Allan Manings (March 28, 1924 – May 12, 2010) was an American television producer and comedy writer. He was active in the 1950s, 1960s, 1970s and 1980s and was best known for his work in co-creating with his wife, actress Whitney Blake, One Day at a Time, as well as serving as producer (and later executive producer) of the Bud Yorkin-Norman Lear Tandem show, Good Times.

Manings was born in Newark, New Jersey to a Jewish family, and was raised on Staten Island. He served in the United States Army during World War II in the Pacific theater. After completing his military service, he went to college on the GI Bill as one of the first men to attend the newly coeducational Sarah Lawrence College. Manings felt uneasy during the McCarthyist period, during which time several friends were blacklisted, and moved to Canada until the early 1960s.

He worked as a writer and script supervisor on Rowan & Martin's Laugh-In in the 1960s, for which he received an Emmy. He also wrote episodes of McHale's Navy and Leave It to Beaver.

Writers Guild of America Service
Manings was elected vice president of the Writers Guild of America, West from 1975 to 1977 and also served as a member of its board of directors from 1977 to 1982 and again from 1985 to 1992. He ran unsuccessfully for president of the Guild in 1991 and was a recipient of the Morgan Cox Award for service to the Guild, which he received in 1997.

Personal life
Manings was married to actress/producer Whitney Blake (1926–2002), best known for her role co-starring in the 1960s sitcom Hazel, and the stepfather of Blake's daughter, actress Meredith Baxter.

He died on May 12, 2010, aged 86, in Beverly Hills, California of a heart attack in addition to esophageal cancer from which he was suffering and had been receiving medical treatment.

Sources

Notes

External links

1924 births
2010 deaths
20th-century American Jews
United States Army personnel of World War II
Television producers from New York City
American television writers
American male television writers
Deaths from cancer in California
Deaths from esophageal cancer
Primetime Emmy Award winners
Writers from Newark, New Jersey
People from Staten Island
Sarah Lawrence College alumni
Screenwriters from New York (state)
Screenwriters from New Jersey
21st-century American Jews

Allan Manings


was a system used to record information regarding aliens resident in Japan. It was handled at the municipal level, parallel to (but separately from) the koseki (family register) and juminhyo (resident register) systems used to record information regarding Japanese nationals.

Foreigners staying in Japan for more than 90 days (excluding military personnel under a status of forces agreement and diplomatic personnel) were required to register within 90 days of landing in Japan. The applicant was required to provide a completed application form, passport (for applicants 16 years old or older) and two identification photos. The system was voluntary for shorter-term visitors.

Alien registration was a prerequisite to many activities in Japan, such as purchasing a mobile phone, opening a bank account or obtaining a driver's license.

As described below, the alien registration system was replaced with a foreign residents' registration system on July 9, 2012. The new system of foreign resident registration was passed from the local municipal level to the national level.

Registered information
The information stored in the alien registration system included:

 Date of registration
 Name (including any legal alias)
 Date of birth
 Gender
 Nationality and place of residence in home country
 Place of birth
 Employer/school, work/school address and occupation (if any)
 Passport number and date of issuance
 Date of landing in Japan
 Status of residence and duration of stay
 Residential address
 Information regarding household members (including name, date of birth, nationality and relationship)
 Information regarding parent(s) and/or spouse residing in Japan.

This information was recorded in a physical document called a , kept by the municipality in which the subject lived. Any changes in registered information had to be reported to the municipal office.

If a resident alien moved within Japan, they were required to report their move to the new municipality of residence, which then took possession of the tōroku genpyō. The tōroku genpyō was closed when the alien left Japan without a re-entry permit, and was then kept in an archive at the Ministry of Justice. Any subsequent entry to Japan by the same person required a new registration which was kept on a new tōroku genpyō.

Alien registration card
After a person registered as an alien, they were issued a photographic identity document called a , abbreviated (as is common in Japan) to , and colloquially referred to in English as an "alien registration card" ("ARC") or "gaijin card". All aliens in Japan were required to carry their passport or ARC at all times. The issuance of an ARC generally took about two weeks from the filing of the application.

Alien registration could also be evidenced by a , which is an A4-sized printed copy of the information currently on file, similar in form to the residency registration certificates used by Japanese nationals. Because this form of certificate did not contain the subject's photograph, it was not as widely accepted as the ARC for identity verification purposes, and was mainly used as a temporary certificate when an ARC was unavailable.

The ARC had to be surrendered when the foreigner left Japan unless they had a valid re-entry permit in their passport.

Legal alias
Registered aliens are allowed to adopt an  or 通名 as a second legal name. This resembles the 通称 that Japanese are allowed to use — for example, to continue using a maiden name at work and on bank accounts after marriage. Foreigners who are long-term residents of Japan, particularly ethnic Koreans whose families have lived in Japan for generations, often adopt Japanese names as aliases in order to integrate within society. Ethnic Japanese who live in Japan as resident aliens may use a legal alias to reflect their ancestral name. Legal aliases are also used when registering a seal in a different script than the applicant's legal name (e.g., in katakana rather than Latin script).

A person is generally required to use their alias in public relations before registering it. The exact criteria vary by locality, but the most common evidence is mail addressed to the alias name. One common technique which applicants use to create this evidence is to label the post box at their registered residence using the alias, and then mail themselves a postcard or letter addressed to the alias. One may also pay one's NHK television fee under the alias, and then receive official bills using that alias.

Aliases may be registered upon initial alien registration. If the alias is registered subsequently, upon registration of the alias, the registrant receives a handwritten notation indicating the legal alias on the reverse side of their alien registration card. Any registration certificate which is subsequently issued will show the alias in type in parentheses just below the holder's name.

A registered alias may be used on credit cards, health insurance, bank accounts and other documents. However, such documents may cause difficulties in foreign countries where the holder does not have personal identification showing their Japanese alias; thus documents in the registrant's foreign name may be preferable in non-Japanese speaking locales. Foreigners may obtain a Japanese credit card with a photo.

Japanese nationals often use aliases for non-official purposes. For example, women often continue to use their maiden names following marriage, even though they are required to adopt the same family name as their husband for their legal name. However, Japanese nationals are not permitted to use an alias for legal purposes: their name on any official document (e.g. domestic use Japanese identification) must match the name appearing in their family register and resident register. Japanese passports may contain alternate names in parentheses next to the family name or the given name if the Japanese can show a legal connection and use of these names overseas. Multiple alternate names are separated by slashes. Non-standard non-Hepburn romanization may also be used for the main names if one can show a legal connection using these spellings.

Issues

Fingerprinting debate
From 1952 onward, alien registration required the applicant to provide fingerprints from all fingers. Resident Koreans and other groups opposed this provision as a human rights violation. Kathleen Morikawa saw fingerprinting as violating the Golden Rule and fought for a level playing field. The fingerprinting system was repealed for Special Permanent Residents in the 1980s and for other aliens in 1999.

The fingerprint law was described in an Office of the United Nations High Commissioner for Human Rights report, Prevention of Discrimination: The Rights of Non-Citizens (final report of the special rapporteur David Weissbrodt), as follows:

The Japanese government has since introduced fingerprinting and photographing of foreigners, claiming that this is a terrorism control measure. Fingerprinting is conducted at the immigration checkpoint when entering Japan and is only conducted using the two index fingers. Japanese nationals and Special Permanent Residents are exempt from the procedure; long-term residency holders are requested to give fingerprint scans regardless.

When enforced, 95 people out of 700,000 who had entered Japan in one month were refused entry.

Relation with other registration systems
The alien registration system was similar to, but completely separate from, the koseki system used to record Japanese families and the juminhyo system used to record individual residents. If a household contained any non-Japanese members, those people would not appear in the koseki or juminhyo alongside the Japanese members. However, both Japanese and non-Japanese members of a registered alien's family appear in the alien's registration certificate; therefore one alien registration certificate can be used to prove their familial relationship.

One side effect of this situation was that it was impossible for an alien married to a Japanese national to be registered as the head of their household on a koseki or juminhyo. It was possible, however, to add a footnote to the Japanese spouse's records indicating that the alien is a .

Foreign residents' registration system
The Japanese government passed a law replacing the alien registration system with a residents' registration system. This new system started from July 9, 2012. The changes see non-Japanese residents recorded alongside Japanese residents in the jūminhyō system. (Note the distinction between the koseki system, which has not changed, and the jūminhyō).

Under the new system, foreigners are issued a new identification card known as a  by immigration authorities. Local city officials stopped issuing Alien Registration Cards and all foreigners are now issued Residence Cards by immigration authorities. Use of the old card was permitted until 8 July 2015, or when the resident's current status expired, whichever came first.

With the system, the maximum length of a status (other than statuses such as  long-term residence or  special long-term residence) for foreign residents was extended from three to five years, and shorter periods for Students and dependent statuses are permitted; the maximum length of multiple re-entry permits also has been extended to 5 years (eiju status) or 6 years (teiji), in addition for stays of up to one year, a special re-entry permit can be applied for at the point of departure at no charge rather than having to apply to an Immigration bureau in advance.
Residency status renewals are automatically reported to City Offices. Immigration Dept. penalties for failing to promptly report changes in address to the City Office may be quite severe. As was the case for Alien Registration, penalties for not carrying registration cards at all times are still likely to be heavy.

Special Permanent Residents such as special Korean residents of Japan have a Special Permanent Resident Certificate instead of a Residence Card.

References

External links
 Guide for Foreign Residents in Japan (not yet updated for new system)

 Registration of a Japanese name alias explained in Japanese by Nishio City, Aichi Prefecture
 About.com article in Japanese on aliases (17 Oct 2006)

Identity documents
Immigration to Japan
Law of Japan
Public records

Alien registration in Japan


Florence T. Nakakuni (born 1952) is the former United States Attorney for the District of Hawaii. She was appointed in 2009 by President Barack Obama, replacing Edward H. Kubo Jr. who left to become a Judge on the Hawaii First Circuit Court. She is the first female United States Attorney for the District of Hawaii. As one of 93 U.S. Attorneys nationwide, she represented the United States government in all civil and criminal cases within the district.

Nakakuni is a career public servant. After graduating from the University of Hawaiʻi at Mānoa and the William S. Richardson School of Law in 1975 and 1978 (respectively), she clerked for Justice Thomas Ogata of the Hawaii Supreme Court. She then worked as an attorney-adviser in the Office of Information and Privacy Appeals at the United States Department of Justice in Washington, D.C. After a few years, she returned to Hawaii, working first for the General Counsel of the United States Navy in Pearl Harbor, Hawaii, and then joining the United States Attorney for the District of Hawaii's Office in 1985. Just prior to her appointment as US Attorney, she served as Chief of the Organized Crime and Narcotics section of the Criminal Division.

Nakakuni grew up in Palolo, Hawaii, and attended Kaimuki High School. She initially wanted to be a high school English teacher, but changed career paths after college. Even after law school, she never wanted to become a trial lawyer.

See also
2017 dismissal of U.S. attorneys

References

1952 births
Living people
21st-century American women
University of Hawaiʻi at Mānoa alumni
Lawyers from Hawaii
United States Attorneys for the District of Hawaii
American women lawyers
People from Honolulu County, Hawaii
William S. Richardson School of Law alumni

Florence T. Nakakuni


Cornish Yarg is a semi-hard cow's milk cheese made in Cornwall, England. Before being left to mature, the cheese is wrapped in nettle leaves to form an edible, though mouldy, rind. The texture varies from creamy and soft immediately under the nettle coating to a Caerphilly cheese-like crumbly texture in the middle.

Production

Although made according to an historic method, Cornish Yarg is actually the product of the British cheesemaking renaissance in the 1980s while its roots are inspired by traditional British Territorial cheeses.

The cheese is produced at Lynher Dairies Cheese Company on Pengreep Farm near Truro, by Catherine Mead, Dane Hopkins and team.  "Yarg" is simply "Gray" spelt backwards.  It is named after Alan and Jenny Gray, enterprising farmers who found a 1615 recipe by Gervase Markham for a nettle-wrapped semi-hard cheese in their attic. The original recipe is thought to date back to the 13th century.

In 1984, the Grays sold the recipe to Michael and Margaret Horrell, farmers wanting to diversify into cheesemaking. Mead began working with the Horrells in 1985, helping to develop the business.  She built a second dairy on Pengreep Farm in 2001 and in 2006, when the Horrells retired, all production moved to Lynher Dairies.

Cornish Yarg is made using pasteurised cow's milk sourced from neighbouring farms. After pressing and brining, nettles are coated on by hand. The application of nettles changes the acidity on the outside of the cheese, thus affecting the manner in which the curd breaks down and matures.

References

Yarg
Cow's-milk cheeses

Cornish Yarg


In papyro (literally, "in/on paper") is a cod Latin term for experiments or studies carried out only on paper, for example, epidemiological studies that do not involve clinical subjects, such as meta-analysis. The term is similar to phrases such as in vivo, in vitro, or in silico. Like the latter, in papyro has no actual Latin meaning and was constructed as an analogue to the more popular and longstanding biological sciences terms (vivo and vitro). In papyro is mutually exclusive from in vitro and in vivo, but overlaps with in silico – that is, a study carried out through computer/abstract simulations can also be considered in papyro.

See also
ex vivo
in situ
in utero
in vitro
in vivo
in silico

Scientific terminology
Latin words and phrases

In papyro


Langton is a small town located in Norfolk County; formerly known as Boughner's Corner.

The town can be accessed by travelling to the intersection just slightly to the west of Courtland and turning south on Ontario provincial Highway 59 if coming from Delhi, south if coming from Tillsonburg or if travelling eastbound on Ontario Provincial Highway 3, and straight ahead if travelling southbound using Ontario provincial Highway 59.

Summary
Langton once had two banks but the CIBC bank closed in May 2016 due to increased online banking activity and the changing Canadian economy; placing the future of offline banking in this community in definite jeopardy. Despite its small population, Langton was considered to be a banking hub for the tobacco farmers during the 20th century. The Bank of Montreal branch closed permanently in August 2020, with COVID-19 attributing to its closure, becoming the second bank to close in Langton.

The Langton Baptist Churchyard is the local cemetery in the area. Having a significant amount of history to it, there are at least 600 individuals, or families, who are buried in the cemetery. Common last names found at the cemetery include Anscombe, Armstrong, Atkinson, Bain, Balcomb, and Boughner. The Langton Baptist Churchyard cemetery is still functional as of 2020.

Sidewalks exist only on the main street, otherwise, walking in this town is simple. A typical walking expedition lasts approximately 3-5 kilometers; depending on the participants' activity levels. Langton enjoys scenery that is very rural and flat. Streets can be busy sometimes; especially during the weekdays. Possible activities include hiking, walking, running, and cycling. Langton is the hometown of Canadian dart champion Bob Sinnaeve.

They have been able to receive cable television service since approximately 2011.

Since children of elementary school age who live in Andy's Corners attend Langton Public School or Sacred Heart School, Andy's Corners is considered to be a subdivision of Langton. Langton was home to the Langton Thunderbirds, a junior hockey team that played in the Southern Ontario Junior Hockey League. Langton has two schools: Langton Public School and Sacred Heart Catholic School.

Many locals claim the streets of Langton used to be paved with gold, due to the many tobacco farms being located near Langton thus creating a wealthy local industry.

Climate
The winter of 1975 was the only unusually mild winter in the region from 1897 to 1977. From the late 1990s onwards, winters became more mild due to changes in climate brought on by global warming. Langton traditionally belongs to the humid continental climate zone, even with the recent mild winters and warmer dry summers. As in all communities, towns and cities throughout the world, global warming due to human industrial activity has drastically altered the climate of Langton over the decades.

The warmest summers that Langton has witnessed occurred in 1998, 2003, 2005, 2006, 2007, 2009 (with the exception of the month of July), 2010, 2012, 2013, 2014, 2015 and 2016.

References

Communities in Norfolk County, Ontario

Langton, Ontario


There's a Whole New World Out There is an album by Francis Dunnery, released in 2009. It is mostly made up of cover versions, and re-recordings of songs from throughout Francis' career. Consisting of two discs, it was released on Dunnery's own record label Aquarian Nation.

Track listing
Disc one
 "Whole New World"
 "Kiss Like Judas"
 "Holiday"
 "Old Man and the Angel"
 "Animal Life and Water Life"
 "Calling to You"
 "Still Too Young to Remember"
 "Hunting The Whale"
 "Back in New York City (Genesis cover)"
 "Staring at the Whitewash"
Disc two
 "Underneath Your Pillow"
 "Sister Sarah"
 "Glad and Sorry"
 "Let Us All Go"
 "Charlie"
 "Yellow Christian"
 "Murder of the Planet Earth"
 "Love Will Tear Us Apart"
 "Still Life in Mobile Homes"
 "Feels Like Summertime"

References

2009 albums
Francis Dunnery albums

There's a Whole New World Out There


is a type of Japanese communal bathhouse where customers pay for entrance. Traditionally these bathhouses have been quite utilitarian, with a tall barrier separating the sexes within one large room, a minimum of lined-up faucets on both sides, and a single large bath for the already washed bathers to sit in among others. Since the second half of the 20th century, these communal bathhouses have been decreasing in numbers as more and more Japanese residences now have baths. Some Japanese find social importance in going to public baths, out of the theory that physical proximity/intimacy brings emotional intimacy, which is termed skinship in pseudo-English Japanese. Others go to a sentō because they live in a small housing facility without a private bath or to enjoy bathing in a spacious room and to relax in saunas or jet baths that often accompany new or renovated sentōs.

Another type of Japanese public bath is onsen, which uses hot water from a natural hot spring. In general, the word onsen means that the bathing facility has at least one bath filled with natural hot spring water. However, throughout the Kansai region of Japan, the word "onsen" is also a commonly used naming scheme for sentō. Sentō and supersentō in Kansai that do have access to a hot spring will often differentiate themselves by having "natural hot spring" (天然温泉) somewhere on their signage.

Layout and architectural features

Entrance area
There are many different layouts for a Japanese sentō or public bath. Most traditional sentō, however, are very similar to the layout shown on the right. The entrance from the outside looks somewhat similar to a temple, with a Japanese curtain (暖簾, noren) across the entrance. The curtain is usually blue and shows the kanji 湯 (yu, lit. hot water) or the corresponding hiragana ゆ. After the entrance, there is an area with shoe lockers, followed by two long curtains or doors, one on each side. These lead to the datsuijo (脱衣場, changing room), also known as datsuiba for the men and women respectively. The men's and the women's sides are very similar and differ only slightly.

Changing room

A public bathing facility in Japan typically has one of two kinds of entrances. One is the front desk variety, where a person in charge sits at a front desk, abbreviated as "front." The other entrance variety is the bandai style. In Tokyo, 660 sentō facilities have a "front"-type entrance, while only 315 still have the more traditional bandai-style entrance.

Inside, between the entrances is the bandai (番台), where the attendant sits. The bandai is a rectangular or horseshoe-shaped platform with a railing, usually around 1.5 to 1.8 m high. Above the bandai is usually a large clock. Immediately in front of the bandai is usually a utility door, to be used by the attendants only. The dressing room is approximately 10 m by 10 m, sometimes partly covered with tatami sheets and contains lockers for clothes. Often, there is a large shelf storing equipment for regular customers.

The ceiling is very high, at 3 to 4 m. The separating wall between the men's and the women's side is about 1.5 m high. The dressing room also often has access to a very small Japanese garden with a pond and a Japanese-style toilet. There are a number of tables and chairs, including some coin-operated massage chairs. Usually, there is also a scale to measure weight, and sometimes height. In some very old sentō, this scale may use the traditional Japanese measure monme (匁, 1 monme = 3.75 g) and kan (1 kan = 1000 monme = 3.75 kg). Similarly, in old sentō the height scale may go only to 180  cm. Local business often advertises in the sentō. The women's side usually has some baby beds and may have more mirrors. The decoration and the advertising are often gender-specific on the different sides. There is usually a refreshment cooler there where the customers can self-serve and pay the attendant. Milk drinks are traditional favorites and sometimes there is ice cream.

Bathing area

The bathing area is separated from the changing area by a sliding door to keep the heat in the bath. An exception are baths in Okinawa, where the climate is warmer and there is no need to keep the hot air in the bath. Sentō in Okinawa usually have no separation between the changing room and the bathing area or only a small wall with an opening to pass through.

The bathing area is usually tiled. Near the entrance area is a supply of small stools and buckets. There are a number of washing stations at the wall and sometimes in the middle of the room, each with usually two faucets (karan, カラン, after the Dutch word kraan for faucet), one for hot water and one for cold water, and a showerhead.

At the end of the room are the bathtubs, usually at least two or three with different water temperatures, and maybe a 'denki buro' (電気風呂, electric bath). In the Osaka and Kansai area the bathtubs are more often found in the center of the room, whereas in Tokyo they are usually at the end of the room. The separating wall between the men and the women side is also about 1.5 m high. The ceiling may be 4 m high, with large windows in the top. On rare occasions, the separating wall also has a small hole. This was used to pass soap. At the wall on the far end of the room is usually a large ceramic tile mural or painting for decoration. Most often this is Mount Fuji, but it may be a general Japanese landscape, a (faux) European landscape, a river or ocean scene. On rarer occasions, it may also show a group of warriors or a female nude on the male side. Playing children or a female beauty often decorates the women's side.

Boiler room
Behind the bathing area is the boiler room (釜場, kamaba), where the water is heated. This may use oil or electricity, or any other type of fuel such as wood chippings. The tall chimneys of the boilers are often used to locate the sentō from far away. After World War II, Tokyo often had power outages when all bathhouse owners turned on the electric water heating at the same time.

Sauna
Many modern sentō have a sauna with a bathtub of cold water (around 17 degrees Celsius) just outside it for cooling off afterward. Visitors are sometimes expected to pay an extra fee to use the sauna and are often given a wristband to signify this payment.

Etiquette

The Japanese public bath is one area where the uninitiated can upset regular customers by not following correct bathing etiquette designed to respect others; in particular, not washing before bathing, dipping your towel into the water, introducing soap into the bathwater, and horseplay. Sentō commonly displays a poster, a leaflet, and/or a brochure describing bathing etiquette and procedures in Japanese or occasionally in other languages for international customers.

Some ports in Hokkaidō, frequently used by foreign fishing fleets, had problems with drunken sailors misbehaving in the bath. Subsequently, a few bathhouses chose not to allow foreign customers at all.

It is common to hear people say, "gokuraku, gokuraku" when they get into the bath. It means something to the level of divine pleasure; it is a good feeling for the body and the soul.

Equipment
Taking a bath at a public sentō requires at a bare minimum a small towel and some soap/shampoo. Attendants usually sell these items for 100-200 yen. Many people bring two towels; a hand towel for drying and a hand towel or washcloth for washing. A nylon scrubbing cloth or scrub brush with liquid soap is normally used for washing. Other body hygiene products may include a pumice stone, toothbrush, toothpaste, shaving equipment, combs, shower caps, pomade, makeup products, powder, creams, etc. Some regular customers store their bucket of bathing equipment on open shelves in the dressing room.

Entrance and undressing
In Japan, it is customary to remove one's shoes when entering a private home. Similarly, shoes are removed before entering the bathing area in a sentō. They are kept in a shoe locker. The locker is usually available free of charge. In a gender-segregated sentō, bathers go through one of the two doors. The men's door usually has a blue color and the kanji for man (男, otoko) and the women's door usually has a pink color and the kanji for woman (女, onna). The attendant usually provides at extra cost a variety of bath products including towels, soap, shampoo, razors, and combs; ice cream or juice from the freezer can also be paid for here.
There are usually free lockers with keys (that may be worn on the wrist into the baths) or large baskets provided to put personal effects.

Bathing area
At onsen or hot springs, the water contains minerals and many people do not rinse off the water from the skin, to increase exposure to the minerals. In a regular sentō, people usually rinse off at the faucets.

Tattoos
Some public baths have signs refusing entry for people with tattoos. However, one may be allowed in if the tattoos are not too obvious. If one ventures to a public bathing place that is publicly owned, this should not present a problem as they have a duty to let all tax-paying citizens in. The original reason behind the ban was to keep out the yakuza (officially called the "violence groups" by the police).

Sanitation
Japanese public baths have experienced infrequent outbreaks of dangerous Legionella bacteria. In order to prevent such problems, the sentō union adds chlorine to its baths. At the cost of higher levels of chlorine, bacteria outbreaks are practically non-existent at sentō facilities of today.

Pricing

Rules and pricing are regulated per prefecture based on local committees. In 2022, basic entrance fee for adults at a sentō in Tokyo is ¥500. Citing rise in oil prices as rationale, price has been raised from ¥400 (2000–2006), to ¥430 (2006–2008) and again to ¥450 (2008–present). Meanwhile the price for children to enter had remained unchanged, but in 2022 the price for 6- to 11-year-olds raised to ¥200 while younger children to ¥100.

Girls 13 years or younger and boys 8 or younger are usually permitted to enter the baths of either gender. In other prefectures, the cut-off age can be as high as 16 in Hokkaidō or as low as 5 in Hyōgo.

Most sentō in Tokyo also offers a premium service for which each facility sets its own price, usually around ¥1,000. This option is usually called a sauna since at least a sauna is included. At Civic Land Nissei, for example, the sauna option includes access to more than half of all the facilities available.

Larger scale public bathing facility types are called super sentō and kenkō land, both more expensive than sentō, though super sentō offer a more modest price compared to kenkō.

At ¥300 per adult, the cheapest prefectures to sentō baths are in Yamagata, Tokushima, Nagasaki, Ōita, and Miyazaki.

History
The origins of the Japanese sentō and the Japanese bathing culture, in general, can be traced to the Shinto ritual purification kegare. This condition can be remedied through purification rites called misogi and harae.

Nara period to Kamakura period
Baths in Japan were usually found in Buddhist temples. These baths were called yuya (, lit. hot water shop), or later when they increased in size ōyuya (, lit. big hot water shop). These baths were most often steam baths (, mushiburo, lit. steam bath). While initially these baths were only used by priests, sick people gradually also gained access, until in the Kamakura period (1185–1333) sick people were routinely allowed access to the bathhouse. Wealthy merchants and members of the upper class soon also included baths in their residences.

Kamakura period
The first mentioning of a commercial bathhouse is in 1266 in the Nichiren Goshoroku (). These mixed-sex bath houses were only vaguely similar to modern bathhouses. After entering the bath, there was a changing room called datsuijo (). There the customer also received his/her ration of hot water, since there were no faucets in the actual bath. The entrance to the steam bath was only a very small opening with a height of about 80  cm, so that the heat did not escape. Due to the small opening, the lack of windows, and the thick steam, these baths were usually very dark, and customers often cleared their throats to signal their position to others.

Edo period

At the beginning of the Edo period (1603–1867), there were two types of baths common to the eastern and western regions of Japan respectively. In Edo (present-day Tokyo), bathhouses contained sizable pools and were called yuya (湯屋, lit. hot water shop). In Osaka, however, bathing establishments were primarily steam baths called mushiburo (蒸し風呂, lit. steam bath) that had only shallow pools.

At the end of the Edo period, the Tokugawa shogunate (1603–1868) at different times required baths to segregate by sex in order to ensure public moral standards. However, many bathhouse owners merely partitioned their baths with a small board, allowing some voyeurism to persist. Other baths avoided this problem by having men and women bathe at different times of day, or by catering to one gender exclusively. In spite of this, laws regarding mixed-sex bathing were soon relaxed again.

Contributing to the popularity of public baths in the Edo period were female bathing attendants were known as yuna (湯女, lit. hot water women). These attendants helped cleanse customers by scrubbing their backs. After official closing hours, however, a number of these women would perform additional services by selling sex to male customers. Similarly, some brothels in contemporary Japan have women who specialize in bathing with and cleansing male clientele. Such establishments are often called sōpu rando (ソープランド, soapland).

As a preventive measure against prostitution, the Tokugawa shogunate stipulated that no more than three yuna serve at any given bathhouse. However, this rule was widely ignored, causing the shogunate to ban female attendants from bathhouses altogether and once again prohibit the practice of mixed-sex bathing. Large numbers of unemployed yuna thereafter moved to official red-light districts, where they could continue their services. Up until 1870, there were also male washing assistants called sansuke (三助, lit. three bits of help) who would wash and massage customers of both genders. Unlike the yuna, these male attendants were not known to engage in prostitution.

Mixed-sex bathing was prohibited once again after Commodore Perry visited Japan in 1853 and 1854—drawing question to the morality of the practice.

Meiji period

During the Meiji period (1867–1912) the design of Japanese baths changed considerably. The narrow entrance to the bathing area was widened considerably to a regular-sized sliding door, the bathtubs were sunk partially in the floor so that they could be entered more easily, and the height of the ceiling of the bathhouse was then doubled. Since the bath now focused on hot water instead of steam, windows could be added, and the bathing area became much brighter. The only difference between these baths and the modern bath was the use of wood for the bathing area and the lack of faucets.

Furthermore, another law for segregated bathing was passed in 1890, allowing only children below the age of 8 to join a parent of the opposite sex.

Rebuilding
At the beginning of the Taishō period (1912–1926), tiles gradually replaced wooden floors and walls in new bathhouses. On September 1, 1923 the great Kantō earthquake devastated Tokyo. The earthquake and the subsequent fire destroyed most baths in the Tokyo area. This accelerated the change from wooden baths to tiled baths, as almost all new bathhouses were now built in the new style using tiled bathing areas. At the end of the Taishō period, faucets also became more common, and this type of faucet can still be seen today. These faucets were called karan (カラン, after the Dutch word kraan for faucet). There were two faucets, one for hot water and one for cold water, and the customer mixed the water in their bucket according to their personal taste.

Golden era

During World War II (for Japan 1941–1945), many Japanese cities were damaged. Subsequently, most bathhouses were destroyed along with the cities. The lack of baths caused the reappearance of communal bathing and temporary baths were constructed with the available material, often lacking a roof. Furthermore, as most houses were damaged or destroyed, few people had access to a private bath, resulting in a great increase in customers for the bathhouses. New buildings in the post-war period also often lacked baths or showers, leading to a strong increase in the number of public baths. In 1965 many baths also added showerheads to the faucets in baths. The number of public baths in Japan peaked around 1970.

Decline

Immediately after World War II, resources were scarce and few homeowners had access to a private bath. Private baths began to be more common around 1970, and most new buildings included a bath and shower unit for every apartment. Easy access to private baths led to a decline in customers for public bathhouses, and subsequently, the number of bathhouses is decreasing. Some Japanese young people today are embarrassed to be seen naked and avoid public baths for this reason. Some Japanese are concerned that without the "skinship" of mutual nakedness, children will not be properly socialized.

Future
While the traditional sentō is in decline, many bathhouse operators have adjusted to the new taste of the public and are offering a wide variety of experiences. Some bathhouses emphasize their tradition and run traditionally-designed bathhouses to appeal to clientele seeking lost Japan. These bathhouses are also often located in scenic areas and may include an open-air bath. Some also try drilling in order to gain access to a hot spring, turning a regular bathhouse into a more prestigious onsen.

Other bathhouses with less pristine buildings or settings change into so-called super sentō and try to offer a wider variety of services beyond the standard two or three bathtubs. They may include a variety of saunas, reintroduce steam baths, include jacuzzis and may even have a water slide. They may also offer services beyond mere cleansing, and turn into a spa, offering medical baths, massages, mud baths, fitness centers, etc., as for example the Spa LaQua at the Tokyo Dome City entertainment complex. There are also entire bathhouse theme parks, including restaurants, karaoke and other entertainment, as for example the Ōedo Onsen Monogatari (大江戸温泉物語, Big Edo Hot Spring Story) in Odaiba, Tokyo. (Note: The Ōedo Onsen Monogatari is not a sentō.) Some of these modern facilities may require the use of swimsuits and are similar in size and function to an indoor water park.

See also

 Furo
 Jjimjilbang
 Mikveh
 Taiwanese hot springs
 Edo-Tokyo Open Air Architectural Museum
 Hot springs in Japan
 Onsen

References

Further reading
 Aaland, Mikkel. Sweat: The Illustrated History and Description of the Finnish Sauna, Russian Bania, Islamic Hammam, Japanese Mushi-Buro, Mexican Temescal, and American Indian & Eskimo Sweat Lodge. Santa Barbara, Calif.: Capra Press, 1978. .
 (Reprint) San Bernardino, Calif.: Borgo Press, 1989. .
 Brue, Alexia. Cathedrals of the Flesh: In Search of the Perfect Bath. New York: Bloomsbury USA, 2003. .
 Clark, Scott. Japan, a View from the Bath. Honolulu: University of Hawaii Press, 1994. .
 Koren, Leonard. How to Take a Japanese Bath. Berkeley, Calif.: Stone Bridge Press, 1992. .
 Smith, Bruce, and Yoshiko Yamamoto. The Japanese Bath. Layton, Utah: Gibbs Smith, Publisher, 2001. .
 Talmadge, Eric. Getting Wet: Adventures in the Japanese Bath. Tokyo; New York: Kodansha International, 2006. .

External links
 Sento Guide—Guide to public baths in Japan
 Japan Baths—Public bathhouses in Japan
 www.OnsenJapan.net—Interactive Google map of Japanese baths with easy-to-read icons, pictures, and reviews
 Search for Sento (Public Bath)—Tokyo Travel Guide, Sunnypages.jp
 Super Sento Guide—Guide to super sento in Japan
 OTA Navi—Ota Tourist Association

Architecture in Japan
Bathing in Japan
Japanese culture
Public baths in Japan

Sentō


Eduard Wirths (4 September 1909 – 20 September 1945) was the chief SS doctor (SS-Standortarzt) at the Auschwitz concentration camp from September 1942 to January 1945. Thus, Wirths had formal responsibility for everything undertaken by the nearly twenty SS doctors (including Josef Mengele, Horst Schumann and Carl Clauberg) who worked in the medical sections of Auschwitz between 1942 and 1945.

Early life
Eduard Wirths was born in Geroldshausen near Würzburg, Bavaria into a Catholic family with democratic Socialist leanings. His father served as a medical corpsman in the First World War and according to Robert Jay Lifton had emerged from the war "...in a depressed state with pacifist leanings, which were undoubtedly expressed in his (as one son put it) 'making doctors of us all...'"  Wirth's younger brother, Helmut, became a notable gynecologist (who later went to Auschwitz to visit his brother to participate in cancer experiments but said that he left after only a few days on his brother Eduard's advice, due to a disagreement and because of his revulsion of the place). According to Lifton "...Among the boys it was Eduard who came most under the father's influence in becoming meticulous, obedient, and unusually conscientious and reliable — traits that continued into his adult life. He never smoked or drank and was described as compassionate and "soft" in his responses to others..." The Wirths family was not known to be anti-semitic or sympathetic to radical nationalist politics.

Nazi party membership
Eduard Wirths, however, became an ardent Nazi while studying medicine at the University of Würzburg (1930–35). He joined the Nazi Party and the SA in June 1933 and applied for admission into the SS in 1934. He entered the Waffen SS in 1939, saw action in Norway and the Russian Front and was classified as medically unfit for combat duty in the spring of 1942 after a heart-attack. Wirths then chose to undertake special training for Department leaders in Dachau Concentration Camp and served as chief SS psychiatrist in Neuengamme concentration camp during July 1942. Coincidentally, in 1942, Josef Mengele was also wounded at the Russian Front, pronounced medically unfit for combat, and promoted to the rank of SS-Hauptsturmführer before being assigned to Auschwitz.

Auschwitz (1942–1945)
Wirths was promoted to SS-Hauptsturmführer (captain) and appointed as chief camp physician at Auschwitz in September, 1942. He was appointed on the basis of his reputation as a competent doctor and committed Nazi who would be capable of stopping the typhus epidemics that had increasingly affected SS personnel at Auschwitz.

At Auschwitz, Wirths was known to be protective of prisoner doctors and other prisoners doing medical work, to have improved conditions on the medical blocks and was remembered favourably by most prisoner doctors and other inmates who had contact with him. At the same time, Wirths in recommending Josef Mengele for promotion in August 1944, was able to speak of Mengele's "open, honest, firm … [and] absolutely dependable" character and "magnificent" intellectual and physical talents; of the "discretion, perseverance, and energy with which he has fulfilled every task … and … shown himself equal to every situation"; of his "valuable contribution to anthropological science by making use of the scientific materials available to him"; of his "absolute ideological firmness" and "faultless conduct [as] an SS officer"; and personal qualities as "free, unrestrained, persuasive, and lively" discourse that rendered him "especially dear to his comrades".

Rudolf Höss, the commandant of Auschwitz between 1940 and December 1943, is said to have held Wirths in particularly high regard. He is said to have remarked of Wirths that "During my 10 years of service in concentration-camp affairs, I have never encountered a better one."

In 1943 the impact on inmates of Wirths' actions at Auschwitz resulted in his receiving a Christmas card from Langbein, a political prisoner who worked with him, which contained the message "In the past year you have saved here the lives of 93,000 people. We do not have the right to tell you our wishes. But we wish for ourselves that you stay here in the coming year." It was signed: "One speaking for the prisoners of Auschwitz." The figure of 93,000 was the difference in mortality rate among prisoners from typhus in the year prior to Wirths' arrival.

Prisoner experimentation
Wirths was involved in ordering medical experimentation, particularly in gynecological and typhus-related experimental tests. Wirths's primary research concerned pre-cancerous growths of the cervix. Wirths was also interested in the sterilization of women, by removing their ovaries through surgery or radiation. It is generally acknowledged that he himself never directly participated in such experiments but delegated their conduct to subordinates. The victims of these experiments were Jewish women who had been imprisoned in Block 10 of the main camp in Auschwitz. E.W.J. Pearce, an Associate Professor of Obstetrics and Gynecology at the Truman Medical Center has made the following observation regarding Wirths' medical experiments: ". . . Wirths, without consent, photographed the cervices of women prisoners, then amputated the pictured cervices, and sent both photographs and specimens for study to Dr. Hinselmann of Berlin". Hinselmann was the physician who developed colposcopy.

Selection of prisoners
Importantly, Wirths also asserted medical control of prisoner selections at the Auschwitz-Birkenau camp, which, prior to spring 1943, had been conducted by the camp commander and his subordinates.  Wirths insisted upon taking his own personal turn in performing selections, which he could have deferred to physician subordinates.  Witness testimony given at the Trial of Adolf Eichmann provided a useful insight into how the SS approached the issue of how to record the deaths of Auschwitz prisoners (this did not include those who had been immediately selected for gassing – their admission was simply not recorded in the death registers).  Those who died while imprisoned at Auschwitz were always recorded as having died from natural causes and never from being executed or murdered.

Wirths was promoted to SS-Sturmbannführer (major) in September 1944. Following the evacuation of Auschwitz in January 1945 he was transferred, along with many other former Auschwitz personnel, to the Mittelbau-Dora concentration camp in Thuringia. Wirths again held the post of chief camp physician until Mittelbau-Dora's evacuation in April 1945.

Capture and suicide
Wirths was captured by the Allies at the end of the war and held in custody by British forces. Later, on 20 September 1945, knowing that he would face trial for war crimes, Wirths committed suicide by hanging.

In 2014 Wirths' son Peter donated his father's photo albums to the USHMM - these contain photos of the Wirths family at the Solahütte, Wirths with Rudolf Höss, pictures of the old village of Birkenau before it was destroyed and pictures of the building of the SS hospital at Auschwitz.

Summary of SS Career
Robert Jay Lifton has said that
. . . Wirths was significantly immersed in Nazi ideology in three crucial spheres: the claim of revitalizing the German race and Volk; the biomedical path to that revitalization via purification of genes and race; and the focus on the Jews as a threat to this renewal, to the immediate and long-term "health" of the Germanic race. While Wirths did not absolutize these convictions in the manner of Mengele — they were in him combined with a strong current of medical humanism — his commitment to the Nazi cause was probably no less strong . . .

Perhaps illustrative of Wirths' commitment to medical 'leadership' was his tendency while at Auschwitz to drive about in a car flying a Red Cross flag as well as his enthusiasm for acting as a marriage counselor and personal adviser to other SS personnel. According to Helgard Kramer, Wirths
. . . first seized on a career as a military doctor and officer in the German elite troops of the SS, because he desperately wanted to become a member of the upper class; eventually to provide his future wife with a "decent marriage". To reach that goal he had to become a "tough man"...

SS ranks and awards
Ranks
September 1942, Promotion to SS-Hauptsturmführer
September 1944 Promotion to SS-Sturmbannführer
Final rank in the SS: SS-Obersturmbannführer

Awards during SS career
 War Merit Cross 1st Class With Swords
Iron Cross 2nd Class 1939
DRL-Sports Badge in Bronze
German Sosial Wellfare Medal 2nd Class
Eastern Front Winter Medal

See also
 Hans Münch
 List of people who died by suicide by hanging

References

 Hermann Langbein, (2004) People in Auschwitz. North Carolina: The University of North Carolina Press Chapel Hill & London in association with the United States Holocaust Memorial Museum.
 Robert J. Lifton, (1986) THE NAZI DOCTORS: Medical Killing and the Psychology of Genocide. New York: Basic Books.
 University of Linz: SS-DOCTOR DR. EDUARD WIRTHS
 Dr. E.W.J. Pearce, (1996) "Antigone: An Exercise in Medical Ethics" in History and Philosophy of Medicine  Newsletter  published by  the University of Kansas Medical Centre.
 Transcript (in German) of the documentary Film (1975) "Dr. Eduard Wirths – Standortarzt von Auschwitz" by Dutch film makers Roland Orthel and others.
 Webster University, Nazi Doctors & Other Perpetrators of Nazi Crimes  at www.webster.edu
 Holocaust at www.shoa.de
 Shoa.de - Eduard Wirths (1909-1945) at www.shoa.de
 Helgard Kramer, "The 'Doubled Self' of SS Doctors at Auschwitz Revisited" Paper presented at the 25th Annual Scientific Meeting of the International Society of Political Psychology (ISPP) in Berlin, July 16–19, 2002.
 Healing-Killing Conflict: Eduard Wirths

1909 births
1945 suicides
1945 deaths
Auschwitz concentration camp medical personnel
Mittelbau-Dora concentration camp personnel
Physicians in the Nazi Party
Nazi human subject research
Nazis who died by suicide in prison custody
Neuengamme concentration camp personnel
People from Würzburg (district)
SS-Sturmbannführer
Physicians from the Kingdom of Bavaria
Nazis who committed suicide in Germany
Suicides by hanging in Germany
Waffen-SS personnel
Prisoners who died in British military detention

Eduard Wirths


Coptotriche citrinipennella is a moth of the family Tischeriidae. It was described by James Brackenridge Clemens in 1859. It is found in North American in Nova Scotia, Ontario, Quebec, Arkansas, the District of Columbia, Indiana, Kentucky, Massachusetts, Missouri, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Texas, Virginia and West Virginia.

The larvae feed on Castanea dentata, Quercus coccinea, Quercus ilicifolia, Quercus imbricaria, Quercus marilandica, Quercus palustris, Quercus phellos and Quercus rubra. They mine the leaves of their host plant.

References

Moths described in 1859
Tischeriidae

Coptotriche citrinipennella


Chief Mountain (Blackfoot: Ninaistako) () is located in the U.S. state of Montana on the eastern border of Glacier National Park and the Blackfeet Indian Reservation. The mountain is one of the most prominent peaks and rock formations along the Rocky Mountain Front, a  long overthrust fault, known as the Lewis Overthrust, which extends from central Montana into southern Alberta, Canada.

Geology

Chief Mountain is an example of a klippe. It consists of a Precambrian block which rests directly above much younger Cretaceous gray shales. The 1450-1400 million year old Precambrian rocks are 1300-1400 million years older than the Cretaceous rocks at the base of the mountain.

Having an older layer of rock juxtaposed atop younger basement rocks is found on occasion in thrust faults and is commonplace along the Lewis Overthrust which extends from central Montana to far southern Alberta. The surrounding portion of the thrust sheet has been removed by erosion leaving behind this and a few other isolated blocks of Proterozoic rock.

History and significance
Chief Mountain has been a sacred mountain to the tribes of Native Americans in the United States and First Nations in Canada for hundreds of years. The Blackfoot name for the mountain is Nínaiistáko. The peak is easily seen from Montana and Alberta due to the rapid  altitude gain over the Great Plains which are immediately east of the mountain.

The mountain was seen by white explorers in the late 18th century and was known as "Kings Peak" on maps produced in the United Kingdom in 1795. In the early 1900s as white settlers came to the area, they observed native burial sites scattered along the base of the mountain. The name was changed in the late 19th century in reflection of Blackfeet naming of the mountain which was "Great Chief". When Glacier National Park was created in 1910, the summit and most prominent eastern slopes of the mountain were located within the park, leaving only the lower slopes within Blackfeet Indian Reservation.

Natives from all over North America travel to the base of the mountain for sweet grass ceremonies, placing of prayer flags and other religious rites. Elders from Southern Alberta's Siksika Band (where the Great Chief Crowfoot hailed from) and other First Nation groups have an oral tradition that near the end of days, a Great White God would appear from the top of Chief Mountain and upon his departure, the mountain would crumble and be destroyed.

Climbing
The eastern face of the mountain rises over  vertically and the easiest route on this section is rated class 4 by mountaineers. The rock is also primarily sedimentary and provides poor anchor points, which in turn is a contributing factor to the difficulty rating. Henry Stimson and two other explorers, including a Blackfeet Indian, climbed the difficult eastern face on September 8, 1892, and this is the first known ascent of the peak by white explorers. Upon the summit, Stimson's party observed ceremonial remains including bison skulls that had been left behind by Native Americans. The eastern face of the peak was not successfully climbed again until 1951. Though the summit can be gained by approaching from the west, the easiest access is from the east, and the Blackfeet tribe may issue access permits to cross reservation lands. This entire area is sacred to the Blackfeet Native Americans. National Park Service visitor centers at St. Mary, Montana and at Many Glacier have additional information available.

See also

 Rocky Mountains
 Ninaki Mountain
 Mountains and mountain ranges of Glacier National Park (U.S.)

References

Mountains of Glacier National Park (U.S.)
Mountains of Glacier County, Montana
Religious places of the indigenous peoples of North America
Sacred mountains
Lewis Range
Mountains of Montana

Chief Mountain


In This Corner of the World is a Japanese animated wartime drama film in 2016. Also it was made into a movie based on a manga of the same name. The main character Suzu was played by Non, because her soft voice was admired by Katabuchi who is a director.

Differences from the original

It was made into a movie based on a manga. Therefore some scenes are different from the original. First, at the beginning of the story there is a scene where Suzu encounters a kidnapper while delivering seaweed. However the date was changed from "January 1934" to "December 1933". In this film it was drawn that a city bustling with the economics of Christmas, although this year there was an event of the birth of the crown prince on December 23rd. Therefore people who made this movie thought the celebratory mood would continue to the beginning of the year and they changed the date. Second, it is not drawn Rin who was the main character in the original so much in this movie. Also it is not drawn about the love triangle between Shusaku, Rin and Suzu.

Plot

Suzu who is an eighteen year-old girl loves drawing. In December 1943, when she is helping her grandmother to make seaweed at Kusatsu, sudden news comes. The news is from a man who would like to marry her. She goes home in a hurry and she peeks through a window at a young man. The man is Shusaku Hojo from Kure but she does not know the man. In February 1944, Suzu will get married to him and Suzu's new life begins. Husband is gentle but Suzu's sister-in-law is strict. Even though it is under wartime and supplies are reduced, Suzu lives the life with her humor and she is gradually accepted by Hojo family and neighbors. However the next year in 1945 an atomic bomb is dropped on Hiroshima, then she lost her important thing. After the war ends, she decides a place where she belongs is Kure and lives a life.

Characters

The main character of this movie is Suzu Hojo. She was born in Eba, Hiroshima. In addition, she loves drawing. When she was a child, she had a mysterious experience encountering "Bakemon". At the age of 18, she got married. She has a younger sister Sumi Urano and she has been getting close since she was a child. Also Shusaku Hojo is Suzu's husband. He first met her when he was a child. Keiko Kuromura is Shusaku's sister and she came back to her house with her daughter Harumi. Harumi is five years old and unlike her mother she likes Suzu. Also Tetsu Mizuhara was Suzu's classmate when he was an elementary school student.

2007 manga
2011 television series debuts
2016 movies
Japanese television dramas based on manga
Manga series

In This Corner of the World


A Deadhead or Dead Head is a fan of the American rock band the Grateful Dead. The Deadhead subculture originated in the 1970s, when a number of fans began traveling to see the Grateful Dead in as many shows or festival venues as they could. As more people began attending live performances and festivals, a community developed. The Deadhead community has since gone on to create slang and idioms unique to them.

Unlike other popular acts in music, the Grateful Dead are well known for the use of improvisation in their performances making each show unique. This coupled with the band's permissive attitude on taping performances has created a plethora of historical material. Such recordings of previous performances are shared widely among the Deadhead community.

Much Deadhead-related historical material received or collected by the band over the years is housed in the Grateful Dead Archive of University of California, Santa Cruz. Archive founding curator Nicholas Meriwether, who has also written extensively about the culture and its impact on society, predicted, "The Grateful Dead archive is going to end up being a critical way for us to approach and understand the 1960s and the counterculture of the era... It's also going to tell us a lot about the growth and development of modern rock theater, and it's helping us understand fan culture." Over the course of their thirty-year career, the Grateful Dead performed over 2,200 live shows.

Overview
The eclectic musical styling of the Grateful dead was heavily inspired by the Beatnik movement of the 1950s and later the psychedelic counterculture of the 1960's. One group at the forefront of the psychedelic sound was the Merry Pranksters. On the first historic bus trip, on the bus Furthur, a pattern was set for the Deadhead touring lifestyle to come. By the late 1970s, some Deadheads began to sell tie-dye T-shirts, veggie burritos, or other items at Grateful Dead concerts. In the 1980s, the area where Grateful Dead merchandise was sold became popularly referred to as "Shakedown Street", named after the 1978 song. Income from these shops allowed Deadheads a way to follow the band on its tours. During the early 1980s, the number of Deadheads taping shows increased, and the band created a special section for fans who wished to record the show. These tapes are still shared and circulated today via websites such as the Live Music Archive and bt.etree.org. In the earlier days of the Grateful Dead, there were questions as to whether or not it was in the best interest of the band for fans to tape concerts. In 1982, Garcia himself was asked what he thought about it, and he replied, "When we are done with it [the concerts], they can have it." The practice of taping has evolved and expanded in the digital age. The rise of the Internet and peer to peer file sharing networks has made it extremely easy for Deadheads to share concerts through unofficial and official channels. Bob Dylan, who toured with the Grateful Dead during their 1987 summer tour, observed "With most bands the audience participates like in a spectator sport. They just stand there and watch. They keep a distance. With the Dead, the audience is part of the band-they might as well be on stage."

Origins
The term "Deadhead" first appeared in print at the suggestion of Hank Harrison, author of The Dead Trilogy, on the sleeve of Grateful Dead (also known as Skull & Roses), the band's second live album, released in 1971. It read:

This phenomenon was first touched on in print by Village Voice music critic Robert Christgau at a Felt Forum show in 1971, noting "how many 'regulars' seemed to be in attendance, and how, from the way they compared notes, they'd obviously made a determined effort to see as many shows as possible."

Eileen Law, a long time friend of the band, was put in charge of the mailing list and maintained the Dead Heads newsletter. It is estimated that by the end of 1971, the band had received about 350 letters, but this number swelled greatly over the next few years to as many as 40,000. In total, 25 mailings/newsletters reached Dead Heads between October 1971 and February 1980. After this time, the Grateful Dead Almanac would succeed it, with this eventually being abandoned for Dead.net. Those who did receive the newsletter in the 1970s often found pleasant surprises sent along. One example is from May 1974 when Heads received a sample EP of Robert Hunter's upcoming album Tales of the Great Rum Runners as well as selections from Jerry Garcia's second album, Compliments of Garcia, and some cuts that were from bandmembers Keith and Donna Godchaux's eponymous solo album, Keith & Donna, both on Round Records. This sample was titled Anton Round, which was an alias used by Ron Rakow.

Impact on shows

The Grateful Dead's appeal to fans was supported by the way the band structured their concerts and the use of the jam band format.
 From the early 1970s on, the Grateful Dead performed few shows with a predetermined setlist.
 At the behest of the band, a section of the audience was walled off to be used exclusively by fans recording the concert.
 From the 1980s on, the second set usually contained a prolonged percussion interlude, called "Drumz" (and eventually incorporating electronic elements), by Mickey Hart and Bill Kreutzmann (also known as the "Rhythm Devils") followed by an extended improvisational "space" jam played by the rest of the band (as featured on the album Infrared Roses).

The band's extensive song catalog enabled them to create a varied "rotation" of setlists, which were never exactly the same for each performance ("show") throughout a tour. The use of these unique set rotations created two phenomena: The first had to do with Deadheads wanting to go to more shows in order to get a chance to hear their favorite song(s) – the same song was rarely played the same way twice during any given tour. Also, a great show often inspired many fans to begin following the band for the rest of the tour, as well subsequent tours. The second was that having a large number of traveling fans had empowered the band to perform multiple shows at each venue, since they were assured that their performances would mostly sell out (almost all shows sold out from the mid-1980s and on). At this point, it became apparent that Deadheads were a major driving force that encouraged the band to keep going. Along with the large number of people attending several shows, a traveling community developed amongst fans in response to the familiarity of seeing the same people from previous strings of shows. As generations turned from the Acid Tests to the 1970s (and onward), tours became a time to revel with friends at concerts, old and new, who never knew the psychedelic age that spawned the band they loved. As with any large community, Deadheads developed their own idioms and slang which is amply illustrated in books about the Grateful Dead such as the Skeleton Key.

"The Vibe"
Some Deadheads use the term "X Factor" to describe the intangible element that elevates mere performance into something higher. Publicist and Jerry Garcia biographer Blair Jackson stated that "shows were the sacrament ... rich and full of blissful, transcendent musical moments that moved the body and enriched the soul." Phil Lesh himself comments on this phenomenon in his autobiography by saying "The unique organicity of our music reflects the fact that each of us consciously personalized his playing: to fit with what others were playing and to fit with who each man was as an individual, allowing us to meld our consciousnesses together in the unity of a group mind."

Jackson takes this further, citing drummer Mickey Hart as saying "The Grateful Dead weren't in the music business, they were in the transportation business." Jackson relates this to the Deadhead phenomenon directly by saying "for many Deadheads, the band was a medium that facilitated experiencing other planes of consciousness and tapping into deep, spiritual wells that were usually the province of organized religion ... [they] got people high whether those people were on drugs or not." It was times like these that the band and the audience would become one; The Grateful Dead and the Deadheads were all in the same state of mind.

Rock producer Bill Graham summarized much of the band's effect when he created a sign for the Grateful Dead when the group played the closing of the Winterland Ballroom on December 31, 1978, that read:

Through the years
 1960s – Before the term was invented, The Grateful Dead became one of the first cult acts in music. Although not as mainstream as other psychedelic bands, they were the leaders of the Haight-Ashbury music scene and had an intense following that started in San Francisco and eventually spread. Fans gathered at their jam concerts throughout the sixties.
 1970s – essentially known as the "second generation of Deadheads", the new Deadheads of this time can either be traced to "an older sibling who had turned them on by spinning Workingman's Dead or Europe '72" or through college and university dorm rooms.
 1980s – The early 1980s brought about what would later become known as "Shakedown Street" (in reference to the Grateful Dead album of the same name). Starting during the New Year's Eve shows at the Oakland Auditorium in California from 1979 to 1982, Deadheads began to realize they could sell their wares (anything from tie-dye T-shirts to veggie burritos) in order to follow the band around more. Also during the early 1980s, Deadhead tapers grew exponentially, resulting in the band designating a taping section in October 1984. With the success of their album In the Dark (and the single "Touch of Grey"), 1988 started the "Mega-Dead" period.
 In the Darkers – also known as "Touchheads" (a reference of the album for the former and the single for the latter), these fans "dissed the fragile ecosystem" of a Grateful Dead show, in the words of Jackson. This led to "wiser" Deadheads, with the backing of the band, to mail SOSs and hand out show flyers telling people to "cool out."
 Minglewood Town Council – this group was a direct result of the Touchheads and were a "tribal council" consisting of Deadheads and the Hog Farmers Calico and Goose. They handed out garbage bags at shows for people to pick up trash afterwards and tried to keep the masses mellow. The iconic lot leader, "Trash Captain" aka Douglas Seaton, was a well known member of this group.
 1990s – The Deadheads of this time "tended to be young, white, male, and from middle-class backgrounds – in short, they were drawn from much the same demographic base as most rock fans." The band also tended to attract a large percentage of fans from high-income families. The main draw for these Deadheads to travel to shows seemed to be the sense of community and adventure. During the mid-1990s there were a series of small "Deadhead Riots" peaking with a large scale riot at the Deer Creek Music Center near Indianapolis in July 1995. The riot was triggered by several gate crashing incidents, and resulted in the fence at the venue being torn down by rioting Deadheads and the subsequent cancellation of the next day's show. The riot received national attention and is immortalized by Keller Williams in his song "Gatecrashers Suck", in which he calls the rioters "cock-sucking motherfuckers". Concert promoter Peter Shapiro filmed the iconic and influential  Deadhead documentary, "Tie-Died, Rock and Roll's Most Deadicated Fans" about life on Grateful Dead Tour 1994. The film was released through Sony Tri Star in September 1995 in major motion picture theaters across America, shortly after Jerry Garcia's death. At the premiere party of the film's release, Deadheads at the after-party at the Fillmore West met with Jerry Garcia's close friend and musician, David Nelson, to formulate a strategy for continuing Deadhead culture. Thus, the David Nelson Band was formed. Other Dead related jam bands also did their part to continue the culture.
 21st century – Many Deadheads of all ages, including fans who were generally too young to have seen the Grateful Dead, continue to passionately follow the many current Grateful Dead cover bands and spin-off bands such as Dead & Company, The David Nelson Band, the Donna Jean Godchaux Band, RatDog, Phil Lesh and Friends, 7 Walkers, The Rhythm Devils, The Dead, Furthur, Dark Star Orchestra, and Joe Russo's Almost Dead.
 The Spinners – also known as "The Family" or Church of Unlimited Devotion. These people "used the band's music in worship services and were a constant presence at shows." They were called "spinners" because of their twirling dance style. John Perry Barlow stated at the 'So Many Roads Conference' that the Dead family hadn't realized at the time that the Spinners were a cult. Observers have reported seeing them spinning only to Jerry songs and sitting down at the songs Bobby performed. Allegations of abuse have circulated widely in Deadhead groups.
 Wharf Rats – Deadheads who helped each other remain drug and alcohol free while staying in the Dead scene. The Wharf Rats were named from the song of same title. They were allowed to set up a table at every concert to support Dead Heads who believed in enjoying the Grateful Dead sober or needed more efforts to remain straight.

Recordings of shows
At almost every Grateful Dead show, it was common to see fans openly recording the music for later enjoyment. The tradition can be traced to 1966 with the number of tapers increasing yearly.  In 1971, Les Kippel, from Brooklyn, New York, started the First Free Underground Grateful Dead Tape Exchange with the purpose of preserving the heritage of the Grateful Dead's concert history by exchanging copies of recorded tapes made from audience members.  This started a new era in recording, collecting, and trading Grateful Dead tapes.

The "Tape Exchange" evolved into Dead Relix magazine, co-founded by Kippel and its first editor, Jerry Moore (1953–2009), a native of The Bronx, New York.  First fliers were handed out at concerts in 1973, followed by a first issue in 1974. In 1974, Dead Relix evolved into Relix magazine and kept the Grateful Dead in the news while they took a year off in 1975.  In 1980, Toni Brown became owner and publisher of Relix.  In 2000, it was sold to Steve Bernstein. In 2009, Peter Shapiro bought Relix and still maintains ownership.

There were other Deadhead magazines that came about in the 1970s, notably, Dead in Words and In Concert.  The 1980s saw the production of Terrapin Flyer, Dupree's Diamond News, Golden Road, and Acid.  Dupree's Diamond News was distributed as an in-concert newsletter at several hundred Grateful Dead concerts, where it averaged 10,000 copies per run.  Dupree's Diamond News was also distributed on a quarterly basis as a full-color, 72-page magazine to approximately 35,000 international subscriptions.

In 1998, Grateful Dead scholar Johnny Dwork, the founder of Terrapin Flyer and Dupree's Diamond News, published the award-winning, three-volume The Deadhead's Taping Compendium: A Guide to the Music of the Grateful Dead on Tape.

Fans were also known to record the many FM radio broadcast shows. Garcia looked kindly on tapers (he himself had been on several cross-country treks to record bluegrass music prior to the Grateful Dead), stating: "There's something to be said for being able to record an experience you've liked, or being  to obtain a recording of it ... my responsibility to the notes is over after I've played them." In this respect, the Dead are considered by many to be the first "taper-friendly" band.

It is a matter of strict custom among Deadheads that these recordings are freely shared and circulated, with no money ever changing hands. Some bootleg recordings from unscrupulous bootleggers have turned up on the black market, but a general "code of honor specifically prohibited the buying and selling of Dead tapes." These recordings, sometimes called "liberated bootlegs", are still frowned upon by the community and that feeling "has spread into non-Grateful Dead taping circles."

Many Deadheads now freely distribute digital recordings of the band's live shows through the Internet Archive.

Archives
Much Deadhead-related historical material received or collected by the band over the years is housed in the Grateful Dead Archive of UC-Santa Cruz. Archive curator Nicholas Meriwether, who has also written extensively about the culture and its impact on society, states "The Grateful Dead archive is going to end up being a critical way for us to approach and understand the 1960s and the counterculture of the era... It's also going to tell us a lot about the growth and development of modern rock theater, and it's helping us understand fan culture."

In addition to the band's collection, many longtime fans have also accrued a large collection of Grateful Dead memorabilia and recorded live performances.

Famous Deadheads

The following celebrities have claimed to be Deadheads or have had media reported on them saying they are Deadheads:

 Trey Anastasio – rock musician, member of jam band Phish; saw his first Grateful Dead concert in 1980, and the band is a significant influence on him and his group Phish.
 Will Arnett, actor
 Steve Bannon, investor and political influencer
 John Belushi, actor; like many of the original Saturday Night Live cast, Belushi went from fan to friend of the band. Belushi's blues band, The Blues Brothers, even opened for the Dead, and Belushi joined the group in singing "U.S. Blues".
 Tony Blair, politician – played in "Mars Hotel"-inspired student band
 Jimmy Buffett, rock musician – recorded a version of "Scarlet Begonias" on the 2004 album "License to Chill"
 Joseph Campbell – proclaimed Deadheads as "the world's newest tribe."
 Tucker Carlson, television personality
 Pete Carroll
 Owen Chamberlain – claimed the Rhythm Devils gave him "interesting ideas"
 Bill Clinton, politician
 Andy Cohen, television personality
 Ann Coulter, journalist
 Elvis Costello, rock musician – a fan throughout the 1970s (including seeing them on the Europe '72 tour), Elvis later interviewed Jerry Garcia for the magazine Musician in which he effusively professed his admiration for the band. Costello contributed "Ship of Fools" to the Deadicated tribute album.
 Walter Cronkite, journalist – attended two Grateful Dead concerts and was a personal friend of Mickey Hart.
 Lila Downs, Mexican/American singer –  dropped out of university in the late 1980s and lived about two years on the road following Grateful Dead tours.
 Perry Farrell, Dave Navarro and other members of the rock band Jane's Addiction have spoken to their affection for the Dead in multiple interviews around the time of the Deadicated tribute album (to which they contributed a version of "Ripple" that incorporated parts of "Bird Song" and "The Other One") Farrell has spoken of admiring how they constructed their sets, stringing songs together.
 Al Franken, actor, commentator and politician
 Whoopi Goldberg, actress, television personality – a fan of Grateful Dead music and personal friend of Mickey Hart.
 Mike Gordon
 Al Gore, politician
 Tipper Gore, activist
 Fred Goss – actor, director, writer, and editor, who created the TV show Sons & Daughters in 2006. The theme song to the show is the annotated "Althea".
 Jerry Greenfield, co-creator of ice cream brand Ben & Jerry's
 Matt Groening, creator of The Simpsons
 Keith Haring, artist
 Phil Jackson, basketball coach
 Malcolm Jenkins, professional American football player
 Steve Jobs, co-creator of Apple Inc.
 Christopher Kimball, TV cooking show host has a cover band Shady Grove
 Stephen King, author
Ezra Koenig  and Chris Tomson of Vampire Weekend
 Patrick Leahy, politician
 Steve Liesman, journalist – hosted 2015 pay-per-view of last shows from Chicago
 Mike Lookinland, actor (played Bobby Brady on The Brady Bunch)
 Frank Marino, Canadian rock guitaristhas in interviews talked about his interest in classic San Francisco rock. He has referred to the music he and Mahogany Rush play as Grateful Dead jazz.
 George R.R. Martin, author of A Song of Ice and Fire
 John Mayer, musician – discovered the Grateful Dead's music by accident while listening to Pandora Radio. Co-founded and is currently touring as Dead & Company with Bob Weir, Mickey Hart, Bill Kreutzmann, Oteil Burbridge and Jeff Chimenti
 Laraine Newman, actress along with many others from the original Saturday Night Live cast; has spoken about attending the closing of Winterland
 Adam Nimoy, documentarian and the son of actor Leonard Nimoy; stated he spent the early 1970s as a Deadhead
 Larry Page, co-founder of Google
 Nancy Pelosi, politician
 Bob Pisani, journalist
 Lee Ranaldo, rock musician, Sonic Youth  has spoken of the Dead's influence (the Dead's "Feedback" jams of 1968 and 1969 being obvious precursors to Sonic Youth's own feedback forays). He appears in the documentary "The Other One" singing the band's praises.
 Harry Reid, politician
 Henry Rollins and Greg Ginn, rock musicians of Black Flag  In a BAM review of a Dead show in Irvine, California, on April 13, 1985, the author wrote: "So-called adventuresome people who dig Black Flag probably wouldn't be caught alive at a Grateful Dead show". Ginn subsequently wrote to BAM to explain that he and other members of Black Flag had attended the concert being reviewed, that he had attended many Dead shows and that the Grateful Dead was his favorite band.
 Adam Scott, actor and comedian
 Chloë Sevigny, actress
 Steve Silberman
 Mark Talbott, former professional squash player
 Patrick Volkerding, founder and maintainer of the Slackware Linux distribution
 Bill Walton, professional basketball player – known as "Grateful Red", he frequently included Dead references in interviews. Walton was a fan of the Dead since 1967, when he was a teenager, and he subsequently attended over 800 of their concerts during their career.
 William Weld, politician

See also
List of jam band music festivals
Ecstatic dance

References

Further reading

Grateful Dead
Hippie movement
Musical subcultures
Music fandom
Counterculture festivals activists

Deadhead


Frank Herman Albright (August 2, 1865 – July 21, 1940) was a career officer in the United States Army. A veteran of the Spanish–American War, Philippine–American War, World War I, he attained the rank of brigadier general, and was most notable for his First World War command of the 151st Infantry Brigade and the 56th Infantry Brigade.

Early life
Albright was born in Ottawa, Ohio on August 2, 1865, the son of William I. Albright and Mary (Shierlow) Albright. He entered the United States Military Academy and graduated 64th of 64 in the class of 1887. After graduating, he was commissioned as a second lieutenant of Infantry and assigned to the 12th Infantry Regiment at Fort Sully, Dakota Territory, and soon afterwards he was reassigned to Company G, 9th Infantry at Camp Bowie, Arizona.

Start of career
In 1888, Albright's regiment was posted to Fort Huachuca, Arizona.  In 1891, the 9th Infantry was reassigned to Madison Barracks, New York. In 1895, Albright was promoted to first lieutenant and transferred to the 25th Infantry at Fort Buford, North Dakota. His subsequent assignments included Fort Assiniboine, Montana and professor of Military Science and Tactics at the University of North Dakota.

Spanish–American War
At the start of the Spanish–American War in 1898, Albright inducted eight companies of the North Dakota National Guard and two South Dakota cavalry troops raised by Melvin Grigsby into the United States Volunteers. He led a company of North Dakota soldiers in Puerto Rico during the summer of 1898, then performed duty with the 11th Infantry Regiment. In September, he was assigned to duty at Fort Grant, Arizona. In March 1899, Albright was promoted to captain in the 25th Infantry.

Philippine–American War
In August 1899, the 25th Infantry was posted to the Philippines for duty during the Philippine–American War. As commander of the regiment's Company E, Albright served in the province of Zambales, including duty in the towns of Santa Cruz and Masinloc. In August 1902, Albright led his company back to the United States and its new posting at Fort Reno, Oklahoma. He remained in command until January 1903.

Continued career
From January 1903 to September 1905, Albright was assigned as professor of Military Science and Tactics at Purdue University. Following this posting, he returned to company command at Fort Reno, where he remained until January 1906. He continued in company command at Fort Bliss, Texas from January to July 1906. From July 1906 to June 1907, he was the commissary officer for the 25th Infantry, and he continued in this assignment after the regiment was posted to the Presidio of San Francisco.

From September 1907 to June 1909, Albright served as regimental commissary during the 25th Infantry's service in the Philippines, first at Parang, Maguindanao, and then at Zamboanga City. After returning to the United States with his regiment, Albright was assigned to Fort Lawton, Washington. From September 1910 to March 1911, Albright again commanded a company of the 25th Infantry. In March 1911, he was promoted to major.

From March 1911 to August 1914, Albright commanded 1st Battalion, 14th Infantry, first at Fort Abraham Lincoln, North Dakota, then at Fort George Wright, Washington. In August 1914, he began attendance at the United States Army War College. After graduating in June 1915, he was assigned to Schofield Barracks, Hawaii where he commanded 3rd Battalion, 25th Infantry. In July 1916, he received promotion to lieutenant colonel.

World War I

In May 1917, Albright was promoted to colonel and assigned to command of the 54th Infantry Regiment. On August 5, 1917 he was promoted to temporary brigadier general. He commanded the 151st Infantry Brigade, a unit of the 76th Division, at Camp Devens, Massachusetts. He led the brigade during service in France, and later commanded the 56th Infantry Brigade.

After the war, Albright commanded the Haute-Garonne Leave Area. On November 27, 1918, he was reduced to his permanent rank of colonel. Upon returning to the United States, he commanded the 21st Infantry Regiment at Fort George Wright.

Retirement and death
In July 1919, Albright retired from the Army with the rank of colonel. In June 1930, Congress passed legislation allowing the general officers of World War I to retire at the highest rank they had held, and he was promoted to brigadier general on the retired list. After leaving the Army, Albright resided in San Diego. He was active in several veterans, civic, and fraternal organizations, including the Army and Navy Club of San Diego, Veterans of Foreign Wars, United Spanish War Veterans, the San Diego Club, the San Diego High Hatters Club, and the Military Order of the Carabao.

Albright died in San Diego on July 21, 1940. He was buried at  Mount Hope Cemetery in San Diego.

Family
In 1891, Albright married Minnie L. Scott (1865-1963). Her father Winfield Scott (chaplain) served in the Union Army during the American Civil War and was later chief chaplain of the Grand Army of the Republic. They were married until his death, and had no children.

References

1865 births
1940 deaths
People from Ottawa, Ohio
Military personnel from San Diego
United States Military Academy alumni
United States Army War College alumni
United States Army generals of World War I
United States Army generals
Burials at Mount Hope Cemetery (San Diego)
Military personnel from Ohio
United States Army Infantry Branch personnel

Frank Herman Albright