Background and description.

The fast battleships and, then under design in 1931, would be able to sustain a speed of, equal to the sustained speed achieved by the s, although the believed that a margin of was necessary when escorting the battlefleet. It thus formulated a requirement for a destroyer capable of. A preliminary design, displacing about and armed with two twin-gun turrets, was developed the following year, but was too small to accommodate the propulsion machinery necessary to achieve the intended speed. As the detailed design was prepared over the next two years, the "Le Hardi"s were enlarged and given extra guns to counter the large destroyers of the Italian and Japanese es. Now significantly larger and faster than the "L'Adroit"s, the "Le Hardi"-class design was approved on 10 August 1934.  The ships had an overall length of, a beam of, and a draught of. They displaced at standard load and at deep load. The hull was divided by a dozen bulkheads into 13 watertight compartments. The "Le Hardi"s were equipped with a pair of turbogenerators and a pair of diesel generators. Their crew consisted of 10 officers and 177 enlisted men.  The "Le Hardi"-class ships were powered by two geared steam turbines, each driving a single three-bladed propeller, using steam provided by four Sural-Penhöet forced-circulation boilers that operated at a pressure of and a temperature of. The turbines were designed to produce intended to give the ships a speed of. "Le Hardi", the only ship of the class to run sea trials, comfortably exceeded that speed during her trials on 6 November 1939, reaching a maximum speed of from. The "Le Hardi" class carried of fuel oil which gave them a range of at.

Armament and protection.

The main armament of the "Le Hardi"-class ships consisted of six 45-caliber Canon de 130 mm Modèle 1932 guns in three twin-gun turrets, one forward and a superfiring pair aft of the superstructure. The electrically powered turrets were protected by of armour. The guns had an elevation range between −10° and +30° and each one was provided with 170 semi-armour-piercing and 10 star shells. They fired a shell at a muzzle velocity of. This gave them a range of at an elevation of 30°.  The Modèle 1932 guns had a rate of fire of 10–15 rounds per minute although the rammer was underpowered and often caused jams in the loading system. In one engagement against a British destroyer in September 1940, was only able to fire 14 rounds in six minutes before all her guns broke down. Given time and training, these problems could be fixed as "Le Hardi" demonstrated during the Battle of Dakar when she fired 60 rounds without any problems; she had previously fired over 700 rounds during thirteen sessions on gunnery ranges.  The primary anti-aircraft (AA) armament of the "Le Hardi"-class ships was intended to consist of a twin-gun mount for 70-caliber Canon de Modèle 1935 guns. Development of the automatic weapon was still in progress when the ships were completed in 1939–1940 and a twin-gun mount for 50-caliber Canon de 37 mm Modèle 1933 guns on the aft superstructure was installed instead. These semi-automatic guns could elevate to a maximum of +80° and they had a practical rate of fire of 15–21 rounds per minute. The ships carried a total of 2,960 rounds for the guns. Their muzzle velocity of gave their shells an effective range of. The ships were also fitted with two twin Hotchkiss Modèle 1929 anti-aircraft machine gun mounts abreast the bridge. The weapons had a practical rate of fire of 250 rounds per minute and an effective range of. Ready-use lockers stowed 480 rounds near each gun and the remaining 1,920 rounds per gun were in the magazine.  The ships carried one triple and two twin sets of torpedo tubes amidships; the twin-tube aft mounts were positioned one on each broadside, but the triple-tube forward mount could traverse to both sides. One depth charge chute was built into the stern in the first batch of six ships; this housed eight depth charges. The other side of the stern was used for the handling gear for a towed Ginocchio captive anti-submarine torpedo, but this was removed before they were completed. The second batch of six ships had two depth charge chutes in the stern with a capacity of a dozen depth charges.

Fire control.

The fire-control system of the "Le Hardi" class as designed was identical to that of the larger s with a director equipped with a OPL Modèle PC.1936 stereoscopic rangefinder built around the base of the foremast above the bridge. The director sent the range to the where it was fed into a Modèle 1929 electro-mechanical computer which calculated the firing solution and transmitted it to the turrets. The intended to equip the turrets so they could be controlled by the director, but abandoned the effort in 1942 after equipment trials were unsuccessful and it concluded that the ships lacked the necessary electrical capacity.  Space and weight had been allocated for a director for the 37-millimetre Modèle 1935 guns, but when this was unavailable a rangefinder on a pedestal for the main armament was substituted in all ships except which received an enclosed mounting with a five-meter rangefinder. A high-angle rangefinder was fitted for the ant-aircraft guns.  A torpedo director was located above the primary gunnery director on the foremast. It used a separate five-meter OPL Modèle 1935 stereoscopic rangefinder to provide the bearing and range to a Modèle 1933 electro-mechanical computer which calculated the torpedo firing angle. This was sent to the remotely controlled torpedo tubes, and the command to fire could be given by either the torpedo director or either of the secondary positions on the wings of the bridge.

Modifications.

In early 1941 a pair of single mounts for Browning 13.2-millimetre AA machine guns were added to all ships on the quarterdeck. In late 1941, "Le Hardi" had her anti-aircraft suite reinforced and rearranged. The twin Hotchkiss machine gun mounts were repositioned on the quarterdeck and a pair of single mounts for Hotchkiss AA guns were installed in their place in front of the bridge. In addition the Browning machine guns were transferred to newly built platforms on the sides of the superfiring turret aft. Later in the year and in early 1942, "L'Adroit", "Casque" and "Mameluk" received the same modifications.

Revised design.

In 1938, after observing the experiences of ships attacked by aircraft while performing neutrality patrols during the Spanish Civil War of 1936–1939, the (Naval General Staff) revised its assumptions about a naval war. It now viewed a dual-purpose (DP) armament as a requirement for ships intended to escort capital ships. This was the role of the "Le Hardi" class and the staff wanted to evaluate how the four ships scheduled to be laid down in mid-1939 could be modified to accommodate the DP guns. Three proposals were submitted in response on 30 November, all on a hull that was enlarged by more than. The staff accepted two of them, the first for three ships to be armed with 130 mm DP mounts derived from those used on the "Dunkerque"-class battleships, while the remaining ship was to be armed with the standard 130 mm low-angle mounts to allow it to form a three-ship division with "Le Corsaire" and "Le Flibustier", but its AA armament was to consist of a pair of twin-gun high-angle mounts, one of which replaced a torpedo-tube mount, and the standard pair of twin-gun AA machine gun mounts. Its torpedo armament was reduced to a pair of triple mounts.  The start of the war in September 1939 completely disrupted this plan as building of these ships was suspended. When construction was resumed in March 1940, Admiral François Darlan, the navy's Chief of Staff, was informed that no newly designed destroyers could enter service before 1944, but that either three "Le Hardi"-class ships or four could begin sea trials in 1943. On 28 April Darlan decided on modified "Le Hardi"s with either the originally specified hull or the proposed larger version, depending on how advanced the design work was. He also specified a top speed of and a range of at. Their armament was to consist of two or three 130-millimetre DP guns with an elevation limited to 40 or 50°; as the mounts were not likely be ready before the ships were completed, he proposed an interim armament of three or four 100-millimetre guns in high-angle mounts. The rest of the armament was to consist of one twin and two single mounts for 37-millimetre AA guns, two twin-gun AA machine gun mounts, two triple mounts for torpedoes and a pair of depth charge rails and a pair of depth charge throwers for twenty 100-kilogram depth charges.

Ships.

The name ship of the class was authorized in the 1932 Naval Estimates, but construction was significantly delayed by the financial impact of the Great Depression and bilateral arms limitation talks between France and Fascist Italy that caused the French Parliament to suspend all new naval construction until 1934. Even then "Le Hardi" was not laid down until late the following year, to be followed a few months later by two sister ships authorized in the 1935 Naval Estimates and then three more in mid-1936 as part of that year's Naval Estmates. The remaining six ships were authorized in the 1937, 1938 and 1938bis Naval Estimates.  Construction of the first six ships was slowed by the social and industrial disruptions associated with the that took power in 1936 so that "Le Hardi" was the only ship to complete all of her sea trials. The next four ships began their acceptance trials between March and May 1940 and all entered service in June with the Germans advancing on the naval bases in Brittany. The most complete of the remaining ships was finished after the armistice and six of the last seven ships were never completed.

Service history.

"Le Hardi" entered service on 2 June 1940 and escorted an ocean liner to Casablanca, French Morocco, before sailing to Brest. "Fleuret" helped to escort the battleship from Casablanca to Dakar, French West Africa, on 12 June. The first mission of "Épée" and "Mameluk" was to rendezvous with "Le Hardi" to help escort the incomplete battleship to Casablanca a few days before the French signed an armistice with the Germans on 22 June. "Casque", "Lansquenet" and "Le Corsaire" took refuge in French North Africa in mid-June despite the latter only being 82% complete.  The hulls of "L'Opiniâtre" and "L'Aventurier" were captured intact in Bordeaux in June 1940, 16% and 13% complete respectively. The Germans decided to complete them and renamed them "ZF6" and "ZF7". As their intended French weapons were unavailable, they were to be armed with five SK C/34 guns with 80 rounds per gun, four AA guns with 6000 rounds, ten C/38 AA guns with 20,000 rounds and two quadruple mounts for torpedo tubes amidships.  Work resumed on the two ships in February 1941, but construction on "ZF7" was abandoned in June and some material was incorporated in "ZF6" which was renamed "ZF2" on 26 August. Work on that ship was terminated in July 1943 before she was launched and she was demolished when the Germans abandoned the area after Operation Dragoon in August 1944. Her wreck was scrapped after the end of the war. The French resumed construction on "L'Aventurier" in 1945 and she was launched two years later. The ship was used as an experimental hulk before she became a mooring pontoon at Brest and was listed for sale on 21 April 1971.  "Le Hardi" played a minor role in the Battle of Dakar in September, mostly laying smoke screens. After the battle, "Fleuret" and "Épée" were two of the four destroyers ordered to attack British shipping, although their only combat was an inconclusive duel with a British destroyer. When the Vichy French government reestablished the (FHM) on 25 September 1940 after it negotiated rules limiting the force's activities and numbers with the Italian and German Armistice Commissions, all of the destroyers were based overseas and not subject to the limits of the FHM. "Le Hardi", "Épée", "Mameluk", "Lansquenet" and "Fleuret" helped to escort the battleship, which had been damaged by the British during their July attack on Mers-el-Kébir, French Algeria, to Toulon in November 1940. Upon their arrival, three of the ships were assigned to the 10 (DT; 10th Destroyer Division), which was assigned to local defence duties, and the others were reduced to reserve. "Casque" and "Le Corsaire" arrived at Toulon later. Assignments to the unit rotated as ships were refitted because the French were only allowed to have three ships of the class active at any one time. On 1 April 1941, "Fleuret" was renamed "Foudroyant", "Épée" to "L'Adroit", "Le Corsaire" to "Siroco" and "Le Flibustier" to "Bison" to commemorate destroyers that had been sunk during the Battle of France. The 10 DT was assigned to the FHM on 1 November. When the Germans invaded Vichy France after the Allies invaded French North Africa in November 1942 and tried to seize the French fleet, all but one of the seaworthy destroyers were scuttled to prevent their capture. While the Vichy Navy made some effort to finish "Le Intrépide" or "Le Téméraire" after the armistice, they were only 20% and 15% complete when the Germans occupied Vichy France and they made no effort to finish them. The Germans turned the ships in Toulon over to the Italians shortly after occupying the city. "Bison", the only ship not scuttled, was still incomplete and was not completed by the Italians although they gave her the designation of "FR 35". "Mameluk", "Casque" and "L'Adroit" were the three ships assigned to the 10 DT on active duty. The latter was the only one of the trio to be salvaged as the work on the other two was interrupted by Allied bombing in 1944. "Lansquenet" was towed to Italy in April 1943 for completion as "FR34". "Sirocco" and "Le Hardi" were refloated in as April and June, redesignated as "FR32" and "FR37", respectively, and were towed to Italy a few months later. "L'Adroit", renamed "FR33" by the Italians and "Foudroyant", renamed "FR36", remained in Toulon after they were salvaged in April and May, respectively. All of the ships were captured by the Germans after the Italian armistice in September, but they only made an effort to repair or complete "Lansquenet" which they renamed as "TA34", reusing the designation of a torpedo boat that had been transferred to Croatia in 1944. She was scuttled in Genoa in May 1945, following "Le Hardi" in April and "Sirocco" in October 1944. "Foudroyant" was scuttled again by the Germans as a blockship in Toulon in August while "Bison" sank after a collision with a submarine in June. "L'Adroit" was sunk by Allied air raids in 1944. "Lansquenet" was salvaged in 1946 and towed back to Toulon in March 1946 where she was renamed "Cyclone". Never repaired or returned to service, she was stricken in 1958 and subsequently scrapped.

The "Le Hardi" class consisted of twelve destroyers () built for the (French Navy) during the late 1930s. Only seven ships were ultimately completed while construction of the remaining five ships was interrupted by the French defeat in the Battle of France in May–June 1940 and were never finished. The seven ships that were seaworthy sailed for French North Africa to prevent their capture by the advancing Germans. Several ships later sailed for French West Africa where played a minor role in the Battle of Dakar in September. The Germans captured two ships that were still under construction and attempted to finish them both before abandoning the effort in 1943.

La classe Hardi est une série de douze torpilleurs d'escadre de la marine nationale française mis sur cale à partir de 1936 et entrés en service en 1940. Huit seulement étaient achevés à l'armistice. Ils furent les derniers bâtiments de flottille de la marine nationale française mis en service au début de la Seconde Guerre mondiale.


Biography.

He was born at Segovia towards the end of the fourteenth century. In contemporary documents his name is "Ioannis de Segovia" and "Joannes Alfonsi" (Juan de Alfonso). Nothing is known of him before he took part in the Council of Basle, except that he was archdeacon at Villaviciosa, canon at Toledo, and professor of theology at the University of Salamanca.  In 1432 the University of Salamanca and King John II of Castile sent him as their representative to the Council of Basle, where he was one of the ablest defenders of the superiority of the council over the pope. At first he endeavoured to mitigate the conflict between the council and Pope Eugene IV, with whom he spent some time at Florence in 1435, but afterwards he became one of the chief supporters of the revolutionary party at the council. He took part in the twenty-eighth session (1 October 1437) at which Eugene IV was declared contumacious, and in the thirty-third session (16 May 1439) at which the pope was declared a heretic. In March, l439, John of Segovia represented the council at the Diet of Mainz.  After Eugene IV was deposed by the council on 25 June 1439, John of Segovia was appointed on the committee whose duty it was to select a number of theologians to elect the new pope. He was one of the thirty-three who on 5 November 1439, elected the antipope Felix V. In recognition for his services he was created cardinal by the antipope on 12 October 1440. He represented Felix V at the Parliament of Bourges in 1440, at the Diet of Mainz in 1441, and the Diet of Frankfurt in 1442.  At the end of the schism in 1449 he resigned the cardinalate, was appointed titular Bishop of Caesarea by Eugene IV, and retired to a monastery. John spent much of his retirement in Aiton advocating peaceful dialogue with the Islamic world and the translation of the Koran into Western languages, Castilian, with the assistance of an Islamic scholar: ʿĪsā ibn Jābir (عيسى بن جابر).  He died in 1458.

Writings.

His most important literary work is an extensive history of the Council of Basle, written 1449-1453.  His other works are:

John of Segovia, or in Spanish Juan de Segovia (c. 1395 – 24 May 1458), was a Castilian prelate and theologian. He played a prominent role in the Council of Basle and was in touch with the leading humanists of his day, such as Nicholas of Cusa. He spent the last years of his life in exile in Savoy, where he commissioned an accurate translation of the Koran into Spanish, which he then translated into Latin.

Juan de Segovia (en français Jean de Ségovie, en latin "Joannes de Segobia") (né vers 1395 à Ségovie en Espagne, et mort le à Aiton) est un pseudo-cardinal et un théologien espagnol du.


Relationship with other accounting terms.

The various deductions (and their corresponding metrics) leading from net sales to net income are as follows:

United States.

In United States income tax law, gross income serves as the starting point for determining Federal and state income tax of individuals, corporations, estates and trusts, whether resident or non-resident.  Under the U.S. Internal Revenue Code, "Except as otherwise provided" by law, gross income means "all income from whatever source derived," and is not limited to cash received. Federal tax regulations interpret this general rule. The amount of income recognized is generally the value received or the value which the taxpayer has a right to receive. Certain types of income are specifically excluded from gross income for tax purposes.  The time at which gross income becomes taxable is determined under Federal tax rules, which differ in some cases from financial accounting rules.

What is income.

Individuals, corporations, members of partnerships, estates, trusts, and their beneficiaries ("taxpayers") are subject to income tax in the United States. The amount on which tax is computed, taxable income, equals gross income less allowable tax deductions.  The Internal Revenue Code gives specific examples. The examples are not all inclusive. The term "income" is not defined in the statute or regulations. An early Supreme Court case stated, "Income may be defined as the gain derived from capital, from labor, or from both combined, provided it is understood to include profit gained through a sale or conversion of capital assets." The Court also held that the amount of gross income on disposition of property is the proceeds less the basis (usually, the acquisition cost) of the property.  Gross income is not limited to cash received. "It includes income realized in any form, whether money, property, or services."  Following are some of the things that are included in income:  Gifts and inheritances are not considered income to the recipient under U.S. law. However, gift or estate tax may be imposed on the donor or the estate of the decedent.

Year of inclusion.

A taxpayer must include Income as part of taxable income in the year recognized under the taxpayer's method of accounting. Generally, a taxpayer using the cash method of accounting (cash basis taxpayer) recognizes income when received. A taxpayer using the accrual method (accrual basis taxpayer) recognizes income when earned. Income is generally considered earned:

Amount of Income.

For a cash method taxpayer, the measure of income is generally the amount of money or fair market value of property received. For an accrual method taxpayer, it includes the amount the taxpayer has a right to receive.  Certain specific rules apply, including:  The value of goods or services received is included in income in barter transactions.

Exclusions from gross income: U.S. Federal income tax law.

The courts have given very broad meaning to the phrase "all income from whatever source derived," interpreting it to include all income unless a specific exclusion applies. Certain types of income are specifically excluded from gross income. These may be referred to as exempt income, exclusions, or tax exemptions. Among the more common excluded items are the following:  There are numerous other specific exclusions. Restrictions and specific definitions apply.  Some state rules provide for different inclusions and exclusions.

Source of income.

United States persons (including citizens, residents (whether U.S. citizens or aliens residing in the United States), and U.S. corporations) are generally subject to U.S. federal income tax on their worldwide income. Nonresident aliens are subject to U.S. federal income tax only on income from a U.S. business and certain income from United States sources. Source of income is determined based on the type of income. The source of compensation income is the place where the services giving rise to the income were performed. The source of certain income, such as dividends and interest, is based on location of the residence of the payor. The source of income from property is based on the location where the property is used. Significant additional rules apply.

Taxation of nonresident aliens.

Nonresident aliens are subject to regular income tax on income from a U.S. business or for services performed in the United States. Nonresident aliens are subject to a flat rate of U.S. income tax on certain enumerated types of U.S. source income, generally collected as a withholding tax. The rate of tax is 30% of the gross income, unless reduced by a tax treaty. Nonresident aliens are subject to U.S. federal income tax on some, but not all capital gains. Wages may be treated as effectively connected income, or may be subject to the flat 30% tax, depending on the facts and circumstances.

Further reading.

Standard US tax texts:  US IRS materials:  Scholarly Writing:

For households and individuals, gross income is the sum of all wages, salaries, profits, interest payments, rents, and other forms of earnings, before any deductions or taxes. It is opposed to net income, defined as the gross income minus taxes and other deductions (e.g., mandatory pension contributions).

L'excédent brut d'exploitation (EBE) d'une entreprise, également nommé bénéfice brut d'exploitation (, "GOS"), ou encore EBITDA), est un solde intermédiaire de gestion. Il correspond à la ressource d'exploitation (après paiement des cotisations sociales de personnel mais avant les dotations aux amortissements) dégagée au cours d'une période par l'activité principale de l'entreprise.


Gameplay.

The game is primarily controlled with buttons, but there are minigames that make use of the touch screen. Player controls the protagonist Jiro Musashi in arcade style gameplay; similar to the original 2D games. The game typically plays in a 2D sidescrolling fashion, using 3D graphics.

Plot.

The game's story begins in the year 1256, Kencho Era Japan, where the young Oboro Clan Leader Jiro Musashi (father of Joe Musashi, the main character from the original Arcade and Sega Genesis "Shinobi" games) is summoned to defend his home village from the ninja forces of Zeed. After battle, he is sent 800 years into the future, where Zeed now rules with an iron fist. Aided by Sarah, the leader of a local resistance, Jiro continues his battle against Zeed. As he battles on, he begins to uncover a deeper conspiracy (depending on the level of skill and difficulty), a secret mission is unlocked, revealing an ancient alien Orn that instigated the events in the Kamakura era, including the betrayal of Jiro's own teacher, in hopes of creating the most powerful Ninja army in space. After defeating Orn, the alien's spaceship explodes, and Jiro, protected by a Ninjutsu spell is last seen reentering the atmosphere. After landing on Earth, Jiro walks into the horizon, presumably to restart the Oboro Ninja Clan anew. The Timeline is altered so Joe Musashi doesn't exist in the 20th Century in this timeline.

Development.

The game was revealed in the May 2011 issue of "Nintendo Power". Sega originally planned to release the game in September 2011. However, due to slow 3DS hardware sales, they postponed the game until November of that year.

Reception.

"Shinobi 3D" has received mixed to positive reviews, receiving an aggregate score of 69 on Metacritic. "Destructoid" praised "Shinobi 3D" for having "tons" of content, but noted that the steep difficulty curve and lack of coherent narrative may turn off some players. "Official Nintendo Magazine" UK similarly stated, "Shinobi won't be to everyone's tastes since we're now in an age where games are expected to be easy enough for everyone," but said it should be enjoyed by players looking for a challenge. "GameSpot" praised the way the game reconciles difficulty with accessibility, remarking that the game makes only a few missteps in this, and calls "Shinobi 3D" "among the small number of quality games in the growing 3DS library worthy of a spot on your shelf." However, "GamesTM" was more critical of "Shinobi 3D", judging the "unsympathetic difficulty" of the game as "cheap and archaic within the context of plodding action." According to "Eurogamer": "to call this a bad game would be grossly unfair, but it's a truly unexceptional one. For a series like "Shinobi", that is dishonour enough."

Shinobi, known in Japan as Shinobi 3D, is a video game developed by Griptonite Games (a division of Foundation 9) and published by Sega as part of the "Shinobi" series, and was released worldwide in November 2011.

Shinobi est un jeu vidéo d'action développé par Griptonite Games et édité par Sega sur Nintendo 3DS. "Shinobi" est un grand classique du jeu d'action/plates-formes des années 1980 et 90.


Other versions.

One of Mingus's best-known compositions, Goodbye Pork Pie Hat became a jazz standard, recorded by other jazz and jazz fusion artists.  An early indication of the song's cross-genre appeal came in 1966, when it was recorded by the British folk guitar duo, Bert Jansch and John Renbourn. Rather than offering a tightly arranged collaboration between the two musicians, Jansch and Renbourn's rendition was recorded in hard stereo, with each guitarist offering a different interpretation of the tune. When Jansch and Renbourn formed Pentangle the next year, a group arrangement of the song became a fixture in their set, and a version recorded live at the Royal Festival Hall in London was released on "Sweet Child" in 1968. Though Pentangle included a lead vocalist and three of the four instrumentalists also sang, no attempt was made to add lyrics or scat. Renbourn returned to it again in 1985, this time with the American blues guitarist, Stefan Grossman.  It was recorded in 1970 by John McLaughlin, who used multi-tracked acoustic guitars. Like Renbourn with Pentangle and then Grossman, McLaughlin was also returning to the song – he had been involved in a live recording of the song in London in 1967, when he played guitar for the Mike Carr Trio. Jeff Beck (guitar) and Derek Sherinian (keyboards) offered interpretations. Bernie Worrell also offered a solo piano version on his 2013 album: "Elevation: The Upper Air".  Lyrics have been added on a number of occasions. Rahsaan Roland Kirk wrote lyrics for the song, which he included on his 1976 album, "The Return of the 5000 Lb. Man". Joni Mitchell did so on her album, "Mingus", in 1979. Kirk's lyrics were preferred to Mitchell's when the English folk singer, June Tabor, recorded it for an album of jazz standards released in 1989. Lyrics have also been added by Vin D'Onofrio (whose version was recorded by the Japanese singer and pianist, Chie Ayado) and by the American jazz artist Lauren Hooker. Hooker's lyrics differ radically from those in earlier versions in that they address the experience of domestic abuse, perpetrated by a man who wears a pork pie hat, rather than celebrating the life and music of Lester Young in the manner favored by Kirk and Mitchell.

Personnel.

"Mingus Ah Um" (1959) version

"Goodbye Pork Pie Hat" is a jazz instrumental composed by Charles Mingus, originally recorded by his sextet in 1959 and released on his album "Mingus Ah Um". It was subsequently released on his 1963 album, "Mingus Mingus Mingus Mingus Mingus" as "Theme for Lester Young" and 1977's "Three or Four Shades of Blues". Composed in E-flat minor, Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session and who was known for wearing unusually broad-brimmed pork pie hats. These were "busted down" by Young himself, from hats that might better be described as Homburgs, but which he only purchased in "Negro districts". This was since, according to an interview with Young in the November 1949 edition of Our World, "You can't get the right type in a 'gray' neighborhood".

Joni Mitchell a ajouté des paroles au morceau sur son album "Mingus" (1979). Ce morceau est devenu un standard de jazz.


Biography.

After completing undergraduate studies in chemistry and mathematics at James Madison University in Harrisonburg, Virginia, Angell spent a year as a Fulbright Scholar studying microbiology in Frankfurt, Germany. After receiving her M.D. from Boston University School of Medicine in 1967, Angell trained in both internal medicine and anatomic pathology and is a board-certified pathologist.  Angell is a frequent contributor to both medical journals and the popular media on a wide range of topics, particularly medical ethics, health policy, the nature of medical evidence, the interface of medicine and the law, and end-of-life healthcare. Her book, "Science on Trial: The Clash of Medical Evidence and the Law in the Breast Implant Case" (1996) received critical acclaim. With Stanley Robbins and, later, Vinay Kumar, she coauthored the first three editions of the textbook "Basic Pathology". She has written chapters in several books dealing with ethical issues in medicine and healthcare.  Angell is a member of the Association of American Physicians, the Institute of Medicine of the National Academy of Sciences, the Alpha Omega Alpha National Honor Medical Society, and is a Master of the American College of Physicians. She is also a fellow of the Committee for the Scientific Investigation of Claims of the Paranormal and is an outspoken critic of medical quackery and the promotion of alternative medicine.

"New England Journal of Medicine" tenure.

Angell joined the editorial staff of "The New England Journal of Medicine" (NEJM) in 1979. She became Executive Editor in 1988, and served as interim Editor-in-Chief from 1999 until June 2000. The NEJM is the oldest continuously published medical journal, and one of the most prestigious; Angell is the first woman to have served as Editor-in-Chief of the journal since it was founded in 1812.  In 1999, Jerome P. Kassirer, M.D. resigned as NEJM's Editor-in-Chief following a dispute with the journal's publisher, the Massachusetts Medical Society, over the Society's plan to use the journal's name to brand and market other sources of healthcare information. Angell agreed to serve as interim Editor-in-Chief until a permanent editor would be chosen. She reached an agreement with the society that the Editor-in-Chief would have authority over usage of the journal's name and logo, and that the journal's name would not be used on other products. Angell was a finalist for the permanent post of Editor-in-Chief, but withdrew as a candidate explaining she was retiring to write a book on alternative medicine. Angell retired from the journal in June 2000 and was replaced by Jeffrey Drazen, M.D.

Positions.

Critic of conflicts of interest and biases in the medical establishment.

In her 2009 article "Drug Companies & Doctors: A Story of Corruption", published in The New York Review of Books magazine, Angell wrote :

Critic of the Food and Drug Administration.

Commenting on the 1992 Prescription Drug User Fee Act which allowed the Food and Drug Administration (FDA) to collect fees from drug manufacturers to fund the new drug approval process, Angell has stated :

Critic of U.S. healthcare system.

Angell has long been a critic of the U.S. healthcare system. The American healthcare system is in serious crisis, she stated in a 2000 PBS special: "If we had set out to design the worst system that we could imagine, we couldn't have imagined one as bad as we have." In the PBS interview, she urges the nation to scrap its failing healthcare system and start over:

Critic of the pharmaceutical industry.

Angell is a critic of the pharmaceutical industry. With Arnold S. Relman, she argues, "The few drugs that are truly innovative have usually been based on taxpayer-supported research done in nonprofit academic medical centers or at the National Institutes of Health. In fact, many drugs now sold by drug companies were licensed to them by academic medical centers or small biotechnology companies." The pharmaceutical industry estimates that each new drug costs them $800 million to develop and bring to market, but Angell and Relman estimate the cost to them is actually closer to $100 million. Angell is the author of "The Truth About the Drug Companies: How They Deceive Us and What to Do About It".  In her 2004 article "The Truth About the Drug Companies", published in "The New York Review of Books", Angell wrote :  Richard Friedman, director of the psychopharmacology clinic at Weill Cornell Medical College, and a regular contributor to the New York Times science pages, criticized Angell's views as unbalanced. "Dr. Angell is now doing pretty much the same thing the industry she assails has done, just the converse. Pharma withheld the bad news about its drugs and touted the positive results; Dr. Angell ignores positive data that conflicts with her cherished theory and reports the negative results.”

Thoughts on alternative medicine.

Marcia Angell is also a critic of the current categorization of alternative medicine. In a 1998 NEJM editorial she wrote with Jerome Kassirer, they argued:

Awards and honors.

In 1997, "Time magazine" named Marcia Angell one of the 25 most influential Americans for that year.

Marcia Angell (; born April 20, 1939) is an American physician, author, and the first woman to serve as editor-in-chief of the "New England Journal of Medicine". She is currently a Senior Lecturer in the Department of Global Health and Social Medicine at Harvard Medical School in Boston, Massachusetts.

Marcia Angell (née en 1939) est une femme-médecin et une éditrice médicale américaine. Elle est la première femme à occuper le poste d'éditeur en chef de la revue médicale "The New England Journal of Medicine" (NEJM). En 2011, elle occupe le poste de professeure en médecine sociale au "Department of Social Medicine" du "Harvard Medical School" à Boston au Massachusetts.


Early life and education.

Frelinghuysen was born in Millstone, New Jersey, to Frederick Frelinghuysen (1788–1820) and Mary Dumont. His father died when he was just three years old, and he was adopted by his uncle, Theodore Frelinghuysen (1787–1862).  His grandfather, Frederick Frelinghuysen (1753–1804), was an eminent lawyer, one of the framers of the first New Jersey Constitution, a soldier in the American Revolutionary War, a member (1778–1779 and 1782–1783) of the Continental Congress from New Jersey, and from 1793 to 1796 a member of the United States Senate.  His uncle, Theodore Frelinghuysen, was Attorney General of New Jersey from 1817 to 1829, was a U.S. Senator from New Jersey from 1829 to 1835, was the Whig candidate for Vice President of the United States on the Henry Clay ticket in the 1844 Presidential election, and was Chancellor of New York University from 1839 until 1850 and president of Rutgers College from 1850 to 1862.  Frelinghuysen graduated from Rutgers College in 1836, and studied law in Newark with his uncle, to whose practice he succeeded in 1839, after he was admitted to the bar.

Career.

Following his admission to the bar, he became attorney for the Central Railroad of New Jersey, the Morris Canal and Banking Company and other corporations.

Political career.

Frelinghuysen was a delegate to the 1860 Republican National Convention from New Jersey and from 1861 to 1867 was Attorney General of New Jersey. He was a delegate to the Peace conference of 1861 in Washington, and in 1866 was appointed by the Governor of New Jersey, as a Republican, to fill a vacancy in the United States Senate. In the winter of 1867, he was elected to fill the unexpired term, but a Democratic majority in the New Jersey Legislature prevented his re-election in 1869.  In 1870, he was nominated by President Ulysses S. Grant, and confirmed by the Senate, as United States Ambassador to the United Kingdom to succeed John Lothrop Motley, but declined the mission. From 1871 to 1877 he was again a member of the United States Senate, in which he was prominent in debate and in committee work, and was chairman of the U.S. Senate Committee on Foreign Affairs during the Alabama Claims negotiations.  He was a strong opponent of the Reconstruction measures of President Andrew Johnson, for whose conviction he voted (on most of the specific charges) in the impeachment trial. He was a member of the joint committee which drew up and reported (1877) the Electoral Commission Bill, and subsequently served as a member of the Electoral Commission that decided the 1876 Presidential election. As a Republican, he voted with the eight-member majority on all counts.

U.S. Secretary of State.

On December 12, 1881, he was appointed United States Secretary of State by President Chester A. Arthur to succeed James G. Blaine, and served until the inauguration of President Grover Cleveland in 1885.  After his term as Secretary of State Frelinghuysen returned to his home in Newark where he died less than three months after retiring.

Marriage and children.

On January 25, 1842, Frelinghuysen married Matilda Elizabeth Griswold (1817–1889). She was the daughter of George Griswold, a merchant in New York City who "made an immense fortune in the time of the clipper trade with China." Together, they were the parents of three daughters and three sons, including:  Frelinghuysen died at Newark on May 20, 1885, aged 67. He was buried at Mount Pleasant Cemetery, Newark. His widow died a few years later in February 1889.

Descendants.

Through his eldest son Frederick, he was the grandfather of George Griswold Frelinghuysen II, who married Anne de Smolianinof; Estelle C. "Suzy" Frelinghuysen, who married fellow painter George Lovett Kingsland Morris; Frederick Frelinghuysen; Thomas Frelinghuysen; and Theodore Frelinghuysen.  Through his daughter Sarah and granddaughter Mathilda Elizabeth Frelinghuysen (née Davis) Lodge (1876–1960), who married George Cabot Lodge, he was the great-grandfather of Henry Cabot Lodge Jr. (1902–1985), the diplomat and United States Senator from Massachusetts, and John Davis Lodge (1903–1985), also a diplomat, U.S. Representative, and Governor of Connecticut.

References.

Notes Sources

External links.

Frederick Theodore Frelinghuysen (August 4, 1817May 20, 1885) was an American lawyer and politician from New Jersey who served as a U.S. Senator and later as United States Secretary of State under President Chester A. Arthur.

Frederick Theodore Frelinghuysen, né le à et mort le Newark (New Jersey), est un avocat et homme politique américain. Membre du Parti républicain, il est sénateur du New Jersey entre 1866 et 1869 puis entre 1871 et 1877, et secrétaire d'État des États-Unis entre 1881 et 1885 dans l'administration du président Chester A. Arthur.


Employment methods.

Mobile billboard.

Advertising can be carried on the envelope or livery of the aircraft, or in the case of balloons the envelope can be constructed into a specific shape to advertise a product.  Sky Sign Inc. created, patented and holds various STC's for their aerial LED based signs. These signs attach to rotorcraft and fixed wing aircraft.

Banner towing.

Banner Towing is a form of Skywriting where a banner is towed or dragged behind an aircraft.  The banner itself can be of three types:

Standard Letters.

Banners using Standard Letters consist of a series of either 5 foot high or 7 foot high letters connected together by joints designed for interchangeability. Standard Letters have been the predominant form of Banner towing for the past decades.  7 foot letters have the advantage of greater readability over a long distance, but incur a large drag penalty on the towing aircraft. 5 foot letters, on the other hand, trade off some readability for the ability of the towing aircraft to tow longer messages.  A typical light aircraft is able to tow 25 7-foot letters or 35 5-foot letters.  Advantages of standard letters are readability over a large distance and flexibility. The letters being prefabricated means they can be made into messages with very short notice and can be changed easily after each flight.

Aerial Billboards.

Aerial Billboards are a relatively new form of Banner Towing. They usually consist of a large area of nylon cloth and are similar in weight to a spinnaker on a sailing boat. This blank canvas allows vivid pictures to be digitally printed and towed either behind an aircraft or below a helicopter.  Helicopter Billboards tend to be square in shape to prevent the top corner sagging and becoming unreadable.  Aircraft towed Billboards tend to be rectangular; usually 1 high to 3 long but sizes of 1 high to 4 long are becoming the norm.  the main advantage of Aerial Billboards is their visual impact. When banner towing using helicopters, they are much better suited for that use than standard letters are. The disadvantages of Aerial Billboards are that once painted or printed they cannot be changed as quickly or easily as Standard Letters. Additionally, they take considerably longer to produce than Standard Letters.

Logo Banners.

This form of Banner Towing combines Aerial Billboards with Standard Letters to produce a banner that incorporates both types, bringing the "blank canvas" of aerial billboards together with the flexibility of standard letters. Commonly, An intermediate sized area of nylon cloth is placed at the front of a banner which is then followed by Standard Letters.  This technique is most often used to advertise a brand, but can also be used as a marriage proposal or party invitation.

Flogos.

Flogos (portmanteau of "floating“ and "logos“) are customizable motifs made out of a stable mass of lighter-than-air soap-based bubbles formed into a specific shape. They are a type of "foam balloon" suitable for both outdoor and indoor use, and float in the air once released. They are produced by specialized mobile machines which first combine a patented foam fluid with water and helium to make the foam. The generated foam then gets pressed through a stencil which will determine its individual shape. The machines which produce Flogos are produced and sold by Global Special Effects, who also own the Flogos name and specific concept. Flogos are often customized to suit needs and can be any number of shapes, logos, symbols, letters, and words, which is the reason why they are often linked to aerial advertising, or "Skyvertising".

Sky-writing.

Sky-writing by fixed-wing aircraft, combined with the use of a vapor projector, remains popular with major advertisers. It is most effective in brand awareness with short, dramatic messages and occasionally for "spectaculars" such as marriage proposals. The practice of sky-writing is known to be one of the safest forms of flying, as it is only done in clear skies with smooth air (winds can be strong but smooth) and usually in controlled airspace, where radar separation is provided between planes.

Type of aircraft used.

Aerostats.

Aerostats are effective carriers of mobile billboards due to their slow speed, long loiter time and inexpensive fuel costs. The first British airship, built by Stanley Spencer in 1902, was funded by an advertisement for baby food carried on its envelope.  Research from the United States suggests that the direct cost of balloon advertising "per thousand opportunities to see" is lower than for newspapers, posters, radio or television.

Fixed-wing aircraft.

The most common type of fixed-wing aircraft used for mobile billboards and aerial advertising are single reciprocating engine aircraft, such as converted crop dusters. While on the ground, operators attach a grapple hook and a towline to the rear of the aircraft. Once in flight, the operator comes back and links the grapple hook to the banner, billboard, or streamer while in flight. The wind resistance created during the natural course of flight causes the banner to stream out behind the aircraft, allowing it to be easily seen by those nearby.  Because of the relatively low speed and altitude ceiling of propeller aircraft, this type is generally favored for the deployment of mobile billboards when fixed-wing aircraft are used. All metropolitan areas in the U.S. can be serviced except New York City and Washington, D.C. which have restricted airspace.  In the 1950s banner-towing started to become widely used as a cost-effective way of bringing a message to the attention of targeted groups of people. There were very few restrictions, the airspace was not nearly as tightly regulated as today. VFR traffic, meaning aircraft navigating solely by visual reference, could even fly into some major airports without using two-way radio, using special air corridors and getting landing-, take-off and taxi instructions by coloured light signals using an "Aldis" lamp from the control tower.  The Dutch charter airline Martinair, now part of the air-cargo arm of KLM Royal Dutch Airlines, was founded in the 1950s by Martin Schroeder, a former Dutch Air force pilot, as a company using tethered balloons and banners. The towing aircraft used were DH 82a Tiger Moth, written off as primary trainers, and the occasional Auster. The company later set up an air charter operation at Amsterdam-Schiphol Airport. The first aircraft were a Cessna 172 (PH-MAF) and a De Havilland Dove. Later expansion followed and the company split into the charter company, called "Martin's Air Charter", later Martinair and the light aircraft division, called "Luchtreclame Nederland" based at Hilversum Aerodrome. It was later renamed "Reclamair", moved to Lelystad in the 1970s and expanded into a flying school and restaurant.  The previous is to illustrate that aerial advertising was big business then, and could grow into a much bigger operation. A parallel can be found in Germany, where a banner-towing company grew into a much larger operation. At Essen-Muelheim a company called "Westdeutsche Luftwerbung Theodor Wuellenkemper KG" became "WDL Flugdienst" with main operations based at Cologne-Bonn.  The aircraft: Although there are various types of aircraft suitable for banner-towing they have to have stable flying characteristics, sufficient power to overcome the substantial drag created by a banner streaming behind the aircraft and they must be equipped with a quick-release hook at the tail. Needless to say, they must be approved for towing operations by the civil aviation authorities. In the 1950s Tiger Moths were cheap and dominated the scene in the Netherlands, but the occasional surviving Fieseler Storch was also very suitable. These aircraft now are priceless classics. Current types are Piper PA18 Super Cub, Vilga, Cessna 172 and other like Morane-Saulnier Rallye, Aeronca Champion, etc. Often these aircraft, when not in use for banner-towing, are used for towing gliders. Some crop dusters are equipped with a hook for towing operations. Nowadays we find that many are turboprop, or diesel powered. Even a twin-engine Dornier D28 has been seen towing a banner. For towing, a grapple hook is attached. Mostly it is in the pilot's lap for take-off. It will be thrown out and door or canopy closed. The Super Cub door has a top and bottom half and the pilot could close it after take-off. The C172 door hinges forward. The pilot has to throw the grapnel out of the window, but the 172 often has a second quick-release under the belly. The hook is attached and released after getting airborne. If the pilot makes a mistake, (s)he will only have a line trailing from the aircraft with the grapple hanging under the belly. The only solution is to land, rectify it and take off again, hoping not too many spectators will have noticed.  The grapple (or grapnel) resembles a three-pronged anchor. But the prongs are rounded and bent back towards the stock. A subtle but very important detail: It will prevent the grapple digging into the ground in the event that the aircraft makes its run-in a bit low. And it will also reduce the risk of the loop, about which later, slipping off.  For the pick-up, the banner will be spread on the ground. There are two main types: One, a large poster. Not seldom 3 or 4 metres square. Often sewn by professional sail makers using pieces of parachute- or spinnaker nylon in different colours. They may represent a tube of toothpaste, a bottle, a company logo. Expensive to manufacture, they are mainly used for long-term contracts. The other type, more often used, is a text, a streamer as a rule made up of interchangeable letters, mainly black and sometimes red if emphasis is required.  The various components are: a line with grapple hook as mentioned, a loop attached to a long line, a parachute, a front boom, the actual streamer with the text or visual message and a stabilizing piece of webbing at the end. The stabilizer is necessary for two reasons: the end of the banner tends to flap or wave, making the last bit of the message difficult to read. It also wears more quickly so that the stabilizer also has a sacrificial function, as a piece of webbing is cheaper to replace.  The standard text consists of individual, detachable letters. A ground crew will assemble it beforehand. The standard height usually is in the order of 5 feet. A compromise because too large means a smaller text - limited by the aircraft manufacturers and copper-fasted by the CAA - and too small means that it will become difficult to read from the ground. Since they are used and re-used they normally are open-type making them stand out against the sky. A white background can get dirty over time. The letters are sown on parallel lines of thin, strong nylon rope. At the front of each letter is a rod of thin, strong and supple steel. The nylon lines at the front are fitted with wooden pegs, at the end the open lines have loops. When assembling a text, the letters are checked for integrity as they come out of storage and laid out on the ground to form the message. When everything is found to be in order, no pegs missing, no wires broken, no tears and the actual text correct without spelling mistakes the letters will be assembled and the webbing at the end attached, as well as a front boom. This is a strong metal rod with loops at the end. There usually are three lines to the actual towing line. The top one is shortest so that the center of gravity will be below the center of the boom. This to ensure that the message will hang vertical. In addition, often the bottom will be fitted with a weight.  If, for whatever reason, the aircraft loses the banner or has to jettison it in an emergency, the front boom will tend to fall straight down. For this reason, a parachute is added. Care must be taken of course that it will stream closed in normal flight; if attached the wrong way around it will cause a very high drag.  The banner will now be rolled up, brought to the pick-up point, usually in the grass along the runway and unrolled. Again, it will have to be checked. If one of the lines catches and loops itself around one of the rods, the tension not only may result in damage, but also will cause the banner not to hang straight, even twist and roll in the airstream during flight and the message will be unreadable.  To the parachute will be attached a tow line and a loop. This loop is draped over two poles, upright in the ground, Sometimes over forks at the top, other operators use a bit of tubing, split to hold the loop just enough so that it will stay up without slipping off at the critical moment. The lines, typically, are in the order of 30 – 50 feet in length. If there are two aircraft flying in formation, the second one will be fitted with two lines. The second banner will trail further behind the towing aircraft and the texts will not overlap.  The position of the poles at the pick-up point can be marked to make them as visible as possible to the pilot. Traffic cones or other markers like a brightly colored cloth held down with a few stones, or pegs, can be useful. An operator will be positioned who can view the approaching aircraft and give instructions, either using bats or via a portable VHF radio. The banner will be laid out away from the poles against the wind direction. Seen from the cockpit, the pilot will see the banner lying behind the poles; having said that, the large square posters are often laid beside the poles. Their construction will causing less risk of friction over the surface than the open and much longer standard banner.  The pilot, having released the grapple, approaches the pick-up point parallel to the runway in a long, very shallow descent. The speed will differ according to the type of aircraft. For the Super Cub, it will typically be 60 mph with one notch of flap extended. In a strong wind, the speed can be 10 mph higher. Over the poles, at a signal from the batsman, (s)he will initiate a steep climb, full power, until a jolt confirms that the grapnel has engaged and the banner is lifted off the ground. At this point, the banner will quite literally "peel" off the surface without dragging. The sudden increase in drag will cause the aircraft to decelerate to below stall speed. The curved flight path will allow this to happen. The pilot will slam the controls forward. Once the banner has lifted off, the aircraft will regain flying speed instantly. It will not be more than about 200 feet off the ground at this time.  Cruising speed with a banner usually is at 45-50 mph. The banner will stabilize the aircraft. In flight, the PA18 will need about 2000- 2100 rpm. More power will cause a very high increase in drag (for you, pilots: remember 1/2 rho vee square?), a corresponding increase in fuel burn and a gain of perhaps no more than 1 or two mph extra airspeed.  The aircraft will cruise, maintaining the flap setting. Again: two reasons. It reduces the stall speed, but it also allows a slightly less nose-up attitude. Meaning: a cooler engine.  When the mission is completed, the pilot will return to drop the banner before landing. The drop will be more accurate at as low an altitude as possible. If there is little or no wind, the pilot will fly over the drop-off position - usually the area where the pick-up took place - and pull the release. The banner will fall to the ground, the parachute will open to control the fall of the pole and the aircraft will join the traffic pattern for landing.  If there is a strong wind, the pilot may decide to drop at low altitude from a shallow dive. The dive will ensure that the banner, in cruise a few feet lower than the aircraft, will not prematurely touch down. If that happens, a weak link should disconnect the banner from the towing line. If that fails: the Super Cub may end up with the wheels touching the wings as the result of a (very) hard landing.  Banner towing has the reputation of being dangerous. In fact, if the pilot takes precautions it is not. The most important precaution is never, ever, to assume that the banner has failed to engage and start a turn to come back for another run - at very low level - too early. With the airspeed suddenly dropping off the clock in a (tight) turn, the banner will not stabilize it and the aircraft will enter a spin from which recovery is not possible. This is the phase of flight that has led to some banner towing pilots losing their lives.  On 6th May 2010 British politician Nigel Farage was a passenger in a single engine light aircraft which crashed whilst towing an election banner. The pilot of the aircraft, a PZL-104 Wilga 35A, had made several attempts to hook the banner from the ground poles and when he finally did there was evidence that the banner towline had wrapped itself around the tailplane elevator. The towline wrap caused the pilot to be unable to control the aircraft and when he attempted to execute an emergency landing the plane, still towing the banner, it crashed landed, the engine broke away and the nose dug in causing the plane to flip over. Both pilot and Farage were seriously injured but recovered in hospital.  When coming in too low for the pick-up run, there is a risk that the banner is picked up with the wheels. Especially a tail dragger can be pulled upside-down when landing with the banner. One German operator carried a knife with an extra long handle in every Super Cub, so that the pilot could cut it loose. If not, the best technique is to come in to land approaching slightly high, making certain that the aircraft, at the lowest possible speed, will touch before the banner.  With experience, many pilots found that the best way to pick up is not to make the run-in at the height where the ground crew would see the grapple just above the ground.  Any turbulence would cause a swing and also could cause the hook to touch the ground. If that happened just before the poles, the grapple would bounce off and over the loop. The best way was to make the approach in a steady, very gentle dive. The pull-up could be initiated about 30 yards or so before the poles. Even if the grapple would be above the actual loop, the pull-up still would result in a decrease in airspeed which, in turn, would allow the momentum of the grapnel to swing a bit lower and engage. By that time, the aircraft would be in a much more gentle climb, already well above the poles and the stall at the top would also be much more under control.  Banner towing is no longer practiced as intensively as in the seventies, probably it's European heyday. Stricter rules and regulations, especially when flying over urban centers and large assemblies, higher minimum altitudes, in some areas raised from 1000 feet to 2000, which reduces the legibility and impact. Low-flying aircraft are also perceived as a nuisance factor, perceived or real, but all have led to a decline in banner towing activities. In some countries, of course, the climate is not always reliable and the factual occurrence of banner-towing aircraft being caught out in IMC (weather conditions that make flight on instruments necessary if not outright mandatory), all have resulted in banner-towing becoming, if not a thing of the past, certainly becoming a much rarer form of advertising.

Drones.

The growing popularity of consumer-grade and industry-grade unmanned aerial vehicles (particularly, quadcopter drones) led several companies to consider the opportunities of commercial application of such devices. For instance, Google and Amazon have plans of using drones as means of delivery, while the Coca-Cola Company, Lakemaid Beer, Paramount Pictures, and Wokker have already used them in a number of advertising campaigns. The cases of advertising-related application include the distribution of branded products, as well as drones carrying banners.

Rotorcraft aircraft.

Helicopters are capable of towing very large flags, typically made by joining together many rows of printed fabric to create one image. Typical sizes of these banners are 20,000 sq/ft, making them visible for greater distances due to their scale compared to plane banners.  Sean Herbert from Australia invented the helicopter banner system in 1993 and got it approved in 1999. It incorporated a weight bag release system that is sewn into the leading edge of the banner, allowing them to fly over populated areas. The system was later improved by Ryan Osbourne (also of Australia) and incorporated video projection technology to display video upon the banners. notably achieving a world record for MTV over the skies of New York.

Kite systems.

For centuries kite systems have been employed to fly advertisements. Messages have been on wing covers as well as hung on the tether set of the kite systems. Logos, greetings, purchased advertising messages, political messages, religions celebration symbols, event-marking art, promotional phrases, and flags are frequently flown by kites. Advertising by kites is one of the many kite applications. William A. Eddy was an early pioneer in using kites for advertising.

Parasailing.

Parasailing companies make custom banners suitable for towing by the same parachute that would otherwise tow a person. This form of aerial advertising is effective along beaches.

Effectiveness.

Modern proponents of aerial advertising hold the position that it is a cost-effective method to reach otherwise isolated pockets of consumers (such as people stuck in rush-hour traffic, or at the beach, where advertising tends to be limited). Aerial advertisements, according to the service providers, give a company the opportunity to target specific customers based on their geographical location and related demographics. The benefits of aerial advertising, banner towing in particular, include a high recall rate and increased engagement with a brand through social media.  Detractors of aerial advertising maintain it has a highly limited and ineffective scope in the age of the internet. In particular, they state that the use of aircraft near two major metropolitan regions (NYC and D.C.) tends to be tightly regulated and restricted, and that, at least in the U.S., the use of aerial advertisement over sporting events with 30,000 or more in attendance is prohibited. Aerial advertising planes do fly before the events over the masses of tailgaters. A 2003 article by the Associated Press reports that aerial advertisement companies had lost a preliminary injunction against new federal security regulations, and all data indicate that the use of civilian fixed-wing aircraft over sporting events in the U.S. is forbidden.  Studies by advertisers have shown that mobile billboards carried by aircraft have a limited local exposure but a high consumer recall and retention rate— in other words, customers who see the ad tend to recall the message or product being displayed at a higher rate than with most other forms of advertising, but the region where the advertisement is displayed is limited to the flight path of the aircraft. The reason for this higher retention rate is unclear, but it can be postulated that it is due to the relatively unusual method in which the advertisement is displayed; the novelty of seeing a message in an unfamiliar way helps consumers to remember the message. Viral marketing and stealth marketing are excellent examples of this idea put to work in the modern day.

Risks.

There are some inherent dangers involved in the operation of low-altitude manned aircraft. Most of the fixed-wing aerial advertisement accidents that have occurred in the U.S. have been determined by the United States Federal Aviation Administration to be the result of just a few basic causes:  Some of the specific areas of danger include grapple hook deployment errors, and banner pickup errors. If the grapple hook is not released in a satisfactory manner, it can snarl on the tailwheel or in the landing gear itself, fouling the landing and causing an improper landing or a crash event. Once the grapple hook is deployed, the aircraft must approach the banner pickup in a descent using the energy of the shallow dive, and then rotate with application of full power to pick up the banner. However, safety reasons may lead local authorities to consider banning some forms of aerial advertising in populated areas.

Risk mitigation.

Modern companies have employed a new, patented, methodology of banner towing that greatly reduces the risks associated with the older, grappling hook method. With the new take-off technique, the pilot no longer has to pick up the banner in the tow hook - a time-consuming and technically demanding manoeuvre. Instead, the pilot can take the banner, already set up for towing, directly from the hangar across the taxiway to the airstrip, and then carry out a normal take-off.  A technical innovation makes the ground start possible. Wheels are mounted on both sides of the banner tube system, so the front part of the banner runs on rollers. This counteracts the effect which would otherwise be created between the banner and the ground over which it is towed, sucking the banner downwards.

Aerial advertising is a form of advertising that incorporates the use of flogos, manned aircraft, or drones to create, transport, or display, advertising media. The media can be "static", such as a banner, logo, lighted sign or sponsorship branding. It can also be "dynamic", such as animated lighted signage, skywriting, or audio.

La publicité aérienne est une forme de publicité employant des supports de communication visuelle aériens comme : flancs d'avion ou de dirigeable, banderole, nuages de fumée, signaux lumineux, etc.


Background.

Born in Ann Arbor, Michigan and currently based in Montreal, Quebec Stetson started taking lessons at age 15. He attended the University of Michigan School of Music with a full scholarship, where he joined Transmission Trio. He also played with the groups Boostamonte and the People's Bizarre.  Stetson has performed and recorded with dozens of artists, including Tom Waits, Arcade Fire, TV on the Radio, Feist, Bon Iver, Laurie Anderson, Lou Reed, Sinéad O'Connor, The National, Godspeed You! Black Emperor, BADBADNOTGOOD, Fink, Animal Collective, LCD Soundsystem, Hamid Drake, David Byrne, Bill Laswell, Evan Parker, Jolie Holland, The Chemical Brothers, Shahzad Ismaily, My Brightest Diamond, Angélique Kidjo, Kevin Devine, David Gilmour, Anthony Braxton, and Beanie Burnett.  His extended saxophone techniques cover advanced circular breathing, multiphonics, altissimo, microtones, (reed) vocalizations, percussive valve-work, clicking keys, and growling. The overall effect led "The New Yorker" film critic Anthony Lane to describe Stetson's score to the film Hereditary as having been seemingly "scored for violins, percussion, a humpback whale, and bats."

Solo career.

His first solo album, "New History Warfare, Vol. 1", was released in 2008. His second and third albums, " and," were released by Constellation Records in early 2011. On June 16, the album was named as a longlisted nominee (one of 40) for the 2011 Polaris Music Prize. On July 6, the album was named as a shortlisted (one of 10) nominee for the 2011 award. Stetson was chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in December 2011 in Minehead, England. The final album of the trilogy, "", was released by Constellation Records in April 2013, and was a longlist nominee for the 2013 Polaris Music Prize.  April 2015 saw the release of "Never Were the Way She Was", the first recording of Stetson's duo project with long-time collaborator Sarah Neufeld.  Stetson's album "All This I Do for Glory" was released on April 28, 2017.

Soundtrack.

While his recordings have been featured in numerous films and TV episodes, he has also produced original scores for a wide variety of films, where he has utilized a rich amalgam of his signature sonic characteristics, enhanced by various arrangement and instrumentation, orchestral and otherwise.

Discography.

As sideman.

With Tom Waits  With Arcade Fire  With TV on the Radio  With Jolie Holland  With Feist  With Esmerine  With Timber Timbre  With Bon Iver  With David Gilmour  With BADBADNOTGOOD  With Animal Collective  With Sarah Neufeld  With Marcus Hamblett

Colin Stetson (born March 3, 1975) is a Canadian-American saxophonist, multireedist, and composer based in Montreal. He is best known as a regular collaborator of the indie rock acts Arcade Fire, Bon Iver, Bell Orchestre, and Ex Eye. In addition to saxophone, he plays clarinet, bass clarinet, French horn, flute, and cornet.

Colin Stetson est un joueur de saxophone basse américain. Né à Ann Arbor, Michigan, il réside actuellement à Montréal, Québec, et est hébergé par le label Constellation Records. Il joue également de la clarinette, de la clarinette basse, du cor, de la flute et du cornet à pistons. Il s’est fait connaître par ses prestations uniques sur les scènes jazz et rock et a notamment tourné pour Arcade Fire, Bell Orchestre et Bon Iver. Sa maîtrise de la respiration circulaire grâce à laquelle il peut souffler plusieurs minutes en continu, combinée à un jeu de percussion sur les touches de son instrument et à une capacité à produire une ligne mélodique avec sa voix, lui permet de produire une palette de sons totalement nouveaux.


Development of the Decca Tree.

The Decca Tree setup evolved from the idea of a minimal recording technique using a pair of microphones. The first system was developed by Roy Wallace. The microphone triangle was placed about 3 to 3.6 m high above the stage level, near the conductor.  The microphone system is not properly in front of the orchestra, but more "into" the orchestra. Two more microphones can be added and placed on the sides, approximately at about 2/3 of the stage width, between the conductor and the outer orchestra boundary.

Setup.

A Decca Tree setup uses three omnidirectional microphones arranged in a "T" pattern outlining a triangle, often equilateral; the center microphone is mixed with the two spaced microphones to fill the "hole in the middle" in their imaging; it points the sound source. The placement can be done with three separate microphone stands or using one or more bars. In contrast to the ORTF stereo technique, the Decca Tree size is not fixed and may vary considerably; distances between the two back microphones are seen between 0.6 and 1.2 m; the front microphone is set proportionally and can be mounted slightly lower than the outside pair. The recording engineer arbitrarily adjusts these dimensions accordingly to the size of the ensemble, the dimensions of the room and the type of music. Microphone manufacturer Schoeps advises to put the three microphones at least 1.5 m apart to reduce crosstalk and excessive correlation at low frequencies (for example, setting the microphone width to 2 m and the depth to 1.5 m).  Former Decca engineer John Pellowe describes the specifics of the setup as follows:  Well, we used to have a thing called a Decca tree which was an arrangement where [at] the front edge of an orchestra about 3.2 metres up in the sky you would have a centre microphone roughly in line with the edge of the orchestra, and then maybe 2.5 feet back and 5 feet apart you would have 2 more forming a triangle, omnidirectional microphones. These were Neumann [m50’s] I’m talking about. [...]  The centre microphone would be looking right into the centre of the strings in front of the conductor. You would have the conductor out front, then there would be a couple of desks of strings before you get to the woodwinds, and we would be looking right into the centre of those strings with that microphone. Then we would have the [rear] two, the left and right [mics on the] tree, which would again be looking right into the first violins and the celli, if that was the way the orchestra was set out, and then we would have a couple of outriggers which were maybe twenty feet apart 3.2 metres high again, 10 foot 6, and they again would be omnidirectional [...] 5 feet away from the edge of the orchestra 10’6” high looking down into the strings. [...] It was a very controversial method of recording, because when you have that many spaced omnidirectional microphones you lose a lot of the directional cues, which is absolutely right, the way that we would deal with that was we would pan the left and right tree half left and half right, and the outrigger mics we would pan hard left and right and we would paint an artificial stereo image. [...] The reason we did this and consistently did it and got away with it and got wonderful reviews and many many awards was simply that the localisation cues were missing, but the sound was fantastic.  The reason that the Decca system survived as long as it did was that it was comparatively adaptable to different acoustic spaces. It was comparatively easy to auto-balance it and you didn’t have to fiddle with it much, generally speaking in order to make it reliable.  The Decca Tree was originally used in orchestral situations, fitted on a tall boom and suspended in the air, roughly above the conductor.

Microphones.

The technique traditionally uses three omnidirectional microphones, traditionally of the Neumann M 50 small-diaphragm pressure transducer tube condenser type, to record in stereo. These microphones are not truly omnidirectional at the higher frequencies, but exhibit some high frequency lift and directionality which is likely to positively affect stereo imaging of the Decca Tree arrangement. Variations have been performed using a coincident pair, in,, or Blumlein positioning, in place of the center microphone. The Neumann M 49, KM 53, and KM 56 were also evaluated and used for early sessions by the Decca team, and later the Schoeps MK 2S were used by the team for live productions where the M 50 proved too cumbersome.

Applications.

The Decca Tree is a stereo miking technique often used in large orchestral or choir performances, but it can also be used as a room miking technique. When used for room miking of drums, its wide stereo image captures the nuances of bigger environments better than most other techniques. In smaller rooms however, the Decca Tree does not work as well.  Ron Streicher, author of "The Decca Tree — It's not just for stereo any more" has also described methods for employing a Decca Tree for surround recording. He utilizes a SoundField MK-V for the center, a pair of Schoeps MK 21 sub-cardioid condensers for the left and right, and a pair of Schoeps MK 41 hypercardioid condensers for the left and right surrounds. The MK-V affords a number of possibilities to the Decca Tree, as it is a four-element transducer that can be decoded into 5.1 and 7.1 sound fields on its own, using the SoundField SP451.

The Decca Tree is a spaced microphone array most commonly used for orchestral recording. It was originally developed as a sort of stereo A–B recording method adding a center fill. The technique was developed in the early 1950s and first commercially used in 1954 by Arthur Haddy, Roy Wallace, and later refined by engineer Kenneth Ernest Wilkinson and his team at Decca Records, to provide a strong stereo image.

Le Decca Tree est un système composé de trois microphones omnidirectionnels espacés. Il est utilisé principalement et historiquement pour l'enregistrement des orchestres.


Le Petit Prince (série télévisée d'animation)

Cast.

Supporting characters.

B planet characters.

B 546 episodes 1–2, The Planet of Time:  B 311 episodes 3–4, The Planet of the Firebird:  B 222 episodes 5–6, The Planet of Wind:  B 678 episodes 7–8, The Planet of Music:  D 455 episodes 9-10, The Planet of Astronomer/The Star Snatcher's Planet:  B 356 episodes 11–12, The Planet of Jade:  B 370 episodes 13–14, Planet of the Globies:  D 333 episodes 15–16, The Planet of Amicopes:  D 444 episodes 17–18, The Planet of Gehom/Gehom's Planet:  W 5613 episodes 19–20, The Planet of Traniacs:  J 603 episodes 21–23, The Planet of Bubble Gob:  B 723 episodes 24–25, The Planet of Carapodes:  B 782 episode 26–27, The Planet of Giant:  B 743 episodes 28–29, La planète du Ludokaa (translated The Planet of Ludokaa, abbreviated Planet Ludokaa in English):  H 108 episodes 30–31, The Planet of Lacrimavoras:  C 669 episodes 32–33, The Planet of Coppelius:  C 0101 episodes 34–35, La planète des Okidiens (translated The Planet of the Okidians):  A 42692 episodes 36–37, The Planet of Libris:  C 333 episode 38–39, The Planet of Cublix:  D 555 episodes 40–41, The Planet of Ashkabaar:  X 442 episodes 42–44, La planète du Gargand (called The Planet of the Gargand in English dub, or The Planet of Gargand on guides):  B 901 episodes 45–46, The Planet of the Grand Buffoon:  Z 222 episodes 47–49, La planète des Bamalias (translated The Planet of the Bamalias):

Multi-planet arc characters.

Storylines in the second season are original stories that build upon multiple planets addressed individually in season 1 interacting together.  B 325 > B 330 > B 505 episodes??-?? The New Mission:  B 311 > D555 episodes??-?? The Planet of the Ice Bird (based on The Planet of Ashkabaar by Heloise Cappoccia & Christel Connard and The Planet of the Firebird by Julien Magnat)  D455 > W5613 episodes??-?? The Planet of the Astrotrainiacs (based on The Planet of the Trainiacs by An Keo and The Star Snatcher's Planet by Thomas Barichella)  D 333 > C 669 episodes??-?? The Planet of the Oracle (based on The Planet of Coppelius by Otto Carlo Rino and The Planet of the Amicopes by Heloise Cappocia)  C 669 > B 901 episodes??-?? The Planet of the Grelon (based on The Planet of the Grand Buffoon by Thierry Gaudin and The Planet of Coppelius by Otto Carlo Rino)  D 0101 > B 743 episodes??-?? The Planet of the Crystal Tears (based on The Planet of Ludokaa by Clelia Constantine and The Planet of the Okidiens by Christel Gonnard and Therry Gaudin)  D0101 > B782 episodes??-?? The Planet of the Giant Comet (based on The Planet of the Giant by Gilles Adrien & Alain Broders and The Planet of the Okidiens by Thierry Gaudin & Christel Gonnard)  X 000 > B222 episodes??-?? The Planet of the Nymphalidae (based on The Planet of the Winds by Delphine Dubos and The Planet of the Snake by Julien Magnat)

Production.

In October 2008, France Télévisions announced that it had acquired the rights to adapt "The Little Prince" into an animated series for broadcast in 2010 on France 3. A year later, it was revealed that Method Animation would produce the €18.4 million computer animated series alongside Sony Pictures Home Entertainment, La Fabrique d’Images, DQ Entertainment, ARD and Rai Fiction. A stereoscopic 3D version was also confirmed.  Initially, the series was envisioned as part of a media franchise, with Microsoft Studios set to publish an Xbox 360 video game adaptation developed by Paris-based game developer MKO Games. Sometime in 2010 the project was cancelled after two prototypes were completed.  After three years of development, the 52 x 26-minute series held its premiere at MIPJunior in October 2010. Pierre Alain Chartier directed the show, with a crew of 450 people. Alexandre de la Patelliere and Matthieu Delaporte developed the novel for television. The series debuted in France during the 2010 Christmas holidays. The French version features an opening theme song performed by Yannick Noah. The latter 26 episodes were made available in early 2012.  In 2012, it was confirmed that the show had been renewed for a new season. In conjunction with the production, Method Animation and PGS Entertainment launched a global drawing competition to create a new planet to be featured in the episodes. The season would later premiere in France in 2014.

Book series.

A comic book adaptation with at least 22 issues has been created. The graphic novel books compile the stories which were spread over 2 or 3 episodes, and do not present them in the order that the TV series does.

The Little Prince (; ) is an Italian-Swiss-French stereoscopic computer-animated children's television series inspired by Antoine de Saint-Exupéry's novel of the same name that began broadcast in late 2010. The series was created by Method Animation and the Saint-Exupéry-d'Agay Estate Production, in co-production with LPPTV, Sony Pictures Home Entertainment, Fabrique d'Images, DQ Entertainment and ARD, in participation with France Télévisions WDR Rai Fiction, Télévision Suisse Romande and TV5Monde.

Le Petit Prince est une série télévisée d'animation française de de, produite par Method Animation en et d'après l'œuvre éponyme d'Antoine de Saint-Exupéry.


Plot.

The film starts with Adam telling the story of his two-planet home world, unique among planets or planetary systems as it is the only one that has "dual gravity". This phenomenon of dual gravity allows the two planets to orbit each other in what would otherwise be impossibly close proximity. There are three immutable laws of gravity for this two-planet system:  The societies of the two worlds are segregated by law. While the upper world (Up Top) is rich and prosperous, the lower (Down Below) is poor. Up Top buys cheap oil from Down Below and sells electricity back to Down Below at higher prices. A person from Down Below going Up Top (or having contact with anyone from Up Top) is strictly forbidden and can be punishable by incarceration or death. People from Up Top regularly visit Down Below to experience novelties like dancing on ceilings. The only physical connection linking the two worlds is the headquarters of the "TransWorld" company.  Adam lives in an orphanage in Down, having lost his parents in an oil refinery explosion. The only living relative he has is his great-aunt, whom he visits every week. His great-aunt has a secret recipe for flying pancakes using pollen from pink bees which gather pollen from both worlds. The recipe has passed through generations and will be inherited by Adam.  As a child, Adam secretly climbs a mountain that gets very close to Up. There he meets Eden, a girl from Up. Years later in their teens, they are in a relationship. They meet on the mountains and Adam uses a rope to pull Eden towards Down, and they head to the woods for a stroll. They are later discovered, and while Adam frantically releases Eden back to her world, he catches a bullet in his arm and drops her. Helpless, he watches Eden lying motionless on the ground as blood oozes from her head. When he returns home, his aunt Becky is arrested and her home is put to the torch.  Ten years later, Adam is now working on creating an anti-gravity product using his great-aunt's recipe. The recipe allows matter to feel both gravitational fields at once. Adam is developing it as a cosmetic product for face-lifts. Then he sees Eden on TV and learns she is alive and works at TransWorld. He finally works out his formula and gets hired by TransWorld to develop the face-lift cream. Adam's plan is to find Eden in TransWorld. In his office he meets Bob, a TransWorld employee from Up who becomes his friend after he helps him obtain rare stamps from Down. Bob offers to help him contact Eden.  With the help of Bob, Adam meets Eden by putting Up-material in his clothes to disguise himself as a worker from Up, using Bob's name as his own. But Eden doesn't recognize him because of amnesia from the accident as a teen. The Up-material in Adam's clothes starts to burn so he has to return to Down. Later on, Bob is fired but as he leaves, he secretly gives Adam his ID to help him exit the TransWorld building and into Up. Later, by calling Eden through Bob's phone, Adam manages to get a date.  Meanwhile, his cosmetic cream becomes of great importance to the company. While Adam is doing a presentation of the cream, Eden enters the lecture hall and discovers his true identity. After she flees the auditorium Adam runs to find her but Bob's ID, having been terminated, lands him in trouble. He escapes to Bob's house. He shows him that mixing liquids from both gravity fields can make a hybrid solution that resists both gravitational fields and simply floats between the two. Adam then reveals that he didn't give TransWorld the main secret ingredient of his compound, leaving the company unable to manufacture the product without him.  With Bob's help, he goes back to the restaurant where he met with Eden before and finds out she has begun to recover old memories of him. But the police arrive and he has to run. Upon returning to his planet he goes to the mountain top where he met Eden. Eden comes to find him and they meet again as they did long ago. But police are on their trail and, as they fail to escape, Eden is arrested while Adam falls the remaining distance between worlds. But he survives because of a vest containing inverse matter which he still had strapped to his torso. TransWorld agrees to drop the charges against Eden if Adam gives them his formula and never contacts Eden again.  Now Adam has gone back to his old life, believing he will never see Eden again. But Eden, not so easily dissuaded, goes to Bob for help. Bob finds Adam and surprises him by showing he can stay Down without the help of the opposite-matter accoutrements; Bob has been able to use Adam's methods to create a way to negate the effect of gravity. Bob tells him he had purchased the patent of his beauty cream before TransWorld attempted to do so. He finishes by informing him that Adam also has a "date" with someone.  The film ends with Eden revealing she has become pregnant with twins, and the camera zooms far out to reveal towering skyscrapers on both sides, showing that both sides have become prosperous, as well as children from both sides interacting by playing basketball.

Release.

The film was released on 23 August 2012 in Russia, then on 15 March 2013 in the US, in a limited capacity (11 theaters initially). It was released in France on 27 March 2013 (Mauvais Genre Film Festival) and, more generally, on 1 May 2013 through the local branch of Warner Bros., while the distribution rights were bought by Millennium Entertainment for North America and by Icon for the United Kingdom.  The film became available on Blu-ray and DVD on 25 June 2013.

Production.

The French production company Studio 37 initially searched for an American co-producer, and received positive response from Hollywood representatives who read the screenplay. However, because of cultural differences, they decided to look for European partners instead, as they thought it would be essential for the project to be driven primarily by its director. The film was eventually produced by Studio 37, Onyx Films and the Montreal-based company Transfilm, for a budget of $50 million.  "Variety" reported from the Cannes Film Market in 2009 that Kirsten Dunst and Emile Hirsch were in talks to play the film's two leading roles. A few months later the same magazine reported that Jim Sturgess had been cast instead of Hirsch.  Principal photography started in Hancock, Michigan in February 2010. Filming and post-production were located in the U.S. because of the country's low taxes for film productions. Producer Dimitri Rassam said: "We couldn't have made "Upside Down" without the French funding system but there was no way we could have shot [in France] because the tax rebate is not attractive enough."

Reception.

"Upside Down" received mostly negative reviews from mainstream critics. Most praised the visual style, world-building and originality, but criticized the generic love story, plot holes and convoluted plot, with a score of 27% on Rotten Tomatoes, based on 48 reviews, with an average rating of 4.8/10. The site's consensus reads, "In spite of its wonderfully unusual premise and talented cast, "Upside Down" fails to offer much in the way of compelling drama to anchor its admittedly dazzling visuals."  Mick LaSalle was one of several reviewers who admired the film's "brilliant" and "imaginative basis" while feeling ultimately disappointed, saying its "rich and bizarre premise is supported by fully realized visuals that make the fantastic real... it's all very enjoyable." However, he wrote, "The only problem is that, after creating the most wonderful fantastic frame, "Upside Down" doesn't devise a picture worthy of it. The story is serviceable. It starts small, and it stays small, even though the circumstances surrounding the story seem to cry out for something bigger."  "Wired" called the film "an odd and ultimately flawed mix": "If only the story were as original, or as strong, as the film's topsy-turvy look. Unfortunately, "Upside Down"...invests almost all of its cinematic capital in gravity-defying eye candy." "The Star-Ledger" also had a mixed reaction, with its reviewer praising the "wonderful visual shock" and its "marvelous sense of space and style" and writing, "Solanas' idea is a pretty audacious one, visually. A political one too, as it turns out that for generations the upper world (think Northern Hemisphere) has been getting fat exploiting the resources of the lower one (think Southern Hemisphere)," but concluding that the film "doesn't really develop its story, or its themes."  Frank Scheck found the film confusing, saying, "You practically need an advanced degree in physics to fully comprehend the convoluted physical machinations depicted in "Upside Down", Juan Solanas' dizzyingly loopy sci-fi romance. Depicting the Romeo and Juliet-style romance between lovers from twin planets with opposite gravitational pulls, this head-scratcher boasts visual imagination to spare even as its logistical complexities and heavy-handed symbolism ultimately prove off-putting."

Upside Down (French: Un monde à l'envers) is a 2012 Canadian-French romantic fantasy written and directed by Juan Diego Solanas and starring Jim Sturgess and Kirsten Dunst.

Upside Down ou Un monde à l'envers au Québec est un film franco-canadien coécrit par Santiago Amigorena et Juan Diego Solanas, et réalisé par ce dernier en 2011.


Chess career.

Osnos competed in six Soviet championship finals from 1963 to 1968. In 1963, he won the semifinal of the Soviet championship ahead of Boris Spassky, Alexei Suetin, Igor Bondarevsky and Yuri Averbakh, but finished last of 20 in the final. In 1964, he finished second behind Viktor Korchnoi in the Leningrad City Chess Championship, which doubled as a semi-final for the Soviet championship, and finished equal tenth in the final, also won by Korchnoi. In 1965, he came third in the semifinal, and achieved his best result in a Soviet championship final, finishing in eighth place behind Leonid Stein, but ahead of David Bronstein and Korchnoi. In 1966 he finished in equal fourteenth place; in 1967, in the first Soviet championship to be run under the Swiss system, he finished in a 10-way tie for eighth place out of 126 competitors. In his final Soviet championship in late 1968/early 1969, he finished in equal eleventh place.  In 1968, Osnos finished =1st in the Leningrad City Chess Championship, but lost the playoff against Valery Bykov and Alexander Cherepkov. The following year, he won an international tournament in Debrecen. In 1970, he finished third in the Leningrad championship, won by Vladimir Karasev. He won the Leningrad championship in 1971 and in 1980.  Between 1968 and 1974 he was one of Viktor Korchnoi's seconds, and in 1974 he was awarded the title of Honoured Trainer of the Russian SFSR. Osnos assisted Korchnoi during his narrowly lost World Championship Candidate's final match against Anatoly Karpov in Moscow 1974.  Osnos co-authored with Peter Wells "The Complete Richter-Rauzer", published by Batsford in 1998.

Vyacheslav Vulfovich Osnos (; 24 July 1935, Luga – 27 August 2009, Saint Petersburg) was a Russian chess player, trainer and author. He was awarded the International Master title in 1965, and was champion of Leningrad in 1971 and 1980.

Viatcheslav Voulfovitch Osnos (en ; à Louga (Russie) – à Saint-Pétersbourg) est un joueur d'échecs et entraîneur soviétique puis russe, maître international depuis 1965, qui fut champion de Léningrad en 1971 et 1980.