John Reid (born 9 September 1949) is a music manager, known for being the manager and former lover of singer Elton John, as well as for managing the British rock band Queen.

Life and career
Reid was born in Paisley, Renfrewshire, Scotland, the son of John Reid, a welder, and Betty, a shop worker. Apart from three years in New Zealand, he was brought up in the Gallowhill district of Paisley. He attended St Mirin's Academy, where he was a fellow pupil with singers Gerry Rafferty and Joe Egan. At the age of 16 he attended Stow College in Glasgow where he studied marine engineering, but dropped out to move to London in 1967.

Reid began his music management career in 1967 at the age of 18 as a promoter for EMI. At the age of 19, he became the Tamla Motown label manager for the UK. In 1971, Reid set up his own company with a few hundred pounds in savings and a £5,000 loan.

In 1970, Reid met Elton John, then known as Reg Dwight, at a Motown Christmas party. They moved in with each other, and began a romantic relationship as well as a business one, as John became Reid's first client. Their personal relationship ended after five years, but he remained John's manager until 1998. Their professional relationship ended over a leaked letter detailing John's spending, which was found by Benjamin Pell and published in the Daily Mirror. The ending of their business relationship in 1998 led to a legal action in 2000. Reid settled out of court by paying John £3.4 million. Reid's company earned more than £73 million from representing John between 1970 and 1998.

In 1974, in New Zealand, in a widely reported incident, Reid threw champagne in the face of a party host and punched the Auckland model and journalist Judith Baragwanath in the face when she came to the man's defence, sending her to the floor. Later the same night, he was involved in an altercation with a second journalist at a nightclub. He was convicted and sentenced to a month in prison for assault, and settled with Baragwanath for NZ $2500. Between 1975 and 1978, Reid was the manager of British rock group Queen.

In 1994, he was the manager for Irish dancer Michael Flatley. After Flatley left Riverdance and ended his relationship with Reid, Flatley paid Reid approximately £1 million to settle a wrongful termination lawsuit. Reid retired from management in 1999. In 2005 and 2006, Reid was a judge on the Australian version of The X Factor alongside Mark Holden and Kate Ceberano.

In 1998, Reid sold his art collection, estimated to have been worth £2 million.

In popular culture
Reid was portrayed by Aidan Gillen in the 2018 Queen biopic Bohemian Rhapsody, and by Richard Madden in the 2019 Elton John biopic Rocketman. Both actors are known for their previous roles in the television series, Game of Thrones.

References

1949 births
Living people
Businesspeople from Paisley, Renfrewshire
Elton John
Gay businessmen
Scottish gay men
People educated at St Mirin's Academy
Alumni of Stow College
Queen (band)
Scottish expatriates in Australia
Scottish music managers
Scottish television personalities
Scottish LGBT businesspeople

John Reid (music manager)


Indian Lake Estates is an unincorporated community in Polk County, Florida, United States. Indian Lake Estates is located on the eastern shore of Lake Weohyakapka (Lake Walk-in-Water),  east-southeast of Lake Wales.

History
El Dorado Estates, Inc. was incorporated in January 1955, with Washington, D.C. real estate developer Leon Ackerman as its only shareholder. In October 1955, the company's name was changed to Indian Lake Estates, Inc. and it purchased a large tract of undeveloped land on the shores of Lake Walk-in-Water, about 19 miles southeast of Lake Wales. The company purchased the 12-square-mile tract for $222,000, or roughly $35 per acre.

Ackerman envisioned an exclusive gated community of 15,000 residents, complete with golf course, country club, marina, and pier on Lake Walk-in-Water. In December 1955, the first plat of the 7,200-acre community was recorded at the county courthouse. The company invested millions to build a network of canals near the lake, a quarter-mile pier, and 200 miles of roads throughout the development, of which 98 miles are paved. Prices for half-acre lots in the community started at $2,250. However, most of the buyers of plots were land speculators and only about 150 homes were built in the initial years after the community was founded. By 1959, financial problems seemed imminent and the following year Ackerman sold his interest in the company to Alaska Oil & Mineral Company, Inc. However, the Indian Lake Estates, Inc. went bankrupt in April 1965. As of 2009, there are about 700 homes, mostly near the lake or golf course, on the community's over 8,000 lots.

Notable residents
Harold Edward "Red" Grange (1959-1991)

References

External links

Unincorporated communities in Polk County, Florida
Unincorporated communities in Florida

Indian Lake Estates, Florida


A Long Long Way is a novel by Irish author Sebastian Barry, set during the First World War.

Plot synopsis
The young protagonist Willie Dunne leaves Dublin to fight voluntarily for the Allies as a member of the Royal Dublin Fusiliers, leaving behind his prospective bride Gretta and his policeman father. He is caught between the warfare playing out on foreign fields (mainly at Flanders) and that festering at home, waiting to erupt with the Easter Rising.

Reception
The novel was shortlisted for the Booker Prize in 2005.

In a 2009 US National Public Radio interview, author R. L. Stine stated that A Long Long Way was one of the most beautifully written books he had ever read, and gave copies of the novel to friends and family to read.

References

2005 Irish novels
Novels by Sebastian Barry
Novels set during World War I
Viking Press books

A Long Long Way


John Pory (1502/03–1570) was an English churchman and academic, Master of Corpus Christi College, Cambridge.

Life
Born at Thrapstone, Northamptonshire, Pory was admitted to Corpus Christi College, Cambridge in 1520. He graduated B.A. in 1524, M.A. in 1527, B.D. in 1535, and D.D. in 1557. He was elected about 1534 fellow of Corpus and also of the college of St. John the Baptist at Stoke-by-Clare, Suffolk, where Matthew Parker, to whose friendship Pory owed preferments, was dean.

In 1557 Pory was elected Master of Corpus, and on 13 December of the year following he became vice-chancellor of Cambridge University. From 1555 to 1564 he was rector of Bunwell, Norfolk; from 1555 or 1556 till 1561 vicar of St Stephen's Church, Norwich; from 1558 to 1569 rector of Landbeach, Cambridgeshire; from 21 December 1559 prebendary of Ely Cathedral; from 19 August 1560 rector of Pulham St. Mary, Norfolk; and from 1 May 1564 prebendary of Canterbury Cathedral, resigning this prebend in 1567 for the seventh stall at Westminster Abbey.

On the visit of Queen Elizabeth I to Cambridge in August 1564, Pory was one of the four senior doctors who held the canopy over her as she entered King's College Chapel. He also took part in the divinity act held before the queen, on the thesis major est scripturæ quam ecclesiæ auctoritas. He afterwards attended Elizabeth when she visited Oxford in 1566, and was incorporated there. During his mastership a new library was fitted up in his college, the north side of which was reserved for the manuscripts which Parker was intending to present. Pory also persuaded him to increase the endowment.

Pory declined to resign his mastership when disabled by failing health from performing his duties; and Parker instigated complaints against him before the ecclesiastical commissioners. Pressure was applied before Pory withdrew, and Thomas Aldrich was appointed master of Corpus on 3 February 1570. Pory gave up all his preferments about the same time. He died at Thompson, Norfolk, and was buried there on 25 June 1570.

Notes

Attribution

.

1570 deaths
16th-century English Anglican priests
Masters of Corpus Christi College, Cambridge
People from Thrapston
Year of birth uncertain
Vice-Chancellors of the University of Cambridge
Fellows of Corpus Christi College, Cambridge

John Pory (priest)


Sharper is a 2023 American crime thriller film directed by Benjamin Caron and written by Brian Gatewood and Alessandro Tanaka. The film stars Julianne Moore (who also served as a producer), Sebastian Stan, Justice Smith, Briana Middleton, and John Lithgow.

Sharper was released in select theaters in the United States on February 10, 2023, by A24, before its streaming release on February 17, 2023, by Apple TV+.

Plot

Tom
Tom is the owner of a used bookstore in New York City. One day, a woman named Sandra comes in looking for a book, and after initially declining his advances, begins a romance with him. Weeks into their relationship, Sandra tells Tom that her brother is in debt and must pay $350,000 or be killed. Tom reveals that his father is wealthy, and offers to cover the debt. After he gives the money to Sandra, she disappears, pushing Tom into a nervous breakdown.

"Sandra"
"Sandra" is revealed to be Sandy, a parolee with a long criminal history. One night, before her relationship with Tom, Sandy is meeting with a corrupt parole officer, who attempts to shake the former down for money. The officer is paid off by an apparently wealthy man, Max, who is actually a con artist. Max takes Sandy on as a protégé, and trains her to pull cons. After taking down their first mark together, the two kiss.

Max
Before his partnership with Sandy, Max visits his mother, Madeline, and her new boyfriend, billionaire Richard Hobbes, at Richard's lavish apartment. A seemingly drunk Max convinces Madeline to allow him to stay at Richard's apartment. The next day, Madeline and Richard come home to Max apparently being arrested for soliciting drugs from an undercover police officer. Madeline quickly realizes that Max is pulling a con to have Richard pay off the officer, Max's partner Tipsy. Madeline forces Max to leave the apartment. It is later revealed that Madeline and Max are not mother and son, but lovers who are targeting Richard.

Richard meets with Max, and offers him $60,000 a month to leave town. Max demands a year's salary in cash in advance in order to leave Madeline alone to be with Richard. While meeting with him, Max also meets Richard's son—Tom, who has not yet met Sandy. Max, Madeline, and Tipsy celebrate a successful job, but that evening, Madeline tells Max that Richard wants to marry her, and she will be staying with him. Max escapes from the police Madeline has called and leaves with the money.

Madeline
Richard dies, leaving the vast majority of his estate to Madeline. Due to Richard's misgivings about Tom after the incident with Sandy, Tom has been left only the bookstore and a trust. He has also been named chairman of Richard's foundation, while Madeline is a trustee.

Tom hires an old family friend, Braddock, to locate "Sandra". Despite Madeline's attempts to convince Tom to call off the investigation, Sandy is found, heavily addicted to heroin. Tom wants her to stay at the apartment while she goes through detox, but Madeline is reticent. She speaks to Sandy, who reveals that she knows the connection between Madeline and Max. In return for her silence, Sandy demands that Madeline track down Max so she can confront him about abandoning her.

Max agrees to meet with Sandy and Madeline. During the meeting, Tom and Braddock arrive to confirm Tom's suspicions that the three had been working together. Tom pulls a gun on Sandy, then on Madeline. Sandy forces the gun out of Tom's hands, and it is picked up by Madeline, who apparently shoots and kills Tom after he forces her to point the gun at him and pull the trigger. Desperate to avoid prison, Madeline immediately transfers all the money to Richard's foundation.

Madeline, Max, and Sandy are put on a plane to Oklahoma City. Madeline reminds Max that she will retain control of the money, since Tom is dead and she is the trustee of Richard's foundation. After a distraught Sandy retreats to the plane's toilet, Madeline realizes that the blood on her sleeve is not real, meaning Tom is alive. When Madeline checks the plane's toilet, Sandy is gone.

Sandy
The true nature of the scheme is revealed; having fallen in love with Tom, Sandy confesses her true identity to him, and the two devise a plan to con Madeline and Max, enlisting Tipsy and his partner Goldie—who posed as "Braddock"—to assist them. The meeting between Sandy and Max was planned, as was Tom's apparent shooting at Madeline's hands. Since Tom is still alive, he maintains control over the foundation and the money. Tom, Sandy, Tipsy, and Goldie meet at the bookstore to celebrate their success. Tom and Sandy rekindle their relationship.

Cast

Production
In March 2021, it was announced that A24 would produce the film for Apple TV+, directed by Benjamin Caron and starring Julianne Moore, based on a script written by Brian Gatewood and Alessandro Tanaka that was part of the 2020 The Black List of screenplays that will not be released in theaters during this calendar year. In July 2021, Sebastian Stan was added to the cast, with Justice Smith and Briana Middleton joining in August. In September, John Lithgow was cast, with filming beginning on September 13 in New York City.

Release
Sharper was released in select theaters in the United States on February 10, 2023, by A24, and was released on Apple TV+ on February 17, 2023.

Reception

References

External links

2023 crime thriller films
2023 directorial debut films
2023 films
A24 (company) films
American crime thriller films
American nonlinear narrative films
Apple TV+ original films
Films about con artists
Films scored by Clint Mansell
Films set in New York City
Films shot in New York City
2020s English-language films

Sharper (film)


Benjamin Ide Wheeler (July 15, 1854– May 2, 1927) was a professor of Greek and comparative philology at Cornell University, writer, and President of the University of California from 1899 to 1919.

Life and career

Early years
Benjamin Ide Wheeler was born in Randolph, Massachusetts, on July 15, 1854, the son of the Rev. Benjamin and Mary Eliza (Ide) Wheeler. His father was successively a church pastor in Plaistow, New Hampshire; Pawtucket, Rhode Island; Randolph, Massachusetts; Haverhill, Massachusetts; Saco, Maine; Franklin, New Hampshire. His mother, Mary Eliza Ide, was born in Pawtucket, Rhode Island, daughter of Ebenezer Ide of the Ide family which had its origin in South Attleborough, then Rehoboth. Their only son, Benjamin Ide Wheeler, had his education first in the public schools of Haverhill and Saco, Maine. It was at Saco that he first entered a high school in 1866. This high school was the institution which formerly had been called Thornton Academy, and subsequently resumed that name.

Higher education
On moving in 1868 to Franklin, New Hampshire, he entered the Franklin Academy, and after six months there, went to the New London Academy, subsequently Colby–Sawyer College. From this school he was duly graduated in the summer of 1871. In the following autumn he entered Brown University where he was a member of the Brunonian chapter of the Alpha Delta Phi Fraternity. He graduated from Brown University in 1875. His studies at college followed the usual curriculum without any suggestion of specialization. On the commencement stage he had the honour of the classical oration. During his college course he received the Dunn premium, given for the best work of the year in the department of English, with special reference to writing and speaking, and also one of the Carpenter prizes given to the two students of the year who in the opinion of the faculty combined in the highest degree the elements of success in life.

Teaching career
After graduation, Wheeler taught for four years in the Providence High School. During the first two years, he instructed mostly in mathematics; during the last two year, his work was evenly divided between classics and mathematics. In 1879, he was appointed Tutor in Brown University to take the place, during a temporary absence of two years, of Professor Poland, Assistant Professor in Greek and Latin.

Marriage
On June 25, 1881, Wheeler married Amey Webb of Providence, Rhode Island. She was the daughter of Henry Aborn Webb, a banker of Providence. Her mother, Amey Gorham Webb, was the daughter of Jabez Gorham founder of Gorham Silver, that became Gorham Silver Manufacturing Company after his son John Gorham took over.

Studies abroad
For four years, 1881–85,  Wheeler studied in German universities—for a year at Leipzig, then for two years at Heidelberg, a half year at Jena, and a half year at Berlin. In the spring of 1885, he received on examination at Heidelberg the degree of Doctor of Philosophy, summa cum laude, presenting a thesis under Hermann Osthoff entitled Der griechische Nominalaccent, afterwards published at Strassburg as a separate book. The thesis led to what is known as the law of dactylic retraction or "Wheeler's Law". Joseph Wright, future Corpus Christi Professor of Comparative Philology at Oxford, completed his PhD the same year as Wheeler and also writing his thesis under Osthoff.

Return to America
On returning to America he was for one year Instructor at Harvard, 1885–86, then for thirteen years Professor at Cornell University, holding at first the title Acting Professor of Classical Philology, 1886–87, then of Professor of Comparative Philology 1887–88, and from 1888 to 1899 that of Professor of Greek and Comparative Philology. In 1899, he became President of the University of California.

During the year 1895–96, he was Professor of Greek Literature at the American School of Classical Studies in Athens, and during the year 1909–10, Roosevelt Professor at the University of Berlin. He was member of the American Oriental Society, the American Philological Association, and the Kaiserliches Archaeologisches Institut. He received the degree of Doctor of Laws from nine different universities, Princeton, 1896; Harvard, 1900; Brown, 1900; Yale, 1901; Johns Hopkins, 1902; University of Wisconsin, 1904; Dartmouth, 1905; Columbia, 1906; and a degree of Doctor of Letters from the University of Athens in Greece.

During the 1906 San Francisco earthquake and fire he was a member of Mayor Eugene Schmitz's Committee of Fifty.

During World War I his "well-known German sympathies and admiration for the kaiser" brought suspicion upon him and he retired as President of the University of California after the armistice. Wheeler had previously nominated the kaiser for the Nobel Peace Prize.

Under Wheeler the University of California underwent one of its periods of greatest growth.  He also expanded the powers of the president, gaining the power to appoint all faculty.

Legacy
 The University of California, Berkeley named Wheeler Hall in his honor.
 The Liberty ship SS Benjamin Ide Wheeler was named in his honor.
 The Benjamin Ide Wheeler Medal was created in 1929.
 Founding member of the Commonwealth Club of California in 1903.

Benjamin Ide Wheeler Medal
Since 1929, the award has been given to members of the community of Berkeley for exhibited outstanding contributions. Since 1994, the Berkeley Community Fund has been granting "Berkeley's Most Useful Citizen" award. Until 1991, it was bi-annual but changed to annual in 1994. Several notable people have received the award:

1929 William H. Waste
1931 August Vollmer
1933 Robert Gordon Sproul
1935 Chester R. Rowell
1937 William B. Herms
1939 Monroe E. Deutsch
1941 Louise Marks
1943 Lester W. Hink
1945 E.O. Lawrence
1947 Vere V. Loper
1949 Emery Stone
1951 Clarence A. Bullwinkel
1953 Galen M. Fisher
1955 Walter A. Gordon
1957 Lilly M. Whitaker
1959 Robert R. Porter
1961 Redmond C. Staats, Jr.
1963 Claude B. Hutchison
1965 Katherine Towle
1967 Wallace J.S. Johnson
1969 Roger W. Heyns
1971 Wilmont Sweeny
1973 Carol Sibley
1975 Thomas B. Shaw
1977 Sylvia C. McLaughlin
1979 Robert W. Ratcliff
1981 Paul E. Harberts
1983 Robert G. Eaneman
1985 Robert A. Rice
1987 Margaret S. Gordon
1989 Fred S. Stripp
1991 Mary Lee Jefferds
1994 Ira Michael Heyman
1995 Alba and Bernard Witkin
1996 John A. Martin, Jr.
1997 Chang-Lin Tien
1998 David R. Brower
1999 Marian Cleeves Diamond
2000 Thelton E. Henderson
2001 Jeffrey Shattuck Leiter
2002 Alice Waters
2003 Kent Nagano
2004 Arthur Rosenfeld, Ph.D.
2005 Davida Coady, M.D.
2006 Mal Warwick
2007 Robert Cole
2008 Helen Meyer
2008 John Meyer
2009 Steven H. Oliver
2010 Denny Abrams
2010 Richard Millikan
2011 Narsai M. David
2012 Susan Medak
2013 Wavy Gravy
2014 Arlene Blum
2015 Archana Horsting
2016 Skip Battle
2017 Vicki Alexander
2018 Susan Muscarella
2019 Frances Dinkelspiel, Lance Knobel and Tracey Taylor

Works
Wheeler authored Analogy in Language (1887); Introduction to the Study of the History of Language (1890); Organization of the Higher Education in the United States (1896), published in Munich; Dionysos and Immortality (1899); Life of Alexander the Great (1900); Instruction and Democracy in America (1910) (published in Strassburg, Germany).

Articles
A commencement address at the University of Michigan titled The old world in the new, an address delivered at the commencement exercises of the University of Michigan, June 30, 1898, was published in the August 1898 issue of The Atlantic and Art in Language was published in the December 1900 issue.

Publications
Der griechische Nominalaccent (1885)
Analogy, and the Scope of its Application in Language (1887)
Principles of Language Growth (1891)
Introduction to the Study of the History of Language (1891)
The Organization of Higher Education in the United States (1897)
Dionysos and Immortality (the Ingersoll Lecture for 1898)
Alexander the Great: The Merging of East and West in Universal History (1900)
The Whence and Whither of the Modern Science of Language (1905)

References

External links

Guide to the Benjamin Ide Wheeler Papers at The Bancroft Library
Three Faces of Berkeley--Competing Ideologies in the Wheeler Era, 1899-1919
Benjamin Ide Wheeler materials in the South Asian American Digital Archive (SAADA)

1854 births
1906 San Francisco earthquake
1927 deaths
Brown University alumni
Cornell University faculty
University of California regents
Leaders of the University of California, Berkeley
People from Randolph, Massachusetts
Educators from Massachusetts
People from San Francisco
Colby–Sawyer College alumni
Thornton Academy alumni

Benjamin Ide Wheeler


Ferdinand Julius Cohn (24 January 1828 – 25 June 1898) was a German-Polish biologist. He is one of the founders of modern bacteriology and microbiology.

Ferdinand J. Cohn was born in the Jewish quarter of Breslau in the Prussian Province of Silesia (which is now Wroclaw, Poland). His father, Issak Cohn, was a successful merchant and manufacturer. At the age of 10 Ferdinand suffered hearing impairment (for an unknown reason). Starting at age 16 he studied botany under Heinrich Goppert at the University of Breslau. Due to Cohn's Jewish background he was prevented from taking the final degree examinations at Breslau. He then moved to the University of Berlin. At age 19 in 1847 he received a degree in botany at Berlin. He remained studying botany for another couple of years in Berlin, where he came in contact with many of the top scientists of his time.

In 1849 he returned to the University of Breslau and he remained at that university for the rest of his career as a teacher and researcher. On his initial return to Breslau in his early twenties, his father had bought for him a large and expensive microscope made by Simon Plössl. This microscope, which the University of Breslau and most universities did not have, was Ferdinand Cohn's main research tool in the 1850s. In the 1850s he studied the growth and division of plant cells. In 1855 he produced papers on the sexuality of Sphaeroplea annulina and later Volvox globator. In the 1860s he studied plant physiology in several different aspects. From 1870 onward he mostly studied bacteria. He established the use of sterile culture mediums and rediscovered the botanical garden of Lorenz Scholz von Rosenau in Breslau. He published over 150 research reports during his lifetime. The University of Breslau became an innovative center for plant physiology and microbiology while he was there.

Cohn was the first to classify algae as plants, and to define what distinguishes them from green plants. His classification of bacteria into four groups based on shape (sphericals, short rods, threads, and spirals) is still in use today. Among other things Cohn is remembered for being the first to show that Bacillus can change from a vegetative state to an endospore state when subjected to an environment deleterious to the vegetative state.

In 1885 he received the Leeuwenhoek Medal.

See also
Erica Tietze-Conrat
Ilse Twardowski-Conrat

References

External links

 Jewish Encyclopedia entry for Ferdinand Julius Cohn
 Ferdinand Cohn in the Encyclopedia of World Biography, published by Gale Group (2010).

1828 births
1898 deaths
German microbiologists
19th-century German botanists
19th-century German Jews
Scientists from Wrocław
Scientists from the Province of Silesia
University of Breslau alumni
Humboldt University of Berlin alumni
Academic staff of the University of Breslau
Members of the Prussian Academy of Sciences
Members of the French Academy of Sciences
Foreign Members of the Royal Society
Leeuwenhoek Medal winners
Jewish microbiologists

Ferdinand Cohn


The Tuvaluan dollar is one of the currencies of Tuvalu, whose unofficial international currency code is TVD. Tuvalu has never had banknotes of its own, and has been issuing coins since 1976. However, the Tuvaluan dollar is used as a unit of account, and is pegged to the Australian dollar (the other currency of Tuvalu) at parity. From 1966 to 1976, Tuvalu officially used the Australian dollar. In 1976, Tuvalu began issuing its own coins, which continue to circulate alongside Australian coins. Tuvalu continues to use Australian banknotes. Tuvaluan coins are not legal tender in Australia. Similar to the Faroese króna's relationship to the Danish krone and the Panamanian balboa's relationship to the United States dollar, the Tuvaluan dollar is not an independent currency, but a variation of the Australian dollar.

Tuvalu does not have a monetary authority or central bank, and the National Bank of Tuvalu, the only bank in Tuvalu, performs some monetary functions for the government, including the holding of government accounts and foreign assets.

Other currencies that had been used in Tuvalu have been the British pound sterling, prior to the introduction of the Australian dollar, as well as the US dollar, during the World War II American occupation of the islands. Gilbert and Ellice Islands banknotes had also been used in Tuvalu. These notes were cashier's cheques backed in pounds rather than an official, independent currency. The yen-backed Oceania pound was used in parts of the Gilberts (now Kiribati), but Japanese influence never actually reached the Ellice Chain (now Tuvalu).

Coins

In 1976, corresponding with its slated independence, Tuvalu's first coins were introduced in denominations of 1, 2, 5, 10, 20, 50 cents and 1 dollar. The set, designed by John Donald features an aquatic theme. The bronze 1 and 2 cents and the cupro-nickel 5, 10 and 20 cents were the same size, weight, and composition as the corresponding Australian coins they were set to constitute. However, the cupro-nickel 50 cent piece was distinct from the dodecagonal (twelve-sided) Australian 50 cent coin in that it was round with plain edges. The nonagonal (nine-sided) cupro-nickel 1 dollar piece was unique not only by its odd shape but it also predated the Australian 1 dollar coin by eight years. It was also issued long before the trend toward larger denomination coins became much more widespread in many countries.  The nine sides on the dollar are meant to represent each of the nine islands and atolls composing the Tuvalu chain. Each of the coins depicts a sea animal that is native to the area, with the only exception to that being the 1 cent, which depicts an empty spider conch shell washed up on the shore.

The 1976 series also included the introduction of Tuvalu's first silver and gold proof bullion coins. A silver 5 dollar piece and a gold 50 dollar piece. They are considered an official release and legal tender within Tuvalu.

Although Australia withdrew their 1 and 2 cent coins from circulation in 1991 there was still demand for the two lower denominations in Tuvalu so these continued to be retained well after Australia discontinued use. However, as prices and shipping costs have progressively risen the 1 and 2 cent coins have since been withdrawn from circulation.

Australia introduced a  coin to replace the note in 1988, but Tuvaluan  coins have never been introduced. Instead, the Australian piece circulates in place. In recent years, Tuvaluans have also taken a preference to Australia's smaller, round, brass dollar over their own large, clumsy nonogonal ones, and are thus seen a little less often.

In 1994, the Queen's profile was changed in tandem with many other Commonwealth states to the more recent Raphael Maklouf design. Older coins dated 1976-1985 feature the Arnold Machin design. The coins dated 1994 were minted in very limited numbers and are today valuable to collectors. After the 1994 issue, Tuvaluan coins ceased to be produced and Australian coins sent in their stead. However, Tuvalu coins remain as legal tender and continue to circulate alongside Australian ones.

Tuvalu also issues a fair number of non-circulating bullion type coins and colourised commemoratives. These non-circulating bullion coins are produced by the Perth Mint, which is owned by the Government of Western Australia. The deal between the Government of Tuvalu (as issuing authority) and Perth Mint allows Tuvalu to receive a minimum of about $200,000 per year in royalties from the production of these coins.

Queen Elizabeth II is depicted on all coins issued by Tuvalu. There have been calls from some politicians to abolish Tuvalu's monarchy and remove the sovereign's image from all future coins, however, a majority vote decided otherwise.

The reverse of each coin depicts as follows:

Banknotes
In 1942, local banknotes were issued by the colonial government of the Gilbert and Ellice Islands in denominations of 1, 2, 5, and 10 shillings and £1 with equivalent value to the Australian pound.

Since 1966, the official currency of Tuvalu is the Australian dollar, with Australian banknotes having been in use prior to and after independence. , , , and  notes were originally the only denominations sent, but higher denominations have since come into use. However, after independence was achieved, the  note was withdrawn from circulation to encourage the use of the  coin.

See also
 Kiribati dollar
 Australian dollar

Notes

References

Currencies of the Commonwealth of Nations
Currencies of Oceania
Circulating currencies
Dollar
Fixed exchange rate
Currencies introduced in 1976

Tuvaluan dollar


Dr. Jan Constant Janssen (18 September 1895 – 15 April 1970) was a Belgian physician and businessman. He was the third child (out of four) of Adriaan Victor Janssen (1854–1942) and Anna Catharina Eelen (1855–1929). He went to high school in Hoogstraten and studied medicine at the Catholic University of Leuven and the University of Ghent. On 16 April 1925, he married Margriet Fleerackers (5 January 1897 – 23 September 1973), together they had four children. Their oldest son, Paul Janssen, would become one of the most successful scientists in pharmaceutics.

Career
He started his career as a family physician in Turnhout, but in addition he was interested in business too. In 1921, he met Ladislas Richter in Vienna, who was the son of Gedeon Richter, who owned a pharmaceutical factory in Budapest, Hungary. In 1933, he acquired the right to distribute the pharmaceutical products of Richter, the Hungarian pharmaceutical company, for Belgium, the Netherlands and Belgian Congo. On 23 October 1934, he founded the N.V. Produkten Richter in Turnhout. In 1937 Constant Janssen acquired an old factory building in the Statiestraat 78 in Turnhout for his growing company, which he expanded during World War II into a four-storey building. In 1938 he closed his practice as a family physician and concentrated his effort of the expansion of his pharmaceutical business. His wife managed the production, quality control, and the administration of the company.

Still a medical student, his son Paul Janssen helped with the development of Perdolan. After World War II, the brandname of the products was changed into Eupharma, and later the company would evolve into Janssen Pharmaceutica.

Sources
 Dirk Collier (Ed.), Dr. Constant Janssen, Janssen Pharmaceutica, 1996

1895 births
1970 deaths
20th-century Belgian businesspeople
Belgian general practitioners
People from Beerse
People from Turnhout
Belgian pharmacists

Constant Janssen


Rhonda Lee Oglesby Coullet (born September 23, 1945) is an American actress, comedian, singer-songwriter, theatre composer and playwright.

Life and career
Oglesby was born in 1945 in Magnolia, Arkansas, the daughter of Horace and Cecil Oglesby. She was raised in Springhill, Louisiana before her family moved to Pine Bluff, where she attended Sam Taylor Elementary School and Pine Bluff High School. A singer, she received a music scholarship to attend the University of Arkansas.

She represented the University of Arkansas in the 1965 Miss Arkansas competition, which she won. After three months, she announced she was relinquishing the crown to pursue a show business career in Los Angeles.

In Los Angeles, she was in the original  cast of the Aquarius Theatre's production of Hair. She was promoted to the lead female role of Jeanie, and went on to restage the musical in Seattle, Detroit, Miami, Montreal, Copenhagen, and touring productions in Europe.

On her return, she settled in New York City. She joined the cast of the 1973 Off Broadway show National Lampoon Lemmings, performing in various roles alongside such comedic actors as John Belushi, Chevy Chase and Christopher Guest. After touring with the show, she took part in The National Lampoon Radio Hour, which included Belushi, Chase, Guest, Bill Murray, Gilda Radner and Harold Ramis. She appeared on such albums as National Lampoon Missing White House Tapes and National Lampoon That's Not Funny, That's Sick.

Many of her fellow National Lampoon cast members went on to join Saturday Night Live. Coullet was a close friend of John Belushi, and after his death she composed and sang a tribute to him, "West Heaven," for a taped segment on SNL produced by Belushi's widow Judith Jacklin.

In 1976–77, Coullet starred in the Broadway production of the musical The Robber Bridegroom, playing the role of Rosamund, and can be heard on the original Broadway album with Barry Bostwick. She also starred on Broadway in Pump Boys and Dinettes and in the off-Broadway production of Cowgirls.

Coullet wrote "Bigger Than the Both of Us" for Jimmy Buffett on his Riddles in the Sand album, which was nominated for a Grammy Award in 1985. She was a back-up singer for Buffett, Spinal Tap, and Meat Loaf on his Dead Ringer album.

In 1992, she recorded an album of her own songs, titled The American Secret. Several of the semiautobiographical songs from the album were incorporated into her theatrical musical production, Runaway Beauty Queen, produced at Florida Studio Theatre in 2005 and The Vineyard Playhouse in 2010.

She was married to musician Armand Coullet from 1970 to 1980. Her brother Scott Oglesby is a published essayist and novelist.

References

External links

1945 births
Living people
American women singer-songwriters
American musical theatre actresses
American musical theatre composers
American musical theatre lyricists
American women comedians
Miss America 1960s delegates
People from Pine Bluff, Arkansas
University of Arkansas alumni
Singer-songwriters from Arkansas
21st-century American women

Rhonda Coullet


KDXX (107.9 FM) is a Uforia Audio Network Spanish-language  contemporary hit radio formatted commercial radio station serving the Dallas/Fort Worth Metroplex in Texas. The station is licensed to Lewisville, Texas, and is simulcast with 107.1 KESS-FM Benbrook.  The studios are located in the Univision 23 Studios in the Arts District in Downtown Dallas.

KDXX has an effective radiated power (ERP) of 100,000 watts, the maximum for non-grandfathered FM stations.   The transmitter is on County Route 2153 in Denton.  While KDXX's signal covers Dallas, Fort Worth and their northern suburbs, into Oklahoma, simulcast partner 107.1 KESS has its transmitter just southwest of Fort Worth, covering that area of the metroplex.

History

Early years
The current version of 107.9 was made possible when Marcos A. Rodriguez successfully obtained a new class C2 licensed to Gainesville, Texas, and purchased 107.9, a Class C licensed to Corsicana, Texas.  After Rodriguez sold to Heftel Broadcasting and Mac Tichenor gained control of HBC, Tichenor moved the Corsicana signal south to the Waco market (as the new class A6 in Robinson, Texas, called KHCK-FM) and allowed the Gainesville signal to upgrade and move into Dallas as a class C1 in Lewisville, Texas.

The upgrade project had been started under the Cecil Heftel version of HBC, and completed by the engineers at Tichenor Media/HBC working under David Stewart (now owner of an upgrade consultancy, Moving Target Consulting Works). The call letters changed a few times through KDXX and KESS-FM.

107.9 La Kalle
On February 19, 2009, the regional Mexican station branded as "La Que Buena" was moved from KESS-FM to 107.1 FM (KDXX) and 99.1 FM (KFZO). The reggaeton-formatted station and the "La Kalle" (Spanish for "The Street") branding were then moved to KESS-FM and shortly after, the format was retooled to Latin pop.

The KESS call letters were first used in D/FW in the spring of 1976 when Marcos Rodriguez Sr. father of Marcos A. Rodriguez gained control of a country station, KBUY-FM, on 93.9 FM. That station changed to 94.1 when it moved its transmitter to Cedar Hill, Texas, in order to avoid a spacing problem with another Dallas station.

In late 2011, the "La Kalle" format has been dissolved and replaced with a simulcast of its sister station KDXX, reducing the number of formats by one in DFW's market. It was in competition with CBS Radio's Spanish rhythmic AC station KMVK Mega 107.5 prior to the recent format change.

Top 40/rhythmic era
On June 28, 2012, KESS flipped to bilingual Top 40/CHR, billed as "Radio H2O" (H2O: Hispanic 2.0) with a mostly English-language presentation with some Spanish pop hits, targeting bilingual and younger Hispanics. The last song of the Recuerdo format was "El Sol No Regresa" by La 5ª Estación with the first song of the H2O station being "Hotel Room Service" by Pitbull. The station initially ran jockless. However, new DJ Stephanie Marie handled the midday drive from 10 am to 3 pm. Texas-based pop singer Austin Mahone became a guest DJ on October 22. DJ AK handles the club mix program at 5 and 9 pm weeknights. The station did not hire any more DJs during this time. The H2O format competed head-on with Clear Channel-owned KHKS 106.1 Kiss FM and Cumulus Media's KLIF-FM i93.3, and shared audience with CBS-owned station KMVK Mega 107.5 (Latin pop). In November 2012, "Radio H2O" leaned more of a rhythmic direction. Liberman-owned KTCY Baila 101.7 was one of its competitors until February 8, 2013, when Educational Media Foundation took over ownership and preparing to launch satellite-fed Christian rock format Air1.

On May 9, 2013, Univision announced that KESS would rebrand to "Hot 107.9" as it shifts directions to a more conventional rhythmic top 40 presentation, in part due to an increase in the ratings since phasing out the Spanish music and content. On May 17, at noon, the station officially rebranded as "Hot 107.9" and made the evolution to a rhythmic direction, putting it in line with sister stations KBBT/San Antonio and KKSS/Albuquerque.

107.9 today
On July 29, 2013, Univision pulled the plug on KESS' rhythmic format after two months without a word of a format change announcement, making it not only the shortest-ran rhythmic station in the metroplex, but one of the shortest-ran format periods for both the rhythmic format and radio history, and leaving said metro area without such a format once again. It is replaced by KFZO's regional Mexican format after KFZO (now KESS-FM) became a simulcast of sister station Spanish top 40 sister KDXX. The shuffling was done in response to KMVK's shift from Spanish contemporary to regional Mexican and to protect KLNO, which KMVK will be competing against.

On August 9, 2013 KESS-FM swapped call letters with KFZO.

Sometime in early 2014, KFZO (alongside other Univision-owned stations) has dropped their "La Jefa" branding in favor of using its frequency as its ident. However, it has brought back the previous branding in late 2015.

On February 17, 2016, Univision has swapped call signs and formats on this station and 99.1 once again, marking the return of the KDXX call letters on this particular frequency after 13 years. A day later, 107.9 simulcast from KESS-FM "Latino Mix".

KDXX HD Radio programming
KDXX broadcasts in HD Radio with its HD2 subchannel initially simulcasting San Antonio-based sister station KXTN-FM with a Tejano format (labeled as "Tejano HD Dallas"). In the months following the format change, the HD broadcasts have been temporarily discontinued. However, they have been restored in the beginning of 2012. In August 2013, the "Hot 107.9" format (rhythmic CHR) resumed on this station's HD2 subchannel (replacing KXTN's simulcast), their official website through audio streaming and through  iHeartRadio for over two weeks until Wednesday August 14 when "Hot 107.9 HD2" was replaced with a simulcast of KDXX/KESS until 2016 when KDXX-HD2 simulcast from KFZO.

Sometime in early 2022, KDXX launched a third digital subchannel (HD3) to simulcast Spanish sports station KFLC TUDN Radio 1270 AM.

Signal
Unlike most of the area's FM stations like sister KLNO, which transmit their signals from Cedar Hill, KDXX transmits its signal from an area east-southeast of Sanger. Therefore, KDXX's signal is much stronger in the northern majority of the Dallas/Fort Worth Metroplex including Dallas, Fort Worth, Denton, and McKinney as well as the cities of Decatur, Gainesville, Sherman, and Bonham, but is considerably weaker in southern parts of the Dallas/Fort Worth pointing south.

References

External links

 DFW Radio Archives
 DFW Radio/TV History

DXX
DXX
Univision Radio Network stations
Contemporary hit radio stations in the United States
Latin rhythmic radio stations

KDXX


Sebastian Arcelus (born November 5, 1976) is an American actor, best known for his roles as Lucas Goodwin in the Netflix TV series House of Cards (2013–2016) and Jay Whitman in the CBS TV series Madam Secretary (2014–2019). Arcelus began his acting career in the early 2000s and spent the first decade of his career on Broadway, having played Roger in Rent, Fiyero in Wicked, Bob Gaudio in Jersey Boys, and Buddy in Elf, among other roles. He returned to Broadway with the 2022 revival of Into the Woods and its subsequent national tour.

Early life and background
Arcelus grew up in Port Washington, New York. He is a first generation American of Uruguayan, Italian, and Russian descent, and speaks Spanish fluently. He is a graduate of Williams College.

Career

2000–2011: Early career and Broadway

Arcelus has made a career in theater on Broadway, regionally, and internationally. He began his career in the early 2000s, and spent three years working at an international business firm while auditioning and performing in amateur theater at night. He performed in a handful of small New York theater productions as well as regional productions like that of The Who's Tommy in Newark, New Jersey in 2000 and Big River in Portsmouth, New Hampshire. He joined the repertory theater company of Weathervane Theatre in Whitefield, New Hampshire, for their 2001 season; at Weathervane, he performed in productions including Floyd Collins, Cabaret, and I Love You, You're Perfect, Now Change. Following this experience he took part in a bilingual production of West Side Story in Guatemala.

Arcelus made his Broadway debut in 2002 in Rent, first as a swing, covering the male ensemble roles as well as Mark and Roger, and then as Roger throughout the first half of 2003. He remained with Rent as a swing until Fall 2004.

Some of his first professional screen acting roles were for English-language dubs of animated TV shows. He continued to do this throughout the 2000s and voiced characters in shows including Winx Club and multiple series within the Yu-Gi-Oh! franchise. In 2004, Arcelus appeared in the movie musical Temptation, with Broadway stars Alice Ripley, Adam Pascal, and Zoe Saldana, among many others.

During the spring of 2005, he starred as Jan in the original cast of the Beach Boys musical, Good Vibrations. He played Fiyero on the first national tour of Wicked from January 3 until October 3, 2006. He then reprised the role of Fiyero in the Broadway production from January 9 to December 16, 2007. Arcelus was featured on iChannel, an interactive 2006 web-series about "a self-conscious young man who finds his life taken over by a video blog."

He starred as Bob Gaudio in the Broadway production of Jersey Boys from January 10, 2008 to January 11, 2009. before starring in Happiness, a musical which ran Off-Broadway at Lincoln Center Theater's Mitzi E. Newhouse Theater for fourteen weeks beginning on February 27, 2009. He resumed the role of Bob Gaudio in the Broadway production of Jersey Boys on July 14, 2009 and finished the role on October 10, 2010.

He originated the role of Buddy in Elf the Musical for a limited engagement run from November 10, 2010, through January 2, 2011, at Broadway's Al Hirschfeld Theater.

He assumed the role of Jack Chesney in Where's Charley? in a concert production as part of New York City Center's Encores! series from March 17–20, 2011. From May 6 through June 19, 2011, took part in the original stage production of A Time to Kill, premiering at the Arena Stage in Washington, D.C., based on the John Grisham novel of the same name; Arcelus originated the role of Jake Brigance. Later that summer, Arcelus filmed and helped produce the independent feature film The Last Day of August, which premiered in October 2012. In November 2011, Arcelus starred in an off-Broadway limited engagement musical production of The Blue Flower at Second Stage, along with Marc Kudisch and Teal Wicks.

2012–present: Madam Secretary and Into the Woods

In 2012, Arcelus starred in the independent film The Last Day of August. Later that year, he was cast as Lucas Goodwin in the Netflix TV series House of Cards. From 2013 to 2016, he had a recurring role in the show's first, second, and fourth seasons. In 2013, Arcelus reprised his role of Jake Brigance in the Broadway production of A Time To Kill at the Golden Theatre in New York City, which premiered on October 20, 2013.

As part of the collective The Grundleshotz, Arcelus co-wrote the musical Gettin' the Band Back Together. Following four years of improvisational rehearsals, the musical debuted regionally in 2013 at the George Street Playhouse in New Jersey before receiving a pre-Broadway workshop in 2014. The musical played on Broadway at the Belasco Theatre during Summer 2018.

In early 2014, he was cast in the Cinemax pilot Blanco. Soon after, he also joined the cast The Best of Me, based on the Nicholas Sparks novel of the same name.

In 2014, he began portraying Jay Whitman on the CBS drama Madam Secretary. After having a recurring role during the first two seasons of the show, Arcelus became part of the main cast for the final four seasons of the show; he acted in one hundred episodes before the series concluded in December 2019.

Since 2014, Arcelus has also had small roles in the films Ted 2 (2015) and Split (2016), as well as guest roles in shows including The Leftovers, FBI, and Bull.  He joined the cast of the Steve McQueen miniseries Codes of Conduct, which was given a limited series order by HBO in 2015. The project was ultimately scrapped by the network the following year. In 2016, Arcelus had a six-episode arc in HBO's The Deuce.

In August 2022, it was announced that Arcelus would return to Broadway by replacing Brian d'Arcy James as the Baker in the revival of Into the Woods beginning September 6 and that he would star alongside his wife Stephanie J. Block who plays the Baker's Wife. He played his final performance on October 23, 2022. In December 2022, it was announced that Arcelus and Block would reprise their roles in the production's U.S. national tour, which launched in early 2023. During the same month, it was announced that Arcelus would also return to the Broadway production beginning January 3, 2023 and continue with the show through its final performance on January 8.

Personal life
Arcelus married his Wicked co-star Stephanie J. Block in 2007. Block played Elphaba in Wicked, both on the national tour and on Broadway. Their daughter Vivienne Helena Arcelus was born on January 19, 2015.

Acting credits

Film

Television

Voiceover and English-language dubbing

Theater credits

References

External links

  (archive)

Living people
American male musical theatre actors
American male television actors
American male voice actors
American people of German descent
American people of Italian descent
American people of Russian descent
American people of Serbian descent
American people of Uruguayan descent
Karađorđević dynasty
Male actors from New York City
Williams College alumni
20th-century American male actors
21st-century American male actors
1976 births

Sebastian Arcelus


The Mikoyan-Gurevich I-270 (Design Ж ("Zh") under Mikoyan-Gurevich's in-house designation sequence, USAF/DoD designation: Type 11) was a response to a Soviet Air Forces requirement in 1945 for a rocket-powered interceptor aircraft for the point-defence role. In concept and basic configuration, it was related to the early Korolyov RP-318 rocket-powered aircraft which was developed in 1936 and first flew February 20, 1940, and the more recent Bereznyak-Isayev BI-1 Soviet design. Only two prototypes were built, both of which were destroyed in crashes, leading to the cancellation of the project.

Flights

In the early stages of World War II (1942), a complete prototype BI-1 (also known as The Devil's Broomstick), made its first several flights. The I-270 shared the BI-1's simple, tapered fuselage, bubble canopy, wing design, and dual-chambered bipropellant rocket motor. On the other hand, it was considerably larger than the BI-1 and featured short, reinforced wings (from the RP-218) and a raised T-tail which aircraft such as the Tupolev ANT-8 proved, offered better landing control than the BI-1's more traditional fighter layout. While there seems little doubt that the BI-1 influenced the design of the I-270, the latter appears far from a direct descendant of the former, and much closer to being a Soviet version of the Me 263, sharing very similar fuselage, canopy and landing gear layouts, while adding a conventional stabilizer surface atop the vertical tail, absent on the German design.

Soviet tradition of rocketry, starting from the early work of Konstantin Tsiolkovsky and carried through by men like Sergei Korolev, made rocket fighters a reality.  The RD-2M engine, designed by Leonid Dushkin was the dual-combustion chamber version of the engine used for the 1941 BI-1 rocket plane. That in turn had followed from a tradition dating back to Sergey Korolev's work on project "06" in the early 1930s and the RP-318 rocket plane designed in 1936.

The first gliding trials commenced in December 1946, with the first prototype towed into the air behind a Tupolev Tu-2, ballast-loaded in place of an engine. The second prototype began powered tests early in 1947, but was damaged beyond repair making a hard landing. Shortly afterwards, the first prototype was also destroyed in a landing accident. By this stage, turbojet technology was at a far more advanced stage than it had been at the outset of the project, and surface-to-air missiles had replaced the need for point-defence interceptors. Under these circumstances, the Air Force decided to cancel the project.

Operators

Soviet Air Forces

Specifications (I-270)

See also

References

I-270
1940s Soviet fighter aircraft
Rocket-powered aircraft
Abandoned military aircraft projects of the Soviet Union
Aircraft first flown in 1946
T-tail aircraft

Mikoyan-Gurevich I-270


Pattern and Decoration was a United States art movement from the mid-1970s to the early 1980s. The movement has sometimes been referred to as "P&D" or as The New Decorativeness. The movement was championed by the gallery owner Holly Solomon. The movement was the subject of a retrospective exhibition at the Hudson River Museum in 2008.

Background and influences
The Pattern and Decoration movement consisted of artists, many of whom had art education backgrounds, who had been involved with the abstract schools of art of the 1960s. The westernised, male dominated climate of artistic thought throughout Modernism had led to a marginalisation of what was considered non-Western and feminine.
The P&D movement wanted to revive an interest in minor forms such as patterning which at that point was equated with triviality. The prevailing negative view of decoration was one not generally shared by non-Western cultures.

The Pattern and Decoration movement was influenced by sources outside of what was considered to be fine art. Blurring the line between art and design, many P&D works mimic patterns like those on wallpapers, printed fabrics, and quilts.

These artists also looked for inspiration outside of the United States. The influence of Islamic tile work from Spain and North Africa are visible in the geometric, floral patterns.  They looked at Mexican, Roman, and Byzantine mosaics; Turkish embroidery, Japanese woodblocks; and Iranian and Indian carpets and miniatures.

Development

Although the source materials have a nostalgic appeal, the treatment of these sources is modernist. Ben Johnson describes the paintings thus: "Pattern and Decoration did not distinguish between background and foreground, nor did it emphasize specific aspects of the composition. Rather, much as the abstract paintings of the time, it covered the canvas from edge to edge in an all-encompassing design. At the outset of the movement, Pattern and Decoration artists reacted against the severe lines and restrained compositions of minimalism.  Yet, they often retained the same 'flattening grid' frequently employed by Minimalist painters."

Beyond painting
Some work fitting into the P&D movement could be considered applied art.
P&D artists worked in a variety of media beyond painting.
One of Joyce Kozloff's major early works was an installation called "An Interior Decorated." It included ceramics, a hand-painted-tile floor, silkscreened wall hangings, and lithographs. The piece was installed in the Tibor de Nagy Gallery in New York.

In addition to his lush paintings and collages of flowers, Robert Kushner created ornate costumes that were used in performance events.

Many P&D created collages by decontextualizing and recombining disparate elements to form new meanings. Miriam Schapiro invented the term "" to describe a combination of painting and sewing techniques.  She embellished the painted canvas with traditionally female work such as embroidery, cross-stitch, and quilting.

Aside from physical assemblages, artists borrowed snippets from other cultures and sources; therefore collage was crucial to the movement's concept. Critics like Anne Swartz use this recombination of source materials as evidence that the Pattern and Decoration movement is an early example of postmodernism.

Critical debate
The P&D artists enjoyed a period of critical and financial success; their works were much sought-after and widely collected in both America and Europe. From the 1980s on, however, it was largely dismissed by critics. The reason for the backlash are multifarious and open to debate. NYT critic Holland Cotter offers the following explanation: "Art associated with feminism has always had a hostile press. And there was the beauty thing. In the neo-Expressionist, neo-Conceptualist late 1980s, no one knew what to make of hearts, Turkish flowers, wallpaper and arabesques."

In 2008 the Hudson River Art Museum in Yonkers, NY arranged a major exhibition entitled "Pattern and Decoration: An Ideal Vision in American Art, 1975-1985," which sought to reestablish its reputation as a serious movement. Curator Anne Swartz asserts that at the time audiences were uncomfortable with the unapologetic sensuality: "I suspect that until recently, a certain Puritanism surrounded the view of feminist art that prevented it from being seen as acceptable when it was sexually exciting and provocative. So when P&D art utilized some of the mechanisms of feminist art (provocation, pleasure, softness, etc) it challenged the intellectual systems that were supposed to be uppermost in the viewer's mind." There was a renaissance of interest and critical attention as result of the fresh scholarship. Cotter goes on to explain why the contemporary climate is more able to understand and appreciate the movement: "Thanks to multiculturalism and identity politics, we know better what to make of them now; the art world's horizons are immeasurably wider than they were two decades ago."

Relation to the feminist art movement
There is a close connection between the Pattern and Decoration movement and the feminist art movement. The P&D movement arose in opposition to the Minimalist and Conceptualist movements, which valued austerity and demeaned ornamentation and craft.

In their widely anthologized 1978 essay "Art Hysterical Notions of Progress and Culture," P&D artists Joyce Kozloff and Valerie Jaudon explained how they thought sexist and racist assumptions underlaid Western art history discourse. They reasserted the value of ornamentation and aesthetic beauty - qualities assigned to the feminine sphere.

Floral imagery, patterning, and decoration are associated with the feminine. P&D artists included elements of crafts such as needlepoint and beading, which were traditionally done by women within the domestic sphere. By including these elements in their work, they dismantle the hierarchy of fine art over craft, and thereby raise questions about public (male) verses domestic (female) spaces, and fine art versus utilitarian objects.

However, critics argue about to what extent the P&D movement can be considered feminist.  Although Kozloff and Jaudon were explicit about their feminist agenda, male artists Robert Kushner (artist) and Kim MacConnel sometimes avoided the label. They were more vocal about their aesthetic motivation for pursuing decoration. Writes Kushner: "For gallery and museum acceptance, if the art was industrial-looking, rectangular, and gray, black, or white, it was shown... Everything else (except color field painting, which today can be viewed as Technicolor minimalism) seemed to be marginalized. This simply did not fit many of our temperaments. Gray was boring. We wanted our art to be a lasting experience that took a great deal of time to decode fully."

Since these male artists both helped to define the P&D movement and were commercially successful, there is disagreement about P&D being called a woman's movement. On the other hand, Carissa DiGiovanni argues that male artists' distance from the feminist cause actually advanced it overall by taking feminine aesthetics and making them acceptable to the art establishment.

Exhibitions
In addition to the 2008 retrospective mentioned above, in 2019 Anna Katz curated the museum exhibit With Pleasure: Pattern and Decoration in American Art 1972–1985 which ran at the Museum of Contemporary Art, Los Angeles from October 27, 2019 – May 18, 2020. Subsequently the exhibit traveled to Hessel Museum of Art, Bard College from June 26–November 28, 2021.

Participating artists

 Cynthia Carlson
 Jennifer Cecere
 Jane Couch
 Brad Davis
 Merion Estes
 Tina Girouard
 Mary Grigoriadis
 Valerie Jaudon
 Jane Kaufman
 Joyce Kozloff
 Robert Kushner (artist)
 Thomas Lanigan-Schmidt
 Kim MacConnel
 Susan Michod
 Sonya Rapoport
 Tony Robbin
 Miriam Schapiro
 Barbara Schwartz
 Kendall Shaw
 Ned Smyth
 Betty Woodman
 George Woodman
 Robert Zakanitch
 Barbara Zucker

References

External links
Slide show presented by the New York Times of several examples of "Pattern and Decoration" artworks.

American art movements
Modern art

Pattern and Decoration


Honeypot ants, or repletes, are sterile worker ants which are used as food stores. They develop swelled abdomens,  filled with food by other worker ants. They are living storage containers. There are five genera of honepot ants.

Ant species often have polymorphs: different forms of the same type. The soldier ants which defend colonies are genetically the same as the normal workers. The way they develop is different. This is done by changes in food, or by pheromones.

Young honeypot ants are more or less force-fed until their gasters (=stomachs) are swelled up. Then they act as living food storage vessels. These food storage workers are called repletes.

These replete workers develop in the North American honeypot ant Myrmecocystus mexicanus. Rissing found that usually the largest workers in the colony develop into repletes; and, if repletes are removed from the colony, other workers become repletes. This shows the flexibility of this polymorphism.

Honey ants use their own bodies as living storage, but they have more function than just storing food. Some store liquids, body fat, and water brought to them by worker ants. They can later serve as a food source for their fellow ants when food is otherwise scarce. When the liquid stored inside a honeypot ant is needed, the worker ants stroke the antennae of the honeypot ant, causing the honeypot ant to regurgitate the stored liquid.

In certain places, such as the Australian outback, honeypot ants are eaten by people as sweets and are considered a delicacy.

References

Ants
Indigenous Australian culture

Honeypot ant


Midnight blue is a very dark shade of blue, like navy blue. While they are both dark shades of blue, midnight blue is not the same as navy blue. This color is darker than navy blue and is generally considered to be the deepest shade of blue, one so dark that it might be mistaken for black. Navy blue is a comparatively lighter hue.

Midnight blue projects sophistication and elegance. Its link with formal occasions and royalty means it conveys confidence, power and authority, while its deep hue can also come across as dark and mysterious.

According to color psychology, blue is associated with trustworthiness and reliability. Dark shades of blue in particular are linked with authority and intelligence; midnight blue's deep appearance is particularly likely to make this impression.

But because it is very close in appearance to black, midnight blue might also project qualities associated with that color. Black can be used to convey power, strength and formality—but it can also signify mourning and fear.

History of midnight blue
The name "midnight blue" was first used in 1915. It is named for its resemblance to the very dark blue shade of a night sky around the Moon. While the color name is relatively recent, midnight blue skies can be seen in Vincent van Gogh artworks from the 1800s like Starry Night. Crayola named a crayon "midnight blue" in 1958, replacing the shade that had previously been known as "Prussian blue".

Color codes

 In hex:  #191970

See also

 Baby blue
 Light pink

Shades of blue

Midnight blue


Texas Earnest Schramm Jr. (June 2, 1920 – July 15, 2003) was an American football executive who was the original president and general manager of the Dallas Cowboys franchise of the National Football League (NFL). Schramm, usually referred to as "Tex", became the head of the Cowboys when the former expansion team started operations in 1960.

Early life and career
Despite his name, Schramm was not born in Texas, but in San Gabriel, California. Texas was his father's name and where his parents met. Schramm attended Alhambra High School and went to the University of Texas, graduating in 1947 with a bachelor's degree in journalism. At UT he was a member of Phi Kappa Psi fraternity, as was his father. Schramm interrupted his education to serve as an officer in the United States Army Air Forces during World War II.

Before joining the Cowboys, Schramm was part of the Los Angeles Rams from 1947 to 1956. During his tenure, he hired Pete Rozelle as the Rams' public relations director, who would eventually become the Commissioner of the National Football League. They remained close friends after Rozelle became NFL commissioner and Schramm became general manager of the Cowboys (each holding his position for 29 years).

Dallas Cowboys

In late 1959, when it became apparent that the NFL was intent on expanding to Dallas, Schramm told his friends in football that he was interested in running the team. Chicago Bears owner George Halas introduced Schramm to Clint Murchison Jr., who had tried to bring the NFL to Dallas several times in the past. Murchison hired Schramm as the general manager for a potential Dallas team, which became a reality when the league awarded a franchise to the city on January 28, 1960.

In 1960, Schramm hired head coach Tom Landry and chief scout Gil Brandt.  By the mid-1960s, the three men had built the Cowboys into an elite team.  The Cowboys, despite two consecutive losses to the Green Bay Packers in the NFL Championship Game in 1966 and '67, had 20 consecutive winning seasons, and won the most games of any NFL team of the 1970s.  They appeared in five Super Bowls that decade, winning Super Bowls VI and XII, and losing Super Bowls V, X, and XIII by a combined 11 points.  The Cowboys became a marquee NFL franchise, their popularity inspiring the nickname "America's Team".

In 1966, Schramm met secretly with American Football League (AFL) founder Lamar Hunt to begin the negotiations that led to the 1970 merger of the NFL and AFL, as well as the first Super Bowl in 1967.

Schramm was known as the most powerful general manager in the NFL.  The Cowboys' owners during his tenure, Murchison (1960–84) and Bum Bright (1984–1988), largely left day-to-day operations in his hands.  Schramm represented the Cowboys at league meetings and exercised the team's voting rights, something normally reserved for team owners.

Schramm was a leading opponent of the 1987 NFLPA Strike.  The NFL players union at the time were agitating for a better deal, including free agency rights.  Schramm, with other owners, organized the hiring of replacement players while the usual players were on strike, earning a nickname of "the commissioner of replacement football".  Schramm cattily said to executive director of the NFLPA Gene Upshaw "Gene, here's what you have to understand: we're the ranchers and you're the cattle, and we can always get more cattle."  Schramm was comparatively effective in convincing regular players of the Cowboys to cross the picket line, albeit at the cost of splitting the team; he aggressively used contract clauses as threats to revoke millions of dollars in annuity payments from players who would not return to work.  Running back Tony Dorsett, who had previously criticized other team members for breaking the strike, felt he was financially forced to rejoin as well by Schramm's threats.  Eventually 21 Cowboys players would break the strike and play with replacement players, a much higher rate than for other teams in the League; the Cowboys went 2-1 during the three strike-affected games. The cost of Schramm's threats to the team's success was high: The Cowboys would only go 8–35 over the next two and a half seasons, not recovering until new ownership took over.

Innovations

Schramm was known for advocating for a number of changes and innovations that helped modernize the NFL.  These include instant replay, using computer technology in scouting, multi-color striping of the 20- and 50-yard lines, 30-second clock between plays, extra-wide sideline borders, wind-direction stripes on the goal post uprights, the referee's microphone, headsets in the quarterback's helmet for hearing plays, and hiring Dee Brock to establish the Dallas Cowboys Cheerleaders.  While leading the league's Competition Committee, he oversaw rule changes such as using overtime in the regular season, putting the official time on the scoreboard, moving goalposts from the front of the end zone to the back, and protecting quarterbacks through the in-the-grasp rule.  Schramm's desire for a more comprehensive scouting combine led to the annual offseason NFL Scouting Combine in Indianapolis. Don Shula said of Schramm, "I truly believe he had as much, or more, to do with the success of professional football as anyone who has ever been connected with the league."

After the Cowboys

Schramm stayed on only briefly with the Cowboys after Jerry Jones purchased the team and fired Tom Landry. He left to become the president of the World League of American Football.  Schramm was inducted into the Pro Football Hall of Fame in 1991. Schramm's entry into the Cowboys Ring of Honor took much longer due to strained relations with Jones.  Schramm had created the Ring of Honor, and had been a "one-man committee" on inductions.  Jones became that "committee" when he took over.  Finally in 2003, Jones announced that Schramm would be inducted into the ring during the next football season. Schramm attended the announcement press conference and spoke, but died a few months later and was inducted posthumously.

Schramm married his high school sweetheart, Martha Anne Snowden, in 1941.  Martha Schramm died on December 8, 2002. The couple had three daughters.

References

External links

1920 births
2003 deaths
Dallas Cowboys executives
Los Angeles Rams executives
National Football League team presidents
National Football League general managers
Pro Football Hall of Fame inductees
Moody College of Communication alumni
United States Army Air Forces personnel of World War II
United States Army Air Forces officers
Military personnel from Dallas
Alhambra High School (Alhambra, California) alumni

Tex Schramm


Sunday A. Adebayo (born 12 September 1973) is a Nigerian former professional basketball player. He played college basketball for the Arkansas Razorbacks and Memphis Tigers.

Early life
Adebayo was born in Benin City, Nigeria. As a high school student, he played for the Nigerian soccer team at the Junior World Cup. He was a goalkeeper, and aspired to play professional soccer in Europe until his conversion to playing basketball as he grew taller. Adebayo played for the Nigerian basketball team at the 1991 FIBA Under-19 World Championship.

Adebayo moved to the United States to work for an uncle who owned a computer company in New Jersey. He played basketball in a league at his church and in the playgrounds of Newark while he worked for a year.

College career
In 1993, Adebayo travelled to Arkansas to try earn a scholarship to play for the Central Arkansas Bears but the team had its roster set and did not want to acquire someone who they considered a long-term project. Central Arkansas head coach Don Dyer later lamented the loss and compared Adebayo to former Bears player Scottie Pippen. Adebayo instead began his college basketball career playing for the Raiders of Three Rivers College, where he became a first-team All-American. He averaged 19 points and 10 rebounds during his junior college career. Adebayo still holds the Raiders record for career rebounds with 706.

Adebayo earned attention from major NCAA Division I teams throughout his junior college career, and Adebayo committed to play for the Arkansas Razorbacks on 18 April 1995. He averaged 10.7 points and a team-high 7.6 rebounds during the 1995–96 season. On 1 March 1996, Adebayo was deemed ineligible by the Razorbacks to complete the final 11 games of the season due to issues with his junior college transcript. The National Collegiate Athletic Association (NCAA) had commenced questioning about Adebayo's eligibility and the Razorbacks voluntarily declared Adebayo ineligible. His junior college grades had not been properly certified due to an administrative error by the University of Arkansas, and he had started to practice with the Razorbacks eight days earlier than permitted. Adebayo was allowed to stay at the University of Arkansas but could not play on the basketball team or receive financial aid. The NCAA declared that Adebayo would have immediate eligibility if he transferred to a school outside of the Razorbacks' Southeastern Conference (SEC) and cited "extenuating circumstances." Adebayo entered his name into the 1996 NBA draft but stated that he would consider transferring to play for the Oral Roberts Golden Eagles, Oklahoma State Cowboys or Memphis Tigers if he did not like his draft prospects. He withdrew from the draft before it took place and transferred to play for Memphis.

Adebayo's start with the Tigers during the 1996–97 season was delayed while he completed exams. When the Tigers played an away game against the Razorbacks on February 2, 1997, Adebayo received two standing ovations from Razorbacks fans at the suggestion of Razorbacks coach Nolan Richardson. Adebayo stayed in contact with his former team throughout the season in a display of loyalty that Richardson considered "unique." Adebayo's devotion to the Razorbacks bothered Tigers fans, who considered him a "traitor" and booed him throughout his first game upon his return from Arkansas. He averaged 13.3 points and a team-high 7 rebounds per game during his only season with the Tigers.

In April 1997, the NCAA admitted that Adebayo had been wrongly suspended. Adebayo hired a lawyer and appealed to earn a rare fifth season of college eligibility that was granted by an NCAA administrative review panel in October 1997. He returned to the Arkansas Razorbacks for the 1997–98 season but was required to relinquish his scholarship to comply with NCAA sanctions placed on the team for other violations. Adebayo stated: "I knew I didn't do anything wrong. People say I've made history, but I don't get carried away with that. I'm just glad I got the year here back." His entry back into the Razorbacks lineup was hindered due to a sprained ankle. Adebayo averaged 6.2 points and 3.0 rebounds per game during the 1997–98 season.

Professional career
Adebayo was selected by the Grand Rapids Hoops with the 55th overall pick in the 1998 Continental Basketball Association (CBA) draft.

Adebayo played four games in the German Basketball Bundesliga (BBL) during the 2000–01 season. He averaged 15.7 points and 8.0 rebounds per game.

Adebayo played for the Perth Wildcats of the Australian National Basketball League (NBL) during the 2002–03 NBL season. He averaged 5.0 points and 4.4 rebounds per game.

Career statistics

College

|-
| style="text-align:left;"| 1995–96
| style="text-align:left;"| Arkansas
| 22 || 14 || 26.1 || .572 || – || .609 || 7.6 || 1.4 || 1.4 || .4 || 10.5
|-
| style="text-align:left;"| 1996–97
| style="text-align:left;"| Memphis
| 26 || 23 || 31.6 || .579 || .000 || .619 || 7.0 || 1.5 || .8 || .4 || 13.3
|-
| style="text-align:left;"| 1997–98
| style="text-align:left;"| Arkansas
| 22 || 6 || 15.2 || .511 || – || .677 || 3.6 || 1.3 || .8 || .2 || 6.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 70 || 43 || 24.7 || .564 || .000 || .630 || 6.1 || 1.4 || 1.0 || .3 || 10.2

References

External links
College statistics

1973 births
Living people
Arkansas Razorbacks men's basketball players
Brose Bamberg players
Memphis Tigers men's basketball players
Nigerian expatriate basketball people in Australia
Nigerian expatriate basketball people in Germany
Nigerian expatriate basketball people in the United States
Nigerian men's basketball players
Perth Wildcats players
Power forwards (basketball)
Sportspeople from Benin City
Three Rivers College (Missouri) alumni

Sunday Adebayo


The Große Gewehr-Panzergranate was a shaped charge rifle grenade that was developed by Germany and used by the Wehrmacht during World War II.

Design

The Große Gewehr-Panzergranate was launched from a Gewehrgranatengerät or Schiessbecher ("shooting cup") on a standard service rifle by a blank cartridge.  The primary components were a nose cap, internal steel cone, steel upper body, aluminum lower body, rifled driving band, cast TNT filling, and a base fuze with a penthrite booster charge.

The Große Gewehr-Panzergranate was an anti-armor weapon like its predecessor the Gewehr-Panzergranate but it was larger, had better penetration, and better range. Driven by the inertia upon hitting the target, the base fuze of the Große Gewehr-Panzergranate actuated a percussion cap, which fired an instantaneous detonator seated in the compressed penthrite pellet of the gaine, which in turn transmitted the detonation through an adjacent penthrite pellet (the booster) to the main TNT filling, so collapsing the internal steel cone to create a superplastic high-velocity jet to punch through enemy armor.  Since shaped charge weapons rely on chemical energy to penetrate enemy armor the low velocity of the grenade did not adversely affect penetration.  A downside of the Große Gewehr-Panzergranate was its short range of .

References

Grenades of Germany
Rifle grenades
World War II weapons of Germany

Gross Gewehr-Panzergranate


Capitol Studios is a recording studio located at the landmark Capitol Records Tower in Hollywood, California. The studio, which opened in 1956, were initially the primary recording studios for the American record label Capitol Records. While they are still regularly used by Capitol recording artists, the studios began making the facility available to artists outside the label during the late 1960s to early 1970s. The studios are owned by Universal Music Group, the parent company of Capitol Music Group.

For over 60 years, Capitol Studios has hosted some of the most celebrated artists, from Frank Sinatra, Nat King Cole, Michael Jackson, Dean Martin, Barbra Streisand, Paul McCartney, and The Beach Boys.  Along with traditional recording sessions, the studio has been the location of numerous events that include iTunes, Sirius/XM sessions, CMG Productions, such as the Top of the Tower concerts and the 1 Mic 1 Take Series. They've also hosted music video shoots including Justin Timberlake's "Suit & Tie", TV/documentaries "Behind the Music," Classic Albums, PBS Specials, Showtime Original Lost Songs: "The Basement Tapes Continued," the HBO feature "If You're Not In The Obit, Eat Breakfast," and many other projects.  The Studio has hosted "The Oscars" for the past two decades and hosts dozens of branded experiential and playback events each year.

Facilities

Overview
Founded as the first West Coast-based record label of note in the United States in 1942 by Johnny Mercer, Buddy DeSylva, and Glenn E. Wallichs, Capitol was acquired by British music conglomerate EMI as its North American subsidiary in 1955; construction of the Capitol Studios Building began soon after. Designed by Louis Naidorf of Welton Becket Associates, it stands as one of Los Angeles' major architectural landmarks, an emblem of mid-century Novelty Architecture. The building was completed in April 1956.
Capitol Studios are located in the rectangular ground floor base of the 13-story circular Capitol Records Tower located just north of the intersection of Hollywood and Vine. The Capitol Studios facility has business offices, five mastering rooms and four studios, three of which were constructed within a layer of asphalt-impregnated cork to insulate them from outside vibration. Originally designed by acoustics expert Michael Rettinger and Capitol's chief electronics engineer, Edward Uecke, with objectives to accommodate developing musical and recording trends like high-fidelity and stereo recording, the studios have been remodeled and updated to meet evolving demands.

In 2006, EMI Music North America sold the Capitol Records Tower to New York real estate firm Argent Ventures, but agreed to keep Capitol Studios in the Capitol Tower under long-term lease.

The Studios
Studio A is the largest single recording space, with 1,500 square feet of floor space capable of accommodating up to 50 musicians at one time. The studio features adjustable wooden wall panels for adjusting the room's reverberation delay time, as well as two isolation booths, and has been utilized by artists ranging from Frank Sinatra and Nat King Cole to Imagine Dragons, Cheryl Ladd and Michael Buble. A large private artist lounge is located above the control room, which features a 72-input Neve 88RS analog mixing console and PMC QB1-A monitor speakers.

Originally built in 1956, Studio A was remodeled by Jeff Cooper in 1989. In 1990, a retractable soundproof wall was installed between Studio A and Studio B, enabling them to be joined together to create an over-2700 square foot space large enough to accommodate up to 75 musicians for the recording of orchestral and soundtrack music. Clients have access to instruments that have been played on numerous Capitol Studios sessions, including Yamaha C9 and New York Steinway Model B grand pianos, vintage Rhodes and Wurlitzer keyboards, and a Hammond B-3 Organ. The studio's outboard equipment includes a selection of vintage and modern equipment, including Fairchild 670 and UREI 1176 vintage compressors.

Studio B contains 1023 square feet of floor space and a 150 square foot drum booth. While this makes Studio B ideal as a rock studio, it is also sonically responsive enough to handle orchestral sessions. The studio has the original 1956 adjustable swing-out acoustical panels with varnished hard wood surface on one side and absorptive fiberglass on the other side, as well as separate moveable soundproof partitions along the back wall for sound separation when recording live ensembles. The control room is outfitted with a vintage Neve 8068 56-input recording console that has been autographed by famous engineers and producers, including Rupert Neve, George Martin, Eddie Kramer, Geoff Emerick, Phil Ramone, Al Schmitt, and Andy Johns. Designed by Jack Edwards, Studio B has been the location of sessions for Green Day and Bob Dylan to Neil Young and John Mayer.  Like Studio A, Studio B has PMC QB1-A monitor speakers and a large private artist lounge that overlooks the studio.

Studio C is a 440 square foot mixing suite with overdub capabilities and its own isolation booth. Remodeled by Vincent Van Haaff, Studio C was Al Schmitt's favorite mixing room, and has been the site of multiple Grammy-winning mixes over the years. Studio C's Neve 88R 72-input console with full surround monitoring scoring capabilities, including Dolby Atmos, Auro-3D, 7.1 and 5.1, making it ideal for TV and film projects. Across The Universe, True Lies, The Revenant, Independence Day: Resurgence and Chips were mixed in Capitol Studio C.

Studio D is a 259 square foot mixing and editing suite with adjacent isolation booth for the recording of vocals and overdubs. Studio D is outfitted with a vintage Neve 8058 console.

All of Capitol's studios have full access to Capitol's echo chambers.

Echo chambers
One of Capitol Studios' assets are its eight subterranean echo chambers. Located 30 feet below Capitol Tower's parking lot, each of the trapezoidal-shaped echo chambers, constructed with thick concrete walls and ceilings finished with a highly reflective hard lacquer, was designed to have a different sound. The echo chambers are capable of producing a maximum reverb time of 5 seconds. Sound from any of Capitol's studios or mastering rooms can be sent to speakers in the echo chambers, with microphones capturing the combination of the sound, along with the rich reverberation of the chamber, and returning it to the studio. Chambers 1-4, designed by Les Paul, were completed as part of the building's original construction in 1956, with chambers 5-8 added in 1969.  Capitol previously leased their echo chambers to studios like United Western Recorders and The Village, who recorded using the chambers remotely via telephone lines. In 2019, Universal Audio released officially licensed software emulations of Capitol Studios' four most popular echo chambers.

Mastering
Capitol Studios also features an on-site mastering department with five dedicated mastering rooms. Capitol's mastering team also has access to Capitol Studio's echo chambers, analog tape machines and digital technology, as well as proprietary custom-built gear, made in-house by Capitol's technical and engineering staff. Artists like the Beach Boys, R.E.M., Deep Purple, Glass Animals, N.W.A., Red Hot Chili Peppers, Miley Cyrus, and Selena Gomez have all had projects mastered at Capitol Studios.

Capitol Studios has two vintage Neumann recording lathes used to cut lacquer for vinyl in all formats including 7", 10" and 12". These vintage lathes have been used to cut such notable albums as Pink Floyd's The Dark Side of the Moon, the Bee Gees' Saturday Night Fever (soundtrack), Paul McCartney's Band on the Run, George Harrison's All Things Must Pass, John Lennon's Plastic Ono Band, Ringo Starr's album Ringo 2012, and Boston's debut studio album Boston.

History

1956 through 1969
Capitol Studios opened in 1956. The first recording session in the new studio was the Frank Sinatra and Gordon Jenkins collaboration Frank Sinatra Conducts Tone Poems of Color. Frank Sinatra recorded regularly at Capitol Studios through the end of the 1950s. Nat King Cole, whose commercial success with Capitol earned the Capitol Tower the nickname "the house that Nat built," recorded at Capitol Studios up until his death in 1965. Other notable artists who recorded at the Studios in the 1950s included Dean Martin, Billie Holiday, Ella Fitzgerald, Louis Armstrong, and The Kingston Trio.

The Kingston Trio continued recording at Capitol Studios in the 1960s, and the Beach Boys recorded portions of their 1963 album Surfin' U.S.A. at Capitol. The studios also produced commercially successful albums from country music artists like Glen Campbell, and the Bakersfield sound of Buck Owens and Wynn Stewart. Other notable artists who recorded at Capitol Studios in the 1960s included Nancy Wilson, Stan Kenton, George Shearing, Plas Johnson, Cannonball Adderley, Bobby Darin, Peggy Lee, Wayne Newton, Lou Rawls, The Seekers, Linda Ronstadt and The Stone Poneys, Frank Zappa and The Mothers of Invention, and Billy Preston. In 1968, Capitol Studios' services, previously reserved for Capitol Records artists exclusively, were made available to the general public.

1970 through 1989
In the 1970s, Capitol Studios recorded the Steve Miller Band album The Joker and George Benson's Grammy Award-winning Breezin'. Tom Scholz recorded the vocals for Boston's eponymous debut album in Capitol Studio C. Other notable artists who recorded at Capitol Studios in the 1970s included Merle Haggard, Bobbie Gentry, Helen Reddy, Heart, Barbra Streisand, and Bob Marley and the Wailers.

In the 1980s, Capitol Studios is where Miles Davis recorded parts of his Grammy-award winning album, Tutu, and where Bob Seger recorded his commercially successful album, Like a Rock. Dwight Yoakam recorded his first three albums at Capitol Studios; all three topped the U.S. Country album chart. Other notable artists who recorded at Capitol Studios in the 1980s included The Carpenters, David Lee Roth, America, Michelle Shocked, Barry Manilow, Circle Jerks, and The Smithereens.

1990 through 2009
In 1990, a retractable soundproof wall was installed between Studio A and Studio B, enabling them to be joined together to create an over-2700 square foot space large enough to accommodate up to 75 musicians for the recording of orchestral and soundtrack music. The same year, Alice In Chains' recorded Facelift at the studios. Other albums recorded at Capitol Studios in the 1990s included Steve Lukather's Candyman, Willie Nelson's Healing Hands of Time, Toto's Tambu, and Dee Dee Bridgewater's Dear Ella. Other artists recording at the studios in the 1990s included Bonnie Raitt, Frank Sinatra, Harry Connick Jr., Celine Dion, Natalie Cole, Tanya Tucker, Richard Marx, and Dave Koz.

In 2000, Al Jarreau recorded his album Accentuate the Positive at Capitol. The subsequent decade would mark repeated success for Diana Krall projects recorded at the studio, including the Grammy Award winning album The Look of Love. Garry Schyman also recorded the BioShock 2 soundtrack at the studio. Other artists recording at Capitol in the 2000s included Sting, Ringo Starr,  Green Day, Coldplay, Train, Britney Spears, Faith Hill, Mariah Carey, The Wallflowers, Weezer, Oasis (band), Robbie Williams, and Toni Braxton.

2010 to present
In 2010, Paul McCartney recorded most of his 2012 album, Kisses on the Bottom, at Capitol Studios. In 2012, Studio A's control room was updated with a Neve 88RS recording console, and the first project to utilize the new console was McCartney's iTunes Live from Capitol Studios. The same year, Capitol launched the 1 Mic 1 Take series of stripped-down live performances produced exclusively at Capitol Studios. Other albums recorded at the studios in the 2010s included Bob Dylan's Shadows in the Night and Fallen Angels, John Mayer's The Search for Everything, and Jenny Lewis' On the Line. Other artists recording at Capitol in the 2010s included Tony Bennett, Imagine Dragons, Tori Kelly, Sam Smith, Muse, Mary J. Blige, Beck, Ryan Adams, Michael Buble, Seth MacFarlane, Queen Latifah, Emeli Sande, T Bone Burnett, Elvis Costello, Daft Punk, Sum 41, Toto, Ozzy Osbourne, and Shinedown.

In 2016, Capitol Studios celebrated its 60th anniversary.

Other Capitol Studios locations

5515 Melrose Avenue, Hollywood
Prior to establishing its own West Coast recording studio in 1948, Capitol Records booked recording sessions for their artists at Radio Recorders or C.P. MacGregor Studios. In Fall 1948, Capitol purchased the former home of radio station KHJ at 5515 Melrose Avenue to establish Capitol Studios. Capitol Studios operated in the Melrose Avenue location from 1948 until 1956, and was one of the first recording studios to offer multitrack recording to tape via Ampex Model 200 tape decks. Notable Capitol Records classics, including Nat King Cole's "Mona Lisa" and "Unforgettable," Frank Sinatra's "I've Got the World on a String" and "I've Got You Under My Skin" were recorded at Capitol Studios on Melrose Avenue.

151 West 46th Street, New York
From 1949-1961, Capitol owned and operated studios in New York City. These studios were located on the first floor of the Eaves Building at 151 West 46th Street (above the Eaves Costume Company). Some famous artists that recorded there include Nat King Cole, Duke Ellington, and Ray Charles.

See also
Capitol Records

References

Further reading
Schoenherr, Steven E. Recording Technology History. Department of History at the University of San Diego,  [July 6, 2005]. Includes  Pictures of Studio A

External links
 Capitol Studios official website
 The Capitol Film Collection - The Capitol Tower (1958)
 Want to buy a record? - Capitol Studios Melrose Avenue video tour
 Capitol Studios: Past, Present & Future video feature at Sound On Sound

Recording studios in California

Buildings and structures in Hollywood, Los Angeles
Capitol Records
Music of Los Angeles
Companies based in Los Angeles
Entertainment companies based in California
Entertainment companies established in 1956
1956 establishments in California

Capitol Studios


Comediehuset (The Comedy House) or Sillgateteatern (The Herring-Street Theatre) was a Swedish theatre, active in Gothenburg from 1779 until 1833. It was the first permanent Public theatre in Gothenburg and the only one until 1816. It was located at the corner of Sillgatan, the Herring-street (now Postgatan) and Nedre Kvarnbergsgatan.

History

Background
Prior to the foundation of the first theater, travelling theatre companies had visited Gothenburg, the first one being recorded in 1696. They were foreign, usually from Germany, but by the 1750s, the Swedish theater company of Peter Lindahl regularly visited the town. During the 1770s, amateur theater became popular among the wealthy city elite due to the theater interest of Gustav III of Sweden, and the family of Alströmer and Hall staged amateur theater and became patrons of theater.

In about 1775, Patrik Alströmer and his brother Clas Alströmer, had a proper theater building constructed, known as the Comedy House. Originally of wood, it was rebuilt in stone in 1782. This was to become the 4th public theater in Sweden, after Björngårdsteatern (1640) and Bollhuset (1667) in Stockholm, and the second outside of the capital, after Egges teater in Norrköping (1762), and prior to Spektakelhuset in Karlskrona and Spektakelhuset in Gävle (both founded in 1784). This was a part of a great enthusiasm and development of the theatre had begun in the country after King Gustav III of Sweden had founded the Royal Swedish Opera in 1773. Many theaters were founded in smaller cities around Sweden in the 18th-century, but Comediehuset was one of few to have success enough to last past a few years.

Permanent theatre
It is not exactly known when the theater was first used. Likely, it was used by travelling theater companies from the start. From 1779, however, the building was used by the theater company Gemenasiska sällskapet. It was managed by, in succession, Johan von Blanc (1779-86); Gustaf Simson (1786-87) and finally by Lovisa Simson (1787-92) in companionship with Andreas Widerberg (1786-90).

The standard of the Comediehuset was considered high. The theater's outside the capital was not as closely guarded by the authorities, and controversial plays often had premier sooner in Gothenburg, Karlskrona and Norrköping earlier than in Stockholm. The Marriage of Figaro had its premier in Sweden in Comediehuset in 1786, and Hamlet in 1787, much sooner than in the Royal Dramatic Theatre in Stockholm. Comediehuset also arranged public masquerade balls, concerts, opera and ballet, and had its own restaurant. Travelling guests artists also performed there, often foreign, such as French pantomime artists, Italian Opera and English circus artists.

Later history
In 1792, the theater was dissolved. However, it continued to be used by travelling theater companies. From 1793 until 1800, it was used by the company of Johan Anton Lindqvist, during which it in effect continued as a permanent theater. The following years, it was temporarily used by a succession of theater companies.

From 1810 until 1816, it was again permanently used by Johan Anton Lindqvist, until the building was deemed unsuitable and Lindqvist moved his theater to the second theater in Gothenburg, the newly established Segerlindska teatern (1816–1892), which was also called Stora teatern and Mindre teatern (from 1864), which in its turn was replaced by Stora Teatern, founded in 1859.

After repairs, Comediehuset was temporarily used for some performances until it was closed in 1833. The empty building burnt down 13 March 1867.

References
 Manne Ekman, GP.se, Stora Teatern, 2002-08-28,
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 2. 1794-1816 (1896-1900)
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 1. 1690-1794  (1896-1900)
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 3. 1816-1833  (1896-1900)

Former theatres in Sweden
18th century in Gothenburg
History of theatre
1779 establishments in Sweden
19th century in Gothenburg
Cultural history of Sweden
Theatres completed in 1779

Comediehuset