title: Bensonhurst, Brooklyn

text: The newly emerging Chinese enclaves in sections of Bensonhurst, and another one in Homecrest/Sheepshead Bay, are primarily Cantonese populated and are more of extensions of the Western Cantonese section of Manhattan's Chinatown or Little Hong Kong / Little Guangdong or Cantonese Town. However, there are also small numbers are Fuzhou- and Mandarin-speakers.


title: Bensonhurst, Brooklyn

text: The Flushing-based New World Shopping Center, which owns and operates a Chinese supermarket called Jmart Supermarket inside their shopping center, opened a second branch of Jmart Supermarket in Bensonhurst in 2018. It is the neighborhood's largest Chinese Asian style supermarket. The Jmart is located in a former Waldbaum's.


title: Bensonhurst, Brooklyn

text: Bensonhurst's Chinese population was 31,658 in 2015, with this population being primarily Cantonese-speaking from Mainland China's Guangdong Province and Hong Kong. The majority of Brooklyn's Cantonese population is concentrated in Bensonhurst, and is slowly replacing Manhattan's Chinatown as the largest primary Cantonese cultural center in New York City resulting in Bensonhurst increasingly becoming the main largest attraction for newly arriving Cantonese immigrants into New York City with Homecrest/Sheepshead Bay as a smaller secondary attraction.


title: Bensonhurst, Brooklyn

text: In 2011, the "New York Daily News" reported that Manhattan's Chinatown Chinese population dropped from 34,554 to 28,681 from 2000 to 2010, and that it is continuing to decline due to the gentrification going on in Lower Manhattan, which has spurred the increasing growth of newer Chinatowns in Brooklyn including in Queens. As of the 2010s, the current Chinese population in Bensonhurst has grown so much that it is enough to create another large Chinatown surpassing Manhattan's Chinatown and nearly being as big as Sunset Park's Chinatown. However, unlike in Sunset Park where the Chinese community is highly concentrated, the Chinese community in Bensonhurst is split into several sections, such as 18th Avenue, Bay Parkway, and 86th Street.


title: Bensonhurst, Brooklyn

text: Brooklyn's Asian population, mainly Chinese, has grown substantially in the Sunset Park area, as well as in Bensonhurst, Dyker Heights, and Borough Park. In Bensonhurst alone, from 2000 to 2010, the Asian population increased by 57%. The study showed that Asians very often live in houses that are divided into studio apartments, which means the Asian population could be higher than indicated on censuses.


title: Bensonhurst, Brooklyn

text: Based on data from the 2020 United States census, the Asian population in Bensonhurst grew to 46,000, surpassing the Asian populations in Sunset Park of 31,000 and in the original Manhattan's Chinatown of 27,000. Bensonhurst has the third-largest Asian population of any New York City neighborhood, behind Elmhurst with a population in excess of 55,000 and Flushing with 54,000. While the original Chinatown in Manhattan saw a decline in the Asian population, all these other neighborhoods have continued to experience Asian population increases.


title: Bensonhurst, Brooklyn

text: For the first time as of the 2020 census data from NYC Dept. Of City Planning, the Asian population(46,000 residents) in Bensonhurst now constitute a more than 50% majority in the neighborhood now surpassing the remaining White population (30,000 to 39,999 residents). Nearby adjacent neighborhoods of Gravesend has 26,700 Asian residents and Dyker Heights has between 20,000 to 29,999 Asian residents and Bath Beach has between 10,000 to 19,999 Asian residents. The Asian population in the Dyker Heights/Bensonhurst/Gravesend/Bath Beach area all together approximately made up around roughly 102,700 residents more or less and remain primarily Chinese speaking.


title: Bensonhurst, Brooklyn

text: There is a small significant amount of Vietnamese Chinese residents integrated into the community, particularly west of Bay Parkway going towards Dyker Heights.


title: Bensonhurst, Brooklyn

text: Bensonhurst and the nearby neighborhood of Bath Beach collectively have the largest concentration of Hong Kong immigrants in New York City.


title: Bensonhurst, Brooklyn

text: Many of Bensonhurst's houses are attached or semidetached, though fully detached houses can be found in the west near Dyker Heights. These are mostly 20th-century houses made of brick, stucco, and stone, with aluminum siding facades. There are also clusters of apartment buildings throughout the neighborhood. After rezoning in the 2000s, many short single-family homes were torn down and replaced by three-story brick apartment buildings and multi-family condominiums.


title: Bensonhurst, Brooklyn

text: They are sometimes called "Fedders Houses" for their distinctive, standard air conditioner sleeves. From 2002 to 2005, 1,200 new housing units in Bensonhurst were approved to accommodate the growing population, which includes many foreign-born residents. With an increase in the area's real estate values, long-time homeowners sold their houses.


title: Bensonhurst, Brooklyn

text: As no official neighborhood designations are used in New York City, Bensonhurst does not have any official boundaries. Still, parts of Bath Beach, Mapleton, Dyker Heights, Gravesend, and Borough Park are sometimes considered parts of Bensonhurst. However, Bensonhurst-proper includes the area bounded by 86th Street, 14th Avenue, 60th Street, McDonald Avenue, Avenue P, Stillwell Ave. and Bay Parkway.


title: Bensonhurst, Brooklyn

text: The 62nd Precinct ranked 4th safest out of 69 patrol areas for per-capita crime in 2010. Historically, Bensonhurst has had lower crime than other neighborhoods in Brooklyn, though its mostly White and Asian population has made the area susceptible to racially-motivated crimes, such as the murder of Yusef Hawkins in 1989.


title: Bensonhurst, Brooklyn

text: , with a non-fatal assault rate of 23 per 100,000 people, Bensonhurst's rate of violent crimes per capita is less than that of the city as a whole. The incarceration rate of 152 per 100,000 people is lower than that of the city as a whole.


title: Bensonhurst, Brooklyn

text: The Precinct has a lower crime rate than in the 1990s, with crimes across all categories having decreased by 87.4% between 1990 and 2018. The precinct reported 2 murders, 20 rapes, 120 robberies, 148 felony assaults, 178 burglaries, 482 grand larcenies, and 67 grand larcenies auto in 2018.


title: Bensonhurst, Brooklyn

text: The New York City Fire Department (FDNY) operates two firehouses in the area. Engine Co. 330/Ladder Co. 172 is located at 2312 65th Street. Engine Co. 253 is located at 2429 86th Street.


title: Bensonhurst, Brooklyn

text: , preterm births and births to teenage mothers are less common in Bensonhurst than in other places citywide. In Bensonhurst, there were 84 preterm births per 1,000 live births (compared to 87 per 1,000 citywide), and 12.5 births to teenage mothers per 1,000 live births (compared to 19.3 per 1,000 citywide). Bensonhurst has a high population of residents who are uninsured, or who receive healthcare through Medicaid. In 2018, this population of uninsured residents was estimated to be 13%, which is higher than the citywide rate of 12%.


title: Bensonhurst, Brooklyn

text: The concentration of fine particulate matter, the deadliest type of air pollutant, in Bensonhurst is , lower than the citywide and boroughwide averages. Sixteen percent of Bensonhurst residents are smokers, which is higher the city average of 14% of residents being smokers. In Bensonhurst, 21% of residents are obese, 12% are diabetic, and 16% have high blood pressure—compared to the citywide averages of 24%, 11%, and 28% respectively. 14% of local children are obese, compared to the citywide average of 20%.


title: Bensonhurst, Brooklyn

text: Ninety percent of residents eat some fruits and vegetables every day, which is slightly higher than the city's average of 87%. In 2018, 65% of residents described their health as "good," "very good," or "excellent," less than the city's average of 78%. For every supermarket in Bensonhurst, there are 27 bodegas.


title: Bensonhurst, Brooklyn

text: The Bay Ridge/Dyker Heights/Bensonhurst area does not have any hospitals. However, the Coney Island Hospital, NYU Langone Hospital – Brooklyn, and Maimonides Medical Center are located in nearby neighborhoods.


title: Bensonhurst, Brooklyn

text: Bensonhurst is covered by ZIP Codes 11204 north of Bay Ridge Parkway, and 11214 south of Bay Ridge Parkway. The United States Postal Service's Parkville Station is located at 6618 20th Avenue. It was listed on the National Register of Historic Places in 1988. Another post office, the Bath Beach Station, is located at 1865 Benson Avenue.


title: Bensonhurst, Brooklyn

text: Bensonhurst generally has a lower ratio of college-educated residents than the rest of the city . While 36% of residents age 25 and older have a college education or higher, 26% have less than a high school education and 38% are high school graduates or have some college education. By contrast, 40% of Brooklynites and 38% of city residents have a college education or higher. The percentage of Bensonhurst students excelling in math has been increasing, with math achievement rising from 50 percent in 2000 to 71 percent in 2011, though reading achievement within the same time period stayed steady at 52%.


title: Bensonhurst, Brooklyn

text: Bensonhurst's rate of elementary school student absenteeism is lower than the rest of New York City. In Bensonhurst, 12% of elementary school students missed twenty or more days per school year, compared to the citywide average of 20% of students. 85% of high school students in Bensonhurst graduate on time, higher than the citywide average of 75% of students.


title: Bensonhurst, Brooklyn

text: The Roman Catholic Diocese of Brooklyn operates Catholic schools in the borough. Our Lady of Guadalupe School in Bensonhurst was nicknamed "OLG" in the neighborhood. In 2012 the school had 217 students, but by 2019 enrollment was 120. That year its fund balance was $559,633 and its deficit was $215,377. It closed in 2019.


title: Bensonhurst, Brooklyn

text: The Brooklyn Public Library (BPL) operates two libraries in Bensonhurst. The Highlawn branch is located at 1664 West 13th Street, near the intersection with Kings Highway. The branch was renovated in 2005–2006. Unlike most other BPL branches, it contains a circular reading room with multicolored walls.


title: Bensonhurst, Brooklyn

text: The New Utrecht branch is located at 1743 86th Street, near Bay 17th Street. It was founded in 1894 as the Free Library of the Town of New Utrecht and became a BPL branch in 1901. The current building opened in 1956.


title: Bensonhurst, Brooklyn

text: The neighborhood is well served by the New York City Subway. The , which runs on the BMT West End Line above 86th Street, provides a direct connection to Grand Street in Manhattan. The , which run on the BMT Sea Beach Line near 63rd Street, provide a direct connection to Canal Street. This provides convenient commutes into Manhattan's Chinatown for the growing Bensonhurst Chinese population.


title: Bensonhurst, Brooklyn

text: The Sea Beach Line has a station at Eighth Avenue in Brooklyn's Sunset Park Chinatown. A transfer to the West End Line is available at New Utrecht Avenue / 62nd Street. The IND Culver Line along McDonald Avenue, carrying the , runs through the most northeastern end of Bensonhurst between the Bay Parkway and Kings Highway stations.


title: Bensonhurst, Brooklyn

text: A number of high-profile organized crime figures hail from Bensonhurst, including Frankie Yale, Anthony Casso, Paul Castellano, Mikey DiLeonardo, Anthony Gaggi, Carlo Gambino, John Gambino, Sammy "The Bull" Gravano, Gregory Scarpa, and Carmine Sessa.


title: Gerwyn Price

text: Gerwyn Stephen Price (born 7 March 1985) is a Welsh professional darts player and former professional rugby union and rugby league player. Nicknamed "The Iceman", he competes in events of the Professional Darts Corporation (PDC), where he is the current world No. 1. He is also a 3-time Grand Slam Champion and a former world champion, becoming the first ever Welshman to win the tournament. Price's victory saw him overtake longtime number 1 Michael van Gerwen in the world rankings.


title: Gerwyn Price

text: He broke into the top 32 on the PDC Order of Merit in 2016 and soon afterwards won his first Pro Tour title. In 2017, he was the runner-up at the UK Open, Price's first major event final, and has also competed in the prestigious Premier League Darts tournament on three occasions, finishing 10th, 5th, and 5th, in 2018, 2019, and 2020, respectively. Price took his first major win in controversial fashion at the 2018 Grand Slam of Darts tournament. He retained the title at the 2019 tournament, and won it again in 2021.


title: Gerwyn Price

text: Price has also played rugby union for Welsh Premier Division sides Neath and Cross Keys, Pro12 with Glasgow Warriors and rugby league with South Wales Scorpions.


title: Gerwyn Price

text: Price played as a hooker for Welsh Premier Division sides Neath and Cross Keys as well as rugby league with South Wales Scorpions. He also had a short spell at Pro12 side Glasgow Warriors as injury cover for their first choice players. During Price's time with Cross Keys, they won the 2011–12 WRU Challenge Cup, with Price scoring a try in the final. He ended his rugby career in 2014 in order to concentrate on playing darts full-time.


title: Gerwyn Price

text: On 16 February 2022, Price announced on Instagram his debut boxing fight which was originally scheduled for 9 April 2022 against Rhys Evans at Valley Tavern, Blackwood, Wales. The boxing fight was later delayed due to injury and scheduled for 13 May 2022. Price later announced he would no longer be taking part in the event stating “I’ve pulled out of boxing now. On medical advice, I’ve been advised not to do it."


title: Gerwyn Price

text: Price began playing darts for his local side Markham Welfare, before playing in the Super League for Aberbargoed. Welsh darts professional Barrie Bates advised him to enter Qualifying School to join the Professional Darts Corporation (PDC) in January 2014 and Price was successful in the second event. He won six matches on the day concluding with a 5–3 victory over Rowby-John Rodriguez to earn a two-year tour card. He qualified for the 2014 UK Open, and lost 5–2 to Aden Kirk in the second round. He twice reached the last 16 stage of Players Championship events during the first half of 2014, losing to Michael van Gerwen and Stephen Bunting. In July, Price averaged 98.32 in beating former world number one Colin Lloyd 6–2 at the European Darts Open. In the second round he led Gary Anderson 2–0 but went on to lose 6–3. At the 13th Players Championship, Price saw off Lloyd, Kirk, James Wade and Wayne Jones to advance to the quarter-finals for the first time, where he was edged out 6–5 by Adrian Lewis.


title: Gerwyn Price

text: Price qualified for the European Darts Trophy in Leipzig during mid September. There, he beat Bernd Roith 6–3 in the first round to face Steve Beaton in the second round. Thanks to a great performance, which included the tournament's highest finish of 167, he saw off Beaton 6–3 and won against Vincent van der Voort in the following round. He nearly qualified for the 2014 World Grand Prix, for which a place in the semi-finals was needed, but was beaten 6–3 in the quarter-finals by Andy Hamilton. Price's impressive start to his darting career continued by reaching his first semi-final at the 19th Players Championship where he lost 6–3 to Ian White.


title: Gerwyn Price

text: The £12,750 he earned in Pro Tour events during 2014 saw him finish 39th on the Order of Merit to claim the eighth of sixteen places that were on offer to non-qualified players for the 2015 World Championship. Price missed one dart at tops to level at one set all against Peter Wright in the first round and was beaten 3–0. His successful year saw him start 2015 ranked world number 59.


title: Gerwyn Price

text: Price was knocked out of the preliminary round of the 2015 UK Open 5–2 by Matt Padgett. On his way to his first quarter-final of the year, Price eliminated Adrian Lewis 6–4 with an average of 105.78 at the second Players Championship event, but he went on to lose 6–2 to James Wade. At the Gibraltar Darts Trophy, Price defeated two top 16 players in Robert Thornton and Simon Whitlock to play in his second career European Tour quarter-final, where compatriot Jamie Lewis narrowly won 6–5. In total during the first half of 2015 Price lost in four quarter-finals on the Pro Tour, and reached the semi-finals of the eighth Players Championship where he lost 6–4 to Adrian Lewis. These results sealed his qualification for the World Matchplay through the Pro Tour Order of Merit, with Price seeing off Michael Smith 10–4 in his debut in the event. He then produced the performance of his career to date as he defeated two-time world champion Lewis 13–10, but could only average 88.17 in his first major quarter-final during a 16–7 defeat by Peter Wright. Price met Smith again in the first round of the World Grand Prix with the tie going to a deciding set in which Price established a 2–0 leg lead. He would miss two match darts as Smith levelled and in the final leg Price was unable to score a point as he missed a total of 15 darts at doubles in the double-start event. He led Ian White 9–8 in the second round of the Players Championship Finals, but went on to lose 10–9.


title: Gerwyn Price

text: Andrew Gilding won each set in the first round of the 2016 World Championship by three legs to one in beating Price 3–0. In February at the fifth UK Open Qualifier, Price defeated Mark Webster 6–1 and Mensur Suljović 6–3 to reach his first PDC final, but he was denied the title by world number one Michael van Gerwen who triumphed 6–2. In the seventh Players Championship, Price won through to another final and this time took the title by coming back from 3–0 down against Peter Wright to win 6–3. He also took the eighth event as he averaged 108 in the final during a 6–1 victory over Jamie Caven. After knocking out Kim Huybrechts 10–8 at the World Matchplay, Price would face Adrian Lewis in the second round for the second year in a row. Before the match Lewis stated that Price's win over him 12 months ago was lucky and that Price was a "big mouth who's never won anything and never will win anything". The pre-match tension seemed to affect both players as both averaged in the 80s with Lewis prevailing 11–5. Price lost 2–0 in the first round of the World Grand Prix to Benito van de Pas, and 10–2 to Michael van Gerwen in the second round of the European Championship. Wins over Scott Waites and Robert Thornton saw him top his group on his debut at the Grand Slam of Darts. He missed one match dart against Brendan Dolan in the last 16 in a 10–9 defeat.


title: Gerwyn Price

text: After taking the opening set against Jonny Clayton in their first round match at the 2017 World Championship, Price lost three in a row to be beaten 3–1. He was ranked 20th on the Order of Merit afterwards. He defeated Justin Pipe 10–5, David Pallett 10–4 and Paul Hogan 10–6 at the UK Open to reach the quarter-finals. Ian White was on 20 to win 10–9, but hit a double 15 to burst his score and Price stepped in with a 160 checkout to progress through to the semi-finals where he was locked at 9–9 with Alan Norris. Norris missed three darts to take the 19th leg and Price finished 100 with two double tops, before breaking throw in the next to win 11–9. In his first major final he was 7–2 down to Peter Wright, before reducing his deficit to 8–6. However, Price then lost the last three legs to be beaten 11–6.


title: Gerwyn Price

text: Victories over Finland, Ireland and Russia helped Price and Mark Webster into the semi-finals of the World Cup. A pair of 4–2 wins over the Belgian team of Kim and Ronny Huybrechts saw them play in the final, where their only point came courtesy of a Webster win over Raymond van Barneveld as they went down 3–1 to the Dutch.


title: Gerwyn Price

text: In the 2018 World Championship, Price won in the first round of the World Championship for the first time when he beat Ted Evetts 3–0. In the second round Price beat Ian White 4–1. In the third round Price faced the defending World Champion Michael van Gerwen. Van Gerwen won the first two sets but then Price won seven legs in a row to go two sets all and ahead in the fifth set. Price had set darts in the fifth set, but failed to take them. Van Gerwen won the fifth and sixth set which meant Price lost the match 2–4.


title: Gerwyn Price

text: Following good performances over 2017 Price was selected as a wildcard for the 2018 Premier League Darts tournament. Despite good draws against world number 2 Peter Wright and 2017 World Grand Prix winner Daryl Gurney, Price failed to register a victory and was eliminated on week nine's judgement night at the Echo Arena Liverpool.


title: Gerwyn Price

text: Price started to show some consistency in the televised majors in 2018, reaching the quarter finals of the Masters, UK Open, World Grand Prix and European Championship. He also won a European Tour event in September, the International Darts Open in Germany, just 2 months after having an operation to repair a broken achilles heel. In November, Price, as a 40/1 outsider at the start of the event, won his first televised PDC major by winning the Grand Slam of Darts, with come from behind wins against Simon Whitlock in the quarter finals and surviving match darts to win 16–15, against Mensur Suljović by 16–12 in the semi finals, and against Gary Anderson by 16–13 in the final. With his controversial Grand Slam of Darts victory, Price was the first Welshman to win a PDC televised major.


title: Gerwyn Price

text: In the 2019 World Championship, Price lost 3–2 to Nathan Aspinall in the second round despite leading 2-0 in sets.


title: Gerwyn Price

text: In January 2019, Gerwyn Price was hit with a record fine by the Darts Regulation Authority due to his actions at the 2018 Grand Slam of Darts. In total he was fined £21,500 for his actions during his victory at the Grand Slam of Darts. He was fined £12,000 for gamesmanship in the final of the Grand Slam of Darts against Gary Anderson. He was fined £8,000 for gamesmanship in his quarter-final game against Simon Whitlock. He was also fined £1,500 for social media posts following his events, which were directed towards the beaten finalist Gary Anderson. His fine was reduced on appeal to a total of £11,500.


title: Gerwyn Price

text: Gerwyn's second Premier League Darts campaign saw him just miss out on a play-off spot, as he finished 5th.


title: Gerwyn Price

text: In October 2019, Price reached the final of the European Championship beating Ted Evetts, Nathan Aspinall, Vincent van der Voort and Michael Smith on the way. However, he lost the final to Rob Cross 11–6.


title: Gerwyn Price

text: In November 2019, Price successfully defended his Grand Slam of Darts title beating Peter Wright 16–6 in the final after defeating Gary Anderson in the quarter-final and recording his first career win over Michael van Gerwen in the semi-final. Price then reached the final of the Players Championship, where he was the top seed due to his performances on the Pro Tour. He was narrowly beaten 11-9 by van Gerwen after missing four darts to take the match into a deciding leg.


title: Gerwyn Price

text: Price's 2019 season meant he entered the 2020 World Championship as the second favourite behind van Gerwen. He reached the semi-finals by defeating three-time BDO world champion Glen Durrant, but he was eventually defeated, in a heated encounter 6–3 by Peter Wright, who went on to win the title.


title: Gerwyn Price

text: In March Price reached the 2020 UK Open final, his second UK Open final, losing to Michael van Gerwen 11–9. Price won two televised titles for the first time in 2020; winning the World Series of Darts Finals with a win over Rob Cross and winning the World Grand Prix by beating Dirk van Duijvenbode 5–2 in the final.


title: Gerwyn Price

text: Price went into the 2021 World Championship as third seed. He came thorough a last set decider against fellow Welshman Jamie Lewis and a sudden death last leg decider against 30th seed Brendan Dolan to reach the fourth round, where he won 4–1 against Mervyn King to reach the quarter-finals for the second consecutive year. He then beat Daryl Gurney in another last leg decider and beat Stephen Bunting 6–4 to set up a final clash with Gary Anderson. Price beat Anderson 7–3 to win his first PDC World Championship, and replaced Michael van Gerwen as world number one. He also became the first Welshman ever to win the PDC world championship, although Leighton Rees, Richie Burnett, Mark Webster and Wayne Warren had previously won the BDO version of the championship.


title: Gerwyn Price

text: In April, Price was ruled out of the Premier League due to testing positive for COVID-19. During the 2021 UK Open, Price made it to the semi-finals losing 11–6 in legs to eventual winner James Wade. At the 2021 World Matchplay in July, he lost in the quarter-finals to Dimitri Van den Bergh. Price reached his first major final since the World Championship at the World Grand Prix which he lost to fellow Welshman Jonny Clayton 5–1 in sets.


title: Gerwyn Price

text: In November 2021, Price won his third Grand Slam of Darts title by beating Peter Wright 16–8 in the final.


title: Gerwyn Price

text: In the 2022 World Championship, Price started the defence of his world crown against Ritchie Edhouse, winning 3–1. In the quarter-finals, Price hit a Nine-dart finish against Michael Smith, but went on to lose the match 5–4.


title: Gerwyn Price

text: In the Premier League in Belfast, Price would go on to hit two further nine-dart legs. First against Michael van Gerwen in the semi-final and then a second against James Wade in the final.


title: Gerwyn Price

text: At the World Matchplay Price made it to his first final at the Winter Gardens, hitting a 9 darter against Danny Noppert along the way. He eventually lost to Michael van Gerwen.


title: Gerwyn Price

text: (W) Won; (F) finalist; (SF) semifinalist; (QF) quarterfinalist; (#R) rounds 6, 5, 4, 3, 2, 1; (RR) round-robin stage; (Prel.) Preliminary round; (DNQ) Did not qualify; (DNP) Did not participate; (NH) Not held


title: Gerwyn Price

text: In 2010, Price was punched outside a pub in Bargoed, causing an injury which required 42 stitches to his forehead and five to his chin, as well as suffering a brain haemorrhage and nerve damage to an eyebrow. His attacker, Owen Body, received a 12-month jail term. Price also received a suspended jail sentence for assaulting Body on the same evening.


title: Gerwyn Price

text: Following Price's controversial victory in the 2018 Grand Slam of Darts final, he spoke out about how his then-12-year-old daughter, Emily, had received online abuse on Twitter, in relation to his antics in the Grand Slam final. He called on his own followers to report the troll, and said that he wanted the culprit "kicked off of Twitter".


title: Letterboxing (filming)

text: Letterboxing is the practice of transferring film shot in a widescreen aspect ratio to standard-width video formats while preserving the film's original aspect ratio. The resulting videographic image has mattes (black bars) above and below it; these mattes are part of each frame of the video signal. LBX and LTBX are identifying abbreviations for films and images thus formatted.


title: Letterboxing (filming)

text: The term refers to the shape of a letter box, a slot in a wall or door through which mail is delivered, being rectangular and wider than it is high.


title: Letterboxing (filming)

text: The first use of letterbox in consumer video appeared with the RCA Capacitance Electronic Disc (CED) videodisc format. Initially, letterboxing was limited to several key sequences of a film such as opening and closing credits, but was later used for entire films. The first fully letterboxed CED release was "Amarcord" in 1984, and several others followed including "The Long Goodbye", "Monty Python and the Holy Grail" and "The King of Hearts". Each disc contains a label noting the use of "RCA's innovative wide-screen mastering technique."


title: Letterboxing (filming)

text: The term "SmileBox" is a registered trademark used to describe a type of letterboxing for Cinerama films, such as on the Blu-ray release of "How the West Was Won". The image is produced by using a map projection-like technique to approximate how the picture might look if projected onto a curved Cinerama screen.


title: Letterboxing (filming)

text: From 1996 until 2000, it was common for studios to release special widescreen versions of VHS releases. These usually carried a disclaimer that the films were presented in widescreen and that the black bars on the top and bottom of the screen were normal. Every major studio maintained a special "Widescreen Series" of titles available this way, with releases from 20th Century Fox packaged in small black bulletcases with bronze backgrounds used for the cover art to help distinguish them from pan-and-scan releases. With the widespread adoption of anamorphic DVDs, widescreen VHS releases quickly began to be phased out, with some noteworthy exceptions (for example, the 2004 Disney film "Home on the Range" was only available in letterboxed format on VHS)


title: Letterboxing (filming)

text: When HIT Entertainment in North America released the Wiggles’s “Cold Spaghetti Western” video on DVD and VHS on March 30, 2004, it was presented in widescreen but in letterbox format to accommodate full-screen TV's, which were still fairly common at the time of its release in the United States and Canada.


title: Letterboxing (filming)

text: Digital broadcasting allows 1.78:1 (16:9) widescreen format transmissions without losing resolution, and thus widescreen is the television norm. Most television channels in Europe are broadcasting standard-definition programming in , while in the United States, these are downscaled to letterbox. When using a 4:3 television, it is possible to display such programming in either a letterbox format or in a 4:3 centre-cut format (where the edges of the picture are lost).


title: Letterboxing (filming)

text: A letterboxed compromise ratio was often broadcast in analogue transmissions in European countries making the transition from 4:3 to 16:9. In addition, recent years have seen an increase of "fake" letterbox mattes on television to give the impression of a cinema film, often seen in adverts, trailers or television programmes such as "Top Gear".


title: Letterboxing (filming)

text: Current high-definition television (HDTV) systems use video displays with a wider aspect ratio than older television sets, making it easier to accurately display widescreen films. In addition to films produced for the cinema, some television programming is produced in high definition and therefore widescreen.


title: Letterboxing (filming)

text: On a widescreen television set, a 1.78:1 image fills the screen; however, 2.39:1 aspect ratio films are letterboxed with narrow mattes. Because the 1.85:1 aspect ratio does not match the 1.78:1 (16:9) aspect ratio of widescreen DVDs and high-definition video, slight letterboxing occurs. Usually, such matting of 1.85:1 film is eliminated to match the 1.78:1 aspect ratio in the DVD and HD image transference.


title: Letterboxing (filming)

text: Letterbox mattes are not necessarily black. IBM has used blue mattes for many of their TV ads, yellow mattes in their "I am Superman" Lotus ads, and green mattes in ads about efficiency & environmental sustainability. Others uses of colored mattes appear in ads from Allstate, Aleve, and Kodak among others, and in music videos such as Zebrahead's "Playmate of the Year". In other instances mattes are animated, such as in the music video for "Never Gonna Stop (The Red Red Kroovy)", and even parodied such as the final scene of the Crazy Frog Axel F music video in which Crazy Frog peeks over the matte on the lower edge of the screen with part of his hands overlapping the matte. Similar to breaking the border of a comic's panel, it is a form of breaking the fourth wall. The 2016 "Ghostbusters" exploited the edges for its 3D effects, with visual effects that "spilled over" into the letterboxed areas.


title: Letterboxing (filming)

text: The table below shows which TV lines will contain picture information when letterbox pictures are displayed on either 4:3 or 16:9 screens.


title: Letterboxing (filming)

text: Pillarboxing (reversed letterboxing) is the display of an image within a wider image frame by adding lateral mattes (vertical bars at the sides); for example, a 1.33:1 image has lateral mattes when displayed on a 16:9 aspect ratio television screen.


title: Letterboxing (filming)

text: An alternative to pillarboxing is "tilt-and-scan" (reversed pan and scan), horizontally matting the original 1.33:1 television images to the 1.78:1 aspect ratio, which at any given moment crops part of the top and/or bottom of the frame, hence the need for the "tilt" component. A tilt is a camera move in which the camera tilts up or down.


title: Letterboxing (filming)

text: Windowboxing occurs when an image appears centered in a television screen, with blank space on all four sides of the image, such as when a widescreen image that has been previously letterboxed to fit 1.33:1 is then pillarboxed to fit 16:9. It is also called "matchbox", "gutterbox", and "postage stamp" display. This occurs on the DVD editions of the "Star Trek" films on a 4:3 television when the included widescreen documentaries show footage from the original television series. It is also seen in "", which displays widescreen pillarboxing with 1.85:1 scenes in a 2.40:1 frame that is subsequently letterboxed. It is common to see windowboxed commercials on HD television networks, because many commercials are shot in 16:9 but distributed to networks in SD, letterboxed to fit 1.33:1.


title: Letterboxing (filming)

text: A specific kind of letterboxing is used as an anti-fingerprinting technique so that it becomes harder to uniquely identify internet users based on the screen resolution of their browsers or devices. The idea is that, when a user resizes or maximizes their browser window, the window's real dimensions are masked by keeping the window width and height at multiples of a certain ratio. The remaining space of the page on either top, bottom, left, or right are then left empty. As a result, individual users will have the same reported window dimensions as many others. A working example of this technique was developed by Mozilla, based on an earlier experiment by Tor Project, and is used in the Tor Browser.


title: Robert Fellowes, Baron Fellowes

text: Robert Fellowes, Baron Fellowes, (born 11 December 1941) is a British courtier who was Private Secretary to Queen Elizabeth II from 1990 to 1999, and is also known as a brother-in-law of Diana, Princess of Wales and maternal first cousin of Ronald Ferguson, the father of Sarah, Duchess of York.


title: Robert Fellowes, Baron Fellowes

text: Fellowes is the son of Scots Guards Major Sir William Fellowes, the Queen's land agent at Sandringham, and of his wife Jane Charlotte Ferguson, daughter of Brigadier-General Algernon Francis Holford Ferguson (great-grandfather of Sarah, Duchess of York). The Fellowes of Shotesham in Norfolk are an old country family, junior branch to the Lords De Ramsey (senior branch).


title: Robert Fellowes, Baron Fellowes

text: Fellowes married Lady Jane Spencer, elder sister of Diana, Princess of Wales, on 20 April 1978 at Westminster Abbey, when he was an assistant private secretary to the Queen. Diana (who married Charles, Prince of Wales in 1981) was a bridesmaid. Baron and Baroness Fellowes have three children:


title: Robert Fellowes, Baron Fellowes

text: Fellowes played cricket for Norfolk in the 1959 Minor Counties Championship, making one appearance each against Buckinghamshire and the Nottinghamshire Second XI. Fellowes was educated at Eton College and joined the Scots Guards in 1960 on a short service commission. After completion of service in 1963 he entered the banking industry, working for Allen Harvey and Ross Ltd, discount brokers and bankers, 1964–77. He was a managing director from 1968.


title: Robert Fellowes, Baron Fellowes

text: In 1977 Fellowes was recruited to join the Royal Household as Assistant Private Secretary. He spent the next 20 years in the Private Secretary's Office, becoming Deputy in 1986, and Private Secretary in 1990.


title: Robert Fellowes, Baron Fellowes

text: Fellowes left his position in February 1999 to return to private banking, his retirement having been announced implicitly on 1 June 1998 when his successor Robin Janvrin was named. He was created a life peer on 12 July 1999 taking the title Baron Fellowes, of Shotesham in the County of Norfolk in the Queen's Birthday Honours List. He sat as a crossbench peer until his retirement on 10 February 2022.


title: Robert Fellowes, Baron Fellowes

text: Lord Fellowes was introduced to the House of Lords and took his seat formally on 26 October 1999. According to reports from the House of Lords, Lord Fellowes remains technically a member of the Royal Household.


title: Robert Fellowes, Baron Fellowes

text: He was made a Privy Counsellor (PC) in 1990. He received the Queen Elizabeth II Version of the Royal Household Long and Faithful Service Medal in 1997 for 20 years of service to the Royal Family.


title: Robert Fellowes, Baron Fellowes

text: He served as Secretary and Registrar of the Order of Merit from 2003 to 2022. He remained an Extra Equerry to the Queen until her death in 2022.


title: Marc-Vivien Foé

text: Marc-Vivien Foé (1 May 1975 – 26 June 2003) was a Cameroonian professional footballer, who played as a defensive midfielder for both club and country.


title: Marc-Vivien Foé

text: Having initially played for Canon Yaoundé, Foé went on to play professionally in Ligue 1 and the Premier League with Lens, West Ham United, Lyon and Manchester City. On 26 June 2003, Foé died suddenly during an international match for Cameroon, an event which shocked the football community worldwide. The death was later ruled to be due to hypertrophic cardiomyopathy. He was capped 62 times by his nation and had scored 8 goals.


title: Marc-Vivien Foé

text: He was posthumously decorated with the Commander of the National Order of Valour and had his shirt number 23 retired by Manchester City.


title: Marc-Vivien Foé

text: Foé was born on 1 May 1975 in Yaoundé. He started as a junior with Elite Two side Union de Garoua. Moving to Canon Yaoundé, one of the biggest clubs in Cameroon, he won the Cameroonian Cup in 1993.


title: Marc-Vivien Foé

text: After turning down Auxerre for a trainee position, he signed for another French club, RC Lens of Ligue 1. His debut on 13 August 1994 was a 2–1 win against Montpellier. In five seasons at Lens, he won the 1998 French league title.


title: Marc-Vivien Foé

text: In 1998, he was targeted by Manchester United, but Lens turned down a £3 million offer for him. Further negotiations between the clubs were curtailed abruptly after he broke a leg at Cameroon's pre-World Cup training camp, and subsequently missed the whole of the 1998 World Cup.


title: Marc-Vivien Foé

text: Shortly after his recovery, he moved to English Premier League club West Ham United, for a club record fee of £4.2 million in January 1999. He played 38 league matches for West Ham, scoring one goal against Sheffield Wednesday. He also scored a goal in West Ham's 3–1 win against NK Osijek in the UEFA Cup.


title: Marc-Vivien Foé

text: In May 2000, he moved back to France, joining Lyon on a £6 million transfer. He missed much of the season after he developed symptoms of malaria. After recovery, he won the Coupe de la Ligue in 2001, and the Division 1 league title a year later.


title: Marc-Vivien Foé

text: Foé then returned to the English Premier League, loaned to Manchester City in the 2002–03 season for £550,000. His debut on the opening day of the season was a 3–0 loss to Leeds United. Foé was a first team regular for Kevin Keegan's team, starting 38 of 41 matches. His first goal for the club came against Sunderland at the Stadium of Light on 9 December 2002, and he scored five more goals in the next month. His second goal in a 3–0 victory against Sunderland on 21 April 2003 was the club's final goal at their old Maine Road stadium.


title: Marc-Vivien Foé

text: Foé began representing Cameroon at under-20s when he was called up to the squad of 18 players for the 1993 FIFA World Youth Championship in Australia, under the management of Jean Manga-Onguéné. He played in all of their three group stage matches, scoring one goal in a 3–2 defeat to Colombia in their second match on 8 March 1993, as Cameroon were eventually eliminated from the competition after finishing third. Foé later made his senior debut against Mexico on 22 September 1993 at the Memorial Coliseum, a match which Cameroon lost 1–0.


title: Marc-Vivien Foé

text: The following year, he was included in the Cameroon squad for the 1994 World Cup, starting all three of their matches. Team members had been in various financial and disciplinary disputes with the Cameroon Football Association, and the squad was a shadow of the one which had famously reached the quarter-finals of the World Cup in 1990. Cameroon mustered just one point from three matches, and finished with an embarrassing 6–1 defeat to Russia. However, Foé's consistently strong performances as a defensive midfielder (including a goal assist) prompted interest from European clubs.


title: Marc-Vivien Foé

text: He was in the Cameroon squad in the 2002 World Cup. As in 1994, he played in all of Cameroon's matches. Though the team performed better than in 1994, they were again eliminated at the group stage, having beaten Saudi Arabia, drawn with Ireland and lost to Germany.


title: Marc-Vivien Foé

text: Foé was part of the Cameroon squad for the 2003 FIFA Confederations Cup. He played in wins against Brazil and Turkey, and was rested for the match against the United States, with Cameroon having already qualified.


title: Marc-Vivien Foé

text: On 26 June 2003, Cameroon faced Colombia in the semi-final, held at the Stade de Gerland in Lyon, France. In the 72nd minute of the match Foé collapsed in the centre circle with no other players near him. After attempts to resuscitate him on the pitch, he was stretchered off the field, where he received mouth-to-mouth resuscitation and oxygen. Medics spent 45 minutes attempting to restart his heart, and although he was still alive upon arrival at the stadium's medical centre, he died shortly afterwards. A first autopsy did not determine an exact cause of death, but a second autopsy concluded that Foé's death was heart-related as it discovered evidence of hypertrophic cardiomyopathy, a hereditary condition known to increase the risk of sudden death during physical exercise.


title: Marc-Vivien Foé

text: Foé's widow Marie-Louise stated that he had been ill with gastric problems and dysentery before his final match, but he was adamant to play in his adopted hometown of Lyon. Cameroon manager Winfried Schäfer wanted to substitute him minutes before his collapse, observing that the player seemed fatigued, but he signalled that he wanted to continue.


title: Marc-Vivien Foé

text: Foé's death caused a profound shock. Numerous tributes to his joyous personality and infectious humour were expressed in the media. Also Thierry Henry and other players pointed to the sky in tribute to Foé after Henry had opened the scoring against Turkey in France's Confederations Cup semi-final that evening.


title: Marc-Vivien Foé

text: It was suggested that the Confederations Cup and the Stade Gerland could have been renamed after him, and Manchester City manager Kevin Keegan announced that the club would no longer use the number 23 shirt Foé wore during his successful season there. At Manchester City's former ground, Maine Road, there is a small memorial to him in the stadium's memorial garden, and on the walls of the players' tunnel are plaques paid for by supporters, with their names, dubbed the Walk of Pride. The first plaque on the wall is for Marc and reads "Marc Vivien Foé – 1975–2003". His first club, Lens, gave his name to an avenue near the Stade Félix Bollaert. Foé was given a state funeral in Cameroon. Lens decided to withdraw the number 17 shirt that Foé wore for five years.


title: Marc-Vivien Foé

text: Lyon also decided to withdraw the number 17 shirt that Foé wore a year before when he played at the Stade de Gerland with the Lyon team. People in Lyon were shocked as he had received a warm welcome on his return to the stadium. However, when fellow Cameroonian Jean II Makoun was transferred to Lyon, Makoun took up the number 17 shirt, explaining that he wore the number: "In memory of Marc, for me and for the whole Cameroon, this will be for something."


title: Marc-Vivien Foé

text: Prior to the kick-off of the 2009 FIFA Confederations Cup final between the United States and Brazil, his son, then fourteen years old, gave a brief speech in memory of his father.


title: Let It Be (1970 film)

text: Let It Be is a 1970 British documentary film starring the Beatles and directed by Michael Lindsay-Hogg. The film documents the group's rehearsing and recording songs in January 1969 for what was to become their twelfth and final studio album "Let It Be". The film includes an unannounced rooftop concert by the group, the last public performance of the four together.


title: Let It Be (1970 film)

text: The film was originally planned as a television documentary that would accompany a concert broadcast. When plans for the concert broadcast were dropped, the project became a feature film production. Although the film does not dwell on the dissension within the group at the time, it provides some glimpses into the dynamics that would lead to their break-up. After the film's release, John Lennon, Paul McCartney, George Harrison and Ringo Starr won an Academy Award for Best Original Song Score.


title: Let It Be (1970 film)

text: The film "Let It Be" has not been officially available on home video since the 1980s, although original and bootleg copies of the film still circulate, and early attempts to release the film on DVD and Blu-ray did not come to fruition. Footage filmed for "Let It Be" was later utilised for Peter Jackson's 2021 documentary "".


title: Let It Be (1970 film)

text: The film observes the Beatles (John Lennon, Paul McCartney, George Harrison and Ringo Starr) from a "fly on the wall" perspective, without narration, scene titles, or interviews with the main subjects. The first portion of the film shows the band rehearsing on a sound stage at Twickenham Film Studios. The songs are works in progress, with discussions among the band members about ways to improve them. McCartney dominates the proceedings while his bandmates show comparatively little interest. Also appearing are Mal Evans, providing the hammer blows on "Maxwell's Silver Hammer", and Yoko Ono at Lennon's side at all times.


title: Let It Be (1970 film)

text: At one point, McCartney seems to criticise Harrison's guitar part on "Two of Us" and a mildly tense conversation takes place between them. McCartney says "I always hear myself annoying you" and tells Harrison that this is not his intention. Harrison responds that McCartney no longer annoys him, and that he is content to play what McCartney wishes or to not play at all.


title: Let It Be (1970 film)

text: The Beatles individually arrive at Apple headquarters, where they begin the studio recording process with Harrison singing "For You Blue" while Lennon plays lap steel guitar. Starr and Harrison work on the structure for "Octopus's Garden" and then demonstrate it for George Martin. Billy Preston accompanies the band on impromptu renditions of several rock and roll covers, as well as Lennon's improvised jam "Dig It", while Linda Eastman's daughter Heather plays around the studio. Lennon listens in silence while McCartney expresses his concern about the band's inclination to stay confined to the recording studio. The Beatles conclude their studio work with complete performances of "Two of Us", "Let It Be" and "The Long and Winding Road".


title: Let It Be (1970 film)

text: In the final portion of the film, the Beatles and Preston give an unannounced concert from the studio rooftop. They perform "Get Back", "Don't Let Me Down", "I've Got a Feeling", "One After 909" and "Dig a Pony", intercut with reactions and comments from surprised Londoners gathering on the streets below. The police eventually make their way to the roof and try to bring the show to a close, as it was disrupting businesses' lunch hour nearby. This prompts some ad-libbed lyrical asides from McCartney during the last performance of "Get Back". The concert ends with applause from the people on the rooftop and Lennon quipping, "I'd like to say thank you on behalf of the group and ourselves, and I hope we passed the audition!"


title: Let It Be (1970 film)

text: After the stressful sessions for "The Beatles" (also known as the "White Album") wrapped up in October 1968, McCartney concluded that the group needed to return to their roots for their next project. The plan was to give a live performance featuring new songs, broadcast as a television special and recorded for release as an album. Unlike their recent albums, their new material would be designed to work well in concert, without the benefit of overdubs or other recording tricks. Lennon approved of the idea while Harrison, who spent the final months of the year recording in Los Angeles and visiting Bob Dylan and the Band in upstate New York, agreed that the "new approach" to recording had merit.


title: Let It Be (1970 film)

text: Many ideas were floated concerning the location of the concert. Conventional venues such as The Roundhouse in London were discussed, but they also considered more unusual locations such as a disused flour mill and an ocean liner. The location that received the most consideration was a Roman amphitheatre in Sabratha, Libya. None of the ideas gained unanimous enthusiasm and with time limited by Starr's upcoming commitment to the film "The Magic Christian" (1969), it was agreed to start rehearsals without a firm decision on the concert location.


title: Let It Be (1970 film)

text: Denis O'Dell, head of Apple's film division, suggested filming the rehearsals in 16 mm for use as a separate "Beatles at Work" television documentary which would supplement the concert broadcast. To facilitate filming, rehearsals would take place at Twickenham Film Studios in London. Michael Lindsay-Hogg was hired as the director, having previously worked with the Beatles on promotional films for "Paperback Writer", "Rain", "Hey Jude" and "Revolution".


title: Let It Be (1970 film)

text: The Beatles assembled at Twickenham Film Studios on 2 January 1969, accompanied by the film crew, and began rehearsing. Cameraman Les Parrott recalled: "My brief on the first day was to 'shoot The Beatles.' The sound crew instructions were to roll/record from the moment the first Beatle appeared and to record sound all day until the last one left. We had two cameras and just about did the same thing." The cold and austere conditions at Twickenham, along with nearly constant filming and sessions starting much earlier than the Beatles' preferred schedule, constrained creativity and exacerbated tensions within the group. The sessions were later described by Harrison as "the low of all-time" and by Lennon as "hell ... the most miserable sessions on earth".


title: Let It Be (1970 film)

text: The infamous exchange between McCartney and Harrison (in which Harrison resented McCartney instructing him on what to play) occurred on Monday, 6 January. Around lunchtime on Friday, 10 January, tensions came to a head and Harrison told the others that he was leaving the band. This entire episode is omitted from the film. He later recalled: "I thought, 'I'm quite capable of being happy on my own, and if I'm not able to be happy in this situation I'm getting out of here.' So I got my guitar and went home and that afternoon wrote 'Wah-Wah'." Rehearsals and filming continued for a few more sessions; the finished film only used a boogie-woogie piano duet by McCartney and Starr, although it was included in such a way that Harrison's absence was not apparent. Towards the end of the 10 January rehearsal, Lennon raised the idea of drafting in Eric Clapton to play lead guitar if Harrison did not rejoin the band early the following week. Lennon was captured on tape saying, "I think if George doesn't come back by Monday or Tuesday, we ask Eric Clapton to play", adding that this would be congenial to Clapton since the Beatles, unlike Clapton's previous band Cream, "would give him full scope to play his guitar". Years later, Clapton dismissed this idea: "The problem with that was I had bonded or was developing a relationship with George, exclusive of them. I think it fitted a need of his and mine, that he could elevate himself by having this guy that could be like a gunslinger to them. Lennon would use my name every now and then for clout, as if I was the fastest gun. So, I don't think I could have been brought into the whole thing because I was too much a mate of George's."


title: Let It Be (1970 film)

text: At a meeting on 15 January, Harrison agreed to return with the conditions that elaborate concert plans be dropped and that work would resume at Apple's new recording studio. At this point, with the concert broadcast idea abandoned, it was decided that the footage being shot would be used to make a feature film. Filming resumed on 21 January at the basement studio inside Apple headquarters on Savile Row in London. Harrison invited keyboardist Billy Preston to the studio to play electric piano and organ. Harrison recalled that when Preston joined them, "straight away there was 100% improvement in the vibe in the room. Having this fifth person was just enough to cut the ice that we'd created among ourselves." Filming continued each day for the rest of January.


title: Let It Be (1970 film)

text: During the sessions, the Beatles played many songs that were not featured in the film. Some would end up on "Abbey Road" ("I Want You (She's So Heavy)", "She Came in Through the Bathroom Window"); others were destined for future albums by McCartney ("The Back Seat of My Car", "Teddy Boy", "Every Night"), Lennon ("Gimme Some Truth", "Child of Nature" – later reworked as "Jealous Guy"), and Harrison ("All Things Must Pass", "Isn't It a Pity"). The group also experimented with some of their previous songs ("Love Me Do", "Help!", "Lady Madonna", "You Can't Do That") and played "I Lost My Little Girl" – which was the first song written by McCartney, when he was 14.


title: Let It Be (1970 film)

text: Trying to come up with a conclusion for the film, it was suggested that the band play an unannounced lunchtime concert on the roof of the Apple building. On 30 January, the Beatles and Preston played on the rooftop in the cold wind for 42 minutes, about half of which ended up in the film. The Beatles started with a rehearsal of "Get Back", then played the five songs which are shown in the film. After repeating "I've Got a Feeling" and "Don't Let Me Down", takes which were left out of the film, the Beatles are shown in the film closing with another pass at "Get Back" as the police arrive to shut down the show. On 31 January, the last day of filming and recording, the Beatles reconvened in the Apple building's basement studio. They played complete performances of "Two of Us", "The Long and Winding Road" and "Let It Be", which were included in the film as the end of the Apple studio segment, before the closing rooftop segment.


title: Let It Be (1970 film)

text: A rough cut of the movie was screened for the Beatles on 20 July 1969. Lindsay-Hogg recalled that the rough cut was about an hour longer than the released version: "There was much more stuff of John and Yoko, and the other three didn't really think that was appropriate because they wanted to make it a 'nicer' movie. They didn't want to have a lot of the dirty laundry, so a lot of it was cut down." After viewing the released version, Lennon said he felt that "the camera work was set up to show Paul and not to show anybody else" and that "the people that cut it, cut it as 'Paul is God' and we're just lyin' around." He described "Let It Be" as a film "set up by Paul for Paul" that was typical of the projects that, in alienating himself and Harrison, had brought about the Beatles' break-up.


title: Let It Be (1970 film)

text: Lindsay-Hogg omitted any reference to Harrison leaving the sessions and temporarily quitting the group, but managed to keep some of the interpersonal strains in the final cut, including the McCartney–Harrison exchange which he had captured by deliberately placing the cameras where they would not be noticed. He also retained the scene that he described as "the back of Paul's head as he's yammering on and John looks like he's about to die from boredom".


title: Let It Be (1970 film)

text: In early 1970, it was decided to change the planned name of the film and the associated album from "Get Back" to "Let It Be", matching the group's March 1970 single release. The final version of the film was blown-up from full-frame (1.33:1) aspect ratio 16 mm to 35mm film 1.85:1 aspect ratio for theatrical release, which increased the film's graininess. To create the wider theatrical aspect ratio, the top and bottom of the frame was cropped, necessitating the repositioning of every single shot for optimal picture composition.


title: Let It Be (1970 film)

text: While the album "Let It Be" contains many of the songs featured in the film, in most cases they are different performances. The film has additional songs not included on the album.


title: Let It Be (1970 film)

text: The world premiere of the film was in New York City on 13 May 1970. One week later, UK premieres were held at the Liverpool Gaumont Cinema and the London Pavilion. None of the Beatles attended any of the premieres. The Beatles won an Oscar for "Let It Be" in the category "Original Song Score", which Quincy Jones accepted on their behalf. The soundtrack also won a Grammy for "Best Original Score". Only Lennon, McCartney and Harrison were named as recipients by the Recording Academy due to the belief that they were the sole composers. They mistakenly overlooked Starr's writing credit on the song "Dig It".


title: Let It Be (1970 film)

text: Initial reviews were generally unfavourable. Critics took issue with the film's technical and conceptual qualities, but in light of the Beatles' recent break-up, focused particularly on it as a document of the fractured relationships within the band. The British press were especially critical, with "The Sunday Telegraph" commenting that "it is only incidentally that we glimpse anything about their "real" characters – the way in which music now seems to be the only unifying force holding them together, and the way Paul McCartney chatters incessantly even when, it seems, none of the others are listening." The same reviewer lamented that "Watching an institution such as the Beatles in their film "Let It Be" is rather like watching the Albert Hall being dismantled into a block of National Coal Board offices", while Penelope Gilliatt of "The New Yorker" deemed it "a very bad film and a touching one ... about the breaking apart of this reassuring, geometrically perfect, once apparently ageless family of siblings". "Time" said that "rock scholars and Beatles fans will be enthralled" while others may consider it only a "mildly enjoyable documentary newsreel".


title: Let It Be (1970 film)

text: Review aggregator website Rotten Tomatoes reports that 75% of 12 critics' reviews are positive, with an average rating of 6.5/10. On Metacritic, the film has a weighted average score of 69 out of 100, based on seven critics, indicating "generally favorable reviews".


title: Let It Be (1970 film)

text: Leonard Maltin rated the film as 3 out of 4 stars, calling it "uneven" and "draggy", but "rescued" by the Beatles' music. The "TLA Video & DVD Guide", also rating it as 3 out of 4 stars, described the film as a "fascinating look at the final days of the world's most famous rock group, punctuated by the Beatles' great songs and the legendary 'rooftop' concert sequence. ... It is important viewing for all music fans." Owen Gleiberman of "Variety" considers the film to be "extraordinary", stating that "It was grainy and moody and desultory ... It contained moments that, after multiple viewings [...] are lodged in my soul." He adds that though it has not been given a release on home media in recent years, "["Let It Be"] has a place in film history; it's a scraggly elegy, capturing a certain wistful moment of reckoning that's part of the Beatles' story."


title: Let It Be (1970 film)

text: Lindsay-Hogg told "Entertainment Weekly" in 2003 that reception to "Let It Be" within the Beatles camp was "mixed". He believed McCartney and Lennon both liked the film, while Harrison disliked it because "it represented a time in his life when he was unhappy ... It was a time when he very much was trying to get out from under the thumb of Lennon–McCartney." According to Jann Wenner, Lennon cried watching the film in theaters. In 2007, McCartney stated that he could not bear to watch the film.


title: Let It Be (1970 film)

text: The film was first released on VHS, Betamax and LaserDisc in 1981 by Magnetic Video, and on RCA CED videodisc in 1982. The transfer to video was not considered high quality; in particular, the already-cropped theatrical version was again cropped to a 4:3 aspect ratio for television. The lack of availability has prompted considerable bootlegging of the film, first on VHS and later on DVD, derived from copies of the early 1980s releases. The film was also released on VHS and Betamax in Germany and the Netherlands in the 1980s. These versions were not the same transfer as the US release, as they were based on the native 4:3 aspect ratio from the original 16mm negative, thus presenting the film as less cropped than the US releases.


title: Let It Be (1970 film)

text: "Let It Be" was remastered from the original 16 mm film negative by Apple Corps in 1992, with some footage seen in the 1995 documentary "The Beatles Anthology". After additional remastering, a DVD release was planned to accompany the 2003 release of "Let It Be... Naked", including a second DVD of bonus material, but never materialised. In February 2007, Apple Corps' Neil Aspinall said, "The film was so controversial when it first came out. When we got halfway through restoring it, we looked at the outtakes and realised: this stuff is still controversial. It raised a lot of old issues."


title: Let It Be (1970 film)

text: An anonymous industry source told the "Daily Express" in July 2008 that, according to Apple insiders, McCartney and Starr blocked the release of the film on DVD. The two were concerned about the effect on the band's "global brand ... if the public sees the darker side of the story. Neither Paul nor Ringo would feel comfortable publicising a film showing the Beatles getting on each other's nerves ... There's all sorts of extra footage showing more squabbles but it's questionable if the film will ever see a reissue during Paul and Ringo's lifetime." However, in 2016, McCartney stated he was not opposed to an official re-release, saying, "I keep bringing it up, and everyone goes, 'Yeah, we should do that.' The objection should be me. I don't come off well."


title: Let It Be (1970 film)

text: In September 2018, McCartney stated that "Let It Be" would most likely be re-released on Blu-ray and DVD in 2020 to coincide with its fiftieth anniversary, and that the creation of a "new version" of the film featuring sequences not present in the theatrical release was being considered by Apple. It was announced on 30 January 2019, the fiftieth anniversary of the Beatles' rooftop concert, that the new film, built around "55 hours of never-before-seen footage and 140 hours of audio" from the original 1969 sessions, was to be directed by Peter Jackson using the same restoration techniques as his acclaimed World War I documentary "They Shall Not Grow Old". The intention of the documentary was to provide a new level of insight into the band's dynamics during the album's creation, and was made with the cooperation of McCartney, Starr, Yoko Ono and Olivia Harrison. Clare Olssen and Jabez Olssen, the producer and editor of "They Shall Not Grow Old", reprised their roles for the film, while Ken Kamins, Jeff Jones and Jonathan Clyde acted as executive producers. Jackson's film is to be followed by a remastered re-release of Lindsay-Hogg's original film. The new documentary was officially announced in March 2020 with the title "" and a theatrical release date was originally set by distributor Walt Disney Studios for 4 September 2020, but was then rescheduled to 27 August 2021 due to restrictions imposed in response to the COVID-19 pandemic. The theatrical release was later cancelled in favour of the documentary premiering on Disney+, which it did as a three-part miniseries on 25, 26 and 27 November 2021.


title: Landscape painting

text: Landscape painting, also known as landscape art, is the depiction of natural scenery such as mountains, valleys, trees, rivers, and forests, especially where the main subject is a wide view—with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects.


title: Landscape painting

text: Two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism.


title: Landscape painting

text: Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, it is called a "topographical view". Such views, extremely common as prints in the West, are often seen as inferior to fine art landscapes, although the distinction is not always meaningful; similar prejudices existed in Chinese art, where literati painting usually depicted imaginary views, while professional artists painted real views.


title: Landscape painting

text: The word "landscape" entered the modern English language as "landskip" (variously spelt), an anglicization of the Dutch "landschap", around the start of the 17th century, purely as a term for works of art, with its first use as a word for a painting in 1598. Within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term "landscaef" or "landskipe" for a cleared patch of land had existed in Old English, though it is not recorded from Middle English.


title: Landscape painting

text: The earliest forms of art around the world depict little that could really be called landscape, although ground-lines and sometimes indications of mountains, trees or other natural features are included. The earliest "pure landscapes" with no human figures are frescos from Minoan art of around 1500 BCE.


title: Landscape painting

text: Hunting scenes, especially those set in the enclosed vista of the reed beds of the Nile Delta from Ancient Egypt, can give a strong sense of place, but the emphasis is on individual plant forms and human and animal figures rather than the overall landscape setting. The frescos from the Tomb of Nebamun, now in the British Museum (c. 1350 BC), are a famous example.


title: Landscape painting

text: For a coherent depiction of a whole landscape, some rough system of perspective, or scaling for distance, is needed, and this seems from literary evidence to have first been developed in Ancient Greece in the Hellenistic period, although no large-scale examples survive. More ancient Roman landscapes survive, from the 1st century BCE onwards, especially frescos of landscapes decorating rooms that have been preserved at archaeological sites of Pompeii, Herculaneum and elsewhere, and mosaics.


title: Landscape painting

text: The Chinese ink painting tradition of shan shui ("mountain-water"), or "pure" landscape, in which the only sign of human life is usually a sage, or a glimpse of his hut, uses sophisticated landscape backgrounds to figure subjects, and landscape art of this period retains a classic and much-imitated status within the Chinese tradition.


title: Landscape painting

text: Both the Roman and Chinese traditions typically show grand panoramas of imaginary landscapes, generally backed with a range of spectacular mountains – in China often with waterfalls and in Rome often including sea, lakes or rivers. These were frequently used, as in the example illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty.


title: Landscape painting

text: A major contrast between landscape painting in the West and East Asia has been that while in the West until the 19th century it occupied a low position in the accepted hierarchy of genres, in East Asia the classic Chinese mountain-water ink painting was traditionally the most prestigious form of visual art. Aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. In the West this was history painting, but in East Asia it was the imaginary landscape, where famous practitioners were, at least in theory, amateur literati, including several Emperors of both China and Japan. They were often also poets whose lines and images illustrated each other.


title: Landscape painting

text: However, in the West, history painting came to require an extensive landscape background where appropriate, so the theory did not entirely work against the development of landscape painting – for several centuries landscapes were regularly promoted to the status of history painting by the addition of small figures to make a narrative scene, typically religious or mythological.


title: Landscape painting

text: In early Western medieval art interest in landscape disappears almost entirely, kept alive only in copies of Late Antique works such as the Utrecht Psalter; the last reworking of this source, in an early Gothic version, reduces the previously extensive landscapes to a few trees filling gaps in the composition, with no sense of overall space. A revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of dense trees in the Palace of the Popes, Avignon are probably a unique survival of what was a common subject. Several frescos of gardens have survived from Roman houses like the Villa of Livia.


title: Landscape painting

text: During the 14th century Giotto di Bondone and his followers began to acknowledge nature in their work, increasingly introducing elements of the landscape as the background setting for the action of the figures in their paintings. Early in the 15th century, landscape painting was established as a genre in Europe, as a setting for human activity, often expressed in a religious subject, such as the themes of the "Rest on the Flight into Egypt", the "Journey of the Magi", or "Saint Jerome in the Desert". Luxury illuminated manuscripts were very important in the early development of landscape, especially series of the Labours of the Months such as those in the Très Riches Heures du Duc de Berry, which conventionally showed small genre figures in increasingly large landscape settings. A particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. The artist known as "Hand G", probably one of the Van Eyck brothers, was especially successful in reproducing effects of light and in a natural-seeming progression from the foreground to the distant view. This was something other artists were to find difficult for a century or more, often solving the problem by showing a landscape background from over the top of a parapet or window-sill, as if from a considerable height.


title: Landscape painting

text: Landscape backgrounds for various types of painting became increasingly prominent and skillful during the 15th century. The period around the end of the 15th century saw pure landscape drawings and watercolours from Leonardo da Vinci, Albrecht Dürer, Fra Bartolomeo and others, but pure landscape subjects in painting and printmaking, still small, were first produced by Albrecht Altdorfer and others of the German Danube School in the early 16th century. However, the outsides of the wings of a triptych by Gerard David, dated to "about 1510-15", are the earliest from the Low Countries, and possibly in Europe. At the same time Joachim Patinir in the Netherlands developed the "world landscape" a style of panoramic landscape with small figures and using a high aerial viewpoint, that remained influential for a century, being used and perfected by Pieter Brueghel the Elder. The Italian development of a thorough system of graphical perspective was now known all over Europe, which allowed large and complex views to be painted very effectively.


title: Landscape painting

text: Landscapes were idealized, mostly reflecting a pastoral ideal drawn from classical poetry which was first fully expressed by Giorgione and the young Titian, and remained associated above all with hilly wooded Italian landscape, which was depicted by artists from Northern Europe who had never visited Italy, just as plain-dwelling literati in China and Japan painted vertiginous mountains. Though often young artists were encouraged to visit Italy to experience "Italian light", many Northern European artists could make their living selling "Italianate" landscapes without ever bothering to make the trip. Indeed, certain styles were so popular that they became formulas that could be copied again and again.


title: Landscape painting

text: The publication in Antwerp in 1559 and 1561 of two series of a total of 48 prints (the "Small Landscapes") after drawings by an anonymous artist referred to as the Master of the Small Landscapes signaled a shift away from the imaginary, distant landscapes with religious content of the world landscape towards close-up renderings at eye-level of identifiable country estates and villages populated with figures engaged in daily activities. By abandoning the panoramic viewpoint of the world landscape and focusing on the humble, rural and even topographical, the Small Landscapes set the stage for Netherlandish landscape painting in the 17th century. After the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes.


title: Landscape painting

text: The popularity of exotic landscape scenes can be seen in the success of the painter Frans Post, who spent the rest of his life painting Brazilian landscapes after a trip there in 1636–1644. Other painters who never crossed the Alps could make money selling Rhineland landscapes, and still others for constructing fantasy scenes for a particular commission such as Cornelis de Man's view of Smeerenburg in 1639.


title: Landscape painting

text: Compositional formulae using elements like the repoussoir were evolved which remain influential in modern photography and painting, notably by Poussin and Claude Lorrain, both French artists living in 17th century Rome and painting largely classical subject-matter, or Biblical scenes set in the same landscapes. Unlike their Dutch contemporaries, Italian and French landscape artists still most often wanted to keep their classification within the hierarchy of genres as history painting by including small figures to represent a scene from classical mythology or the Bible. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, often populated by "banditi".


title: Landscape painting

text: Dutch Golden Age painting of the 17th century saw the dramatic growth of landscape painting, in which many artists specialized, and the development of extremely subtle realist techniques for depicting light and weather. There are different styles and periods, and sub-genres of marine and animal painting, as well as a distinct style of Italianate landscape. Most Dutch landscapes were relatively small, but landscapes in Flemish Baroque painting, still usually peopled, were often very large, above all in the series of works that Peter Paul Rubens painted for his own houses. Landscape prints were also popular, with those of Rembrandt and the experimental works of Hercules Seghers usually considered the finest.


title: Landscape painting

text: The Dutch tended to make smaller paintings for smaller houses. Some Dutch landscape specialties named in period inventories include the "Batalje", or battle-scene; the "Maneschijntje", or moonlight scene; the "Bosjes", or woodland scene; the "Boederijtje", or farm scene, and the "Dorpje" or village scene. Though not named at the time as a specific genre, the popularity of Roman ruins inspired many Dutch landscape painters of the period to paint the ruins of their own region, such as monasteries and churches ruined after the Beeldenstorm.


title: Landscape painting

text: Jacob van Ruisdael is considered the most versatile of all Dutch Golden Age landscape painters. The popularity of landscapes in the Netherlands was in part a reflection of the virtual disappearance of religious painting in a Calvinist society, and the decline of religious painting in the 18th and 19th centuries all over Europe combined with Romanticism to give landscapes a much greater and more prestigious place in 19th-century art than they had assumed before.


title: Landscape painting

text: In England, landscapes had initially been mostly backgrounds to portraits, typically suggesting the parks or estates of a landowner, though mostly painted in London by an artist who had never visited his sitter's rolling acres. The English tradition was founded by Anthony van Dyck and other mostly Flemish artists working in England, but in the 18th century the works of Claude Lorrain were keenly collected and influenced not only paintings of landscapes, but the English landscape gardens of Capability Brown and others.


title: Landscape painting

text: In the 18th century, watercolour painting, mostly of landscapes, became an English specialty, with both a buoyant market for professional works, and a large number of amateur painters, many following the popular systems found in the books of Alexander Cozens and others. By the beginning of the 19th century the English artists with the highest modern reputations were mostly dedicated landscape painters, showing the wide range of Romantic interpretations of the English landscape found in the works of John Constable, J.M.W. Turner and Samuel Palmer. However all these had difficulty establishing themselves in the contemporary art market, which still preferred history paintings and portraits.


title: Landscape painting

text: In Europe, as John Ruskin said, and Sir Kenneth Clark confirmed, landscape painting was the "chief artistic creation of the nineteenth century", and "the dominant art", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity" In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches: the acceptance of descriptive symbols, a curiosity about the facts of nature, the creation of fantasy to allay deep-rooted fears of nature, and the belief in a Golden Age of harmony and order, which might be retrieved.


title: Landscape painting

text: The 18th century was also a great age for the topographical print, depicting more or less accurately a real view in a way that landscape painting rarely did. Initially these were mostly centred on a building, but over the course of the century, with the growth of the Romantic movement pure landscapes became more common. The topographical print, often intended to be framed and hung on a wall, remained a very popular medium into the 20th century, but was often classed as a lower form of art than an imagined landscape.


title: Landscape painting

text: Landscapes in watercolour on paper became a distinct specialism, above all in England, where a particular tradition of talented artists who only, or almost entirely, painted landscape watercolours developed, as it did not in other countries. These were very often real views, though sometimes the compositions were adjusted for artistic effect. The paintings sold relatively cheaply, but were far quicker to produce. These professionals could augment their income by training the "armies of amateurs" who also painted.


title: Landscape painting

text: Leading artists included John Robert Cozens, Francis Towne, Thomas Girtin, Michael Angelo Rooker, William Pars, Thomas Hearne, and John Warwick Smith, all in the late 18th century, and John Glover, Joseph Mallord William Turner, John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer in the early 19th.


title: Landscape painting

text: The Romantic movement intensified the existing interest in landscape art, and remote and wild landscapes, which had been one recurring element in earlier landscape art, now became more prominent. The German Caspar David Friedrich had a distinctive style, influenced by his Danish training, where a distinct national style, drawing on the Dutch 17th-century example, had developed. To this he added a quasi-mystical Romanticism. French painters were slower to develop landscape painting, but from about the 1830s Jean-Baptiste-Camille Corot and other painters in the Barbizon School established a French landscape tradition that would become the most influential in Europe for a century, with the Impressionists and Post-Impressionists for the first time making landscape painting the main source of general stylistic innovation across all types of painting.


title: Landscape painting

text: The nationalism of the new United Provinces had been a factor in the popularity of Dutch 17th-century landscape painting and in the 19th century, as other nations attempted to develop distinctive national schools of painting, the attempt to express the special nature of the landscape of the homeland became a general tendency. In Russia, as in America, the gigantic size of paintings was itself a nationalist statement.


title: Landscape painting

text: In Spain, the main promoter of the genre was the Belgium-born painter Carlos de Haes, one of the most active landscape professors at the Academy of Fine Arts of San Fernando in Madrid since 1857. After studying with the great Flemish landscape masters, he developed his technique to paint outdoors. Back in Spain, Haes took his students with him to paint in the countryside; under his teaching the "painters proliferated and took advantage of the new railway system to explore the furthest corners of the nation's topography."


title: Landscape painting

text: In the United States, the Hudson River School, prominent in the middle to late 19th century, is probably the best-known native development in landscape art. These painters created works of mammoth scale that attempted to capture the epic scope of the landscapes that inspired them. The work of Thomas Cole, the school's generally acknowledged founder, has much in common with the philosophical ideals of European landscape paintings — a kind of secular faith in the spiritual benefits to be gained from the contemplation of natural beauty. Some of the later Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal of Romantic exaggeration) on the raw, even terrifying power of nature. Frederic Edwin Church, a student of Cole, synthesized the ideas of his contemporaries with those of European Old Masters and the writings of John Ruskin and Alexander von Humboldt to become the foremost American landscape painter of the century. The best examples of Canadian landscape art can be found in the works of the Group of Seven, prominent in the 1920s.


title: Landscape painting

text: Although certainly less dominant in the period after World War I, many significant artists still painted landscapes in the wide variety of styles exemplified by Edvard Munch, Georgia O'Keeffe, Charles E. Burchfield, Neil Welliver, Alex Katz, Milton Avery, Peter Doig, Andrew Wyeth, David Hockney and Sidney Nolan.


title: Landscape painting

text: Landscape painting has been called "China's greatest contribution to the art of the world", and owes its special character to the Taoist (Daoist) tradition in Chinese culture. William Watson notes that "It has been said that the role of landscape art in Chinese painting corresponds to that of the nude in the west, as a theme unvarying in itself, but made the vehicle of infinite nuances of vision and feeling".


title: Landscape painting

text: There are increasingly sophisticated landscape backgrounds to figure subjects showing hunting, farming or animals from the Han dynasty onwards, with surviving examples mostly in stone or clay reliefs from tombs, which are presumed to follow the prevailing styles in painting, no doubt without capturing the full effect of the original paintings. The exact status of the later copies of reputed works by famous painters (many of whom are recorded in literature) before the 10th century is unclear. One example is a famous 8th-century painting from the Imperial collection, titled "The Emperor Ming Huang traveling in Shu". This shows the entourage riding through vertiginous mountains of the type typical of later paintings, but is in full colour "producing an overall pattern that is almost Persian", in what was evidently a popular and fashionable court style.


title: Landscape painting

text: The decisive shift to a monochrome landscape style, almost devoid of figures, is attributed to Wang Wei (699-759), also famous as a poet; mostly only copies of his works survive. From the 10th century onwards an increasing number of original paintings survive, and the best works of the Song Dynasty (960–1279) Southern School remain among the most highly regarded in what has been an uninterrupted tradition to the present day. Chinese convention valued the paintings of the amateur scholar-gentleman, often a poet as well, over those produced by professionals, though the situation was more complex than that. If they include any figures, they are very often such persons, or sages, contemplating the mountains. Famous works have accumulated numbers of red "appreciation seals", and often poems added by later owners - the Qianlong Emperor (1711–1799) was a prolific adder of his own poems, following earlier Emperors.


title: Landscape painting

text: The shan shui tradition was never intended to represent actual locations, even when named after them, as in the convention of the Eight Views. A different style, produced by workshops of professional court artists, painted official views of Imperial tours and ceremonies, with the primary emphasis on highly detailed scenes of crowded cities and grand ceremonials from a high viewpoint. These were painted on scrolls of enormous length in bright colour (example below).


title: Landscape painting

text: Chinese sculpture also achieves the difficult feat of creating effective landscapes in three dimensions. There is a long tradition of the appreciation of "viewing stones" - naturally formed boulders, typically limestone from the banks of mountain rivers that has been eroded into fantastic shapes, were transported to the courtyards and gardens of the literati. Probably associated with these is the tradition of carving much smaller boulders of jade or some other semi-precious stone into the shape of a mountain, including tiny figures of monks or sages. Chinese gardens also developed a highly sophisticated aesthetic much earlier than those in the West; the "karensansui" or Japanese dry garden of Zen Buddhism takes the garden even closer to being a work of sculpture, representing a highly abstracted landscape.


title: Landscape painting

text: Japanese art initially adapted Chinese styles to reflect their interest in narrative themes in art, with scenes set in landscapes mixing with those showing palace or city scenes using the same high view point, cutting away roofs as necessary. These appeared in the very long yamato-e scrolls of scenes illustrating the "Tale of Genji" and other subjects, mostly from the 12th and 13th centuries. The concept of the gentleman-amateur painter had little resonance in feudal Japan, where artists were generally professionals with a strong bond to their master and his school, rather than the classic artists from the distant past, from which Chinese painters tended to draw their inspiration. Painting was initially fully coloured, often brightly so, and the landscape never overwhelms the figures who are often rather oversized.


title: Landscape painting

text: The scene from the "Biography of the Priest Ippen" illustrated below is from a scroll that in full measures 37.8 cm × 802.0 cm, for only one of twelve scrolls illustrating the life of a Buddhist monk; like their Western counterparts, monasteries and temples commissioned many such works, and these have had a better chance of survival than courtly equivalents. Even rarer are survivals of landscape byōbu folding screens and hanging scrolls, which seem to have common in court circles - the "Tale of Genji" has an episode where members of the court produce the best paintings from their collections for a competition. These were closer to Chinese shan shui, but still fully coloured.


title: Landscape painting

text: Many more pure landscape subjects survive from the 15th century onwards; several key artists are Zen Buddhist clergy, and worked in a monochrome style with greater emphasis on brush strokes in the Chinese manner. Some schools adopted a less refined style, with smaller views giving greater emphasis to the foreground. A type of image that had an enduring appeal for Japanese artists, and came to be called the "Japanese style", is in fact first found in China. This combines one or more large birds, animals or trees in the foreground, typically to one side in a horizontal composition, with a wider landscape beyond, often only covering portions of the background. Later versions of this style often dispensed with a landscape background altogether.


title: Landscape painting

text: The ukiyo-e style that developed from the 16th century onwards, first in painting and then in coloured woodblock prints that were cheap and widely available, initially concentrated on the human figure, individually and in groups. But from the late 18th century landscape ukiyo-e developed under Hokusai and Hiroshige to become much the best known type of Japanese landscape art.


title: Landscape painting

text: Though there are some landscape elements in earlier art, the landscape tradition of the Persian miniature really begins in the Ilkhanid period, largely under Chinese influence. Rocky mountainous country is preferred, which is shown full of animals and plants which are carefully and individually depicted, as are rock formations. The particular convention of the elevated viewpoint that developed in the tradition fills most of the vertical format picture spaces with the landscape, though clouds are also typically shown in the sky, shown in a curling convention drawn from Chinese art. Usually, everything seen is fairly close to the viewer, and there are few distant views. Normally all landscape images show narrative scenes with figures, but there are a few drawn pure landscape scenes in albums.


title: Landscape painting

text: Hindu painting had long set scenes amid lush vegetation, as many of the stories depicted demanded. Mughal painting combined this and the Persian style, and in miniatures of royal hunts often depicted wide landscapes. Scenes set during the monsoon rains, with dark clouds and flashes of lightning, are popular. Later, influence from European prints is evident.


title: Landscape painting

text: Most early landscapes are clearly imaginary, although from very early on townscape views are clearly intended to represent actual cities, with varying degrees of accuracy. Various techniques were used to simulate the randomness of natural forms in invented compositions: the medieval advice of Cennino Cennini to copy ragged crags from small rough rocks was apparently followed by both Poussin and Thomas Gainsborough, while Degas copied cloud forms from a crumpled handkerchief held up against the light. The system of Alexander Cozens used random ink blots to give the basic shape of an invented landscape, to be elaborated by the artist.


title: Landscape painting

text: The distinctive background view across Lake Geneva to the Le Môle peak in "The Miraculous Draught of Fishes" by Konrad Witz (1444) is often cited as the first Western rural landscape to show a specific scene. The landscape studies by Dürer clearly represent actual scenes, which can be identified in many cases, and were at least partly made on the spot; the drawings by Fra Bartolomeo also seem clearly sketched from nature. Dürer's finished works seem generally to use invented landscapes, although the spectacular bird's-eye view in his engraving "Nemesis" shows an actual view in the Alps, with additional elements. Several landscapists are known to have made drawings and watercolour sketches from nature, but the evidence for early oil painting being done outside is limited. The Pre-Raphaelite Brotherhood made special efforts in this direction, but it was not until the introduction of ready-mixed oil paints in tubes in the 1870s, followed by the portable "box easel", that painting en plein air became widely practiced.


title: Landscape painting

text: A curtain of mountains at the back of the landscape is standard in wide Roman views and even more so in Chinese landscapes. Relatively little space is given to the sky in early works in either tradition; the Chinese often used mist or clouds between mountains, and also sometimes show clouds in the sky far earlier than Western artists, who initially mainly use clouds as supports or covers for divine figures or heaven. Both panel paintings and miniatures in manuscripts usually had a patterned or gold "sky" or background above the horizon until about 1400, but frescos by Giotto and other Italian artists had long shown plain blue skies. The single surviving altarpiece from Melchior Broederlam, completed for Champmol in 1399, has a gold sky populated not only by God and angels, but also a flying bird. A coastal scene in the Turin-Milan Hours has a sky overcast with carefully observed clouds. In woodcuts a large blank space can cause the paper to sag during printing, so Dürer and other artists often include clouds or squiggles representing birds to avoid this.


title: Landscape painting

text: The monochrome Chinese tradition has used ink on silk or paper since its inception, with a great emphasis on the individual brushstroke to define the "ts'un" or "wrinkles" in mountain-sides, and the other features of the landscape. Western watercolour is a more tonal medium, even with underdrawing visible.


title: Landscape painting

text: Traditionally, landscape art depicts the surface of the Earth, but there are other sorts of landscapes, such as moonscapes.


title: Corporatocracy

text: Corporatocracy (, from corporate and ; short form corpocracy) is an economic, political and judicial system controlled by corporations or corporate interests.


title: Corporatocracy

text: The concept has been used in explanations of bank bailouts, excessive pay for CEOs, as well as complaints such as the exploitation of national treasuries, people, and natural resources. It has been used by critics of globalization, sometimes in conjunction with criticism of the World Bank or unfair lending practices, as well as criticism of free trade agreements. Corporate rule is also a common theme in dystopian science-fiction media.


title: Corporatocracy

text: Historian Howard Zinn argues that during the Gilded Age in the United States, the U.S. government was acting exactly as Karl Marx described capitalist states: "pretending neutrality to maintain order, but serving the interests of the rich".


title: Corporatocracy

text: According to economist Joseph Stiglitz, there has been a severe increase in the market power of corporations, largely due to U.S. antitrust laws being weakened by neoliberal reforms, leading to growing income inequality and a generally underperforming economy. He states that to improve the economy, it is necessary to decrease the influence of money on U.S. politics.


title: Corporatocracy

text: In his 1956 book "The Power Elite", sociologist C Wright Mills stated that together with the military and political establishment, leaders of the biggest corporations form a "power elite," which is in control of the U.S.


title: Corporatocracy

text: Economist Jeffrey Sachs described the United States as a corporatocracy in "The Price of Civilization" (2011). He suggested that it arose from four trends: weak national parties and strong political representation of individual districts, the large U.S. military establishment after World War II, large corporations using money to finance election campaigns, and globalization tilting the balance of power away from workers.