document_title: History of television in Atlanta

question_text: when did the south’s first television station wsb-tv atlanta ga begin operation

question_tokens: when did the south 's first television station wsb-tv atlanta ga begin operation

text: History of television in Atlanta

text: Pre-history of Atlanta TV[edit]

text: Atlanta television had its roots in Atlanta Journal (now Atlanta Journal-Constitution)-owned radio station WSB-AM. The Journal had launched the south's first radio station, WSB AM ("Welcome South Brother"), on 740 kHz (now 750) on March 15, 1922. In the late 1920s, the Journal experimented with a mechanical version of television, but eventually abandoned it. The earliest experiments with television involved a spinning disc with multiple holes in it, which provided ‘movement' on a projected surface.

text: Early stations[edit]

text: WSB, channel 8[edit]

text: Television finally came to Atlanta-area and northern- and upper central-Georgia viewers on September 29, 1948 (called "T-Day" by the Journal) with the debut of WSB-TV, broadcasting on VHF channel 8. The newspaper led up to the TV station's launch, with front-page countdowns designed to boost excitement and sell TV sets. The inaugural WSB-TV program, which began with a recording of "The Star Spangled Banner" and a close-up shot of a tiny American flag waving in the wind powered by an electric fan, featured announcer John Cone ("WSB-TV is on the air!"), newscaster Jimmy Bridges, and a host of local dignitaries.

text: WSB-TV originally broadcast from the Biltmore Hotel. They moved to a building at 1601 West Peachtree Street, about two miles (3 km) north on Peachtree Street in 1956. The building, designed to look like a southern mansion, was christened "White Columns".

text: WSB-TV, in its abbreviated 4 p.m. to 10 p.m. broadcast day, aired a mix of kinescopes (film copies) which might arrive three days late from the NBC television network (WSB-AM had been a longtime NBC radio network affiliate, and most of the new television equipment was from NBC's corporate cousin, RCA), Atlanta Crackers baseball remote broadcasts from the club's stadium on Ponce de Leon Avenue, local news, and kids shows (Woody Willow, a marionette show featuring several stringed characters created and performed by Don and Ruth Gilpin, and a show featuring a man who built toys). A great many old movies were shown, and the station employed a unique censorship system in which monitors actually cut bits from film that were deemed "not family material" before broadcast. This was a slow and tedious process, handled by two women with scissors, and they usually removed any hint of unsavory language and even scenes in which a man and a woman (even married couples) might be seen in or on a bed.

text: An early unique use of television occurred when a system-wide transit strike crippled the city and downtown commerce suffered, in an era before shopping malls had been developed in the suburban areas. WSB-TV broadcast, for a time, a daily four-hour "infomercial" (to use the modern term) for Rich's department store, which was affected economically when shoppers could not travel via bus to its downtown location.

text: In its earliest days, the station aired a test pattern for many hours each day, ostensibly to let people align their new-fangled television sets. It served, however, as extremely cheap "programming" which allowed an audience to gather as someone showed off his or her new set to his or her envious friends. The test pattern, in black and white, featured multiple shades of grey and a large picture of a Native American (the ubiquitous and now-classic Indian Head test card). Early employee Mike McDougald recounted, "I would drive from WSB-AM to WSB-TV and see people congregated outside the store windows watching the test pattern. They were fascinated by it." Virtually all employees of the new WSB-TV were "imports" from the radio station, leaving the radio side somewhat hampered by the loss of talent. WSB-AM continued to thrive, however, and actually supported the new television venture for several years until television moved into the "black".

text: WAGA-TV, channel 5[edit]

text: Crosstown radio station WAGA-AM (now WYZE, 1480 AM), owned by The Fort Industries (later renamed "Storer Broadcasting"), launched a station on channel 5 in the fall of 1949, taking CBS, DuMont and occasionally, ABC shows. The new television operation was squeezed into a converted residential house on Peachtree Street, with a tall tower built in the backyard of the property. WAGA-TV's mascot, owned by the station's janitor, was a (real) Yorkshire terrier named "Waga".

text: In addition to CBS shows, WAGA aired a daily hillbilly music show with local personality Jon Farmer, Atlanta Crackers baseball (taken from WSB and later lost to newcomer WLW-A), interview shows featuring politicians like Senator Herman Talmadge and local newscasts featuring a newsreader sitting at a modest desk with a world map on the wall behind.

text: I was little girl when my father, Bill McCain was News Director at WAGA. Jim Bailey was the station Manager. As I recall, William was the name of the Janitor/guy Friday, errand runner. I used to ride around in the station's station wagon with him when he did errands. As I recall the dog "WAGA" was a black Scotty, not a Yorkshire terrier. Jon Farmer and his wife Phyllis were good family friends. They also had a ballroom dance show together (as I recall) that ran on Saturday evenings.. Source is myself..

text: The proposed WCON-TV[edit]

text: WSB-TV and WAGA-TV served Atlanta for two years before a third station arrived. In March 1950, the Cox-owned Atlanta Journal and its crosstown rival, the Atlanta Constitution, merged. The Constitution owned a construction permit for a proposed WCON-TV on the more desirable channel 2 (reaching a larger broadcast range due to lower frequency), which was to have been the city's full-time ABC network station. With the merger, WSB-TV instead moved to channel 2 amid great publicity. WCON-TV thus never opened for business, and its sister radio station, WCON AM 550, was reassigned to nearby Gainesville, Georgia, where it is now WDUN.

text: WLTV, channel 8[edit]

text: WSB-TV's move to channel 2 opened an opportunity for a new station to operate on channel 8. In 1951, a group of Atlanta businessmen, including an executive from the local Davison's department store chain, pooled their capital and launched WLTV as Atlanta's first full-time ABC affiliate. WLTV's studios were installed in a small building directly behind WSB-TV's property, because that allowed the station to utilize WSB's old channel 8 transmitting tower. WLTV operated on a very tight budget and offered a smattering of local programming like cooking and fashion shows, "rip-and-read" local news coverage, and a show featuring the city's famous mayor, William B. Hartsfield, who answered viewer mail on his program. The station also offered the first "all Negro" program in Atlanta, a Saturday evening variety show.

text: WQXI, channel 36[edit]

text: In late 1953, eager entrepreneurs around the country were constructing UHF TV stations to meet the demand of television-hungry viewers. Southeast radio group owner Robert Rounsaville took the plunge, opening a UHF station off Atlanta's Peachtree Street in the same restored house where his "good music" station, WQXI AM 790, operated. An employee remembered that the station owned a huge, lumbering TV camera that had to be transported from room to room within the building to broadcast local talk shows. The AM station promoted the TV station incessantly, but the September 1953 beginning was met with indifference from Atlantans. Without much in the way of programming apart from old movies, an occasional show from the crumbling DuMont network, and a local Saturday night "Barn Dance," there was little incentive for viewers to spend approximately $40 for a UHF converter. As such, WQXI-TV survived about nine months.

text: WETV, channel 41, Macon[edit]

text: While not an Atlanta station, Macon's first TV outlet received little attention from viewers or the press. In 1954, competing Macon AM radio stations WBML and WNEX pooled money, along with Macon businessman William Fickling, (later a healthcare tycoon) and launched WETV on channel 41. The NBC affiliate pre-dated the market's dominant CBS affiliate WMAZ, channel 13, by several months. As in Atlanta and other cities, few viewers were willing to pay extra for the special receiver needed to watch the UHF station, and after several shakeups (where channel 41 became WNEX and then WOKA), it ceased operations. WMAZ would then become the central Georgia region's sole commercial television outlet for over a dozen years, until NBC returned in 1968 on another UHF station, WCWB-TV (now WMGT-TV). By that time, television manufacturers had been required by the Federal Communications Commission (under the All-Channel Receiver Act) to enable sets to receive UHF channels, without special external equipment.

text: WLWA, channels 8/11[edit]

text: In 1953, Cincinnati-based Crosley Broadcasting Corporation purchased WLTV (channel 8), providing a much-needed infusion of capital and a new name, "WLW-A", in keeping with the company's WLW group branding for its stations in Indiana and Ohio. Among the personalities from WLW-A's early days: Dick Van Dyke, who hosted a twice-daily lip synch show where he and Phil Erickson (together known as The Merry Mutes), along with a female partner, mouthed the lyrics to hit records. WLW-A continued to operate in the shadow of WSB-TV, both physically and in the minds of 1950s viewers. It wasn't until ABC began to get ratings traction with its late-1950s Warner Bros. Western shows that the station came of age.

text: My father, Bill McCain, went to WLW-A following his stent at WAGA, as News Director. His News followed Dick Van Dyke in the afternoons. When I would be in Atlanta visiting my father he would take me to the station. On occasion Dick Van Dyke would entertain me while my father did the News. I remember a few years later, my father remarking that Dick Van Dyke was the one of the most talented people he had ever met. I guess so... I have a copy of what must be the forerunner of TV Guide, with the program lineups of the stations in Atlanta in early 50's.

text: The station is now WXIA on channel 11 (physical channel 10).

text: WROM-TV, channel 9, Rome[edit]

text: Two months after Crosley set up shop in Atlanta, up the road, about 50 miles (80 km) to the northwest, the owners of a local AM radio station in Rome decided to get into television.

text: WROM AM operated WROM-TV, channel 9, from 1953 until 1958, branding it "Dixie's Largest Independent." The station ran a late-afternoon and prime-time schedule of old movies, "hillbilly" music performances (which were common on Southern TV stations in the 1950s and 1960s) and occasionally, ABC-TV network fare such as Omnibus.

text: WROM's beginning, and its subsequent move to Chattanooga years later, changed Atlanta TV history and caused a fruit-basket turnover of Southeastern U.S. TV frequencies. As soon as channel 9 in Rome and channel 8 in Atlanta began operating simultaneously, viewers in northwestern Atlanta and in northwestern Georgia to the south of Rome began experiencing trouble tuning in either station. Crosley also wanted to increase transmitting power at its new station, which necessitated a change to present-day channel 11 (now WXIA-TV).

text: By 1958, WROM's owners were making moves to cash in on their investment. The station began carrying a full prime-time slate of ABC network programs, overlapping programming with WLWA.

text: In 1959, WROM's owners accepted an offer to sell their TV outlet to Martin Theaters, (reportedly for one million dollars) the company that also purchased Columbus, Georgia's WDAK-TV. Chattanooga had only two VHF stations at the time, WRGP (now WRCB)-TV, channel 3, (NBC) and pioneer broadcasting outlet WDEF-TV, channel 12 (CBS). Chattanooga offered channel 9's investors a better economic model than Rome, so the station moved and became Chattanooga ABC affiliate WTVC. That move 60 miles to the north opened opportunities for other television broadcasters within the state of Georgia.

text: Frequency changes[edit]

text: Atlanta regained channel 8 as an available frequency, though it was reclassified as a non-commercial educational facility, clearing the way for the University of Georgia's Athens-based station, WGTV (which, years later, relocated to its transmitter and tower to Stone Mountain to better serve Atlanta as part of Georgia Public Broadcasting's state network). Columbus, Georgia's NBC affiliate, WDAK-TV, channel 28, was able to move to VHF channel 9 (now WTVM, an ABC affiliate), while Dothan, Alabama's CBS affiliate, WTVY, moved from channel 9 to the more powerful (and thus desirable) channel 4, and Columbus' CBS affiliate, WRBL, moved from channel 4 over to channel 3.

text: Ironically, Rome partially lost a second television frequency 40 years later, when UHF station channel 14 moved east to Bear Mountain near Waleska and Canton (north of Atlanta) after several years of operation. Though a strong radio market covering most of northwestern Georgia, the Rome metro area simply could not support television capable of competing with Chattanooga and Atlanta, both just 60 miles (100 km) distant north and southeast. Rome still remain's the city of license for the station, however, and it is one of two full-power TV stations having a northwest Georgia city of license, along with GPB's WCLP-TV 18 (now WNGH-TV 18.x, on RF channel 33) in Fort Mountain State Park near Chatsworth.

text: Since prior to the 2009 digital-only TV mandate, all local TV stations except WGTV 8 transmit digitally on channels other than their analog ones, with TV channels from 52 to 69 (the 700 MHz band) being taken mostly for 4G LTE mobile phones in a large spectrum auction (FCC auction 73). (WGCL-TV 46 remained on for another month as the designated "nightlight" station, WUVM-LP 4 and WTBS-LP 6 continue in analog as of April 2017[update].) Unlike other major media markets, no Atlanta TV stations will be taken off the air due to the 600MHz auction which ended in early 2017, but UHF channels 38 to 51 are being taken away, which will result in a "repack" of at least half of the local stations onto low UHF channels 14 to 36 in late summer 2019, and WGTV from 8 to 7 in 2020. All stations will still retain their historic channel numbers through the use of virtual channels, but re-scanning of TV tuners will be required after the changes.


document_title: Tuition fees in the United Kingdom

question_text: when did tuition fees rise to £3000

question_tokens: when did tuition fees rise to £ 3000

root

text: Tuition fees in the United Kingdom

text: History[edit]

text: In May 1996, Gillian Shephard, Secretary of State for Education and Employment, commissioned an inquiry, led by the then Chancellor of the University of Nottingham, Sir Ron Dearing, into the funding of British higher education over the next 20 years.[3] This National Committee of Inquiry into Higher Education reported to the new Labour Government, in the summer of 1997, stating additional billions of funding would be needed over the period, including £350 million in 1998-9 and £565 million in 1999-2000, in order to expand student enrolment, provide more support for part-time students and ensure an adequate infrastructure.[4][5] The committee, as part of its brief, had controversially investigated the possibility of students contributing to the cost of this expansion, either through loans, a graduate tax, deferred contributions or means testing state assistance, as their report notes[6]:

tag: p

text: 20.40 We do not underestimate the strength of feeling on the issue of seeking a contribution towards tuition costs: nor do we dispute the logic of the arguments put forward. A detailed assessment of the issues has, however, convinced us that the arguments in favour of a contribution to tuition costs from graduates in work are strong, if not widely appreciated. They relate to equity between social groups, broadening participation, equity with part-time students in higher education and in further education, strengthening the student role in higher education, and identifying a new source of income that can be ring-fenced for higher education.

text: 20.41 We have, therefore, analysed the implications of a range of options against the criteria set out in paragraph 20.2. There is a wide array of options from which to choose, ranging from asking graduates to contribute only to their living costs through to asking all graduates to contribute to their tuition costs. We have chosen to examine four options in depth

text: In response to the findings, the Teaching and Higher Education Act 1998 was published on 26 November 1997, and enacted on 16 July 1998, part of which introduced tuition fees in all the countries of the United Kingdom.[7] The act introduced a means-tested method of payment for students based on the amount of money their families earned.[8] Starting with 1999-2000, maintenance grants for living expenses would also be replaced with loans and paid back at a rate of 9 percent of a graduate's income above £10,000.[7]

text: Following devolution in 1999, the newly devolved governments in Scotland and Wales brought in their own acts on tuition fees. The Scottish Parliament established, and later abolished a graduate endowment to replace the fees.[9] Wales introduced maintenance grants of up to £1,500 in 2002, a value which has since risen to over £5000.[10]

text: In England, tuition fee caps rose with the Higher Education Act 2004. Under the Act, universities in England could begin to charge variable fees of up to £3000 a year for students enrolling on courses as from the academic year of 2006-07 or later. This was also introduced in Northern Ireland in 2006-07 and introduced in Wales in 2007-08. In 2009-10 the cap rose to £3225 a year to take account of inflation.[11] Following the Browne Review in 2010, the cap was controversially raised to £9,000 a year, sparking large student protests in London. A judicidal review against the raised fees failed in 2012, and so the new fee system came into use that September.[12]

text: Students pay interest on loans. In 2012 this rate was set at the retail price index (RPI) plus 3%. Students who started university between 1998 and 2011 pay Bank of England base rate plus 1%. Students who started university before 1998 pay interest set at the RPI rate. As a consequence of the 2012 change, students who graduate in 2017 will pay 6.1% interest, despite the Bank of England base rate being 0.25%.[13]

text: Further adjustments were put forth in the 2015 budget, with a proposed fee increase in line with inflation from the 2017-18 academic year onwards, and the planned scrapping of maintenance grants from September 2016.[14] The changes were debated by the Third Delegated Legislation Committee in January 2016, rather than in the Commons. The lack of a vote on the matter has drawn criticism, as by circumventing the Commons the measures "automatically become law".[15] Tuition fees and perceptions about them are directly linked to satisfaction[16].

text: Current systems[edit]

text: England[edit]

text: In England, tuition fees are capped at £9,250 a year for UK and EU students, with around 76% of all institutions charging the full amount in 2015-16.[18] A loan of the same size is available for most universities, although students of private institutions are only eligible for £6,000 a year loans.

text: From 2017-18 onwards, the £9,000 fee cap will rise with inflation. Maintenance grants are also available to current students in England, although these are scheduled to cease with the 2016-17 academic year.[15] Maintenance loans are available for living costs, and these are means tested. These loans are scheduled to increase in size for 2016-17, when the maintenance grant system is phased out.[19] There will be a vote in the autumn to consider a further increase effective with the 2017-18 year. Several universities have already advertised fees of £9,250 for the year in anticipation of such a vote passing.[20]

text: In the 2015 spending review, the government also proposed a freeze in the repayment threshold for tuition fee loans at £21,000; a figure which was previously set to rise with average earnings. The changes, if passed, will affect all Plan 2 tuition fee loans, backdated to cover loans taken out from 2012.[21][22]

text: Effect[edit]

text: Many commentators suggested that the 2012 rise in tuition fees in England would put poorer students off applying to university.[23] However, the gap between rich and poor students has slightly narrowed (from 30.5% in 2010 to 29.8% in 2013) since the introduction of the higher fees.[24] This may be because universities have used tuition fees to invest in bursaries and outreach schemes.[25] In 2016, The Guardian noted that the number of disadvantaged students applying to university had increased by 72% from 2006 to 2015, a bigger rise than in Scotland, Wales or Northern Ireland.[26] It wrote that most of the gap between richer and poorer students tends to open up between Key Stage 1 and Key Stage 4 (i.e. at secondary school), rather than when applying for university, and so the money raised from tuition fees should be spent there instead.[26]

text: Research by the National Bureau of Economic Research found that the introduction of tuition fees had "increased funding per head, rising enrolments, and a narrowing of the participation gap between advantaged and disadvantaged students."[27]

text: Northern Ireland[edit]

text: Tuition fees are currently capped at £3,805 in Northern Ireland, with loans of the same size available from Student Finance NI.[28] Loan repayments are made when income rises above £17,335 a year, with graduates paying back a percentage of their earnings above this threshold.[29]

text: Scotland[edit]

text: Tuition is handled by the Student Awards Agency Scotland (SAAS), which does not charge fees to what it defines as "Young Students". Young Students are defined as those under 25, without children, marriage, civil partnership or cohabiting partner, who have not been outside of full-time education for more than three years. Fees exist for those outside the young student definition, typically from £1,200 to £1,800 for undergraduate courses, dependent on year of application and type of qualification. Postgraduate fees can be up to £3,400.[30]

text: The system has been in place since 2007 when graduate endowments were abolished.[31] Labour's education spokesperson Rhona Brankin criticised the Scottish system for failing to address student poverty.[32] Scotland has fewer disadvantaged students than England, Wales or Northern Ireland and disadvantaged students receive around £560 a year less in financial support than their counterparts in England do.[25]

text: Wales[edit]

text: Like their English counterparts, Welsh universities are able to charge up to £9,000 a year in tuition fees. However, Welsh students can apply for fee grants of up to £5,190, in addition to a £3,810 loan to cover these costs.[33] This system also applies to Welsh students who study elsewhere in the United Kingdom.

text: Possible alternatives[edit]

text: There have been two main proposed alternative ways of funding university studies: from general taxation or by a graduate tax.

text: Funding from general taxation[edit]

text: Tuition is paid for by general taxation in Germany, although only 27% of young people gain higher education qualification there, whereas in the UK the comparable figure is 48%.[34] Fully or partly funding universities from general taxation has been criticised by the Liberal Democrat party as a 'tax cut for the rich and a tax rise for the poor' because people would be taxed to pay for something that many would not derive a benefit from, while graduates generally earn more due to their qualifications and only have to pay them back.[35]

text: Jeremy Corbyn, current Labour leader, has stated that he would remove tuition fees and instead fund higher education by increasing National Insurance and Corporation Tax.[36] In the long term this would cost the government about £8 billion a year.[37]

text: In July 2017 Lord Adonis, former Number 10 Policy Unit staffer and education minister largely responsible for introducing tuition fees, said that the system had become a "Frankenstein's monster" putting many students over £50,000 in debt. He argued the system should either be scrapped or fees reverted to between £1,000 and £3,000 per the initial scheme.[38][39]

text: Graduate tax[edit]

text: During the 2015 Labour leadership election, Andy Burnham said that he would introduce a graduate tax to replace fees. He was ultimately unsuccessful in his bid for leadership. A graduate tax has been criticised because there would be no way to recover the money from students who move to a different country, or foreign students who return home.[40]


document_title: Ink Master (season 10)

question_text: who went home on ink master season 10 episode 7

text: Ink Master (season 10)

text: Judging and ranking[edit]

text: The judge listing types are:

text: Judging Panel

tag: ul

text: Master Jury

text: Jury of Peers

text: Contestants[edit]

text: Team Steve[edit]

text:
Contestant Name
Hometown

Garrett Bisbee
Milwaukee, Wisconsin

Jeremy Brown
Lake Elsinore, California

Rene "FAME" Montalvo
Willimantic, Connecticut

Gary Parisi
Chicago, Illinois

Katie Rhoden
LaPlace, Louisiana

Roly T-Rex
Orlando, Florida

tag: table

text: Team Anthony[edit]

text:
Contestant Name
Hometown

Mike Diaz
Lubbock, Texas

Jason Elliott
College Station, Texas

Amanda Leitch
Renton, Washington

Linzy Michelle
Ventura, California

Juan Salgado
San Juan, Puerto Rico

Daniel Silva
San Francisco, California

text: Team DJ[edit]

text:
Contestant Name
Hometown

Matt Buck
New York, New York

Lil’ D
Atlanta, Georgia

Josh Payne
Cortland, New York

Frank Ready
Easthampton, Massachusetts

Chris "Sparks" Sparks
Austin, Texas

Deanna Smith
Denton, Texas

text: Not Chosen[edit]

text:
Contestant Name
Hometown

Tim Furlow
Atlanta, Georgia

Rachael Head
Lexington, Kentucky

Rachel Helmich
Pittsburgh, Pennsylvania

Christian Masot
Hawthorne, New Jersey

Koko Tatts
Chicago, Illinois

Slowburn
Jersey City, New Jersey

text: Contestant Progress[edit]

text:
No.
Contestant
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16

No.
Flash Challenge
Winner
Team DJ
N/A
Team Anthony
Team DJ
N/A
Anthony Michaels
Team Steve
Roly T-Rex
N/A
Anthony Michaels
Team Steve
N/A
Team DJ
N/A
N/A

1
Josh Payne
IN
HIGH
IN
HIGH
HIGH
F/O
IN
WIN
WIN
HIGH
LOW
IMM
WIN
WIN
WINNER

2
Juan Salgado
IN
IN
IN
IN
HIGH
WIN
IN
IN
WIN
WIN
WIN
IMM
HIGH
IN
RUNNER-UP

3
Roly T-Rex
IN
IMM
IN
IN
IN
IN
IN
IN
F/O
HIGH
IN
F/O
LOW
IN
3RD PLACE

4
Jason Elliott
IN
LOW
IN
WIN
IN
WIN
IN
IN
WIN
IN
LOW
F/O
LOW
OUT

5
Deanna Smith
LOW
LOW
HIGH
IN
IN
IN
IN
LOW
WIN
LOW
HIGH
F/O
OUT

6
Jeremy Brown
HIGH
IMM
HIGH
IN
HIGH
IN
IN
LOW
F/O
LOW
LOW
OUT

7
Daniel Silva
WIN
IN
IN
LOW
LOW
WIN
LOW
IN
WIN
LOW
OUT

8
Frank Ready
IN
WIN
HIGH
IN
IN
IN
IN
HIGH
WIN
OUT

9
FAME
IN
IMM
WIN
LOW
WIN
IN
LOW
IN
OUT

10
Amanda Leitch
LOW
LOW
IN
IN
IN
WIN
IN
OUT

11
Mike Diaz
IN
IN
IN
LOW
LOW
WIN
OUT

12
Gary Parisi
IN
IMM
IN
IN
HIGH
OUT

13
Lil’ D
IN
LOW
LOW
LOW
OUT

14
Katie Rhoden
IN
IMM
LOW
OUT

15
Matt Buck
IN
IN
OUT

16
Sparks
LOW
OUT

17
Linzy Michelle
IN
OUT

18
Garrett Bisbee
OUT

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Original air date
U.S. viewers
(millions)

125
1
"Pick Your Side"
January 9, 2018 (2018-01-09)
N/A

24 artists arrive to Coney Island where they had six hours to impress the masters by tattooing a design in the style and subject of their choice. The judges and the masters then judged each tattoo in a blind critique without knowing who did what.

Team Picks – Part 1: The top nine artists who were among the favorites will pick the team they want to be on with three spots available for each team. Team DJ scored big with the number one, two and three ranked tattoos from Matt, Josh and Deanna respectively while Anthony and Steve continue to find someone on their respective. Juan and Jason were the fourth and fifth ranked tattoos of the day and they chose to be on Team Anthony. Steve got the upper hand from Anthony when Katie chose to be on the former's team. Seventh ranked artist Daniel finishes Team Anthony for now. Therefore, Steve is left with Garret and Roly T-Rex.
Elimination Tattoo: The remaining 15 artists had one last chance to impress when they had six hours to tattoo one of the masters’ choice styles which includes Japanese from Steve, illustrative woman's face from Anthony, and American Traditional from DJ.
Team Picks – Part 2: The masters called the shots with picking their final three members this time even though a tug-o-war occurred during the picking process. Anthony rounds out his team with the inclusion of Linzy in addition to DJ's original pick Amanda, and Steve's original pick Mike. Steve and DJ fought over Jeremy and Fame. But they later both chose Steve. Frank, Sparks and Lil D completed Team DJ. After being convinced by the 7 remaining artists why they want to be on his team, Steve chose Gary as his final pick.

Eliminated: Tim Furlow, Rachael Head, Rachel Helmich, Christian Masot, Koko Tatts and Slowburn

126
2
"Fill'er Up"
January 16, 2018 (2018-01-16)
N/A

Skill of the Week: Fundamentals
Flash Challenge: Using only 10,000 plastic cups, the masters must coach their teams in the first flash challenge of the season when the artists had five hours to line the cups up into one single image after filling each cup with water and food coloring.

Winner: Team DJ

Eimination Tattoo: The teams must navigate in the right direction during their first elimination tattoo by tattooing a maze. For this skull pick, DJ picked Matt and Josh to assign the skulls.

Best Tattoo of the Day: Daniel Silva
Coaches’ Bottom Pick: Garrett Bisbee
Bottom: Garrett Bisbee, Amanda Leitch and Deanna Smith
Eliminated: Garrett Bisbee

127
3
"Divine Proportion"
January 23, 2018 (2018-01-23)
N/A

Skill of the Week: Proportion

Master's Tattoo Face Off: The coaches must use their proportion skills by tattooing a freehanded design in the style and subject of their choice. Dave also revealed that this week will featured a double elimination featuring one member eliminated from each team.

Winner: Steve Tefft

Elimination Tattoo: Team Steve called the shots when they assigned not only the human canves but also the Greek god to each team with Team DJ tattooing Zeus and Team Anthony tattooing Hades. Then during the elimination, Anthony and DJ must decide on which of their respective teammates will be sent packing.

Best Tattoo of the Day: Frank Ready
Bottom: Sparks, Lil' D, Deanna Smith, Amanda Leitch, Linzy Michelle and Jason Elliot
Eliminated: Linzy Michelle and Sparks

128
4
"Step It Up"
January 30, 2018 (2018-01-30)
N/A

Skill of the Week: Ingenuity

Flash Challenge: The judges throw a curveball at the artists this week, testing their ingenuity by having them transform disjointed staircases into a massive flowing designs.

Winner: Team Anthony

Elimination Tattoo: Using two completely opposite tattoo styles, the artists must use ingenuity to weave these styles together in a way that makes sense and creates a cohesive design.

Best Tattoo of the Day: FAME
Coaches' Bottom Pick: Matt Buck
Bottom: Matt Buck, Lil' D and Katie Rhoden
Eliminated: Matt Buck

129
5
"Ink On the Dotted Line"
February 6, 2018 (2018-02-06)
N/A

Skill of the Week: Precision

Flash Challenge: The coaches work side-by-side along their teams as precision is tested. Placing thousands of hole-punched colored dots onto a massive canvas to create an impressive work of art.

Winner: Team DJ

Elimination Tattoo: The artists must take images and break them down to individual squares and colors, inking their canvases with pixelated tattoos. With tons of lines and squares to complete, precision is of the utmost importance.

Best Tattoo of the Day: Jason Elliot
Coaches' Bottom Pick: Katie Rhoden
Bottom: Katie Rhoden, Lil' D and FAME
Eliminated: Katie Rhoden

130
6
"Chin Up"
February 13, 2018 (2018-02-13)
N/A

Skill of the Week: Adaptability

Master's Flash Challenge: The artists place their fates in the hands of their coaches when adaptability is tested and DJ, Steve, and Anthony must tattoo an incredibly difficult part of the body: the under chin.

Winner: Anthony Michaels

Elimination Tattoo: From oozing wounds and rotting skin to decomposing hair and nails, the artists must use adaptability to turn the living into the undead on canvases’ skin.

Best Tattoo of the Day: FAME
Coaches' Pick: Daniel Silva
Bottom: Daniel Silva, Mike Diaz and Lil' D
Eliminated: Lil' D

131
7
"Eye of the Tiger"
February 20, 2018 (2018-02-20)
N/A

Skill of the Week: Consistency

Elimination Tattoo: The artists must work as teams to tattoo not one, but two tattoos on one human canvas at the same time: one of a living animal, and one of its skeleton.

Best Tattoo of the Day: Team Anthony

Face Off Tattoo: Josh and Gary face off for survival in the competition, tasked with inking black and grey realistic tiger heads in just six hours.

Eliminated: Gary Parisi

132
8
"Pane in the Glass"
February 27, 2018 (2018-02-27)
0.73[1]

Skill of the week: Dimension

Flash Challenge: Both the artists and the coaches are tested this week on dimension, tasked with painting layered panes of plexiglass to create cohesive dimensional pieces of art.

Winner: Team Steve

Elimination Tattoo: To capture the strength and depth of carved stone, the artists must tattoo textured cracks and deep divots so that their designs look like they were chiseled right out of their canvases’ skin. Due to certain problems in every tattoo that did not hit the challenge, the judges decided there is no Best Tattoo of the Day.

Coaches' Bottom Pick: Daniel Silva
Bottom: Daniel Silva, Mike Diaz and FAME
Eliminated: Mike Diaz

133
9
"Ink Raider"
March 6, 2018 (2018-03-06)
0.74[2]

Skill of the Week: Detail

Flash Challenge: Inspired by the 2018 film adaption of the Tomb Raider video game reboot, the competition welcomed human canvases that are strong women who overcame obstacles – and want to get tattooed by the tools that empower them in the first individual flash challenge.

Winner: Roly T-Rex

Elimination Tattoo: From intricate ropes to colorful and elaborate patterns, the artists must make sure every tiny detail is on point as they tattoo technicolor hot air balloons.

Best Tattoo of the Day: Josh Payne
Coaches' Bottom Pick: Deanna Smith
Bottom: Deanna Smith, Jeremy Brown and Amanda Leitch
Eliminated: Amanda Leitch

134
10
"Some Assembly Required"
March 13, 2018 (2018-03-13)
N/A

Skill of the Week: Accuracy

With nine artists remaining, they must compete in a marathon where they have to tattoo a different creature of land, sea or sky in each round.

Team Safety Marathon - Round 1: The teams created octopus tattoos with one artist doing the linework while the other adds in the shadding before the third artist colors the tattoo. The winning team in this round will be safe from elimination. As winner of the last elimination tattoo, Josh assigned all the human canvases.

Best Tattoo of the Day: Team Anthony

Team Safety Marathon – Round 2: Team DJ and Team Steve work on pegasus tattoos. But they won't be doing it alone as each team must tag team its respective partner and coach every hour.

Best Tattoo of the Day: Team DJ

Face Off Tattoo: Steve watches his team square off in a fight for survival as they tattooed a full-bodied jaguar in the style selected by him which was realistic black and grey.

Eliminated: FAME

Note: This episode was released online ahead of its respective airdate.

135
11
"Quit Buggin' Me"
March 20, 2018 (2018-03-20)
N/A

Skill of the Week: Technical Application

Flash Challenge: The coaches try to get every detail they could when they had two hours to tattoo their respective micro-realistic insect.

Winner: Anthony Michaels

Elimination Tattoo: The artists must prove their mastery of technical application by tattooing the gateway to the heart – aka the sternum.

Best Tattoo of the Day: Juan Salgado
Coaches' Bottom Pick: Frank Ready
Bottom: Frank Ready, Jeremy Brown and Deanna Smith
Eliminated: Frank Ready

136
12
"Total Meltdown"
March 27, 2018 (2018-03-27)
N/A

Skill of the Week: Composition

Flash Challenge: The teams and their respective coaches work with granulated wax to create a masterpiece by stenciling the design with tape onto a 4 x 6 canvas before using heat guns and torches to spread the wax while leaving behind a negative space the tape covered.

Winner: Team Steve

Elimination Tattoo: The artists must change their perspectives and create a masterpiece out of what is not there - by inking negative space tattoos.

Best Tattoo of the Day: Juan Salgado
Coaches' Bottom Pick: Daniel Silva
Bottom: Daniel Silva, Jeremy Brown and Jason Elliott
Eliminated: Daniel Silva

137
13
"Monkey See, Monkey Do"
April 3, 2018 (2018-04-03)
N/A

Skill of the Week: Finesse

Elimination Tattoo: The final six attempt to match the masters' standards. Roly was concerned when Steve showed him and Jeremy a skull with the heads of a deamon and a woman. Team DJ and Team Anthony on the other hand had no problem with the design from their respective coaches.

Face Off Tattoo: Deanna, Jason, Roly T-Rex and Jeremy must design a free hand tattoo in order to save themselves from elimination. Jeremy tried to use the design Team DJ had in the elimination tattoo which concerns the masters. Team Steve struggled the most with their tattoo.

Eliminated: Jeremy Brown

138
14
"No Stain, No Gain"
April 10, 2018 (2018-04-10)[3]
N/A

Skill of the Week: Contrast

Flash Challenge: The battle intensifies as the coaches and artists are given six hours to layer coats of paint on gigantic wooden canvases in order to create high-contrast works of art.

Winner: Team DJ

Elimination Tattoo: With only one color at the artists’ disposal, contrast is absolutely crucial as the final five are tasked with tattooing masterful monochromatic portraits.

Best Tattoo of the Day: Josh Payne
Coaches' Bottom Pick: Deanna Smith
Bottom: Deanna Smith, Roly T-Rex and Jason Elliott
Eliminated: Deanna Smith

139
15
"Final Exam"
April 17, 2018 (2018-04-17)
N/A

Elimination Tattoo: The final four remaining artists are tasked with tattooing a one-session twelve hour tattoo on the arm, with the style and subject being the artists' choice. Josh's tattoo was considered the best twelve hour tattoo and this earned him a spot in the finale, additionally allowing DJ to call to call the first shot in the Master Face-Off.

Best Tattoo of the Day: Josh Payne

Elimination Tattoo: Having a style and subject picked by the opposing team coaches based on their weaknesses, the final four must tattoo a six hour tattoo without tracing. In addition, they must incorporate a design and style that were given to them by each coach. Juan's six hour tattoo was considered the best six hour tattoo and this allowed Anthony to call the second shot in the Master Face-Off. After a tough decision, Roly T-Rex was selected as the final artist advancing to the finale which allows Steve to call the third and final shot.

Eliminated: Jason Elliott

Finale Tattoo: Josh, Juan and Roly T-Rex head home to create a 24-hour full–colored chestpiece that depicts an epic battle between a snake, a dragon and an eagle. The coaches get inside the heads as they create a 24-hour head tattoo before duking it out at the live finale where they will have to design a six hour to tattoo. In addition, each coach called the shot via skull picks that will determine the style, subject or placement. DJ, Anthony and Steve picked a full-bodied snake, thigh, and Neo-traditional respectively.

140
16
"Return of the Masters Finale"
April 24, 2018 (2018-04-24)
N/A

Dave welcomes the viewers to the live Ink Master finale from Las Vegas as the coaches put the final touches on their live finale tattoo. The coaches went first with their tattoo while the artists reveal their epic chestpiece. The judges also critiqued the coaches' head tattoo. The eliminated artists get into a heated debate over who should advance to the top two. The judges then decide which of the top two artists will win the title of Ink Masters. Ink Master veterans Cleen Rock One and Christian Buckingham were introduced to plug the upcoming eleventh season that will finally see them settling the score with their rivalry, but as team captains.

Jury of Peers' Pick: Juan Selgado
Judges' Pick: Joshua Payne
3rd Place: Roly T-Rex
Winner: Joshua Payne

In addition to one artist, the jury of peers also picked one coach to advance into the top two.

Jury of Peers' Pick: DJ Tambe
Judges's Pick: Anthony Michaels
Winner: DJ Tambe


document_title: Australian five-dollar note

question_text: who is the lady on the australian 5 dollar note

text: Australian five-dollar note

text: Series[edit]

text: There have been a number of different issues of this denomination, including:

text:
The first issue was a paper note which had a gradient of mauve, with a distinct black overprint. It was designed by Gordon Andrews, with Russell Drysdale as the Reserve Bank of Australia’s artistic advisor. It featured portraits of Sir Joseph Banks and Caroline Chisholm, as well as elevations of Sydney streets from Joseph Fowles’ "Sydney in 1848", the cover of the Shipping Gazette, a watercolour of the Waverley, and a handbill of a meeting of the Family Colonization Loan Society. All of these images were sourced from the State Library of New South Wales.
The first Polymer banknote issue, which can be recognised for its distinct mauve colouration and numeral font, was first issued in pale mauve in 1992. A number of people found it difficult to distinguish it from the $10 banknote, especially in poor lighting conditions.
In 1995, a second polymer issue was issues, distinguishable by its deeper shade of mauve and a different font for the numeral.
A federation commemorative was issued in 2001 for that year only. Notes featured Sir Henry Parkes on the obverse and Catherine Helen Spence on the reverse.
On 1 September 2016 the Next Generation Banknote (NGB) $5 was issued. The NGB series banknotes contain more security features than the previous series, including a clear top-to-bottom window and a 3D tactile feature to assist the vision impaired.

text: Statistics[edit]

text: According to Reserve Bank statistics, at the end of June 2017 there were 211 million $5 banknotes in circulation, 14% of the total banknotes in circulation; worth $1,055 million, or 1% of the total value for all denominations.[2]

text: Leek has the greatest value, issued for two years only; and the 1990 Fraser/Higgens being issued for less than a year.[clarification needed]

text: From 1967 to 1974, the title identifying the country was "Commonwealth of Australia" and there were 195,504,000 of these notes issued. The title identifying the country was then changed to "Australia" and from 1974 until the end of the issuance of paper currency for this denomination (in 1992), 978,068,318 of these notes were issued.

text: Design[edit]

text: On the 1995 design, Queen Elizabeth II is on the obverse, along with eucalyptus leaves. There is a number 5 in the right hand corner of both sides. The word "Australia" is written to the left of the Queen. Parliament house appears on the reverse. On the 2001 commemorative design, Sir Henry Parkes appears on the obverse and Catherine Helen Spence on the reverse.

text: On 12 April 2016, the Reserve Bank of Australia announced a new design for the 5-dollar banknote would be introduced into circulation on 1 September 2016. It is the first of a new series of banknotes that will feature a different species of Australian wattle and a native bird. The 5-dollar banknote has the Prickly Moses wattle and the Eastern Spinebill.[3][4][5]

text: Security features[edit]

text: The paper design included a watermark of Captain James Cook in the white field. The same watermark was also used in the last issue of pound banknotes. A new feature of the decimal currency was metallic strip embedded within the paper of the note, first near the centre of the note, then from 1976 moved to the left side on the obverse of the note.

text: The polymer issue includes: a shadow image of the Australian coat of arms which is visible under other printing when the note is held up to light; a pointed star with four points on the obverse and three on the reverse that come together under light; a clear window that has a stylised gum flower showing; and raised print and micro printing of the denomination value.[6]

text: Some features of the banknote glow under UV light. These features include the serial number and a square patch on the reverse of the note. There is also raised printing around the portraits and major design elements of the note which can be felt by rubbing the finger or fingernail against them.[7]

text: Other issues[edit]

text:
1967 paper note obverse featuring Joseph Banks

1967 paper note reverse featuring Caroline Chisholm

2001 commemorative "Federation" note obverse featuring Henry Parkes

2001 commemorative "Federation" note featuring Catherine Helen Spence

Obverse design from 1992 to 2016

Reverse design from 1992 to 2016