Alex Faust (born January 14, 1989) is an American television sportscaster who was most recently the television play-by-play voice for the Los Angeles Kings of the National Hockey League (NHL). He also calls national NHL games for NHL on TNT, and national Major League Baseball (MLB) games for Apple TV+ and Fox Sports. He gained additional fame in 2018 when Jeopardy! host Alex Trebek suggested that Faust could replace him as the show's host.

Early life and education
Born and raised in Brooklyn, New York, Faust is the son of television producers. He graduated from Northeastern University in Boston, Massachusetts, in 2012, with a degree in political science and economics.

Career
Faust started his broadcasting career as a student at Northeastern University, calling Huskies basketball and ice hockey on WRBB, the student radio station. After graduating from Northeastern, he worked at PricewaterhouseCoopers as a data analyst and consultant. He called select radio games for the Utica Comets of the American Hockey League from 2013 to 2015, filling in for Brendan Burke.

Looking to pursue a full-time career in broadcasting, Faust left PwC to freelance as an announcer, calling games for NBC Sports, NESN, ESPN, and Westwood One. He was hired to call college basketball games by NESN, and worked his way up to the lead play-by-play announcer for their coverage of Hockey East games.

Faust calls college football,  college basketball, and Major League Baseball games for Fox Sports. He had been named the television play-by-play voice for the Los Angeles Kings in June 2017, succeeding long-time Kings announcer Bob Miller. He called select Boston Red Sox games for NESN in 2019, filling in for Dave O'Brien when O'Brien had ACC Network commitments.

On June 5, 2023, the Kings opted not to renew Faust's contract amid the combination of their radio and TV broadcast groups.

In Week 4 of the 2023 NFL Season, Faust filled in for either Brandon Gaudin or Jason Benetti on the matchup for the Minnesota at Carolina game along with analyst Brady Quinn.

Personal life
He currently resides in Southern California with his wife Carolyn.

In a 2018 interview with TMZ, Jeopardy! host Alex Trebek suggested Faust, as well as CNN legal analyst Laura Coates, as potential successors at host. Trebek noted that he had given Faust's name to the show's producers.

References

External links

 Fox Sports PressPass

1989 births
Living people
American Hockey League broadcasters
American radio sports announcers
American television sports announcers
Boston Red Sox announcers
College basketball announcers in the United States
College football announcers
College hockey announcers in the United States
Journalists from New York (state)
Los Angeles Kings announcers
Major League Baseball broadcasters
Minor League Baseball broadcasters
National Hockey League broadcasters
Northeastern University alumni
People from Brooklyn
Tennis commentators

Alex Faust


Rodolfo Víctor Manuel Pío Campodónico Morales was one of the first composers of waltzes in Mexico. He was born in Hermosillo, Sonora in 1866. Campodónico began composing at the age of eight and was directing various musical bands in Guaymas and Hermosillo when still a child. Despite the waltz's romantic character, his pieces often had a political and rebellious tendency. One of his major works, "El club verde", is dedicated to the color green. At that time, green was the color of the Club Antirreeleccionists Garcia Morales, opposed to the continued regime of Porfirio Díaz. Other works that gained fame include "Herminia", "Eloísa", "Recuerdos a Virginia", "Blanco y negro", "Tuya", "Viva Maytorena", and "Tus ojos and Proyectos". Campodónico died in Douglas, Arizona in 1926.

References

Mexican composers
Mexican male composers
1866 births
1926 deaths
People from Hermosillo

Rodolfo Campodónico


V. Lane Rawlins (born November 30, 1937) is an American academic who served as the President of the University of North Texas from May 2010 to February 2014. He is also the former President of Washington State University (WSU) and of the University of Memphis.

Early life and education
Born on November 30, 1937 in Idaho, Veldon Lane Rawlins began his college education at Idaho State University and after serving a mission for the Church of Jesus Christ of Latter-day Saints in Australia he transferred to Brigham Young University about the same time he married his wife Mary Jo Love. He graduated from Brigham Young University in 1963 with a bachelor's degree in economics.  In 1969, Rawlins obtained his doctoral degree in economics from the University of California, Berkeley.

Academic career
In 1968, Rawlins became an economics professor at WSU.  He served as the chair of the department from 1977 to 1981 and was WSU's vice provost from 1982-1986.  He served as the Vice Chancellor for Academic Affairs of the University of Alabama for five years before assuming the presidency of Memphis State University—overseeing its renaming as the University of Memphis.

In June 2000, Rawlins returned to Washington State where he served as president until May 21, 2007. Rawlins created some controversy in the WSU community in 2002 when he tried to phase out the popular nickname "Wazzu" from usage.  The change proved a firestorm of protest from students and alumni. As of the start of football season 2022, the nickname is back in popular use by WSU Athletics. He is remembered for a strategic plan developed by faculty that led to increases in research funding and to growth in the numbers of talented students choosing WSU.

Rawlins is a labor economist by training and much of his research work focused on the effects of education on earnings in people's lives.  His books include "Public Service Employment: The Experience of a Decade," co-authored with Robert F. Cook and Charles F. Adams, published in 1985.

In 2006, Rawlins announced his retirement as president of WSU. He was succeeded by former University of Missouri System President Elson Floyd in late May 2007. Floyd is WSU's first African-American president.
Rawlins then returned to the School of Economic Sciences faculty. He served as the interim director of The William D. Ruckelshaus Center, a regional problem-solving program of Washington State University and the University of Washington, from 2007-09.

On April 16, 2010, the University of North Texas System Board of Regents appointed V. Lane Rawlins as UNT's president for the 2010-11 academic year. The appointment, effective May 14, was expected to run through summer 2011 as UNT conducted a national search for its next president. On November 9, 2010, Rawlins accepted the offer to become the university's permanent full-time President. Rawlins succeeded Phil C. Diebel who served as UNT's interim president following Gretchen Bataille's February 2010 resignation.

Personal
He and his wife Mary Jo Rawlins have three children and 11 grandchildren.
As Vice Chancellor of Alabama, Rawlins also served as bishop of the Tuscaloosa Ward of the Church of Jesus Christ of Latter-day Saints (LDS Church). He was president of the North Memphis Tennessee Stake of the LDS Church.

Notes

External links
Profile as Washington State University Past President
Former Washington State, Memphis president to serve as UNT's president for the 2010-11 academic year

1937 births
Living people
American leaders of the Church of Jesus Christ of Latter-day Saints
Brigham Young University alumni
Idaho State University alumni
Presidents of the University of Memphis
Presidents of Washington State University
University of Alabama people
University of California, Berkeley alumni
University of North Texas faculty
American Mormon missionaries in Australia
Latter Day Saints from Alabama
Latter Day Saints from California
Latter Day Saints from Idaho
Latter Day Saints from Tennessee
Latter Day Saints from Texas
Latter Day Saints from Utah
Latter Day Saints from Washington (state)

V. Lane Rawlins


Cox's Cave is in Cheddar Gorge on the Mendip Hills, in Somerset, England. It is open to the public as a show cave.

The cave is named after mill owner George Cox who discovered it in 1837, while quarrying limestone for a new building.
Cox immediately opened it as a show cave the following year and ran it as a private enterprise until the landowner, Thomas Thynne, 5th Marquess of Bath, took it over at the beginning of the 20th century. It was connected by a tunnel to the adjacent artificial Pavey's Cave in 1987.

The cave consists of seven small grottoes, joined by low archways. One section of the cave is known as the Home of the Rainbow, where traces of minerals have been brought in from the surface, and have given the stalagmites a wide range of colour, from nearly black, green, and orange to pure white. The famous French speleologist Édouard-Alfred Martel visited this cave and declared that "out of 600 caves, Cox's was admired the most".

See also
 Caves of the Mendip Hills

References

External links
Show Caves Official website

Caves of the Mendip Hills
Show caves in the United Kingdom
Limestone caves
Cheddar, Somerset

Cox's Cave


In the sport of cricket, a declaration occurs when a captain declares his team's innings closed and a forfeiture occurs when a captain chooses to forfeit an innings. Declaration and forfeiture are covered in Law 15 of the laws of cricket. This concept applies only to matches in which each team is scheduled to bat in two innings; Law 15 specifically does not apply in any form of limited overs cricket.

Declaration
The captain of the batting side may declare an innings closed, when the ball is dead, at any time during a match. Usually this is because the captain thinks his team has already scored enough runs to win the match and does not wish to consume any further time batting which would make it easier for the opponents to play out for a draw. Tactical declarations are sometimes used in other circumstances.

A captain considering declaration must balance the risks of declaring too early (thus setting too low a target for the opposing team) against those of declaring too late or not at all (thus making it easier for the opponents to force a draw preventing the completion of the match).

The first captain to declare was Charles Wright in 1890. In a game against Kent at the Bat and Ball Ground in Gravesend, Wright declared Nottinghamshire's second innings closed on 157 for 5 to set Kent a target of 231 to win. However, the tactic did not come off as the game was drawn with Kent on 98 for 9 and Nottinghamshire requiring one more wicket to win.

Before declarations were made legal, batsmen of a team that wanted to get the other team to bat again would deliberately get themselves out, leading to some farcical situations, where the fielding side would make no attempt to dismiss a batsman who was trying to be dismissed.

Forfeiture

Under the current Laws, a captain may forfeit either of his side's innings. A forfeited innings shall be considered as a completed innings. Usually this happens in shorter competitive two-innings matches, where captains need to agree with each other how to set up the match so that there is a reasonable chance of a result. Winning a game gains a team considerably more points than drawing it, so captains are often willing to risk giving the opposition an opportunity to win that they otherwise would not have had as long as they are getting a similar opportunity in return.

Test cricket

Only one innings has been voluntarily forfeit in Test cricket. This was on 18 January 2000 at Centurion, South Africa, in the fifth and final Test between South Africa and England. South Africa had already won the series, as they were up 2-0 (with 2 matches drawn) after the first four matches. After South Africa scored 155 for 6 on the first day, rain washed out the next three days. With only one day remaining, the match was set for a certain draw.

That was until Hansie Cronje, the South African captain, entered into a deal with his English counterpart, Nasser Hussain, that South Africa would continue batting till they reached about 250 and then declare. England and then South Africa would then both forfeit an innings, leaving England approximately 250 to win (in the event the target was 249). At that time, the laws only permitted a side to forfeit its second innings, so England's first innings was treated as having been declared at 0 for 0 after 0 balls. England went on to score 251 for 8 and win by 2 wickets. Many of the South African team criticised Cronje at the time for setting too low a target.

It later emerged that Cronje had been approached by a bookmaker, and asked to ensure the game would end with a positive result. Nasser Hussain and the England team were not aware of this at the time, taking the South African request at face value.

References

ප්‍රකාශය සහ රඳවාගැනීම


The Troggs are a band from England, known for their 1966 song Wild Thing. The original members were: Reg Presley (lead vocals), Chris Britton (guitar), Pete Staples (bass) and Ronnie Bond (drums). Ronnie bond died in 1992, and Presley in 2013. The only original member still performing in the band is guitarist Chris Britton.

English musical groups

The Troggs


The Battle of Montcornet, on 17 May 1940 took place during the Battle of France. The French 4e Division cuirassée (Colonel Charles de Gaulle), attacked the German-held village of Montcornet with over 200 tanks. The French drove off the Germans but later had to retreat due to lack of support and the intervention of the .

Background

On 10 May 1940, the Third Reich had launched a vast offensive against the Netherlands, Belgium and France. After the German breakthrough in the Battle of Sedan on 13 May, the Germans had driven the French troops to a hasty retreat.

Prelude

De Gaulle had just taken command of the new  (4e DCr) on 12 May as the Germans were fighting to break through. That day, with three tank battalions assembled, less than a third of his paper strength, he was summoned to headquarters and told to attack to gain time for the Sixth Army (General Robert Touchon) to redeploy from the Maginot Line to the Aisne; it was his chance to implement his ideas of tank warfare.

The next day, De Gaulle was appointed commander of the 4e DCr, comprising 5,000 men and 85 tanks, with which he led a counter-attack on the village of Montcornet on 17 May. Montcornet had strategic importance because it cut the roads to Reims, Laon and Saint-Quentin, and was a point of transit for the supply echelons of the 1st Panzer Division.

Battle
As De Gaulle advanced, he commandeered some retreating cavalry and artillery units and also received an extra half-brigade, one of whose battalions included some heavy B1 bis tanks. On 17 May, at  elements of the 4e DCr advanced on Montcornet. After surrounding the village, around noon, the French B1 bis tanks came under fire from 3.7 cm Pak 36 anti-tank guns and from German tanks. Though outnumbered and without air support, he attacked and destroyed a German convoy south of the village. De Gaulle lost 23 of his 90 vehicles to mines, anti-tank weapons and to air attacks by Stukas. On 18 May he was reinforced by two fresh regiments of armoured cavalry, bringing his strength up to 150 armoured vehicles.

De Gaulle ordered infantry to neutralise German defence pockets in Chivres and D2 tanks to secure Clermont-les-Fermes. Around  De Gaulle ordered a new attack on Montcornet but because the tank crews had not received detailed maps of the sector and came under fire from 88mm Flak guns, the attack failed. Around  German aircraft intervened and the 4e DCr retreated to its original positions. De Gaulle attacked again on 19 May and his forces were once again devastated by German Stukas and artillery. He ignored orders to withdraw and in the early afternoon demanded two more divisions from Touchon but was refused. Although de Gaulle's tanks forced the German infantry to retreat to Caumont, the action brought only temporary relief and did little to slow the spearhead of the German advance. It was one of the few successes the French enjoyed while suffering defeats elsewhere across the country. A number of the B1 bis tanks had to be abandoned when they ran out of petrol, and others when they sank into swamps.

Aftermath
The French lost 23 tanks in the attack, while taking around 130 German prisoners. De Gaulle fought another engagement at the Battle of Abbeville.

See also

 List of French military equipment of World War II
 List of German military equipment of World War II

Footnotes

References

Battle of France
Battles and operations of World War II involving France

Battle of Montcornet


Ashford is a town in Houston County, Alabama, United States. It is part of the Dothan, Alabama Metropolitan Statistical Area. The town was incorporated in June 1891. For most of its history, it was a center for naval stores production, pulpwood harvesting, and cotton agriculture. The population was 2,148 at the 2010 census, up from 1,853 at the 2000 census.

Geography
Ashford is located slightly northeast of the center of Houston County at  (31.184032, -85.235286). U.S. Route 84 passes through the southern part of the town, leading west  to Dothan and southeast  to Donalsonville, Georgia. The Chattahoochee River, which forms the Georgia state line, is  southeast of Ashford on US 84.

According to the United States Census Bureau, the town has a total area of , of which , or 0.34%, are water.

History

In March 1888, the Alabama Midland Railway built a small depot of Victorian railroad architecture in Ashford to be a waystation along the Bainbridge-to-Montgomery route. The depot was the only building to survive the 1915 fire that destroyed the rest of the town. The original depot received additions at least twice—an enclosed warehouse and open loading dock were added to the east, followed by racially segregated passenger waiting rooms on the west side. The depot faced two sidings that served for loading turpentine from the Adams Company still one block away, and pulpwood. Cotton bales, fertilizer, and a single sweet potato crop were loaded from both sidings.

The depot changed hands as railroads consolidated. The Alabama Midland was absorbed by the Atlantic Coast Line, which merged in the 1980s with the Seaboard Air Line to form the Seaboard Coast Line. CSX Transportation later bought the Seaboard Coast Line. Ashford Depot had fallen into disrepair after it closed in 1978. In the 1980s, concerned citizens founded a preservation committee, led by Jimmy Burgess, and received a grant to add a new roof to the building. This committee also placed the depot on the Alabama Register of Historical Places. It remained active into the 1990s. Former Mayor Bryan Alloway revived the depot preservation committee after his 2000 election. This committee planned to incorporate and seek tax-exempt status in 2005. It received two US Department of Transportation grants ($850,000), two Alabama Department of Economic and Community Affairs grants ($290,000), and one Alabama Resource Conservation & Development (RC&D) grant ($7500) to thoroughly renovate the depot. Construction began in fall 2004. The committee and Ashford City officials held a ribbon-cutting ceremony on November 17, 2005, to mark the end of Phase I of the reconstruction. Now the depot can be used for reunions, birthdays, and social events that the city might sponsor.

On October 10, 2018, Hurricane Michael's western eye wall passed thru the City of Ashford causing major damage and left 100% of the city without power.  No injuries or fatalities were associated with the storm.

Government

The current mayor is Carole Barfield, and City Council members are Place 1 - John Wayne Massey, Place 2 - Ronnie L. Whitehead, Place 3 - Jash Johnson, Place 4 - Blake Rosenkoetter, Place 5 - James Edward Smith.  The City Clerk is Janet Rumley.

The police chief is Malvin Anderson, who supervises four full-time police officers; the fire chief is Jimmy Posey. The fire department and rescue squad are all volunteers.

The City of Ashford's website is City of Ashford, Official Website

Previous mayors of the City of Ashford:
Jonathon Grecu,
Rusty Burgess,
Bryan Alloway

2020 Election:

Mayor - Carole Barfield 257 votes (57%)   Gary Gibson 194 votes  (43%)

Place 1 -  John Wayne Massey (unopposed)

Place 2 - Ronnie L. Whitehead 257 votes  (58%)   Benji McWaters 186  (42%)

Place 3 - Josh Johnson replaced Alan Anderson.  Mr. Anderson resigned in 2022.

Place 4 - Blake Rosenkoetter 258 votes  (59%)   Terry A. Smith 176 votes  (41%)

Place 5 - James Edward Smith 213 votes  (50%)   Richard Bolden 145 votes  (34%)   Jimmy R. Weems 65 votes  (15%)

Education

Ashford schools are part of the Houston County Board of Education. Ashford has one elementary school for grades K-5 and a high school for grades 6-12. The schools mascot is known as the yellow jackets named Buzz.  The current principal of Ashford Elementary School is Sharon LeRoy and the principal of Ashford High School is Dr. Donnie Chambers.

Ashford Academy was once a private school that closed its doors at the end of the 2014–2015 school year.

Recreation
The City of Ashford offers recreation activities throughout the year, including baseball, softball, soccer, and basketball.  The Ashford Recreation Sports Association Ashford Recreation - Powered by Dixie Youth Baseball organizes and raises funds to support the programs.  They are a nonprofit 501c3 organization and is a parent run organization dedicated to help operate the Ashford Recreation Department by raising funds and coordinating efforts of the department, coaches, parents and sponsors.  Football and cheerleading is organized through the Ashford Youth Sports Association.  Both organizations are nonprofit and are parent driven.  The recreation ball fields are located behind Ashford High School on 8th Avenue.  The recreation park includes T-Ball, softball, and baseball fields.  Basketball is played at Ashford Elementary School.  In 2015, Ashford hosted the 2015 Alabama State Class "A" Baseball Tournament.  In 2021, the Ashford recreation boys 8u all-star team won the state championship in Tuscaloosa, Alabama, and then went on to Laurel, Mississippi to play in the 2021 Dixie Youth World Series where they finished 3rd in the class AA division.

Demographics

Town of Ashford

Ashford first appeared on the 1900 U.S. Census as an incorporated town, then in Henry County. In 1903, Ashford was shifted into the new county of Houston. See also Ashford Precinct below.

2000 Census data
As of the census of 2000, there were 1,853 people, 763 households, and 527 families residing in the city. The population density was . There were 877 housing units at an average density of . The racial makeup of the city was 71.45% White, 27.52% Black or African American, 0.70% Native American, 0.05% Asian, and 0.27% from two or more races. 1.51% of the population were Hispanic or Latino of any race.

There were 763 households, out of which 30.1% had children under the age of 18 living with them, 52.3% were married couples living together, 14.0% had a female householder with no husband present, and 30.9% were non-families. 29.0% of all households were made up of individuals, and 16.8% had someone living alone who was 65 years of age or older. The average household size was 2.43 and the average family size was 2.99.

In the city the population was spread out, with 25.1% under the age of 18, 7.1% from 18 to 24, 26.2% from 25 to 44, 24.2% from 45 to 64, and 17.4% who were 65 years of age or older. The median age was 39 years. For every 100 females, there were 83.5 males. For every 100 females age 18 and over, there were 76.8 males.

The median income for a household in the city was $29,444, and the median income for a family was $40,313. Males had a median income of $30,167 versus $22,286 for females. The per capita income for the city was $15,135. About 11.3% of families and 16.9% of the population were below the poverty line, including 18.5% of those under age 18 and 27.7% of those age 65 or over.

2010 census
As of the census of 2010, there were 2,148 people, 867 households, and 623 families residing in the city. The population density was . There were 1,004 housing units at an average density of . The racial makeup of the city was 79.0% White, 19.5% Black or African American, 0.2% Native American, 0.2% Asian, and 0.7% from two or more races. .8% of the population were Hispanic or Latino of any race.

There were 867 households, out of which 27.8% had children under the age of 18 living with them, 51.6% were married couples living together, 14.4% had a female householder with no husband present, and 28.1% were non-families. 24.8% of all households were made up of individuals, and 13.3% had someone living alone who was 65 years of age or older. The average household size was 2.48 and the average family size was 2.94.

In the city the population was spread out, with 23.7% under the age of 18, 9.0% from 18 to 24, 21.7% from 25 to 44, 28.2% from 45 to 64, and 17.4% who were 65 years of age or older. The median age was 41.2 years. For every 100 females, there were 91.1 males. For every 100 females age 18 and over, there were 94.0 males.

The median income for a household in the city was $35,709, and the median income for a family was $55,833. Males had a median income of $38,654 versus $27,143 for females. The per capita income for the city was $21,444. About 9.1% of families and 14.3% of the population were below the poverty line, including 21.5% of those under age 18 and 15.5% of those age 65 or over.

2020 census

As of the 2020 United States census, there were 2,246 people, 865 households, and 635 families residing in the town.

Ashford Precinct/Division (1900-70)

Ashford Precinct was first created in 1900, then as the 19th precinct of Henry County. In 1903, Ashford was shifted into the new county of Houston and its precinct was renumbered the 10th. In 1960, it was reorganized into a census division. In 1980, the Ashford Census Division was merged into the Dothan Census Division.

Notable person
 Robert Stewart, former Arena Football League player

References

Towns in Alabama
Towns in Houston County, Alabama
Dothan metropolitan area, Alabama

Ashford, Alabama


Lindsay Grace is an American academic, artist, and video game designer. He currently serves as the Knight Chair of Interactive Media and is also an Associate Professor at the School of Communication, University of Miami.

Grace is well known as an academic game designer who employs critical design. He is the 2019 Games for Change Vanguard Award winner and Knight Chair at the University of Miami. He served as founding director of the American University Game Lab and Studio (JOLT), which includes the Fake News game, Factitious, the NPR game Commuter Challenge and Miami Herald's Gaming the System. In 2013 his game, Wait was inducted in the Games for Change Hall of Fame as one of the five most significant games for change in the last decade. Other notable games include Big Huggin', a game controlled by a giant stuffed animal that players must hug to meet game goals. Big Huggin' was Kickstarted with notable support from Jane McGonigal and selected for the ACM SIGGRAPH's Aesthetics of Gameplay Show.

Grace has created more than 15 independent games, acting as the sole designer, developer, and artist. He has written articles about this process and supports such activity as one of 8 executive board members organizing the Global Game Jam. He also exhibits art internationally and curates exhibits. He co-curated the Indie Arcade 2014 and 2016 events  at the Smithsonian American Art Museum.

Lindsay Grace has publicly opposed the link between video games and violence. He was featured in the 2023 PBS American Experience Documentary, Ruthless: Monopoly's Secret History about the board game Monopoly's history.

Early life and education
Grace is an alumnus of the Electronic Visualization Laboratory at the University of Illinois as well as two degrees from Northwestern University.

Career
From 2013 to 2018, Grace established and led the American University Game Lab and Studio. Between 2014 and 2019, he contributed as a Vice President and board member for the Global Game Jam non-profit. Earlier, from 2009 to 2013, he held the position of C. Michael Armstrong Professor of Creative Arts at Armstrong Institute for Interactive Media Studies, Miami University. He taught video game design, interaction design and theory at American University.

Grace also had a tenure as a board member for the Digital Games Research Association (DiGRA) during 2013-2015.

Research and work
Grace publishes writing and video games that relate the concept of "philosophy of software"  and Critical Design as practice in the arts and games.  This practice falls between captology and critical design.

Grace's independent video game publications include Penguin Roll, Zombie Master, Polyglot Cubed and several games under the Mindtoggle Software company. He also writes about games and independent game-making.

In 2008, Grace created Polyglot Cubed which was recognized at the Meaningful play conference at Michigan State, was a serious games showcase finalist at the Interservice/Industry Training, Simulation and Education Conference IITSEC, and the International Conference on Advances in Computer Entertainment Technology. Gamasutra ran an article about it. His research includes algorithmic music generation using visual emergent behavior.

Grace lead the games program at American University School of Communication in Washington D.C.

Bibliography
 Grace, Lindsay D. (2019). Doing Things with Games: Social Impact Through Play. CRC Press. . Retrieved August 22, 2019.
 Grace, L. (2020). Love and Electronic Affection: A Design Primer (editor/author), Routledge Press,  . Retrieved September 28, 2020.
 Grace, L. and Huang, K. State of Newsgames 2020 (from Games for Change: 2020 Games for Change Virtual Festival: Newsgame Flyby: State of the Practice 20...). Report at  Retrieved September 29, 2020
 Grace, Lindsay (2021): Black Games Studies. Carnegie Mellon University ETC Press. Book. Black Games Studies

See also

 Critical Gameplay
 Big Huggin'

References

External links
 Lindsay Grace's website

Living people
African-American writers
American academics
American video game designers
Artists from Chicago
Year of birth missing (living people)
University of Miami faculty
New media artists

Lindsay Grace


is a regional bank that mainly operates in Nara Prefecture, Japan. The bank, established in June 1934, has 136 domestic branches in Nara, Osaka, Kyoto, Hyogo, Mie, Wakayama, and Tokyo as well as representative offices in Hong Kong and Shanghai, China.

The Nanto Bank commands 48.4% of all deposits and 50.5% of all lending in Nara Prefecture that mainly serves as bedroom communities for neighboring Osaka, with a population of 1,421,000. The total assets of the bank reached 4.61 trillion yen as of March 2009.

The bank provides general banking services such as deposits, loans, and exchange transactions, as well as other financial services including securities brokerage, letter of credit, credit cards, leasing, and software development. Due to the recent shrinking tendency in population in Nara, the strategy of the Nanto Bank is to seek growth in neighboring Osaka while providing wealth management products to the retail banking market in Nara.

Major Stockholders
As of March 31, 2015, the top 10 stockholders of Nanto Bank are:

References

External links
 Information Meeting / Annual Report

Banks established in 1934
Regional banks of Japan
Companies listed on the Tokyo Stock Exchange
Companies listed on the Osaka Exchange
Meiji Yasuda Life
1934 establishments in Japan

Nanto Bank


Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70 and MGM Camera 65's anamorphic lenses compressed the image 1.25 times, yielding an extremely wide aspect ratio of 2.76:1 (when a 70 mm projection print was used).

Ultra Panavision saw much less use than its sibling, the more popular Super Panavision 70, and was only used on ten films from 1957 to 1966. However, nearly fifty years later, Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino, where he discovered that the lenses and equipment were still intact. Tarantino was fascinated by this and was able to refurbish the lenses for use in his next film, The Hateful Eight; which was shot entirely on 65 mm film using Ultra Panavision lenses, the first film to do so since Khartoum. Tarantino also released the film as a roadshow release, and this was the first time there were widely circulated 70 mm film prints to theaters with 70 mm projectors since 1992's Far and Away. This ultimately led to a resurgence in the use of Ultra Panavision lenses, which have now been used (albeit with digital cameras) to shoot blockbusters such as Rogue One and Avengers: Endgame.

History
Metro-Goldwyn-Mayer (MGM) approached Panavision founder Robert Gottschalk in the late 1950s to create a large-format widescreen system capable of filling the extremely wide screens of Cinerama theaters while using a single projector, and would also be capable of producing high-quality standard 70 mm and 35 mm CinemaScope prints, which Cinerama's three-strip process did not allow for. Gottschalk developed a lens system using front-mounted prisms to impart a slight 1.25x squeeze onto a 5-perf 65 mm negative, resulting in a projected ratio of 2.76:1. These prism lenses were released under the name MGM Camera 65 in 1956.

In 1960, MGM's production of Mutiny on the Bounty, which was being produced in the format, ran far over-budget, and MGM was forced to sell off many of its assets to account for the losses. This allowed Panavision to purchase the Camera 65 equipment it had developed for MGM, and the system was renamed Ultra Panavision 70. As the prism lenses were bulky, oddly shaped and optically flawed, Panavision's optical engineer Takuo Miyagishima set to work on designing a more traditional set of 1.25x lenses using cylindrical glass, which became known as the Ultra Panatar series.

In 1963, the Cinerama Dome in Los Angeles became the first Cinerama theater built specifically for Ultra Panavision 70, and the theater opened with the premiere of It's a Mad, Mad, Mad, Mad World, which was filmed with the new Ultra Panatar lenses.

70 mm Ultra Panavision prints could be produced directly from the negative for use on flat screens, or "rectified" with increased compression towards the sides for use on curved Cinerama screens.

Panavision also developed a non-anamorphic 70 mm photographic system in 1959; this was named Super Panavision 70.

Differences from Todd-AO
The Ultra Panavision 70 and MGM Camera 65 lenses and cameras were similar to the 1955 version of the Todd-AO 65 mm photographic process, in that both were intended as replacements for three-strip Cinerama. The Todd-AO system was shot at 30 frames per second (fps), while Ultra Panavision 70 and MGM Camera 65 used the industry standard of 24 fps, and while the original Todd-AO process included the use of a deeply curved screen similar to that used for Cinerama (with fisheye optics to recreate its peripheral vision), its narrower, non-anamorphic 2.20:1 aspect ratio was incompatible with true Cinerama screens without cropping.

Films
The following films were shot in either MGM Camera 65 or Ultra Panavision 70:
 Raintree County (1957) – credited as MGM Camera 65.
 Ben-Hur (1959) – credited as MGM Camera 65.
 How the West Was Won (1962) – selected scenes only in Ultra Panavision.
 Mutiny on the Bounty (1962) – credited as Ultra Panavision.
 It's a Mad, Mad, Mad, Mad World (1963) – filmed in Ultra Panavision. Also projected using the single-projector Cinerama system.
 The Fall of the Roman Empire (1964) – credited as Ultra Panavision.
 The Greatest Story Ever Told (1965) – filmed in Ultra Panavision. Also originally projected using the single-projector Cinerama system.
 The Hallelujah Trail (1965) – filmed in Ultra Panavision. Also originally projected using the single-projector Cinerama system.
 Battle of the Bulge (1965) – filmed in Ultra Panavision. Also originally projected using the single-projector Cinerama system.
 Khartoum (1966) – filmed in Ultra Panavision. Also originally projected using the single-projector Cinerama system.
 The Hateful Eight (2015) – Directed by Quentin Tarantino, first film shot in this process since Khartoum. Filmed in Ultra Panavision 70 and projected with the single-projector Cinerama system in selected theaters.
 Christopher Robin (2018) – some scenes filmed in Ultra Panavision 70. Also filmed with Panavision 35 mm anamorphic lenses (on both 35 mm film and Arri Alexa digital cameras) and in Panavision System 65 with spherical lenses. The entire film is shown in the 2.40:1 aspect ratio.
Many sources often claim the 1959 film The Big Fisherman was filmed in Ultra Panavision, but Panavision itself says that the film was shot in Super Panavision 70.

Additionally, several films have been recorded digitally in conjunction with Ultra Panavision 70 lenses: Rogue One (2016), Bright (2017), Avengers: Infinity War (2018), Avengers: Endgame (2019) and The King (2019) with the Arri Alexa 65 camera, and The Hate U Give (2018) and Like a Boss (2020) with the Panavision Millennium DXL camera.

See also
 Super Technirama 70

References

Bibliography
 Altman, Rick. Sound Theory, Sound Practice. Florence, Ky.: Psychology Press, 1992.
 Balio, Tino. United Artists: The Company That Changed the Film Industry. Madison, Wisc.: University of Wisconsin Press, 1987.
 Belton, John. Widescreen Cinema. Cambridge, Mass.: Harvard University Press, 1992.
 Block, Alex Ben and Wilson, Lucy Autrey. George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies, Including Untold Secrets of Their Financial and Cultural Success. New York: HarperCollins, 2010.
 Burum, Stephen H. American Cinematographer Manual. Hollywood, Calif.: ASC Press, 2007.
 Cameron, James Ross. Cameron's Encyclopedia on Sound Motion Pictures. Manhattan Beach, N.Y.: Cameron Pub. Co., 1930.
 Casper, Drew. Postwar Hollywood, 1946-1962. Malden, Mass.: Blackwell, 2007.
 Carr, Robert E. and Hayes, R.M. Wide Screen Movies. Jefferson, NC: McFarland, 1988.
 Clark, Al. The Film Year Book 1984. New York : Grove Press, 1983.
 Eldridge, David. Hollywood's History Films. London: Tauris, 2006.
 Enticknap, Leo. Moving Image Technology: From Zoetrope to Digital. London: Wallflower, 2005.
 Eyman, Scott. The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930. New York: Simon and Schuster, 1997.
 Haines, Richard W. Technicolor Movies: The History of Dye Transfer Printing. Jefferson, N.C.: McFarland, 1993.
 Hall, Sheldon and Neale, Stephen. Epics, Spectacles, and Blockbusters: A Hollywood History. Detroit: Wayne State University Press, 2010.
 Hughes, Howard. When Eagles Dared: The Filmgoers' History of World War II. London: I.B. Tauris, 2011.
 Hutchison, David. Film Magic: The Art and Science of Special Effects. New York: Prentice-Hall, 1987.
 IMAGO. Making Pictures: A Century of European Cinematography. New York: Abrams, 2003.
 Lev, Peter. Transforming the Screen: 1950-1959. Berkeley, Calif.: University of California Press, 2003.
 Lightman, Herb A. "Why MGM Chose Camera 65." American Cinematographer. March 1960.
 McGhee, Richard D. John Wayne: Actor, Artist, Hero. Jefferson, N.C.: McFarland & Co., 1990.
 Reid, John Howard. 20th Century-Fox: CinemaScope. Morrisville, N.C.: Lulu Press, 2009.
 Samuelson, David W. Panaflex Users' Manual. Boston: Focal Press, 1996.
 Sklar, Robert. Film: An International History of the Medium. New York: Prentice Hall 1993.
 Tibbetts, John C. American Classic Screen Features. Lanham, Md.: Scarecrow Press, 2010.
 Ward, Peter. Picture Composition for Film and Television. Oxford, UK: Focal, 2003.

70 mm film
Metro-Goldwyn-Mayer
Motion picture film formats
Panavision
Products introduced in 1957

Ultra Panavision 70


August Wilhelm Julius Ahlborn (October 11, 1796 – August 24, 1857) was a German landscape painter.

Life
Ahlborn was born in Hanover, son of the Hanoverian master tailor Heinrich Christian Ahlborn and Dorothea Elisabeth Röllecke. He entered the Prussian Academy of Arts (Berlin) in 1819, where he studied with Karl Wilhelm Wach.

In 1826 he received the Academy Award for a portrait of the New Palace in Potsdam and used the money to travel to Italy in 1827, where he was one of the founders of the Roman Kunstverein. In this period, he lived in Rome, Florence, and Ascoli. In December 1832, he married Therese, the daughter of a government official, in Berlin. In 1833 he became a member of the Prussian Academy. In Italy, Ahlborn and his wife converted to Roman Catholicism from Lutheranism, on August 15, 1837. His paintings are mainly of Italian, North German, and Tyrolean landscapes, but also include a few portraits and religious works. Many of his works were in the possession of the royal family of Prussia.

Ahlborn died in Rome in 1857.

Works

 Gothic cathedral on the waterfront, 1823. (inspired by a work by Karl Friedrich Schinkel)
 The Paulinzella monastery ruins, 1824, oil on canvas, 86 × 111 cm, Thuringian State Museum, Heidecksburg.
 View of the New Palace in Potsdam, 1826, 124.8 x 185 cm, Lower Saxony State Museum, Hanover.
 Coastline at the Gulf of Naples, 1832, oil on canvas, 24 × 80.2 cm,  Lower Saxony State Museum, Hanover.
 Vision of the Golden Flower, 1832.
 View of Florence, in 1832, Alte Nationalgalerie, Berlin.
 Mountain Landscape, 1835.
 Syracuse, Sicily in morning light, 1836, Lower Saxony State Museum, Hanover.
 View of Spoleto, in 1840, Lower Saxony State Museum, Hanover.
 Ruins of the Villa Mills on the Palatine Hill in Rome, 1843, oil on canvas, 33.2 × 46.8 cm.
 Mount Vesuvius landscape, 1852, oil on canvas, 37.5 × 45.5 cm.
 View of the Lake Como, oil on canvas, 100 × 138 cm.
 Selfportrait with brother, down picture, diameter 43 cm, 1827, Lower Saxony State Museum, Hanover (in the background Cityscape Berlin).

Gallery

References

1796 births
1857 deaths
Converts to Roman Catholicism from Lutheranism
19th-century German painters
German male painters
German landscape painters
German Roman Catholics
German expatriates in Italy
Prussian Academy of Arts alumni
19th-century German male artists

August Ahlborn


Nathaniel Spinckes (1653–1727) was an English nonjuring clergyman, a leader in the dispute among the nonjurors about the "usages" which split the "non-usagers", (those who advocated the retention of the Book of Common Prayer as it was), against returning to the first prayer-book of Edward VI, as the "usagers", led by Jeremy Collier, advocated.

Life
He was born at Castor, Northamptonshire, where his father, Edmund Spinckes, was rector of the parish. His mother was Martha, eldest daughter of Thomas Elmes of Lilford, to whom Edmund Spinckes was chaplain. Nathaniel received his early education from a neighbouring clergyman, Samuel Morton, rector of Haddon (then in Huntingdonshire). On 9 July 1670 he matriculated at Trinity College, Cambridge; in 1673 he migrated to Jesus College where he was elected scholar on the Rustat foundation. He graduated B.A. in 1674, and M.A. in 1677.

On 21 May 1676, he was ordained deacon by Henry Compton, Bishop of London, in the chapel of London House, and on 22 December 1678 he was ordained priest by Thomas Barlow, Bishop of Lincoln, at St Margaret's Church, Westminster. He acted for some time as chaplain to Sir Richard Edgcomb in Devon. He then moved to Petersham, and in 1681 became chaplain to John Maitland, 1st Duke of Lauderdale, forming a lifelong friendship with his fellow chaplain, George Hickes. Following the Duke's death in August 1682, he went to London where he became curate and lecturer at St Stephen Walbrook. In 1685 he was presented by the dean and chapter of Peterborough to the rectory of Peakirk-cum-Glinton in the north corner of Northamptonshire. There he married Dorothy, daughter of Thomas Rutland of London.

On 21 July 1687, he was installed in the prebend of Major Pars Altaris in Salisbury Cathedral, and on 24 September 1687 was instituted to the rectory of St Martin's, Salisbury, of which Francis Hill was patron.

After the Glorious Revolution he declined to take the oath of allegiance to William III and Mary II, and was deprived of all his preferments in 1690. He had inherited a small patrimony from his father, who died in 1671, but this was not sufficient to maintain his family. He received support from the more wealthy nonjurors. Among the many friends of Spinckes was Robert Nelson, who made him a bequest.

He was entrusted with the management of the fund raised by the deprived bishops; and on Ascension Day 1713 he was consecrated bishop, together with Jeremy Collier and Samuel Hawes, by his friend Hickes, as suffragan-bishop of Thetford, assisted by two Scottish bishops, Archibald Campbell and James Gadderar, at Hickes's own private chapel in St Andrew's, Holborn. Spinckes died 28 July 1727, and was buried in the cemetery of the parish of St Faith, on the north side of St Paul's Cathedral, in London, his wife surviving him only one week. Of a large family, only two survived their parents: William, who became a successful merchant; and Anne, who married Anthony Cope.

Works
He was a voluminous writer. His major publications were:

 'The Essay towards a Proposal for Catholick Communion, &c., answered Chapter by Chapter' [against reconciliation of the church of England with the church of Rome, proposed by Mr. Bassett], 1705.
 'The New Pretenders to Prophecy re-examined, and their Pretences shown to be Groundless and False,' 1705.
 'Mr. Hoadly's Measures of Submission to the Civil Magistrates enquired into and disproved,' pt. i. 1711; pt. ii. 1712.
 'The Sick Man visited, and furnished with Instructions, Meditations, and Prayers,' 1st ed. 1712; 2nd ed. 1718; 3rd ed. 1722; 4th ed. 1731.
 'The Case truly stated; wherein "The Case re-stated" is fully considered' [i.e., the case between the church of Rome and the church of England]. 'By a Member of the Church of England,' 1714.
 'A Collection of Meditations and Devotions in Three Parts,' 1717.
 'The Case farther stated between the Church of Rome and the Church of England, wherein the Chief Point about the Supremacy is fully discussed in a Dialogue between a Roman Catholic and a member of the Church of England,' 1718.
 'No Sufficient Reason for Restoring the Prayers and Directions of King Edward VI's First Liturgy,' 2 parts, 1718.
 'No Just Grounds for introducing the New Communion Office, or denying Communion to those who cannot think themselves at liberty to reject the Liturgy of the Church of England for its sake. In answer to a late Appendix and to Dr. Brett's Postscript,' 1719.
 'The Article of Romish Transubstantiation inquired into and disproved from Sense, Scripture, Antiquity, and Reason,' 1719.
 'The Church of England Man's Companion in the Closet, with a Preface by N. Spinckes,' 1721; a manual of private devotions collected, probably by Spinckes himself, from the writings of William Laud, Lancelot Andrewes, Thomas Ken, George Hickes, John Kettlewell, and Spinckes, which reached a fifteenth edition in 1772, and was republished in 1841.

Besides these works, Spinckes wrote a preface to his friend Hickes's Sermons on Several Subjects, (published in two volumes in 1713), and also published a volume of posthumous discourses by Hickes, with a preface, in 1726. He is said to have assisted in the publication of John Ernest Grabe's Septuagint, of Richard Newcourt's Repertorium Ecclesiasticum, of Laurence Howell's Canons, of John Potter's Clemens Alexandrinus, and of John Walker's Sufferings of the Clergy.

Notes

References

External links
Bibliographic directory from Project Canterbury

1653 births
1727 deaths
British nonjuror bishops
Bishops of Thetford
People from Northamptonshire (before 1974)

Nathaniel Spinckes


Panavision is an American motion picture equipment company founded in 	1954 specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product lines to meet the demands of modern filmmakers. The company introduced its first products in 1954. Originally a provider of CinemaScope accessories, the company's line of anamorphic widescreen lenses soon became the industry leader. In 1972, Panavision helped revolutionize filmmaking with the lightweight Panaflex 35 mm movie camera. The company has introduced other cameras such as the Millennium XL (1999) and the digital video Genesis (2004).

Panavision operates exclusively as a rental facility—the company owns its entire inventory, unlike most of its competitors.

Early history
Robert Gottschalk founded Panavision in late 1954, in partnership with Richard Moore, Meredith Nicholson, Harry Eller, Walter Wallin, and William Mann; the company was formally incorporated in 1954. Panavision was established principally for the manufacture of anamorphic projection lenses to meet the growing demands of theaters showing CinemaScope films. At the time of Panavision's formation, Gottschalk owned a camera shop in Westwood Village, California, where many of his customers were cinematographers. A few years earlier, he and Moore—who worked with him in the camera shop—were experimenting with underwater photography; Gottschalk became interested in the technology of anamorphic lenses, which allowed him to get a wider field of view from his underwater camera housing. The technology was created during World War I to increase the field of view on tank periscopes; the periscope image was horizontally "squeezed" by the anamorphic lens. After it was unsqueezed by a complementary anamorphic optical element, the tank operator could see double the horizontal field of view without significant distortion. Gottschalk and Moore bought some of these lenses from C. P. Goerz, a New York optics company, for use in their underwater photography. As widescreen filmmaking became popular, Gottschalk saw an opportunity to provide anamorphic lenses to the film industry—first for projectors, and then for cameras. Nicholson, a friend of Moore, started working as a cameraman on early tests of anamorphic photography.

In the 1950s, the motion picture industry was threatened by the advent of television—TV kept moviegoers at home, reducing box office revenues. Film studios sought to lure audiences to theaters with attractions that television could not provide. These included a revival of color films, three-dimensional films, stereophonic sound, and widescreen movies. Cinerama was one of the first widescreen movie processes of the era. In its initial conception, the cumbersome system required three cameras for shooting and three synchronized projectors to display a picture on one wide, curved screen. Along with the logistical and financial challenges of tripling equipment usage and cost, the process led to distracting vertical lines between the three projected images. Looking for a high-impact method of widescreen filmmaking that was cheaper, simpler, and less visually distracting, 20th Century Fox acquired the rights to a process it branded CinemaScope: in this system, the film was shot with anamorphic lenses. The film was then exhibited with a complementary anamorphic lens on the projector that expanded the image, creating a projected aspect ratio (the ratio of the image's width to its height) twice that of the image area on the physical frame of film. By the time the first CinemaScope movie—The Robe (1953)—was announced for production, Gottschalk, Moore and Nicholson had a demo reel of work with their anamorphic underwater system.

Gottschalk learned from one of his vendors that Bausch & Lomb, whom Fox had contracted to manufacture CinemaScope lenses, was having difficulty filling the lens orders for theatrical anamorphic projection equipment. He teamed up with William Mann, who provided optical manufacturing capability, and Walter Wallin, an optical physicist who was an acquaintance of Mann's. The anamorphic lens design they selected was prismatic rather than the cylindrical design of the Bausch & Lomb CinemaScope lens. This design meant the anamorphic lens extension factor—how much the image is horizontally unsquished—could be manually shifted, useful for projectionists switching between non-anamorphic ("flat" or "spherical") trailers and an anamorphic feature. The result was the anamorphozing system, designed by Wallin, used in the Panatar lens; the patent for the system was filed on August 11, 1954, and awarded five years later.

Entering the market
Panavision's first product—the Super Panatar projection lens—debuted in March 1954. Priced at $1,100, it captured the market. The Super Panatar was a rectangular box that attached to the existing projection lens with a special bracket. Its variable prismatic system allowed a range of film formats to be shown from the same projector with a simple adjustment of the lens. Panavision improved on the Super Panatar with the Ultra Panatar, a lighter design that could be screwed directly to the front of the projection lens. Panavision lenses gradually replaced CinemaScope as the leading anamorphic system for theatrical projection.

In December 1954, the company created a specialized lens for film laboratories—the Micro Panatar. When fitted to an optical printer, the lens could create "flat" (non-anamorphic) prints from anamorphic negatives. This allowed films to be distributed to theaters that did not have an anamorphic system installed. Before the Micro Panatar, to accomplish this dual platform release strategy studios would sometimes shoot films with one anamorphic and one spherical camera, allowing non-widescreen theaters to exhibit the film. The cost savings of eliminating the second camera and making flat prints in post-production were enormous.

Another innovation of the era secured Panavision's leading position: the Auto Panatar camera lens for 35 mm anamorphic productions. Early CinemaScope camera lenses were notoriously problematic in close-ups with an optical aberration that was commonly known as "the mumps": a widening of the face due to a loss of anamorphic power as a subject approaches the lens. Because of the novelty of the new anamorphic process, early CinemaScope productions compensated for this aberration by avoiding tightly framed shots. As the anamorphic process became more popular, it became more problematic. Panavision invented a solution: adding a rotating lens element that moved in mechanical sync with the focus ring. This eliminated the distortion and allowed for natural close-up anamorphic photography. The Auto Panatar, released in 1958, was rapidly adopted, eventually making CinemaScope lenses obsolete. This innovation earned Panavision its first of 15 Academy Awards for technical achievement.

Since 1954, Panavision had been working on a new widescreen process commissioned by MGM. The MGM camera system used 1930 Mitchell FC "Fox Grandeur" 70mm motion picture cameras, retooled for 65mm film and modern lenses. The resulting system used the retooled Grandeur 65 mm film camera in conjunction with the APO Panatar lens, which was an integrated anamorphic lens (as opposed to a standard prime lens with an anamorphoser mounted on it). This created a 1.25x anamorphic squeeze factor. Movies using the process had an astounding potential aspect ratio of 2.76:1 when exhibited with 70 mm anamorphic projection prints. Introduced as MGM Camera 65, the system was used on just a few films, the first of which was Raintree County (1956). However, the film was released only in 35 mm anamorphic prints because the circuit of 70 mm theaters was booked with Around the World in Eighty Days (1956), shot with the competing, non-anamorphic Todd-AO system. In January 1959, the posters for the 70 mm release of Disney's Sleeping Beauty carried the notation "Process lenses by Panavision" next to the Super Technirama 70 logo. The first film to be presented in 70 mm anamorphic—Ben-Hur—was released by MGM in 1959 under the trade name MGM Camera 65. Panavision also developed a non-anamorphic widescreen process called Super Panavision 70, which was essentially identical to Todd-AO. Super Panavision made its screen debut in 1959 with The Big Fisherman, released by Disney's Buena Vista division.

Cameras

By 1962, four of Panavision's founders had left the company to pursue private careers. That year, MGM's Camera 65 production of Mutiny on the Bounty went so far over budget that the studio liquidated assets to cover its costs. As a result of this liquidation, Panavision acquired MGM's camera equipment division, as well as the rights to the Camera 65 system it had developed for MGM; the technology was renamed Ultra Panavision. Only six more features were made with the system: It's a Mad, Mad, Mad, Mad World (1963), The Fall of the Roman Empire (1964), Battle of the Bulge (1965), The Greatest Story Ever Told (1965), The Hallelujah Trail (1965), and Khartoum (1966). The system was revived in 2015 for Quentin Tarantino's The Hateful Eight. As 1.25× anamorphosers for 70 mm projectors have become rare, most of the 70 mm prints of these films still in circulation are designed for projection with non-anamorphic, spherical lenses. The result is a 2.20:1 aspect ratio, rather than the broader ratio originally intended.

Although Fox insisted on maintaining CinemaScope for a time, some actors disliked the system. For Fox's 1965 production Von Ryan's Express, Frank Sinatra reputedly demanded that Auto Panatar lenses be used. Such pressures led Fox to completely abandon CinemaScope for Auto Panatars that year; Von Ryan's Express was the studio's first picture with Panavision lenses. To meet the extraordinary demand for Panavision projection lenses, Gottschalk had Bausch & Lomb CinemaScope lenses retrofitted into Panavision housings with a new astigmatic attachment, improving them greatly. This was revealed many years after Gottschalk's death; a lead designer from Bausch & Lomb, who had been involved with the original CinemaScope project, came to work as a designer for Panavision and—after opening some of the older lenses—figured out the secret.

In the mid-1960s, Gottschalk altered Panavision's business model. The company now maintained its full inventory, making its lenses and the cameras it had acquired from MGM available only by rental. This meant that equipment could be maintained, modified, and regularly updated by the company. When Panavision eventually brought its own camera designs to market, it was relatively unconstrained by retrofitting and manufacturing costs, as it was not directly competing on sales price. This allowed Panavision to build cameras to new standards of durability.

The new business model required additional capital. To this end, the company was sold to Banner Productions in 1965, with Gottschalk remaining as president. Panavision would soon expand into markets beyond Hollywood, eventually including New York, Europe, Australia, Hong Kong, and Southeast Asia. Kinney National Company bought out Banner in 1968 and took over Warner Bros.-Seven Arts the following year, eventually renaming itself Warner Communications due to a financial scandal. Kinney/Warner's financial resources made possible a massive expansion in Panavision's inventory, as well as substantial leaps in research and development.

During this period, the company's R&D department focused on retrofitting the industry standard 35 mm camera, the Mitchell BNC. The first cameras produced by Panavision were Mitchell cameras, and all standard 35mm cameras made by Panavision to this day are based on the Mitchell movement.

The effort to develop a lighter, quieter camera with a reflex viewfinder led to the introduction of the Panavision Silent Reflex (PSR) in 1967. The camera could provide a shutter angle of up to 200 degrees. Many refinements were made to the PSR during the first few years after its introduction, and it soon became one of the most popular studio cameras in the world. Panavision also began manufacturing spherical lenses for 1.85:1 photography, garnering a significant share of the market.

In 1968, Panavision released a handheld 65 mm camera. By that time, however, the much cheaper process of blowing up 35 mm anamorphic films to 70 mm—introduced with The Cardinal (1964)—had made 65 mm production virtually obsolete.

In 1970, the last two feature films shot entirely with Super Panavision were released: Song of Norway and Ryan's Daughter. In the decades since, only a handful of films have been shot in 65 mm.

Birth of Panaflex
Albert Mayer led the next major project: the creation of a lightweight reflex camera adaptable to either handheld or studio conditions. After four years of development, the Panaflex debuted in 1972. A revolutionary camera that operated quietly, the Panaflex eliminated the need for a cumbersome sound blimp, and could synchronize handheld work. The Panaflex also included a digital electronic tachometer and magazine motors for the take-up reel. Ted Post's Magnum Force (1973) and Steven Spielberg's The Sugarland Express (1974) were the first motion pictures filmed with the Panaflex.

During the 1970s, the Panaflex line was updated and marketed in new incarnations: the Panaflex X, Panaflex Lightweight (for steadicam), the high-speed Panastar, Panaflex Gold, and Panaflex G2. Panavision came out with a direct competitor to Tiffen's Steadicam stabilizer, the Panaglide harness. The Panacam, a video camera, was also brought out, though the company largely left the video field to others.

Robert Gottschalk died in 1982 at the age of 64. After Gottschalk's death, Warner Communications sold the company to a consortium headed by Ted Field, John Farrand, and Alan Hirschfield. With new ownership came sweeping changes to the company, which had stagnated. Optics testing was computerized and, in 1986, the new Platinum model camera was introduced. The next year—responding to a perceived demand for the resurrection of the 65 mm camera—development began on a new model. The company was sold to Lee International PLC for $100 million in 1987, but financing was overextended and ownership reverted to the investment firm Warburg Pincus two years later.

In 1989, the company brought out Primo, a new line of lenses. Designed with a consistent color match between all the different focal-length instruments in the line, these were also the sharpest lenses yet manufactured by Panavision. Six years later, Oscars were awarded to the company and to three of its employees for their work on the Primo 3:1 zoom lens: Iain Neil for the optical design, Rick Gelbard for the mechanical design, and Eric Dubberke for the lens's engineering. According to the AMPAS citation, "The high contrast and absence of flare, along with its ability to provide close focusing and to maintain constant image size while changing focus, make the Primo 3:1 Zoom Lens truly unique." In 1991, the company released its new 65 mm technology, System 65, though Arri had beaten it to market by two years with the Arriflex 765. The gauge was not widely readopted, and only two major Hollywood films were shot with the new 65 mm Panavision process: Far and Away (1992) and Kenneth Branagh's Hamlet (1996).

In 1992, Panavision launched a project to develop a camera that involved rethinking every aspect of the company's existing 35 mm system. Nolan Murdock and Albert Mayer Sr. headed up the design team. The new Millennium camera, replacing the Platinum as the company's flagship, was introduced in 1997. The Millennium XL came to the market in 1999 and was led by Al Mayer, Jr. It soon established itself as Panavision's new 35mm workhorse. The XL was the first product in Panavision history to win both an Academy Award and a Primetime Emmy Award within the first year of official release. The update to the XL, the XL2 was initially released in 2004.[26] . The first feature films to use these latter two systems were, respectively, The Perfect Storm (2000) and Just Like Heaven (2005). The XL series not only had a much smaller camera body—making it suitable for studio, handheld, and steadicam work—but also marked the first significant change to the film transport mechanism in the camera since the Panaflex: two smaller sprocket drums for feed and take-up (a design similar to the Moviecam and subsequent Arricam) instead of one large drum to do both. As of 2006, Panavision has no further plans to develop additional film camera models.

Recent restructuring and acquisitions
In May 1997, Panavision announced it would be purchasing Visual Action Holdings PLC, a major film services group for $61m (£37.5m). The British-based company was formerly known as Samuelson Group PLC. The company operated three rental depots in the UK and was main agent for Panavision in France and Australia. It also had smaller rental operations in New Zealand, Singapore, Malaysia, and Indonesia. Crucially, it controlled three Panavision agencies in the US cities of Atlanta, Chicago, and Dallas (acquired from Victor Duncan, Inc.). Panavision CEO William C Scott said, "This transaction provides Panavision with a strong platform on which to grow the international side of our business and also completes our company-controlled distribution system in the US. Additionally, we will immediately expand our presence in key Southeast Asia markets, where television and film activity are expect to grow rapidly. Overall, the transaction enables us to control a true worldwide distribution network for Panavision's camera systems and related products, one of our most important strategic objectives."

Ronald Perelman's solely owned MacAndrews & Forbes Holdings (Mafco) acquired a majority interest in Panavision in 1998, via a Mafco subsidiary. After aborted attempts to create a film-style video camera in the 1970s and 1980s, Panavision joined the digital revolution in July 2000, establishing DHD Ventures in partnership with Sony. The new company's objective was to raise the quality of high definition digital video to the standards of top-level Hollywood motion-picture production.

This cooperative venture was established, largely at the instigation of George Lucas, to serve his designs for the Star Wars prequels. The collaboration resulted in the Sony HDW-F900 CineAlta HDCAM high definition video camera. Sony produced the electronics and a stand-alone version of the camera; Panavision supplied custom-designed high definition lenses, trademarked Primo Digital, and retrofitted the camera body to incorporate standard film camera accessories, facilitating the equipment's integration into existing crew equipment as a "digital cinema camera". This Panavision HD-900F, was used in the making of Lucasfilm's Star Wars: Episode II – Attack of the Clones (2002), described as "the first digital major feature film". Panavision's next step in the evolution of digital cinema cameras also involved collaboration between Sony and Panavision; this time, Panavision participated in all the stages of development. The aim was to create a system that could use the entire range of the company's 35 mm spherical lenses.

This led to the 2004 introduction of the Genesis HD—a full bandwidth (4:4:4) HD SDI camera with improved colorimetry- and sensitometry-related specs. Its Super 35 mm film–sized recording area made it focally compatible with regular 35 mm lenses, giving it a true 35 mm depth of field. The camera's electronics—including its CCD (charge-coupled device) image sensor—and HDCAM SR record deck were manufactured by Sony. The chassis and mechanics were designed by a Panavision team led by Albert Mayer Jr., son of the Panaflex designer. The Genesis was first used on Superman Returns (2006) followed soon after by Flyboys (2006); But the comedy Scary Movie 4 (2006), shot afterward on a mixture of 35mm film and the Genesis, actually went into general release first because of the extensive visual effects work needed to complete both Flyboys and Superman Returns. Subsequent to the completion of major design work on the Genesis, Panavision bought out Sony's 49 percent share of DHD Ventures and fully consolidated it in September 2004.

During the same period, Panavision began acquiring related motion picture companies, including EFILM (acquired 2001; sold to Deluxe in full by 2004), Technovision France (2004), the motion picture camera-rental arm of the Canadian rental house William F. White International (2005), the digital camera rental company Plus8Digital (2006), the international lighting and equipment company AFM and the camera company One8Six (2006), and the camera inventory of Joe Dunton & Company (2007). On July 28, 2006, Mafco announced it was acquiring the remaining Panavision stock and returning the company to private status. A $345 million credit line from Bear Stearns and Credit Suisse was secured to finance the company's debt as well as to facilitate "global acquisitions." That same year, Mafco acquired Deluxe Entertainment Services Group.

In March 2010, citing a drop in production and difficulty servicing significant debt as a result of the 1998 Mafco transaction, shareholder MacAndrews & Forbes agreed to a debt restructuring arrangement with Panavision's creditors. Private equity firm Cerberus Capital was the lead investor in the deal, which involved a US$140 million reduction in debt and a US$40 million cash infusion. In return the majority shareholder Ronald Perelman was required to relinquish control of Panavision, and he no longer has any equity in the company. In June 2013, its creditors sued over an unpaid debt of $1.7 million, threatening to dissolve the company if they win.

On September 13, 2018, Saban Capital Acquisition Corp. announced the purchase of Panavision and Sim Video International in a $622 million cash and stock deal. The proposed transaction was intended to create a comprehensive production and post-production entity. Saban Capital Acquisition Corp. intended to change its name to Panavision Holdings Inc. and was expected to continue to trade on the Nasdaq stock exchange. Saban ended up terminating its deal to acquire Panavision on March 1, 2019.

Panavision 3D

Panavision 3D was a system for presenting 3-D film in a digital cinema. It was a passive stereoscopic 3D system that utilized spectral comb filters produced using thin-film optics technology. In such systems, the visible spectrum is broken into alternate bands of light that evenly span the entire visible spectrum.

In June 2012, the Panavision 3D system was discontinued by DVPO Theatrical, who marketed it on behalf of Panavision, citing "challenging global economic and 3D market conditions".

See also
 List of motion picture film formats
 PV mount

Notes

References

External links

 Panavision's Future is in Need of Focus by Richard Verrier, The Los Angeles Times, July 20, 2009

Video clips
Panavision YouTube channel

American brands
American inventions
Cerberus Capital Management companies
Cinematography
Entertainment companies based in California
Manufacturing companies based in Los Angeles
Movie camera manufacturers
Recipients of the Scientific and Technical Academy Award of Merit
Academy Award for Technical Achievement winners
Former WarnerMedia subsidiaries
1954 establishments in California
Manufacturing companies established in 1954
Mass media companies established in 1954
American companies established in 1954

Panavision


David Hunt Blair (January 13, 1868 – September 13, 1945) served as Commissioner of Internal Revenue from 1921–1929.

Blair was associated with Col. Francis Henry Fries the President of Wachovia Bank previous to his appointment as Commissioner of Internal Revenue.

Blair was born in High Point, North Carolina. He was selected by United States Secretary of the Treasury Andrew Mellon, who thought that as a teetotaller from a strongly pro-prohibition region of North Carolina, Blair would be the best individual to help enforce the Eighteenth Amendment.

However, Blair was criticized for asserting in a speech that every bootlegger should be stood before a wall and shot to death. He was also criticized for issuing a leaflet urging all citizens to spy on their neighbors and to use telephones outside their neighborhoods to report Prohibition offenders anonymously. On the other hand, many "drys" (proponents of Prohibition) criticized him for allegedly hampering his enforcement officers by requiring them to follow the law and verify that alleged bootleg beverages were actually alcoholic before seizing them and taking other legal actions.

Blair was a delegate to the 1924 Republican National Convention from North Carolina.

References

Sources
 IRS list of commissioners
 "Prohibition enforcement", report by Blair and Lincoln C. Andrews to Congress, 1927.
 Political Graveyard entry

1868 births
1945 deaths
Commissioners of Internal Revenue
Prohibition in the United States
People from High Point, North Carolina
North Carolina Republicans

David H. Blair


Villa Gamberaia
Villa Gamberaia, built in the Tuscan style by the Florentine gentleman-merchant Zanobi Lapi in the early 1600s, is located on the hillside of Settignano, overlooking the city of Florence, Italy and the surrounding Arno Valley. [Fig. 1 View from the upper terrace]

The villa is celebrated for the unique design of its gardens, originally laid out by Zanobi Lapi and his nephews in the first half of the seventeenth century and preserved until now with few major changes. According to Edith Wharton, the Gamberaia was "probably the most perfect example of the art of producing a great effect on a small scale". The design has inspired landscape and garden architects throughout the world, including Charles Platt, A. E. Hanson, and Ellen Shipman in the United States and Cecil Pinsent and Pietro Porcinai in Italy and the UK. In 2010 the Gamberaia was chosen as the model for the "RCSF Tuscan garden", recreated at Snug Harbor, Staten Island, New York.

History
The Beginnings

The first mention of the property dates to the late fourteenth century and refers to the grant to Giovanni Benozzo in 1398 of a farm and house in the place called Gamberaia by the Abbess of San Martino a Mensola. The place-name "gamberaia" probably refers to the farming of fresh-water shrimp in local ponds. During the fifteenth and sixteenth centuries a house with land, in part cultivated, in part planted with vineyards belonged to the Gamberelli family: Matteo, his sons, among whom the well-known sculptors and architects Antonio and Bernardo "Rossellino", and their descendants.

The Lapi Era, 1610 - 1718

In 1610 the property was acquired by Zanobi Lapi, a wealthy and cultivated Florentine merchant with ties to the Medici court, and it is he and his nephews who were responsible for the construction of the villa, on the foundations of an earlier casa da signore, and the subsequent layout of the gardens. Evidence of Lapi ownership and patronage is visible in an inscription on the architrave of a door inside the east entrance to the villa ("Zenobius Lapius erexit ac fundavit A.D. MDCX") and in the heraldic lions carved on vases above the gate to the gabinetto rustico and in the relief sculptures of the nymphaeum (or 'Neptune grotto'). Documents of Zanobi's time mention a limonaia, a lawn area, and ilex woods, which remain essential parts of the garden plan, and the conduits that convey water from the springs above the nymphaeum to the several fountains, a complex hydraulic system that still functions today. The architects who built the villa and carried out the massive engineering project that extended the main terrace of the villa to the south, thus creating the long north-south axis of the bowling green and the area of the parterre, have not been identified. Recent studies, however, point to the Florentine architectural tradition of Bartolomeo Ammannati, Bernardo Buontalenti, and Giovanni Battista Caccini and the influence in the gardens and grottos of the theatrical designer Giulio Parigi.

The Capponi Era, 1718 – 1854

In 1718, as the fortunes of the surviving Lapi declined, the property was divided between the Capponi and Cerretani families. The villa with its formal gardens passed to Piero and Vincenzo Capponi, who undertook its restoration. The Capponi estate map, or cabreo, dating to c.1725, documents their improvements and embellishments, notably in the addition of busts and statues (allegories of the seasons) in the gabinetto rustico. The etching of the villa by Giuseppe Zocchi, included in his Vedute delle Ville e d'altri luoghi della Toscana of 1744, depicts its handsome façade facing Florence, the series of terraces on which the house and gardens were constructed, the recent planting of young cypresses along the entrance road and southern edge of the garden avenue, and the fountain displays. Two other etchings show the entrance gate on via del Rossellino and the country roads skirting the villa to the northeast. Zocchi's prints were especially popular among visitors on the Grand Tour and reveal the growing international prestige of the Gamberaia.

The Second Half of the Nineteenth Century

Following the sale of the villa in 1854 by the last Capponi owner to Pietro Favreau of Guadaloupe, the property passed to members of the D'Outreleau family and, in turn, to the Fazzini, but from the 1890s it appears to have become increasingly neglected. Carlo Placci, Serge Wolkonski, and Gabriele D'Annunzio, who visited the gardens in the 1890s, all noted signs of decay – though they also felt its mysterious, poetic atmosphere.[i] It was in fact the very silence and tranquility of the place that attracted the Romanian princess Catherine Jeanne Ghyka, sister of Queen Nathalie of Serbia, and inspired her to purchase the villa in 1896

The Women of the Gamberaia, 1896-1952

In the following years, 1898-1900, Princess Ghyka undertook the most audacious intervention in the garden since its creation—and the only major innovation to date—replacing the old flower beds of the Capponi parterre, which in the meantime had deteriorated into a mere kitchen garden, with elegant, mirror-like pools, bordered with colorful flowering plants. Although initially the new design drew both criticism and applause, the parterre d'eau soon became the iconic feature of the Gamberaia, painted, photographed, and studied by artists, architects, and garden lovers from around the world.

The gardens were also a favorite gathering place for friends and families of Pr.ss Ghyka and her American companion, the artist Florence Blood, and of Anglo-American and European expatriates who made their homes on the hills of Settignano and Fiesole, among them Benard and Mary Berenson at Villa I Tatti, Janet Ross at Poggio Gherardo, Vernon Lee at Il Palmerino, and Sybil Cutting and Geoffrey Scott at Villa Medici. Neighbors and visitors also included Leo and Nina Stein, Neith Boyce and her husband Hutchins Hapgood, the artist Edward Bruce, the stage and costume designer Léon Bakst, the sculptor Adolf von Hildebrand, the collectors of Cézanne Egisto Fabbri and Charles Loeser, and Arthur Acton. As Bernard Berenson later recalled, "for years Gamberaia remained one of the fari [beacons], one of the haunts of my life."

It was not long, however, before WWI and the Russian Revolution disrupted the leisurely and relatively carefree life-style of the two women at the Gamberaia. In 1925 Florence Blood died after a long illness contracted during her hospital service in France during the war and Princess Ghyka, who had lost most of her lands and their revenues during the Russian Revolution, sold the villa and retired to a smaller house nearby. It was said that she did not approve of the changes that the new owner, the American-born Maud Cass Ledyard, widow of the German diplomat Baron von Ketteler, made in the parterre, where the flowering borders of the pools were replaced with trimmed box and sculpted yews and cypress, creating a more formal, evergreen and architectonic effect in the Neo-Renaissance style.

During WWII the villa was expropriated by the Fascist government (along with other properties throughout Italy belonging to Jews and citizens of 'enemy nations') and occupied in part by the Istituto geografico militare di Firenze and in part, from the spring of 1944, by a German command. In August it was devastated by fire set by the retreating German forces, destroying most of the interior. In 1952 Baroness von Ketteler, who had returned to the States, donated the property, which she had left in the hands of her caretaker, to the Vatican.

Recent History, 1954 to the present

The recent history of the property is linked to the name of Marcello Marchi, a Florentine industrialist who acquired the villa from the Vatican in 1954 and who worked closely with the architect Raffaello Trinci to rebuild and renovate the house and restore the gardens. In 1956 they were declared of national historic and artistic importance and opened to the public. A decade later the Hungarian-American architect and photographer Balthazar Korab immortalized the gardens in his famous photographic essay, Gamberaia.

In 1994 the property passed to Franca Marchi (d. 1998) and her husband Luigi Zalum, who has continued to improve and enhance the villa and gardens and provide a venue for private events and cultural initiatives.

Gallery

Select Bibliography
History and Design of the Villa and Gardens

Villa Gamberaia: Sources and Interpretations, special issue of Studies in the History of Gardens & Designed Landscapes, 22 (2002), guest ed., P. Osmond. Includes essays on the Gamberaia by Mario Bevilacqua, Marcello Fagiolo, Maia Gahtan, Margherita Caputo, Patricia Osmond, Vincenzo Cazzato.

Revisiting the Gamberaia: An Anthology of Essays, ed. with Preface, Introduction, and Notes by P. J. OsmondIncludes historic essays on the Gamberaia (1901-1973) by Janet Ross, Edith Wharton, E. March Phillipps (with photos by Charles Latham), H. Inigo Triggs, Henry V. Hubbard, Geoffrey Jellicoe (with drawings by J.C. Shepherd), Georgina Masson, and Harold Acton, with Introduction, prefaces to each essay, and notes.

Judith Kinnard, ""The Villa Gamberaia in Settignano: The Street in the Garden," Journal of Garden History 6 (1986): 1-18.

Gian Luca Simonini. "Il giardino di Gamberaia e l'addizione di Catherine Jeanne Ghyka," Storia urbana 85 (1998) 151-70.

Luigi Zangheri,. "Pietro Porcinai e La Gamberaia," in I giardini del XX secolo: l'opera di Pietro      Porcinai, ed. Maria Chiara Pozzana (Florence: Alinea, 1998), 131-138.

_. "Islamische Einflüsse in der Europäischen Gartenkunst am Beispiel der Villa Gamberaia," in Historische Gärten heute, ed. M. Rohde and R. Schomann (Leipzig: 2003), 52-57.

Guides

Mariachiara Pozzana, Villa Gamberaia (Florence: Edizioni Casalta, 2015).

Photographic Studies

Balthazar Korab, Gamberaia. Photo essay, with text by Harold Acton. (Florence: Centro Di, 1971).

Notes

External links
Patricia Osmond, "Villa Gamberaia, Settignano" — with bibliography.
Official website of Villa Gamberaia.
"Villa Gamberaia: interpretive text," ed. P. Osmond, in Catena, The Digital Archive of Historic Gardens and Landscapes, The Bard Graduate Center (New York, c. 2005). Catena: Digital Archive of Historic Gardens + Landscapes (bard.edu)
"Gamberaia" in Taylor & Francis, SHGDL 22 (2002) Online: https://www.tandfonline.com/action/doSearch?AllField=gamberaia&SeriesKey=tgah20&content=standard&target=default&queryID=46%2F5092643766&AfterYear=2002&BeforeYear=2002

Gamberaia
Gamberaia
Cultural landscapes
Articles containing video clips

Villa Gamberaia


Sonni Gwanle Tyoden (born 22 September 1950) is a Nigerian  Professor of  Political Science, Educational Administrator, and former Vice Chancellor of the University of Jos.

Education
Tyoden was born on 22 September 1950. He attended Boys' Secondary School, Gindiri in Plateau State, Northern Nigeria, where he obtained the West Africa Senior School Certificate. He later proceeded to the University of Ibadan where he obtained a Bachelor  of Science (B.Sc) Degree in Political Science. He obtained a Master of Science (M.Sc) and a Doctorate (Ph.D) Degree  in International Relations and Political Economy from the University of Lancaster in the United Kingdom.

Career
Tyoden began his career in 1978, as an Assistant Secretary to Plateau State Government Ministry of Establishment. He later became a member of academic staff at the University of Jos, where he became a full Professor in 1990. After Tyoden became a Professor in 1990, he was appointed, Head of the Department of Political Science, University of Abuja
He returned to his alma mater, the University of Jos in 2000, and became Dean of the Faculty of Social Sciences in 2001, a position he held till 2005.
He was appointed Vice Chancellor of the University of Jos on 12 July 2006, a position he held until 11 June 2011. He contributed significantly to the development of the University.
He was elected as Deputy Governor of Plateau State in 2015 under the platform of the APC.

Awards and fellowships

 Certificate of Merit awarded by the Academic Staff Union of Universities (ASUU), University of Jos branch
 The Distinguished Academic Leadership award by the Rotary Club Naraguta, Jos, Plateau state,
 The Nigerian Institute of International Affairs in 2013
 The Social Science Academy of Nigeria in December 2014.

Selected publications

 Inter and intra-party relations: towards a more stable party system in Nigeria.
The Kaduna Mafia. Jos: Jos Univer-sity Press. TakuyaThe Kaduna Mafia1987.
The middle belt in Nigerian politics. AHA.
Of Citizens and Citizens: The Dilemma of Citizenship in Nigeria.
Tyoden, S. G. (1994). The Place of the Middle Belt in Nigeria's Power Equation. In Commission paper for the National Conference on" The Equity Question in Nigeria", Centre for Development Studies, University of Jos, 6–7 May.
The Kaduna Mafia. Jos University Press.
Nigeria: Youth agenda for the 21st century. Sibon Books.
The Domestic Socio-Political Situation This includes, the nature of the political system, and the nature and conduct of the politics and government In other words, in a political system where the political. Towards the Survival of the Third Republic, 203.
Vice Chancellor's Speech: Presented at the 24th Convocation Ceremony of the University of Jos.
Towards a Progressive Nigeria. Triumph Publishing Company.

See also
List of vice chancellors in Nigeria
University of Jos

References

1950 births
Living people
Nigerian educators
University of Ibadan alumni
Alumni of Lancaster University
Academic staff of the University of Jos
Vice-Chancellors of Nigerian universities
All Progressives Congress politicians
People from Plateau State

Sonni Gwanle Tyoden


Ruth Esther Hadassah Schonthal (June 27, 1924 – July 10, 2006) was an acclaimed classical composer, pianist, and teacher. Born in Germany, she lived in the U.S. for most of her life. After she moved to the U.S. she dropped the umlaut from the name Schönthal. She came to study composition at Yale University in 1946. After her marriage in 1950 she lived first in New York City and then in New Rochelle.

Biography
Ruth Schonthal was born in Hamburg of Viennese parents. At the age of five she began composing and became the youngest student ever accepted at the Stern'sche Konservatorium in Berlin.  In 1935, Schonthal and her family were forced to leave Nazi Germany for Stockholm on account of her Jewish heritage. At the Royal Swedish Academy of Music in Stockholm, she studied composition with Ingemar Liljefors and piano with Olaf Wibergh. At the age of fourteen, she had her first sonatina published. In March 1941, three months before she would have been able to graduate, the family was once again forced to flee as a result of the rising political tension. They traveled to a variety of places—Moscow USSR, then Japan—and finally to Mexico City. In 1942 she married Oscar Manuel Ochoa. Their son Benjamin was born in 1944. She divorced Ochoa in 1946.

In Mexico City she studied with Manuel Ponce. At the age of 19 she gave a very widely acclaimed piano performance of her own compositions, including her First Piano Concerto, at the Palacio de Bellas Artes. Among the audience members was the noted German composer Paul Hindemith, who obtained a scholarship for her to study with him at Yale University in 1946.  She graduated from the Yale School of Music with honors in 1948 and at first earned a living by writing advertising jingles and popular songs.

In 1950, Schonthal married the painter Paul Bernhard Seckel (b. 1918) and settled in New York City, eventually moving to New Rochelle, where she lived for most of her life. The Seckels had two sons: Bernhard (b. 1953), and Alfred (1958–2015), an authority on visual illusions.

Schonthal received commissions for chamber music, operas, symphonic compositions, as well as works for organ and piano. She taught composition and music theory at NYU until 2006 when deteriorating health forced her to resign. She also taught composition and piano privately and was the first composition teacher of American composer Lowell Liebermann. One close student of hers between 2003 and 2005, the unknown Stephanie Germanotta, went on to great fame in the pop music world as Lady Gaga.

Schonthal used her music to support herself and her family throughout her life. She wrote for television and commercials, played the piano in various bars and clubs, and taught privately in New York.

Musical compositions
"Her music is expressionist, her forms ingenious," writes Catherine Parsons Smith; like other Hindemith students she strove to break free of his influence. Smith notes that being isolated from her composing contemporaries enabled her to distance herself from many contemporary trends of composition and allowed her to develop a compositional voice stemming from a classic-romantic heritage.  Her learning process, extending over several continents, certainly contributed to her diverse music as well.

Her works are widely performed in the US and abroad. After free-lancing with several publishers (Oxford University Press, Southern Music Co, Carl Fischer, G. E. Schirmer, Sisra Press, Fine Arts Music Co, Hildegard Music Publishing Co.), in 1998 she established a relationship with a single publisher, Furore in Kassel, to publish new works and republish others. Her music has been widely recorded. Her papers are archived in the Akademie der Künste in Berlin.

Awards
In 1994 she received the Internationaler Kunstlerinnen Preis of the City of Heidelberg, and was honored with an exhibition of her life and works at the Prinz Carl am Kornmarkt Museum there. In the United States, she received several Meet the Composer grants and ASCAP awards and a Delta Omicron International award for her first string quartet.  She received a Certificate of Merit from Yale for Outstanding Service to Music, and an Outstanding Musician Award from New York University.  "The Courtship of Camilla" (1979–1980) reached the finalist stage in the New York City Opera Competition in 1980; the set of 24 Preludes titled "In Homage of . . . " (1978) was a finalist in the Kennedy-Friedheim Competition.

Interviews
 Selma Epstein, "Composer Interview: Ruth Schonthal," Journal of the IAWM (International Alliance for Women in Music), February 1994, pp. 5–8.
 "Ruth Schonthal: A Conversation With Bruce Duffie" [January 2004].

Selected works
Opera
The Courtship of Camilla (1979/80), A.A. Milne
Jocasta (1996/97), text by Hélène Cixous
Princess Maleen (1988/89)

Orchestra
Concerto for Piano and Orchestra No.2 (1977)
Evening Music, Nocturnal Fantasy with Oceanwaves
Music for Horn and Chamber Orchestra (1978)
The Beautiful Days of Aranjuez (1982, rev. 1983)
Soundtrack for a Dark Street (1994)
3 Celebrations "Happy Birthday Variations" for children's concerts
The Young Dead Soldiers for choir and chamber orchestra (1987)

Chamber music
Duo for clarinet or viola and cello (2002)
Four Epiphanies for unaccompanied viola (1976)
Improvisation for solo cello (1994)
Sonata Concertante for cello or viola or clarinet and piano (1973)
String Quartet No.1 (1962)
String Quartet No.2 "in the Viennese Manner" (1983, revised 1996)
String Quartet No.3 "In memoriam Holocaust" (1997)
Tango for Two for clarinet and cello (2002)
Two Duets for violin and viola (2002)

Piano/Harpsichord
The Canticles of Hieronymus (1986).
Fiestas y Danzas (1961).
Fourteen Inventions (1984).
From the Life of a Pious Woman (1999).
Heidelberger Fanfare with Variations.
In Homage of ... (24 Preludes).
Japanese Sketches, Book I (Junior), Book II (Lower Intermediate), *Book III (Intermediate).
Nachklange (Reverberations) (1967–74) for piano with added timbres.
Sonatensatz (1973),
Sonata Breve (1973),
Sonata quasi un 'Improvisazione' (1964).
Sonatina in A (1939).
Three Elegies (1982).
Toccata and Arietta (1989)
65 Celebrations (1993/94)
Gestures (1978/79), eleven short piano pieces
Self-Portrait of the Artist as an Older Woman for piano (1991)
Variations in Search of a Theme for piano (1974)
Bird Calls (1981)
Educational piano music (collections, grade 1–2)
Miniatures, study and recital pieces for the Early Grades Vol.1, 2,3 for piano (grade 1–3).
Potpourri/Minuscules for piano
Near and Far (Adult beginners)
Pentatonics for piano
From North and South of the Border

Organ
The Temptation of St. Anthony (1989/90)

Discography
 Sonata concertante for clarinet and piano. Jessica Lindsey, clarinet; Christian Bohnenstengel, piano. Set No Limits CD, Albany Records 2018.
 String Quartet No. 3, "In Memoriam Holocaust". Bingham String Quartet. Jewish String Quartets. Naxos CD 8.559451. 2006.
 The Canticles of Hieronymus (1986). Self-Portrait of the Artist As An Older Woman (1991). Variations In Search of a Theme (1976). Nachklänge (Reverberations) (1967–1974). Sonatina (1939). Adina Mornell, piano.  Reverberations: Adina Mornell Plays Ruth Schonthal. Akademie der Künste CD 0085162 ACA. 2002.
 Canticles. Gestures. Self-Portrait. Margaret Mills, piano. Margaret Mills Plays Piano Works by Lowell Liebermann and Ruth Schonthal. Cambria Records CD. 1994.
 Early Songs. Widlunger Liederyzklus. Drei Liebeslieder. Margaret Astrup, soprano; Ruth Schonthal and Jane Forsyth, piano. Margaret Astrup Sings Ruth Schonthal. Albany Records, 2007.
 Frühe Lieder (Early Songs) (1944) (Rilke). Susan Gonzalez, soprano; Marcia Eckert, piano. Songs by Women. Leonarda CD LE352. 2003
 String Quartet. Crescent Quartet. Vive la Différence: String Quartets by 5 Women from 3 Continents. Leonarda CD LE336. 1997. Concluding section re-released in album Women Composers: The Lost Tradition Found.
 In Homage of... 24 Preludes. Nanette Kaplan Solomon, piano. Sunbursts: Solo Piano Works by 7 American Women. Leonarda CD #LE345. 1998.
 Fiestas y Danzas (solo piano). Character Sketches: Solo Piano Works by 7 American Women. Leonarda CD LE334. 1995.

References

Bibliography
Broda, C. The Piano Works of Ruth Schonthal diss.., Manhattan School of Music, 1991.
Heister, Hanns-Werner, and Walter-Wolfgang Sparrer, Komponisten der Gegenwart. München: edition text + kritik im Richard Boorberg Verlag GmbH & Co. KG, 1992– .
Helmig, Martina. Ruth Schonthal: A Composer's Musical Development in Exile, Lewiston, NY: Edwin Mellen Press, 2006. Transl. by Vanessa Agnew of Ruth Schonthal: ein kompositorischer Werdegang im Exil. Diss., Freie U., Berlin, 1993; Hildesheim, 1994.
Kozinn, Allan. "Ruth Schonthal, a Composer of Eclectic Vision, Dies at 82." New York Times, July 19, 2006.
Levin, Neil W. "Ruth Schonthal." Milken Archive of Jewish Music, [2006].
Luttmann, Steve. "Ruth Schonthal." Women and Music in America since 1900: An Encyclopedia. Edited by Kristin N Burns. Westport, CT, & London: Greenwood Press. 2002  vol.2, p. 594-596
"Ruth Schonthal: In Memoriam" SAI-National (3/2007)(Author unknown; article not available in 2022.)
Smith, Catherine Parsons. "Schonthal, Ruth." Grove Music Online. Oxford Music Online. Oxford University Press.. Accessed  18 Mar. 2013. (print: ''New Grove Dictionary of Music and Musicians, 2nd ed., 2001. v.22 p. 614  )
Smith, Catherine Parsons: 'Schonthal, Ruth' Grove Music Online ed. L. Macy (Accessed 23 April 2007)

External links
Ruth Schonthal: A Conversation With Bruce Duffie, 2004.
Biography on Vox Novus
 (Alec Chien, pianist)

1924 births
2006 deaths
20th-century classical composers
20th-century German composers
20th-century American women musicians
American classical composers
American women classical composers
American opera composers
Classical musicians from New York (state)
Women opera composers
Jewish emigrants from Nazi Germany to the United States
German women classical composers
German opera composers
Jewish American classical composers
Musicians from New Rochelle, New York
Composers from Hamburg
Pupils of Paul Hindemith
20th-century women composers
20th-century German women musicians
20th-century American Jews
21st-century American Jews
21st-century American women

Ruth Schönthal


The Maze of Games is one of America's largest annual puzzlehunts, and is held at the Gen Con and Origins gaming conventions. Started in 1995 as an offshoot of LIVE/WIRE, the Maze of Games has been the largest event at one or both of those conventions every year since. It is created by game designers Mark Gottlieb, Mike Selinker, and Teeuwynn Woodruff. The event uses puzzle placards to lead attendees in a maze throughout the convention, and uses meta-puzzles to unite the puzzles into a final answer. The event is designed so that the thousands of attendees can all play at once.

The Maze of Games ran at Origins from 1995 to 2001, then moved to Gen Con under the names Gen Con Time Warp (2002–2003), Gen Con Monster Hunt (2004), and Gen Con Doomsday Rally (2005), the latter a tie-in with Hasbro's Risk game. The Maze of Games returned to Origins in 2004, the first year it was held at both conventions simultaneously.

The Monster Hunt appeared in part in the July 2005 issue of Games Magazine, the second Time Warp in the November 2005 issue, and the Doomsday Rally as a series beginning in the April 2006 issue.

Puzzle hunts
Mazes
Mike Selinker games

Maze of Games