title: Rover SD1

text: 1982 was also the year when SD1 buyers could finally opt for a four-cylinder engine since the two-litre BL O-Series engine of the Morris Ital was now fitted to the car, now called the Rover 2000 - marking the first time an engine from the Austin-Morris division of BL would appear in a Rover. The engine was particularly aimed at company car fleets where its size enabled it to beat a taxation threshold. This broadened the SD1 range and made it more affordable to potential buyers, giving British Leyland an all-round rival to the Ford Granada, which had always featured a four-cylinder version, although unlike the SD1 or earlier P6 had never been available with a V8 engine. The Rover 2000 was not particularly fast, with a continental magazine stating that the most one could say was that it was faster than diesel and turbodiesel cars in the same class.


title: Rover SD1

text: Another four-cylinder engine became available in the Rover 2400 SD Turbo. This was the only diesel-engined SD1, utilising the HR492 motor from Italian VM Motori also used in the Range Rover Turbo D model, chosen for its petrol-like smoothness. BL had intended for a diesel version of the Rover V8 engine to be used in the SD1 (as well as other models) but the problematic development programme was cancelled in 1983 in favour of engines bought-in from outside manufacturers.


title: Rover SD1

text: The flagship model was created when Rover introduced a fuel-injected version of its V8. Borrowing from technologies pioneered in the US and Australian markets (where strict emissions regulations meant the inclusion of high compression carburetted engines was not feasible) the new derivative was originally only available in the Vitesse model, but from 1984 onwards it was also offered in the luxury Vanden Plas range, badged as the Vanden Plas EFi. To meet the demands of the luxury executive car market, where automatic transmission tended to be preferred, Rover first offered an auto as an option in the Vitesse, but later withdrew the option and lured the customers to the plush Vanden Plas EFi instead which had all the standard comforts of the Vitesse, such as electric mirrors, windows and locks, a trip computer, headlight washers, an adjustable steering column and a four-speaker stereo (something special at that time). Additionally, it added as standard leather seats (velour cloth was a no-cost option), an electrically operated sunroof (available on all models) and cruise control; the only option being air-conditioning. Very rare are the "Twin Plenum" Vitesses; these had two throttle bodies mounted on the plenum chamber instead of one and were produced in very small numbers as homologation for the twin plenum racers.


title: Rover SD1

text: The SD1 continued until the launch of its successor, the Rover 800 Series, in July 1986. the third product of the British Leyland/Austin Rover venture with Honda, which had been in development since 1981 as "Project XX" and also formed the basis of the Honda Legend.


title: Rover SD1

text: Despite production ending in 1986, stocks of new SD1s remained available well into 1987, with the latest civilian spec examples were registered under the "E" registration prefix, with some stockpiled police specifications being registered even later, the fastback version of the 800 arrived in 1988. The Rover V8 engine remained in volume production and continued to be used in Land Rover products until 2003.


title: Rover SD1

text: The car was never marketed as the "SD1". The models produced (throughout the life of the range, not all at once) were usually named according to their engine size.


title: Rover SD1

text: The initial June 1976 launch was for the 3500 only. A little over a year later the 2300 and 2600 were added; the V8-S was a short-lived model introduced later (remembered for its headlamp wipers, gold alloys and the option of bright metallic "Triton" green paint), and dropped before the first mild facelift, after which the range was 2300, 2300 S, 2600 S, 3500 SE and 3500 Vanden Plas. The 2000 appeared at the time of the major facelift, with 2400 SD-Turbo, 2600 SE, 2600 Vanden Plas, Vitesse and 3500 Vanden Plas EFi appearing at various times afterwards. At the very end of the life of the car the range was briefly reduced to 2300, 2600 Vanden Plas, and Vitesse (now with a flush chin spoiler, deleted front fog lights, and deleted side graphics)


title: Rover SD1

text: After its replacement by the Rover 800 series in the UK in 1986, the SD1 emerged in India as the "Standard 2000". From 1985 to 1988, it was assembled at the now-defunct Standard factory in Madras (renamed Chennai in 1996). However, the Indian version of the SD1 – powered by an elderly 2.0 L engine with only , and with raised suspension – was a failure since the under-powered engine did not justify the high price. Standard ceased car manufacture soon after.


title: Rover SD1

text: The factory was secured after production ceased with Rimmer Brothers acquiring the entire stock of unused parts for resale in the UK. This has meant that a number of parts which had not been available for some time could again be bought new.


title: Rover SD1

text: The Rover SD1 saw considerable success in Group A touring car racing in the mid-1980s. Among its major successes were:


title: Rover SD1

text: The SD1 also saw use as a rally car in 1984 and 1985, contesting the British Rally Championship in the hands of Tony Pond. Pond won the Group A category of the 1985 championship, but the car was retired at the end of the season in favour of the Group B MG Metro 6R4.


title: Rover SD1

text: In 2022 David Coxon, Captain of Test Card F led his team to IOE Victory, the highest honor in 24 Hours of LeMons Endurance Racing Series. Proving the Rover SD1 to still be a venerable track weapon to be reckoned with.


title: Rover SD1

text: The SD1 was popular with British police forces, particularly in V8 form. West Yorkshire Police were the first police force to use the SD1. A one-off police force Rover SD1 from the Grampian police force was sold at auction in 2015 on the television show "For the Love of Cars" to the Grampian transport museum, where it was used 30 years earlier. When SD1 production was ceasing, police forces stockpiled a number of the cars for later use, to be introduced over the late 1980s. On 8 May 1987 a pair of Metropolitan Police SD1s made the now famous "Liver Run", transporting a donor organ for transplant from London Stansted Airport to a patient at the Cromwell Hospital in Kensington, covering 27 miles in under 30 minutes. The run was part of a Police Camera Action! special broadcast in 1996, including the patient who survived the transplant. Police Stop! aired it a year later, showing the entire journey, to celebrate the program's 10th anniversary. Between 1985 and 1991, a Rover SD1 police car featured prominently in the title sequence of popular British police procedural television series The Bill.


title: MechWarrior 5: Mercenaries

text: MechWarrior 5: Mercenaries is a BattleTech mecha game developed by Piranha Games and released on December 10, 2019, on Microsoft Windows. It is the first single player "MechWarrior" game since 2002. It was initially available as an Epic Games Store exclusive title, which, like other games with Epic Games Store exclusivity deals, has been met with criticism. On May 7, 2020, it was made available through Xbox Game Pass for PC. On May 27, 2021, it was made available on additional platforms including Xbox Series X/S, Xbox One, Steam and GOG, in addition to the DLC pack Heroes of the Inner Sphere. It features ray tracing powered by Nvidia RTX as well as DLSS.


title: MechWarrior 5: Mercenaries

text: "MechWarrior 5: Mercenaries" is set in the BattleTech universe. The game starts in 3015 during the final decade of the Third Succession War, casting the player as a rookie mercenary MechWarrior rising from the ashes of a demolished mercenary unit. They are able to accept contracts from the various factions available in this time period. The campaign goes all the way up to 3049, just before the Clan Invasion.


title: MechWarrior 5: Mercenaries

text: The player takes the role of "Commander Mason", the only son of Nikolai Mason, commanding officer of Nik's Cavaliers, a small mercenary outfit whose home base is on the Federated Suns world of De Berry circa 3015. Having come of age and taking a rebuilt 'Centurion' model BattleMech through its paces with his father, this training mission is interrupted by a surprise attack by a mysterious mercenary unit demanding information from Nikolai. Refusing to divulge the coordinates they seek, Nikolai orders his son to return to base and flee aboard the unit's Leopard-class DropShip, sacrificing his life to ensure their escape.


title: MechWarrior 5: Mercenaries

text: Reduced to just two BattleMechs, Mason and the survivors of the Cavaliers (Ryana Campbell, the operations officer of Nik's Cavaliers whom Mason considers family, and Fahad Arazad, the chief technician) reach out to Sebastian Spears, a high level agent of the company Interstellar Expeditions and a long-term friend of his father who provides assistance in escaping the system. Armed with a reused mercenary registration number to mask their origins, Commander Mason must rebuild his command to locate and defeat his enemies and avenge his father, as well as uncover the secret his father took to his grave.


title: MechWarrior 5: Mercenaries

text: As Mason completes missions over time, Nik's Cavaliers' reputation grows and they build up a lance of progressively stronger 'Mechs with veteran pilots. After leaving Federated Suns space for the Free World's League in search of leads, they finally learn the name of the mercenary outfit who attacked them: Black Inferno. Through a series of skirmishes against Black Inferno taking place from the Free World's League to Steiner-controlled space, including one which almost turned disastrous when Black Inferno ambushed them, Mason finds out that there are in fact two persons responsible for his father's death: Andreas Kane, leader of Black Inferno who piloted the 'King Crab' 'Mech that killed Nikolai, and Kenzo Yamata, who gave the order. Yamata is a representative of the immensely powerful company ComStar: controllers of virtually all interstellar communication, and Black Inferno's benefactor.


title: MechWarrior 5: Mercenaries

text: At Spear's recommendation, Nik's Cavaliers raids Black Inferno's repair and salvage base for stronger 'Mechs in preparation for an attack on Black Inferno's stronghold. Zavarov, an elite officer of Black Inferno who participated in the attack on De Berry, pilots Nikolai's 'Victor' 'Mech as a form of psychological warfare against Mason. Nonetheless, Mason kills her and retrieves his father's 'Mech. With enough firepower at last, Nik's Cavaliers launch an all-out attack on Black Inferno's final base. There, Mason faces off against Kane in his 'King Crab'. Though Mason prevails and even destroys the entire Black Inferno base, Yamata had escaped using Kane as a distraction.


title: MechWarrior 5: Mercenaries

text: With Spear's help, Ryana manages to decipher a series of coordinates from Nikolai's 'Victor', leading them into uncharted space on the periphery of Draconis Combine space. They discover that the planets there are strewn with ancient lost technology (known as LosTech) that ComStar wishes to exploit. With their target now switching from Black Inferno to ComStar, Mason captures and destroys ComStar outposts on several planets. Finally, Yamata himself arrives in his LosTech 'Annihilator' 'Mech to deal with Mason once and for all. After a hard-fought battle, Mason defeats Yamata. Immediately afterwards, Fahad reveals that Nikolai's 'Victor' is sending a signal to a secret 'Mech bay nearby. There, they uncover a LosTech 'Mech called a 'Nightstar'.


title: MechWarrior 5: Mercenaries

text: Through an audio log in the 'Nightstar', the crew of Nik's Cavaliers realize that the immensely powerful 'Mech belonged to Nikolai. He hid it decades ago to avoid rousing suspicion on his origins, as that 'Mech model had not been seen in the Inner Sphere for over two centuries. Moreover, 'Nikolai Mason' was an identity he adopted for a spy mission in the Inner Sphere. Reaching the final set of coordinates that Nikolai left behind, Nik's Cavaliers and Interstellar Expeditions arrive at a massive underground base with a treasure-trove of LosTech. It is conspicuously marked with a red star emblem that resembles a modified version of the crest of the Star League Defense Force (an ancient military force that protected the Inner Sphere and who disappeared hundreds of years ago). ComStar begins sending waves of BattleMechs to destroy them and secure the LosTech for themselves. With nowhere left to run, Nik's Cavaliers make their last stand. Thankfully, Ryana manages to retrieve all the data and they barely escape in time on their DropShip.


title: MechWarrior 5: Mercenaries

text: Mason finally understands that his father originated from an unknown region of space beyond the Inner Sphere. However, his arrival was detected by ComStar. Knowing that he had access to LosTech, ComStar tracked him for years before finally sending Black Inferno to attack him at the beginning of the game. Nik's Cavaliers hand over the data to Spears, who promises that Interstellar Expeditions would use it for the betterment of the Inner Sphere. Having avenged his father's death and solving the mystery of the coordinates at last, Mason is finally at peace.


title: MechWarrior 5: Mercenaries

text: Ryana and Fahad speculate that Nikolai's people would arrive in the Inner Sphere in the future. Unbeknownst to them, their prediction would come true in 3049 with the invasion of the Clans, the warrior-like descendants of the Star League Defense Force (whose emblem was the red star found at the LosTech base).


title: MechWarrior 5: Mercenaries

text: "Mechwarrior 5: Mercenaries" was officially revealed in an early alpha stage during Piranha Games' annual MechCon show in December 2016, where Russ Bullock, the CEO of Piranha Games did a live demonstration showcasing the game with a hangar, a Shadowhawk mech, and combat against an AI-piloted Raven mech. The game was to be developed in Unreal Engine 4, thereby departing from "Mechwarrior Online"'s use of CryEngine, but still using existing assets from "Mechwarrior: Online", such as the mech models. The game was underway in preproduction for a while with a teaser at the following MechCon in December 2017 that showcased the dropship hangar, destructible buildings, VTOLs as enemies, and the main story premise of the player protagonist taking on the mantle of presiding over their parents' mercenary company. In 2018, Piranha Games marketed the game with an emphasis on its procedurally generated missions based on different biomes. At the annual Mechcon in December 2018, Piranha Games set up four customized 'Super Pods' that allowed VIP guests to play a demo of "Mechwarrior 5: Mercenaries". This demo was also played and live-streamed by Piranha Games' employees and then accompanied with a release date trailer aiming for a release in 2019.


title: MechWarrior 5: Mercenaries

text: In January 2019, Piranha Games unveiled the pre-order for "Mechwarrior 5: Mercenaries" called the Community Edition that enabled fans to preorder the game and receive a set of digital extras for the game (manuals, mech skins, soundtrack) as well as in-game currency and new mech chassis in "Mechwarrior: Online""." On the website, Piranha Games specified that those who preordered would receive a Steam or GOG key. This Community Edition generated around 20.000 preorders of the game. Later in June 2019, Piranha Games revealed that they had agreed with Epic Games on "Mechwarrior 5: Mercenaries" becoming a launch exclusive on their online digital store Epic Games Store, thereby going back on the promise of Steam and GOG copies to those who had preordered, as stipulated in the Community Edition. As a way to make amends, Piranha Games allowed for full refunds for anyone dissatisfied with the Epic Games Store exclusivity and allowed refunding customers to keep their extra bonus content for "Mechwarrior: Online". Only 700 of the 20.000 customers who preordered chose to ask for a refund. Piranha Games stated that the Epic Games Store exclusivity resulted in extra funds that enabled them to hire more developers to improve game, such as lighting and story. The release on December 10, 2019, was accompanied by a range of media resources, including a free novella by Battletech author Randall Bills and a printable 'PC Big Box art' cutout to follow in the tradition of the previous "Mechwarrior" games and their older mode of physical distribution.


title: MechWarrior 5: Mercenaries

text: After releasing the first version of "Mechwarrior 5: Mercenaries" for the Epic Game Store on December 10, 2019, Piranha Games proceeded to work further on more content and general quality-of-life updates for "Mechwarrior 5: Mercenaries". Due to the COVID-19 pandemic and pivoting to remote development, the first downloadable content was pushed towards at the end of 2020. This coincided with the news that Piranha Games were to be acquired by the investor group EnadGlobal7 in November 2020. This acquisition put Piranha Games in touch with other companies within EnadGlobal7, such as the marketing companies Sold Out and Petrol, which suggested that the next DLC should be combined with not only the upcoming Steam and GOG release, but also an Xbox One/Xbox Series S/X console version that Piranha had been working on, thereby resulting in one major marketing push. This meant that Piranha Games combined the first DLC titled "Heroes of the Inner Sphere" with a major game update called 'Year One' and the Steam, GOG, and Xbox release in one single release on May 27, 2021. The Year One update included a range of quality of life improvements for the game, such as better AI, new sound effects, better graphical effects, a revamped introduction, and new cutscenes. "Heroes of the Inner Sphere" included new mission types, new mech chassis and variants, new biomes, and new tailored missions. This release saw a heavy marketing push with for example the E3 PC Gaming Show presented as taking place within the "Mechwarrior" universe.


title: MechWarrior 5: Mercenaries

text: While "Heroes of the Inner Spher"e had been worked on during 2020, Piranha Games had also worked on the second downloadable content for Mechwarrior 5: Mercenaries. This was unveiled in September 2021 alongside the announcement that Mechwarrior 5: Mercenaries would arrive on PlayStation 4 and PlayStation 5. This marked the first time in over 20 years that a "Mechwarrior" game had appeared on PlayStation since in 1997, since Microsoft has owned the rights to all electronic instantiations of Battletech and Mechwarrior after acquiring FASA Interactive in January 1999. The Kestrel Lancers featured a new linear campaign set in the 4th Succession War, urban biomes, new mech variants, and its base game update included melee combat, new HUD, and lancemate switching. Its release was acommpanied by a launch trailer depicting the wedding between Hanse-Davion and Melissa Steiner, a famous event in the Battletech fictional universe.


title: MechWarrior 5: Mercenaries

text: "MechWarrior 5: Mercenaries" received "mixed or average reviews" according to review aggregator Metacritic. Its initial sales on the Epic Games Store generated "hundreds of thousands" of copies sold and the Steam, GOG, and Xbox launch in May 2021 saw the product perform 'above expectations' by selling around 160.000 units with 81% of those units coming from Steam. According to the publisher EnadGlobal7, the PlayStation launch in October underperformed financially. As per January 2022, "Mechwarrior 5: Mercenaries" sits at 84% positive reviews on Steam out of 3.663 total reviews.


title: Television in India

text: The television industry in India is very diverse and produces thousands of programs in many of the Indian languages. More than half of all Indian households own a television. As of 2016, the country had over 857 channels of which 184 were pay channels. The Hindi, Telugu and Tamil language television industries are by far the largest television industries in India.


title: Television in India

text: In January 1950, "The Indian Express" reported that a television was put up for demonstration at an exhibition in the Teynampet locality of Madras (now Chennai) by B. Sivakumaran, a student of electrical engineering. A letter was scanned and its image displayed on a cathode ray tube screen. The report said that "It may be this is not the whole of television but it is certainly the most significant link in the system" and added that the demonstration of the sort could be the "first in India".


title: Television in India

text: The first TV transmitter of India was installed in the Electronics and Telecommunications engineering department of the Government Engineering College, Jabalpur, on 24 October 1951.


title: Television in India

text: In Srinagar, television was first used in the house of the Jan family, which was a huge milestone for industrialization. Terrestrial television in India started with the experimental telecast starting in Delhi on 15 September 1959 with a small transmitter and a makeshift studio. Daily transmission began in 1965 as a part of All India Radio (AIR). Television service was later extended to Bombay (Now Mumbai) and Amritsar in 1972. Up until 1975, only seven Indian cities had television services. Satellite Instructional Television Experiment (SITE) was an important step taken by India to use television for development. The programmes were mainly produced by Doordarshan (DD) which was then a part of the AIR. The telecast happened twice a day, in the mornings and evenings. Other than information related to agriculture, health and family planning were the other important topics dealt with in these programmes. Entertainment was also included in the form of dance, music, drama, folk and rural art forms. Television services were separated from radio in 1976. National telecast was introduced in 1982. In the same year, color television was introduced in the Indian market.


title: Television in India

text: Indian small screen programming began in the early 1980s. During this time, there was only one national channel, the government-owned Doordarshan. The "Ramayana" and "Mahabharata", both based on the Indian epics of the same names, were the first major television series produced. They notched up world record in viewership numbers. By the late 1980s, more people began to own television. Though there was a single channel, television programming had reached saturation. Hence the government opened up another channel which had part national programming and part regional. This channel was known as DD 2, later renamed DD Metro. Both channels were broadcast terrestrially. In 1997, Prasar Bharati, a statutory autonomous body was established. Doordarshan along with the AIR were converted into government corporations under Prasar Bharati. The Prasar Bharati Corporation was established to serve as the public service broadcaster of the country which would achieve its objectives through AIR and Doordashan. This was a step towards greater autonomy for Doordarshan and AIR. However, Prasar Bharati has not succeeded in shielding Doordarshan from government control.


title: Television in India

text: The transponders of the American satellites PAS 1 and PAS-4 helped in the transmission and telecast of DD. An international channel called DD International was started in 1995 and it telecasts programs for 19 hours a day to foreign countries-via PAS-4 to Europe, Asia and Africa, and via PAS-1 to North America.


title: Television in India

text: The 1980s was the era of DD with shows like "Hum Log" (1984-1985), "Wagle Ki Duniya" (1988), "Buniyaad" (1986–1987) and comedy shows like "Yeh Jo Hai Zindagi" (1984), other than the widely popular dramas like "Ramayan" (1987–1988) and "Mahabharat" (1989–1990) glued millions to Doordarshan and later on "Chandrakanta"(1994–1996). Hindi film songs based programs like "Chitrahaar", "Rangoli", "Superhit Muqabla" and crime thrillers like "Karamchand", "Byomkesh Bakshi". Shows targeted at children included "Divyanshu ki Kahaniyan", "Vikram Betal", "Malgudi Days", "Tenali Rama". It is also noted that Bengali filmmaker Prabir Roy had the distinction of introducing colour television coverage in India in February–March 1982 during the Nehru Cup, a football tournament which was held at Eden Gardens, Kolkata, with five on-line camera operation, before Doordarshan started the same during the Delhi Asian Games in November that year.


title: Television in India

text: The central government (Congress Govt) launched a series of economic and social reforms in 1991 under Prime Minister Narasimha Rao. Under the new policies the government allowed private and foreign broadcasters to engage in limited operations in India. This process has been pursued consistently by all subsequent federal administrations. Foreign channels like CNN, STAR TV and private domestic channels such as Zee TV, ETV, Sun TV and


title: Television in India

text: Asianet started satellite broadcasts. Starting with 41 sets in 1962 and one channel, by 1995, television in India had covered more than 70 million homes giving a viewing population of more than 400 million individuals through more than 100 channels.


title: Television in India

text: Online video streaming, also known as Over-the-top (OTT) services like Netflix, Amazon Prime Video, Hotstar, ZEE5 and others, gained popularity in India after 2015. It created a threat to the Indian television industry. TV viewers has to follow the schedule of TV channels to watch their favorite programs. On the other hand, OTT service providers allows its users to watch their favorite content whenever they want. Moreover, penetration of Internet access in India helps OTT users to access the content from anywhere. This convenience of OTT has helped it to gain popularity among the young internet users in India. The usage of OTT was significantly increased during the national lockdown period (From March 2020 onwards) after the COVID-19 outbreak in India. More people began to watch OTT platforms for foreign content and their spent on TV was significantly reduced.


title: Television in India

text: There are at least five basic types of television in India: broadcast or "over-the-air" television, unencrypted satellite or "free-to-air", Direct-to-Home (DTH), cable television, IPTV and OTT.


title: Television in India

text: Over-the-air and free-to-air TV is free with no monthly payments while Cable, DTH, and IPTV requires a subscription that varies depending on how many channels a subscriber chooses to pay for and how much the provider is charging for the packages. Channels are usually sold in groups or a la carte. All television service providers are required by law to provide a la carte selection of channels.


title: Television in India

text: India is the second largest pay-tv market in the world in terms of subscribers after China and has more than doubled from 32% in 2001 to 66% in 2018.


title: Television in India

text: In India, the broadcast of free-to-air television is governed through state-owned Prasar Bharati Corporation, with the Doordarshan group of channels being the only broadcaster. As such, cable television is the primary source of TV programming in India. Private channels were started in about 1992.


title: Television in India

text: As per the TAM Annual Universe Update – 2015, India had over 167 million households (out of 234 million) with televisions, of which over 161 million have access to Cable TV or Satellite TV, including 84 million households which are DTH subscribers. Digital TV households have grown by 32% since 2013 due to migration from terrestrial and analog broadcasts. TV owning households have been growing at between 8–10%. Digital TV penetration is at 64% as of September 2014. India now has over 850 TV channels (2018) covering all the main languages spoken in the nation and whereby 197 million households own televisions.


title: Television in India

text: The growth in digital broadcast has been due to the introduction of a multi-phase digitization policy by the Government of India. An ordinance was introduced by the Govt. of India regarding the mandatory digitization of the Cable Services. According to this amendment made in the section 9 of the Cable Television Networks (Regulation) Amendment Ordinance, 1995, the I&B ministry is in the process of making Digital Addressable System mandatory. As per the policy, viewers would be able to access digital services only through a set top box (STB).


title: Television in India

text: Starting in December 1991, Star TV Network introduced five major television channels into the Indian broadcasting space that had so far been monopolized by the Indian government-owned Doordarshan: MTV, STAR Plus, Star Movies, BBC, Prime Sports and STAR Chinese Channel. In October 1992, India saw the launch of Zee TV, the first privately owned Indian channel to broadcast over cable followed by Asia Television Network (ATN). A few years later CNN, Discovery Channel and National Geographic Channel made their foray into India. Later, Star TV Network expanded its bouquet with the introduction of STAR World India, STAR Sports, ESPN, Channel V and STAR Gold.


title: Television in India

text: With the launch of the Tamil Sun TV in 1993, South India saw the birth of its first private television channel. With a network comprising more than 20 channels in various South Indian languages, Sun TV network recently launched a DTH service and its channels are now available in several countries outside India. Following Sun TV, several television channels sprung up in the south. Among these are the Tamil channel Raj Television (1993) and the Malayalam channel Asianet launched in 1993 From Asianet Communications Ltd which is the second private channel launched in south India and 3rd private channel in India, Later Asianet launch Kannada channel (Asianet suvarna Now star suvarna) and Telugu (Asianet sitara) channel, Now Asianet is part of star India and it is the leading channel of Star India south and second leading channel in Star India Network after Star plus. Asianet cable network and Asianet broadband is from Asianet Communication Ltd. These three networks and their channels today take up most of the broadcasting space in South India. In 1994, industrialist N. P. V. Ramasamy Udayar launched a Tamil channel called "GEC" (Golden Eagle Communication), which was later acquired by Vijay Mallya and renamed as Vijay TV. In Telugu, Telugu daily newspaper Eenadu started its own channel called ETV in 1995 later diversified into other Indian languages. The same year, another Telugu channel called Gemini TV was launched which was later acquired by the Sun Group in 1998.


title: Television in India

text: Throughout the 1990s, along with a multitude of Hindi-language channels, several regional and English language channels flourished all over India. By 2001, international channels HBO and History Channel started providing service. In 1999–2003, other international channels such as Nickelodeon, Cartoon Network, VH1, Disney and Toon Disney entered the market. Starting in 2003, there has been an explosion of news channels in various languages; the most notable among them are NDTV, CNN IBN and Aaj Tak. The most recent channels/networks in the Indian broadcasting industry include UTV Movies, UTV Bindass, Zoom, Colors, 9X and 9XM. There are several more new channels in the pipeline, including Leader TV.


title: Television in India

text: Currently the major four cable general entertainment channels (GECs) that dominate the TRP rivalry are StarPlus, Sony Entertainment Television, Sab TV, Colors TV and Zee TV.


title: Television in India

text: CAS or conditional access system, is a digital mode of transmitting TV channels through a set-top box (STB). The transmission signals are encrypted and viewers need to buy a set-top box to receive and decrypt the signal. The STB is required to watch only pay channels.


title: Television in India

text: The idea of CAS was mooted in 2001, due to a furore over charge hikes by channels and subsequently by cable operators. Poor reception of certain channels; arbitrary pricing and increase in prices; bundling of channels; poor service delivery by Cable Television Operators (CTOs); monopolies in each area; lack of regulatory framework and redress avenues were some of the issues that were to be addressed by implementation of CAS


title: Television in India

text: It was decided by the government that CAS would be first introduced in the four metros. It has been in place in Chennai since September 2003, where until very recently it had managed to attract very few subscribers. It has been rolled out recently in the other three metros of Delhi, Mumbai and Kolkata.


title: Television in India

text: The Ministry of Information and Broadcasting issued a notification on 11 November 2011, setting 31 March 2015 as the deadline for complete shift from analogue to digital systems. In December 2011, Parliament passed "The Cable Television Networks (Regulation) Amendment Act" to digitize the cable television sector by 2014. Chennai, Delhi, Kolkata, and Mumbai had to switch by 31 October 2012. The second phase of 38 cities, including Bangalore, Chandigarh, Nagpur, Patna, and Pune, was to switch by 31 March 2013. The remaining urban areas were to digitize by 30 November 2014 and the rest of the country by 31 March 2015.


title: Television in India

text: From midnight on 31 October 2012, analogue signals were switched off in Delhi and Mumbai. Pirated signals were available in parts of Delhi even after the date. In Kolkata, on 30 October 2012, the state government refused to switch off analogue signals citing low penetration of set-top boxes (STBs) required for receiving digital signals. The I&B Ministry did not push for switching off of analogue signals in Kolkata. After approximately the Centre estimated that 75% of Kolkata households had installed STBs, the ministry issued a directive to stop airing analogue channels in some parts of the city beginning 16 December and completely switch off analogue signals after 27 December. On 17 December 2012, the West Bengal government openly defied the directive and stated that it would not implement it. The state government then announced that it would extend the deadline to 15 January 2013. The I&B ministry had initially threatened to cancel the license of multi system operators (MSOs) in Kolkata if they did not switch off all analogue channels. However, the ministries softened their stand following a letter from MSOs, explaining how it they were sandwiched between divergent orders from the Central and State Governments.


title: Television in India

text: In Chennai, the deadline was extended twice to 5 November by the Madras High Court. The extension was in response to a petition filed by the Chennai Metro Cable TV Operators Association (CMCOA), who argued at the beginning of November that only 164,000 homes in Chennai had the proper equipment, and three million households would be left without service. When a week later only a quarter of households had their set-top boxes, the Madras High Court further extended the deadline to 9 November. The Ministry of Information and Broadcasting stated that it would allow an additional extension to 31 December. As of March 2013, out of 3 million subscribers, 2.4 million continued to be without set-top boxes.


title: Television in India

text: A similar petition, filed by a local cable operator (LCO), to extend the deadline in Mumbai was rejected by the Bombay High Court on 31 October 2012.


title: Television in India

text: In the second phase, 38 cities in 15 states had to digitise by 31 March 2013. Of the 38, Maharashtra has 9 cities, Uttar Pradesh has 7 and Gujarat has 5.


title: Television in India

text: About 25% of the 16 million households covered did not have their equipment installed before the deadline. Secretary Uday Kumar Varma extended a 15-day grace period. The I&B ministry estimated that as of 3 April 2013, 25% of households did not have set-top boxes. Enforcement of the switchover varied from city to city. Vishakhapatnam had the lowest rate of conversion to the new system at 12.18 per cent. Other cities that had low figures included Srinagar (20 per cent), Coimbatore (28.89 per cent), Jabalpur (34.87 per cent) and Kalyan Dombivli (38.59 per cent).


title: Television in India

text: As of 2016, over 1600 TV satellite television channels are broadcast in India. This includes channels from the state-owned Doordarshan, Disney India owned STAR TV, Sony owned Sony Entertainment Television, Zee TV, Sun Network and Asianet. Direct To Home service is provided by Airtel Digital TV, DD Free Dish, DishTV, Sun Direct, Tata Play and Videocon D2H. Dish TV was the first one to come up in Indian Market, others came only years later.


title: Television in India

text: These services are provided by locally built satellites from ISRO such as INSAT 4CR, INSAT 4A, INSAT-2E, INSAT-3C and INSAT-3E as well as private satellites such as the Dutch-based SES, Global-owned NSS 6, Thaicom-2 and Telstar 10.


title: Television in India

text: DTH is defined as the reception of satellite programs with a personal dish in an individual home. As of December 2012, India had roughly 54 million DTH subscribers.


title: Television in India

text: DTH does not compete with CAS. Cable TV and DTH are two methods of delivery of television content. CAS is integral to both the systems in delivering pay channels.


title: Television in India

text: Cable TV is through cable networks and DTH is wireless, reaching direct to the consumer through a small dish and a set-top box. Although the government has ensured that free-to-air channels on cable are delivered to the consumer without a set-top box, DTH signals cannot be received without the set-top box.


title: Television in India

text: India currently has 6 major DTH service providers and a total of over 54 million subscriber households in as of December 2012. DishTV (a ZEE TV subsidiary), Tata Sky, Videocon D2H, Sun Network owned ' Sun Direct DTH', Bharti Airtel's DTH Service 'Airtel Digital TV' and the public sector DD Direct Plus. As of 2012, India has the most competitive Direct-broadcast satellite market with 7 operators vying for more than 135 million TV homes. India overtook the US as the world's largest Direct-broadcast satellite market in 2012.


title: Television in India

text: The rapid growth of DTH in India has propelled an exodus from cabled homes, the need to measure viewership in this space is more than ever; aMap, the overnight ratings agency, has mounted a peoplemeter panel to measure viewership and interactive engagement in DTH homes in India.


title: Television in India

text: There are IPTV Platforms available for Subscription in India in the main cities as Broadband Internet in many parts of the country, they are


title: Television in India

text: Indian soap opera is by far the most common genre on Indian television. Fiction shows (including thriller dramas and sitcoms) are extremely popular among Indian audiences. There are thousands of television programs in India, all ranging in length, air time, genre and language.


title: Television in India

text: India has a huge advertising industry. In 2021, India's advertising sector generated revenue worth of 74,600 crore rupees, it included all type of advertising. Traditionally organisations, manufacturing industries use to advertise through Television due to its vast reach. Indian TV, print media frequently run advertisings are often type of Surrogate advertisings, False advertisings etc. Alcohol advertising is illegal in India but brands frequently run surrogate advertising campaigns. The Central Consumer Protection Authority (CCPA), the consumer rights protection body of the consumer affairs ministry issued guidelines against surrogate advertising.


title: Television in India

text: Television metrics in India have gone through several phases in which it fragmented, consolidated and then fragmented again. One key difference in Indian culture is that families traditionally limit themselves to owning only one screen.


title: Television in India

text: During the days of the single channel Doordarshan monopoly, DART (Doordarshan Audience Research Team) was the only metric available. This used the notebook method of recordkeeping across 33 cities across India. DART continues to provide this information independent of the Private agencies. DART is one of the rating system that measures audience metrics in Rural India.


title: Television in India

text: In 1994, claiming a heterogeneous and fragmenting television market ORG-MARG (Operations Research Group - Multiple Action Research Group) introduced INTAM (Indian National Television Audience Measurement). Ex-officials of DD (Doordarshan) claimed that INTAM was introduced by vested commercial interests who only sought to break the monopoly of DD and that INTAM was significantly weaker in both sample size, rigour and the range of cities and regions covered.


title: Television in India

text: In 1997, a joint industry body appointed TAM (backed by AC Nielsen) as the official recordkeeper of audience metrics. Due to the differences in methodology and samples of TAM and INTAM, both provided differing results for the same programs.


title: Television in India

text: In 2001, a confidential list of households in Mumbai that were participating in the monitoring survey was released, calling into question the reliability of the data. This subsequently led to the merger of the two measurement systems into TAM. For several years after this, in spite of misgivings about the process, sample and other parameters, TAM was the de facto standard and monopoly in the audience metrics game.


title: Television in India

text: In 2004, a rival ratings service funded by American NRI investors, called Audience Measurement Analytics Limited (aMap) was launched. Although initially, it faced a cautious uptake from clients, the TAM monopoly was broken.


title: Television in India

text: What differentiates aMap is that its ratings are available within one day as compared to TAM's timeline of one week.


title: Television in India

text: Broadcast Audience Research Council (BARC) India is an industry body set up to design, commission, supervise and own an accurate, reliable and timely television audience measurement system for India. It currently measures TV Viewing habits of 183 million TV households in the country, using 30,000 sample panel homes. This will go up to 50,000 in the next couple of years, as mandated by the Ministry of Information & Broadcasting (MIB).


title: Television in India

text: As per BARC India's Broadcast India (BI) 2018 Survey released in July 2018, based on a sample of 3 lakh homes in the country, TV homes in the country have seen a 7.5% jump, outpacing the growth of homes in India which grew at 4.5%. India currently boasts of 298 million homes, of which 197 million have a TV set, having an opportunity of almost 100mn more TV homes in the country.


title: Television in India

text: Guided by the recommendations of the TRAI (Telecom Regulatory Authority of India) and MIB notifications of January 2014, BARC India brings together the three key stakeholders in television audience measurement – broadcasters, advertisers, and advertising and media agencies, via their apex bodies.


title: Television in India

text: BARC India is committed towards establishing a robust, transparent and accountable governance framework for providing data points that are required to plan media spends more effectively.


title: Television in India

text: The role of television media was especially crucial in 2020 as citizens were asked to stay home to fight the pandemic in India. Talking about how media was used as a tool to instill fear and discipline among the public in India during lockdown, an article in Doing Sociology blog discusses how television has so become part and parcel of life, the audio-visual platform was used for image-building and influence by the ruling dispensation on one hand, and utilized by popular brands for keeping the consumer culture up on the other


title: Brittany Allen

text: Brittany Allen (born February 5, 1986) is a Canadian actress. Her first notable role was as Marissa Chandler on "All My Children" from 2009 to 2010, for which she received a Daytime Emmy Award for Outstanding Younger Actress in 2011. In later years, she worked consistently on television, and in the films of her partner, Colin Minihan, including the 2014 film "Extraterrestrial", the 2016 film "It Stains the Sands Red" and the 2018 film "What Keeps You Alive", the latter of which Allen starred in and scored.


title: Brittany Allen

text: She attended Etobicoke School of the Arts in Toronto, Ontario, Canada, and the Sheridan Institute for Technology and Advanced Learning in Oakville, Ontario, for their renowned Music Theatre – Performance Program.


title: Brittany Allen

text: After a few minor roles in TV movies, Allen played the role of Marissa Chandler on "All My Children" from April 21, 2009 to December 21, 2010. For this role, she earned a Daytime Emmy Award in 2011 in the category Younger Actress in a Drama Series. She went on to appear in several TV series, with recurring roles in the Canadian drama "Bomb Girls" and the American science fiction western "Defiance" on the Syfy network.


title: Brittany Allen

text: In 2014, she played the lead role in the science fiction horror film "Extraterrestrial", directed by Colin Minihan of The Vicious Brothers, with whom Allen started an ongoing personal and professional relationship.


title: Brittany Allen

text: In 2015, Allen starred in the psychological thriller "Backgammon" and contributed to the writing of the story for the independent comedy-drama film, "Almost Anything".


title: Brittany Allen

text: In 2016, she teamed up with Minihan again for the unconventional zombie film "It Stains the Sands Red", where Allen acted as executive producer and starred as a lone woman being chased by a single, relentless zombie throughout the desert.


title: Brittany Allen

text: In 2017, Allen starred in the science fiction drama "Incontrol". She also had a co-starring role in the horror film "Jigsaw", a sequel to the "Saw" film franchise.


title: Brittany Allen

text: In 2018, she appeared on the USA Network series "Falling Water", replacing Brooke Bloom in the role of Sabine for the series' second season. She also played the role of Ella Riordan in the second season of NBC's "Taken". The same year she co-starred alongside her "Jigsaw" co-star Hannah Emily Anderson in the thriller "What Keeps You Alive", which she also produced and scored. The film marks her third collaboration with Colin Minihan.


title: Brittany Allen

text: In 2019, she appeared in the horror film "The Prodigy" as Margaret St. James. The same year she appeared as Charlotte/Popclaw in the Amazon superhero black comedy television series, "The Boys".


title: Brittany Allen

text: In 2014, she started dating Canadian director Colin Minihan, whom she met on the set of "Extraterrestrial", which he directed and she starred in.


title: South Indian cuisine

text: South Indian cuisine includes the cuisines of the five southern states of India—Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana—and the union territories of Lakshadweep, Pondicherry, and the Andaman and Nicobar Islands.There are typically vegetarian and non-vegetarian dishes for all five states. Additionally, all regions have typical main dishes, snacks, light meals, desserts, and drinks that are well known in their respective region.


title: South Indian cuisine

text: Coconut is native to Southern India and spread to Europe, Arabia, and Persia through the southwestern Malabar Coast of South India over the centuries. Coconut of Indian origin was brought to the Americas by Portuguese merchants. Black pepper is also native to the Malabar Coast of India, and the Malabar pepper is extensively cultivated there. During classical era, Phoenicians, Greeks, Egyptians, Romans, and Chinese were attracted by the spices including Cinnamon and Black pepper from the ancient port of Muziris in the southwestern coast of India. During Middle Ages prior to the Age of Discovery which began with the end of the 15th century CE, the kingdom of Calicut (Kozhikode) on Malabar Coast was the centre of Indian pepper exports to the Red Sea and Europe at this time with Egyptian and Arab traders being particularly active. The similarities among the five southern states' cuisines include the presence of rice as a staple food, the use of lentils and spices, dried red chilies and fresh green chillies, coconut, and native fruits and vegetables including tamarind, plantain, jackfruit, snake gourd, garlic, and ginger.


title: South Indian cuisine

text: The similarities among the five states' cuisines include the presence of rice as a staple food, the use of lentils and spices, dried red chilies and fresh green chilies, coconut, and native fruits and vegetables including tamarind, plantain, snake gourd, garlic, and ginger. The four cuisines have much in common and differ primarily in the spiciness of the food. From Kerala comes Malabari cooking, with its repertoire of tasty seafood dishes. Hyderabad is the home of the Nizams (rulers of Hyderabad) and ranges from spicy to sour to sweet. Hyderabadi food is full of nuts, dried fruits and exotic, expensive spices like saffron.


title: South Indian cuisine

text: Kerala, Tamil Nadu, south and coastal Karnataka and most parts of Andhra Pradesh use more rice. People also consume ragi, or finger millet, in large quantities in southern Karnataka. North Karnataka, on the other hand, consumes more bajra (pearl millet) and sorghum, while the Telangana state uses more jowar and pearl millet.


title: South Indian cuisine

text: The cuisines of Andhra Pradesh and Telangana are the spiciest in all of India . Generous use of chili and tamarind make the dishes tangy and hot. The majority of dishes are vegetable- or lentil-based. The hot and spicy dishes are a speciality of the region. Mainly vegetarian dishes are served as part of the cuisine of the region.


title: South Indian cuisine

text: Rice is the staple food of the region. Sambar is a special kind of dal prepared in Andhra Pradesh. A traditional Andhra meal comprises five kinds of dishes. To cool the stomach after a spicy meal, curd is served at the end.


title: South Indian cuisine

text: The three regions of Telugu Land vary in their cuisines. The Telangana region, which shares borders with Central India and Vidharba, has more sorghum- and pearl millet-based roti in the staple diet.


title: South Indian cuisine

text: The Rayalaseema districts share borders with eastern Karnataka and Tamil Nadu, and its cuisine has similarities to that of those regions. The more fertile Andhra coastal region has a long coastline along the Bay of Bengal, and its cuisine has a distinctive flavor with the inclusion of seafood.


title: South Indian cuisine

text: Hyderabad, the capital of Telangana, has its own characteristic cuisine, which is considerably different from other Telugu cuisines. The Nizams patronise the Hyderabadi cuisine, which is very much like the Nawabi and Lucknowi cuisine. The only difference is that the Nizams of Hyderabad prefer their food to be spicier, resulting in the distinct Hyderabadi cuisine, which includes delicacies like kacche gosht (raw meat) ki biryani, dum ka murgh (chicken cooked in Hyderabadi style), baghara baingan (eggplant), and achaari subzi (vegetable gravy with the taste of pickles).


title: South Indian cuisine

text: All three regions — Coastal Andhra, Rayalaseema and Telangana — have distinctive cuisines, where in semi-arid Telangana state region millet-based breads (roti) is predominant staple food, while rice is predominant in irrigated Andhra and Rayalaseema regions and ragi is popular in Rayalaseema regions which is predominantly semi-arid. Many of the curries (known as koora), snacks and sweets vary in the method of preparation and differ in name, too.


title: South Indian cuisine

text: Tiffins (breakfast): pesarattu (mung bean pancake), attu, bobbatlu, pulihora or pulihaara (tamarind and lemon rice), upma


title: South Indian cuisine

text: Pickles (pachhallu):(cut raw mango) pickle, maaghaya, gongura pachadi, pandumirapakayala pachadi, tomato pachadi, allam (ginger) pachadi, dosakaya pachadi, dosavakaya, chintakaya (tamarind)


title: South Indian cuisine

text: Pappu (lentils) varieties: thotakura (amaranth–pigeon pea stew) pappu, chukkakoora pappu, menthikura pappu, palakura pappu (spinach – pigeon pea dal), dosakaya (yellow cucumber – pigeon pea stew), tomato, beerakaya, sorakaya


title: South Indian cuisine

text: Chaaru and curd variations: perugupachadi/majjiga chaaru with potlakaya (snake gourd), sorakaya (bottle gourd)


title: South Indian cuisine

text: Sweets: pootarekulu, kaaja, ravva laddu, boondi laddu, pesara laddu, sunnundalu, thokkudu laddu, ariselu, nuvvula laddu


title: South Indian cuisine

text: Raw pachadi-vankaya pachadi, dosakaya vanakaya pachadi, tomato pachadi, cabbage pachadi, pickles of avakaya (mango), usirikaya (Indian gooseberry), ginger, citroen, gongura, tomato, garlic


title: South Indian cuisine

text: Hyderabadi biriyani and various Hyderabadi meat dishes make up part of Hyderabadi cuisine. The rest of Telugu cuisine has various versions of lamb and chicken, and the coastal region has extensive varieties of seafood. Dishes include kodi iguru (chicken stew), kodi pulusu (chicken gravy), chepa pulusu (fish stew), fish fry and prawn curry. Legend goes that the Nizam of Hyderabad had 49 types of Biryanis cooked in his kitchen which churned out delicacies that were an amalgamation of Turkish, Mughlai and Arabic influences blended with native Telugu and Maratha culinary traditions.


title: South Indian cuisine

text: Karnataka has a very diverse cuisine. Some of the most popular and traditional south Indian breakfast preparations like idli, vada and masala dosa are believed to have originated in the temple streets of Udupi in Karnataka. Described as being the mildest in terms of spice content among the cuisines of the five south Indian states, the traditional cuisine of Karnataka is known for its generous use of jaggery, palm sugar and limited use of chili powder; however, Northern Karnataka cuisine, which can be extremely hot in taste, is an exception. Since the percentage of vegetarians in Karnataka is higher than that of other southern states, vegetarian food enjoys widespread popularity.


title: South Indian cuisine

text: Dating back to the Iron Age, Karnataka's cuisine is said to be one of the oldest surviving in the country. It combines a range of flavours, ingredients and cooking techniques from its neighbouring states of Kerala, Andhra Pradesh and Tamil Nadu to the south and Maharashtra to the north, along with its own rich gastronomic history.


title: South Indian cuisine

text: In North Karnataka, the staple grains are sorghum and pearl millet, along with rice. Rotis made out of these two grains, along with side dishes made of eggplant, fresh spiced salads of vegetables sometimes with raw lentils, spiced and stewed lentils are popular and routinely eaten. North Karnataka people also consume a variety of spicy condiments including chutney powders — Shenga pudi (ಶೇಂಗಾ ಪುಡಿ), Gurella pudi (ಗುರೆಳ್ಳ ಪುಡಿ), agasi pudi (ಅಗಸಿ ಪುಡಿ), Ellu chatni pudi (ಎಳ್ಳು ಚಟ್ನಿ ಪುಡಿ)—, raw chutneys and pickles. Of all the other regional cuisines in Karnataka, this is known for its fiery spice level and heat. North Karnataka has a lower per capita meat consumption than most other areas of India. The entire taste and flavours vary from one region to another depending on the availability of ingredients. You can take delight in Udupi, Malnadu, Mangaluru, Kodagu, North and South Karnataka dishes which are worth relishing.


title: South Indian cuisine

text: The north Karnataka cuisines include something like Jolada rotti (ಜೋಳದ ರೊಟ್ಟಿ), Thallipeet which is prepared tastily from Jowar flour. These rotties are enjoyed with spicy and mouthwatering curies namely; Enne kathirikai, Badane kaayi palaya, Jhunka etc. In addition to this you can also hunt for lip-smacking sweets such as Belgaum kunda, godi huggi, yellu and shenga holige, etc.


title: South Indian cuisine

text: The cuisine of coastal Karnataka is marked by widespread use of seafood, coconut and coconut oil. Rice is the staple grain and is the centerpiece of every meal. Gravies called "gassi" in Tulu language made from chicken, fish, meats are served with rice. Lentils and vegetables cooked with coconut, spices and tempered with mustard, curry leaves, and generous asafoetida, in a dish called huli, is also served with rice. A rasam-like preparation called "saaru" is also served with rice. The meal will also contain vegetable side dishes called palya. Other accompaniments include curd-based "tambli", sweet-tangy gojju, pickles and "happala", sandige (fryums) or papads. Some of the distinct breakfast foods served here include bun, biscuit roti, goli bajji, and patrode.The Mangalorean cuisine (Coastal Karnataka) is unique and diverse, owing to the different communities settled in the area. Curry leaves and coconut, along with local spices are the basic ingredients of most Mangalorean dishes. The famous local dishes include Neer dosa, Kori Rotti, Mangalore Buns and Macaroon, to name a few. Also being a coastal region, fish is the staple diet of many Mangaloreans.


title: South Indian cuisine

text: Popular pickles dishes include appemidi (found in Dandeli forest), bettada nelli, lemon, amateykai, and mixed vegetables. Chutneys include ground nut chutney, coconut chutney, and onion chutney.


title: South Indian cuisine

text: Coorgi cuisine is very distinct from the other regional cuisines of Karnataka, much like their culture. The hallmark of Kodava cuisine is the widespread use of pork, game, and meats. Kokum is generously used in their cooking. The staple food remains rice and rice-based preparations like kadambattu, steamed rice dumplings and rice rotis.


title: South Indian cuisine

text: The south Karnataka or the old Mysore cuisine is dominated by ragi, or finger millet, and rice. Ragi in the form of ragi mudde of dumplings or steamed rice is the centerpiece of a meal. Often served with these two dishes are vegetable sides or palya, and a selection of soups known as saaru. Items commonly made are gojju (a type of thick sweet and sour gravy with vegetables), uppinakai (pickled vegetables), tovve (a very mild soup of lentils, sometimes with vegetables), huli (a spiced sour soup of lentils, tamarind, and vegetables), and tili saaru (a type of thin, peppery soup). Certain preparations like bassaaru (a spiced soup of lentil stock with vegetables or greens), uppusaaru (a mild lentil stock based soup often accompanied with a raw chutney), masoppu (mashed spiced greens), and masekai (mashed spiced vegetables), are typical homestyle food from south Karnataka.


title: South Indian cuisine

text: Avare kal (Indian beans) is a popular vegetable consumed during winter. They are used in a variety of dishes including usali, uppittu, huli, and hitakida bele saaru. Rice preparations usually served as the second course of a traditional meals include bisi bele baath, chitranna and "puliyoggare" (tamarind rice).You can savor on the most traditional dish that is Ragi mudde (Raagi ball) which is made from raagi flour. Ragi rotti, Akki rotti, Vangi bath, Kesari bath, Benne dose, Idli and Bisi bele bath are few other dishes you might like to taste.


title: South Indian cuisine

text: Curd is a typical part of every meal in all the regions of Karnataka and is probably the most popular dairy product. Generally, yogurt with rice constitute the final course of a meal. Buttermilk laced with spices and curry leaves is also served with meals, especially during the summer. Ghee and butter are popular cooking mediums for those who can afford them, and are mostly reserved for festivals and special occasions. The South Karnataka cuisine is dominated by steamed rice, and ragi (finger millet) and the traditional dish is the Ragi ball (Ragi mudde). Other must-try dishes include Benne Dose (Butter dose), Akki Roti and Ragi Roti. Also, there is a vast variety of rice dishes, like Bisi bele bhath, Kesari Bath and Vangi Bath.


title: South Indian cuisine

text: The credit for popularising these foods elsewhere in India goes to Udupi hotels. In north India, Udupi hotels are often synonymous with south Indian food, even though the range of foods they serve is mostly restricted to the Karnataka cuisine. These small establishments serve inexpensive vegetarian breakfast dishes throughout the day all over India. The hotels are mostly run by people native to the Canara region. The famous masala dose traces its origin to Udupi cuisine and was subsequently popularised by Udupi restaurants. The Udupi cuisine emphasizes the use of local fruits, vegetables, grains and beans. It is entirely vegetarian food that makes use of jaggery, rice and coconut. It comprises different types of doses and spicy rices.


title: South Indian cuisine

text: Karnataka cuisine includes a wide variety of sweets. Belagavi Kunda, Mysore pak, obbattu/holige, dharwad pedha, pheni, and chiroti are some of the most popular sweets. Other lesser-known sweets include "hungu," kajjaya, coconut mithai, karjikai, rave unde, sajjappa, pakada pappu, chigali, a variety of kadubus, tambittu, paramaanna, and hayagreeva. Most of these sweets are not milk-based, unlike the popular sweetmaking tradition elsewhere in India, but rather are made using jaggery instead of refined sugar. Kosambari (south Indian salad), Pickle, Palya (vegetable side dish), Raita or gojju (vegetable cooked in tamarind juice), desserts, fried dishes, Thovve (cooked dal), huli (a thick broth of lentils and vegetables), Chitranna (rice-based dish), plain rice.


title: South Indian cuisine

text: Some typical breakfast dishes include masala dose, ragi rotti, akki rotti, Vangibath, menthya baath, tomato baath, khara baath, kesari baath, shaavige baath, davanagere benne dose, uppittu, plain, thatte idli (plate idli) and rave idli, Mysooru masale dose, kadubu, poori, and avalakki.


title: South Indian cuisine

text: Lunch items include "huli" (sambar), "thili" (rasam), "kootu", "gojju", a delicacy called bisi bele baath, chitranna, "kosambri" (a type of salad), pachadi, and mosaru bajji.


title: South Indian cuisine

text: Snack items include kodabale, chakkali, nippattu, maddur vade, aamb vade (aambode), goli bajji, and mangalore bun. Children enjoy the tangy Tamarind Chigali.


title: South Indian cuisine

text: Kerala cuisine is very diverse,best classified on the basis of the various communities. Since Kerala's main export is coconuts, almost all of the dishes, irrespective of the variety in the cuisines of the different communities, have coconuts associated with them, either in the form of shavings or the oil or milk extracted from the nut. Seafood is also very popular in the coastal regions and eaten almost every day. Expect a generous use of coconut, chilli and spices, in mouth-tingling local recipes that differ with region and community.


title: South Indian cuisine

text: Vegetarian: olan, paalpradaman, nendarangai chips, aviyal, pulissery, erucherri, sambar, sadhya, rasam, kalan, upperis, pachady, vegetable stew and kichadi


title: South Indian cuisine

text: Non-vegetarian: With Greek, Roman, Chinese, Portuguese, Arab and Dutch traders making their way to the port towns of Kerala, it is no wonder that the food has been cast with a spectacular range of culinary influences. Though there are differences in the taste and style of preparations between north and south Kerala dishes, both use similar vegetables and ingredients. Plantains, coconut, gourds and yam are commonly used. Shrimp coconut curry, fish curry (various versions depending on the region), fish fry, chicken fry with shredded coconuts, fish pickle, podimeen fry, meen thoran (fish with coconut), karimeen (pearl spot fish) pollichathu, shrimp masala, chicken stew, mutton stew, malabari fish curry, fish molly, kallumekka, crabs, Pork Mappas (Panni Mappas), Pork vindallu (Panni Vindallu), Pork Roast, Thalassery biriyani, pearl spot fish, jewel fish, mussels, squid, kappa boiled, kappa (tapioca) vevichathu with non- vegetarian curries. Kerala_Beef_Fry otherwise known as beef ullarthiyathu is a common popular dish available through out Kerala.


title: South Indian cuisine

text: Malabar biriyani is a rice cuisine using khyma rice instead of basmati rice. This biriyani is known as Thalassery biriyani and is the only variety of biriyani in Kerala.


title: South Indian cuisine

text: Snacks: upperi, payasam, banana fry (ethaykkappam or pazham pori), ullivada, kozhukkatta, avalosunda, unniyappam, neeyyappam, unnaykka, thira, churuttu, boli, modhakam, paal vazhaykka, cutlets, halwas, cakes, vattayappam, kinnathappam, and irattymadhuram


title: South Indian cuisine

text: Breakfast: puttu (with banana, kadala curry or payyar curry[moong-dal cyrry]), Appam (velayappam, palappam) with curry, vegetable stew, fish molee, chicken or mutton stew, duck roast, pork masala, egg curry, and idiyappam with kadala curry, pidi with mutton curry or chicken curry, porotta with chicken curry/fry/roast or mutton curry/roast and, idli, dosai with chutney, kanji with dry beans, pickle, pappadam made with black lentils.


title: South Indian cuisine

text: Typical Indian masala dosa (Kerala style), is a combination of shredded, cooked, and fried vegetables with Indian sauce and several spices as the basic stuffing, enveloped by a thick brown dosa made out of a dal and rice batter. To embellish this unique preparation, it is served with hot sambhar and coconut chutney.


title: South Indian cuisine

text: Tamil Nadu has always been a hub for food connoisseurs to take a great pleasure of some of the finest traditional cuisine in the country. The region is known to offer a wide variety of both vegetarian and non-vegetarian dishes with each holding a unique flavoursome taste.


title: South Indian cuisine

text: A typical Tamil meal consists of many spicy and non-spicy dishes. Many of these dishes are generally mixed and eaten with steamed rice, which is the staple food of the region. Except for Brahmins and a couple of non-Brahmin castes, most Tamilians eat non-vegetarian food. However, on a typical day, a Tamil family will eat mostly vegetarian food, and the intake of meat is lower than in most parts of the world.


title: South Indian cuisine

text: Restaurants serving Tamil food are traditionally of two types: so-called "Saivam" restaurants (serving only vegetarian food) and so-called "Asaivam" restaurant (serving both non-vegetarian and vegetarian food). Fresh coffee and tea remain a staple drink served in both restaurants.


title: South Indian cuisine

text: The first category consists of dishes that necessarily are mixed with rice. The sub-categories under this head are: "kuzhambu", "sambar", "paruppu", rasam, and "thayir". There is a great variety of dishes under each sub-category. For example, under "kuzhambu", common dishes include puli kuzhambu, vaththal kuzhambu, Molagu kozhambu, payarru kuzhambu, and mor kuzhambu. Non-vegetarian kuzhambu such as chicken and fish curries are also now commonly mixed with rice meals.


title: South Indian cuisine

text: Foods in the second category are the side dishes that accompany such mixtures, including kootu, poriyal, varuval, thokku, aviyal, usuli, oorukaai, vadaam, vaththal and Pappadam.


title: South Indian cuisine

text: The third category comprises short snacks and their accompaniments, including vada, bonda, bajji, various chutneys, and thayir Pachadi.


title: South Indian cuisine

text: The fourth category encompasses rich and sweet dishes that serve as desserts, including payasam, jigarthanda, kesari bhaat, pongal, palkova, poornalu, and a plethora of other Indian sweets.


title: South Indian cuisine

text: The fifth category includes "tiffin," or light meals, such as idlis, dosa, poori, pongal, uppma, idiyappam, aappam, adai, parotta, and paniyaram. Preparations from the fifth category are served for breakfast and early dinners, and usually not as a midday meal.


title: South Indian cuisine

text: Tamil cuisine primarily offers a light breakfast, a lighter dinner, a heavy midday meal and also evening snacks, which are often served with tea or coffee. The rasam is mixed with rice, and usually eaten with crisps. The last of the courses will invariably be rice with curd or yogurt, usually taken with pickles.


title: South Indian cuisine

text: Throughout the meal, the side dishes are served and eaten with the courses, depending upon one's taste or choice. Side dishes are constantly replenished during any meal. Desserts are served as the last course. After the meal, guests retire to the living room and conclude with bananas and freshly made paan, consisting of betel leaves, betel nuts and lime. Paan is considered a digestive aid.


title: South Indian cuisine

text: Tamil non-vegetarian meals are similar, except that the first and second courses are usually replaced by various biryanis and non-vegetarian gravies.


title: South Indian cuisine

text: In either case, a typical meal (lunch or dinner) will be served on a banana leaf. Meals are often accompanied by various pickles and appalams.


title: South Indian cuisine

text: Food is generally classified into six tastes: sweet, sour, salt, bitter, pungent and astringent. A traditional Tamil culinary belief is that one should include all six tastes in each main meal eaten. Each taste has a balancing ability and including some of each provides complete nutrition, minimises cravings and balances the appetite and digestion.


title: South Indian cuisine

text: Chettinad Cuisine is the cuisine of the Chettinad region of Tamil Nadu. The Chettinad region comprises 76 villages and 2 towns and is dominated by the Chettiar community. Cuisine of Chettinad is uses a variety of freshly ground spices including cumin, fenugreek, fennel, clove, bay leaf, turmeric and tamarind. The cuisine is well known for the complexity of flavours. Celebrated across the country for its brilliant variety of delicacies, Chettinad Cuisine is vibrant, vivid and vivacious by all means. The traditional cuisine of Tamil Nadu's Chettiar community, Chettinad cuisine has a culinary tradition unlike any other. Generally synonymous very spicy food, in reality, Chettinad cuisine is a complex blend of well-balanced flavours.


title: South Indian cuisine

text: Chettinad cuisine is known for its use of a variety of spices in preparing mainly non-vegetarian food. The dishes are hot and pungent with fresh ground masalas, and topped with a boiled egg that is usually considered an essential part of a meal. They also use a variety of sun-dried meats and salted vegetables, reflecting the dry environment of the region. The meat is restricted to fish, prawn, lobster, crab, chicken and mutton. Chettiars do not eat beef and pork.


title: South Indian cuisine

text: Most of the dishes are eaten with rice and rice-based accompaniments such as dosais, appams, idiyappams, adais and idlis. The Chettinad people, through their mercantile contacts with Burma, learnt to prepare a type of rice pudding made with sticky red rice.


title: South Indian cuisine

text: Chettinad cuisine offers a variety of vegetarian and non-vegetarian dishes. Some of the popular vegetarian dishes include idiyappam, paniyaram, vellai paniyaram, karuppatti paniyaram, paal paniyaram, kuzhi paniyaram, kozhakattai, masala paniyaram, adikoozh, kandharappam, seeyam, masala seeyam, kavuni arisi and athirasam.


title: South Indian cuisine

text: Vegetarian: kevar kalli, idli, sambar, vadai, rasam, dosa, thayir sadam (yogurt rice), thayir vadai (yogurt-soaked fritters), kootu (vegetables in wet style), poriyal/kari (vegetables in dry style), murukku, uthappam, idiappam, appalam (deep-fried lentil-flour crisps) and papadum (baked lentil-flour crips), freshly made thayir pachidi (yogurt mixed with fresh vegetables)


title: South Indian cuisine

text: Non-vegetarian: karuvattu kuzhambu (salted, dried fish in sauce), chettinad pepper chicken, fish fry, and kanji with "old fish" gravy


title: Diaper fetishism

text: Diaper fetishism, nappy fetishism or diaperism, is a type of garment fetish or paraphilic infantilism. A person with a diaper fetish derives pleasure from the diaper and/or use of it. Being forced to wear diapers as a form of humiliation was sometimes a behavior encountered in sexual masochism according to the DSM-IV, but any reference to diaper fetishism has been removed in the DSM-5.


title: Diaper fetishism

text: As of September 2015, Huffington Post Arts & Culture published an interview on diaper fetishes. While this clothing fetish is obscure, diaper fetishists engage in the behavior privately or with a partner who shares a mutual interest in the fetish (sexual acts).


title: Diaper fetishism

text: Diaper lovers vary widely in their focus of attention. There is no singular or archetypical behavior; therefore, a wide range of thought patterns and behaviors exist, but all tend to be a harmless and efficacious release from some kind of pressure.


title: Diaper fetishism

text: While wearing diapers, a diaper fetishist generally experiences a comforting feeling. For other diaper fetishists, simply wearing a diaper, the bulky feeling and crinkly noise associated with it, is enough to cause the fetishist a form of erotic pleasure or sexual arousal.


title: Diaper fetishism

text: However, most practice their diaper fantasies (i.e. the wearing of diapers) in a way that would probably not be noticed by passersby on the street. Some diaper wearers wear their diapers for limited amounts of time, while others prefer to wear them on a 24-hour, seven-day schedule.


title: Diaper fetishism

text: Some are aroused from "wetting" (urination) their diapers, others like "messing" (defecation) their diapers or both. Some do not use the diapers at all (beyond wearing) for arousal, or bladder and bowel movements. Others like the squishy feeling of the gel when soaked in water or other liquids, between the legs.


title: Diaper fetishism

text: Diaper fetishists and diaper lovers (DLs) are often associated with adult babies, as both wear diapers, but the former do not engage in childlike behavior, while that is the distinguishing characteristic of adult babies (ABs). The majority of diaper lovers do not engage in any kind of infantile activity and are only interested in diapers. However, in certain individuals it is possible for an overlap to occur, as one can view themselves as neither exclusively an adult baby nor a diaper lover. Hence adult babies and diaper lovers collectively refer to themselves as AB/DLs. Diapers and rubber pants with baby prints are sold in adult sizes.


title: Diaper fetishism

text: Some rubber and plastic fetishists have an affinity for diapers and rubber pants. In the case of disposable diapers, this attraction would be to their crinkly plastic backing. In the case of cloth diapers, it would be towards the latex or PVC of the pants worn over them.


title: Diaper fetishism

text: is a primarily Japanese fetish subculture, in which participants experience arousal from having a full bladder or a sexual attraction to someone else experiencing the feeling of a full bladder. For such fetishists, climax usually coincides with the moment of relief and embarrassment experienced when the desperate individual loses bladder control. Some subsets of omorashi fandom utilize diapers, in which case it is referred to as "omorashi omutsu", or less commonly, "omorashi oshime", both of which translate as "to wet oneself in a diaper."


title: Diaper fetishism

text: The South Korean public often views diapers in a negative light. A disclosed Naver cafe (similar to the Yahoo! Groups service) that is devoted to diaper fetishism was closed around September 2010 as the South Korean media outlets portrayed it negatively to the general public. Another incident occurred when a South Korean girl group, Girl's Day, were accused of wearing costumes that looked like oversized diapers, dubbed "diaper fashion". On June 9, 2012, Korean hip hop artist Yang Dong-geun was shown on "Saturday Night Live Korea" in a comical commercial spoof for adult diapers for men.


title: Roma Maffia

text: Roma Maffia grew up in Brooklyn, New York and is of English, German and West Indian descent. Her Italian surname reportedly comes from her stepfather.


title: Roma Maffia

text: Maffia began her official acting career in off-Broadway and off-off-Broadway productions. In 1994, she played Carmen in director Ron Howard's film "The Paper". Soon after, she landed a role on the television series "Chicago Hope". Maffia's television career continued as she played Grace Alvarez, the forensic pathologist for the Violent Crimes Task Force for four seasons on "Profiler". She has had guest-starring and recurring roles on shows such as "ER", "The West Wing", and "Law & Order."


title: Roma Maffia

text: Her most widely seen performances may be playing Seattle attorney Catherine Alvarez in the film "Disclosure" (1994), starring Michael Douglas and Demi Moore. She followed this with a series of performances as Vanessa Galiano in the TV series "Law & Order" and as Judge Victoria Peyton on "Boston Legal".


title: Roma Maffia

text: From 2003 to 2010 Maffia appeared as Liz Cruz on the FX Network series "Nip/Tuck", the anesthesiologist colleague of two dysfunctional plastic surgeons. Maffia and Julian McMahon also worked together on the TV show "Profiler". Maffia is a 1973 graduate of St. Michael Academy. Maffia had a supporting role on "Pretty Little Liars" from season 4 to season 7. Her character Linda Tanner is a savvy, no-nonsense state investigator working on unsolved murder cases in the fictional town of Rosewood, Pennsylvania.


title: Roma Maffia

text: She appeared in Season 4 of "In the Dark" as Paula Romano, a drug dealer who deals a drug called "Bolt" both in and out of prison.


The 309th Aerospace Maintenance and Regeneration Group (309th AMARG), often called The Boneyard, is a United States Air Force aircraft and missile storage and maintenance facility in Tucson, Arizona, located on Davis–Monthan Air Force Base. The 309th AMARG was previously Aerospace Maintenance and Regeneration Center, and the Military Aircraft Storage and Disposition Center, and its predecessor was established after World War II as the 3040th Aircraft Storage Group.


title: 309th Aerospace Maintenance and Regeneration Group

text: The 309th AMARG takes care of nearly 4,000 aircraft, which makes it the largest aircraft storage and preservation facility in the world. An Air Force Materiel Command unit, the group is under the command of the Ogden Air Logistics Complex at Hill Air Force Base, Utah. The 309th AMARG was originally meant to store excess Department of Defense and Coast Guard aircraft, but has in recent years been designated the sole repository of out-of-service aircraft from all branches of the US government. The facility has also received US-made foreign military aircraft such as the Boeing CC-137 (from RCAF for use in the E-8 JSTARS program) and the Lockheed CP-140A Arcturus (2 from RCAF). The arid climate of the region makes the 309th AMARG an ideal location for storing aircraft, as there is very little humidity in the air that would corrode metal.


text: The first predecessor of the 309th AMARG was established in 1946 as the 4105th Army Air Forces Base Unit (Aircraft Storage) to house Boeing B-29 Superfortress and Douglas C-47 Skytrain aircraft. Davis–Monthan Field was chosen because of Tucson's low humidity, infrequent rainfall, alkaline soil, and high altitude of , reducing rust and corrosion. The hard soil makes it possible to move aircraft around without having to pave the storage areas.


text: In 1948, after the Air Force's creation as a separate service, the unit was renamed the 3040th Aircraft Storage Depot. In 1965, the Military Aircraft Storage and Disposition Center was organized and tasked with processing aircraft for all the United States armed forces, not just the Air Force. The Navy had operated its own boneyard at Naval Air Station Litchfield Park at Goodyear, Arizona, for Navy, Marine Corps and Coast Guard aircraft. In February 1965, some 500 aircraft were moved from Litchfield Park to Davis–Monthan. NAS Litchfield Park was finally closed in 1968.


text: In the 1980s, the center began processing intercontinental ballistic missiles for dismantling or reuse in satellite launches, and was renamed the Aerospace Maintenance and Regeneration Center (AMARC) to reflect the expanded focus on all aerospace assets.


text: In the 1990s, in accordance with the START I treaty, the center was tasked with eliminating 365 Boeing B-52 Stratofortress bombers. The progress of this task was to be verified by Russia via satellite and first-person inspection at the facility. Initially, the B-52s were chopped into pieces with a 13,000 pound guillotine winched by a steel cable supported by a crane. Later on, the tool of choice became K-12 rescue saws. This more precise technique afforded AMARC with salvageable spare parts.


text: In May 2007, the AMARC was transferred to the 309th Maintenance Wing, and the center was renamed the 309th Aerospace Maintenance and Regeneration Group (AMARG).


text: AMARG employs approximately 500 DoD civil servants and 200 contractors. The facility is adjacent to the base. On average, AMARG annually returns approximately $500 million worth of spare parts to military, government, and allied customers. Congressional oversight determines what equipment may be sold to which customer.


text: On average the Group annually receives 300 aircraft for storage and processes out about the same number (with 50 to 100 of those returning to flying service). Aircraft that fly again either return to the US military, U.S. government agencies such as the U.S. Coast Guard, U.S. Forest Service, and NASA, or are sold to allied governments under the Foreign Military Sales program.


text: AMARG is a controlled-access site, and is off-limits to anyone not employed there without the proper clearance. A bus tour conducted by the nearby Pima Air & Space Museum has been discontinued indefinitely due to the COVID-19 pandemic. Bus tours were conducted Monday through Friday. From April 2013 onwards the base had hosted an annual 10K/5K run/walk which was open to the general public.


text: AMARG has been used as a filming location in several films and television productions, despite security. The most recent and notable of these is "". The exterior scenes of the Smithsonian set were actually filmed in the Boneyard.


title: Candyman: Farewell to the Flesh

text: Candyman: Farewell to the Flesh is a 1995 American supernatural slasher film directed by Bill Condon and starring Tony Todd, Kelly Rowan, William O'Leary, Bill Nunn, Matt Clark and Veronica Cartwright. Written by Rand Ravich and Mark Kruger, it is a sequel to the 1992 film "Candyman", which was an adaptation of Clive Barker's short story, "The Forbidden". Its plot follows a New Orleans schoolteacher who finds herself targeted by the Candyman, the powerful spirit of the murdered son of a slave who kills those who invoked him.


title: Candyman: Farewell to the Flesh

text: Unlike its predecessor, the film received negative reviews from critics. It was followed by a third film, "", which was released in 1999 and set in 2020, and a fourth film, titled "Candyman", a direct sequel to the original 1992 film, which was released in 2021 and set in 2019.


title: Candyman: Farewell to the Flesh

text: Three years after the Candyman murders in Chicago, Professor Phillip Purcell writes a book about the Candyman legend and hosts a lecture event in New Orleans discussing his life. He reveals his real name to be Daniel Robitaille and that he was born to enslaved Africans after the civil war. For amusement, he jokingly summons the Candyman in a mirror-like reflection of his book.


title: Candyman: Farewell to the Flesh

text: After the event, Purcell runs into Ethan Tarrant, one of the attendees. Ethan's father, Coleman, was murdered while investigating the deaths of three men in a manner similar to the Candyman legend. He warns Purcell about the Candyman, but Purcell ignores him. Going to a nearby bar, Purcell is killed by the Candyman in the restroom. The case is handled by Detective Ray Levesque and his partner, Pam Carver. They consider Ethan a suspect given his confrontation with Purcell.


title: Candyman: Farewell to the Flesh

text: Ethan's mother, Octavia, and his younger sister Annie, an art teacher, come to the station to defend him. Ethan is pressured by Levesque, who believes him to be guilty. In the meantime, Matthew Ellis, one of Annie's students, claims to have seen the Candyman. Annie tries to discredit the legend by invoking his name. Her husband, Paul, becomes one of his victims. The Candyman stalks Annie so he may kill her, and reveals that she is pregnant with Paul's daughter.


title: Candyman: Farewell to the Flesh

text: At home one morning, Annie gets a visit from a couple of her students about Matthew disappearing. Annie meets with his father, Reverend Ellis, and learns Matthew had dreams of the Candyman and sketched out the events of his death. After talking with Ethan to uncover more on their father's murder, Annie visits Honore Thibideaux, Coleman's friend, unaware that Levesque is following her as a suspect. Honore tells Annie about Daniel Robitaille and his affair with a white woman named Caroline that led to his death and earning him the name "Candyman". Caroline's father taunted the dying Daniel with Caroline's mirror, capturing a part of his soul. Caroline hid the mirror in Daniel's birthplace and granted him the ability to kill when called upon. Annie's father believed that if the mirror is destroyed, it will end the curse.


title: Candyman: Farewell to the Flesh

text: The Candyman appears and kills Honore. Levesque finds Honore's body and believes Annie killed him. Annie returns to Matthew's house and his father shows her documents of Daniel's birth and realizes he was born in the same house she was. The reverend leads Annie to a cemetery where she sees his grave with Caroline buried next to him and indicating that they had a daughter named Isabel. Going through old family pictures, Annie discovers she is a descendant of theirs and that Caroline bought Daniel's house where Annie and Ethan later grew up as children, and where Ethan discovered Coleman died as a result of him summoning the Candyman to defeat him.


title: Candyman: Farewell to the Flesh

text: At the police station, Levesque tries to get Ethan to admit that Annie did the killings and he is covering for her. Levesque is killed by the Candyman after summoning him to mock Ethan, who is shot dead when he tries to escape. Annie confronts Octavia about the Candyman, and Octavia admits that Coleman tried to link their family to the Candyman, and continues to deny him to protect her family's name; incensed by her disbelief, the Candyman kills her, and Annie flees. With the police on her trail, Annie runs into Carver, who tells her she has seen how Levesque died on camera footage. She lets Annie escape.


title: Candyman: Farewell to the Flesh

text: Annie goes to Daniel's birthplace and finds Matthew in an old shed. She falls through the stairs into the flooded basement, where she finds Caroline's mirror and the Candyman. Before he can sacrifice her, Annie destroys the mirror, annihilating him. The slave quarters crashes into the river, but Matthew saves Annie. Annie returns Matthew home where they both are blessed by Reverend Ellis at his church.


title: Candyman: Farewell to the Flesh

text: Five years later, Annie teaches her young daughter Caroline about her family history, naming her after Daniel's lover. After Annie kisses her goodnight and leaves the room, Caroline starts to chant the Candyman's name. Annie stops her and tells her to go to bed.


title: Candyman: Farewell to the Flesh

text: According to Virginia Madsen, Bernard Rose, the director of the 1992 "Candyman" film originally had another concept in mind for the sequel:


title: Candyman: Farewell to the Flesh

text: In 2020, "Bloody Disgusting" reported that there was another unmade follow-up, titled "Candyman II: The Midnight Meat Train". Rose was meant to be the director once again, and it was supposed to be about "a mythical figure" haunting the early 1990s London. The sequel would have been "somewhat based" on Clive Barker's "Books of Blood" short story, taking place in the subway. Rose further elaborated:


title: Candyman: Farewell to the Flesh

text: The "Midnight Meat Train"-inspired follow-up went unproduced because the studio found its screenplay too risky. The only scene from Rose's draft of the movie left in the actual sequel — "Candyman: Farewell to the Flesh" — is the one featuring Professor Phillip Purcell (Michael Culkin), the surviving character from the first film. Actress Tuesday Knight was reported to have turned a role down in "Farewell to the Flesh", claiming that it was the only horror film that she regrets turning down.


title: Candyman: Farewell to the Flesh

text: Filming took place in New Orleans, Louisiana and Los Angeles, California. Principal photography began on August 16, 1994, and filming wrapped on October 19 of the same year.


title: Candyman: Farewell to the Flesh

text: The film holds a 22% approval rating on Rotten Tomatoes based on 32 reviews with an average score of 4.3/10. The critics consensus reads, "Doubling down on gore while largely abandoning the subtext and wit that made the original worthwhile, "Candyman: Farewell to the Flesh" disappoints."


title: Candyman: Farewell to the Flesh

text: Leonard Klady of "Variety" called it "a case of diminishing artistic returns but not, thankfully, a victim of the terrible twos". Caryn James of "The New York Times" called it a "sluggish, predictable, low-rent sequel". Kevin Thomas wrote that the film "overflows with blood and guts, drowning a potent metaphor for African American rage and oppression". Owen Gleiberman of "Entertainment Weekly" rated it D and wrote, "This cloddish sequel undermines its revenge-of-the-repressed premise with racist scare tactics". The "Chicago Tribune"s Michael Wilmington compared the film negatively against its predecessor, adding that "Director Bill Condon can barely keep his camera still; perhaps he's trying to escape. The script is the usual farrago about an invincible monster slaughtering everyone while pursuing the heroine with what seems unusual patience and discretion."


title: Candyman: Farewell to the Flesh

text: The "Austin Chronicle"'s Marc Savlov noted that the film "elicits considerable chills", and Tony Todd is "effective as the phantasmic Candyman". He also praised Philip Glass's "wonderfully resonant score", and called "Farewell to the Flesh" a "sequel that actually outperforms the original". Writing for "The Washington Post", Richard Harrington hailed the film a "compulsive chiller", and praised Todd's acting abilities.


title: Candyman: Farewell to the Flesh

text: MGM Home Entertainment released "Candyman: Farewell to the Flesh" on DVD on August 28, 2001. Scream Factory released the film on Blu-ray on January 6, 2015, featuring an audio commentary with Director Condon among other bonus materials.


title: Mary Jane's Last Dance

text: "Mary Jane's Last Dance" is a song written by Tom Petty and recorded by American rock band Tom Petty and the Heartbreakers. It was recorded while Petty was recording his "Wildflowers" album and was produced by Rick Rubin, guitarist Mike Campbell, and Petty. The sessions would prove to be the last to include drummer Stan Lynch before his eventual departure in 1994. This song was first released as part of the "Greatest Hits" album in 1993. It rose to 14 on the US "Billboard" Hot 100, becoming Petty's first "Billboard" top-20 hit of the 1990s, and also topped the "Billboard" Album Rock Tracks chart for two weeks. Internationally, the song reached No. 2 in Portugal and No. 5 in Canada.


title: Mary Jane's Last Dance

text: Asked if the song was about drugs, Heartbreaker guitarist Mike Campbell said, "In the verse there is still the thing about an Indiana girl on an Indiana night, just when it gets to the chorus he had the presence of mind to give it a deeper meaning. My take on it is it can be whatever you want it to be. A lot of people think it's a drug reference, and if that's what you want to think, it very well could be, but it could also just be a goodbye love song." In the rest of the interview, Campbell said that the song was originally titled "Indiana Girl" and the first chorus began, "Hey, Indiana Girl, go out and find the world." He added that Petty "just couldn't get behind singing about 'hey, Indiana Girl,'" so he changed the chorus a week later.


title: Mary Jane's Last Dance

text: The music video for the song features Petty as a morgue assistant who takes home a beautiful dead woman (played by Kim Basinger). He then acts as if she were alive, putting her in front of a television set and then dressing her as a bride, sitting her at the dinner table and dancing with her. A scene in the video featuring the dead woman wearing a wedding dress in a room full of wax candles is loosely based on a passage from the Charles Dickens novel "Great Expectations". The plot also has similarities with the 1970 Charles Bukowski short story "The Copulating Mermaid of Venice, California", which had already inspired the 1987 Belgian film "Crazy Love" and the 1991 French film "Cold Moon".


title: Mary Jane's Last Dance

text: Later, Petty is shown carrying her to a rocky shore (a scene filmed at Leo Carrillo State Park in California) and gently releasing her into the sea. At the end of the video, Basinger, who is seen floating in the water, opens her eyes.


title: Mary Jane's Last Dance

text: In 2006, a US radio station claimed that Red Hot Chili Peppers hit single, "Dani California" had plagiarized "Mary Jane's Last Dance", even calling for Petty to sue the band. Longtime Petty and Chili Peppers producer Rick Rubin produced both songs. Petty responded by saying that he was not going to sue the Chili Peppers and felt that there was no negative intent and that a lot of rock and roll songs sound alike. The main riff in Petty's song, however, resembles the main riff in another song called "Waiting for the Sun" which was released in 1992 by The Jayhawks. The Jayhawks were the opening act for Petty's tour in 1992 and keyboardist Benmont Tench played on both "Waiting for the Sun" and "Mary Jane's Last Dance".


title: Pearl Harbor advance-knowledge conspiracy theory

text: Various conspiracy theories allege that U.S. government officials had advance knowledge of Japan's December 7, 1941, attack on Pearl Harbor. Ever since the Japanese attack, there has been debate as to why and how the United States had been caught off guard, and how much and when American officials knew of Japanese plans for an attack. In September 1944, John T. Flynn, a co-founder of the non-interventionist America First Committee, launched a Pearl Harbor counter-narrative when he published a 46-page booklet entitled "The Truth about Pearl Harbor", arguing that Roosevelt and his inner circle had been plotting to provoke the Japanese into an attack on the U.S. and thus provide a reason to enter the war since January 1941.


text: Several writers, including journalist Robert Stinnett, retired U.S. Navy Rear Admiral Robert Alfred Theobald, and Harry Elmer Barnes have argued that various parties high in the government of the United States and the United Kingdom knew of the attack in advance and may even have let it happen or encouraged it in order to ensure America’s entry into the European theatre of World War II via a Japanese–American war started at "the back door". However, the Pearl Harbor advance-knowledge conspiracy is rejected by most historians as a fringe theory.


text: The U.S. government made nine official inquiries into the attack between 1941 and 1946, and a tenth in 1995. They included an inquiry by Secretary of the Navy Frank Knox (1941); the Roberts Commission (1941–42); the Hart Inquiry (1944); the Army Pearl Harbor Board (1944); the Naval Court of Inquiry (1944); the Hewitt investigation; the Clarke investigation; the Congressional Inquiry (Pearl Harbor Committee; 1945–46); a top-secret inquiry by Secretary of War Henry L. Stimson, authorized by Congress and carried out by Henry Clausen (the Clausen Inquiry; 1946); and the Thurmond-Spence hearing, in April 1995, which produced the Dorn Report. The inquiries reported incompetence, underestimation, and misapprehension of Japanese capabilities and intentions; problems resulting from excessive secrecy about cryptography; division of responsibility between Army and Navy (and lack of consultation between them); and lack of adequate manpower for intelligence (analysis, collection, processing).


text: Investigators prior to Clausen did not have the security clearance necessary to receive the most sensitive information, as Brigadier General Henry D. Russell had been appointed guardian of the pre-war decrypts, and he alone held the combination to the storage safe. Clausen claimed, in spite of Secretary Stimson having given him a letter informing witnesses he had the necessary clearances to require their cooperation, he was repeatedly lied to until he produced copies of top secret decrypts, thus proving he indeed had the proper clearance.


text: Stimson's report to Congress, based on Clausen's work, was limited due to secrecy concerns, largely about cryptography. A more complete account was not made publicly available until the mid-1980s, and not published until 1992 as "Pearl Harbor: Final Judgement". Reaction to the 1992 publication has varied. Some regard it as a valuable addition to understanding the events, while one historian noted Clausen did not speak to General Walter Short, Army commander at Pearl Harbor during the attack, and called Clausen's investigation "notoriously unreliable" in several aspects.


text: Some authors argue that President Roosevelt was actively provoking Japan in the weeks prior to the Pearl Harbor attack. These authors assert that Roosevelt was imminently expecting and seeking war, but wanted Japan to take the first overtly aggressive action.