangoonwalla feels that the film made "a wide impression and appealed to a large audience in different places" and its box office success provided "the seal of acceptance and laid the foundation of the film industry" in the country. Director and cinematographer Govind Nihalani explains that the film was shot partly outdoors in direct sunlight and partly in outdoor studios with sunlight blocked by white muslin producing soft and diffused light. He appreciates the tonal gradation, lighting, and camera movements. He also notes the scene where the god appears and disappears from behind the smoke of sage Vishvamitra's "Yajna-kund" gives an impression that the scene was filmed in a single shot. Film critic Satish Bahadur points out that though the title cards in the film were in English and Hindi, "there was something unmistakably Maharashtrian" in the film. He also mentions that the interior architecture and dresses of countries in the film are more of a Deccan Peshwai style than North Indian. Ashish Rajadhyaksha in his "The Phalke Era: Conflict of Traditional Form and Modern Technology" (1993) mentions that the film's narrative style was borrowed from painting, theatre and traditional arts to attract the audience into cinema. Dilip Rajput of the National Film Archive of India notes that the film's scenes appear to run faster because of the current projector speed of 24-frames-per-second as compared to 16 to 18-frames-per-second speed of the projector that was used for the film.


title: Raja Harishchandra

text: Directed by Paresh Mokashi, the 2009 Marathi film "Harishchandrachi Factory" ("Harishchandra's Factory") depicts the making of "Raja Harishchandra". The film won the National Film Award for Best Feature Film in Marathi at the 56th National Film Awards. It was selected as India's official entry to the 82nd Academy Awards in the Best Foreign Language Film category along with the 62nd British Academy Film Awards and the 66th Golden Globe Awards but was not listed among the final five nominations.


title: Raja Harishchandra

text: The original length of a film was , about four reels. In 1917, the film's last print caught fire due to the constant friction and the exposure to high temperatures while it was being transported from one theatre to another, by a bullock cart. Phalke readily re-shot the film to produce the version that exists today. However, only the first and last reels of the original film are preserved at the National Film Archive of India (NFAI) making it a partially lost film. Some film historians believe they actually belong to a 1917 remake of the film, titled "Satyavadi Raja Harishchandra". NFAI duplicated the film, but around twenty percent of the left side of the screen was lost in the transfer. It was believed the film's remaining reels were destroyed along with 1,700 nitrate-based films in the fire at the Film and Television Institute of India on 8 January 2002. The prints were later retrieved from the private collection of Phalke's children. The NFAI has restored and digitised the film.


title: Raja Harishchandra

text: The status of "Raja Harischandra" as the first full-length Indian feature film has been argued over. Some film historians consider Dadasaheb Torne's silent film "Shree Pundalik" as the maiden Indian film. Torne's film was released at the same theatre as "Raja Harischandra" on 18 May 1912, almost a year before. An argument has been made in favour of "Raja Harischandra" that "Shree Pundalik" is a cinematographic recording of a play, using a single, fixed camera and it was filmed by a British cameraman with the film stock processed in London. The Government of India recognises "Raja Harischandra" as the first Indian feature film. In 1969, it introduced the Dadasaheb Phalke Award, the country's highest award in cinema, to commemorate Phalke's contribution to Indian cinema.


title: Nazi Lowriders

text: The Nazi Lowriders (or NLR, or The Ride) are a Neo-Nazi, White supremacist organized crime syndicate, and prison and street gang based primarily in metro Los Angeles and several areas around Texas. They also are believed to have spread to other states, having small rural and suburban factions. They are allies of the larger and more notorious gangs, such as the Aryan Brotherhood and the Mexican Mafia, and fellow peckerwood gang Public Enemy No. 1. Their main rivals are the Bloods, the Crips, the Black Guerrilla Family, MS-13, Norteños, and Nuestra Familia. The Nazi Lowriders operate both in and outside of prison. Methamphetamine abuse is common among members of the group. The NLR's acts of violence have even seen victims from the general public, including police officers.


title: Nazi Lowriders

text: The gang originated in the California Youth Authority during the mid-to-late 1970s. It was created by members from Aryan Brotherhood. The gang did not come to the attention of law enforcement until the early 1990s, by which time the California authorities had been cracking down on the Brotherhood. As opposed to other white criminal gangs in California prisons, the NLR gained a reputation for being very violent. They are labeled as a prison gang by the California Department of Corrections. They are strong in numbers in such California communities as Oildale, Bakersfield, Lancaster, Inland Empire, Rosamond and Orange County. The "Nazi" part of their name is more a sign of a racist belief in white supremacy than anti-Semitism, while "Lowriders" is a play on the term used for Hispanic gangs.


title: Nazi Lowriders

text: The gang eventually progressed from being muscle for the Aryan Brotherhood to a fast-growing gang in their own right. Unlike other white supremacist gangs in the US, they appear to be well organized and have developed links with other white organizations throughout the West Coast, including the Ku Klux Klan and Hells Angels. Paroled gang members have been known to move east to further spread the organization's reach.


title: Nazi Lowriders

text: On January 28, 1999, California prison officials recognized the Lowriders as a prison gang. Consequently, in an attempt to disrupt the gang's criminal activities, inmates known to be members can now be subjected to removal from the general population, as well as other restrictive treatments. To this, the Lowriders have responded by striking an alliance with Public Enemy No. 1, another white disruptive group, which has since taken over the reins on California's white mainline prison population. Where Aryan Brotherhood and NLR have left off, PENI or Public Enemy No. 1 (Pronounced 'PEE NYE') plan to continue the 'key holding'.


title: Nazi Lowriders

text: In prison, the Nazi Lowriders have a three-tier hierarchy system consisting of senior members, junior members, and kids. The seniors typically lead the gang. For senior status, gang members must have been active for at least five years and been elected by at least three other senior members. Below them are juniors, who cannot themselves induct new members but can attempt to recruit potentials. Kids usually come from gangs like Public Enemy No.1, and the senior member who inducts them becomes their mentor. On the streets, the organization structure is not so clear, and appears to be more loosely connected.


title: Nazi Lowriders

text: Gang members may have tattoos and other body art depicting swastikas and SS sigrunes, although members are not necessarily required to bear them. A tattoo of the letters NLR (the acronym for "Nazi Lowriders") commonly appears on members' stomachs, backs or necks. Other popular tattoos include "Nazi Low Riders" written in Old English script or the runic alphabet. The logo of the NLR is a skeletal eagle holding a Nazi swastika, with the letters of the group based on the Reichsadler symbol.


title: Nazi Lowriders

text: According to the SPLC, "Despite the NLR's avowed racism, Latino last names and Latino wives and girlfriends are OK, but, experts say, members are supposed to be at least half Caucasian.". In fact, much of the NLR's upper echelon is composed of Hispanics. Due to their extreme underground ties with other hardcore, racial organizations (such as Combat 18 Blood and Honour), experts say, "you must be at least half white blood but no black blood", meaning accepted Latino members must be only of Spanish descent, or be at least half Caucasian. All must show loyalty to the white race and subscribe to an ideology of hatred, especially against blacks and "race traitors".


title: Nazi Lowriders

text: The organization is involved in criminal activity both in and out of prison, notably in the production and distribution of methamphetamine, and has become a distributor of the drug in Southern California.


title: Nazi Lowriders

text: This gang is responsible for dozens of assaults, attempted murders, and murders around Southern California and is considered an extremely dangerous and violent gang.


title: Sharice Davids

text: Sharice Lynnette Davids (; born May 22, 1980) is an American attorney, former mixed martial artist, and politician serving as the U.S. representative from since 2019. A member of the Democratic Party, she represents a district that includes most of the Kansas side of the Kansas City metropolitan area, including Kansas City, Overland Park, Prairie Village, Leawood, Lenexa, and Olathe.


title: Sharice Davids

text: Elected in 2018, Davids became the first Democrat elected to represent a Kansas congressional district in a decade. She is the first openly LGBT Native American elected to the U.S. Congress, the first openly lesbian person elected to the U.S. Congress from Kansas, and one of the first two Native American women elected to Congress, along with Deb Haaland of New Mexico. She defeated incumbent Kevin Yoder in the 2018 election. She is also the second Native American to represent Kansas in Congress, after Charles Curtis, who was Herbert Hoover's vice president. As of 2020, Davids remains the only Democrat in Kansas's congressional delegation.


title: Sharice Davids

text: An attorney educated at the University of Missouri–Kansas City and Cornell Law School, Davids was a professional mixed martial artist in the 2010s.


title: Sharice Davids

text: Davids was born on May 22, 1980, in Frankfurt, West Germany. She is a member of the Ho-Chunk people, and an enrolled member of the Ho-Chunk Nation of Wisconsin.


title: Sharice Davids

text: Her maternal grandfather, Fredrick J. Davids, a United States Army veteran, was born into the Mohican Nation Stockbridge-Munsee Band, in Oneida, Wisconsin. Sharice was raised by her single mother, Crystal Herriage, who served in the U.S. Army.


title: Sharice Davids

text: Davids attended Leavenworth High School, Haskell Indian Nations University, Johnson County Community College, the University of Kansas, and the University of Missouri–Kansas City, graduating from the latter with a bachelor's degree in business administration in 2007. She earned her Juris Doctor from Cornell Law School in 2010. She lives in Roeland Park, Kansas.


title: Sharice Davids

text: Davids began competing in mixed martial arts (MMA) as an amateur in 2006, and went professional in 2013. She had a 5–1 win–loss record as an amateur and a 1–1 record as a professional. She tried out for "The Ultimate Fighter" but did not make it onto the show, leading her to shift her focus away from MMA to travel the U.S. and live on Native American reservations to work with the communities on economic and community development programs.


title: Sharice Davids

text: Davids began her legal career at SNR Denton in 2010. She later directed community and economic development for the Pine Ridge Indian Reservation.


title: Sharice Davids

text: In 2016, Davids worked as a White House Fellow in the Department of Transportation during the transition between the Obama and Trump administrations.


title: Sharice Davids

text: In 2018, Davids ran for the United States House of Representatives in Kansas's 3rd congressional district. In the August Democratic primary election, she defeated Brent Welder, who had been endorsed by Bernie Sanders, 37% to 34%.


title: Sharice Davids

text: During a July 2018 episode of the "Millennial Politics Podcast", host Jordan Valerie Allen asked Davids whether she supported abolishing ICE, the agency that enforces immigration laws and falls within the oversight of the Department of Homeland Security, to which Davids responded, "you asked me about defunding, which I think is probably essentially the same thing. But yeah." Despite denials by Davids through campaign statements and a television advertisement, the Associated Press fact checker ruled that she did in fact lend her support to ending the agency.


title: Sharice Davids

text: Kansas City NPR member station KCUR fact-checked the claims that incumbent Representative Kevin Yoder and Davids made in separate interviews on its station, and gave Yoder an "F". Yoder said that immigrants were making false asylum claims and would increase crime. Davids said that she supported single-payer health care, but it could not be enacted with Republicans in the White House. Meanwhile, she supports short-term goals like allowing Medicare to negotiate drug prices and getting generics to market faster. KCUR said that Davids's claim that teachers are not paid enough, and can no longer take tax deductions for buying their own school supplies, was "partly true and partly false" since the tax deduction had been reinstated.


title: Sharice Davids

text: Davids defeated Yoder in the November 8 general election. Upon her swearing-in on January 3, 2019, she became the first Democrat to represent Kansas in the House since Dennis Moore left office in 2011. She is also only the second Democrat to represent what is now the 3rd since 1963.


title: Sharice Davids

text: Davids and Deb Haaland of New Mexico, a Laguna Pueblo, are the first Native American women to serve in Congress.


title: Sharice Davids

text: Davids faced the Republican nominee, Cerner Corporation executive and former Kansas Republican Party chairwoman Amanda Adkins, in the general election. Davids was endorsed by the "Kansas City Star".


title: Sharice Davids

text: In 2022, Davids ran for reelection in the newly drawn 3rd district. She defeated Amanda Adkins for the second time with 54.9% of the vote to Adkins's 42.8% and 2.3% for the Libertarian Steve Hohe.


title: Sharice Davids

text: On December 18, 2019, Davids voted to impeach President Donald Trump and was the only person representing Kansas to do so. In March 2020, Davids quarantined herself for possible exposure to coronavirus. Before that, she had mostly switched her congressional office from physical to digital.


title: Sharice Davids

text: Davids voted for the America COMPETES Act of 2022, which passed on a party-line vote. The bill authorized billions of dollars of government spending on American manufacturing and scientific research in an effort to compete with China. Davids added an amendment to the legislation that would include small and medium-sized manufacturers in a $500 million pilot program for producing personal protective equipment and medical supplies.


title: Sharice Davids

text: In 2019, Representative Cheri Bustos, then chair of the Democratic Congressional Campaign Committee, took note of Davids, "rating her toward the top of the freshman class in terms of doing things the right way."


title: Sharice Davids

text: In June 2019, to mark the 50th anniversary of the Stonewall riots, an event widely considered a watershed moment in the modern LGBTQ rights movement, "Queerty" named Davids one of the "Pride50" "trailblazing individuals who actively ensure society remains moving towards equality, acceptance and dignity for all queer people". She was also named to the 2021 Fast Company Queer 50 list.


title: Laterite

text: Laterite is both a soil and a rock type rich in iron and aluminium and is commonly considered to have formed in hot and wet tropical areas. Nearly all laterites are of rusty-red coloration, because of high iron oxide content. They develop by intensive and prolonged weathering of the underlying parent rock, usually when there are conditions of high temperatures and heavy rainfall with alternate wet and dry periods. Tropical weathering (laterization) is a prolonged process of chemical weathering which produces a wide variety in the thickness, grade, chemistry and ore mineralogy of the resulting soils. The majority of the land area containing laterites is between the tropics of Cancer and Capricorn.


title: Laterite

text: Laterite has commonly been referred to as a soil type as well as being a rock type. This and further variation in the modes of conceptualizing about laterite (e.g. also as a complete weathering profile or theory about weathering) has led to calls for the term to be abandoned altogether. At least a few researchers specializing in regolith development have considered that hopeless confusion has evolved around the name. Material that looks highly similar to the Indian laterite occurs abundantly worldwide.


title: Laterite

text: Historically, laterite was cut into brick-like shapes and used in monument-building. After 1000 CE, construction at Angkor Wat and other southeast Asian sites changed to rectangular temple enclosures made of laterite, brick, and stone. Since the mid-1970s, some trial sections of bituminous-surfaced, low-volume roads have used laterite in place of stone as a base course. Thick laterite layers are porous and slightly permeable, so the layers can function as aquifers in rural areas. Locally available laterites have been used in an acid solution, followed by precipitation to remove phosphorus and heavy metals at sewage-treatment facilities.


title: Laterite

text: Laterites are a source of aluminum ore; the ore exists largely in clay minerals and the hydroxides, gibbsite, boehmite, and diaspore, which resembles the composition of bauxite. In Northern Ireland they once provided a major source of iron and aluminum ores. Laterite ores also were the early major source of nickel.


title: Laterite

text: Francis Buchanan-Hamilton first described and named a laterite formation in southern India in 1807. He named it laterite from the Latin word "later", which means a brick; this highly compacted and cemented soil can easily be cut into brick-shaped blocks for building. The word laterite has been used for variably cemented, sesquioxide-rich soil horizons. A sesquioxide is an oxide with three atoms of oxygen and two metal atoms. It has also been used for any reddish soil at or near the Earth's surface.


title: Laterite

text: Laterite covers are thick in the stable areas of the Western Ethiopian Shield, on cratons of the South American Plate, and on the Australian Shield. In Madhya Pradesh, India, the laterite which caps the plateau is thick. Laterites can be either soft and easily broken into smaller pieces, or firm and physically resistant. Basement rocks are buried under the thick weathered layer and rarely exposed. Lateritic soils form the uppermost part of the laterite cover.


title: Laterite

text: In some places laterites contain pisolites and ferricrete and may be found in elevated positions as result of relief inversion.


title: Laterite

text: Cliff Ollier has criticized the usefulness of the concept given that it is used to mean different things to different authors. Reportedly some have used it for ferricrete, others for tropical red earth soil and yet others for soils profiles made, from top to bottom, of a crust, a mottled zone and a pallid zone. He cautions strongly against the concept of "lateritic deep weathering" since "it begs so many questions".


title: Laterite

text: Tropical weathering (laterization) is a prolonged process of chemical weathering which produces a wide variety in the thickness, grade, chemistry and ore mineralogy of the resulting soils. The initial products of weathering are essentially kaolinized rocks called saprolites. A period of active laterization extended from about the mid-Tertiary to the mid-Quaternary periods (35 to 1.5 million years ago). Statistical analyses show that the transition in the mean and variance levels of O during the middle of the Pleistocene was abrupt. It seems this abrupt change was global and mainly represents an increase in ice mass; at about the same time an abrupt decrease in sea surface temperatures occurred; these two changes indicate a sudden global cooling. The rate of laterization would have decreased with the abrupt cooling of the earth. Weathering in tropical climates continues to this day, at a reduced rate.


title: Laterite

text: Laterites are formed from the leaching of parent sedimentary rocks (sandstones, clays, limestones); metamorphic rocks (schists, gneisses, migmatites); igneous rocks (granites, basalts, gabbros, peridotites); and mineralized proto-ores; which leaves the more insoluble ions, predominantly iron and aluminum. The mechanism of leaching involves acid dissolving the host mineral lattice, followed by hydrolysis and precipitation of insoluble oxides and sulfates of iron, aluminum and silica under the high temperature conditions of a humid sub-tropical monsoon climate.


title: Laterite

text: An essential feature for the formation of laterite is the repetition of wet and dry seasons. Rocks are leached by percolating rain water during the wet season; the resulting solution containing the leached ions is brought to the surface by capillary action during the dry season. These ions form soluble salt compounds which dry on the surface; these salts are washed away during the next wet season. Laterite formation is favored in low topographical reliefs of gentle crests and plateaus which prevents erosion of the surface cover. The reaction zone where rocks are in contact with water—from the lowest to highest water table levels—is progressively depleted of the easily leached ions of sodium, potassium, calcium and magnesium. A solution of these ions can have the correct pH to preferentially dissolve silicon oxide rather than the aluminum oxides and iron oxides. Silcrete has been suggested to form in zones inrelatively dry "precipitating zones" of laterites. To the contrary, in the wetter parts of laterites subject to leaching ferricretes have been suggested to form.


title: Laterite

text: The mineralogical and chemical compositions of laterites are dependent on their parent rocks. Laterites consist mainly of quartz, zircon, and oxides of titanium, iron, tin, aluminum and manganese, which remain during the course of weathering. Quartz is the most abundant relic mineral from the parent rock.


title: Laterite

text: Laterites vary significantly according to their location, climate and depth. The main host minerals for nickel and cobalt can be either iron oxides, clay minerals or manganese oxides. Iron oxides are derived from mafic igneous rocks and other iron-rich rocks; bauxites are derived from granitic igneous rock and other iron-poor rocks. Nickel laterites occur in zones of the earth which experienced prolonged tropical weathering of ultramafic rocks containing the ferro-magnesian minerals olivine, pyroxene, and amphibole.


title: Laterite

text: Yves Tardy, from the "French Institut National Polytechnique de Toulouse" and the "Centre National de la Recherche Scientifique", calculated that laterites cover about one-third of the Earth's continental land area. Lateritic soils are the subsoils of the equatorial forests, of the savannas of the humid tropical regions, and of the Sahelian steppes. They cover most of the land area between the tropics of Cancer and Capricorn; areas not covered within these latitudes include the extreme western portion of South America, the southwestern portion of Africa, the desert regions of north-central Africa, the Arabian peninsula and the interior of Australia.


title: Laterite

text: Some of the oldest and most highly deformed ultramafic rocks which underwent laterization are found as petrified fossil soils in the complex Precambrian shields in Brazil and Australia. Smaller highly deformed Alpine-type intrusives have formed laterite profiles in Guatemala, Colombia, Central Europe, India and Burma. Large thrust sheets of Mesozoic island arcs and continental collision zones underwent laterization in New Caledonia, Cuba, Indonesian and the Philippines. Laterites reflect past weathering conditions; laterites which are found in present-day non-tropical areas are products of former geological epochs, when that area was near the equator. Present-day laterite occurring outside the humid tropics are considered to be indicators of climatic change, continental drift or a combination of both. In India, laterite soils occupy an area of 240,000 square kilometres


title: Laterite

text: Laterite soils have a high clay content, which means they have higher cation exchange capacity and water-holding capacity than sandy soils. It is because the particles are so small, the water is trapped between them. After the rain, the water moves into the soil slowly. Due to intensive leaching, laterite soils lack in fertility in comparison to other soils, however they respond readily to manuring and irrigation. Palms are less likely to suffer from drought because the rainwater is held in the soil. However, if the structure of lateritic soils becomes degraded, a hard crust can form on the surface, which hinders water infiltration, the emergence of seedlings, and leads to increased runoff. It is possible to rehabilitate such soils, using a system called the 'bio-reclamation of degraded lands'. This involves using indigenous water-harvesting methods (such as planting pits and trenches), applying animal and plant residues, and planting high-value fruit trees and indigenous vegetable crops that are tolerant of drought conditions. These soils are most suitable for plantation crops. They are good for oil palm, tea, coffee and cashew cultivation. The International Crops Research Institute for the Semi-Arid Tropics (ICRISAT) has employed this system to rehabilitate degraded laterite soils in Niger and increase smallholder farmers' incomes. In some places, these soils support grazing grounds and scrub forests.


title: Laterite

text: When moist, laterites can easily be cut with a spade into regular-sized blocks. Laterite is mined while it is below the water table, so it is wet and soft. Upon exposure to air it gradually hardens as the moisture between the flat clay particles evaporates and the larger iron salts lock into a rigid lattice structure and become resistant to atmospheric conditions. The art of quarrying laterite material into masonry is suspected to have been introduced from the Indian subcontinent. They harden like iron when they are exposed to air.


title: Laterite

text: After 1000 CE Angkorian construction changed from circular or irregular earthen walls to rectangular temple enclosures of laterite, brick and stone structures. Geographic surveys show areas which have laterite stone alignments which may be foundations of temple sites that have not survived. The Khmer people constructed the Angkor monuments—which are widely distributed in Cambodia and Thailand—between the 9th and 13th centuries. The stone materials used were sandstone and laterite; brick had been used in monuments constructed in the 9th and 10th centuries. Two types of laterite can be identified; both types consist of the minerals kaolinite, quartz, hematite and goethite. Differences in the amounts of minor elements arsenic, antimony, vanadium and strontium were measured between the two laterites.


title: Laterite

text: Angkor Wat—located in present-day Cambodia—is the largest religious structure built by Suryavarman II, who ruled the Khmer Empire from 1112 to 1152. It is a World Heritage site. The sandstone used for the building of Angkor Wat is Mesozoic sandstone quarried in the Phnom Kulen Mountains, about away from the temple. The foundations and internal parts of the temple contain laterite blocks behind the sandstone surface. The masonry was laid without joint mortar.


title: Laterite

text: The French surfaced roads in the Cambodia, Thailand and Vietnam area with crushed laterite, stone or gravel. Kenya, during the mid-1970s, and Malawi, during the mid-1980s, constructed trial sections of bituminous-surfaced low-volume roads using laterite in place of stone as a base course. The laterite did not conform with any accepted specifications but performed equally well when compared with adjoining sections of road using stone or other stabilized material as a base. In 1984 US$40,000 per was saved in Malawi by using laterite in this way.


title: Laterite

text: Bedrock in tropical zones is often granite, gneiss, schist or sandstone; the thick laterite layer is porous and slightly permeable so the layer can function as an aquifer in rural areas. One example is the Southwestern Laterite (Cabook) Aquifer in Sri Lanka. This aquifer is on the southwest border of Sri Lanka, with the narrow Shallow Aquifers on Coastal Sands between it and the ocean. It has the considerable water-holding capacity, depending on the depth of the formation. The aquifer in this laterite recharges rapidly with the rains of April–May which follow the dry season of February–March, and continues to fill with the monsoon rains. The water table recedes slowly and is recharged several times during the rest of the year. In some high-density suburban areas the water table could recede to below ground level during a prolonged dry period of more than 65 days. The Cabook Aquifer laterites support relatively shallow aquifers that are accessible to dug wells.


title: Laterite

text: In Northern Ireland, phosphorus enrichment of lakes due to agriculture is a significant problem. Locally available laterite—a low-grade bauxite rich in iron and aluminum—is used in acid solution, followed by precipitation to remove phosphorus and heavy metals at several sewage treatment facilities. Calcium-, iron- and aluminum-rich solid media are recommended for phosphorus removal. A study, using both laboratory tests and pilot-scale constructed wetlands, reports the effectiveness of granular laterite in removing phosphorus and heavy metals from landfill leachate. Initial laboratory studies show that laterite is capable of 99% removal of phosphorus from solution. A pilot-scale experimental facility containing laterite achieved 96% removal of phosphorus. This removal is greater than reported in other systems. Initial removals of aluminum and iron by pilot-scale facilities have been up to 85% and 98% respectively. Percolating columns of laterite removed enough cadmium, chromium and lead to undetectable concentrations. There is a possible application of this low-cost, low-technology, visually unobtrusive, efficient system for rural areas with dispersed point sources of pollution.


title: Laterite

text: Ores are concentrated in metalliferous laterites; aluminum is found in bauxites, iron and manganese are found in iron-rich hard crusts, nickel and copper are found in disintegrated rocks, and gold is found in mottled clays.


title: Laterite

text: Bauxite ore is the main source of aluminum. Bauxite is a variety of laterite (residual sedimentary rock), so it has no precise chemical formula. It is composed mainly of hydrated alumina minerals such as gibbsite [Al(OH) or AlO . 3HO)] in newer tropical deposits; in older subtropical, temperate deposits the major minerals are boehmite [γ-AlO(OH) or AlO.HO] and some diaspore [α-AlO(OH) or AlO.HO]. The average chemical composition of bauxite, by weight, is 45 to 60% AlO and 20 to 30% FeO. The remaining weight consists of silicas (quartz, chalcedony and kaolinite), carbonates (calcite, magnesite and dolomite), titanium dioxide and water. Bauxites of economical interest must be low in kaolinite. Formation of lateritic bauxites occurs worldwide in the 145- to 2-million-year-old Cretaceous and Tertiary coastal plains. The bauxites form elongate belts, sometimes hundreds of kilometers long, parallel to Lower Tertiary shorelines in India and South America; their distribution is not related to a particular mineralogical composition of the parent rock. Many high-level bauxites are formed in coastal plains which were subsequently uplifted to their present altitude.


title: Laterite

text: The basaltic laterites of Northern Ireland were formed by extensive chemical weathering of basalts during a period of volcanic activity. They reach a maximum thickness of and once provided a major source of iron and aluminum ore. Percolating waters caused degradation of the parent basalt and preferential precipitation by acidic water through the lattice left the iron and aluminum ores. Primary olivine, plagioclase feldspar and augite were successively broken down and replaced by a mineral assemblage consisting of hematite, gibbsite, goethite, anatase, halloysite and kaolinite.


title: Laterite

text: Laterite ores were the major source of early nickel. Rich laterite deposits in New Caledonia were mined starting the end of the 19th century to produce white metal. The discovery of sulfide deposits of Sudbury, Ontario, Canada, during the early part of the 20th century shifted the focus to sulfides for nickel extraction. About 70% of the Earth's land-based nickel resources are contained in laterites; they currently account for about 40% of the world nickel production. In 1950 laterite-source nickel was less than 10% of total production, in 2003 it accounted for 42%, and by 2012 the share of laterite-source nickel was expected to be 51%. The four main areas in the world with the largest nickel laterite resources are New Caledonia, with 21%; Australia, with 20%; the Philippines, with 17%; and Indonesia, with 12%.


title: Volver

text: Volver (, meaning "to go back") is a 2006 Spanish comedy-drama film written and directed by Pedro Almodóvar. The film features an ensemble cast that includes Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo, Yohana Cobo, and Chus Lampreave. Revolving around an eccentric family of women from a wind-swept region south of Madrid, Cruz stars as Raimunda, a working-class woman forced to go to great lengths to protect her 14-year-old daughter Paula. To top off the family crisis, her mother Irene returns from the dead to tie up loose ends.


title: Volver

text: The plot originates in Almodóvar's earlier film "The Flower of My Secret" (1995), where it features as a novel which is rejected for publication but is stolen to form the screenplay of a film named "The Freezer". Drawing inspiration from the Italian neorealism of the late 1940s to early 1950s and the work of pioneering directors such as Federico Fellini, Luchino Visconti, and Pier Paolo Pasolini, "Volver" addresses themes like sexual abuse, loneliness and death, mixing the genres of farce, tragedy, melodrama, and magic realism. Set in the La Mancha region, Almodóvar's place of birth, the filmmaker cited his upbringing as a major influence on many aspects of the plot and the characters.


title: Volver

text: "Volver" premiered at the 2006 Cannes Film Festival, where it competed for the Palme d'Or. It received critical acclaim and ultimately won two awards at the festival, for Best Actress (shared by the six main actresses) and Best Screenplay. The film's Spanish premiere was held on 10 March 2006 in Puertollano, where the filming had taken place. Cruz was nominated for the 2006 Academy Award for Best Actress, making her the first Spanish woman ever to be nominated in that category.


title: Volver

text: Raimunda (Penélope Cruz) and Sole (Lola Dueñas) are sisters who grew up in Alcanfor de las Infantas, a small village in La Mancha, but now both live in Madrid. Their parents had died in a fire three years before.


title: Volver

text: Raimunda and her daughter Paula (Yohana Cobo) live with Paula's father Paco (Antonio de la Torre). When he attempts to rape Paula, claiming that he is not really her father, Paula stabs him to death in self-defense. Raimunda hides the corpse in the deep-freezer of a nearby restaurant with an absent owner, Emilio (Carlos Blanco). When members of a film crew happen upon the restaurant, Raimunda strikes a deal to cater for them, and finds herself back in the restaurant business.


title: Volver

text: Meanwhile, Sole returns for the funeral of her elderly and dementia-stricken Aunt Paula (Chus Lampreave). Aunt Paula's neighbour Agustina (Blanca Portillo) confesses to Sole that she has heard Paula talking to the ghost of their mother Irene (Carmen Maura). Sole encounters her mother's ghost herself, and when she returns to Madrid, she discovers that the ghost has stowed away in the trunk of her car. Sole agrees to let Irene stay with her and assist her with clients for her illicit hair salon, which she operates out of her apartment. Irene agrees to pose as a Russian immigrant who doesn't speak any Spanish. Irene questions why Raimunda hates her and is fearful of revealing her presence to Raimunda.


title: Volver

text: Raimunda reveals to Paula that Paco was not her biological father, promising to tell her the whole story later. Agustina is diagnosed with terminal cancer and goes to Madrid for treatment. Raimunda visits her in the hospital. Agustina asks Raimunda if she has seen her mother's ghost. Agustina hopes that the ghost will be able to tell her about her own mother, who disappeared three years before. Raimunda leaves Paula with Sole, rents a van and transports the freezer to a convenient spot by the river Júcar. While staying in Sole's apartment, Paula meets her grandmother's ghost and grows close to her. The next night, Agustina comes to the restaurant, and reveals two startling secrets: her mother and Raimunda's father were having an affair, and her mother disappeared on the same day that Raimunda's parents died.


title: Volver

text: Sole reveals to Raimunda that she has seen their mother's ghost, who is in the next room with Paula. Irene admits that she did not, in fact, die in the fire, and reveals the whole truth. The reason for Raimunda and Irene's estrangement is that Raimunda's father sexually abused her, resulting in the birth of Paula; thus, Paula is Raimunda's daughter and her sister. Irene tells Raimunda that she did not know about the abuse until Aunt Paula told her about it, and never forgave herself for not noticing it.


title: Volver

text: Irene explains that she found her husband in bed with another woman and started the fire that killed them both. The ashes that had been presumed to be Irene's were, in fact, the ashes of Agustina's mother, the woman with whom Irene's husband was having an affair. After the fire, Irene wandered for several days in the countryside, until she decided that she wanted to turn herself in. But first, she wanted to say goodbye to Aunt Paula, who had lost the ability to look after herself and with whom Irene had been living prior to setting the fire. Paula welcomed Irene home as if nothing had happened, and Irene stayed, caring for her sister and expecting that the police would come soon to arrest her. Due to the superstitious and closed nature of the community, however, the police never came and the residents, accustomed to tales of the dead returning, explained the rare sightings of Irene as a ghost.


title: Volver

text: The family reunites at Aunt Paula's house. Irene reveals her presence to Agustina, who believes her to be a ghost. Irene pledges to stay in the village and care for Agustina as her cancer worsens, saying to Raimunda that it was the least that she could do after killing Agustina's mother. Raimunda visits her mother at Agustina's house, and the two embrace and promise to repair their relationship.


title: Volver

text: "Volver" was first developed by Pedro Almodóvar, based on a story actress Marisa Paredes told him during the production of their 1995 film "The Flower of My Secret", another film set in the La Mancha region. The story revolved around a heartbroken Puerto Rican man who opts to kill his mother-in-law in hopes of reuniting with his beloved wife, who left him and broke off contact, at her mother's funeral. Owning a restaurant, he leaves it in his neighbour's care, when he is about to kill his victim. Fascinated by the story and its background, Almodóvar decided on incorporating elements of it into the screenplay of "The Flower of My Secret", making it the plot of a movie-within-the-movie based on the main character's novel in the film. While working on the script for "Volver", he would however settle on outlining the role of the neighbour Raimunda, as the film's central character, while Emilio, the Puerto Rican, eventually became a supporting role only.


title: Volver

text: Almodóvar says of the story that "it is precisely about death...More than about death itself, the screenplay talks about the rich culture that surrounds death in the region of La Mancha, where I was born. It is about the way (not tragic at all) in which various female characters, of different generations, deal with this culture".


title: Volver

text: Penélope Cruz was the first reported to have landed one of the starring roles in "Volver", having previously worked with Almodóvar on his films "Live Flesh" (1997) and "All About My Mother" (1999). In preparing for her role, the actress watched Italian neorealism films from the 1950s, many of them starring Sophia Loren and Claudia Cardinale, to study "the Italian "maggiorate"" that Almodóvar envisioned for her performance in the film. Cruz, who had to wear a prosthetic bottom while filming, noted the role of Raimunda as "the best gift an actress can get".


title: Volver

text: Carmen Maura, the star of Almodóvar's debut "Pepi, Luci, Bom" (1980) and five additional films with the director, was the first to be cast in the film alongside Cruz. Her engagement marked her first collaboration with Almodóvar after a period of 18 years and a reported fallout during the production of "Women on the Verge of a Nervous Breakdown" (1989). Maura commented on the "borderline character" of Irene as a "very complicated [role to play]".


title: Volver

text: The tango "Volver" by Carlos Gardel with lyrics by Alfredo Le Pera is converted to flamenco and is sung in the movie with the voice of Estrella Morente and lip synced by Penélope Cruz. The dance tune playing at the party prior to Raimunda's lip syncing is called "Good Thing" by the British three-piece indie-dance combo Saint Etienne.


title: Volver

text: In the US alone, the film had made $12,897,993 (15.4% of the total) at the box office after 26.4 weeks of release in 689 theatres. The box office figure from the rest of the world is somewhere in the region of $71,123,059 (84.6% of the total) according to Box Office Mojo. The total worldwide gross is estimated at $84,021,052.


title: Volver

text: "Fotogramas", Spain's top film magazine, gave it a five-star rating. Upon its U.S. release, A. O. Scott made it an "NYT Critics' Pick" and wrote:


title: Volver

text: To relate the details of the narrative—death, cancer, betrayal, parental abandonment, more death—would create an impression of dreariness and woe. But nothing could be further from the spirit of "Volver" which is buoyant without being flip, and consoling without ever becoming maudlin. Mr. Almodóvar acknowledges misfortune—and takes it seriously—from a perspective that is essentially comic. Very few filmmakers have managed to smile so convincingly in the face of misery and fatality: Jean Renoir and Billy Wilder come immediately to mind, and Mr. Almodóvar, if he is not yet their equal, surely belongs in their company. "Volver" is often dazzling in its artifice—José Luis Alcaine's ripe cinematography, Alberto Iglesias's suave, heart-tugging score— but it is never false. It draws you in, invites you to linger and makes you eager to return.


title: Volver

text: Roger Ebert gave it his highest rating of four stars, calling it "enchanting, gentle, transgressive" and notes "Almodovar is above all a director who loves women—young, old, professional, amateur, mothers, daughters, granddaughters, dead, alive. Here his cheerful plot combines life after death with the concealment of murder, success in the restaurant business, the launching of daughters and with completely serendipitous solutions to (almost) everyone's problems".


title: Volver

text: As of 2020, the film has a "Certified Fresh" rating from critics at Rotten Tomatoes, scoring a 91% based on 157 "Certified fresh" reviews out of 172 critics, and an average rating of 7.81/10, with the general consensus being ""Volver" catches director Pedro Almodóvar and star Penélope Cruz at the peak of their respective powers, in service of a layered, thought-provoking film". It also has a score of 84 out of 100 on Metacritic, based on 38 critics, indicating "universal acclaim".


title: Volver

text: Sight & Sound magazine's critics poll named "Volver" the 2nd-best film of 2006. In 2019, "The Guardian" ranked the film 46th in its 100 best films of the 21st century list.


title: Volver

text: "Volver" received a standing ovation when it was screened as part of the official selection at the 2006 Cannes Film Festival, and won the Best Screenplay award as well as the award for Best Actress — which was shared by the six stars of the film.


title: Tennis court

text: A tennis court is the venue where the sport of tennis is played. It is a firm rectangular surface with a low net stretched across the centre. The same surface can be used to play both doubles and singles matches. A variety of surfaces can be used to create a tennis court, each with its own characteristics which affect the playing style of the game.


title: Tennis court

text: The dimensions of a tennis court are defined and regulated by the International Tennis Federation (ITF) governing body and are written down in the annual 'Rules of Tennis' document. The court is long. Its width is for singles matches and for doubles matches. The service line is from the net. Additional clear space around the court is needed in order for players to reach overrun balls for a total of wide and long. A net is stretched across the full width of the court, parallel with the baselines, dividing it into two equal ends. The net is high at the posts, and high in the center. The net posts are outside the doubles court on each side or, for a singles net, outside the singles court on each side.


title: Tennis court

text: Based on the standard rules of tennis, the size of the court is measured to the "outside" of the respective baselines and sidelines. The "service" lines ("T" and the "service" line) are centered. The ball must completely miss the line to be considered "out". This also means that the width of the line (except for the center service line) is irrelevant to play. The center service line is , the other lines are between and wide, whereas the baseline may be up to wide.


title: Tennis court

text: The ITF's Play and Stay campaign promotes playing on smaller courts with slower red, orange, and green balls for younger children. This gives children more time and control so they can serve, rally, and score from the first lesson on courts that are sized to fit their bodies. The ITF has mandated that official competition for children aged 10 years and under should be played on "Orange" courts long by wide. Competition for children under 8 years is played on "Red" courts that are long and wide. The net is always 0.8 m high in the center.


title: Tennis court

text: Tennis is played on a variety of surfaces and each surface has its own characteristics which affect the playing style of the game. There are four main types of courts depending on the materials used for the court surface: clay courts, hard courts, grass courts and carpet courts, but before in history of tennis sand and wood tennis courts have been used. The International Tennis Federation (ITF) lists different surfaces and properties and classifies surfaces into one of five pace settings:


title: Tennis court

text: Of the current four Grand Slam tournaments, the Australian and US Open use hard courts, the French Open is played on clay, and Wimbledon, the only Grand Slam to have always been played on the same surface, is played on grass. The Australian Open switched from grass to hard courts in 1988 and in its early years the French championship alternated between clay and sand/rubble courts. The US Open is the only major to have been played on three surfaces; it was played on grass from its inception until 1974, clay from 1975 until 1977 and hard courts since it moved from the West Side Tennis Club to the National Tennis Center in 1978.


title: Tennis court

text: Clay courts are made of crushed shale, stone or brick. The French Open is the only Grand Slam tournament to use clay courts.


title: Tennis court

text: Clay courts slow down the ball and produce a high bounce in comparison to grass or hard courts. For this reason, the clay court takes away many of the advantages of big serves, which makes it hard for serve-based players to dominate on the surface. Clay courts are cheaper to construct than other types of tennis courts, but a clay surface costs more to maintain. Clay courts need to be rolled to preserve flatness. The clay's water content must be balanced; green clay courts generally require the courts to be sloped to allow water run-off.


title: Tennis court

text: Clay courts are more common in Europe and Latin America than in North America, and tend to heavily favour baseline players.


title: Tennis court

text: Historically for the Grand Slams clay courts have been used at the French Open since 1891 and the US Open from 1975 to 1977.


title: Tennis court

text: Grass courts are the fastest type of courts in common use. They consist of grass grown on very hard-packed soil, which adds additional variables: bounces depend on how healthy the grass is, how recently it has been mowed, and the wear and tear of recent play. Points are usually very quick where fast, low bounces keep rallies short, and the serve plays a more important role than on other surfaces. Grass courts tend to favour serve-and-volley tennis players.


title: Tennis court

text: Grass courts were once among the most common tennis surfaces, but are now rare due to high maintenance costs, as they must be watered and mown often, and take a longer time to dry after rain than hard courts.


title: Tennis court

text: Historically for the Grand Slams grass courts have been used at Wimbledon since 1877, the US Open from 1881 to 1974, and the Australian Open from 1905 to 1987.


title: Tennis court

text: Hard courts are made of uniform rigid material, often covered with an acrylic surface layer to offer greater consistency of bounce than other outdoor surfaces. Hard courts can vary in speed, though they are faster than clay but not as fast as grass courts. The quantity of sand added to the paint can greatly affect the rate at which the ball slows down.


title: Tennis court

text: The US Open is played on Laykold while the Australian Open is played on GreenSet, both acrylic-topped hard court surfaces.


title: Tennis court

text: Historically for the Grand Slams hard courts have been used at the US Open since 1978 and the Australian Open since 1988.


title: Tennis court

text: "Carpet" in tennis means any removable court covering. Indoor arenas store rolls of rubber-backed court surfacing and install it temporarily for tennis events, but they are not in use any more for professional events. A short piled form of artificial turf infilled with sand is used for some outdoor courts, particularly in Asia. Carpet is generally a fast surface, faster than hardcourt, with low bounce.


title: Tennis court

text: Notable tennis tournaments previously held on carpet courts were the WCT Finals, Paris Masters, U.S. Pro Indoor and Kremlin Cup. Since 2009, their use has been discontinued on the top tier of the ATP. ATP Challenger Tour tournaments such as the Trofeo Città di Brescia still use carpet courts. The WTA Tour's last carpet court event, the International-level Tournoi de Québec, was discontinued after 2018.


title: Tennis court

text: Some tennis courts are indoors, which allows play regardless of weather conditions and is more comfortable for spectators.


title: Tennis court

text: Different court surfaces have been used indoors. Hard courts are most common indoors, as they are the easiest to install and maintain. If the installation is permanent, they are constructed on an asphalt or concrete base, as with outdoor courts. Temporary indoor hard courts are typically constructed using wooden floor panels topped with acrylic which are installed over the venue's standard floor. This is the system used for modern indoor professional events such as the ATP Finals.


title: Tennis court

text: Clay courts can be installed indoors with subsurface watering systems to keep the clay from drying out, and have been used for Davis Cup matches.


title: Tennis court

text: Carpet courts were once the most prominent of indoor surfaces, especially in temporary venues, but have largely been replaced by removable hard courts. They were used on both the ATP World Tour and World Championship Tennis circuits, though no events currently use them.


title: Tennis court

text: Historically, other surfaces have been used indoors such as hardwood flooring at the defunct World Covered Court Championships and London Indoor Professional Championships.


title: Tennis court

text: The conclusion of the Wimbledon Championships, in 2012, was played on the lawn of Centre Court under the closed roof and artificial lights; the Halle Open has also seen a number of matches played on its grass court in the Gerry Weber Stadion with the roof closed. These, however, are outdoor venues with retractable roofs.


title: Lee Sang-woo

text: Lee Sang-woo (born February 13, 1980) is a South Korean actor. He rose to fame in the 2007 television drama "First Wives' Club", and has since played leading roles on "The Road Home" (2009), "Don't Hesitate" (2009), "Life Is Beautiful" (2010), and "Feast of the Gods" (2012).


title: Lee Sang-woo

text: Lee Sang-woo launched his acting career in 2005, starring in a "Drama City" episode and a minor role in the television drama "18 vs. 29". This was followed by more supporting roles on television, including his big screen debut in "Almost Love", a romantic comedy film headlined by Kwon Sang-woo and Kim Ha-neul. During this time, he also starred as one of the three leading actors of the independent film "Don't Look Back" (2006), which was the closing film of that year's Jeonju International Film Festival, and won a critic's prize at the Locarno International Film Festival.


title: Lee Sang-woo

text: Lee began his rise to fame with a supporting role in "First Wives' Club", a popular drama which aired from 2007 to 2008 with a peak viewership rating of 41.3%. For his performance, he received a New Star Award at the SBS Drama Awards.


title: Lee Sang-woo

text: It was not until 2009 that Lee was cast in his first mainstream leading role, in "The Road Home", followed soon after by another daily drama "Don't Hesitate". In the same year, he also appeared as one of the leading actors in "Searching for the Elephant", an erotic-psychological thriller about three thirty-something men struggling with schizophrenia, sex addiction and infidelity.


title: Lee Sang-woo

text: In 2010, Lee starred with Song Chang-eui in "Life Is Beautiful" as a gay couple. The drama is one of the few Korean dramas about an openly gay couple in Korean society, which have conservative views on sexuality. Despite the controversy, the show was successful in the ratings, and Lee would later work again with renowned screenwriter Kim Soo-hyun on "A Thousand Days' Promise" (2011) and "Childless Comfort" (2012).


title: Lee Sang-woo

text: After a supporting role in "Believe in Love" (also known as "My Love, My Family", 2011), Lee was once again cast in the leading role in "Feast of the Gods" (2012). He later won the Excellence Award, Actor in a Special Project Drama at the MBC Drama Awards for "Feast of the Gods" and his supporting role in the period drama "Horse Doctor".


title: Lee Sang-woo

text: In 2013, Lee joined the ensemble cast of "Goddess of Marriage", followed by the adultery drama "One Warm Word". Unlike his previous calm and quiet roles, in 2014 he was cast as the leading man in "Glorious Day", a peculiar character which Lee said he looked forward to playing since it most resembles his real-life personality.


title: Lee Sang-woo

text: Lee then starred in two weekend dramas, "All About My Mom" and "Happy Home". He returned to prime-time television, starring in romantic comedy drama "20th Century Boy and Girl".


title: Lee Sang-woo

text: In 2018, Lee was cast in the KBS2 weekend drama "Marry Me Now" as a doctor and was partnered with Han Ji-hye.