Life.

Born at Prüfening Abbey in Regensburg, Bavaria, he was the eldest child of the then Hereditary Prince Frederick Christian of Saxony, later Margrave of Meissen, and Princess Elisabeth Helene of Thurn and Taxis.  At the age of 18 Emanuel was imprisoned and sentenced to death by the Nazis for being opposed to their rule. After escaping his sentence he next had to escape from the approaching Soviets as his homeland Saxony became a part of communist East Germany as World War II wound down. After the war he moved to Switzerland where he began working in the financial services sector. Also being a talented painter Emanuel had a number of his works exhibited.  Although Marie Vassiltchikov recounts in her book "The Berlin Diaries 1940-45" the story of the 16-year-old Hereditary Prince Maria Emanuel paying her a visit to seek her help in finding a bride, as he felt it was his dynastic obligation to start a family early, Emanuel would not in fact marry until his 37th birthday. His wife was Princess Anastasia of Anhalt (born 1940), whom he married on 31 January 1963 in Vevey, Switzerland. They had no children.  Maria Emanuel became head of the Royal House of Saxony upon the death of his father on 9 August 1968.

Succession.

As Maria Emanuel fathered no legitimate children, he had acknowledged as his eventual heir Prince Alexander of Saxe-Gessaphe, the son of his eldest sister Princess Anna and her late husband Prince Robert of Gessaphe (or "Assaphe"/"Afif-Assaf", descendants of a Lebanese Christian family which ruled a province north of Beirut). Maria Emanuel adopted Alexander on 1 June 1999, who had married Princess Gisela of Bavaria in 1987. In 1997 the surviving male dynasts of the Albertine line of Wettins consented to the Margrave's decision, Subsequently, his brother Albert stated that he no longer accepted the decision.  The royal line of the House of Wettin applies semi-salic law, which allows for inheritance through a female. Since the death of Maria Emanuel, if Albert was the last male dynast then this would lead firstly to the children of their sisters Maria Josepha (unmarried), Maria Anna and Mathilde, but only Mathilde's marriage indisputedly met equality requirements and her only son died in 1987. Therefore, if the Gessaphe claim is invalid, the succession would pass to the issue of the Margrave's paternal aunts, who were Margarete Karola (1900–1962), Maria Alix (1901–1990) and Anna (1903–1976), all of whom left children. Margarete having been the eldest, the heir would be her grandson Karl Friedrich, Prince of Hohenzollern (born 1932), head of the princely line of the royal House of Hohenzollern.  The Margrave's brother Albert, however, supported discarding equality requirements to allow his cousin Prince Timo of Saxony's morganatic son, Rüdiger (born 1953), to eventually succeed. Rüdiger has, with his first wife Astrid Linke (1949–1989), three sons Daniel (born 1975), Arne (born 1977) and Nils (born 1978).  Although the Albertine Saxons consist only of the royal branch, there are several extant lines of the House of Wettin which ruled the various Ernestine duchies until 1918 (as well as the cadet branches of the Coburg line which held several royal crowns). In a joint statement of 23 June 2015, the heads of the three remaining branches of the senior Ernestine line of the House of Wettin, Michael, Prince of Saxe-Weimar-Eisenach, Andreas, Prince of Saxe-Coburg and Gotha and Konrad, Prince of Saxe-Meiningen, declared that, according to the house law of the House of Wettin and to traditional princely succession rules, Alexander Afif, bearing the name "Prince of Saxony" by adoption, were neither a member of nobility nor of the House of Wettin, nor had he succeeded Maria Emanuel as head of the Albertine branch (the Royal House of Saxony), nor were he entitled to style himself Margrave of Meissen.

Prince Maria Emanuel of Saxony, Duke of Saxony, Margrave of Meissen (31 January 1926 – 23 July 2012) was the head of the Royal House of Saxony.

Maria Emanuel Prinz von Sachsen Herzog zu Sachsen (* 31. Januar 1926 in Regensburg, Deutschland; † 23. Juli 2012 in La Tour-de-Peilz, Schweiz) war seit 1968 Oberhaupt des ehemals königlich sächsischen Hauses Wettin Albertinische Linie und nannte sich als solcher Markgraf von Meißen.


Overview.

"Tour of Duty" examined the issues of politics, faith, teamwork, racism, suicide, fragging, terrorism, civilian deaths, sexuality, drug abuse, and how the lives of soldiers and civilians were permanently affected by the Vietnam War.  The first season began in 1967 and followed Bravo company's second platoon, a standard light infantry platoon conducting "search and destroy" missions in Vietnam, under the command of 2nd Lieutenant (1st Lieutenant from the start of season 2) Myron Goldman (Stephen Caffrey) and Staff Sergeant (later Sergeant First Class) Zeke Anderson (Terence Knox). It was filmed on location in Hawaii at Schofield Barracks.  For the second and third seasons, the series was filmed around Los Angeles, California, to reduce the budget. The same locations, notably a small river with grass on one bank and woods on the other, were reused in a number of episodes. The old set of war comedy-drama television series "M*A*S*H" was also used for filming.  The change of location also led to a change in the show's direction. Beginning in the second season, the platoon was relocated to a base near Saigon. Production staff interviewed in "Vietnam Magazine" said this change in premise doomed the series because it shifted from being a realistic chronicle about the life of an average combat infantryman to an action/romantic/drama show. CBS wanted female characters because ABC had premiered "China Beach", a Vietnam Army Nurses drama, which was aimed directly at attracting more female viewers.  In "Tour of Duty"'s third season, the remaining female character was killed off, and the platoon was transferred to a SOG unit under the command of Colonel Brewster (played by Carl Weathers). The unit conducted covert operations in Vietnam and Cambodia which included a fictional version of the raid on Son Tay Prison. The show was canceled at the end of this season due to falling ratings.  Guest stars included Lee Majors, James Hong, Mako, Kelly Hu, Angela Bassett, Ving Rhames, Melora Hardin, Everett McGill, Olivia d'Abo, David Alan Grier, Richard Brooks, and Michael Madsen.

Awards.

The series won an Emmy Award in 1988 for Outstanding Sound Mixing for a Drama Series (for "Under Siege"), and it was nominated again in 1989 and 1990.  Emmy Award nominations:  Eddie Award nominations

International broadcasts.

In Argentina, it was broadcast by Telefe as "Nam: Primer Pelotón" (Nam: First Platoon).  In Australia, Network Ten originally aired the series at 7:30 pm. In recent years, repeats have returned to Australian television with the Seven Network repeating the series in 2006 in late Thursday night/Early Friday morning timeslots airing at 11.30 pm then later bumped to 12:00 am midnight. Repeats also returned with Channel Ten repeating the series in 2010 in late Sunday nights/Early Monday mornings airing at 1:30am. FOX Classics started airing the first series on the 17 September 2012.  In Brazil, the show was broadcast by SBT with the title "Combate no Vietnã" (Combat in Vietnam).  In Chile, Paraguay and Colombia, the show was aired with the title "Misión del Deber" (Mission of Duty), based on the Mexican dub of the series.  In Dominican Republic, the show was aired with the title "Misión del Deber" in channel 11.  In Costa Rica, it was aired by channel 9 and then by channel 7 as "Misión Vietnam" (Mission Vietnam).  In Denmark, the show was broadcast in the 1990s as "Platoon B" on various local-TV networks, mainly on Kanal 2.  In France and the Canadian province of Québec, the French-speaking version was called "L'Enfer du devoir" (The Hell of duty) and aired on La Cinq in France, and on the Historia channel in Québec Monday through Thursday at 5 PM in July and August 2005.  In Germany, the show was aired by RTL with the title "NAM – Dienst in Vietnam" (NAM – Service in Vietnam).  In Israel, the show aired in the mid-2000s on the now-defunct local version of the AXN cable channel under the name "Sherut Kravi" (Combat Service). It was also previously broadcast on the METV channel.  In Italy, the show was aired by a local TV Network Italia7 with the title "Vietnam Addio" (Goodbye Vietnam) in the form of a TV-movie. It was also aired on the national network Italia1.  In Japan, the show with the title "Good Luck Saigon" was aired through the Wowow, a paid satellite broadcast around 1991. For this reason, the show is least known by the Japanese public.  In Malaysia, it was aired by Sistem Televisyen Malaysia Berhad's channel TV3 as "NAM: Tour of Duty".  In Mexico, it was aired by Televisa's Canal 5 as "Misión del Deber" (Mission of Duty).  In the Netherlands, it was broadcast by Veronica on the national television network.  In New Zealand, the show was aired by TVNZ. It was a very popular show in New Zealand and re-runs were also shown on the Orange TV network throughout the 1990s.  In Nigeria, the show was aired by the national broadcaster, NTA in the early 1990s.  In Norway, the show was broadcast with the title "Pliktløpet" (Run of duty) by TV Norge in the 1990s.  In Sweden, the show was broadcast with the title "Pluton B i Vietnam" (Pluton B in Vietnam) by TV 5 Nordic in the 1990s.  In the Philippines, it was weekly aired in English on GMA 7 every Monday night at 9:00 pm. The American service members stationed in the Philippines routinely watched it on the local network because the episodes were newer than the ones on Armed Forces Radio and Television Service's Far East Network.  In Poland, the show was never aired, but there was a VHS release with the title "Rok w Piekle" (Year in Hell).  In Saudi Arabia, it was (as of July 2013) being shown with the original title and in English with Arabic subtitles. It is broadcast on the MBC Action channel.  In South Africa, the show was aired with the title "Sending Vietnam" (Mission Vietnam) in Afrikaans by the SABC.  In South Korea, the show was aired with the title "머나먼 정글" (Faraway Jungle) by MBC from 1990. It was initially aired at 11:00 PM Monday but due to popularity it moved to 6:00 PM Saturday.  In Spain, the show aired as "Camino del Infierno" (Road to Hell) on Telecinco in late night hours Wednesday and later on C+ as "Tour of Duty" at 12.00 M.  In Sri Lanka, the show has been aired at least twice, once in 1990s and once in 2007/8 by MTV.  In Sweden, the show was originally scheduled by the public service SVT network as "Pluton B i Vietnam" (Platoon B in Vietnam), but only the pilot episode was broadcast followed by a massive media outcry for the heavy violence in the show. In the late 1990s, the show was picked up by Kanal 5 under the same name.  In Taiwan (Republic of China), the show has been aired on China Television Company, Ltd. (CTV) as 霹靂神兵. The Ministry of National Defense (Republic of China) also purchased the series, renamed 天降神兵 and aired it on Chinese Television System (CTS) and CTS Education and Culture.  In the United Arab Emirates, it was aired on Dubai Channel 33.  In the United Kingdom, "Tour of Duty" was screened on ITV on Friday nights at various times, usually around midnight. It was later broadcast on the FX channel.  In Venezuela, it was broadcast by RCTV as "Pelotón del deber" (Platoon of Duty).  In Zimbabwe, the show was broadcast in the early 1990s, showing on the national television channel ZBC TV1 (Zimbabwe Broadcasting Corporation Television 1) at nine o'clock pm on Thursdays and developed a cult following, becoming a hit television series throughout its screening.

Music.

The opening theme song was an abbreviated version of The Rolling Stones hit "Paint It, Black" that had featured in the end titles of the 1987 Vietnam War film "Full Metal Jacket"; this was removed for the US DVD release. The closing consisted of an instrumental, synthesized tune with a distinctive Asian sound mixed in with acoustic guitar; it was performed by Joseph Conlan, and was never released for public consumption other than in the series. That music was used as background music for most of the series. On the US release DVD most of the Vietnam War era popular music was replaced by instrumental bits to cover the blank spots of music.  All three seasons that have been released in the United Kingdom feature the complete original soundtrack, including "Paint It, Black".  The show was known for its classic American rock soundtrack including Creedence Clearwater Revival, Jimi Hendrix, and Jefferson Airplane. One first-season episode, "USO Down", used "live" versions of "Wooly Bully", and "We Gotta Get Out of This Place" as performed by a USO band, the latter song being used also for ironic comment. The songs in this episode were retained in the DVD soundtracks. But for copyright reasons, the VHS and DVD soundtracks of the majority of episodes were replaced with soundalikes (the music played, but there were no voices)—a move which was widely protested by buyers, and resulted in a significantly lower sales volume for the third-season DVD set than for the first two.  In the Netherlands, amongst other European nations, a total number of seven albums were released, containing most of the songs featured on the show. As a result, "Paint It, Black" was re-released as a single, again hitting the number 1 position in the Dutch top 40 popchart in May 1990.

The original soundtrack albums.

The "Tour of Duty" television series soundtrack was released by CBS on Columbia Records as four different compilation albums during 1988 and 1989. The original albums are now out of print. Their track listings are as follows:

Compilation soundtrack CDs.

In 1992, Sony Music released a compilation CD titled "The Best of 'Tour of Duty"'. It contains only twenty of the songs featured in the four original "Tour of Duty" Soundtrack albums.

DVD releases.

Sony Pictures released all 3 seasons in the USA for the very first time in 2004-2005. All original music was replaced with sound-alike versions. These releases have been discontinued and are out of print.  On August 27, 2013, it was announced that Mill Creek Entertainment had acquired the rights to various television series from the Sony Pictures library including "Tour of Duty". They subsequently re-released the first season on DVD on September 16, 2014.  On April 21, 2015, Mill Creek released a budget priced complete series set, an eleven-disc set featuring all 58 episodes of the series.  On November 7, 2011 Fabulous Films (licensed from Fremantle Home Entertainment) in the United Kingdom released the complete first season as a region 2 PAL boxed set. This release has improved sound and picture quality and the complete original soundtrack, including "Paint It, Black". The release consists of 5 DVDs covering all 21 episodes. The fifth disc contains extras including hundreds of behind the scenes stills and images and a brand new documentary that runs for 55 minutes. Fabulous Films filmed a series of interviews in Los Angeles in July 2011 with seven of the key cast: Terence Knox, Joshua D. Maurer, Steve Akahoshi, Tony Becker, Eric Bruskotter, Kevin Conroy and Miguel A. Núñez Jr. and key members of the production crew that included Zev Braun (producer) Bill L. Norton (writer/director), Steve Smith (writer/producer), Steve Duncan (creator) and Paul Sinor (military advisor). Additional documentaries are being produced for the season 2 and 3 releases.  The complete second season was released on May 14, 2012 in the UK. Featuring a brand new making of documentary 'The Story of Tour Of Duty' Part 2 (30 mins) featuring Cast and Crew, Character Biographies, Original Cast Biographies, Original Crew Biographies, Action Stills, Behind The Scenes Stills, Publicity Stills, Synopses and Glossary of "Tour of Duty" Military Terms.  On November 26, 2012, Fabulous released the complete third season on DVD in the UK, along with the complete series set which was released simultaneously. The third installment of the documentary features Dan Gauthier (1st Lieutenant Johnny McKay).

Tour of Duty is an American military drama television series based on events in the Vietnam War, broadcast on CBS. The series ran for three seasons, from September 24, 1987, to April 28, 1990, for a total of 58 one-hour episodes. The show was created by Steve Duncan and L. Travis Clark and produced by Zev Braun.

NAM – Dienst in Vietnam (Originaltitel: "Tour of Duty") ist eine US-amerikanische Fernsehserie über ein Platoon im Vietnamkrieg. Die Serie hat 58 Episoden und wurde in drei Staffeln von 1987 bis 1990 produziert.


History.

The Royal Ontario Museum was formally established on 16 April 1912 and was jointly governed by the Government of Ontario and the University of Toronto. Its first assets were transferred from the University and the Ontario Department of Education, coming from its predecessor the Museum of Natural History and Fine Arts at the Toronto Normal School. On 19 March 1914, the Duke of Connaught, also the Governor General of Canada, officially opened the Royal Ontario Museum to the public. The museum's location at the edge of Toronto's built-up area, far from the city's central business district, was selected mainly for its proximity to the University of Toronto. The original building was constructed on the western edge of the property along the university's Philosopher's Walk, with its main entrance facing out onto Bloor Street housing five separate museums of the following fields: Archaeology, Palaeontology, Mineralogy, Zoology, and Geology. It cost to construct. This was the first phase of a two-part construction plan that intended to expand the museum towards Queen's Park Crescent, ultimately creating an H-shaped structure.  The first expansion to the Royal Ontario Museum publicly opened on 12 October 1933. The -million renovation saw the construction of the east wing fronting onto Queen's Park and required the demolition of Argyle House, a Victorian mansion at 100 Queen's Park. As this occurred during the Great Depression, an effort was made to use primarily local building materials and to make use of workers capable of manually excavating the building's foundations. Teams of workers alternated weeks of service due to the physically draining nature of the job.  In 1947, the ROM was dissolved as a body corporate, with all assets transferred to the University of Toronto. The museum remained a part of the University until 1968, when the Museum and the McLaughlin Planetarium were separated from the University to form a new corporation.  On 26 October

Buildings and architecture.

Original building and eastern wing.

Designed by Toronto architects Frank Darling and John A. Pearson, the architectural style of the original building (now the western wing) is a synthesis of Italianate and Neo-Romanesque. The structure is heavily massed and punctuated by rounded and segmented arched windows with heavy surrounds and hood mouldings. Other features include applied decorative eave brackets, quoins and cornices.  The eastern wing facing Queen's Park was designed by Alfred H. Chapman and James Oxley. Opened in 1933, it included the museum's elaborate art deco, Byzantine-inspired rotunda and a new main entrance. The linking wing and rear (west) façade of the Queen's Park wing were originally done in the same yellow brick as the 1914 building, with minor Italianate detailing. However, the Queen's Park façade of the expansion broke away from the heavy Italianate style of the original structure. It was built in a neo-Byzantine style with rusticated stone, triple windows contained within recessed arches and different-coloured stones arranged in a variety of patterns. This development from the Roman-inspired Italianate to a Byzantine-influenced style reflected the historical development of Byzantine architecture from Roman architecture. Common among neo-Byzantine buildings in North America, the façade also contains elements of Gothic Revival in its relief

Curatorial centre.

Designed by Toronto architect Gene Kinoshita, with Mathers & Haldenby, the curatorial centre forms the southern section of the museum. Completed in 1984, it was built during the same expansion as the former Queen Elizabeth II Terrace Galleries, which stood on the north side of the museum. The architecture is a simple modernist style of poured concrete, glass, and pre-cast concrete and

The Crystal.

The controversial Michael Lee-Chin "Crystal," a multimillion-dollar expansion to the museum designed by Daniel Libeskind, including a new sliding door entrance on Bloor Street, first opened in 2007. The Deconstructivist crystalline form is clad in 25 percent glass and 75 percent aluminum, sitting on top of a steel frame. "The Crystal"'s canted walls do not touch the sides of the existing heritage buildings but are used to close the envelope between the new form and existing walls. These walls act as a

Offsite storage.

Collections at the ROM not displayed are stored at

Galleries.

Originally, there were five major galleries at the ROM, one each for the fields of archaeology, geology, mineralogy, paleontology and zoology. In general, the museum pieces were labelled and arranged in a static fashion that had changed little since Edwardian times. For example, the insects' exhibit that lasted up until the 1970s housed a variety of specimens from different parts of the world in long rows of glass cases. Insects of the same genus were pinned to the inside of the cabinet, with only the species name and location found as a description.  By the 1960s, more interpretive displays were ushered in, among the first being the original dinosaur gallery, established in the mid-1960s. Dinosaur fossils were now staged in dynamic poses against backdrop paintings and models of contemporaneous landscapes and vegetation. The displays became more descriptive and interpretive sometimes, as with the extinction of the woolly mammoth, offering several different leading theories on the issue for the visitor to ponder. This trend continued and up until the present day, the galleries became less staid and more dynamic or descriptive and interpretive. This trend arguably came to a culmination in the 1980s with the opening of The Bat Cave, where a sound system, strobe lights and gentle puffs of air attempts to recreate the experience of walking through a cave as a colony of bats fly out.  The original galleries were simply named after their subject material, but in more recent years, individual galleries have been named in honour of sponsors who have donated significant funds or collections to the institution. There are now two main categories of galleries present in the ROM: the Natural History Galleries and the World Culture Galleries.  The "Samuel Hall Currelly Gallery" is an exhibition space on Level 1, connecting the east wing of the museum with its western half. The gallery serves as the building's main lobby past the museum's admission area. As opposed to the most galleries at the Royal Ontario Museum, the "Samuel Hall Currelly Gallery" is not dedicated to a single subject. Instead, the gallery exhibits an assortment of items from the museum's collection.

Costumes and textiles.

The "Patricia Harris Gallery of Costumes and Textiles" holds about 200 artifacts from the ROM's textile and costume collections. These pieces, which range from the 1st century BC to the present day, are rotated frequently due to their

Interactive galleries.

The "CIBC Discovery Gallery" was designed to be a kids' learning zone. It houses three main areas: In the Earth, Around the World and Close to Home. The space is inspired by the ROM's collections and enables children to participate in interactive activities involving touchable artifacts and specimens, costumes, digging for dinosaur bones and examining fossils and meteorites. There

Institute for Contemporary Culture gallery.

The Roloff Beny Gallery of the Institute for Contemporary Culture (ICC) hosts the Royal Ontario Museum's contemporary art exhibitions. This high-ceilinged multimedia gallery of approximately serves as the ICC's main exhibition space, typically featuring exhibits that tie in contemporary culture

Natural History galleries.

The Natural History galleries are all gathered on the second floor of the museum. The gallery contains collections and samples of various animals such as bats, birds, and dinosaur bones and skeletons.  "The Life in Crisis: Schad Gallery of Biodiversity," designed by Reich+Petch and opened in late 2009, features endangered species, including specimens of a polar bear, a giant panda, a white rhinoceros, a Burmese python, Canadian coral, a leatherback sea turtle, a coelacanth, a Rafflesia flower and many other rare species. Included among these specimens is Bull, a southern white rhinoceros that became a famous conservation success story for his species. There are also recently extinct species displayed, including specimens of a passenger pigeon and a great auk, as well as skeletons of a dodo and a moa with a specimen of a moa egg and many other recently extinct species. The gallery presents the need to protect the natural environment and the need to educate the public about the main causes of extinction—overhunting, habitat destruction, and climate change. In September 2009, the gallery received an Award of Excellence by the Association of Registered Interior Designers of Ontario. In addition to showcasing the museum's natural collection, the Schad Gallery also aims to promote the conservation of Earth's biodiversity.  The "Life in Crisis" gallery is organized into three zones exploring the central themes: Life is Diverse, Life is interconnected, and Life is at Risk. "Interestingly, biodiversity is a relatively new term popularized in 1985

World Culture galleries.

The World Culture galleries display a wide variety of objects from around the world. These range from Stone Age implements from China and Africa to 20th-century art and design. In July 2011, the museum added to this collection when a number of new permanent galleries were unveiled. Both the Government of Canada and the Royal Ontario Museum committed $2.75 million toward the project. The galleries are located on the first, third and fourth levels of the museum.

Africa, the Americas, Asia-Pacific, and South Asian.

The "Shreyas and Mina Ajmera Gallery of Africa, the Americas and Asia-Pacific" features a collection of 1,400 artifacts that reflect the artistic and cultural traditions of the indigenous peoples from four different geographical areas: Africa, the American continents, the Asia-Pacific region and Oceania. On display are objects such as ceremonial masks, ceramics, and a shrunken head.  The "Sir Christopher Ondaatje South Asian Gallery" holds

Ancient.

The "Eaton Gallery of Rome" is home to a millennium of ancient Roman culture. It has the largest collection of classical antiquities in Canada, displaying more than 500 objects that range from marble or painted portraits of historical figures to Roman jewellery. The gallery also features the Bratty Exhibit of Etruria that sheds some light on the Etruscans, a neighbouring civilization.  The "Joey and Toby Tanenbaum Gallery of Rome and the Near East" depicts the lifestyle and culture of societies

Canadian.

"The Daphne Cockwell Gallery of Canada: First Peoples" provides a look inside the culture of Canada's earliest societies: the Aboriginal Peoples of Canada. The gallery contains more than 1,000 artifacts that help to reveal the economic and social forces that have influenced Native art.  The Royal Ontario Museum holds a major but little-known collection of Northwest coast native art and artifacts acquired by the Reverend Dr. Richard Whitfield Large at Bella Bella, British Columbia between 1899 and 1906 known as the "R.W. Large Collection." Although the collection is one of the most important Heiltsuk collections in existence because of its unique documentation, there has never been a comprehensive study of it. Subject of the book "Bella Bella: A Season of Heiltsuk Art", the collection was also

East Asian.

The Chinese Galleries comprise four sections: the "Bishop White Gallery of Chinese Temple Art," the "Joey and Toby Tanenbaum Gallery of China," the "Matthews Family Court of Chinese Sculpture" and the "ROM Gallery of Chinese Architecture."  The "Bishop White Gallery of Chinese Temple Art" gallery contains three of the world's best-preserved temple wall paintings from the Yuan dynasty (AD 1271–1386) and a number of wooden sculptures depicting various bodhisattvas from the 12th to 15th centuries. Chinese temple wall paintings featured in this gallery include the "Homage to the Highest Power," a Daoist wall painting dating to c. 1300 and "Paradise of Maitreya," another Chinese

European.

The "Samuel European Galleries" have over 4,600 objects on display that chronicle the development of decorative and other arts in Europe from the Middle Ages to the 20th century. The period rooms depict the development of decorative arts in Central and Western Europe by showcasing changes in style during the Renaissance, Baroque, Rococo, Neoclassical and Victorian periods. Other specialized collections

Middle Eastern.

The "Wirth Gallery of the Middle East" explores civilizations from the Palaeolithic Age to 1900 AD found within the Fertile Crescent, which stretches from the Eastern Mediterranean and Persia (Iran) and Iraq to the Arabian Peninsula. The over 1,000 artifacts relate to the writing, technology, spirituality, everyday life and warfare of the ancient Sumerians, Babylonians, and Assyrians. These Mesopotamian civilizations made huge advances in writing, mathematics, law, medicine and religion, which are represented throughout the gallery. Pieces from the museum's collection that are featured at the "Wirth Gallery of the Middle East" include plastered human skulls made in the Levant circa 8000 BC. Another notable piece in the gallery is the Striding Lion, a wall relief from the throne room of Nebuchadnezzar II's palace.

Accessibility.

The ROM provides access for a wide range of communities.

Accessibility services.

The ROM offers programs and

Royal Ontario Museum Community Access Network (ROMCAN).

In 2008, ROMCAN was created to make the ROM more accessible to a variety of communities. ROMCAN provides free general admission tickets to participating community and charitable organizations. Each year, thousands of general admission tickets are distributed to these communities. ROMCAN tries to eliminate barriers that might stand between these communities and

In popular culture.

The novel "Calculating God" by Canadian science fiction author Robert J. Sawyer is mainly set in the ROM. The novel received nominations for both the Hugo and John W. Campbell Memorial Awards in 2001. In the novel "Bugs Potter Live at Nickaninny" by Canadian children's author Gordon Korman, one of the primary characters searching for the lost Naka-mee-chee (fictional) tribe was from the ROM. A large part of "Life Before Man," a novel by Canadian writer Margaret Atwood, takes place in ROM. Three of the four main characters of the novel work there. The museum is described in the novel in great detail, including the dinosaur gallery with its exhibits, contemporary to the time when the novel takes place. The novel was a finalist for the Governor General's Award.  The museum was also filmed in several television shows. It was featured in "Zoboomafoo," an American-Canadian children's television series in the season 1 episode "Dinosaurs", where the Kratt brothers (Chris and Martin) were invited to see the museum's dinosaur bones. The museum was also used as a filming location the police procedural "Flashpoint" for an episode of the third season.

The Royal Ontario Museum (ROM; ) is a museum of art, world culture and natural history in Toronto, Ontario, Canada. It is one of the largest museums in North America and the largest in Canada. It attracts more than one million visitors every year, making the ROM the most-visited museum in Canada. The museum is north of Queen's Park, in the University of Toronto district, with its main entrance on Bloor Street West. Museum subway station is named after the ROM and, since a 2008 renovation, is decorated to resemble the institution's collection.

Das Royal Ontario Museum (ROM) ist ein Museum für Kultur, Kunst und Naturgeschichte in Toronto, der Hauptstadt der kanadischen Provinz Ontario. Es ist das größte Museum des Landes und eines der größten Museen in Nordamerika. Es besitzt eine bedeutende völkerkundliche Sammlung der Kulturen der Erde. Darüber hinaus befinden sich Kunstausstellungen, sowie auch paläontologische, naturgeschichtliche, astronomische, geologische, historische und zoologische Ausstellungen im ROM. Das Museum ist besonders bekannt für seine Ausstellungen zu den Ureinwohnern Nordamerikas und der dazugehörigen Geschichte Kanadas. Das Museum bietet sechs Millionen Ausstellungsstücke und hat jährlich mehr als eine Million Besucher.


Early history.

The name "DeVille" is derived from the French "de la ville" or "de ville" meaning "of the town". In French coach building parlance, a coupé de ville, from the French couper (to cut) i.e. shorten or reduce, was a short four-wheeled closed carriage with an inside seat for two and an outside seat for the driver and this smaller vehicle was intended for use in the town or city (de ville). An (unshortened) limousine or (in the United States) town car has a division between the passenger and driver compartments and if the driver's seat is outside it may be called a "sedanca de ville" or town car.  The first Cadillac "Coupe de Ville" was shown during the 1949 Motorama. It was built on a Cadillac Sixty Special chassis and featured a dummy air-scoop, chrome trim around front wheel openings, and a one-piece windshield and rear glass. The interior was black and trimmed in gray leather, including the headliner, to match the roof color. It was equipped with a telephone in the glove compartment, a vanity case and a secretarial pad in the rear armrest, power windows and highly decorative chrome interior trim. The prototype "Coupe de Ville" was used by GM

First generation (1959–1960).

The 1959 Cadillac is remembered for its huge sharp tailfins with dual bullet tail lights, two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. In 1959 the Series 62 were moved from the Series 62 to their own series, the Series 6200. DeVilles and 2-door Eldorados became the Series 6300 and Series 6400 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 6900), shared the same wheelbase. Engine output was an even 325 hp (242 kW) from the engine. The DeVille Series had script nameplates on the rear fenders. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview

Second generation (1961–1964).

Cadillac was restyled and re-engineered for 1961. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plane, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The revised backlight treatment had crisp angular lines with thin pillars on some models and heavier semi-blind quarter roof posts on others. DeVille models featured front series designation scripts and a lower body "skeg" trimmed with a thin, three-quarter-length spear molding running from behind the front wheel opening to the rear of the car. Standard equipment included power brakes, power steering, automatic transmission, dual backup lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror, oil filter, power windows and 2-way power seats. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhausts were no longer available. A new short-decked four-door Town Sedan hardtop appeared mid-season.  A mild facelift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings in 1961, were now replaced with cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. The short-deck hardtop Town Sedan was moved from the DeVille series to the Series 6200, being replaced by

Third generation (1965–1970).

As it had been since DeVille became a separate series, DeVille denoted Cadillac's mainstream model, falling between the Calais (which had replaced the Series 62) and the Sixty Special and Eldorado. The DeVille was redesigned for 1965 but rode on the same wheelbase. Tailfins were canted slightly downward, and sharp, distinct body lines replaced the rounded look. Also new were a straight rear bumper and vertical lamp clusters. The headlight pairs switched from horizontal to vertical, thus permitting a wider grille. Curved frameless side windows appeared, and convertibles acquired tempered glass backlights. New standard features included lamps for luggage, glove and rear passenger compartments and front and rear safety belts. Power was still supplied by the 340 horsepower V8, which would be replaced by the for 1968. Perimeter frame construction allowed repositioning the engine six inches forward in the frame, thus lowering the transmission hump and increasing interior room. Pillared sedans appeared on the DeVille series for the first time, while six-window hardtop sedans were dropped. A padded vinyl roof was a $121 extra-cost option on the hardtop model. All four DeVille models had small "Tiffany-like" script nameplates on the ends of their rear fenders just above the chrome side molding.  In 1966 changes included a somewhat coarser mesh for the radiator grille insert, which was now divided by a thick, bright metal horizontal center bar housing rectangular parking lamps at the outer ends. Separate rectangular side marker lamps replaced the integral grille extension designs. There was generally less chrome on all Cadillac models this year. DeVille scripts were still above the rear tip of the horizontal body rub moldings. Cadillac crests and V-shaped moldings, front and rear, were identifiers. Cadillac "firsts" this season included variable ratio steering and optional front seats with carbon cloth heating pads built into the cushions and seatbacks. Comfort and convenience innovations were headrests, reclining seats and an AM/FM stereo system. Automatic level control was available. Engineering improvements made to the perimeter frame increased ride and handling ease. Newly designed piston and oil rings and a new engine mounting system and patented quiet exhaust were used.  The 1967 DeVilles were extensively restyled. Prominent styling features were given a powerful frontal appearance with forward-leaning front end, long, sculptured body lines, and redefined rear fenders that had more than just a hint of tail fins in them. The full-width, forward-thrusted "eggcrate" grille was flanked by dual stacked headlights for the third consecutive year. The squarer cornered grille insert had blades that seemed to emphasize its vertical members and it appeared both above the bumper and through a horizontal slot cut into it. Rectangular parking lamps were built into the outer edges of the grille. Rear end styling revisions were highlighted by metal divided tail lamps and a painted lower bumper section.

Fourth generation (1971–1976).

As with all GM full-size lines, the DeVille was completely redesigned for 1971. The new GM full-size bodies, at 64.3 inches front shoulder room (62.1 inches on Cadillac) and 63.4 inches rear shoulder room (64.0 inches on Cadillac) set a record for interior width that would not be matched by any car until the full-size GM rear-wheel-drive models of the early to mid-1990s. Pairs of individually housed squarish headlamps were set wider apart. The V-shaped grille had an eggcrate style insert and was protected by massive vertical guards framing a rectangular license plate indentation. A wide hood with full-length windsplints, a prominent center crease and hidden windshield wipers was seen. A Cadillac crest decorated the nose and new indicator lamps appeared atop each front fender. A horizontal beltline molding ran from behind the front wheel housing, almost to the rear stopping where an elliptical bulge in the body came to a point and where thin rectangular side markers were placed above and below the chrome strip. The rear wheel openings were again housed in fender skirts. Tail lamps were of the same type as before but were no longer divided by a chrome bar. Long horizontal back-up lamps were set in the bumper, on either side of a deeply recessed license plate housing. DeVilles were set apart visually by thin bright metal rocker panel steps and signature script on the front fenders bearing the series name. The bottoms of the rear fenders were decorated with a bright metal beauty panel that was wider than the rocker panel strips and blended into the molding running along the bottom of the fender skirt. The standard engine remained the 472, still rated at 375 SAE gross horsepower and of torque. Interiors were redesigned, featuring a new curved instrument panel and new seating configurations. A rear "lamp monitor", a fiber-optic system which monitored the taillamps, turn signals and brake lights, was new and positioned on the shelf behind the rear seat.  In November 1971, a showroom-stock 1971 Coupe de Ville placed third in the annual coast-to-coast Cannonball Run, posting the highest average speed of the event, (excluding stops) and averaging.  In 1972, a modest frontal revision placed more emphasis on horizontal grille blades. The parking lamps were moved from the bumper to between the square bezeled headlamps, which were now set wider apart. V-shaped emblems made a return on hood and deck lid. New standard features included a bumper impact system, automatic parking brake release, passenger assist straps and flow through ventilation system. New DeVille signature script was affixed to the sides of the rear roof panels. Sales reached a record 194,811.  New energy absorbing bumpers were seen on all GM cars in 1973 and it brought styling refinements to DeVille. Grilles were widened and had an intricate eggcrate design. Larger vertical rectangles housed the parking lamps between wide spaced headlamps which had square bezels but round lenses. Bumpers ran fully across the front and wrapped around each end. Vertical guards were spaced much further apart at a point outboard of the grille. The rear end had a bumper with a flatter upper section housing an angled license plate recess. Border outline moldings vertically "veed" paralleled the fender edge shape at the rear bodysides. Single horizontally mounted rectangular rear side marker lamps were placed over and under the rear tip of the thin beltline trim. Cadillac script was seen on the front fender sides below the belt molding behind the wheel opening.Inside, "soft-pillow" door panels with larger, sturdier pull-straps were new. The

Fifth generation (1977–1984).

1977 was Cadillac's 75th anniversary, and saw the introduction of the downsized DeVille coupes and sedans. These new cars featured a higher roofline, resulting in a vehicle that was over nine inches shorter, four inches narrower, and 1/2 ton lighter than the previous year, but with a larger trunk and more headroom and legroom. These were also the first DeVilles ever to be marketed without fender skirts over the rear wheels. The old door pull straps returned for 1977 and on. The 500 in V8 (which produced 190 horsepower) was replaced for 1977 by a 180-horsepower 425 in V8 variant of similar design. The reduction in size and weight was implemented to improve fuel economy and emissions as a result of the United States Federal Government passage of Corporate Average Fuel Economy regulations.  For 1977, the lineup included the two-door Coupe de Ville ($9,654) and four-door Sedan de Ville ($9,864). The $650 d'Elegance package, an interior dress-up option carried over from the previous generation of DeVilles, continued for both models. 3-sided, wrap-around tail lamps were a 1977 feature only (although they would re-appear in 1987). Coupe de Ville's popular "Cabriolet" option, priced at $348, included a rear-half padded vinyl roof covering and opera lamps. An optional electronic fuel-injected version of the standard 7.0-liter powerplant, adding, was available for an additional $647. Sales figures were 138,750 Coupe de Villes and 95,421 Sedan de Villes for an all-time sales record of 234,171 DeVilles sold.  In addition to a redesigned grille and hood ornament, 1978 saw slim, vertical tail lamps inset into chrome bumper end caps with built-in side marker lamps (Cadillac would retain this "vertical tail lamp inset" design feature on DeVille through 1984, and again from 1989 through 1999). New for 1978, a "Phaeton" package was optional for DeVille. Available on both coupe and sedan, the $1,929 Phaeton package featured a simulated convertible-top, special pin striping, wire wheel discs, and "Phaeton" name plates in place of the usual "Coupe de Ville" or "Sedan de Ville" ornament on the rear fenders. Inside were leather upholstered seats and a leather-trimmed steering wheel matching the exterior color. The package was available in "Cotillion White" (with Dark Blue roof), "Platinum Silver" (with a Black roof), or "Arizona Beige" (with a Dark Brown roof). Coupe de Ville's popular Cabriolet roof package was priced at $369, while the d'Elegance package (for coupe or sedan) was available at $689. Electronic fuel injection, which added, was available at $744. Electronic level control - which used suspension-mounted sensors and air filled rear shocks - kept the car's height level regardless of passengers and cargo weight, was available for $140. Sales dropped slightly from 1977 to 117,750 for the $10,444 Coupe de Ville, and 88,951 for Sedan de Ville, priced at $10,668.  With bigger changes coming in 1980, the 1979 models saw few alterations, which included a new lightweight aluminum hood and a new grille design with "Cadillac" script on the header above the grille. The "Phaeton" package, now priced at $2,029, was still available in three colors, but with two new replacement colors: "Western Saddle Firemist" (with leather interior in "Antique Saddle") replacing the "Arizona Beige", and "Slate Firemist" (with leather interior in "Antique Gray") replacing "Platinum Silver". The d'Elegance package was back, at $725, which included Venetian velour upholstery (in four colors) with a 50/50 split front seat, overhead assist handles, Tangier carpeting, door pull handles, and "d'Elegance" emblems among other niceties. In addition to the $783 "fuel-injection" option, there was also the choice of a 350 in LF9 diesel V8 (built by Oldsmobile) for $849. Coupe de Ville's cabriolet package, priced at $384, was available in 17 colors. Production rose slightly to 121,890 for Coupe de Ville ($11,728), and 93,211 for Sedan de Ville ($12,093).  1980 saw a significant refresh, with a lower, more aerodynamic nose, higher tail end, and a heavier, more substantial appearance. The Phaeton option was discontinued, but the $1,005 d'Elegance package remained. The Coupe de Ville now wore full, bright side window surround moldings, whereas the sedan had body-color door frames with a thin chrome bead around the window opening (as used in 1977 - 1979). The chromed-plastic grille held a very diplomatic, Rolls-Royce inspired design, with thick vertical bars, featuring the 'Cadillac' script on the driver's side grille header. The grille cast for 1980 was used again for the 1989 to 1992 Cadillac Brougham. Late in the 1980 model year, V6 power (in the form of a 4-bbl 252 CID engine manufactured by Buick) was offered as a credit option. Cadillac had not

Sixth generation (1985–1993).

For the 1985 model year, the DeVille switched to GM's new FWD C-body platform. A Fleetwood sedan variant was added to the mix at the start of production and shared the new front-wheel-drive platform and most dimensions with the DeVilles (the "Fleetwood Brougham" nomenclature remained on the rear-wheel-drive chassis through model year 1986 at which time the "Fleetwood" portion of the name was dropped and it became simply "Brougham" from 1987 through 1992).  Production of the new C-body commenced December 1983 at the Orion Assembly Plant in Orion Township, Michigan. A Fleetwood coupe version of the new FWD C-body joined the lineup later in the production run. The front cover of the brochure advertised the new cars as the "Cadillac of Tomorrow". These new models were significantly smaller externally yet kept almost identical interior dimensions as their predecessors. This change also brought nearly the entire Cadillac line of cars to front-wheel drive, leaving only the Fleetwood Brougham as the only rear-wheel-drive car offered by the division. Cadillac's HT-4100 V8 remained the standard engine, mounted transversely and coupled with a 440-T4 automatic. Oldsmobile's 4.3L V6 diesel was optional. Of GM's front-drive C and H bodies, Cadillac was the only line to offer a V8 engine. The other GM vehicles were equipped with a Buick-derived 3.0 or 3.8 V6 engine, or - for 1985 only - Oldsmobile's 4.3L V6 diesel powerplant.  The 1985 DeVille was still available in sedan or coupe form. The d'Elegance package - an optional interior dress-up package featuring assist handles and button-tufted seating among other niceties - was no longer available on DeVille, but now offered solely on the Fleetwood sedan. Thanks to an extended model year (starting April 1984), sales of the new downsized 1985 DeVille and Fleetwood models reached nearly 200,000 units.  For 1986, few changes marked the new DeVille's second year in production. An anti-lock braking system, developed by Teves, became available. A 2-position automatic rear-view mirror utilized two electronic 'eyes' and a small motor to dim when headlights appeared from behind. A factory-installed cellular telephone joined the option list at an astonishing $2,850. The standard space-saver spare tire now sat horizontally in the trunk, doing away with the small covered storage cubby in the spare tire well from last year. The optional aluminum wheels had new flush-fitting center caps (last year's design featured exposed capped lugs), and bumper rub strips changed from black to gray. Borrowed from the front-wheel-drive Fleetwood line, the narrow lower body side molding from the 1985 DeVille was replaced with a considerably wider one, and the trim surround from the rear window gave the formal appearance of a smaller window opening. Inside, a more tailored look was applied to the seat trim. Coupe de Ville's popular cabriolet option, featuring a padded vinyl covering over the rear half of the roof, was priced at $698. Along with the exterior changes made to 1986 DeVilles, adding the Cabriolet option made it difficult to distinguish a 1986 Coupe de Ville from the 1986 Fleetwood Coupe. Pricing for the Coupe de Ville was $19,669, with Sedan de Ville at $19,990. The transverse-mounted Cadillac 4.1-liter V-8 continued from the previous year, but with 5 more horsepower.  The 1986 Cadillac had: Type: 90-degree, overhead valve V-8. Aluminum block and cast iron heads. Displacement: 249 cu in (4.1 liters) Bore & stroke: 3.47 x 3.31 in Compression ratio: 8.5:1 Brake horsepower: at 4200 rpm Torque: 200 lbf·ft (270 N·m) at 2200 rpm Five main bearings Hydraulic valve lifters TBI VIN Code: 8  Introduced in 1986, Cadillac's Touring Sedan and Touring Coupe were based on the standard DeVille but included extras such as a subtle rear deck lid spoiler, body-color tail lamp bezels, front air dam with fog lamps, rear seat headrests, leather upholstery, and a performance enhancement package among other features. The package was available for $2,880. In addition, the Touring Coupe had removable decorative louvers on the rear edge of the side opera windows.  1987 saw a new front-end design including revised cornering lamps in front and one-piece composite headlamps flanked a trapezoid-shaped grille with a bold egg-crate texture. Elongated fender caps were in back - upping the overall length by an inch and a half, but much more dramatic in appearance with new wrap-around tail lamps. This new 3-sided tail lamp style was inspired by a design used on the 1977 DeVille. Unlike the new one-piece headlamps, the changes to the rear-end in 1987 had little to do with engineering, but rather, feedback from Cadillac's customer base who felt the 1985-86 car looked too short. Although the 1987 revamp was still quite similar to the 1986 model (so much in fact that it still used the previous year's deck lid), the design was more in-tune with the look that traditional Cadillac buyers were used to.  Pricing for 1987 included Coupe de Ville at $21,316, and Sedan de Ville at $21,659. Fleetwood d'Elegance at $26,104, and the new Fleetwood Sixty-Special was available for $34,850. The Touring option, priced at $2,880 over DeVille's base cost, also included aluminum wheels mounted on 15-inch Goodyear Eagle GT tires. At the end of the 1988 model year, Cadillac discontinued the slow-selling DeVille-based Touring Coupe and Sedan, although the 4-door would return in 1992.  For 1988, Cadillac kept cosmetic changes to a minimum in anticipation of the redesigned DeVille and Fleetwood models to come the following year. To mitigate the nearly $2,000 price jump this year, several previously optional items were made standard equipment including tilt steering column, telescopic steering wheel, power trunk release, split-bench front seating, cruise control, and variable delay windshield wipers. Under the hood was a new 155 hp 4.5 L V8 and heavy-duty battery. Pricing rose to $23,049 for Coupe de Ville, and $23,404 for Sedan de Ville.  Cadillac's main competition in this time frame continued to be Lincoln, which, alongside their successful Town Car, was now fielding an all-new front-wheel-drive Continental (based on the Ford Taurus). The Continental went into production with a six-cylinder engine so as to be considered a larger front-wheel-drive alternative to the Acura Legend that appeared in 1986, with a front-wheel-drive platform and a V6 engine.  1989 introduced an extensive exterior redesign which included a longer 113.8-inch wheelbase for sedans. The 4.5-liter powerplant (introduced just a year earlier), dashboard, and the front doors (on both the coupe and sedan) were about the only items that carried over — even the luggage compartment was over larger than last year. The Coupe de Ville and Fleetwood coupe retained the previous year's interior, wheelbase, and doors—all cleverly hidden between the new front and rear styling. A give-away to the previous design is the rear shelf package on the 2-door models. While the parcel shelf on the four-door models received a 'Mercedes-Benz inspired' storage compartment with lid, rear seat headrest panel, and a long 3-bulb horizontal brake lamp, the 2-door models still had the narrow carpeted parcel shelf and pedestal brake lamp from the previous year. Of special note were the composite (plastic) front fenders that resisted parking-lot dings and dents, and weighed less than their steel counterparts. Previously optional equipment that was made standard for 1989 included electrically powered outside mirrors and the AM/FM/cassette player stereo. New options introduced this year included a driver's side airbag, the Bose compact disc player, an electrically heated windshield, and a set of four reversible carpeted floor mats.  For 1990, DeVille and Fleetwood lost their telescopic steering column, but retained the tilt feature in exchange for an airbag mounted onto the newly standard leather-trimmed steering wheel. Engine output was up an additional from sequential multi-port fuel injection. 1990 models also received GM's PASS Key theft-deterrent system which used a coded electronic pellet embedded into the ignition key. Other new features for 1990 included a non-illuminated vanity mirror on the driver's visor (a passenger side visor mirror had been standard equipment for decades now), door edge guards (previously optional), "clam shell" front center armrest with storage, and manual seat-back recliners for driver and passenger. While Lincoln's Continental did not fare well against DeVille, a new sales threat—aimed directly at Cadillac—came from the 1990 debut of Toyota's Lexus LS400 and the Infiniti Q45 from Nissan. Additionally, the Acura Legend—Honda's high-end label—had been gaining momentum in the luxury market since its 1986 introduction.  In 1991, a 4.9-liter V8—the largest of this type—became the new standard powerplant. Also new was a grille of an inverted trapezoid design (almost upside-down from last year's egg-crate keystone design), and revised bumper and body-side moldings. The new grille held the familiar shape of the Cadillac crest itself—a styling cue that continues to this day. The grille was now attached to the forward edge of the hood, and lifted up along with the hood when raised (similar to Mercedes-Benz). The secondary hood release latch was at the bottom of the grille instead of its previous location above the passenger side headlight. In addition to the new engine and minor front-end restyling, several previously optional features became standard this year, including the anti-lock braking system, accent striping, automatic door locks, Twilight Sentinel headlamp control, electrochromic inside rear-view mirror, and electric rear window and side mirror defogger. New standard features included rear-seat air conditioning vents, central door unlocking from the driver's door and luggage compartment, sun visors with shaded slide-out extensions, rear window lock-out switch, brake / transmission interlock safety switch, and an oil life indicator through the fuel data center. Other new features included the available remote keyless entry system, and the optional illuminated mirrors now featured a slide switch that offered variable intensity lighting. The first "Deville Touring Sedan" became available to the public on April 1, 1991. As a limited edition of only 1,500 produced for the 1991 model year, it was offered in 5 monochromatic paint schemes: Carmine Red; Cotillion White; Black; Dark Slate Gray metallic; and Black Sapphire Metallic. Larger 16" x 6.5" forged aluminum wheels with a wreath and crest center cap were fitted to P215/60R16 Goodyear GA all-season radial tires. A quicker 17:1 steering gear was also used. The specific Beechwood-color interior of the DeVille Touring Sedan had leather seating areas and revised seat design with integral lumbar support. Both driver and passenger seat featured six-way power seat adjusters and power recliners. This specific interior also featured American Walnut wood accents on the doors and instrument panel. A grill-mounted wreath and crest replaced the traditional stand-up hood ornament. Side door moldings feature "TOURING SEDAN" lettering and import style break-away outside rearview mirrors were painted body color. Revised sport door handles also are painted body color. The revised exterior also included a cloisonne deck lid lock cover similar to the STS and Eldorado Touring Coupe.  For 1992, the Touring Sedan continued as a limited edition option. Besides the special features included in the initial 1,500 models from 1991, it featured on Touring Sedans, like other DeVille models, the "Symphony Sound" stereo with cassette was standard, while the optional Delco/Bose music system was available with cassette or single-slot CD player. Introduced for 1992, speed-sensitive suspension and traction control (both standard on Touring Sedan when introduced in '91) were available at extra cost on DeVille. Approximately 5,300 Touring Sedans were produced for 1992.  1993 saw few changes, as a brand-new replacement was coming for 1994. The previously optional speed-sensitive suspension, "Computer Command Ride", introduced last year became standard equipment, and now included a new speed-sensitive steering system as well. Minor trim changes were made including black-out trim in the grille (used on the 1992 Touring Sedan), and removing the chrome strip from the glass divider on the sedan's rear doors. 1993 would be the last year for the Coupe de Ville, which now came standard with the previously optional "Cabriolet" roof option (which covered the rear half of the roof in padded vinyl). Introduced as a prestige trim level of the Series 62 for the 1949 model year, Coupe de Ville's full-size 2-door body style had been declining in sales for several years, and as a result, the 1994 design went into production solely as a 4-door. Production ceased in July 1993.

Seventh generation (1994–1999).

For 1994, the DeVille was redesigned to share the K-body platform with the Seville. The body was redesigned, although the wheelbase remained 113.8 inches—rather than the 111 inches used on the Seville. Production moved to Hamtramck, Michigan.  Also for 1994, all DeVille models included a standard SRS driver-side front airbag, as well as fully digital instrumentation with integrated message center, which provided important vehicle information and status, current speed, outside temperature, and more, with controls mounted to the left of the instrument cluster. Also standard was a dual-zone front HVAC system, with controls located to the right of the instrument cluster, and remote controls on the front passenger door panel. A six-speaker audio system with A/M-F/M-Cassette stereo was standard, with an A/M-F/M-Cassette-CD stereo being optional equipment, as well as an eleven-speaker premium audio system. Premium cloth seating was standard, while luxury leather-trimmed seating surfaces were available on all trim levels and standard on higher trim levels, both with full power adjustments. Front and rear bench seating for six passengers was standard equipment on most trim levels, while front bucket seats were optional. General

Eighth generation (2000–2005).

The 2000 model year saw the first major redesign since 1994; this generation marked the move from the K platform to the G platform; despite this move GM continued to refer to it as the K platform. Production started in August 1999. The exterior was completely redesigned featuring a sportier, elegant and more aerodynamic design with a drag coefficient of 0.30. The revamped interior featured completely new door panels and seats, while the dashboard and radio face only received minor facelifts.  Cadillac Night Vision on the DeVille was the first worldwide series production automotive night vision ever offered, however it was discontinued in 2004. This system was developed with Raytheon and worked by using a "passive infrared" sensor camera mounted behind the vehicle's grille. Infrared radiation

2006.

In 2006, the DeVille nameplate was replaced by Cadillac DTS, an abbreviation dating back to 1985's DeVille Touring Sedan package. The new name brought the DeVille into line with Cadillac's Art & Science-era nomenclature, which saw the Seville renamed to STS and the Catera replacement called the CTS.

The Cadillac DeVille was originally a trim level and later a separate model produced by Cadillac. The first car to bear the name was the 1949 Coupe de Ville, a pillarless two-door hardtop body style with a prestige trim level above that of the Series 62 luxury coupe. The last model to be formally known as a DeVille was the 2005 Cadillac DeVille, a full-size sedan, the largest car in the Cadillac model range at the time. The next year, the DeVille was officially renamed the Cadillac DTS.

Der Cadillac DeVille (auch: Cadillac De Ville, de Ville und deVille von franz. "die Stadt") war eine Baureihe der zum US-amerikanischen Automobilkonzern General Motors gehörenden Marke Cadillac. Nachdem zuvor bereits bestimmte Ausstattungslinien anderer Cadillac-Modelle die Zusatzbezeichnung DeVille erhalten hatten, wurde der Cadillac DeVille ab 1959 zu einer eigenständigen Modellreihe, die bis 2005 in verschiedenen Serien als zweitüriges Coupe DeVille und als viertürige Limousine Sedan DeVille angeboten wurde; zeitweise war auch ein viersitziges Cabriolet im Programm. Cadillacs DeVille, der vor allem mit den Continental- bzw. Town-Car-Modellen der Ford-Marke Lincoln und mit Chryslers Imperial-Reihe konkurrierte, war über viele Jahre hinweg der meistverkaufte Luxuswagen US-amerikanischer Herkunft. Die Positionierung der Baureihe innerhalb der Cadillac-Modellpalette wechselte im Laufe der Jahre mehrfach.


Types.

Brand extension research mainly focuses on consumer evaluation of extension and attitude toward the parent brand. In their 1990 model, Aaker and Keller provide a sufficient depth and breadth proposition to examine consumer behaviour and a conceptual framework. The authors use three dimensions to measure the fit of extension. First, the "Complement" refers to consumers taking two product classes (extension and parent brand product) as complementary in satisfying their specific needs. Secondly, the "Substitute" indicates two products have the same user situation and satisfy the same needs, which means the product classes are very similar and that the products can act to replace each other. Lastly, the "Transfer" describes the relationship between extension product and manufacturer which "reflects the perceived ability of any firm operating in the first product class to make a product in the second class" The first two measures focus on the consumer's demand and the last one focuses on the firm's perceived ability. From the line extension to brand extension, however, there are many different types of extension such as "brand alliance", co-branding or "brand franchise extension". Tauber (1988) suggests seven strategies to identify extension cases such as product with parent brand's benefit, same product with different price or quality, etc. In his suggestion, it can be classified into two category of extension; extension of product-related association and non-product related association. Another form of brand extension is a licensed brand extension. In this scenario, the brand-owner works with a partner (sometimes a competitor), who takes on the responsibility of manufacturing and sales of the new products, paying a royalty every time a product is sold.  Brand extension can also be done through marketing strategies such as guerrilla marketing, where brands can promote their goods or services through unconventional means such as emotional connections to the brand by tackling social problems/dilemmas. These emotional connections are generally done through social experiments where brands express their concern and offer small solutions thereby making the brand standout and seem righteous. Guerilla marketing is a very effective way of connecting with the target market and reaching out to different markets, this extension into the vast demographic while creating brand awareness is highly effective for brands

Categorization theory.

Researchers tend to use "categorization theory" as their fundamental theory to explore the effects of brand extension. When consumers are faced with thousands of products to choose amongst, they are not only initially confused, but try to categorise by brand association or image given their knowledge and previous experience. A consumer can judge or evaluate the extension product with his or her category memory. Consumers categorise new information into specific brand or product class label and store it. This process is not only related to consumer's experience and knowledge, but also involvement and choice of brand. If the brand association is highly related to extension, consumer can perceive the fit among brand extension. Some studies suggest that consumer may ignore or overcome the dissonance from extension i.e. perceived misfit with parent brand is ignored, and does not cause dilution of parent's brand equity.

Failure.

Literature related to negative effect of brand extension is limited and the findings are revealed as incongruent. The early works of Aaker and Keller (1990) find no significant evidence that brand name can be diluted by unsuccessful brand extensions. Conversely, Loken and Roedder-John (1993) indicate that dilution effect do occur when the extension across inconsistency of product category and brand beliefs. The failure of extension may come from difficulty of connecting with parent brand, a lack of similarity and familiarity and inconsistent IMC messages.  "Equity of an integrated oriented brand can be diluted significantly from both functional and non-functional attributes-base variables", which means dilution does occur across the brand extension to the parent brand. These failures of extension make consumers create a negative or new association relate to parent brand even brand family or to disturb and confuse the original brand identity and meaning.  In addition, Martinez and de Chernatony (2004) classify the brand image in two types: the general brand image and the product brand image. They suggest that if the brand name is strong enough as Nike or Sony, the negative impact has no specific damage on general brand image and "the dilution effect is greater on product brand image than on general brand image". Consequently, consumers may maintain their belief about the attributes and feelings about parent brand, however their study does show that "brand extension dilutes the brand image, changing the beliefs and association in consumers' mind".  The flagship product is a money-spinner to a firm. Marketers spend time and money to maximise exposure and awareness of the product. In theory, a flagship product has the top sales and highest awareness in its product category. In spite of Aaker and Keller's (1990) research, which reports that prestigious brands are not harmed from failure of extensions, some evidence shows that the dilution effect has great and instant damage to the flagship product and brand family. Still, some studies suggest that even though overall parent belief is diluted; the flagship product would not be harmed. In addition, brand extension also "diminish[es] consumer's feelings and beliefs about brand name." To establish a strong brand, it is necessary to build up a "brand ladder".  Marketers may follow the order and model created by Aaker and Keller who are authorities on brand management, but branding does not always follow a rational line. One mistake can damage all brand equity. A classic extension failure example would be Coca-Cola launching "New Coke" in 1985. Although it was initially accepted, a backlash against "New Coke" soon emerged among consumers. Not only did Coca-Cola not succeed in developing a new brand but sales of the original flavour also decreased. Coca-Cola had to make considerable efforts to regain customers who had turned to Pepsi cola.  Although there are few works about the failure of extensions, literature provides sufficient in-depth research into this issue. Studies also suggest that brand extension is a risky strategy to increase sales or brand equity. It should consider the damage of parent brand no matter what types of extension are used.

Brand equity.

Brand equity is defined as the main concern in brand management and IMC campaign. Every marketer should pursue the long term equity and pay attention to every strategy in detail. Because a small message dissonance would cause great failure of brand extension. On the other hand, consumer has his psychology process in mind. The moderating variable is a useful indication to evaluate consumer evaluation of brand extension.  Throughout the categorisation theory and associative network theory, a consumer has the ability to process information into useful knowledge for them. They would measure and compare the difference between core brand and extension product through quality of core brand, fit in category, former experience and knowledge, and difficulty of making. Consequently, in this article, we may conclude the following points about consumer evaluation of brand extension:  A successful brand message strategy relies on a congruent communication and a clear brand image. The negative impact of brand extension would cause a great damage to parent brand and brand family. From a manager and marketer's perspective, an operation of branding should maintain brand messages and associations within a consistency and continuum in the long way. Because the effects of negative impact from brand extension are tremendous and permanently. Every messages or brand extension can dilute the brand in nature.

Brand extension or brand stretching is a marketing strategy in which a firm marketing a product with a well-developed image uses the same brand name in a different product category. The new product is called a spin-off.

Markentransfer, auch Markendehnung genannt, ist die Übertragung einer Marke auf neue Produkte oder Produkte, die nicht ursprünglich mit dieser ausgezeichnet waren, sowie der Transfer einer Marke auf neue geographische Märkte.


Biography.

Early life.

The son of an army officer, he attended Charterhouse School as a boy, graduated from the Royal Academy of Dramatic Art and worked for some years as an actor, director and stage manager. He directed plays in London and New York. He also spent two years as racing manager for Stirling Moss and Peter Collins.

Early Film Industry Jobs and Assistant Director.

In the 1950s he started in the film industry doing odd jobs such as dubbing foreign films and editing documentaries. He eventually became a leading assistant director.  He was an assistant director to Mark Robson on "The Inn of the Sixth Happiness" (1958), Terence Young on "Serious Charge" (1959) with Cliff Richard, Terry Bishop on "Cover Girl Killer" (1959), Guy Hamilton on "A Touch of Larceny" (1960), Jack Cardiff on "Sons and Lovers" (1960), Tony Richardson on "The Entertainer" (1960) and "A Taste of Honey" (1961), J. Lee Thompson on "The Guns of Navarone" (1961) and José Quintero on "The Roman Spring of Mrs. Stone" (1961).).  Through the influence of Richardson, he directed Albee's "An American Dream" and "The Death of Bessie Smith" at London's Royal Court Theatre.

Early Features as Director.

Yates' first feature as director was "Summer Holiday" (1963), a "lightweight" vehicle for Cliff Richard. It was the second most popular movie at the British box office in 1963.  Yates had seen the original Royal Court production of N.F. Simpson's play "One Way Pendulum" and got the job of making the film version released in 1964. It was produced by Michael Deeley. The movie was not widely seen.  During the mid sixties Yates directed episodes of television, notably "The Saint" and "Danger Man".  Yates' third feature as director was the heist film, "Robbery" (1967), a fictionalised version of the Great Train Robbery of 1963 starring Stanley Baker and produced by Deeley.

"Bullitt" and Hollywood.

"Robbery" was a critical success in the US and led to an offer to direct "Bullitt" (1968), of which Bruce Weber has written, "Mr. Yates’s reputation probably rests most securely on "Bullitt" (1968), his first American film – and indeed, on one particular scene, an extended car chase that instantly became a classic."  Yates later said, "In Hollywood back then, everyone knew a British director couldn't do action, so I think the studio had another motive in letting me come over. I think the reason they let McQueen bring me in was because if they let him have his way, they'd get him out of the studio – and out of their hair – for a while."  Yates moved to New York. "A filmmaker must go where the stories are," he said.  "Bullitt" was a huge success. Yates signed a contract with the Mirisch Company to make four films over seven years.  Yates followed "Bullitt" with a romantic comedy, "John and Mary" (1969) with Dustin Hoffman and Mia Farrow. "I like to change the kind of stories I do," said Yates. "If you're not careful, you get pigeonholed and sooner or later someone better will come along."  In 1970, Yates said he would make "Don Quixote" with Richard Burton but the project stalled. Instead he did a war film with Peter O'Toole produced by Deeley, "Murphy's War" (1971).  Yates did another heist film, "The Hot Rock" (1972), based on a novel by Donald Westlake starring Robert Redford from a William Goldman script. After this he was going to make "The Leatherstocking Saga" and Jonathan Schwartz's "Almost Home" but neither was made.  In 1972 he signed a four picture deal with Paramount which was to start with "Deadly Edge" from a Westlake novel.  Yates stayed with crime with "The Friends of Eddie Coyle" (1973) starring Robert Mitchum. He then did two comedies: "For Pete's Sake" (1974) with Barbra Streisand, and "Mother, Jugs & Speed" (1976); he produced the latter along with writer Tom Mankiewicz.  Yates had a big commercial success with the adventure film "The Deep" (1977), where Mankiewicz did some uncredited writing.

"Breaking Away".

Yates used his clout from "The Deep" to raise finance for "Breaking Away" (1979), written by Steve Tesich, whose play "The Passing Game", Yates had directed in New York. Yates produced and directed the film. "Breaking Away" was nominated for five Academy Awards, including Best Director and Best Film for Yates. It led to a short-lived TV series that Yates also produced.  Yates and Tesich were reunited on the thriller "Eyewitness" (1981) starring William Hurt.  He tried fantasy with "Krull" (1983), but it was not a success at the box office.

"The Dresser".

Yates also produced and directed "The Dresser" (1983), an adaptation of the Ronald Harwood stage play. The film received seven BAFTA and five Oscar nominations, including the BAFTA Award for Best Film and for Best Direction and the Academy Award for Best Film and for Best Director for Yates. "The Dresser" was also entered into the 34th Berlin International Film Festival.  Along with "Eddie Coyle" and "Breaking Away", "The Dresser" was one of Yates' three favourite films.  "I'm ambitious in my own way," said Yates around this time. "I don't crave power. I really wouldn't want to trade places with anyone, not even Steven Spielberg. Look at what power can do to a gifted director like Robert Altman. It isn't necessarily healthy. I just want to make the movies that I want to make and, if by chance a few of them should turn out to be important or influential or successful, well, that would be an accident, wouldn't it?"  Following "The Dresser", Yates next four directorial efforts proved to be unsuccessful at the box office: "Eleni" (1985), written by Tesich; "Suspect" (1987), a thriller with Cher and Dennis Quaid; "The House on Carroll Street" (1988), which he also produced; and "An Innocent Man" (1989) with Tom Selleck.

Los Angeles.

In the early 1990s, after 18 years in New York, Yates moved to Los Angeles.  He made "Year of the Comet" (1992), which was a flop despite being based on a William Goldman script, or "Roommates" (1995). He was an executive producer on "Needful Things" (1992).  Yates went to Ireland to make "The Run of the Country" (1995) which he also produced.

Return to London.

In 1997 Yates returned to London. "The work was starting to close down," he admitted. "Firstly, you're supposed to be under 30, if possible. Secondly, I prefer to develop my own projects... There were a lot of teenage films around, which I wasn't right for and didn't feel connected to, and special-effects films of a kind I didn't know enough about. You have to be brought up in a computer-literate generation."  He made "Curtain Call" (1998) with Michael Caine then made a television film of the Cervantes novel in 2000, with John Lithgow as Don Quixote.  Yates' final film was "A Separate Peace" (2004)  Yates has two distinct styles: one used for his thriller, action and drama projects which frequently reflects on the principal character's state of alienation with a humanistic perspective and another expressive and sentimental style which focuses on the moral dilemmas of the characters, predominantly seen in his coming-of-age and other dramatic films.  "I think there's probably some truth in the theory that I prefer heroes who fight against adversity and make it through from being the underdog to winning," said Yates.

Death.

Yates died from heart failure in London on 9 January 2011. He was 81 years old.

Peter James Yates (24 July 1929 – 9 January 2011) was an English film director and producer. He was born in Aldershot, Hampshire.

Peter Yates (* 24. Juli 1929 in Aldershot, Southamptonshire, England; † 9. Januar 2011 in London) war ein britischer Filmregisseur.