document_title: Timeline of the telephone

question_text: where was the first transatlantic phone call made

root

text: Timeline of the telephone

text: Up to 1875[edit]

text:
1667: Robert Hooke creates an acoustic string telephone that conveys sounds over a taut extended wire by mechanical vibrations.[1][2]
1844: Innocenzo Manzetti first suggests the idea of an electric "speaking telegraph", or telephone.
1849: Antonio Meucci demonstrates a communicating device to individuals in Havana. It is disputed if this is an electromagnetic telephone, but is said to involve direct transmission of electricity into the user's body.
1854: Charles Bourseul publishes a description of a make-and-break telephone transmitter and receiver in L'Illustration, (Paris) but does not construct a working instrument.
1854: Meucci demonstrates an electric voice-operated device in New York, but it is not clear what kind of device he demonstrated.
1860: Johann Philipp Reis of Germany demonstrates a make-and-break transmitter after the design of Bourseul and a knitting-needle receiver. Witnesses said they heard human voices being transmitted.
1861: Johann Philipp Reis transfers voice electrically over a distance of 340 feet with his Reis telephone. To prove that speech can be recognized successfully at the receiving end, he uses the phrase "The horse does not eat cucumber salad" as an example because this phrase is hard to understand acoustically in German.
1864: In an attempt to give his musical automaton a voice, Innocenzo Manzetti invents the 'speaking telegraph'. He shows no interest in patenting his device, but it is reported in newspapers.
1865: Meucci reads of Manzetti's invention and writes to the editors of two newspapers claiming priority and quoting his first experiment in 1849. He writes "I do not wish to deny Mr. Manzetti his invention, I only wish to observe that two thoughts could be found to contain the same discovery, and that by uniting the two ideas one can more easily reach the certainty about a thing this important." If he reads Meucci's offer of collaboration, Manzetti does not respond.
1871: Meucci files a patent caveat (a statement of intention to file a patent application)[3] for a Sound Telegraph, but it does not describe an electromagnetic telephone.
1872: Elisha Gray founds the Western Electric Manufacturing Company.
1872: Professor Vanderwyde demonstrates Reis's telephone in New York.
July 1873: Thomas Edison notes varying resistance in carbon grains due to pressure, and builds a rheostat based on the principle but abandons it because of its sensitivity to vibration.
May 1874: Gray invents an electromagnet device for transmitting musical tones. Some of his receivers use a metallic diaphragm.
July 1874: Alexander Graham Bell conceives the theoretical concept for the telephone while vacationing at his parents' farm near Brantford, Canada. Alexander Melville Bell records notes of his son's conversation in his personal journal.
29 December 1874: Gray demonstrates his musical tones device and transmits "familiar melodies through telegraph wire" at the Presbyterian Church in Highland Park, Illinois.
4 May 1875: Bell conceives of using varying resistance in a wire conducting electric current to create a varying current amplitude.[4]
2 June 1875: Bell transmits the sound of a plucked steel reed using electromagnet instruments.
1 July 1875: Bell uses a bi-directional "gallows" telephone that was able to transmit "indistinct but voice-like sounds" but not clear speech. Both the transmitter and the receiver were identical membrane electromagnet instruments.
1875: Thomas Edison experiments with acoustic telegraphy and, in November, builds an electro-dynamic receiver but does not exploit it.

tag: ul

text: 1876 to 1878[edit]

text:
11 February 1876: Elisha Gray invents a liquid transmitter for use with a telephone, but he did not make one.
14 February 1876, about 9:30 am: Gray or his lawyer brings Gray's patent caveat for the telephone to the Washington, D.C. Patent Office (a caveat was a notice of intention to file a patent application. It was like a patent application, but without a request for examination, for the purpose of notifying the patent office of a possible invention in process).
14 February 1876, about 11:30 am: Bell's lawyer brings to the same patent office Bell's patent application for the telephone. Bell's lawyer requests that it be registered immediately in the cash receipts blotter.
14 February 1876, about 1:30 pm: Approximately two hours later Elisha Gray's patent caveat is registered in the cash blotter. Although his caveat was not a full application, Gray could have converted it into a patent application and contested Bell's priority, but did not do so because of advice from his lawyer and his involvement with acoustic telegraphy. The result was that the patent was awarded to Bell.[5]
7 March 1876: Bell's U.S. Patent, No. 174,465 for the telephone is granted.
10 March 1876: Bell first successfully transmits speech, saying "Mr. Watson, come here! I want to see you!" using a liquid transmitter as described in Gray's caveat, and Bell's own electromagnetic receiver.
16 May 1876: Thomas Edison files first patent application for acoustic telegraphy for which U.S. patent 182,996 was granted October 10, 1876.
25 June 1876: Bell exhibits his telephone at the Centennial Exposition in Philadelphia, where it draws enthusiastic reactions from Emperor Dom Pedro II of Brazil and Lord Kelvin, attracting the attention of the press and resulting in the first announcements of the invention to the general public.
10 August 1876: Alexander Graham Bell makes the world's first long-distance telephone call, over a distance of about 6 miles, between Brantford and Paris, Ontario, Canada.
1876: Hungarian Tivadar Puskas invents the telephone switchboard exchange (later working with Edison).
9 October 1876: Bell makes the first two-way long-distance telephone call between Cambridge and Boston, Massachusetts.
October 1876: Edison tests his first carbon microphone.
1877: The first experimental Telephone Exchange in Boston.
20 January 1877: Edison "first [succeeds] in transmitting over wires many articulated sentences" using carbon granules as a pressure-sensitive varying resistance under the pressure of a diaphragm.[6]
30 January 1877: Bell's U.S. Patent No. 186,787 is granted for an electromagnetic telephone using permanent magnets, iron diaphragms, and a call bell.
4 March 1877: Emile Berliner invents a microphone based on "loose contact" between two metal electrodes, an improvement on Reis' Telephone, and in April 1877 files a caveat of an invention in process.
April 1877: A telephone line connects the workshop of Charles Williams, Jr., located in Boston, to his house in Somerville, Massachusetts at 109 Court Street in Boston, where Alexander Graham Bell and Thomas Watson had previously experimented with their telephone. The telephones became No. 1 and 2 in the Bell Telephone Company.[7]
27 April 1877: Edison files telephone patent applications. U.S. patents (Nos. 474,230, 474,231 and 474,232) were awarded to Edison in 1892 over the competing claims of Alexander Graham Bell, Emile Berliner, Elisha Gray, Amos Dolbear, J.W. McDonagh, G.B. Richmond, W.L.W. Voeker, J.H. Irwin and Francis Blake Jr.[8] Edison's carbon granules transmitter and Bell's electromagnetic receiver are used, with improvements, by the Bell system for many decades thereafter.[9]
4 June 1877: Emile Berliner files telephone patent application that includes a carbon microphone transmitter.
9 July 1877: The Bell Telephone Company, a common law joint-stock company, is organized by Alexander Graham Bell's future father-in-law Gardiner Greene Hubbard, a lawyer who becomes its first president.
6 October 1877: the Scientific American publishes the invention from Bell - at that time still without a ringer.
25 October 1877: the article in the Scientific American is discussed at the Telegraphenamt in Berlin
12 November 1877: The first commercial telephone company enters telephone business in Friedrichsberg close to Berlin[10] using the Siemens pipe as ringer and telephone devices build by Siemens.
1 December 1877: Western Union enters the telephone business using Edison's superior carbon microphone transmitter.
28 January 1878: The first commercial North American telephone exchange is opened in New Haven, Connecticut.
4 February 1878: Edison demonstrates the telephone between Menlo Park, New Jersey and Philadelphia, a distance of 210 kilometres (130 mi).
14 June 1878: The Telephone Company (Bell's Patents) Ltd. is registered in London. Opened in London on 21 August 1879, it is Europe's first telephone exchange, followed a couple of weeks later by one in Manchester.[11]
12 September 1878: the Bell Telephone Company sues Western Union for infringing Bell's patents.
1878: The first Australian telephone trials were made between Semaphore and Kapunda (and later Adelaide and Port Adelaide) in South Australia.[12]

text: 1879 to 1919[edit]

text:
Early months of 1879: The Bell Telephone Company is near bankruptcy and desperate to get a transmitter to equal Edison's carbon transmitter.
17 February 1879: Bell Telephone merges with the New England Telephone Company to form the National Bell Telephone Company. Theodore Vail takes over operations.
1879: Francis Blake invents a carbon transmitter similar to Edison's that saves the Bell company from extinction.
2 August 1879: The Edison Telephone Company of London Ltd, registered. Opened in London 6 September 1879.
10 September 1879: Connolly and McTighe patent a "dial" telephone exchange (limited in the number of lines to the number of positions on the dial.).
1879: The International Bell Telephone Company (IBTC) of Brussels, Belgium was founded by Bell Telephone Company president Gardiner Greene Hubbard, initially to sell imported telephones and switchboards in Continental Europe.[13][14] International Bell rapidly evolved into an important European telephone service provider and manufacturer, with major operations in several countries.
19 February 1880: The photophone, also called a radiophone, is invented jointly by Alexander Graham Bell and Charles Sumner Tainter at Bell's Volta Laboratory.[15][16] The device allowed for the transmission of sound on a beam of light.
20 March 1880: National Bell Telephone merges with others to form the American Bell Telephone Company.
1 April 1880: world's first wireless telephone call on Bell and Tainter's photophone (distant precursor to fiber-optic communications) from the Franklin School in Washington, D.C. to the window of Bell's laboratory, 213 meters away.[17][18]
1 July 1881: The world's first international telephone call is made between St. Stephen, New Brunswick, Canada, and Calais, Maine, United States.[19]
11 October 1881: The Sydney telephone exchange opened with 12 subscribers.
1882: A telephone company—an American Bell Telephone Company affiliate—is set up in Mexico City.
14 May 1883: The Adelaide exchange was opened, with 48 subscribers.[12]
7 September 1883: The Port Adelaide exchange was opened, with 21 subscribers.[12]
4 September 1884: Opening of telephone service between New York and Boston (235 miles).[20]
3 March 1885: The American Telephone & Telegraph Company (AT&T) is incorporated as the long-distance division of American Bell Telephone Company. It will become the head of the Bell System on the last day of 1899.
1886: Gilliland's Automatic circuit changer is put into service between Worcester and Leicester featuring the first operator dialing allowing one operator to run two exchanges.
1887: Tivadar Puskás introduced the multiplex switchboard, that had an epochal significance in the further development of telephone exchange.[21]
13 January 1887: the Government of the United States moves to annul the master patent issued to Alexander Graham Bell on the grounds of fraud and misrepresentation. The case, known as the 'Government Case', is later dropped after it was revealed that the U.S. Attorney General, Augustus Hill Garland had been given millions of dollars of stock in the company trying to unseat Bell's telephone patent.
1888: Telephone patent court cases are confirmed by the Supreme Court, see The Telephone Cases
1889: AT&T becomes the overall holding company for all the Bell companies.
2 November 1889: A.G. Smith patents a telegraph switch which provides for trunks between groups of selectors allowing for the first time, fewer trunks than there are lines, and automatic selection of an idle trunk.
10 March 1891: Almon Strowger patents the Strowger switch the first Automatic telephone exchange.
30 October 1891: The independent Strowger Automatic Telephone Exchange Company is formed.
3 May 1892: Thomas Edison awarded patents for the carbon microphone based on applications lodged in 1877.
18 October 1892: Opening of telephone service between New York and Chicago (950 miles).[20]
3 November 1892: The first Strowger switch goes into operation in LaPorte, Indiana with 75 subscribers and capacity for 99.
30 January 1894: The second fundamental Bell patent for the telephone expire; Independent telephone companies established, and independent manufacturing companies (Stromberg-Carlson in 1894 and Kellogg Switchboard & Supply Company in 1897).
30 December 1899: American Bell Telephone Company is purchased by its own long-distance subsidiary, American Telephone and Telegraph (AT&T) to bypass state regulations limiting capitalization. AT&T assumes leadership role of the Bell System.
25 December 1900: John W. Atkins, the manager at International Ocean Telegraph Company (IOTC), a subsidiary of Western Union Telegraph Company made the first international telephone call over telegraph cable at 09:55am from his office in Key West to Havana, Cuba.[22] Atkins was reported in the Florida Times Union and Citizen as saying, "For a long time there was no sound, except the roar heard at night sometimes, caused by electric light current." He continued calling Cuba and finally came back the words, clear and distinct: "I don't understand you."[23]
27 February 1901: United States Court of Appeal declares void Emile Berliner's patent for a telephone transmitter used by the Bell telephone system
1902: The first Australian interstate calls between Mt Gambier and Nelson.[12]
26 February 1914: Boston-Washington underground cable commenced commercial service.[20]
16 January 1915: The first automatic Panel exchange was installed at the Mulberry Central Office in Newark, New Jersey; but was a semi-automatic system using non-dial telephones.
25 January 1915: First transcontinental telephone call (3600 miles), with Thomas Augustus Watson at 333 Grant Avenue in San Francisco receiving a call from Alexander Graham Bell at 15 Dey Street in New York City, facilitated by a newly invented vacuum tube amplifier.[24]
21 October 1915: First transmission of speech across the Atlantic Ocean by radiotelephone from Arlington, Va. to Paris, France.[20]
1919: The first rotary dial telephones in the Bell System installed in Norfolk, Virginia. Telephones that lacked dials and touch-tone pads were no longer made by the Bell System after 1978.[citation needed]
1919: AT&T conducts more than 4,000 measurements of people's heads to gauge the best dimensions of standard headsets so that callers' lips would be near the microphone when holding handsets up to their ears.[25]

text: 1920 to 1969[edit]

text:
16 July 1920: World's first radiotelephone service commences public service between Los Angeles, Calif. and Santa Catalina Island.[20]
11 April 1921: Opening of deep sea cable from Key West, Fla., to Havana, Cuba (115 miles).[20]
22 December 1923: Opening of second transcontinental telephone line via a southern route.[20]
7 March 1926: First transatlantic telephone call, from London to New York.[26]
7 January 1927: Transatlantic telephone service inaugurated for commercial service (3500 miles).[20]
17 January 1927: Opening of third transcontinental telephone line via a northern route.[20]
7 April 1927: world's first videophone call via an electro-mechanical AT&T unit, from Washington, D.C. to New York City, by then-Commerce Secretary Herbert Hoover.[27][28]
8 December 1929: Opening of commercial ship-to-shore telephone service.[20]
3 April 1930: Opening of transoceanic telephone service to Argentina, Chile, and Uruguay and subsequently to all other South American countries.[20]
25 April 1935: First telephone call around the world by wire and radio.[20]
1937: The Western Electric type 302 telephone becomes available for service in the United States.
8 December 1937: Opening of fourth transcontinental telephone line.[20]
1941: Multi-frequency dialing introduced for operators in Baltimore, Maryland
1942: Telephone production is halted at Western Electric until 1945 for civilian distribution due to the retooling of factories for military equipment during WWII.
1946: National Numbering Plan (area codes)
1946: first commercial mobile phone call
1946: Bell Labs develops the germanium point-contact transistor
1947: December, W. Rae Young and Douglas H. Ring, Bell Labs engineers, proposed hexagonal cells for provisioning of mobile telephone service.
1948: Phil Porter, a Bell Labs engineer, proposed that cell towers be at the corners of the hexagons rather than the centers and have directional antennas pointing in 3 directions.
1950: The Western Electric Type 500 telephone becomes available in the United States after announcement in 1949.
30 June 1948: First public demonstration of the transistor by Bell Telephone Laboratories.[20]
10 November 1951: Direct Distance Dialing (DDD) first offered on trial basis at Englewood, New Jersey, to 11 selected major cities across the United States; this service grew rapidly across major cities during the 1950s
1955: the laying of trans-Atlantic cable TAT-1 began - 36 circuits, later increased to 48 by reducing the bandwidth from 4 kHz to 3 kHz
1958: Modems used for direct connection via voice phone lines
1960: Bell Labs conducts extensive field trial of an electronic central office in Morris, Illinois, known at the Morris System.
1960's: Bell Labs developed the electronics for cellular phones
1961: Initiation of Touch-Tone service trials
1962: T-1 service in Skokie, Illinois
1963, November 18: AT&T commences the first subscriber Touch-Tone service in the towns of Carnegie and Greensburg, Pennsylvania, using push-button telephones that replaced rotary dial instruments.
1965 (May 31): The world's first electronic switching system commences commercial service in Succasunna, New Jersey in form of the 1ESS.
1965: first geosynchronous communications satellite - 240 circuits or one TV signal

text: 1970 to 1999[edit]

text:
1970: ESS-2 electronic switch.
1970: modular telephone cords and jacks introduced .
1970: Amos E. Joel, Jr. of Bell Labs invented the "call handoff" system for "cellular mobile communication system" (patent granted 1972).
1971: AT&T submitted a proposal for cellular phone service to the U.S. Federal Communications Commission (FCC).
3 April 1973: Motorola employee Martin Cooper placed the first hand-held cell phone call to Joel Engel, head of research at AT&T's Bell Labs, while talking on the first Motorola DynaTAC prototype.
1973: packet switched voice connections over ARPANET with Network Voice Protocol (NVP).
1976: Kazuo Hashimoto invented Caller ID
1978: Bell Labs launched a trial of the first commercial cellular network in Chicago using Advanced Mobile Phone System (AMPS).
1978: World's first NMT phone call in Tampere, Finland.[29]
1979: VoIP - NVP running on top of early versions of IP
1981: The world's first fully automatic mobile phone system NMT is started in Sweden and Norway.
1981: BT introduces the British Telephone Sockets system.
1982: FCC approved AT&T proposal for AMPS and allocated frequencies in the 824-894 MHz band.
1982: Caller ID patented by Carolyn Doughty, Bell Labs
1983: last manual telephone switchboard in Maine is retired
1984: AT&T completes the divestiture of its local operating companies. This forms a new AT&T (long distance service and equipment sales) and the Baby Bells.
1987: ADSL introduced
1988: First transatlantic fiber optic cable TAT-8, carrying 40,000 circuits
1990: analog AMPS was superseded by Digital AMPS.
1991: the GSM mobile phone network is started in Finland, with the first phone call in Tampere.[29]
1993: Telecom Relay Service available for the disabled
1994: The IBM Simon becomes the first smartphone on the market.
1995: Caller ID implemented nationally in USA
1999: creation of the Asterisk Private branch exchange

text: 2000 to present[edit]

text:
11 June 2002: Antonio Meucci is recognized for "...his work in the invention of the telephone" (but not "...for inventing the telephone") by the United States House of Representatives, in United States HRes. 269.[30]
21 June 2002: The Parliament of Canada responds by passing a motion unanimously 10 days later recognizing Alexander Graham Bell as the inventor of the telephone.[31][32]
2005: Mink, Louisiana finally receives traditional landline telephone service (one of the last in the United States).[33]


document_title: Artful Dodger

question_text: what happens to the artful dodger in oliver twist

text: Artful Dodger

text: Role in the novel[edit]

text: In the novel, he becomes Oliver's closest friend (although he betrays him when Oliver is mistakenly caught) and he tries to make him a pickpocket, but soon realizes that Oliver won't succeed, and feels sorry for him, saying "What a pity it is he isn't a prig!" He also has a close relationship with Charley Bates. The Artful Dodger is characterized as a child who acts like an adult. He is described as wearing adult clothes which are much too large for him. Like an adult, he seldom gives in to childish urges.

tag: p

text: The Artful, meantime, who was of a rather saturnine disposition, and seldom gave way to merriment when it interfered with business, rifled Oliver's pockets with steady assiduity.

text: He was a snub-nosed, flat-browed, common-faced boy enough; and as dirty a juvenile as one would wish to see; but he had about him all the airs and manners of a man. He was short of his age: with rather bow-legs, and little, sharp, ugly eyes. His hat was stuck on the top of his head so lightly, that it threatened to fall off every moment--and would have done so, very often, if the wearer had not had a knack of every now and then giving his head a sudden twitch, which brought it back to its old place again. He wore a man's coat, which reached nearly to his heels. He had turned the cuffs back, half-way up his arm, to get his hands out of the sleeves: apparently with the ultimate view of thrusting them into the pockets of his corduroy trousers; for there he kept them. He was, altogether, as roystering and swaggering a young gentleman as ever stood four feet six, or something less, in the bluchers.

text: Ultimately the Dodger is caught with a stolen silver snuff box and presumably sent to a penal colony in Australia (only alluded to in the novel). The absurdity of the master pickpocket being caught over something so small is remarked upon in the book.

text: They've found the gentleman as owns the box; two or three more's a coming to 'dentify him; and the Artful's booked for a passage out,' replied Master Bates. 'I must have a full suit of mourning, Fagin, and a hatband, to wisit him in, afore he sets out upon his travels. To think of Jack Dawkins—lummy Jack—the Dodger—the Artful Dodger—going abroad for a common twopenny-halfpenny sneeze-box! I never thought he'd a done it under a gold watch, chain, and seals, at the lowest. Oh, why didn't he rob some rich old gentleman of all his valables, and go out as a gentleman, and not like a common prig, without no honour nor glory!

text: The Dodger chooses to consider himself a "victim of society," roaring in the courtroom, "I am an Englishman; where are my privileges?" The judge has little patience for the Dodger's posturing, and orders him out of the courtroom immediately after the jury convicts him of the theft. Dickens describes him this way:

text: With these last words, the Dodger suffered himself to be led off by the collar, threatening, till he got into the yard, to make a parliamentary business of it, and then grinning in the officer's face, with great glee and self-approval.

text: Dickens had first used a similar term in his previous novel, The Pickwick Papers. At the close of Chapter 16, Sam Weller refers to the recent schemes of Mr. Jingle: "Reg'lar do, sir; artful dodge."[1]

text: The Artful Dodger, though a pickpocket, is not a heartless character. He has a great respect for Fagin, to whom he delivers all of the pickpocketing spoils without question.

text: Actors who have played the role[edit]

text: The role of the Artful Dodger has been played by several notable performers. British actor Anthony Newley played the character in a 1948 film adaptation of the story. The role was amplified in the musical Oliver!. The part was first played by Martin Horsey (actor, director and author of "L'Chaim"), and later by Tony Robinson, Davy Jones, Leonard Whiting, Steve Marriott, and Phil Collins,[2] among others.[citation needed] Elijah Wood also portrayed the character in the 1997 television film that aired as part of The Wonderful World of Disney on ABC. He was played by Harry Eden in Roman Polanski's big-budget 2005 film version.

text: In the 1968 film Oliver!, Jack Wild played the role and was nominated for an Academy Award for Best Supporting Actor.[3] In the BBC adaptation of Oliver Twist in 2007, he is played by Adam Arnold.[4]

text: Others to have played the role in amateur productions include Adam Levine, Ben Elton, Robbie Williams, and Hayley Smith.

text: Cultural influences[edit]

text: In the 1980 ATV series The Further Adventures of Oliver Twist, the Dodger was played by John Fowler. When Oliver is sent by Mr. Brownlow to a boarding school, he finds the Dodger already there, and it is revealed that thanks to Oliver's uncle Harry Maylie the Dodger escaped transportation and was instead enrolled in the school. The two friends re-unite, and when Oliver flees the school the Dodger follows him back to London. Oliver is made to believe, by Noah Claypole, Noah's girlfriend Charlotte, and Mrs. Carraway (Mr. Brownlow's corrupt new housekeeper), that Mr. Brownlow is ill to the point of death. After Dodger rescues Oliver from his imprisonment by Claypole in the Brownlow cellar, he and Oliver are forced to take to the streets to uncover the truth, encountering Mr. Bumble, the villainous Monks, and their old mentor Fagin along the way.

text: In Peter F. Hamilton's Void Trilogy, Aaron pilots a spaceship called the Artful Dodger.

text: Argentine football player and 1986 FIFA World Cup winning captain Diego Maradona has frequently been referred to as the Artful Dodger due to his cunning personality and ability to get away with unpenalized fouls.[5][6][7][8]

text: At least two different books about the Major League Baseball club known as the "Dodgers" have used this character's name as a play-on-words for their titles: The Artful Dodgers, edited by Tom Meany; and The Artful Dodger, by Tommy Lasorda with David Fisher.

text: Condredge Holloway, the quarterback for the University of Tennessee Volunteers (1972–74), was known as "The Artful Dodger" for his scrambling prowess and elusive manner. Holloway was the first African-American starting quarterback in the history of Southeastern Conference football, went on to star in the Canadian Football League from 1975 through 1987, and was inducted into the Canadian Football Hall of Fame in 1999.[citation needed]

text: Dodger is one of the characters in Shadowrun, an elven hacker; his romantic involvement with semi-autonomous knowbot Morgan spurs her into full self-consciousness and turns her into one of the setting's first true AIs, launching a far-reaching chain of events that still largely define the metaplot twenty in-character (fifteen real) years later.

text: In the Bewitched episode, "The Phrase is Familiar", Tabitha's tutor uses witchcraft to make the Artful Dodger come out of Oliver Twist. In this episode he steals Samantha's ring, Darrin's watch, and the cufflinks of a client of Darrin's advertising company.

text: The literary magazine Artful Dodge was named after the character.

text: In an episode of Gilmore Girls, "Nick & Nora, Sid & Nancy", Rory calls Jess "Dodger" after he steals her book.

text: In the Lost Girl episode "It's Better to Burn Out Than Fae Away", a character refers to himself as being the "Artful Dodger" for his artist friend. Bo suggests that he did not actually read Oliver Twist.

text: Modern interpretations[edit]

text: In Walt Disney's 1988 animated feature film version of Oliver Twist, Oliver and Company, the character of the Artful Dodger was changed to a streetwise anthropomorphic mutt simply named Dodger. The voice was provided by musician Billy Joel.

text: In 1996, Jean Loup Wolfman played the role in an adaptation by Seth Michael Donsky entitled Twisted. The film is set in a contemporary New York City underground populated by drag queens, drug abusers and hustlers. The Artful Dodger is a gay rent boy and hustler called Arthur, better known among his clientele as "Fine Art".[9] He befriends the Oliver Twist character called Lee (played by Keivyn McNeill Grayes), the latter a black adolescent runaway.

text: In the first edition of Alan Moore and Kevin O'Neill's comic series League of Extraordinary Gentlemen, set in 1898 London, the Dodger briefly appears as an elderly man running his own gang of boy thieves, hinting that he is still following in Fagin's footsteps.

text: In 2001, the Artful Dodger was the subject of an Australian children's show called Escape of the Artful Dodger. The show followed the Artful Dodger's adventures in the Australian penal colony in New South Wales, as well as his eventual redemption. Oliver Twist and Fagin also appeared.

text: In the 2003 film Twist, the Artful Dodger is called Dodge and is played by Nick Stahl. The film is told from his point of view, where he's a drug addict influenced by Fagin.

text: In Terry Pratchett's 2012 novel Dodger, the title character bears certain similarities to the Dickens character. The sampler of the book also includes him meeting an astute gentleman who concerns himself with the well-being of the poor called Charlie Dickens.[10]

text: A 2014 novel by Peter David, Artful, features the Artful Dodger as the main character, and depicts his life following the events of Oliver Twist, which includes confrontations with vampires, one of whom is revealed to be Fagin.[11] The storyline of that novel was continued in a comic book series of the same name.[12]


document_title: An Officer and a Gentleman

question_text: who turned down the lead role in an officer and a gentleman

text: An Officer and a Gentleman

text: Plot[edit]

text: Zachary "Zack" Mayo is preparing to report to Aviation Officer Candidate School (AOCS). As he is doing so, he has brief flashbacks of his childhood. After the death of his mother, who committed suicide, an adolescent Zack was sent to live with his only living relative, his father Byron Mayo, who is stationed in US Naval Base Subic Bay in the Philippines. The elder Mayo, a Navy Chief Petty Officer/Chief Boatswain's Mate, made no attempt to hide his heavy drinking and hiring of prostitutes from a young Zack. When Zack said he needed help, Byron said he did not ask to get married nor be a father, because he is always out on sea all the time. But seeing the look on his face, he decides to let him stay with him. Mostly Zack became a Navy brat and travelled with his father.

text: The flashbacks advance to the present, where Zack has just graduated from college and informs his father he will be going to AOCS. Byron, who hates officers, tells Zack that his dream of becoming an officer is as unrealistic as hoping to become President. Despite his father's discouragement, Zack is determined to go through with his childhood dreams of becoming a Navy pilot as well as prove to him that he can make it and in the end Byron would have to "salute" Zack. Upon arrival at AOCS, Zack and his fellow AOCs are shocked by the harsh treatment they receive from their head drill instructor, Marine Gunnery Sergeant, Emil Foley. Foley makes it clear that the 13-week program is designed to eliminate OCs who are found to be mentally or physically unfit for commission as an ensign in the U.S. Navy, which will earn them flight training worth over $1,000,000. Foley warns the male candidates about the "Puget Sound Debs"—young women in the area who dream of marrying a Naval Aviator to escape their dull, local lives. Foley claims they scout the regiment for OCs, and will feign pregnancy or even stop using birth control to become pregnant to trap the men.

text: Zack becomes friends with fellow candidates Topper Daniels, Sid Worley, Emiliano Santos Della Serra, Lionel Perryman, and Casey Seeger. Zack and Sid meet two local young women—factory workers—at a Navy Ball. Zack begins a romantic relationship with Paula Pokrifki, and Sid with Lynette Pomeroy. Meanwhile, Daniels drops out of the program after he almost drowns in the dunker crash-escape exercise.

text: Foley rides Zack mercilessly, believing he lacks motivation and is not a team player, though Foley also sees potential in Zack. When Zack's side business of selling pre-shined shoes and belt buckles is discovered, Foley hazes him for a weekend in an attempt to make him DOR, "Drop on Request", a Navy term for requesting termination of training, but Zack refuses. Foley states Zack will be declared unfit, which frightens Zack into admitting he has no options in civilian life. Satisfied that Zack has come to a crucial self-realization and realizing what he's made of, Foley decides to let him stay. He punishes Zack by making him clean all the urinals, but does not recommend attrition. Henceforth, Zack starts behaving like a team player.

text: Zack and Paula spend the next weekend together, and she takes him home for dinner to meet her family. Her stepfather behaves strangely, and when Zack asks why, Paula shows him an old picture of her biological father. He was an AOC who had an affair with her mother but deserted her following his commissioning and refused to marry her when she became pregnant with Paula.

text: Zack is close to breaking the record time for negotiating the obstacle course, but Casey faces disqualification when she cannot negotiate the 12-foot-high wall (3.7 m). Zack abandons his attempt to break the course record in order to coach Casey over the wall, and she makes it.

text: Zack attends dinner with Sid and his parents and learns that Sid has a long-time girlfriend back home. Sid plans to marry her after he receives his commission. Meanwhile, Lynette has been dropping hints to Sid that she may be pregnant. Sid agonizes over this possibility, especially when Lynette tells him she will not have an abortion. After having a severe anxiety attack during a high-altitude simulation in a pressure chamber, Sid realizes he joined the officer training program out of a sense of obligation to his family, especially to the older brother who died as a Naval officer, and he Drops On Request, "DOR"s meaning he voluntarily resigns. He leaves the base without saying goodbye, so Zack and Paula go out to look for him.

text: Sid goes to Lynette's house and proposes marriage. She is elated until he tells her he DORed, and she would not be marrying a Naval Aviator after all. Disgusted, Lynette turns him down and admits she was never pregnant with his child. She says she thought he understood she wants to marry an aviator, escape from her small town, and live an exciting life overseas with the status of an aviator's wife. She berates him for dropping out and gives back the engagement ring he bought her. Crushed, Sid goes to the motel where he and Lynette spent his free weekends, asks for their old room, and begins drinking.

text: Zack and Paula arrive at Lynette's shortly after Sid leaves, and ask about Sid's whereabouts. Zack curses Lynette for trying to trick Sid, and he and Paula rush off to search for him. Zack goes to the motel and is heartbroken when he finds Sid has committed suicide out of grief. Paula tries to comfort Zack, admitting she loved him from day one and her guilt over failing to stop Lynette's scheme, but he rejects her and heads back to base with the intent to DOR himself. Foley will not let him quit so close to graduation and feels bad about what happened to Sid. Zack challenges Foley to an unofficial martial arts bout. Although Zack eventually appears to take control of the fight, Foley wins by kicking Zack in the groin and then tells him he can quit now if he still wishes to do so.

text: Zack shows up for graduation and is sworn into the Navy with his class. Following naval tradition, he receives his first salute from Foley in exchange for a US silver dollar. While tradition calls for the drill instructor to place the coin in his left shirt pocket, Foley places the coin in his right pocket, acknowledging that Zack was a special candidate. Zack thanks him for not giving up on him and tells him he would never have made it without the hardships Foley delivered. While leaving the base, he sees Foley initiating a set of new AOCs who are in the same position he was 13 weeks prior.

text: Zack, now Ensign Mayo with orders to undertake flight training, seeks out Paula at the factory where she works and declares his love to her. He picks her up and walks out with her in his arms to the applause of her co-workers, including a still-dismayed Lynette.

text: Cast[edit]

text: (in credits order)

text:
Richard Gere as Aviation Officer Candidate Zack Mayo
Debra Winger as Paula Pokrifki
David Keith as AOC Sid Worley
Robert Loggia as Chief Petty Officer Byron Mayo (Zack's father)
Lisa Blount as Lynette Pomeroy
Lisa Eilbacher as AOC Casey Seeger
Louis Gossett Jr. as Gunnery Sergeant Emil Foley, USMC
Tony Plana as AOC Emiliano Della Serra
Harold Sylvester as AOC Lionel Perryman
David Caruso as AOC Topper Daniels
Victor French as Joe Pokrifki (Paula's stepfather)
Grace Zabriskie as Esther Pokrifki (Paula's mother)
Tommy Petersen as Young Zack
Elizabeth Rogers as Betty Worley
John Laughlin as Troy
Ed Begley Jr. as Altitude Chamber Instructor (voice)

text: Production[edit]

text: Locations[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012) (Learn how and when to remove this template message)

tag: table

text: The film was shot in late 1981 on the Olympic Peninsula of Washington, at Port Townsend and Fort Worden. The U.S. Navy did not permit filming at NAS Pensacola in the Florida panhandle, the site of the actual Aviation Officer Candidate School[4] in 1981. Deactivated U.S. Army base Fort Worden stood in for the location of the school, an actual Naval Air Station in the Puget Sound area, NAS Whidbey Island. However, that installation, which is still an operating air station today, was and is a "fleet" base for operational combat aircraft and squadrons under the cognizance of Naval Air Force Pacific, not a Naval Air Training Command installation.

text: A motel room in Port Townsend, The Tides Inn on Water Street (48°06′38″N 122°45′54″W / 48.1105°N 122.765°W / 48.1105; -122.765), was used for the film.[5] Today, there is a plaque outside the room commemorating this (although the room has been extensively refurbished in the interim). Some early scenes of the movie were filmed in Bremerton, with ships of the Puget Sound Naval Shipyard in the background.

text: The "Dilbert Dunker" scenes were filmed in the swimming pool at what is now Mountain View Elementary School (Port Townsend Jr High School during filming).[5] According to the director's commentary on the DVD, the dunking machine was constructed specifically for the film and was an exact duplicate of the actual one used by the Navy. As of 2010, Mountain View Elementary is closed and is now home to the Mountain View Commons, which holds the police station, food bank and the YMCA, the latter of which holds the pool.

text: The filming location of Paula Pokrifiki's house was 1003 Tremont in Port Townsend.[5] As of 2009, the house was shrouded by a large hedge, and the front porch had been remodeled. The neighboring homes and landscape look identical to their appearance in the film, including the 'crooked oak tree' across the street from the Pokrifiki home. This oak tree is visible in the scene near the end of the film in which Richard Gere returns to the home to request Paula's help in finding his friend Sid. In the film, the plot has Paula living a ferry ride away from the naval base. In reality, Paula's home is located approximately 8 blocks from Fort Worden.

text: Lynette Pomeroy's house was located on Mill Road, just west of the main entrance of the Port Townsend Paper Corp. mill. The house no longer exists, but the concrete driveway pad is still visible.

text: The interior of the USO building at Fort Worden State Park was used for the reception scene near the beginning of the film.

text: The concrete structure used during the famous Richard Gere line "I got nowhere else to go!" is the Battery Kinzie located at Fort Worden State Park. The scene was filmed on the southwest corner of the upper level of the battery. The 'obstacle course' was constructed specifically for the film and was located in the grassy areas just south and southeast of Battery Kinzie.

text: The decompression chamber was one of the only sets constructed for the film and as of 2013, it is still intact in the basement of building number 225 of the Fort Worden State Park. It can be seen through the windows of the building's basement.

text: Building 204 of Fort Worden State Park was used as the dormitory and its porch was used for the film's closing 'silver dollar' scene.

text: The blimp hangar used for the famous fight scene between Louis Gossett Jr. and Richard Gere is located at Fort Worden State Park and as of 2013 is still intact, but has been converted into a 1200-seat performing arts center called the McCurdy Pavilion.

text: The filming location for the exterior of 'TJ's Restaurant' is located at the Point Hudson marina in Port Townsend. The space is now occupied by a company that makes sails. The fictional "TJ's" is an homage to the Trader Jon's bar in Pensacola, Florida, as a naval aviator hangout until it closed later in November 2003. For years, it was traditional for graduating Aviation Officer Candidate School classes to celebrate their commissioning at "Trader's."[citation needed]

text: Casting[edit]

text: Originally, folk music singer and occasional actor John Denver was signed to play Zack Mayo. But a casting process eventually involved Jeff Bridges, Christopher Reeve, and Richard Gere.[6][7] Gere eventually beat all the other actors for the part. John Travolta had turned down the role, as he did with American Gigolo (another Richard Gere hit).[7][8]

text: The role of Paula was originally given to Sigourney Weaver,[9] then to Anjelica Huston[9] and later to Jennifer Jason Leigh, who dropped out to do the film Fast Times at Ridgemont High instead.[10] Eventually, Debra Winger replaced Leigh for the role of Paula. Rebecca De Mornay,[10] Meg Ryan,[9] and Geena Davis[9] auditioned for the role of Paula.

text: In spite of the strong on-screen chemistry between Gere and Winger, the actors didn't get along during filming. Publicly, she called him a "brick wall" while he admitted there was "tension" between them. Thirty years later, Gere was complimentary towards Winger when he said that she was much more open to the camera than he was, and he appreciated the fact that she presented him with an award at the Rome Film Festival.[11]

text: Taylor Hackford kept Louis Gossett Jr. in separate living quarters from other actors during production so Gossett could intimidate them more during his scenes as drill instructor.[12] In addition, Gossett was advised by US Marine Corps Gunnery Sergeant Buck Welscher.[12]

text: Props[edit]

text: Richard Gere rides a 750cc T140E Triumph Bonneville. Two T140E Bonnevilles were supplied by Dewey's Cycle Shop in Seattle. One had Receipt no.16787 dated April 8, 1981, as sold to Paramount Pictures. In the United Kingdom, Paramount successfully linked with Triumph Motorcycles (Meriden) Ltd to do a mutual promotion. Triumph's then-chairman, John Rosamond, in his book Save The Triumph Bonneville! (Veloce 2009), states it was agreed cinemas showing the film would be promoted at their local Triumph dealer, and T140E Triumph Bonnevilles supplied by the dealer would be displayed in the cinema's foyers.

text: Ending[edit]

text: Richard Gere balked at shooting the ending of the film, in which Zack arrives at Paula's factory wearing his naval dress whites and carries her off the factory floor. Gere thought the ending would not work because it was too sentimental. Director Taylor Hackford agreed with Gere until, during a rehearsal, the extras playing the workers began to cheer and cry. When Gere saw the scene later, with a portion of the score (that was used to write "Up Where We Belong") played at the right tempo, he said it gave him chills. Gere is now convinced Hackford made the right decision.[13] Screenwriter Michael Hauge, in his book Writing Screenplays That Sell, echoed this opinion: "I don't believe that those who criticized this Cinderella-style ending were paying very close attention to who exactly is rescuing whom."

text: Release[edit]

text: Two versions of the film exist. The original, an uncensored R-rated cut and edited-for-broadcast television cut (which first aired on NBC in 1986) are nearly identical. The main difference is that the nudity and a majority of the foul language are edited out when the film airs on regular television. However, the group marching song near the beginning of the film and Mayo's solo marching song are not voiceover edits; they are reshoots of those scenes for television. Also, the sex scene between Mayo and Paula is cut in half, and the scene where Mayo finds Sid's naked body hanging in the shower is also edited.

text: Reaction[edit]

text: Box office[edit]

text: An Officer and a Gentleman was an enormous box office success and went on to become the third-highest-grossing film of 1982, after E.T.: The Extra Terrestrial and Tootsie.[14] It grossed $3,304,679 in its opening weekend[15] and $129,795,554 overall at the domestic box office.[16] It sold an estimated 44 million tickets in the US.

text: Reception[edit]

text: An Officer and a Gentleman was well received by critics and is widely considered one of the best films of 1982.[17][18][19] The film holds an 81% "Fresh" rating on the review aggregate website Rotten Tomatoes, based on 27 reviews, with the consensus: "Old-fashioned without sacrificing its characters to simplicity, An Officer and a Gentleman successfully walks the fine line between sweeping romance and melodrama".[20] It received rave reviews from critics, most notably from Roger Ebert, who gave it four stars. Ebert described An Officer and a Gentleman as "a wonderful movie precisely because it's so willing to deal with matters of the heart...it takes chances, takes the time to know and develop its characters, and by the time this movie's wonderful last scene comes along, we know exactly what's happening, and why, and it makes us very happy."[21]

text: Rex Reed gave a glowing review where he commented: "This movie will make you feel ten feet tall!" The British film critic Mark Kermode, an admirer of Taylor Hackford observed, "It's a much tougher film than people remember it being; it's not a romantic movie, it's actually a movie about blue-collar, down-trodden people."

text: The film is recognized by American Film Institute in these lists:

text:
2002: AFI's 100 Years...100 Passions—#29[22]
2004: AFI's 100 Years...100 Songs:

"Up Where We Belong"—#75[23]

2006: AFI's 100 Years...100 Cheers—#68[24]

text: Awards[edit]

text: Film Award wins:

text:
Academy Award for Best Supporting Actor—Louis Gossett Jr.
Best Music, Original Song—"Up Where We Belong", Jack Nitzsche and Buffy Sainte-Marie (music), Will Jennings (lyrics). Producer Don Simpson complained, "The song is no good. It isn't a hit," and unsuccessfully demanded it be cut from the film. "Up Where We Belong" later became the number one song on the Billboard charts.
BAFTA Film Award for Best Original Song—"Up Where We Belong", Jack Nitzsche and Buffy Sainte-Marie (music), Will Jennings (lyrics)
Award of the Japanese Academy for Best Foreign Language Film
NAACP Image Award for Outstanding Motion Picture

text: Academy Award nominations:

text:
Best Actress—Debra Winger
Best Music, Original Score
Best Film Editing
Best Writing, Screenplay Written Directly for the Screen.

text: Other Award wins:

text: "Up Where We Belong" vocalists Joe Cocker and Jennifer Warnes earned a Grammy Award for Best Pop Vocal Performance, Duo or Group [25]

text: Soundtrack[edit]

text: The soundtrack was released on August 13, 1982 and reached #38 on the Billboard 200, it stayed on the chart for 23 weeks and top 50 for one week.[26][27] The CD version doesn't include some of the instrumental selections that were available on the original record.[28]

text: "Up Where We Belong" was released as a single and became a global hit peaking at number one in the US, Canada, and Australia, and reaching the top 10 in many other countries.

text: Track Listing (Original Record)[edit]

text:
Song
Lyrics by
Performed by

"Up Where We Belong"
Will Jennings
Joe Cocker and Jennifer Warnes

"Theme from 'An Officer and a Gentleman"
Jack Nitzsche and Buffy Sainte-Marie
Lee Ritenour

"Treat Me Right"
D. Lubahn and Pat Benatar
Pat Benatar

"Hungry for Your Love"
Van Morrison
Van Morrison

"Be Real"
D. Sahm
Sir Douglas Quintet

"Tush"
B. Gibbons, D. Hill and F. Beard
ZZ Top

"Tunnel of Love"
M. Knopfler
Dire Straits

"Feelings"
Morris Albert
Morris Albert

"Tie a Yellow Ribbon Round the Ole Oak Tree"
Irwin Levine and L. Russell Brown

"Anchors Aweigh"
Charles A. Zimmerman, George D. Lottman and Alfred Hart Miles

"Moon River"
Henry Mancini and Johnny Mercer

"Big Money Dollars"
John Thomas Lenox

"Gamelan Gong: Barong Dance"
David Lewiston

"The Plains of Mindanao"
Bayanihan 7

"Galan Kangin"
Gong Kebyar, Sebatu

"Love Theme From 'An Officer And A Gentleman"
Lee Ritenour
Lee Ritenour

"The Morning After Love Theme"
Jack Nitzsche
Jack Nitzsche

text: Adaptations[edit]

text:
The Takarazuka Revue adapted the movie as a musical in 2010 in Japan (Takarazuka Grand Theater; Tokyo Takarazuka Theater). The production was performed by Star Troupe and the cast included Reon Yuzuki as Zack Mayo, Nene Yumesaki as Paula Pokrifki and Kaname Ouki as Gunnery Sergeant Emil Foley.[29]
A stage musical, with book by Douglas Day Stewart and Sharleen Cooper Cohen and songs by Ken Hirsch and Robin Lerner, directed by Simon Phillips, opened on May 18, 2012 at the Lyric Theatre in Sydney, Australia.[30] The production received mixed reviews[31] and closed after six weeks.[32]


document_title: Osteon

question_text: where is the matrix located in the osteon

text: Osteon

text: Structure[edit]

text: Each osteon consists of concentric layers, or lamellae, of compact bone tissue that surround a central canal, the haversian canal. The haversian canal contains the bone's blood supplies. The boundary of an osteon is the cement line.

text: Each haversian canal is surrounding by varying number (5-20) of concentrically arranged lamellae of bone matrix. Near the surface of the compact bone, the lamellae are arranged parallel to the surface; these are called circumferential lamellae. Some of the osteoblasts develop into osteocytes, each living within its own small space, or lacuna. Osteocytes make contact with the cytoplasmic processes of their counterparts via a network of small transverse canals, or canaliculi. This network facilitates the exchange of nutrients and metabolic waste. Collagen fibers in a particular lamella run parallel to each other, but the orientation of collagen fibers within other lamellae is oblique. The collagen fiber density is lowest at the seams between lamellae, accounting for the distinctive microscopic appearance of a transverse section of osteons. The space between osteons is occupied by interstitial lamellae, which are the remnants of osteons that were partially resorbed during the process of bone remodeling.

text: Osteons are connected to each other and the periosteum by oblique channels called Volkmann's canals or perforating canals.

text: Drifting osteons[edit]

text: Drifting osteons are a phenomenon that is not fully understood. A "drifting osteon" is classified as one that runs both longitudinally as well as transversely through the cortex. An osteon can "drift" in one direction or change directions several times, leaving a tail of lamellae behind the advancing haversian canal.[2]

text: Investigative applications[edit]

text: In bioarchaeological research and in forensic investigations, osteons in a bone fragment can be used to determine the sex of an individual[3] and age, as well as aspects of taxonomy, diet, health and motor history.[4]

text: Osteons and their arrangement vary according to taxon, so that genus and sometimes species can be differentiated using a bone fragment not otherwise identifiable. However, there is considerable variability among the different bones of a skeleton, and features of some faunal osteons overlap with those of human osteons; therefore, examination of osteons is not of primary use in the analyses of osteological remains.[5] More research is needed, but osteohistology has the potential to positively affect the studies in bioarchaeology, paleontology and forensic investigations.

text: In recent decades, osteohistological studies of dinosaur fossils has been used to address a number of issues, such as the periodicity of growth of dinosaurs and whether it was uniform across species[6] and the question of whether dinosaurs were warm-blooded or not.[7]


document_title: Wind controller

question_text: who is credited with designing the first wind controller for synthesizer control in the mid 1970s

text: Wind controller

text: History[edit]

text: Analog wind controllers[edit]

text: The first widely played wind controller was the Lyricon from Computone which came about in the 1970s era of analog synthesizers. The Lyricon was based on the fingerings of the saxophone and used a similar mouthpiece. It set the standard for hardware-based wind controllers with a number of features that have been preserved in today's MIDI wind controllers, including the ability to correctly interpret the expressive use of reed articulation, breath-controlled dynamics, and embouchure-controlled pitch variation. The Lyricon also expanded the playing range several octaves beyond the accustomed range for woodwind players. Tone generation on the Lyricon was limited to a dedicated analog synthesizer designed specifically to interpret various wired analog outputs from the instrument. Notable early recording artists on the Lyricon include Roland Kirk and Tom Scott. Third-party adaptations would later bring the Lyricon into the MIDI era.

text: The next analog wind controller of note was the EWI-1000 from Akai which, like the Lyricon, was paired with a dedicated analog, voltage-controlled tone module, the EWV-2000. The EWV-2000 had no MIDI in, though it did have MIDI out. The EWI-1000/EWV-2000 pair were actually a hybrid digital/analog system. Analog signals were derived from the various sensors (e.g., key, bite, bend, etc.) on the EWI-1000 controller unit, then converted to digital signals by a front-end microprocessor in the EWV-2000. These digital signals were then altered by the microprocessor and D/A converted to internal analog control voltages appropriate for the analog synthesizer IC's within the EWV-2000. The D/A used within the EWV-2000 used a very high resolution and conversion rate, such that the responsiveness to the player felt immediate, i.e. "analog." The subsequent EWI-3000 and EWI-3020 systems also used this A/D/A scheme within their dedicated tone modules, though these later models of the EWI would support MIDI in and out.

text: The MIDI controller revolution[edit]

text: With the advent of MIDI and computer-based digital samplers, the new music technology of the 1980s ushered in a variety of "alternative" MIDI controllers, making it possible for non-keyboardists to play MIDI synthesizers and samplers for the first time. These new controllers included, most notably: MIDI drums, MIDI guitar synthesizers, and MIDI wind controllers. Leading the way to demonstrate the virtuosic potential of this new arsenal of MIDI technology on the world stage through extensive touring and big-label recordings were guitarist Pat Metheny playing the guitar synthesizer and saxophonist Michael Brecker playing the wind controller, each leading their own bands.

text: Digital wind controllers and MIDI[edit]

text: The most widely played purely digital wind controllers include the Yamaha WX series and the Akai EWI series. These instruments are capable of generating a standard MIDI data stream, thereby eliminating the need for dedicated synthesizers and opening up the possibility of controlling any MIDI-compatible synthesizer or other device. These instruments, while shaped something like a clarinet with a saxophone-like key layout, both offer the option to recognize fingerings for an assortment of woodwinds and brasswinds. The major distinction between the approach taken by the two companies is in the action of their keys. Yamaha WX series instruments have moving keys like a saxophone or flute that actuate small switches when pressed. Akai EWI series instruments have immovable, touch-sensitive keys that signal when the player is merely making contact with the keys. In the hands of skilled players each of these instruments has proved its ability to perform at a high level of artistry.

text: The now defunct Casio DH series were toy-like wind controllers introduced in the mid-1980s and had a built-in speaker (with limited sound sources) as well as being usable as midi controllers.

text: A recent addition to the wind controller category is the Synthophone, an entirely electronic wind controller embedded in the shell of an alto saxophone. Since the electronic components take up the open space of the saxophone, it is not playable as an acoustic instrument; however, since the exterior matches that of the acoustic instrument, it is significantly more familiar to play.

text: Additionally, keyboard-based breath controllers are also available. These modulate standard keyboards, computers and other midi devices, meaning they are not played like a woodwind, but like a keyboard, but with a breath controller (similar to a pump organ.) Yamaha's BC series can be used to control DX and EX units. Midi Solutions makes a converter box that allows any midi device to be controlled by the Yamaha BC controllers. TEControl also makes a USB device that is simply a jump drive with a breath tube attached that can be plugged into any standard computer.

text: Software based wind controllers[edit]

text: Through the 1990s the major hardware-based wind controllers improved through successive models and a number of minor, and less commercially successful, controllers were introduced. These controllers remained the only viable bridge between the woodwind or brasswind player and the synthesizer. But dating back to the 1980s a lesser known software-based alternative began to emerge. With a software-based wind controller the musician plays an ordinary woodwind (or brasswind) into a microphone at which point a software program (sometimes with dedicated computer hardware) interprets the pitch, dynamics, and expression of this acoustic sound and generates a standard MIDI data stream just in time to play along with the performer through a synthesizer.

text: While the first commercial product attempting this approach dates back to the Fairlight Voicetracker VT-5 of 1985, a more successful modern approach using software on personal computers (combined with a digital audio workstation and softsynths) is relatively new. Two recent examples of this approach are Thing-1 from ThingTone Software, and Digital Ear Realtime from Epinoisis Software.

text: Range of expression[edit]

text: Due in part to their sensitive key switching and breath sensing systems the hardware-based wind controllers put precise demands on a player who hopes to play with technical mastery. An accomplished woodwind player may find that a hardware-based wind controller will produce an unwanted note (called a "glitch") even at the slightest imperfection in fingering or articulation technique. As the better recordings show, these difficulties can be overcome with practice.

text: In contrast to live performance with a wind controller, and in response to these technical challenges, some "performances" are achieved through careful post-processing or note-by-note insertion and editing using a notation or sequencer program.[original research?]

text: Virtually all current synthesizers and their sound libraries are designed to be played primarily with a keyboard controller, whereby the player often reserves one hand to manipulate the many real-time controls to determine how the instrument sounds, and perhaps using a foot to manipulate an expression pedal.[original research?]

text: Wind controller players do not have access to as many of these controls and thus are often limited in exploiting all of the potential voicings of their synthesizers, but the technologies of physical modeling (Yamaha VL-70) and sample modeling promise more expression control for wind controller players. Furthermore, sound designers are paying more attention to the different playing idioms in which their sounds will be used. For example, certain percussion sounds do not work well with a wind controller simply because playing a struck instrument it is not idiomatic to the woodwind, whereas synthesized instruments that model the acoustic properties of a woodwind will seem fitting and natural to a wind controller player.[original research?]

text: A few of the many hardware (Yamaha, Roland, Akai, Kurzweill) and software (Native Instruments, Garritan, SampleModeling, Sample Logic, LinPlug) synthesizers provide specific support for wind controllers, and they vary widely with respect to how well they emulate acoustic wind, brass, and string instruments. A new technology, devised by SampleModeling has specific settings for Yamaha and EWI wind controllers and has succeeded in producing very rapid natural responsiveness with their trumpet and saxophone synthesizers. That said, virtually all current synthesizers respond to MIDI continuous controllers and the data provided by wind controller breath and lip input can usually be routed to them in an expressive way.[original research?]

text: An example of a popular hardware synthesizer with wind controller support is the Yamaha VL70m. However, although the responsiveness is admirable, the emulation of acoustic instruments leaves a lot to be desired.[original research?] It is able to connect directly to the Yamaha WX series of controllers and via MIDI to the Akai and other controllers. Similarly, an example of an excellent software synthesizer with support for wind controller playing is the Zebra synthesizer from Urs Heckmann.

text: Manufacturers[edit]

text: Hardware-based[edit]

text: Major manufacturers[edit]

text: The major manufacturers of wind controllers are Akai, and Yamaha. Available production models include the Akai EWI4000, Akai EWI-USB, and Yamaha WX5. Older models out of production include the Akai-3020, Yamaha WX-11, Yamaha WX-7, and offerings from Casio including the DH-100, DH-200, DH-500 and DH-800. Martin Hurni of Softwind Instruments in Switzerland is the inventor and builder of the Synthophone. Last coming is the french Startup AODYO with their Wireless MIDI Wind Controller, the SYLPHYO.

text: Specialty manufacturers[edit]

text: There are also controllers intended to be played by brass instrumentalists.

text: Software-based[edit]

text: The software-based wind controllers currently in production are manufactured by ThingTone Software with a Mac OS X product called "Thing-1", and Epinoisis Software with a Windows product called "Digital Ear Realtime".

text: Synthophone[edit]

text: The Synthophone is a Wind Controller synthesizer. It is a MIDI sax offering real sax fingerings and a standard sax embouchure. The MIDI hardware allows the key action as well as breath and lip pressure to be read as MIDI data. Since it is a saxophone, the fingerings are the same with some additions - Several combinations allow real-time editing of patches and harmony. The instrument has made several appearances in NAMM, including 1997.[1] "'The design of the Synthophone goes back to the "pre-MIDI times" of 1981, where the first prototype (a wood-stick with Boehm-like keys) was designed by Martin Hurni. It was connected to a dedicated analog synthesizer system. This first stage of Synthophone was followed by a REAL alto sax with keys connected to a switching system to give a more realistic playing feel'".[2]"' At the ARS ELECTRONICA 1984 contest, the first prize was given to the design of the Synthophone for its "most original and future-oriented development in the field of electronic sound production'".[3] After, the MIDI capable prototype was developed to increase its functionality to a Wind controller. The Synthophone is an evolution of the acoustic saxophone into the information age. The Synthophone is made by Softwind Instruments in Bern, Switzerland.

text: Distinguishing features[edit]

text: The Synthophone requires different maintenance than a saxophone. It differs from other wind controllers by not having onboard presets, it must be used with a computer or MIDI synthesizer. The reed is glued to a machined metal piece (lip sensor).[4] The additional finger combinations allow the instrument to produce polyphonic effects to make it a chordal instrument or it can be played as a homophonic instrument.[5] Some other distinguishing features are selectable diatonic tonality, six chord variations (inversions, subs, number of voices, unison/chords) adjusted with lips, freeze harmony, sustain, and obligato or portamento.[6] Programmable to change to the keys of Bb, C, Eb. The electronics are within a Yamaha YAS-275 saxophone.


document_title: Song of Songs

question_text: when was the book song of songs written

question_tokens: when was the book song of songs written

text: Song of Songs

text: Structure[edit]

text:
Tanakh (Judaism)

Torah  (Instruction)[show]

Genesis
Brʾeišyt

Exodus
Šemot

Leviticus
Wayiqra

Numbers
Bəmidbar

Deuteronomy
Devarim

Nevi'im  (Prophets)[show]

Former

Joshua
Yehoshua

Judges
Shofetim

Samuel
Shemuel

Kings
Melakhim

Latter

Isaiah
Yeshayahu

Jeremiah
Yirmeyahu

Ezekiel
Yekhezqel

Minor

Hosea
Joel
Amos
Obadiah
Jonah
Micah
Nahum
Habakkuk
Zephaniah
Haggai
Zechariah
Malachi

Ketuvim  (Writings)[hide]

Poetic

Psalms
Təhillîm

Proverbs
Mishlei

Job
Iyov

Five Megillot (Scrolls)

Song of Songs
Shir Hashirim

Ruth
Rut

Lamentations
Eikhah

Ecclesiastes
Qoheleth

Esther
Ester

Historical

Daniel
Daniyyel

Ezra–Nehemiah
Ezra

Chronicles
Dibh're Hayyamim

Old Testament (Christianity)

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text: There is widespread consensus that, although the book has no plot, it does have what can be called a framework, as indicated by the links between its beginning and end.[7] Beyond this, however, there appears to be little agreement: attempts to find a chiastic structure have not been compelling, and attempts to analyse it into units have used differing methods and arrived at differing results.[8] The following schema, from Kugler & al.[9] must therefore be taken as indicative, rather than determinative:

text:
Introduction (1:1–6)
Dialogue between the lovers (1:7–2:7)
The woman recalls a visit from her lover (2:8–17)
The woman addresses the daughters of Zion (3:1–5)
Sighting a royal wedding procession (3:6–11)
The man describes his lover's beauty (4:1–5:1)
The woman addresses the daughters of Jerusalem (5:2–6:4)
The man describes his lover, who visits him (6:5–12)
Observers describe the woman's beauty (6:13–8:4)
Appendix (8:5–14)

text: Summary[edit]

text: The introduction calls the poem "the song of songs", a construction commonly used in Scriptural Hebrew to show something as the greatest and most beautiful of its class (as in Holy of Holies).[10] The poem proper begins with the woman's expression of desire for her lover and her self-description to the "daughters of Jerusalem": she insists on her sunflare-born blackness, likening it to the "tents of Kedar" (nomads) and the "curtains of Solomon". A dialogue between the lovers follows: the woman asks the man to meet; he replies with a lightly teasing tone. The two compete in offering flattering compliments ("my beloved is to me as a cluster of henna blossoms in the vineyards of En Gedi", "an apple tree among the trees of the wood", "a lily among brambles", while the bed they share is like a forest canopy). The section closes with the woman telling the daughters of Jerusalem not to stir up love such as hers until it is ready.[11]

text: The woman recalls a visit from her lover in the springtime. She uses imagery from a shepherd's life, and she says of her lover that "he pastures his flock among the lilies".[11]

text: The woman again addresses the daughters of Jerusalem, describing her fervent and ultimately successful search for her lover through the night-time streets of the city. When she finds him she takes him almost by force into the chamber in which her mother conceived her. She reveals that this is a dream, seen on her "bed at night" and ends by again warning the daughters of Jerusalem "not to stir up love until it is ready".[11]

text: The next section reports a royal wedding procession. Solomon is mentioned by name, and the daughters of Jerusalem are invited to come out and see the spectacle.[11]

text: The man describes his beloved: Her hair is like a flock of goats, her teeth like shorn ewes, and so on from face to breasts. Place-names feature heavily: her neck is like the Tower of David, her smell like the scent of Lebanon. He hastens to summon his beloved, saying that he is ravished by even a single glance. The section becomes a "garden poem", in which he describes her as a "locked garden" (usually taken to mean that she is chaste). The woman invites the man to enter the garden and taste the fruits. The man accepts the invitation, and a third party tells them to eat, drink, "and be drunk with love".[11]

text: The woman tells the daughters of Jerusalem of another dream. She was in her chamber when her lover knocked. She was slow to open, and when she did, he was gone. She searched through the streets again, but this time she failed to find him and the watchmen, who had helped her before, now beat her. She asks the daughters of Jerusalem to help her find him, and describes his physical good looks. Eventually, she admits her lover is in his garden, safe from harm, and committed to her as she is to him.[11]

text: The man describes his beloved; the woman describes a rendezvous they have shared. (The last part is unclear and possibly corrupted.)[11]

text: The people praise the beauty of the woman. The images are the same as those used elsewhere in the poem, but with an unusually dense use of place-names, e.g., pools of Hebron, gate of Bath-rabbim, tower of Damascus, etc. The man states his intention to enjoy the fruits of the woman's garden. The woman invites him to a tryst in the fields. She once more warns the daughters of Jerusalem against waking love until it is ready.

text: The woman compares love to death and sheol: love is as relentless and jealous as these two, and cannot be quenched by any force. She summons her lover, using the language used before: he should come "like a gazelle or a young stag upon the mountain of spices".[11]

text: Composition[edit]

text: The Song offers no clue to its author or to the date, place, or circumstances of its composition.[12] The superscription states that it is "Solomon's", but even if this is meant to identify the author, it cannot be read as strictly as a similar modern statement.[13] The most reliable evidence for its date is its language: Aramaic gradually replaced Hebrew after the end of the Babylonian exile in the late 6th century BCE, and the evidence of vocabulary, morphology, idiom and syntax clearly points to a late date, centuries after King Solomon to whom it is traditionally attributed.[14] It has parallels with Mesopotamian and Egyptian love poetry from the first half of the 1st millennium, and with the pastoral idylls of Theocritus, a Greek poet who wrote in the first half of the 3rd century;[15][16][17] as a result of these conflicting signs, speculation ranges from the 10th to the 2nd centuries BCE,[12] with the language supporting a date around the 3rd century.[18]

text: Debate continues on the unity or disunity of the Song. Those who see it as an anthology or collection point to the abrupt shifts of scene, speaker, subject matter and mood, and the lack of obvious structure or narrative. Those who hold it to be a single poem point out that it has no internal signs of composite origins, and view the repetitions and similarities among its parts as evidence of unity. Some claim to find a conscious artistic design underlying it, but there is no agreement among them on what this might be. The question therefore remains unresolved.[19]

text: The setting in which the poem arose is also debated.[20] Some academics posit a ritual origin in the celebration of the sacred marriage of the god Tammuz and the goddess Ishtar.[21] Whether this is so or not, the poem seems to be rooted in some kind of festive performance.[20] External evidence supports the idea that the Song was originally recited by different singers representing the different characters, accompanied by mime.[22]

text: Canonisation and interpretation[edit]

text: Judaism[edit]

text: The Song was accepted into the Jewish canon of scripture in the 2nd century CE, after a period of controversy in the 1st century. It was accepted as canonical because of its supposed authorship by Solomon and based on an allegorical reading where the subject-matter was taken to be not sexual desire but God's love for Israel.[23] For instance, the famed first and second century Rabbi Akiva forbade the use of the Song of Songs in popular celebrations. He reportedly said, "He who sings the Song of Songs in wine taverns, treating it as if it were a vulgar song, forfeits his share in the world to come".[24] However, Rabbi Akiva famously defended the canonicity of the Song of Songs, reportedly saying when the question came up of whether it should be considered a defiling work, "God forbid! [...] For all of eternity in its entirety is not as worthy as the day on which Song of Songs was given to Israel, for all the Writings are holy, but Song of Songs is the Holy of Holies."[25]

text: It is one of the overtly mystical Biblical texts for the Kabbalah, which gave esoteric interpretation on all the Hebrew Bible. Following the dissemination of the Zohar in the 13th century, Jewish mysticism took on a metaphorically anthropomorphic erotic element, and Song of Songs is an example of this. In Zoharic Kabbalah, God is represented by a system of ten sephirot emanations, each symbolizing a different attribute of God, comprising both male and female. The Shechina (indwelling Divine presence) was identified with the feminine sephira Malchut, the vessel of Kingship. This symbolizes the Jewish people, and in the body, the female form, identified with the woman in Song of Songs. Her beloved was identified with the male sephira Tiferet, the "Holy One Blessed be He", central principle in the beneficent Heavenly flow of Divine emotion. In the body, this represents the male torso, uniting through the sephira Yesod of the male sign of the covenant organ of procreation.

text: Through beneficent deeds and Jewish observance, the Jewish people restore cosmic harmony in the Divine realm, healing the exile of the Shechina with God's transcendence, revealing the essential Unity of God. This elevation of the World is aroused from Above on the Sabbath, a foretaste of the redeemed purpose of Creation. The text thus became a description, depending on the aspect, of the creation of the world, the passage of Shabbat, the covenant with Israel, and the coming of the Messianic age. "Lecha Dodi", a 16th-century liturgical song with strong Kabbalistic symbolism, contains many passages, including its opening two words, taken directly from Song of Songs.

text: In modern Judaism, certain verses from the Song are read on Shabbat eve or at Passover, which marks the beginning of the grain harvest as well as commemorating the Exodus from Egypt, to symbolize the love between the Jewish People and their God. Jewish tradition reads it as an allegory of the relationship between God and Israel.[5]

text: Christianity[edit]

text: The literal subject of the Song of Songs is love and sexual longing between a man and a woman, and it has little (or nothing) to say about the relationship of God and man; in order to find such a meaning it was necessary to resort to allegory, treating the love that the Song celebrates as an analogy for the love between God and Church.[26] The Christian church's interpretation of the Song as evidence of God's love for his people, both collectively and individually, began with Origen. Over the centuries the emphases of interpretation shifted, first reading the Song as a depiction of the love between Christ and Church, the 11th century adding a moral element, and the 12th century understanding of the Bride as the Virgin Mary, with each new reading absorbing rather than simply replacing earlier ones, so that the commentary became ever more complex.[27] These theological themes are not in the poem, but derive from a theological reading; nevertheless, what is notable about this approach is the way it leads to conclusions not found in the overtly theological books of the bible.[28] Those books reveal an abiding imbalance in the relationship between God and man, ranging from slight to enormous; but reading Songs as a theological metaphor produces quite a different outcome, one in which the two partners are equals, bound in a committed relationship.[28] In modern times the poem has attracted the attention of feminist biblical critics, with Phyllis Trible's foundational "Depatriarchalizing in Biblical Interpretation" treating it as an exemplary text and the Feminist Companion to the Bible series edited by Athalya Brenner and Carole Fontaine devoting to it two volumes (1993, 2000).[29][30]

text: Musical settings[edit]

text: Excerpts from the book have inspired composers to vocal and instrumental compositions, including:

text:
Symphoniae sacrae I (1629) by Heinrich Schütz
J. S. Bach's Wachet auf, ruft uns die Stimme, BWV 140, while mainly based on the Parable of the Ten Virgins, also uses words and imagery from the Song of Songs.[31]
C'est un jardin secret... for solo viola (1976) by Tristan Murail
Nightstone (1979) for voice and piano by Arnold Rosner
Song of Soloman (1989) by Steve Kilbey
John Zorn's "Shir Ha-Shirim" premiered in February 2008.[32] The piece is inspired by Song of Songs and is performed by an amplified quintet of female singers with female and male narrators performing the "Song of Solomon". A performance at the Guggenheim Museum in November 2008 featured choreography for paired dancers from the Khmer Arts Ensemble by Sophiline Cheam Shapiro.[33] In 2013 a new version featuring the five singers without the two narrators premièred in NYC at Alice Tully Hall and at the Jerusalem Sacred Music Festival and released on the album Shir Hashirim.
David Lang's "Just (after Song of Songs)" (2014) was premiered in 2014 by Trio Mediaeval and Garth Knox Saltarello Trio. The piece is featured in the film "Youth" by Paolo Sorrentino.
Song of Solomon (2017) classical wedding suite composition for orchestra, organ and two voices by Chris M. Allport
Alex Weiser's after shir hashirim (2017) draws its inspiration from the text and cantillation of the Song of Songs.[34]

text: In popular culture[edit]

text:
Marc Chagall's "Song of Songs", a five-painting cycle, is housed in the Marc Chagall Museum in Nice.
Egon Tschirch's "Song of Solomon", a 1923 expressionist nineteen-picture cycle, was rediscovered in 2015.
In the Coen Brothers' 1990 film "Miller's Crossing", the principal character Tom Reagan (played by Gabriel Byrne) says the line "If I'd known we were gonna cast our feelings into words, I'd've memorized the Song of Solomon".
In Carl Theodor Dreyer's Day of Wrath, a film about sexual repression in a puritanical Protestant family, the first few verses of Song of Songs chapter 2 are read aloud by the daughter Anne, but soon after her father forbids her to continue. The chapter's verse paraphrases Anne's own amorous adventures and desires.[35]
Nobel Prize-winning writer Toni Morrison's 1977 novel is entitled Song of Solomon.
The chorus of Stephen Duffy's 1985 song "Kiss Me" was based on the comparison of wine to love in Song of Songs.
In Neil Gaiman's 2001 novel American Gods, the Queen of Sheba, who appears as an ageless (but not invincible) character, whispers lines from the Song of Songs as she is murdered in Los Angeles.
"The Song of Solomon" by British singer Kate Bush on her 1993 album, The Red Shoes, is largely based on the Song of Songs.
Rose of Sharon (an epithet in the Song) is a major character in John Steinbeck's novel The Grapes of Wrath.
Lillian Hellman's 1939 play The Little Foxes (and the later 1941 film adaptation) gets its title from Song 2:15: "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes."[36]
Catherine L. Morris' 2009 collection The Song of Songs: A Love Poem Illustrated presents a series of paintings that visualize the book.[37]
Post-hardcore band mewithoutYou named their sophomore album Catch for Us the Foxes
Madeleine L'Engle's novel Many Waters is named after a phrase in the Song; and two seraphim quote it to soothe the protagonists, at a moment of distress.
The 2014 film The Song is based on the Song of Songs[38]
In the 2005 film Keeping Mum, Grace (Maggie Smith) instructs the vicar (Rowan Atkinson) that the Song of Solomon "is about sex".
The song is mentioned repeatedly in Sholem Aleichem's Jewish Children[39]
In Elizabeth Smart's novel of prose poetry By Grand Central Station I Sat Down and Wept, several lines of the Song are spoken by the protagonist while she undergoes police questioning about her relationship with her companion, poet George Barker.
The Song of Solomon played a central theme in the readings and sermon at the wedding of Prince Harry and Meghan Markle.