John Galen Howard (May 8, 1864 in Chelmsford, Massachusetts – July 18, 1931 in San Francisco, California) was an American architect and educator who began his career in New York before moving to California. He was the principal architect at in several firms in both states and employed Julia Morgan early in her architectural career.

Life and career
John Galen Howard born May 8, 1864, in Chelmsford, Massachusetts. Howard was son of physician, Dr. Levi Howard and Lydia Jane Hapgood, a homemaker and he had four brothers. Howard was educated at the Massachusetts Institute of Technology (1882 to 1885) and the École des Beaux-Arts (1891 to 1893). He worked for H. H. Richardson in Brookline, for his successors Shepley, Rutan & Coolidge in Boston and for McKim, Mead & White in New York City.

Howard began professional practice in 1893, when he formed the firm of Howard & Cauldwell with engineer Samuel M. Cauldwell. In 1899 they were joined by Lewis Henry Morgan, and the firm became known as Howard, Cauldwell & Morgan. Works in the east included the Electric Tower, the centerpiece of the 1901 Pan-American Exposition. They also submitted an unsuccessful entry in the competition to design the Master Plan for the University of California, Berkeley. Despite not winning the commission outright, in 1901 Howard dissolved his partnership when he was chosen by the Regents of the university to execute the accepted plan, known as the Hearst Plan. In 1902 he reestablished his practice at Berkeley, and in 1903 formally established the School of Architecture, now part of the College of Environmental Design. As supervising architect of the University of California, Howard built extensively. His most famous buildings are the Campanile, California Memorial Stadium, Sather Gate and the Hearst Greek Theatre.

In 1904 Howard relocated his office to San Francisco, and after the 1906 San Francisco earthquake  formed the firm of Howard & Galloway with engineer John D. Galloway. This partnership was dissolved in 1908. After fifteen more years of private practice he formed the firm of John Galen Howard & Associates, with associates Henry Temple Howard, E. Geoffrey Bangs, Henry C. Collins and Charles F. B. Roeth. Howard's projects during these years include several buildings at the Alaska–Yukon–Pacific Exposition in Seattle, three of which were designed to be reused by the University of Washington, and the San Francisco Civic Auditorium. Howard's influence at the university began to wane after the retirement of president Benjamin Ide Wheeler in 1919, and he was seen as uncooperative by the Board of Regents. In 1922 the commission for the new Hearst Memorial Gymnasium was awarded to Julia Morgan and Bernard Maybeck without his input, and in 1924 his contract as supervising architect was not renewed. In 1927 he resigned as director of the School of Architecture and retired from his architecture practice, though he continued to teach at the university until his death in 1931.

Personal
He married Mary Robertson Bradbury on August 1, 1893. They had five children; Henry Temple Howard (1894–1967) was an architect who worked with his father; Robert Boardman Howard (1896–1983), became a sculptor and married another noted Bay Area sculptor, Adaline Kent (1900–1957); other children included Charles Houghton Howard (1899–1978), John Langley Howard (1902–1999) both were known artists of the time, and Jeanette Howard Wallace (1905–1998).

Legacy
Howard's primary legacy is as the founder of the formal School of Architecture at the University of California, Berkeley, and as a designer of buildings on the university campus. He is also noted as the first American employer of Julia Morgan from 1902 to 1904, though she did not look on her experience with him fondly.

Howard completed many notable projects and was elected a Fellow in the American Institute of Architects in 1901. In 1910 he was elected into the National Academy of Design as an Associate Academician.

Many of Howard's works are listed on the United States National Register of Historic Places (NRHP).

Works

Buildings for the University of California, Berkeley
 Hearst Memorial Mining Building, University of California, Berkeley, Berkeley, California (1902–07, NRHP 1982)
 Hearst Greek Theatre, University of California, Berkeley, Berkeley, California (1903, NRHP 1982)
 Senior Hall, University of California, Berkeley, Berkeley, California (1903–06, NRHP 1982)
 Doe Memorial Library, University of California, Berkeley, Berkeley, California (1904–11, NRHP 1982)
 California Hall, University of California, Berkeley, Berkeley, California (1905, NRHP 1982)
 North Gate Hall, University of California, Berkeley, Berkeley, California (1906, NRHP 1982)
 Sather Gate, University of California, Berkeley, Berkeley, California (1910, NRHP 1982)
 Durant Hall, University of California, Berkeley, Berkeley, California (1911, NRHP 1982)
 Wellman Hall, University of California, Berkeley, Berkeley, California (1912, NRHP 1982)
 Drawing Building, University of California, Berkeley, Berkeley, California (1914, NRHP 1976)
 Sather Tower, University of California, Berkeley, Berkeley, California (1914–15, NRHP 1982)
 Gilman Hall, University of California, Berkeley, Berkeley, California (1916–17)
 Hilgard Hall, University of California, Berkeley, Berkeley, California (1917, NRHP 1982)
 Wheeler Hall, University of California, Berkeley, Berkeley, California (1917, NRHP 1982)
 Dwinelle Hall Annex, University of California, Berkeley, Berkeley, California (1920)
 California Memorial Stadium, University of California, Berkeley, Berkeley, California (1922–23, NRHP 2006, rebuilt 2010–12)
 Haviland Hall, University of California, Berkeley, Berkeley, California (1924, NRHP 1982)
 LeConte Hall, University of California, Berkeley, Berkeley, California (1924, NRHP 1982)

Buildings elsewhere
 Hotel Renaissance annex, Fifth Ave and W 43rd St, New York City (1896, demolished)
 Barringer High School (former), 90 Parker St, Newark, New Jersey (1898–99, demolished)
 Cutler Majestic Theatre, 219 Tremont St, Boston, Massachusetts (1901–03)
 Electric Tower, Pan-American Exposition, Buffalo, New York (1901, temporary structure)
 Carnegie Library (former), 73 Church St, Montclair, New Jersey (1902–04, NRHP 1988)
 Cloyne Court Hotel, 2600 Ridge Rd, Berkeley, California (1904, NRHP 1982)
 Berkeley Public Library, 2090 Kittredge St, Berkeley, California (1905, demolished 1929)
 House for Adolph C. Miller, 2420 Ridge Rd, Berkeley, California (1906)
 Auditorium (later Meany Hall), University of Washington, Seattle, Washington (1907–09, demolished 1965)
 Chemistry Hall (now Architecture Hall), University of Washington, Seattle, Washington (1907–09)
 Engineering Hall, University of Washington, Seattle, Washington (1907–09, demolished)
 Italian American Bank Building, 460 Montgomery St, San Francisco, California (1907, modified)
 Empire Building, 37 Old Courthouse Sq, Santa Rosa, California (1908–10)
 Adam Grant Building, 114 Sansome St, San Francisco, California (1908)
 United States Government Building and exhibition halls, Alaska–Yukon–Pacific Exposition, Seattle, Washington (1908–09, temporary structures)
 John Galen Howard House (also known as the Gregory/Howard House), 1401 Le Roy Ave along Rose Walk, Berkeley, California (1912); a Berkeley Landmark;
 Pierce-Arrow Building, 1001 Polk St, San Francisco, California (1912-13)
 San Francisco Civic Auditorium, 99 Grove St, San Francisco, California (1913–15)
 Berkeley National Bank Building, Center St and Shattuck Ave, Berkeley, California (1914, demolished)
 First Congregational Church, 2501 Harris St, Berkeley, California (1923–25)

Gallery of works

See also
Draper, Joan, "The Ecole des Beaux-Arts and the Architectural Profession in the United States:  The Case of John Galen Howard," in The Architect:  Chapters in the History of the Profession, Spiro Kostof, ed., Oxford University Press, NY 1977, pages 209-237
Draper, Joan, "John Galen Howard," in Toward a Simpler Way of Life:  The Arts & Crafts Architects of California, Rober Winter, ed., Norfleet Press of University of California Press, Berkeley Los Angeles London 1997, pages 31–40
Partridge, Loren W.  John Galen Howard and the Berkeley Campus:  Beaux-Arts Architecture in the "Athens of the West", Berkeley Architectural Heritage, Berkeley CA 1988

Notes

References

External links

 John Galen Howard
 John Galen Howard's "City of Learning"
Guide to the John Galen Howard Papers at The Bancroft Library

American neoclassical architects
1864 births
1931 deaths
Architects from California
Fellows of the American Institute of Architects
People from Chelmsford, Massachusetts
University of California, Berkeley people
19th-century American architects
20th-century American architects
Members of the American Academy of Arts and Letters
Massachusetts Institute of Technology alumni

John Galen Howard


Ishak Shahabdeen is a Sri Lankan double international who represented his country in both Cricket and Hockey.

St Sylvesters

Sahabdeen  was educated at St. Sylvester's College, Kandy where he represented the college in Cricket
 and Hockey. He was adjudged outstation cricketer of the year in 1974

In Hockey he captained the under 16 and 19 teams of St. Sylvester's and led them to the Kandy Schools Championship in 1974.  He scored 16 goals against Nugawela Central College. In 1973 he represented Sri Lanka Schools and was captain in 1976.

S Thomas' College

He moved to S. Thomas' College, Mt Lavinia Sri Lanka, where he won colours in Cricket, Hockey and Athletics. In Athletics he was part of a relay team which included rugby players PL Munasinghe, Devaka Fernando and Michael Jayasekera.

He played First XI cricket in a team captained by Sasi Ganeshan. Other teammates included  Saliya Ahangama, Guy de Alwis, Arittha R Wikramanayake and Michael Jayasekera.  In 1976, he was a member of the Sri Lanka under 19 team that toured Pakistan.

Club Cricket
Sahabdeen played first class cricket  for the Tamil Union Cricket Club under the captaincy of the late S.S. Kumar in the P. Saravanamuttu Trophy tournament. He transferred his allegiance to the Moors SC and was captain of the side in 1985.

Club Hockey
Sahabdeen played for the Burgher Recreation Club. The club won the Andriesz Shield, Pioneer Cup and seven-a-side Pettah Pharmacy Gold Cup. He scored  120 goals in one calendar year while representing BRC, Mackwoods and Mercantile Hockey Association.

International Cricket

He first played for Sri Lanka in a one-day fixture against Zimbabwe in 1983, toured Sharjah in 1984 for the first ever Asia Cup against India and Pakistan. His next assignment was  in a one-day game against New Zealand in 1984.

In 2005, he represented Sri Lanka in Indoor Cricket in the Masters Tournament in New Zealand.

International Hockey

While still a schoolboy he represented the country against the visiting West German team. He also represented Sri Lanka at the Asian Games. In 1985 and 1986, he represented Sri Lanka against Singapore and Oman twice and in 1985 captained Sri Lanka against Singapore

Snooker

Sahabdeen is also a noted snooker player.

Sports Administration

Sahabdeen has continued to be involved in sport after retiring and has served as the Chairman of the Tournament Committee of the Mercantile Cricket Association,  Vice President of the Association of Cricket Umpires Union and Chairman of the Disciplinary Committee

References

Sri Lankan cricketers
Sri Lankan field hockey players
Living people
Year of birth missing (living people)
Alumni of S. Thomas' College, Mount Lavinia
Alumni of St. Sylvester's College
Place of birth missing (living people)

Ishak Sahabdeen


Kings Creek Falls, located near Long Creek, South Carolina, is a waterfall in the Oconee District of the Sumter National Forest.  Kings Creek is a tributary of the Chatooga River, and the falls are located off a short spur from the Foothills Trail.  It is located in the extreme Northwest of the state, near the Ellicott Rock Wilderness Area and the Georgia state line.

References

Waterfalls of South Carolina
Protected areas of Oconee County, South Carolina
Sumter National Forest
Landforms of Oconee County, South Carolina

Kings Creek Falls


Charles Howard Vollum (May 31, 1913 – February 5, 1986) was an American electronics engineer, businessman, and philanthropist in Oregon, United States.  He was the co-founder of Tektronix Corporation, and endowed the Vollum Institute.

Background
Howard Vollum was born on May 31, 1913, in Portland, Oregon.  He attended Portland's Catholic Columbia University (now University of Portland) from 1931 to 1933, then transferred to Reed College in 1934, where, in 1936, he received a Bachelor of Arts in Physics.  His undergraduate thesis was the creation of a new kind of cathode-ray oscilloscope.

Upon graduation from college, he spent several years servicing and installing radios and experimenting with electronic devices.  From 1940 to 1941 he was Supervisor of the Radio Project, National Youth Administration, in Portland.  Vollum served as an officer in the United States Army Signal Corps from 1942 to 1946, serving in England and New Jersey on artillery fire control radar.  He was later awarded the Legion of Merit for this work.

He was awarded the Howard N. Potts Medal in 1973.

Vollum died on February 5, 1986.  His wife, Jean Vollum, continued to serve on the Tektronix board of directors until mandatory retirement at age 70, and continued philanthropy until her death in 2007.  Vollum was survived by his five sons.

Tektronix
In 1946, Vollum co-founded Tektronix with Jack Murdock, becoming equal partners, along with Murdock's fellow former "coastie" Miles Tippery, and accountant Glenn McDowell. The company mission was stated in the articles of incorporation as "to install, repair, service and sell, purchase, manufacture and otherwise acquire and deal in radio and other instruments."

By 1951, the company had 300 employees and sales of $4 million; by 1959, there were 3,000 employees with sales at $32 million. Tektronix had become the leading oscilloscopes and test equipment manufacturer, a position that held up until the 1970s.  Vollum served as president of the company from 1946 until 1971.  In 1978, Tektronix was lauded by authors Robert Levering and Milton Moskowitz, et al, in their book, The 100 best companies to work for in America. He remained on its board of directors until his death, and was board chairman until 1984 and then vice chairman.

The Vollum Institute
Vollum's innate interest in science also drew him to the neuroscience laboratories at the Oregon Health and Science University (OHSU) where he knew his oscilloscope could be applied to healthcare research. He developed an interest in experiments measuring bio-electrical phenomena, and this ultimately provided his philanthropic motivation and led Vollum to endow an institute for advanced biomedical research at OHSU.

Other activities
Vollum supported many Oregon educational institutions, including Reed College in Portland, which has a prominent academic building and student activity program named for him. Vollum helped found the Oregon Graduate Institute (now part of OHSU), in 1965, with a $2 million grant and, upon his death in 1986, bequeathed $14.8 million to the college as an endowment. His will also included a $3.8 million bequest to the Catlin Gabel School.

Howard and Jean Vollum also funded the construction of the Library Building at Mount Angel Abbey in Mt. Angel, Oregon; the award-winning building was one of very few structures in the United States designed by the Finnish architect Alvar Aalto, and stands as a remarkable architectural accomplishment.

References

Vollum interviewed by the Oregon Historical Society. The transcription is posted by their permission at  campevans.org

External links
OHSU Vollum Institute website
 Vollum Biography by Bill Hewlett on National Academy Press website

1913 births
1986 deaths
20th-century American businesspeople
20th-century American engineers
American electrical engineers
American manufacturing businesspeople
Businesspeople from Portland, Oregon
Engineers from Oregon
Howard N. Potts Medal recipients
Mount Angel Seminary
Oregon Graduate Institute people
Oregon Health & Science University people
Philanthropists from Oregon
Recipients of the Legion of Merit
Reed College alumni
Tektronix people
University of Portland alumni
United States Army officers

Howard Vollum


James Alexander Seddon (July 13, 1815 – August 19, 1880) was an American lawyer and politician who served two terms as a Representative in the United States Congress, as a member of the Democratic Party. Seddon was appointed Confederate States Secretary of War by Jefferson Davis during the American Civil War.

Biography
Due to frail health, Seddon was educated primarily at home and became self-taught as a youth. At the age of twenty-one, he entered the law school of the University of Virginia. After graduation, Seddon settled in Richmond, Virginia, establishing a successful law practice.

In 1845, the Democratic Party nominated Seddon for Congress, and he was easily elected. He was renominated two years later but declined due to platform differences with the party. In 1849, Seddon was reelected to Congress, serving from December 1849 until March 1851. Owing to poor health, he declined another nomination at the end of his term. He retired to "Sabot Hill," his plantation located along the James River above Richmond.

Seddon attended the Peace Conference of 1861 held in Washington, D.C., which attempted to devise a means of preventing the impending civil war. Later in the same year, he attended the Provisional Congress of the Confederate States. President Davis named him his fourth Secretary of War, succeeding George W. Randolph. He held this post until January 1, 1865, when he retired from public life to his plantation and was succeeded by John C. Breckinridge. His service of more than twenty-four months as Secretary made him the most durable of the five secretaries.

Electoral history
1845; Seddon was elected to the U.S. House of Representatives with 52.28% of the vote, defeating Whig John Minor Botts.
1849; Seddon was reelected with 53.64% of the vote, defeating Whig challenger Botts.

External links

James Seddon biography at Spartacus Educational
James Seddon biography at the Confederate States War Department

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1815 births
1880 deaths
Executive members of the Cabinet of the Confederate States of America
Deputies and delegates to the Provisional Congress of the Confederate States
People of Virginia in the American Civil War
University of Virginia School of Law alumni
Virginia lawyers
Democratic Party members of the United States House of Representatives from Virginia
19th-century American politicians
People from Falmouth, Virginia
19th-century American lawyers

James Seddon


Glass Moon was an American rock band from Raleigh, North Carolina. The group released three albums and charted three singles between 1980 and 1984.

The American progressive rock group, Glass Moon was formed in the early 1970s by guitarist John Wheliss, with lead vocalist Rodney Barbour on guitar and flute, and Nestor Nunez on bass and vocals. Drummer Chris Jones joined in 1972; David Adams, on vocals and keyboards, in 1974. The band toured the east coast until 1977 when they temporarily disbanded; then reformed as a trio, with Adams as lead vocalist, and Nunez and Jones in 1978. Sideman guitarist Jamie Glaser filled Wheliss' place as session guitarist on the group's recording sessions for their first album, and after live performances with the group in 1981, was elevated to full membership for the group's second album.

Career
In 1980 Glass Moon were the first act signed to Electric Lady Productions, the company formed by Alan Selby, owner of the Electric Lady Studios in New York City, with Glass Moon, the band's debut album, recorded at Electric Lady Studios and released by the independent label Radio Records with distribution through RCA Records. Despite the lead single "(I Like) The Way You Play" stalling in the Bubbling Under Hot 100 Singles chart in Billboard at #108, the success of the Glass Moon album; which reached #148 on the Billboard album chart;  was sufficient for Radio Records to have Glass Moon record a second album at Electric Lady Studios in 1981.

Release of this second album, Growing in the Dark, was delayed until February 1982, after Radio Records had secured a distribution deal with Atlantic Records. Nunez and Jones departed the band soon after the album was completed. Although Glass Moon did not have supporting members at this time, the Growing in the Dark album yielded a Billboard Hot 100 single with a remake of the Hollies' "On a Carousel" which peaked at #50 in April 1982. Even though the single had only modest chart performance, Dave Adams would later state: "Needless to say, I made a good living off that song for fourteen years", while praising Atlantic Records, who had eventually agreed to distribute the Growing in the Dark album, with "On a Carousel" as its lead single: "The stellar Atlantic promotion team certainly made all the difference in making 'On a Carousel' the hit it became."

In 1984, Dave Adams reformed Glassmoon, with the group's name adjusted to one word, with drummer Doug Morgan, (formerly of 3PM); guitarist Rod Abernethy, (billed while with Glassmoon as Rod Dash), and Bob Patterson on bass. Abernethy and Patterson had appeared in the three 1982 videos prepared to promote the album Growing in the Dark, in the absence of  departed Glass Moon members. (Abernethy had appeared in all three videos including the first which was for "On a Carousel": Patterson only appeared in the second and third videos which were for the album tracks "Simon" and "Telegram Song".)

In January and February 1984 Glassmoon recorded the album Sympathetic Vibration at the Bath, Somerset studio of producer David Lord.  Adams co-produced the album which was released by MCA Records (with whom Glassmoon had a two album deal), in June 1984, by which time Abernethy had left the group. With Dick Smith as guitarist, Glassmoon toured into 1986. The Sympathetic Vibration single "Cold Kid" having stalled at #103 on the Bubbling Under Hot 100 Singles chart, MCA cancelled the second album and the group soon afterwards disbanded permanently. Dave Adams would record the solo album Dancing in My Sleep in 1986, and would subsequently front a band named Suicide Blonde based in the Raleigh area. Dick Smith went on to tour with both Earth, Wind & Fire, and Kenny Loggins as lead guitarist.

Adams, Jones, Nunez and Abernethy reunited in 2010 for a one-night only benefit performance at Raleigh's Lincoln Theater.

Members
John Wheliss (until 1977) - guitar
Rodney Barbour (until 1977) - vocals, acoustic guitar, flute
Nestor Nunez (until 1983) - bass, vocals
Chris Jones (1972–1983) - drums
Jamie Glaser (1979-1980) guitar
Dave Adams - (1974–1986) - vocals, keyboards
 Dick Smith (1984–1986) guitar
Bobby Patterson (1984–1986) - bass, vocals
Doug Morgan (1984–1986) - drums
Rod Abernethy (1984) - guitar (as "Rod Dash")

Discography

Albums

Singles

References

Musical groups from Raleigh, North Carolina
Rock music groups from North Carolina
American progressive rock groups
MCA Records artists
Musical groups established in the 1970s
Musical groups disestablished in the 1980s

Glass Moon


Snakes on a Plane (released in Japan as Snake Flight (スネーク・フライト)) is a 2006 American action horror crime thriller movie. It was directed by David R. Ellis and it stars Samuel L. Jackson and released to movie theaters by Warner Bros. It is about many snakes attacking people on a plane that is traveling from Hawaii to Los Angeles, California.

Plot
After witnessing the murder of prosecutor Daniel Hayes in Hawaii, by Yakuza boss Eddie Kim, a biker named Sean Jones runs away but is escorted out by Samuel L. Jackson's character, FBI agent Neville Flynn. They catch a flight heading to California. Suddenly snakes start attacking people on the plane, and Flynn becomes angry at the snakes, so he fights them. After fighting the snakes, the plane lands on a nearby airport, everyone gets out of the plane safely on a liferaft until a snake attacks Sean and Flynn shoots the snake off of him with his gun. Eddie Kim is also sentenced to death. After the incident Flynn and Sean go on a holiday in Bali, Indonesia.

Reception
The movie became very popular before it was released because of the title and because of many people talked about it on the Internet.

Other websites

2006 horror movies
2006 action movies
2006 crime thriller movies
2000s American action movies
American crime thriller movies
American horror movies
German action movies
German crime movies
German horror movies
German thriller movies
2000s English-language movies
Movies about snakes
Movies set in Hawaii
Movies set in Los Angeles

Snakes on a Plane


Downtown Palatka is the central business district of Palatka, Florida.  According to the Palatka Community Redevelopment Agency, the district is bounded by Main Street to the north, Laural Street to the south, the St. Johns River to the east, and Eleventh Street to the west,  Historical Fort Shannon was located at the east end of downtown on the river, near what is today City Hall.  Area transportation is conducted by Ride Solution and connects downtown passengers to other core areas in Putnam County.

Public offices and services located in the downtown area:
 Palatka City Hall
 Palatka Gas Authority
 Palatka Housing Authority
 Palatka Police Department
 Palatka Post Office
 Palatka Union Depot
 Putnam County Chamber of Commerce
 Putnam County Courthouse
 Putnam County School Board

Arts and culture

The downtown area contains important local cultural landmarks such as the  Larimer Arts Center, Tilghman House, Bronson-Mulholland House, and the David Browning Railroad Museum. Downtown also plays host to local festivals and events including, the Florida Azalea Festival, Blue Crab Festival, and Mug Race. Numerous other public gathers occur throughout the year. Murals have become a common sight on the streets of downtown. Headed by the Conlee Mural Committee, the group has transformed numerous building walls into works of art.

Governance

Downtown Palatka, Inc. is a non-profit organization that represents area merchants and promotes local events in the downtown area.  Palatka Community Redevelopment Agency is an organization established in 1983 to oversee the revitalization of downtown and the historic districts. Issues of concern to the agency include the presence of substandard or inadequate structures, a shortage of affordable housing, inadequate infrastructure, insufficient roadways, and inadequate parking.

Historic Lemon Street

Technically, Lemon Street is the portion of St. Johns Avenue that extends into Downtown Palatka. The tree lined street serves as the main shopping district in the city. The area has made strides in becoming a 24-hour neighborhood, with  new restaurants, bars and other establishments opening in recent years. During large events vehicular traffic is diverted and the street acts as the main pedestrian-way, housing vendors and entertainment.

Surrounding neighborhoods
Palatka North Historic District
Palatka South Historic District
Palatka Heights
Newtown
East Palatka

References

External links
Official Site

Neighborhoods in Palatka, Florida
Palatka, Downtown
Tourist attractions in Palatka, Florida

Downtown Palatka


Tuberous begonias  (Begonia × tuberhybrida Voss, also known as the Tuberhybrida Group or the Tuberosa Group) are a group of Begonia cultivars, sometimes regarded as some of the most spectacular of the genus.

One of the first hybrids produced was B. x sedenii in 1870, a cross between B. boliviensis, collected by botanist Richard Pearce and a species from the Andes. Another species from Peru, B. davisii (named after Walter Davis), was also used in early breeding.

Nomenclature
The University of Vermont recognises the following 13 groups:

 (S) Single – large single flowers, four usually flat tepals (flower part undistinguishable as sepal or petal)
 (Fr) Frilled, Crispa – large single flowers, tepal margins frilled or ruffled
 (Cr) Cristata, Crested – large single flowers, frilled or tufted center of tepals
 (N) Narcissiflora, Daffodil-flowered – large more or less double flowers, central tepals form "trumpet"
 (C) Camellia, Camelliflora – large double flowers resembling camellias, unruffled, solid colors
 (RC) Ruffled Camellia – camellia flowers ruffled on edges
 (R) Rosebud, Rosiflora – large double flowers with rose bud-like center
 (Car) Carnation, Fimbriata Plena – large double carnation-like flowers, tepals fringed on margins
 (P) Picotee – large usually double flowers like camellias, tepals with different color on margin blending with other color
 (M) Marginata – like Picotee only distinct non-blending line of color on margins
 (Mar) Marmorata, Marbled – like Camellia but rose-colored, blotched or spotted with white
 (HB) Hanging Basket, Pendula – stems trailing or pendant, large to small flowers single or double
 (Mul) Multiflora – low, bushy, compact plants with many small single or double flowers

Other systems confusingly use binomial nomenclature to refer to flower types, by the terms Begonia grandiflora, Begonia multiflora and Begonia pendula. The last two correspond to groups 13 and 12, respectively. The first type, grandiflora (large flowered), is then subdivided by flower form; e.g. Begonia grandiflora erecta.

Cultivation

Tuberous begonias grow best in partial shade or filtered sunlight. Excessive exposure to sunlight can result in burnt flowers and leaves. However, too much shade will result in compensatory growth of foliage at the expense of flowers.

Soil

When preparing the soil for Begonia tuberhybrida, good drainage is important. Plant a Begonia in a pot with equal parts perlite and coarse sand. Remember that sand has an excellent soil structure as it consists of tiny spaces where air, water and nutrients can move freely.

References

tuberhybrida
Ornamental plant cultivars
Hybrid plants
Taxa named by Andreas Voss

Begonia × tuberhybrida


Constance Evadine Matthews (August 3, 1943 - 1993), better known as Connie Matthews, was an organizer, a part of the Black Panther Party between 1968 and 1971. A resident of Denmark, she helped co-ordinate the Black Panthers with left-wing political groups based in Europe.

Black Panther Party Organizer
Matthews was born in Saint Ann Parish, Jamaica on August 3, 1943. As an adult, she had studied in London and Vienna and had obtained a master's degree in psychology. Matthews worked for the International Folk Music Council in Copenhagen, Denmark, 1967–1969. She first became involved with the Panthers in 1968.

In May 1969, Matthews was officially designated by the Panthers as their "International Coordinator", and was "authorised to mobilise to carry out demonstrations of support, raise funds, and inform the peoples of Scandinavia about poor black and oppressed peoples' revolutionary struggle from the Panthers' vanguard position". In early 1969, Matthews organised a tour of Black Panther Party leaders Bobby Seale and Raymond Hewitt around Northern Europe, with the goal being to network with left-wing European political groups and raise funds for the "Free Huey" campaign, which sought to see Huey Newton released from prison. The tour was considered a success and Matthews was commended by the Panthers' central committee for her work, leading her to become more involved with the party.

Matthews continued to build a base of support for the Panthers in Europe. Matthews was also responsible for recruiting French Intellectual Jean Genet, persuading him to travel to the United States for an extended tour where he took part in the "Free Huey" campaign.

In February 1970 Matthews was a part of a tour of the United Kingdom, intended to strengthen bonds between the Black Panther Party and the Black Power Movement growing in Britain at the time. Hailing from Jamaica, a commonwealth nation, and having studied in London, Matthews was capable of speaking in a British manner, if not a British accent. However, during the tour, she spoke in a style more in line with the way the American Black Panthers spoke. Speaking to British Black Panthers, She was also critical of the direction they were going, telling them that they needed to work with non-black liberals and socialists instead of dividing into "sixteen organisations which won't work with white people". Between the use of American vernacular and stiff criticism, some of the British audience came away from the speech feeling stung. Derek Humphry, a journalist reporting on the speech for The Sunday Times, ran with the headline "Sister Connie Matthews swears at British Black Panthers", summarising how the speech was received.

Matthews also began to also make visits to the United States as well as writing articles for The Black Panther, the Panthers' official newspaper. In the spring of 1970, she courted controversy in relation to the Chicago Eight trial, of which Bobby Seale was a part of. The Jewish Telegraph Agency accused Matthews of labelling the Judge a "Zionist", and of thinking of all Jews as Zionists. Huey Newton would directly respond to the controversy, asking Jewish publications such as the magazine Jewish Currents to reprint statement he had made in September 1969 in the Black Panther newspaper, where he explicitly stated the official policy of the party was not anti-Semitic. Newton also referred to the controversy within the Black Panther paper itself in a late April 1970 edition in which he referred to Matthews comments as "made in anger" (at how the trial was being run)

Michael Tabor and Algeria
Matthews eventually rose through the Panther ranks to become the personal secretary of party leader Huey Newton. Writer T.J. English claims in order to protect Matthews from being deported from the US, he ordered Black Panther member Michael Tabor to marry Connie. English further suggests that this plan backfired on Newton, who was in a sexual relationship with Matthews at the time, as the relationship between Tabor and Matthews blossomed from sham-marriage into genuine love.

In 1969, Tabor and 12 other members of the Black Panthers were charged for allegedly plotting to kill police officers and to plant bombs in New York City commercial and public buildings, in what came to be known as the Panther 21 Trial. In February 1971, Tabor and fellow defendant Richard Moore failed to appear for trial and consequently forfeited $150,000 in bail. Newton was furiously and had Tabor and Moore declared "enemies of the people". Matthews was denounced as well, and accusing of fleeing the Party and taking valuable assets with her.  Moore, Tabor and Matthews all resurfaced a month later in Algeria, where Black Panther Party leaders Eldridge and Kathleen Cleaver had previously fled to after Eldridge also escaped a trial. They joined a wider faction of Black Panthers who had all left the United States rather than faces trails, and who had all consolidated around the leadership of the Cleavers. Other Panthers in this clique were Donald L. Cox and his wife Barbara Easley Cox, Pete O'Neal and his wife Charlotte Hill O'Neal and Sekou Odinga to name a few.

In time, this faction, dubbed "The International Section of the Black Panther Party" by the Panthers, came to be considered to be in a feud with the main branch of the Black Panthers in America who remained under the leadership of Huey Newton and to a lesser degree, David Hilliard. Internal tensions between the groups were deliberately greatly intensified by the FBI, who unleashed the full force of their COINTELPRO project on them.

The Algerian-based panthers all eventually went their separate ways and in 1972 Tabor and Matthews immigrated to Zambia. Matthews eventually returned to her homeland of Jamaica, where she died of cancer in 1993.

References

1943 births
1993 deaths
Activists for African-American civil rights
Jamaican activists
Jamaican communists
Members of the Black Panther Party
Jamaican women activists

Connie Matthews


Kodachrome is the brand name for a color reversal film introduced by Eastman Kodak in 1935. It was one of the first successful color materials and was used for both cinematography and still photography. For many years, Kodachrome was widely used for professional color photography, especially for images intended for publication in print media.

Because of its complex processing requirements, the film was initially exclusively sold including the cost of processing; independent photography stores were prohibited from developing Kodachrome. To develop the film, customers had to mail film to Kodak, which then mailed the developed film back as part of the film's purchase price. In 1954, the U.S. Department of Justice found this practice to be an uncompetitive violation of antitrust law. Kodak entered into a consent decree - this required the company to offer Kodachrome film for sale without the development fee, as well as license Kodachrome development patents to independent photography stores. Kodak did sell mailers for users wanting the film to be processed by Kodak. Nonetheless, the process-paid arrangement continued in other markets around the world.

Due to its complex processing requirements, the growth and popularity of alternative photographic materials, and, much later, the widespread transition to digital photography, Kodachrome lost market share. Its manufacture was discontinued in 2009, and processing ended in December 2010.

In early 2017, Kodak announced it was investigating the possibility of re-introducing Kodachrome, but later conceded that this was unlikely to happen.

Background

Kodachrome was the first color film to be successfully mass-marketed that used a subtractive color method. Previous materials, such as Autochrome and Dufaycolor, had used the additive screenplate methods. Until its discontinuation, Kodachrome was the oldest surviving brand of color film. It was manufactured for 74 years in various formats to suit still and motion picture cameras, including 8 mm, Super 8, 16 mm for movies (exclusively through Eastman Kodak), and 35 mm for movies (exclusively available through Technicolor Corp as "Technicolor Monopack") and 35 mm, 120, 110, 126, 828 and large format for still photography.

Kodachrome is appreciated in the archival and professional market for its accurate color reproduction and dark-storage longevity. Because of these qualities, it was used by Walton Sound and Film Services in the UK in 1953 for the official 16 mm film of the coronation of Elizabeth II of the United Kingdom. Copies of the film for sale to the public were also produced using Kodachrome. More recent professional film photographers such as Steve McCurry, David Alan Harvey, Peter Guttman and Alex Webb also favored the film. It was used by McCurry for his iconic 1984 portrait of Sharbat Gula, Afghan Girl, for the National Geographic magazine.

History

Before Kodachrome
Before Kodachrome film was marketed in 1935 most color photography had been achieved using films that employed additive color methods and materials, such as Autochrome and Dufaycolor, These first practical color processes had several disadvantages because they used a réseau filter made from discrete color elements that were visible upon enlargement. The finished transparencies absorbed between 70% and 80% of light upon projection, requiring very bright projection lamps, especially for large projections. Subtractive color methods avoided these disadvantages.

Rudolf Fischer was granted a patent in 1913 for a proposed color photography process in which three separate emulsions, each sensitive to a different color, would be exposed simultaneously. However, Fischer was unable to implement the idea.

First use of 'Kodachrome' name
The first Kodak product called Kodachrome was invented by John Capstaff in 1913. His Kodachrome was a subtractive process that used only two colours: blue-green and red-orange. It required two glass plate negatives, one made using a panchromatic emulsion and a red filter, the other made using an emulsion insensitive to red light. The two plates could be exposed as a "bipack" (sandwiched emulsion to emulsion, with a very thin red filter layer between), which eliminated the need for multiple exposures or a special color camera. After development, the silver images were bleached out with chemistry that hardened the bleached portions of the gelatin. Using dyes that were absorbed only by the unhardened gelatin, the negative that recorded the blue and green light was dyed red-orange and the red-exposed negative was dyed blue-green. The result was a pair of positive dye images. The plates were then assembled emulsion to emulsion, producing transparency that was capable of surprisingly good (for a two-colour process) colour rendition of skin tones in portraits. Capstaff's Kodachrome was made commercially available in 1915. It was also adapted for use as a 35 mm motion picture film process.
Today, this first version of Kodachrome is nearly forgotten, completely overshadowed by the next Kodak product bearing the same name Kodacrome.

In 2012 Capstaff's early film tests were added to the United States Library of Congress National Film Registry under the title Two-Color Kodachrome Test Shots No. III (1922) for being "culturally, historically or aesthetically" significant."

Development of modern Kodachrome

The next version of Kodachrome was invented in the early 1930s by two professional musicians, Leopold Godowsky Jr. and Leopold Mannes, who were also university-trained scientists.

Mannes and Godowsky first took an interest in color photography as high school pupils in 1917, when they saw a movie called Our Navy, a movie production using a four-color additive process. Both agreed the color was terrible. After reading up on the subject in the library they started to experiment with additive color processes. Their experiments were continued during their college years, eventually producing a camera having two lenses that projected images side by side on a single strip of film. The color rendition of this additive two-color process was not too bad, but aligning the two lenses of the projector was difficult.

Their experiments, which continued after they finished college, turned from multiple lenses that produced multiple, differently colored images that had to be combined to form the final transparency, to multiple layered film in which the different color images were already combined, perfectly aligned. Such a multi-layered film had already been invented and patented in 1912 by the German inventor Rudolph Fischer. Each of the three layers in the proposed film would be sensitive to one of the three primary colors, and each of the three layers would have substances (called "color couplers") embedded in them that would form a dye of the required color when combined with the by-products of the developing silver image. When the silver images were bleached away, the three-color dye image would remain. Fischer, however, failed to find a way to stop the color couplers and color sensitizing dyes from wandering from one layer into the other, where they would produce unwanted colors.

Mannes and Godowsky followed that route, and started experimenting with color couplers, but their experiments were hindered by a lack of money, supplies and facilities. In 1922 Robert Wood, a friend of Mannes, wrote a letter of introduction for Mannes and Godowsky to Kodak chief scientist Kenneth Mees, referencing their experiments and asking if Mees could let them use the Kodak facilities for a few days. Mees offered to help, and after meeting with Mannes and Godowsky agreed to supply them with multi-layer emulsions made to their specifications. The pair then secured a $20,000 loan from the New York investment firm Kuhn, Loeb and Company, instigated by a secretary there Mees had befriended.

By 1924 they were able to patent a two-color process that employed "controlled diffusion". By timing how long it took for an image to form in the top layer ahead of the lower they began to probe the prospects of timed processing as a means of controlling wandering dyes.  Some three years later they were still experimenting with such a method in a multi-layer emulsion, but by then they had decided that instead of incorporating the color couplers into the emulsion layers themselves, they could be added to the developing chemicals.

When their money ran out in 1929 Mees decided to help them once more. He knew that the solution to the problem of the wandering dyes had already been found by one of Kodak's own scientists, Leslie Brooker. So he fronted Mannes and Godowsky the money to pay off their loan with Kuhn Loeb and offered them a yearly salary, coupled to a three-year deadline to come up with a finished and commercially viable product.

Not long before time was to expire at the end of 1933 Mannes and Godowsky still had not managed to come up with anything usable, and thought their experiments would be terminated by Kodak. Instead, Mees granted them a one-year extension and, still having technical challenges they needed to solve, they eventually presented Mees with a mere two-color movie process in 1934, just as the original Kodachrome invented by John Capstaff some 20 years earlier had been.

Mees immediately set things in motion to produce and market this film, but just before Kodak was about to do so in 1935 Mannes and Godowsky completed work on the long-awaited but no longer expected, much better, three-color version. On April 15, 1935, this new film, borrowing the name from Capstaff's process, was formally announced.

Launch and later history

Kodachrome was first sold in 1935 as 16 mm movie film with an ASA speed of 10 and the following year it was made available as 8 mm movie film, and in 35mm and 828 formats for still cameras.

In 1961 Kodak released Kodachrome II with sharper images and faster speeds at 25 ASA. In 1962, Kodachrome-X at ASA 64 was introduced.
In 1974, with the transition to the K-14 process Kodachrome II and Kodachrome-X were replaced by Kodachrome 25 and Kodachrome 64.

In later years, Kodachrome was produced in a wide variety of film formats including 120 and , and in ISO-ASA values ranging from 8 to 200.

Until manufacturing was taken over by rival film manufacturer GAF, View-Master stereo reels used Kodachrome films.

Decline and discontinuation
Later color transparency films, such as Agfachrome, Anscochrome, Fujichrome and Kodak's own Ektachrome used simpler, quicker, and more accessible color development processes. Their higher film speeds also eroded Kodachrome's market share, as the quality of competing films improved over time. As digital photography reduced the demand for all film after 2000, Kodachrome sales further declined. On June 22, 2009, Kodak announced it would no longer manufacture Kodachrome film, citing declining demand. During its heyday, many Kodak and independent laboratories processed Kodachrome, but by 2010, only one Kodak-certified facility remained: Dwayne's Photo in Parsons, Kansas. On July 14, 2010, it was announced that the last roll of Kodachrome manufactured had been developed by Dwayne's for photographer Steve McCurry, a National Geographic photographer. McCurry had asked Kodak for the last roll in stock, then went out on his own to use that roll. Although McCurry retains ownership of the slides, prints of the 36 exposures are permanently housed at the George Eastman House in Rochester, New York and most of the pictures have been published on the Internet by Vanity Fair magazine.

2017 reintroduction rumors

After announcing the return of Ektachrome at the beginning of 2017, Eastman Kodak CMO Steven Overman told The Kodakery podcast, "we are investigating Kodachrome, looking at what it would take to bring that back". Although the statement generated widespread media interest, it was subsequently conceded by an official at Kodak Alaris (which would be responsible for its production and sale) that the return of Kodachrome was probably impractical (due to the difficulty in restoring the now-dismantled infrastructure needed to support it) and therefore unlikely.

Characteristics

Emulsion
Kodachrome films are non-substantive. Unlike substantive transparency and negative color films, Kodachrome film does not incorporate dye couplers into the emulsion layers. The dye couplers are added during processing. This means that Kodachrome emulsion layers are thinner and less light is scattered upon exposure, meaning that the film could record an image with more sharpness than substantive films. Transparencies made with non-substantive films have an easily visible relief image on the emulsion side of the film. Kodachrome 64 and 200 can record a dynamic range of about 2.3D or 8 stops, as shown in the characteristic curves. Kodachrome 25 transparencies have a dynamic range of around 12 stops, or 3.6–3.8D.

Color
The color rendering of Kodachrome films was unique in color photography for several decades after its introduction in the 1930s. Even after the introduction of other successful professional color films, such as Fuji Velvia, some professionals continued to prefer Kodachrome, and maintain that it still has certain advantages over digital. Steve McCurry told Vanity Fair magazine:

Contrast
Kodachrome is generally used for direct projection using white light. As such, it possesses a relatively high contrast.

For professional uses, where duplication is expected and required, a special version, Kodachrome Commercial (KCO), was available in a 35 mm BH-perforated base (exclusively through Technicolor) and in a 16 mm base (exclusively through Eastman Kodak's professional products division). In both cases, Eastman Kodak performed the processing.

Kodachrome Commercial has a low-contrast characteristic that complements the various duplication films with which it is intended to be used: silver separation negatives for 35 mm (controlled exclusively by Technicolor) and reversal duplicating and printing stocks for 16 mm (controlled exclusively by Eastman Kodak).

Kodachrome Commercial was available until the mid-1950s, after which Ektachrome Commercial (ECO) replaced it for these specific applications.

After the late 1950s, 16 mm Kodachrome Commercial-originated films (and Ektachrome Commercial-originated films as well) were quite often duplicated onto Eastmancolor internegative film, after which these films were printed on Eastmancolor positive print film, as a cost-reduction measure, thereby yielding relatively low-cost prints for direct projection.

Archival stability
When stored in darkness, Kodachrome's long-term stability under suitable conditions is superior to other types of color film of the same era. While existing Kodachrome materials from before Kodak simplified the development process in 1938 are almost always faded, images on Kodachrome slides and motion picture films made after this point retain accurate color and density to this day. It has been calculated that the yellow dye, the least stable, would suffer a 20% loss of dye in 185 years. This is because developed Kodachrome does not retain unused color couplers. Nevertheless, Kodachrome's color stability under bright light, for example during projection, is inferior to substantive slide films. Kodachrome's fade time under projection is about one hour, compared to Fujichrome's two and a half hours.

Unprocessed Kodachrome film may survive long periods between exposure and processing. In one case, several rolls were exposed and then lost in a Canadian forest. Upon discovery 19 years later they were processed and the slides were usable.

Digital scanning and resolution

A 35mm Kodachrome transparency, like other 35mm transparencies on films of comparable ISO rating, contains an equivalent of approximately 20 megapixels of data in the 24 mm x 36 mm image. Scanning Kodachrome transparencies can be problematic because of the film's tendency to scan with a blue color cast. Some software producers deliver special Kodachrome color profiles with their software to avoid this. An IT8 calibration with a special Kodachrome calibration target is necessary for accurate color reproduction.

Many scanners use an additional infrared channel to detect defects, as the long wave infrared radiation passes through the film but not through dust particles. Dust, scratches, and fingerprints on the slide are typically detected and removed by a scanner's software. Kodachrome interacts with this infrared channel in two ways. The absorption of the cyan dye extends into the near infrared region, making this layer opaque to infrared radiation. Kodachrome also has a pronounced relief image that can affect the infrared channel. These effects can sometimes cause a slight loss of sharpness in the scanned image when Digital ICE or a similar infrared channel dust removal function is used.

Processing

Kodachrome, and other non-substantive films, unlike most color films, required complex processing that could not practicably be carried out by amateurs. The process underwent four significant alterations since its inception. The final version of the process, designated K-14, was introduced in 1974. The process was complex and exacting, requiring technicians with extensive chemistry training and large, complex machinery. This is because most color films contain dye couplers in the film itself; during development the couplers react with the developer to form the dyes that form the final image. Kodachrome film has no such couplers; instead the dyes are formed on the film by a complex processing sequence that required four different developers; one black and white developer, and three color developers. Normal color film requires just one developer. Also, processing Kodachrome film requires 8 or more tanks of processing chemicals, each of which must be precisely controlled for concentration, temperature and agitation, resulting in very complex processing equipment with precise chemical control, no small feat for small processing companies.

The first step in the process was the removal of the antihalation backing with an alkaline solution and wash. The film was then developed using a developer containing phenidone and hydroquinone, which formed three superimposed negative images, one for each primary color. After the first developer was washed out, the film underwent re-exposure and redevelopment. Re-exposure fogged the silver halides that were not developed in the first developer, limiting development to one layer at a time. A color developer then developed the fogged image, and its exhaustion products reacted with a color coupler to form a dye in the color complementary to the layer's sensitivity. The red-sensitive layer was re-exposed through the base of the film with red light, then redeveloped forming cyan dye. The blue-sensitive layer was re-exposed through the emulsion side of the film with blue light, then redeveloped forming yellow dye. The green-sensitive layer was redeveloped with a developer that chemically fogged it and formed magenta dye. After color development, the metallic silver was converted to silver halide using a bleach solution. The film was then fixed, making these silver halides soluble and leaving only the final dye image. The final steps were to wash the film to remove residual chemicals that might cause deterioration of the dye image, then to dry, cut, and mount the film in slide frames.

Prepaid processing
Due to its complex processing requirements, Kodachrome film was initially sold at a price that included processing by Kodak. An envelope was included with the film in which the photographer would send the exposed film to the nearest of several designated Kodak laboratories. The film was processed, mounted in  cardboard mounts in the case of 35 mm slides, and returned by mail to the sender. After 1954, as a result of a lawsuit from the federal government, this practice was prohibited in the United States as anticompetitive. Kodak entered into a consent decree that ended this practice in the United States, and allowed independent processing laboratories to acquire the chemicals needed to process Kodachrome films.  In other countries, the price of Kodachrome film continued to include processing by Kodak.

Decline
The use of transparency film declined in the 1980s and 1990s, which, combined with competition from Fuji's Velvia slide film, caused a drop in Kodachrome sales. Some business analysts speculated that heavy subsidies by the Japanese government propped up Fuji and may have even allowed dumping of Fuji's films at below the cost to manufacture them. Kodachrome products were gradually discontinued and on June 22, 2009, Kodak announced that the remaining film, Kodachrome 64, would no longer be manufactured.

Because of the decline in business, many Kodak-owned and independent Kodachrome processing facilities were closed. The loss of processing availability further accelerated the decline in Kodachrome sales. In 1999, Kodak attempted to increase the availability of K-14 processing through its K-Lab program, where small labs equipped with smaller Kodak processing machines would supplement Kodak's own processing services. This effort did not endure and all the K-labs were closed by 2005.

On July 25, 2006, extensive documentation about Kodak's Lausanne Kodachrome lab's impending closure was sent to the European Parliament by the Dutch office of the European Parliament because, although located in Switzerland, the facility served all of Europe and its closure would affect European photographers. The Parliamentary committees for Culture and Education and for Internal Market and Consumer Protection studied the matter.

Cessation of processing
After its Lausanne processing facility closed, Kodak subcontracted the processing work to Dwayne's Photo, an independent facility in the United States, which became the world's last Kodachrome processing facility. Dwayne's processing of 35 mm films was fully endorsed by Kodak, but its Super-8 process was not endorsed because it required more agitation. Films sent for processing in the USA were mailed directly to Dwayne's, while those in Europe were sent to the Lausanne facility's address and forwarded to Dwayne's.

Dwayne's Photo announced in late 2010 that it would process all Kodachrome rolls received at the lab by December 30, 2010, after which processing would cease. As Dwayne's final processing deadline approached, thousands of stored rolls of film were sent in for processing. Once film received by the deadline had been developed, the world's last K-14 processing machine was taken out of service. The final roll to be processed was exposed by Dwayne Steinle, owner of Dwayne's Photo. The cessation of processing by Dwayne's Photo is commemorated in the book Kodachrome – End of the Run: Photographs from the Final Batches, edited by photographers Bill Barrett and Susan Hacker Stang with introductory essays by Time magazine worldwide pictures editor Arnold Drapkin and Dwayne's Photo vice president Grant Steinle. The book presents a year of pictures shot by Webster University photography students on more than 100 rolls of by-then rare Kodachrome film and processed by Dwayne's on the last day (extended to January 18, 2011) before processing chemicals officially ceased production. Kodachrome film can no longer be processed in color, but it can be processed in black and white by some labs that specialize in obsolete processes and old film processing.

Discontinuation

The Kodachrome product range diminished progressively through the 1990s and 2000s.

 Kodachrome 64 film in 120 format was discontinued in 1996.
 Kodachrome 25 was discontinued in 2002.
 Kodachrome 40 in the Super 8 movie format was discontinued in June 2005, despite protests from filmmakers. Kodak launched a replacement color reversal film in the Super 8 format, Ektachrome 64T, which uses the common E-6 processing chemistry.
 Kodachrome 200 was discontinued in November 2006.
 Kodachrome 64 and Kodachrome 64 Professional  135 format were discontinued in June 2009.

Product timeline

In popular culture
Kodachrome was the subject of Paul Simon's 1973 song "Kodachrome", and Kodachrome Basin State Park in Utah was named after it, becoming the only park named for a brand of film.

Anticipating the approval of their merger, in 1985, the Southern Pacific and Santa Fe railroad companies repainted hundreds of locomotives into a unified red and yellow livery, which railfans nicknamed "Kodachrome".

In 2017 the film Kodachrome premiered at the Toronto International Film Festival and featured a dying photographer, played by Ed Harris, whose son, played by Jason Sudeikis, helps him to get the last of his Kodachrome photography processed.

See also
 135 film
 Ektachrome

References

External links
Two-Color Kodachrome Test Shots No. III essay by James Layton  at National Film Registry
George Eastman House Museum: – "Saying "farewell" while celebrating 75 years of Kodachrome"
 Library of Congress Preservation/Restoration Resources for Kodachrome
 Kodachrome on Timeline of Historical Film Colors with many written resources and many photographs of Kodachrome prints.

Products introduced in 1935
Kodak photographic films
Products and services discontinued in 2009

ja:リバーサルフィルム#コダクローム

Kodachrome


A freedom fighter is a person who thinks their native ethnic group is not free, and is working to have freedom for their group. Most often this means that a freedom fighter wants their people to have own nation and independence and/or get rid of oppressors. People who think like this are said to think in a nationalist way

Freedom fighter is a relativistic term - this means a person decides by his or her point of view if he call some persons or groups freedom fighters or not. Freedom fighter is a positive term - this means that he or she calls a person "freedom fighter" only if he or she supports the goals of the freedom fighter. If people do not support his goals, they probably use more negative terms like insurgent, terrorist, rebel or criminal.

Freedom fighters are often called terrorists by their opponents if they hurt civilians. However, not all freedom fighters hurt civilians. Some freedom fighters damage the opposing military. Some freedom fighters damage property - this is called sabotage. There are also freedom fighters who do not use violence at all. For example, Mahatma Gandhi and Dalai Lama.

Groups
These are examples of groups who call themselves freedom fighters.
 The African National Congress, c.f. Alfred Nzo's Address to the British Trades Union Congress at its Presentation of a Gold Medal to Nelson Mandela , 1988.
 Al-Qaeda
 Aryan Nations
 Babbar Khalsa (Sikh separatists)
 CNRT Conselho Nacional de Resistência Timorense
 The Continuity Irish Republican Army
 Earth Liberation Front
 ETA Euskadi Ta Askatasuna - Basque nationalist organization
 GAM Gerakan Aceh Merdeka
 Hamas
 Hezbollah
 Hizbul Mujahideen - Kashmiri separatists
 The Irish National Liberation Army
 The Irish People's Liberation Organisation
 The Irish Republican Army
 Liberation Tigers of Tamil Eelam (Tamil Separatists)
 Mahdi Army a militia force created by and loyal to the Iraqi Shiite cleric Muqtada al-Sadr
 The New Peoples' Army
 The National Liberation Front of Algeria (FLN)
 The Popular Front for the Liberation of Palestine
 The Real Irish Republican Army
 The Scottish National Liberation Army
 The Ulster Defence Regiment
 The Ulster Freedom Fighters
 The Ulster Volunteer Force

Other examples
 The Dalai Lama: "We are freedom fighters unique in our peaceful approach to liberation."
 Sitting Bull
 Nelson Mandela
 Mahatma Gandhi
 Michael Collins (Irish leader)
 Red Cloud
 William the Silent
 George Washington
 Bangabandhu Sheikh Mujibur Rahman

In public media
•Assassin's Creed is based around a group of freedom fighters.

•The Hunger Games is set in a dystopia that later features freedom fighters.

Human rights
Freedom

Freedom fighter


The BMW Welt is a combined exhibition, delivery, adventure museum, and event venue located in Munich's district Am Riesenfeld, next to the Olympic Park, in the immediate vicinity of the BMW Headquarters and factory. It was built from August 2003 to summer 2007. A solar system with 800 kW of power is installed on the roof of the main building. The opening took place on 17 October 2007. The BMW Welt is the most visited tourist attraction in Bavaria.

Operations

BMW Welt operations are coordinated with the other local BMW facilities, the BMW Museum and BMW Headquarters. It has a showroom with the current model lineup of BMW cars and motorcycles, and the other two BMW Group brands, Mini and Rolls-Royce.
Customers picking up special ordered cars are given a dramatic "staged experience" in which they await their new car in an enormous glass-walled hall, and their cars are lifted up from lower levels on round elevator platforms to their respective delivery area. BMW Welt also has shops selling BMW-branded promotional merchandise and accessories, and a restaurant.

Design and construction

In 2001, an international architectural design competition was sponsored by BMW. Twenty-seven offices participated in the competition four of which were awarded prizes. The jury awarded two offices Sauerbruch Hutton and COOP HIMMELB(L)AU first prize and made the recommendation for the competitors to rework their design submissions in a third design phase in order for BMW to determine which office would be awarded the contract.

The contract was awarded to the Vienna-based architects COOP HIMMELB(L)AU and the facility was constructed from August 2003 through summer 2007 at a cost of US$200 million. Originally conceived to be open and ready for World Cup 2006, it eventually opened on 17 October 2007, and deliveries commenced on 23 October 2007.  The first customer to take European delivery of a new BMW at the Welt was Jonathan Spira.
There were 2,200,000 visitors during the first 12 months of operation. The number of visitors increased to 2,930,000 in 2013, of which 60% came from Germany.

Designed with an 800 kW solar plant on its roof, "the building does not have the boredom of an exhibition hall, it is not only a temple but also a market place and communication center, and a meeting point for knowledge transfer", said architect Wolf D. Prix at the opening ceremony.

COOP HIMMELB(L)AU's BMW Welt project records are archived at the Canadian Centre for Architecture in Montreal, Quebec, Canada.

Gallery

See also
 World Architecture Survey

References

External links

 BMW-Welt on www.muenchenarchitektur.com
 BMW European Delivery wiki, on the Bimmerfest.com site

Buildings and structures in Munich
Coop Himmelblau
Museums in Munich
BMW
Automobile museums in Germany
Milbertshofen-Am Hart

BMW Welt


Thomas Otway (3 March 165214 April 1685) was an English dramatist of the Restoration period, best known for Venice Preserv'd, or A Plot Discover'd (1682).

Life
Otway was born at Trotton near Midhurst, the parish of which his father, Humphrey Otway, was at that time curate. Humphrey later became rector of Woolbeding, a neighbouring parish, where Thomas Otway was brought up and expected to commit to priesthood. He was educated at Winchester College, and in 1669 entered Christ Church, Oxford, as a commoner, but left the university without a degree in the autumn of 1672. At Oxford he made the acquaintance of Anthony Cary, 5th Viscount Falkland, through whom, he says in the dedication to Caius Marius, he first learned to love books. In London he made acquaintance with Aphra Behn, who in 1672 cast him as the old king in her play, Forc'd Marriage, or The Jealous Bridegroom, at the Dorset Garden Theatre. However, due to severe stage fright, he gave an abysmal performance and never returned to the stage, instead opting to write what was being performed. The same year as the performance, his father died, triggering Otway to officially abandon any thoughts of priesthood and move to London to become a playwright, where he discovered his muse.

The muse he had fallen in love with was Elizabeth Barry, who played many of the leading parts in his plays. Six letters to her survive, the last of them referring to a broken appointment in the Mall. She seems to have flirted with Otway, but had no intention of permanently offending Rochester, her lover. In 1678, driven to desperation, Otway obtained a commission through Charles, Earl of Plymouth, a natural son of Charles II, in a regiment serving in the Netherlands. The English troops were disbanded in 1679, but were left to find their way home as best they could. They were paid with depreciated paper, and Otway arrived in London late in the year, ragged and dirty, a circumstance utilized by Elkanah Settle in his Sessions of the Poets.

Upon his return, he apparently ceased to struggle against his poverty and misfortunes. At one point in attempts to make money, he tutored the son of famed Restoration actress Nell Gwyn. The generally accepted story regarding the manner of his death was first given in Theophilus Cibber's Lives of the Poets. He is said to have emerged from his retreat at the Bull on Tower Hill to beg for bread. A passer-by, learning who he was, gave him a guinea, with which Otway hastened to a baker's shop. He ate too hastily, and choked on the first mouthful. Whether this account of his death is true or not, it is certain that he died in the utmost poverty, and was buried on 16 April 1685 in the churchyard of St. Clement Danes.

Writing career

In 1675 Thomas Betterton produced Otway's first play, Alcibiades at the Dorset Garden Theatre, where all but one of his plays would eventually be produced. It is a tragedy, written in heroic verse, saved from absolute failure only by the actors. Elizabeth Barry took the part of Draxilla, and her lover, John Wilmot, 2nd Earl of Rochester, recommended Otway to the Duke of York (later King James II). He made a great improvement in Don Carlos, Prince of Spain (licensed 15 June 1676). The material for this rhymed tragedy came from the novel of the same name, written in 1672 by the Abbé de Saint-Real, the source from which Friedrich Schiller also drew his tragedy of Don Carlos. In it the two characters familiar throughout his plays make their appearance. Don Carlos is the impetuous, unstable youth, who seems to be drawn from Otway himself, while the queen's part is the gentle pathetic character repeated in his more celebrated heroines, Monimia and Belvidera. It got more money, says John Downes (Roscius Anglicanus, 1708) of this play, than any preceding modern tragedy.

In 1677 Betterton produced two adaptations from the French by Otway, Titus and Berenice (from Racine's Bérénice), and The Cheats of Scapin (from Molière's Scapin the Schemer). These were printed together, with a dedication to Rochester. In 1678 he produced an original comedy, Friendship in Fashion, which was very successful.

In February 1680, the first of Otway's two tragic masterpieces, The Orphan, or The Unhappy Marriage, was produced at the Dorset Garden, with Mrs. Barry playing the part of Monimia. Written in blank verse, modeled upon Shakespeare, its success was due to Otway's mastery of tragic pathos found in the characters of Castalio and Monimia. The History and Fall of Caius Marius, produced in the same year as The Orphan, and printed in 1692, is a curious grafting of Shakespeare's Romeo and Juliet on the story of Marius as related in Plutarch's Lives. Caius Marius was incredibly popular during its time, outperforming Romeo and Juliet for at least seventy years following its initial release.

In 1680, Otway also published The Poets Complaint of his Muse, or A Satyr against Libells, in which he retaliated against his literary enemies and critics. An indifferent comedy, The Soldier's Fortune (1681), was followed in February 1682 by Venice Preserv'd, or A Plot Discover'd. The story is founded on the Histoire de la conjuration des Espagnols contre la Venise en 1618, also by the Abbé de Saint-Réal, but Otway modified the story considerably. The character of Belvidera is his own, and the leading part in the conspiracy, taken by Bedamor, the Spanish ambassador, is given in the play to the historically insignificant Pierre and Jaffeir. The piece has a political stance, with the narrative influenced by the fictitious conspiracy of the Popish Plot, which heightened anti-Catholic sentiments in England in favor of political advancement. His frustrations with such political scandals are evident in a caricature of Anthony Ashley Cooper, 1st Earl of Shaftesbury, a founder of the Whig party in the character of Antonio and in the play's "Prologue", in the following lines:

"Poland, Poland! Had it been thy Lot,
T'have heard in time of this Venetian Plot;
Thou surely chosen hadst one King from thence,
And honour'd them as thou hast England since."

The allusion is to rumours current at the time that Shaftesbury had planned to make himself King of Poland. Because of this, and the silver pipe John Locke had inserted into him to drain an abscess, he was popularly referred to as "Count Tapski".

Venice Preserv'd also contains an allusion to Rochester's famous deathbed conversion, as reported in Gilbert Burnet's Some Passages of the Life and Death of.. Rochester (1680). The conversion was doubted by many, and Otway is obviously skeptical, for when Pierre is on the scaffold, attended by a priest, he is made to say the following to his executioner (Act V, scene ii): "Captain, I'd have hereafter / This fellow write no Lies of my Conversion."

The play won instant success. It was translated into almost every European language, and even Dryden said of it: "Nature is there, which is the greatest beauty."

The Orphan and Venice Preserved remained stock pieces on the stage until the 19th century, and the leading actresses of the period played Monimia and Belvidera. His last and most obscure play is The Atheist (1684), although many see it as a way to cash in on his previous comic success with The Soldier's Fortune, some see it not as a weak sequel but as a "brilliant experiment." One of the aims of the play is to show what happens after the wedding as sentimental conclusion in plays of the period through the figures of Courtine and Sylvia. The bleakness of their relations taint those of Beauregard and Porcia. The complexity of the plot, some of which derives from the "Invisible Mistress," the first interpolated story in Paul Scarron's Roman comique, speak of the maze of human life, a meaningless world left for the audience to decipher. One or two prefaces, and two posthumous pieces, a poem, Windsor Castle (1685), a panegyric of Charles II, and a History of the Triumvirates (1686), translated from the French, complete the list of Otway's works. A tragedy entitled Heroick Friendship was printed in 1686 as Otway's work, but the ascription is unlikely.

The Works of Mr. Thomas Otway with some account of his life and writings, published in 1712, was followed by other editions (1722, 1757, 1768, 1812). Through the 19th century the standard edition was that by T. Thornton (1813).

Notes

References

External links

English dramatists and playwrights
People from Trotton
1652 births
1685 deaths
Accidental deaths in London
English male dramatists and playwrights

Thomas Otway


PLOS One is a scientific journal.  It is an interdisciplinary journal.  That means it prints scientific papers about almost any kind of science instead of just one.  It prints papers about engineering, biology, the social sciences and humanities, for example science papers that talk about art.  As of 2017, it was the largest scientific journal in the world by number of articles printed per year.

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PLOS ONE can publish 20,000 scientific papers in one year.  That means sometimes it publishes bad papers by accident.  In 2016, PLOS ONE published many retractions, which means it said publicly that some of its papers were bad, said how they were bad, and said it did not believe in them.

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Dev.D is a 2009 Indian Hindi-language romantic black comedy film released on 6 February 2009. Written and directed by Anurag Kashyap, it is a modern-day take on Sarat Chandra Chattopadhyay's classic Bengali novel Devdas, previously adapted for the screen by P.C. Barua and Bimal Roy and more recently by Sanjay Leela Bhansali. Dev.D received positive critical reviews. The film is set in contemporary Punjab and Delhi, where familial ties are negotiated by the traditional system and marriages are a game of power and a matter of honour.

The film's release was accompanied by a tie-in mobile video game based on the film, it was released by UTV Indiagames.

Plot

The film is divided into three parts from the point of view of the main characters :-

Paro
Paro is an idealistic, young, middle-class girl living in Punjab. Her childhood sweetheart is Dev, the son of a rich businessman. Paro cares for him immensely, and fully expects a future with him.
Dev constantly takes Paro's love and affection for granted. He grows up to be arrogant and lazy, which causes his father to send him to London to complete his education. While separated by distance, Paro and Dev's youthful love only blossoms more, despite Dev becoming increasingly more egotistical and entitled. After finishing his studies, Dev returns to Chandigarh and meets Paro, and they rekindle their romance. After some time, Dev overhears scandalous rumours about Paro concerning her reputation and sexual history, which he immediately believes. Paro is shocked to see Dev's chauvinist attitude towards her, even after she claims innocence. Dev hypocritically passes judgement on Paro and does not approve of the things that he has heard. Paro turns her back on him when she hears him insult her and rashly agrees to marry a man of her parents' choice. On her wedding day, Dev learns that the rumors were false but his ego doesn't let him accept his mistake, and he lets Paro marry someone else.

Chanda
Leni is a Delhi student of half-European descent. A date with her much older boyfriend turns sexual and lands Leni in an MMS sex scandal. The incident becomes public knowledge after the video is widely circulated. Her father, having watched the video, commits suicide out of shame and disgust, and Leni's family decides to send her to live in a small rural town. Refusing to live a life of shame and ridicule, she returns to Delhi where she works as a prostitute at night, while continuing with her studies during the day. She adopts the name 'Chanda' for her profession. Her 'foreign' looks mean her services are reserved for the highest-paying customers and she finds some dignity and independence in the new way of living. One night, an inebriated, half-conscious customer is brought to her room – it turns out to be Dev.

Dev
Dev, tormented by Paro's wedding, has been seeking refuge in alcohol and drugs. He finds some solace with Chanda but is unable to forget Paro. While in a drug fueled haze, he calls Paro's husband in the middle of the night, Paro visits him at the cheap lodge where he is staying. She shows her love by taking care of him but spurns his attempts at physical intimacy. The meeting ends on a bitter note, and Paro returns to her married life. Dev resolves to go back to Chanda, but confronted by the reality of her profession, he abandons her, too. He resumes his destructive lifestyle of alcohol, drugs, and reckless behaviour. Months later, after his life has completely fallen apart and hit an all-time low, Dev attempts to pick up the pieces. He seeks Chanda once again and, with her help, sets out to start life afresh.

Cultural references
 Kalki's character is a modern adaptation of Chandramukhi, who was most recently played by Madhuri Dixit in Sanjay Leela Bhansali's Devdas. In the film, the young Leni is shown to be a fan of Madhuri's, listening to the songs of Chandramukhi. When she takes up prostitution as profession, she adopts the name Chandramukhi or Chanda, in honor of the character.
 Chanda's back story in which she gets embroiled in an MMS scandal while in school is a reference to a similar scandal that took place at Delhi Public School, R.K. Puram in 2004.
 Later in the film, when Dev is depressed after losing both Paro and Chanda, he is driving his new BMW while heavily drunk. This is a reference to the Sanjeev Nanda BMW hit-and-run case in 1999.

Cast
 Abhay Deol as Devendra Singh "Dev" Dhillon
 Mahie Gill as Parminder "Paro" Kaur
 Kalki Koechlin as Leni/Chandramukhi (Chanda)
 Dibyendu Bhattacharya as Chunni Lal
 Parakh Madan as Rasika Singh
 Gurkirtan as Satpal Singh Dhillon 'Sattu'- Dev's father
 Satwant Kaur as Kaushalya Dhillon- Dev's mother
 Shena Gamat as Welcome Hotel Owner
 Binnu Dhillon as Dwij Singh Dhillon (Dev's brother)
 Kuldeep Sharma as Manager Uncle (Paro's father)
 Sanjay Kumar as Leni's father
 Helen Jones as Leni's mother
 Asim Sharma as Bhuvan Singh (Paro's husband and Rasika's brother)
 Naveen Kaushik as Bimal Barua (Dhillon's Lawyer)
 Aekansh Vats as Junior Dev
 Sasha Shetty as Junior Paro
 Anjum Batra as Sunil
 Ashu Sharma as Canadian boy
Nawazuddin Siddiqui as band singer in the song "Emotional Attyachar"
 Nitin Chainpuri as Band singer in the song "Emotional Attyachar"
Chainpuri resembles such a strong likelihood to actor-comedian Sunil Grover in the music video that people initially mistook him to be Grover, who, however, denied his involvement in the film
 Anurag Kashyap as Chanda's customer

Production

Origins
The original idea of film was suggested by Abhay Deol to Anurag Kashyap, who then worked on the script along with Vikramaditya Motwane, using "news headlines about Generation X" to give a youth feel. Dev.D was produced by Ronnie Screwvala and shot in places including Paharganj in central Delhi. For the scenes where Dev is high, British director Danny Boyle suggested the use of a still camera as Kashyap did not have the budget for special effects.

Development
Kashyap did not want another remake of any of the nine film versions titled Devdas. Kashyap wanted to make his own version of Devdas to reflect the original novel but through 2008 mores, with the lead character of Devdas as a debauching, hypocritical sensualist, who is self-destructive without knowing it. Talking about the story and his role as Dev, Abhay Deol told Radio Sargam, "The story is very much from the book which I've read in English. I have played the character according to my interpretation of the book. His character was contemporary, he was quite urban in many ways, he's misplaced in the surrounding and has a spoilt, obsessive and addictive personality."

Initial delays
After the box office disaster of Kashyap's No Smoking, it was rumoured that United Television (UTV) had backed out of the director's next project, Dev.D, starring Abhay Deol. But, according to sources, UTV had signed Abhay for three projects and the actor had blocked dates from November 2007 to March 2008 for Kashyap's film, as the idea was to wrap up the film in one schedule. When Dev.D hit initial snags and was stalled, it was rumoured that UTV had backed out. At that time, the director denied these rumours. He explained the delay by saying that he was still looking out for his Chandramukhi and had locked in Abhay and newcomer Mahi Gill. It was further delayed as he took more time to find an actress suitable for the role of Chandramukhi, which he eventually found with Kalki Koechlin, who was one of the last to be auditioned.

Box office
Dev.D had opening day collection of Rs 15 million. The movie picked up in box office soon and recovered its budget of Rs 60 million in a few weeks. The net collection in its first four weeks was nearly Rs 150 million. Dev.D crossed added another 3 million in week 6. The film's final domestic gross was Rs 215.0 million with distributor share of Rs 65.5 million. The film was declared a 'Hit'.

Reception
Reviews to the film were positive. The widespread acclaim was chiefly due to its fearless visual style, its experimental soundtrack and the innovative narrative structure which included dividing the script into chapters as in the films of Quentin Tarantino. Rony D'Costa of Box Office India gave it 4 stars out of 5, stating "Missing Dev.D would be an 'Emotional Attyachar' to oneself." Raja Sen of Rediff.com gave Dev.D 3.5/5, calling it a 'fantastic visual ride', and ranked it No 2 in his list of the best movies of 2009. Times of India reviewer Nikhat Kazmi termed the film a "brilliant breakthrough for Bollywood" and rated it 5/5. Shubhra Gupta of Indian Express praised the performance of Abhay Deol and the movie overall. Hindustan Times praised the film for its "slick style and adventurous interpretation that pushes the boundaries of Hindi cinema" and rating it as 3.5/5. Noyon Jyoti Parasara of AOL India was "completely bowled out by the movie" and stated, "go and watch Dev.D and be blown away by a sample of what Anurag Kashyap is capable of as a director. Shahrukh Khan praised Abhay Deol's efforts and said that Abhay is contributing to the new era of Indian film industry."

Awards

National Film Awards 2009
 Won: Best Music Direction: Amit Trivedi

55th Filmfare Awards
Won

 Best Actress (Critics) – Mahie Gill
 Best Supporting Actress – Kalki Koechlin
 R. D. Burman Award for New Music Talent – Amit Trivedi
 Best Cinematography – Rajeev Ravi
 Best Production Design – Helen Jones & Sukanta Panigrahi
 Best Background Score – Amit Trivedi

Nominated

 Best Film – Ronnie Screwvala
 Best Director – Anurag Kashyap
 Best Music Director – Amit Trivedi

2nd Mirchi Music Awards
 Won: Upcoming Lyricist of The Year : Amitabh Bhattacharya for "Emosanal Attyachar (Brass Band Version)"
 Won: Upcoming Female Vocalist of The Year : Aditi Singh Sharma for "Yahi Meri Zindagi"

Others
 Nominated at 2009 Asia Pacific Screen Awards at Queensland Australia
 Dev.D premiered at the 2010 Palm Springs International Film Festival.

Soundtrack

Dev.D has 18 tracks by artiste Amit Trivedi. The songs were written by Amitabh Bhattacharya, Shellee, Anusha Mani, and Shruti Pathak. Released on 31 December under T-Series, he specifically reports that there are two special Punjabi tracks, one which is raw Punjabi and the other with a street band baaja flavor to it. He also reports two romantic Haryanvi folk tracks, apart from a hard rock song, world music, an Awadhi number and a song with 1970s-80s pop touch to it. The soundtrack received overwhelmingly positive reviews. Critic Joginder Tuteja said, "Chuck the very thought around whether this album will do well commercially or not; it is an exemplary piece of work and that's what that matters most." Rahul Bhatia, critic of Hindustan Times fame, said "Each part of each song in this album is special & gives a great impact on audience."

The song "O Pardesi" was replicated using a cycle as a Sprite commercial quotient and is available on YouTube with 140K+ views in the first 24 hours. The song "Emosanal Attyachaar" has become a catch phrase for many Indian youth. Nikhil Taneja of Hindustan Times noted that the song was "singularly responsible for driving audiences to the theater to watch a movie."

References

External links

2009 films
2000s Hindi-language films
2009 black comedy films
2009 romantic comedy-drama films
2000s sex comedy films
2000s erotic drama films
Devdas films
Films about alcoholism
Films about drugs
Films about prostitution in India
Films directed by Anurag Kashyap
Films set in Delhi
Films shot in Chandigarh
Films shot in Delhi
Films shot in Himachal Pradesh
Films shot in London
Indian black comedy films
Indian romantic comedy-drama films
Indian erotic drama films
Indian sex comedy films
UTV Motion Pictures films
Films scored by Amit Trivedi
Films with screenplays by Anurag Kashyap
2009 comedy films
Films adapted for other media

Dev.D


AS220 is a non-profit community arts center located in Downtown, Providence, Rhode Island, United States. AS220 maintains four dozen artist live/work studios, around a dozen individual work studios, six rotating exhibition spaces, a main stage, a black box theater, a dance studio, a print shop, a community darkroom, a digital media lab, a fabrication lab, an organization-run bar and restaurant, a youth recording studio, and a youth program (AS220 Youth; formerly named the Broad Street Studio). AS220 is an unjuried and uncensored forum for the arts, open to all ages.

History
AS220 was founded in 1985 by Umberto Crenca, alongside Susan Clausen and Scott Seabolt as a space for artists and performers to exhibit their work in an uncensored and unjuried venue. Umberto and a group of artists had been frustrated by conditions in the Rhode Island arts community which made access and success difficult for those outside the Rhode Island School of Design and initiatives backed by local government. In response, they wrote a manifesto and formed AS220 with an emphasis on openness and access.

AS220 began as an unofficial artists' space at 220 Weybosset Street in downtown Providence, above the Providence Performing Arts Center, incorporating its address into its name. It grew to a collection of seven studios, a gallery, and a performance stage and expanded to Richmond Street.

In 1992, AS220 acquired its own  building on 95-121 Empire Street, which it renovated in order to create a space for a mixed-use arts center including resident artists, a performance space and gallery, and resident companies like Groundwerx Dance Company and Perishable Theater. The development of the Empire Street facility is credited in part with the creation of an arts and entertainment District in Providence. In 2015, after serving 30 years as Artistic Director, Crenca transferred his leadership role to Shey Rivera Ríos .

Expansion

In 2000, AS220 established the Broad Street Studio. Between 2003 and 2006, they launched a Capital Campaign which raised $2 million to improve the Empire Street Complex, including the creation of the AS220 Bar and Restaurant.

In 2005, AS220 purchased the Dreyfus Hotel, a  building on the corner of Washington and Mathewson Streets in downtown Providence. It opened in May 2007 upon the completion of renovations and today is home to fourteen residential studios and four work rental studios, the AS220 administrative offices, and its Project Space art gallery.

In June 2011, AS220 opened its newly renovated Mercantile Block building at 131 Washington Street in Downtown Providence, which it had purchased in 2008. It houses AS220 Industries, comprising the AS220 Community Printshop, AS220 Labs, and AS220 Media Arts. It also includes live and work artist studios, office space for local non-profits, and street-level retail space for local businesses.

AS220 hosts the bi-annual professional development program Practice-Practice for arts administrators around the country and globally.

Creative placemaking
AS220 is best known as an arts organization, but has also made an impact on the city as a developer, occupying multiple buildings that it either uses for its own purposes or rents to local artists, cultural institutions, and small businesses, often below market rate or categorized as affordable housing for creative contributors. Development for the organization served to expand services but also as a sustainability strategy, securing a place for arts and artists in the city. The National Endowment of the Arts described AS220 as the organization "that anchors the downtown arts and entertainment district" and has played a key role in the city's "creative placemaking", a process defined by the NEA as happening when "partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities."

Programs and facilities

Performance spaces

The Main Stage at the Empire Street location showcases 8-12 events each week. It's best known as a music venue, though includes performance art, poetry slams, fashion shows, figure drawing, film screenings, and cultural performances. AS220 was founded on principles of open access, serving as a place for any local artists, creative individuals, and cultural groups. It is unusual in that it has an open booking policy to provide uncensored and unjuried space for artists. Though it frequently hosts acts from other states and countries, it prioritizes Rhode Island-based performers.

AS220 also enforces a "no covers" policy, also implemented in reaction to trends in the area which catered to either national acts or cover bands.

In addition to the main space, the Empire Street location is also home to an experimental black box theater and dance studio.

These spaces originated recurring performances such as the Luna Loba series.

Galleries
AS220 includes six gallery spaces. The Empire Street Complex houses the Youth Gallery, Open Window, and the Main Gallery, which occupies the same space as the main performance space.  The Project Space gallery is located in the Dreyfus building and the Residents' Gallery and THE MOTE are in the Mercantile building.

AS220 Youth
AS220 Youth (formerly the Broad Street Studio) provides a free arts education to 14–21-year-olds, with a special focus on youth under the care of the state and in the Rhode Island Training School. The youth studio receives support from the AmeriCorps*VISTA program, the public school system, local parents, Providence Health Department, and the Department of Children, Youth, and Families. It hosts multiple free workshops each week in creative writing, dance, music, visual arts, and photography. Annually, it hosts the interdisciplinary hip-hop performance series FutureWorlds.

AS220 Industries
AS220 has a community printshop, a fabrication lab, and media arts facilities made available to artists, makers, artisans, and learners through classes, training, reserved time, and open access events.

Darkroom
The Paul Krot Darkroom was established in 1994, along with a number of photography classes and programs which later expanded to include other media arts.

Other media
In the 1990s, AS220 operated a public access TV show named TV 220.

In 1992, AS220 released an eponymous entitled compilation album, with songs mostly recorded at AS220 in order to raise money for the organization.

In 2019, AS220 began programming a radio station, WFOO-LP, which was assigned 44 percent of the airtime of the low-power FM facility on ; the other occupants of the frequency are Brown Student and Community Radio's WBRU-LP and Providence Community Radio's WVVX-LP. The stations' transmitter facility, which uses the studio transmitter link tower at the WSBE-TV studios, was constructed in early 2018.

Foo Fest
Every summer, AS220 hosts an annual block party, "Foo Fest" (previously known as the "Fool's Ball"), a 12-hour event including live music from 20+ local and regional bands and a national headliner, interactive art installations, artist booths, the Rhode Island Mini Maker Fair, and Libertalia's anarchist bookfair. Local arts organizations are invited to participate and perform, with past examples including Girls Rock RI and Providence City Arts.

Notable performers at Foo Fest include Andrew W.K., Warpaint, Sun Ra, Lightning Bolt, Deerhoof, Psychic TV, Dan Deacon, Ssion, and Big Freedia.

References

Further reading

External links
 Official site
 Foo Fest

Non-profit organizations based in Rhode Island
Arts centers in Rhode Island
Art museums and galleries in Rhode Island
Social centres in the United States
Tourist attractions in Providence, Rhode Island
1985 establishments in the United States
Hackerspaces
Arts organizations based in Rhode Island
Contemporary art galleries in the United States

AS220