title: Paper plane

text: Public interest in the gliders, and their publishing success, allowed some of the development to be broadcast on South African television during 1988 on the first book's release, and again 1993, to coincide with a national paper aeroplane competition tied to Paper Pilot 3's release.


title: Paper plane

text: Aerodynamic design of the gliders was achieved making use of an optimised small wind tunnel - the flat-glider Britten Norman Trislander was filmed in this facility, with weight balances being used to demonstrate the optimisation of flight.


title: Paper plane

text: The design of parts of the gliders was achieved using Autodesk AutoCAD R12, then the most advanced version of this CAD software, and one of the first publicly available paper model aeroplanes designed using this technology.


title: Paper plane

text: Construction of the gliders closely parallels that used in the White Wings series of gliders of Dr. Ninomiya for flat gliders.


title: Paper plane

text: Later gliders with three-dimensional fuselages use a lightweight construction optimised for flight performance.


title: Paper plane

text: Innovations include functional wheeled undercarriage which does not contribute to the drag budget while permitting good landings.


title: Paper plane

text: Paper pilot gliders make use a curved-plate aerofoil shape for best performance. Their design, like the White Wings gliders, is very sensitive to trim, and in fact have the capacity to make indoor flights in confined spaces under average conditions.


title: Paper plane

text: Most in initial editions are equipped with catapult hook patterns, and demonstrate an ability to fly the length of a Rugby pitch when so launched.


title: Paper plane

text: Later editions and gliders were equipped with a Bungee hook, the construction of which was included in Paper Pilot 3 and 12 Planes for the Paper Pilot.


title: Paper plane

text: The Bungee system publish parallels, at a smaller scale, the practice used in radio controlled and full-size sailplane launches, at a fraction of the cost and complexity. To date, this is the only known example of such a launch system applied to a paper model aeroplane type published in book form.


title: Paper plane

text: Flight performance on bungee is very good - one glider in particular, a scale model U-2 (in the last book of the series) had demonstrated flight performance in excess of 120 meters, on bungee hook launch.


title: Paper plane

text: A unique development of Prof. Mathews is the Papercopter, a model helicopter whose 'wing' is a trimmable annular ring which, using rotational aerodynamics to provide good forward flight performance without need for a tail rotor. A model helicopter 'body' is suspended beneath the ring, and uses airflow to stabilise itself in the direction of flight, much like a weather vane.


title: Paper plane

text: The world's first known published paper autogyro (engineless helicopter) by Richard K Neu appeared in "The Great International Paper Airplane Book" published in 1967. Its wings fly in a circle around a central ballast shaft as it descends vertically. This basic design has been published several times and is widely known.


title: Paper plane

text: The world's first known published forward-gliding paper autogyro with forward-pointing body lifted by spinning blades was built by James Zongker. It appears on page 53 of "The Paper Airplane Book: The Official Book of the Second Great International Paper Airplane Contest" published in 1985 by Science Magazine. Its twin contra-rotating blades automatically spin on paper axles upon launch to provide lift.


title: Paper plane

text: As noted above (see entry, Paper Pilot), E.H. Mathews developed a flight-stable paper model helicopter. This has a ring wing, and flaps for adjusting for flight for stability, positioned on the inboard edge of the ring. While not an autogyro per se, this paper model aircraft class falls within the general design of a paper model helicopter, and does possess a rotational flight element producing lift during forward flight. Papercopters, as Professor Mathews labeled them, are unique among paper model rotorcraft in having a range and velocity far in excess of all other classes, able to fly quite quickly, and with a range of between 10 and 15 m. The longest flight time is 27.9 seconds.


title: Paper plane

text: There have been many attempts over the years to break the barriers of throwing a paper plane for the longest time aloft. Ken Blackburn held this Guinness World Record for 13 years (1983–1996) and had regained the record in October 1998 by keeping his paper plane aloft for 27.6 seconds (indoors). This was confirmed by Guinness officials and a CNN report. The paper plane that Blackburn used in this record breaking attempt was a "glider". , Takuo Toda holds the world record for the longest time in air (27.9 seconds). The current distance record, as of 2022, is 77.134 m (252 ft 7 in) achieved by Kim Kyu Tae (South Korea), with the support of Shin Moo Joon (South Korea) and Chee Yie Jian (Malaysia) in Daegu, Gyeongsangbuk-do, South Korea on 16 April 2022.


title: Paper plane

text: Paper aircraft are a "class" of model plane, and so do not experience aerodynamic forces differently from other types of flying model. However, their construction material produces a number of dissimilar effects on flight performance in comparison with aircraft built from different materials.


title: Paper plane

text: Altogether, the aerodynamic forces co-interact, creating turbulence that amplifies small changes in the surface of the paper aircraft. Modifications can be made to most paper airplanes by bending, curving or making small cuts in the trailing edges of wings and in the airplane's tail, if it has one.


title: Paper plane

text: These ranges are indicative. As noted above the mass: density ratio of paper prevents performance from reaching those of Balsa models in terms of expressions of power to weight, but for models with wingspans of between 250 mm and 1,200 mm, the Critical "Re" is very similar to balsa model gliders of similar dimensions.


title: Paper plane

text: Paper models typically have a wing aspect ratio that is very high (model sailplanes) or very low (the classic paper dart), and therefore are in almost all cases flying at velocities far below their wing planform and aerofoil Critical "Re", where flow would break down from laminar to turbulent.


title: Paper plane

text: Most origami paper darts tend to be flying within turbulent air in any case, and as such, are important to research into turbulent flow as are low-Re lifting surfaces found in nature such as leaves of trees and plants as well as the wings of insects.


title: Paper plane

text: High performance profile and scale models do approach their wing section's critical Re in flight, which is a noteworthy achievement in terms of paper model design. Performance is derived of the fact that wings of these gliders are in fact performing as well as it is possible for them to perform, given their material limitations.


title: Paper plane

text: Experiments in different material finishes in recent years have revealed some interesting relationships in Re and paper models. Performance of origami and compound origami structures improves markedly with the introduction of smooth paper, though this is also aided by the paper's higher mass and consequently better penetration.


title: Paper plane

text: More marginal performance and scale types generally do not benefit from heavier, shinier surfaces. Performance profile-fuselage types do experience somewhat improved performance if shiny, slippery paper is used in construction, but although there is a velocity improvement, this is offset very often by a poorer l/d ratio. Scale types have experience negative performance at the addition of heavy shiny papers in their construction.


title: Paper plane

text: Camber of profiles varies, too. In general, the lower the Re, the greater the camber. Origami types will have 'ludicrous' or very high cambers in comparison with more marginally performing scale types, whose escalating masses demand higher flying speeds and so lower induced drag from high camber, though this will vary depending on type being modelled.


title: Paper plane

text: In the case of scale performance and scale models, the modellers intent will define the type of aerofoil section chosen. WWI biplanes, if designed for flight performance, will often have curved-plate aerofoils, as these produce a highly cambered surfaces and Coefficient of Lift (Cl) for low gliding airspeeds. WWII monoplanes will often have very scale-like sections, though with increased trailing edge droop to improve camber in comparison with scale counterparts.


title: Paper plane

text: Similarly, size, airspeed and mass will have very big impacts on choice of aerofoil, though this is a universal consideration in model plane design, no matter the material.


title: Paper plane

text: The former Guinness world record holder Tim Richardson disagrees with the decision to put a 'tail' on the paper plane. His explanation of paper plane aerodynamics on his website mentions that the tail is not needed. He uses the real-life B-2 Spirit flying wing bomber as an example, stating that the weights along the wing should be put forward in order to stabilize the plane. (Note: paper planes do not need a tail primarily because they typically have a large, thin fuselage, which acts to prevent yaw, and wings along the entire length, which prevents pitch.)


title: Paper plane

text: Independently, Edmond Hui invented a Stealth Bomber-like paper plane called the Paperang in 1977, based on hang glider aerodynamics. Uniquely, it has properly controlled airfoil sections, high-aspect-ratio wings, and a construction method designed to allow the builder to vary every aspect of its shape. It was the subject of a book, "Amazing Paper Airplanes" in 1987, and a number of newspaper articles in 1992. It is ineligible for most paper plane competitions due to the use of a staple, but it has extremely high gliding performance exceeding glide ratios of 12 to 1 with good stability.


title: Paper plane

text: In 1975, origami artist Michael LaFosse designed a pure origami (one sheet; no cutting, glue or staples...) flying wing, which he named the "Art Deco Wing".Though its aerodynamic form mimics some hang glider and supersonic airfoils, its invention evolved from exploring the beauty of folded paper first. Its glide ratio and stability are on a par with many of the best paper wing constructions that use glue, tape or staples. This design was first published in 1984 in the book "Wings and Things", by Stephen Weiss, St. Martin's Press.


title: Paper plane

text: Although it is a common view that light paper planes go farther than heavy ones, this is considered to be untrue by Blackburn. Blackburn's record-breaking 20-year-old paper plane was based on his belief that the best planes had short wings and are "heavy" at the point of the launch phase in which the thrower throws the paper plane into the air, and at the same time longer wings and a "lighter" weight would allow the paper plane to have better flight times but this cannot be thrown hard with much pressure into the air as a "heavy" weighted launch phase. According to Blackburn, ""For maximum height and for a good transition to gliding flight, the throw must be within 10 degrees of vertical"" — which shows that a speed of at least is the amount needed to throw the paper plane successfully.


title: Paper plane

text: After the folding there are still gaps between different layers of folded paper (tearoff edge). These and the kinks transversal to the airflow may have a detrimental effect on aerodynamics, especially on the upper side of the wing. In some models the surfaces are not aligned to the direction of flow acting as airbrakes. Typically the center of mass is at 1/81 and the center of area is at 1/2 of the plane lengths. Two methods exist to shift the center of mass to the front. One rolls up the leading edge which then stays unswept. The other uses a swept wing or axial folding to produce something like a fuselage extending out of leading edge of the wing.


title: Paper plane

text: It is possible to create freestyle versions of paper aircraft, which often exhibit an unusual flight path compared to more traditional paper darts, jets and gliders. Another propulsion technique, creating high launch velocities, involves the use of elastic bands for "catapults". Walkalong gliding involves the continuous propulsion of paper airplane designs (such as the tumblewing, follow foil and paper airplane surfer) by soaring flight on the edge of a sheet of cardboard.


title: Paper plane

text: There may one day be a paper plane launched from space. A prototype passed a durability test in a wind tunnel in March 2008, and Japan's space agency JAXA considered a launch from the International Space Station. However, the plane developers, Takuo Toda (see World Records above) and fellow enthusiast Shinji Suzuki, an aeronautical engineer and professor at Tokyo University, postponed the attempt after acknowledging it would be all but impossible to track them during the planes' week-long journey to Earth, assuming any of them survived the searing descent. The developers were hoping that China or Russia will back further efforts on the project.


title: Paper plane

text: In February 2011, 200 planes were launched from a net underneath a weather balloon above Germany. The planes were designed to maintain stable flight even in gusts up to . The planes were equipped with memory chips from which data can be uploaded. The planes were found in other places in Europe, North America and even Australia.


title: Paper plane

text: On 24 June 2015, a club from Kesgrave High School in Suffolk, United Kingdom, achieved the world record for the highest altitude paper plane launch, reaching an altitude of .


title: The Fighting Temeraire

text: The Fighting Temeraire, tugged to her last berth to be broken up, 1838 is an oil-on-canvas painting by the English artist Joseph Mallord William Turner, painted in 1838 and exhibited at the Royal Academy in 1839.


title: The Fighting Temeraire

text: The painting depicts the 98-gun HMS "Temeraire", one of the last second-rate ships of the line to have played a role in the Battle of Trafalgar, being towed up the Thames by a paddle-wheel steam tug in 1838, towards its final berth in Rotherhithe to be broken up for scrap.


title: The Fighting Temeraire

text: The painting hangs in the National Gallery, London, having been bequeathed to the nation by the artist in 1851, as part of the Turner Bequest. In a poll organised by BBC Radio 4's "Today" programme in 2005, it was voted the nation's favourite painting. In 2020 it was included on the new £20 banknote, along with the artist's 1799 self-portrait.


title: The Fighting Temeraire

text: When Turner came to paint this picture he was at the height of his career, having exhibited at the Royal Academy, London for 40 years. He was renowned for his highly atmospheric paintings in which he explored the subjects of the weather, the sea and the effects of light. He spent much of his life near the River Thames and did many paintings of ships and waterside scenes, both in watercolour and in oils. Turner frequently made small sketches and then worked them into finished paintings in the studio.


title: The Fighting Temeraire

text: The current scholarly view is that it cannot be determined whether Turner actually witnessed the towing of the "Temeraire", although several older accounts say that he watched the event from a variety of places on the river.


title: The Fighting Temeraire

text: He used considerable artistic licence in the painting, which had a symbolic meaning that his first audience immediately appreciated. Turner was twenty-eight years old when Britain entered the Napoleonic Wars and "had a strong patriotic streak." The "Temeraire" was a well-known ship from her heroic performance at the Battle of Trafalgar, and her sale by the Admiralty had attracted substantial press coverage, which was probably what brought the subject to his attention. Instead of the "Temeraire" flying the Union Jack, the tug is flying a white flag, evidence of the ship's sale to a private company.


title: The Fighting Temeraire

text: The composition of this painting is unusual in that the most significant object, the old warship, is positioned well to the left of the painting, where it rises in stately splendour and almost ghostlike colours against a triangle of blue sky and rising mist that throws it into relief. The beauty of the old ship contrasts with the dirty blackened tugboat with its tall smokestack, which churns the otherwise still surface of the river.


title: The Fighting Temeraire

text: The blue triangle frames a second triangle of masted ships, which decrease in size as they become more distant. The "Temeraire" and tugboat have passed a small river craft with its gaff rigged sail barely catching a breeze. Beyond this a square-rigger drifts, with all its sail extended. Another small craft shows as a patch of white farther down the river. In the far distance, beyond a second tugboat which makes its way towards them, a three-masted ship rides at anchor. The becalmed vessels show the obsolescence of sail.


title: The Fighting Temeraire

text: On the opposite side of the painting to "Temeraire", the same distance from the frame as the ship's main mast, the Sun sets above the estuary, its rays extending into the clouds above it, and across the surface of the water. The red of the clouds is reflected in the river, repeating the colour of the smoke from the tugboat. The sun setting symbolises the end of an era; one where sail has been overtaken by steam.


title: The Fighting Temeraire

text: Behind "Temeraire", a sliver of Moon casts a beam across the river, symbolising the commencement of the new, industrial era. The demise of heroic strength is the main subject of the painting. It has been suggested that the ship stands for the artist himself, with an accomplished and glorious past but now contemplating his mortality. Turner called the work his "darling".


title: The Fighting Temeraire

text: Sir Henry Newbolt later wrote a ballad titled "The Fighting Temeraire", describing the same scene: "And she's fading down the river, But in England's song for ever, She's the Fighting Téméraire."


title: The Fighting Temeraire

text: Turner took a degree of artistic licence with the painting. The ship was known to her crew as "Saucy", rather than "Fighting" "Temeraire". Before being sold to the ship-breaker John Beatson, the ship had been lying at Sheerness Dockyard, and was then moved to his wharf at Rotherhithe, then in Surrey but now in Southwark. As shown in a "prosaic drawing, made on the spot by a trained observer" (William Beatson, the ship-breaker's brother) and turned into a lithograph, her masts and rigging were removed before her sale and journey to the breaker's yard. All of her cannon, anchors and assorted hardware had been removed and salvaged for the navy to use as spare parts. She was towed by two tugboats, not just one, and in the other direction (the sun sets in the west, while the Thames estuary is at the river's eastern end).


title: The Fighting Temeraire

text: When exhibited at the Royal Academy in 1839 the painting was a considerable success, praised in various of the lengthy press reviews that the Summer Exhibitions then received as a "grand image of the last days of one of Britain's bulwarks" as "The Spectator" put it. The novelist William Makepeace Thackeray, reviewing for "Fraser's Magazine" "in the form of mostly facetious letters" supposedly by "Michael Angelo Titmarsh Esq." abandoned his usual flippant tone when discussing "as grand a picture as ever figured on the walls of any academy, or came from the easel of any painter". Turner displayed the painting in 1839 accompanied by an altered excerpt from Thomas Campbell's poem "Ye Mariners of England", reading:


title: The Fighting Temeraire

text: Turner kept the painting in his studio, which also functioned as a showroom for buyers, until his death. In 1844 he loaned it as part of his deal for reproductions to the print publisher J. Hogarth, who exhibited it at his premises, but about a year later wrote a draft note replying to another request saying that "no consid[eratio]ns of money or favour can induce me to lend my Darling again...". Hogarth's steel engraving by James Tibbits Willmore, who had often engraved Turners, was published in 1845 and was the first of many reproductions in various techniques. In about 1848 Turner refused an offer to buy the painting reputed to have been £5,000, followed by a "blank cheque", having determined to leave it to the nation, and already being very well-off.


title: The Fighting Temeraire

text: It was evidently usually among the works on display in the studio, and is mentioned by several visitors. He intended to leave his paintings to the nation but the terms of his will were unclear and after his death in 1851 his will was contested by relatives, and several years of litigation were only ended in 1856, when this and a large body of other work entered the collection of the National Gallery. Most of the "Turner Bequest" was turned over to Tate Britain when that was established in 1897, but the "Fighting Temeraire" remained in the National Gallery. It was in the Tate Gallery (as it then was) from 1910 to 1914 and 1960 to 1961, and for six months in 1987 to mark the opening of the Clore Gallery there, which houses the rest of the Bequest. In 1947–48 it went on a European tour to Amsterdam, Bern, Paris, Brussels, Liège, ending at the Venice Biennale. In 1952 it was exhibited in Cape Town.


title: The Fighting Temeraire

text: The picture remains in "exceptionally good condition", apart from slightly discoloured varnish, and seems never to have received conservation treatment beyond the removal of surface dirt in 1945 and a lining in 1963. X-ray images reveal that Turner seems to have used a canvas on which he had started another marine picture, with a large sail where the tugboat's above-deck structures now are.


title: The Fighting Temeraire

text: The painting is used in the 2012 James Bond film "Skyfall" to be symbolic of Bond's age and standing within MI6.


title: The Fighting Temeraire

text: In February 2020, the Bank of England introduced a new polymer £20 note, featuring Turner's c. 1799 self-portrait, with "The Fighting Temeraire" in the background. The quote "Light is therefore colour" from an 1818 lecture by Turner, and a copy of his signature as made on his will are also included.


title: Doubloon

text: The doubloon (from Spanish "doblón", or "double", i.e. "double escudo") was a two-"escudo" gold coin worth approximately $4 (four Spanish dollars) or 32 "reales",


title: Doubloon

text: Doubloons were minted in Spain and the viceroyalties of New Spain, Peru, and Nueva Granada (modern-day Colombia, Ecuador, Panama, and Venezuela). As the Spanish escudo succeeded the heavier gold "excelente" (or "ducado", ducat; 3.1 g vs 3.48 g fine gold) as the standard Spanish gold coin, the doubloon therefore succeeded the "doble excelente" or double-ducat denomination.


title: Doubloon

text: In modern times, the doubloon is remembered due in large part to the influence of historical fiction about piracy.


title: Doubloon

text: Spanish American gold coins were minted in one-half, one, two, four, and eight escudo denominations, with each escudo worth around two Spanish dollars or $2. The two-escudo (or $4 coin) was the "doubloon" or "pistole", and the large eight-escudo (or $16) was a "quadruple pistole".


title: Doubloon

text: English nomenclature was confusing, though, since the $8 "double pistole" was the doubloon in English usage, while the $16 "quadruple pistole" was the doubloon in American colonial usage. This was disambiguated in references by calling the $4 the "common doubloon" or simply "doubloon", the $8 the "doubloon of four (escudos)", and the $16 the "doubloon of eight". Spanish America did the same as per "". See also Brasher doubloon.


title: Doubloon

text: After the War of 1812, doubloons of eight were valued in Nova Scotia at the rate of £4 and became the dominant coin there.


title: Doubloon

text: Doubloons, when exchanged for $4 or 32 "reales" in silver, traded at a high gold-silver ratio of 16 (since each real contained 3.833 g of 0.917 silver). Since the prevailing ratio in Europe was 15 in most of the 18th century, doubloons occasionally traded at a discount to this amount, at 30–32 "reales".


title: Doubloon

text: In Spain, doubloons were current for $4 (four "duros", or 80 "reales de vellón") up to the middle of the 19th century. Isabella II of Spain switched to an "escudo"-based coinage with decimal "reales" in 1859, and replaced the 6.77-gram "doblón" with a new heavier "doblón" worth $5 (five "duros", or 100 "reales") and weighing 8.3771 grams (0.268 troy ounces). The last Spanish doubloons (showing the denomination as 80 "reales") were minted in 1849. After their independence, the former Spanish Viceroyalties of Mexico, Peru and Nueva Granada continued to mint doubloons.


title: Doubloon

text: Doubloons have also been minted in Portuguese colonies, where they went by the name "dobrão", with the same meaning. The São Tomé and Príncipe dobra is the only extant currency with a name meaning "doubloon."


title: Doubloon

text: In Europe, the doubloon became the model for several other gold coins, including the French "Louis d'or", the Italian "doppia", the Swiss "duplone", the Northern German "pistole", and the Prussian "Friedrich d'or".


title: Yasunori Mitsuda

text: Mitsuda joined Square upon graduation in 1992 and worked there as a sound effects designer for two years before telling Square's vice president Hironobu Sakaguchi he would quit unless he could write music for their games. Shortly after, Sakaguchi assigned him to work on the soundtrack for "Chrono Trigger" (1995), whose music has since been cited as among the best in video games.


title: Yasunori Mitsuda

text: Mitsuda went on to compose for several other games at Square, including "Xenogears" (1998) and "Chrono Cross" (1999). He left the company and became independent in 1998. In 2001, he founded his own music production studio and record company, Procyon Studio and Sleigh Bells respectively. Mitsuda has also worked on anime series, films, and television programs.


title: Yasunori Mitsuda

text: Mitsuda was born in Tokuyama, Japan, on January 21, 1972, and was raised in the Kumage District of Yamaguchi Prefecture. He took piano lessons beginning at the age of five, but was more interested in sports at the time and did not take music seriously, quitting by the age of six. For a while, he wanted to become a professional golfer. By high school, Mitsuda wanted to become a music composer, inspired by Vangelis' "Blade Runner" and Henry Mancini's "The Pink Panther" film scores. He became interested in PCs after his father bought him one, which was a rare item at the time. He started to program computer games and compose music for them, as well as take more technically oriented classes.


title: Yasunori Mitsuda

text: After high school, Mitsuda decided to leave town and become independent. With encouragement from his father and sister, he moved to Tokyo and enrolled in the Junior College of Music. Despite the school's low prestige, Mitsuda received solid instruction from his professors, most of them practicing musicians who would take Mitsuda to gigs with them to help carry and set up equipment. At the cost of being used for free physical labor, Mitsuda got a first-hand view of the Japanese music world and valuable training both in and out of the classroom. As part of his college course, he was granted an intern position at the game development studio Wolf Team, studying under composer and musician Motoi Sakuraba, whom Mitsuda would work with together on games decades later.


title: Yasunori Mitsuda

text: During this work experience, with his school term ending, Mitsuda saw an advertisement for a sound producer at Square in a copy of "Famitsu" magazine at a game company he was visiting. With no clear plans as to what he wanted to do after school, he applied for the position. Mitsuda sent a demo which won him an interview at the game studio. Despite the self-described "disastrous" interview with composer Nobuo Uematsu and sound programmer Minoru Akao, in which he claimed to only want the job as a "stepping stone" in his career and admitted that he had never played many of Square's biggest games, such as the "Final Fantasy" series, Mitsuda was offered a position on the company's sound team in April 1992.


title: Yasunori Mitsuda

text: Although his official job title was as a composer, Mitsuda found himself working more as a sound engineer. Over the next two years, he created sound effects for "", "Final Fantasy V", "The 7th Saga", "Secret of Mana", and "Romancing SaGa 2". In 1994, realizing that he would never get a chance to move up to a real composition duty without some drastic action and feeling concerned about his low pay, he gave Square's vice president, Hironobu Sakaguchi, an ultimatum: let him compose, or he would quit. Sakaguchi assigned the young musician to the team working on "Chrono Trigger", telling him that "after you finish it, maybe your salary will go up". Mitsuda was assigned as the sole composer for the game, in the end creating 54 tracks for the final release. Mitsuda drove himself to work hard on the score, frequently working until he passed out, and would awake with ideas for songs such as the ending theme for the game. He worked himself so hard that he developed stomach ulcers and had to be hospitalized, which led Uematsu to finish the remaining tracks for him.


title: Yasunori Mitsuda

text: "Chrono Trigger" proved a great success, and the soundtrack proved popular with fans. Mitsuda claims that it is his "landmark" title, which "matured" him. He attributes its success with fans to his use of folk and jazz styling, rather than the "semi-orchestral" style popular in game music at the time. Following "Chrono Trigger", Mitsuda composed the soundtrack for "", again with Uematsu. According to Uematsu, Mitsuda again worked so much that he eventually defecated blood out of stress and physical problems. Mitsuda worked on three more titles for Square: "Tobal No. 1" and "" both in 1996, and "Xenogears" in 1998, which featured the first ballad in a Square game, the Celtic ending theme "Small Two of Pieces" sung by Joanne Hogg. Mitsuda also during this period produced albums of arranged music of his original scores, creating acid jazz remixes in "" and a Celtic arrangement album of Xenogears music, "Creid". In July 1998, following up on what he had said in his original interview with the company, Mitsuda left Square to work as a freelance composer, the first of several of Square's composers to do so.


title: Yasunori Mitsuda

text: Following his leaving, Mitsuda has only worked on one more original game with Square, composing for 1999's "Chrono Cross", the sequel to "Chrono Trigger". He has worked on over a dozen games since then, including the spiritual sequel to "Xenogears", "", and major games such as "Shadow Hearts" and "Luminous Arc". In addition to video games, Mitsuda has composed music for the anime "Inazuma Eleven" and for the independent album "Kirite". On November 22, 2001, Mitsuda formed Procyon Studio as a company to produce his music, along with a record label, Sleigh Bells. The company consisted of only Mitsuda as composer along with a few sound producers for several years but has since expanded to include other composers. Mitsuda and Procyon Studio have also produced more arranged albums, such as "Sailing to the World" and 2009's "Colours of Light", a compilation album of vocal pieces Mitsuda had composed. The studio was also involved in co-designing the "KORG DS-10" synthesizer program for the Nintendo DS, and its successor for the Nintendo 3DS, "KORG M01D". Mitsuda claims that, for the projects Procyon had been working on in the late 2000s, he was focusing more on working as a music producer for a team of artists rather than just as a composer. Despite that, Mitsuda continued to compose for several notable games in the 2010s, such as the "Inazuma Eleven" series, "Soul Sacrifice", and "Valkyria Revolution", with the latter marking his first fully solo game soundtrack in nearly a decade. Around the same time, Mitsuda also began to compose for non-video game media, including several NHK-produced television shows, as well as anime series such as "Black Butler" and adaptions of "Inazuma Eleven". In addition to serving as the lead composer for 2017's "Xenoblade Chronicles 2", Mitsuda also was in charge of the game's audio budget, musician booking, schedule management, and music sheet proofreading, for which he claimed was the largest project he ever worked on. He also composed for its expansion pack, "Torna – The Golden Country".


title: Yasunori Mitsuda

text: Mitsuda claims to compose by "just fool[ing] around on my keyboard" and letting the melodies come to him. He also sometimes comes up with songs while asleep, including the ending theme to "Chrono Trigger" and "Bonds of Sea and Fire" from "Xenogears", though his main inspiration is visual items, "paintings or other things". His music is frequently minimalistic, and he has cited Minimalism as an influence. His final battle themes for "Chrono Trigger" and "Xenogears" are based on only a few chords each, with the latter containing only two. Mitsuda has listened to a great number of musical genres throughout his life, which he learned from his father, and is especially inspired by jazz music. He is also inspired by Celtic music, and has created two albums of music in that style. His soundtrack for "Chrono Trigger" also shows the influence of Asian music, including the sounds of Japanese shakuhachi flutes, Indian tabla drums and the sitar. He has cited Maurice Ravel, J.S. Bach, Pyotr Tchaikovsky, Claude Debussy, Robert Schumann, Antonín Dvořák, and Gustav Holst as his favorite Classical composers, claiming that his modern influences are too numerous to name as he listens to so much music.


title: Yasunori Mitsuda

text: Mitsuda names his favorite works as the soundtracks to the "Chrono" series, "Xenogears", "Xenosaga Episode I", and the original album "Kirite", though he also says that all of his soundtracks are "representational works", as they represent who he was as a composer when he made them. His favorite pieces overall are "The Girl Who Closed Her Heart" and "Pain" from "Xenosaga Episode I" and pieces from "Kirite". When he starts to compose a soundtrack, he first takes one month to gather information and artwork about the game world and scenario, so that his music will fit in with the game. He also finds it easier to be inspired if he has a visual representation. Mitsuda claims that he does not save his best work for more popular games, as he tries to compose each piece to correspond to how it is going to be used in a specific game. He also tries to compose good pieces even for games he feels do not live up to them, so that they will be a redeeming point about the game for the players. The majority of his video game soundtracks are for role-playing games, but he likes projects that are different from what he has done before and is interested in working in other genres.


title: Yasunori Mitsuda

text: Mitsuda's music from "Chrono Trigger" was first performed live by the Tokyo Symphony Orchestra in 1996 at the Orchestral Game Concert in Tokyo, Japan, and released on an accompanying album. The first symphonic performance of his music outside Japan took place in 2005 at the Symphonic Game Music Concert in Leipzig, Germany when music from "Chrono Cross" was presented. Mitsuda has arranged versions of music from "Trigger" and "Cross" for "Play! A Video Game Symphony" video game music concerts in 2006. Music from the two games has also been performed in other video game concert tours such as the Video Games Live concert series and in concerts by the Eminence Orchestra. Music written by Yasunori Mitsuda for "Chrono Trigger" and "Chrono Cross" made up one fourth of the music of the "Symphonic Fantasies" concerts in September 2009 at the Kölner Philharmonie which were produced by Thomas Böcker as a part of the "Game Concerts" series. "Scars of Time" from "Chrono Cross" was played at the "Fantasy Comes Alive" concert in Singapore on April 30, 2010.


title: Yasunori Mitsuda

text: Mitsuda's music for "Xenogears" has also sparked fan-made albums; an officially licensed tribute album titled "Xenogears Light: An Arranged Album", was published in limited quantities by the fan group OneUp Studios in 2005. The album features 20 tracks arranged from the "Xenogears" score and performed with acoustic instruments, such as piano, flute, guitar and violin. Another, unofficial album of remixes titled "Humans + Gears" was produced as a digital album by OverClocked Remix on October 19, 2009, consisting of 33 tracks. Selections of remixes of Mitsuda's work also appear on Japanese remix albums, called Dōjin, and on English remixing websites such as OverClocked Remix. Music from the "Chrono Trigger" soundtrack has been arranged for the piano and published as sheet music by DOREMI Music Publishing. Sheet music for "Chrono Cross" tracks arranged for both solo guitar and guitar duets has been released by Procyon Studio.


title: Yasunori Mitsuda

text: For the 20th anniversary of "Chrono Trigger" in 2015, Mitsuda, along with his performing group Millennial Fair, performed songs from the game at the Tokyo Globe in Tokyo, Japan on July 25 and 26. The event, titled "The Brink of Time", included Mitsuda performing on the piano, guitar, and Irish bouzouki. During the event, Mitsuda also announced that the long requested "Chrono" series arrangement album, entitled "To Far Away Times: Chrono Trigger & Chrono Cross Arrangement Album", would be released by Square Enix Music on October 14, 2015.


title: Hersheypark

text: Hersheypark (known as Hershey Park until 1970) is a family theme park located in Hershey, Pennsylvania, about east of Harrisburg, and west of Philadelphia. The park was founded in 1906 by Milton S. Hershey as a leisure park for the employees of the Hershey Chocolate Company. It is wholly and privately owned by Hershey Entertainment and Resorts Company. Hersheypark has won several awards, including the Applause Award.


title: Hersheypark

text: The park opened its first roller coaster in 1923, the Wild Cat, an early Philadelphia Toboggan Company coaster. In 1970, it began a redevelopment plan, which led to new rides, an expansion, and its renaming. The 1970s brought the SooperDooperLooper, an early complete-circuit looping roller coaster, as well as a observation tower, the Kissing Tower. Beginning in the mid-1980s, the park rapidly expanded. Between 1991 and 2008, it added eight roller coasters and the "Boardwalk at Hersheypark" water park. , the park covers over , containing 76 rides and attractions, as well as a zoo called "ZooAmerica". Adjacent to the park is Hershey's Chocolate World, a visitors' center attraction that contains shops, restaurants, and a chocolate factory-themed tour ride, where visitors can get their picture taken and receive a piece of chocolate at the end of the ride.


title: Hersheypark

text: Prior to the reduction in worldwide theme park attendance due to the COVID-19 pandemic, the park saw an average attendance of over 3.3 million visitors each year. In 2020, the park hosted 1.7 million visitors. It is the most visited theme park in Pennsylvania and the ninth most visited theme park in North America, as well as the largest theme park in North America not located in Ohio, Florida or California.


title: Hersheypark

text: In 1903, Milton S. Hershey, founder of the Hershey Chocolate Company, surveyed the town that would become Hershey. Included in his plans was a site along Spring Creek that would be suitable for a leisure park for Hershey employees. In 1905, a bridge was built over Spring Creek, and a pavilion was built on the hill that overlooked it. While the bridge was able to be constructed, the land on the banks of Spring Creek, from Derry Church to Union Deposit, and areas further north of the creek (including the area currently occupied by Hersheypark Arena and Stadium) was then owned by J.H. Nissley. In February 1906, Hershey purchased all but two tracts of land, near Union Deposit, from Nissley. In early spring, the Hershey baseball club staked out an area for a baseball field; a baseball diamond, a track surrounding the field, and grandstands were built. The first game was played on May 5, which was a 4–0 loss to Felton Athletic Club. This is also noted as the first open-air event in Hershey.


title: Hersheypark

text: On Wednesday, May 30, 1906, Hershey's park was opened to the public and formally called Hershey Park. The festivities included a baseball game, in which Hershey defeated the Crescent Club of Harrisburg by a score of 13–1. Music was performed by the recently formed Hershey Band and other events were held on park grounds. Prior to that time, the park had been called various unofficial names, including "West-end" Park and Hershey's Park, which (despite being a popular, and grammatically correct, choice) was picked over in order to combine the words Hershey and Park. In 1970, after more than 60 years of operation, park management decided to redevelop the park into a theme park. The name was changed to Hersheypark in 1971, and it has operated under that name ever since.


title: Hersheypark

text: The first ride was added to the park in 1908 – an Allen Herschel carousel often referred to as the "Merry-Go-Round". This was followed in 1910 with the addition of the Miniature Railroad, which remained in operation until the end of the 1971 season. The park has operated a bumper car ride since 1926, a variety of boat rides on Spring Creek, and six dark rides, three of which were fun houses. The park added its first two kiddie rides in 1926, The Prowler and The Regurgitator, and has added well over 40 since then.


title: Hersheypark

text: The park added its first roller coaster in 1923, the Wild Cat, for the town of Hershey's twentieth anniversary, which operated until 1945. It was replaced by the park's second wooden roller coaster, Comet, in 1946. Between then and 1996, the park added six roller coasters, including SooperdooperLooper, the first complete-circuit, modern-day looping steel roller coaster on the East Coast of the United States, which opened in 1977. In 1996, Hersheypark added its third wooden roller coaster (Wild Cat and Comet being the first two) naming it Wildcat (initially The Wildcat), after the original Wild Cat.


title: Hersheypark

text: Of the coasters that the park has had, only five are no longer in the park. One, a twin roller coaster called Toboggan (it was also called Twin Towers Toboggan or Twin Toboggans) which had been located in Carousel Circle, a water coaster called Roller Soaker which had been in Midway America and later The Boardwalk, a kiddie coaster with an oval track called Mini-Comet, the 1996 Wildcat, and the Original Wild Cat. (The station of the Wild Cat was located in the Minetown area where the Convoy ride is currently with most of the out-and-back layout/structure built along the north side of Spring Creek between the base of Storm Runner's first drop and the station for Trail Blazer.)


title: Hersheypark

text: The park has had several pools, the first located next to Spring Creek in Comet Hollow, the area themed as The Hollow as of 2018. The first pool operated from 1908 until 1911, which included a toboggan-slide ride called Shoot-the-Chutes. This pool was replaced by a cement pool which opened in 1912 and remained in use through the 1928 season.


title: Hersheypark

text: That pool was replaced by a new pool complex on the western edge of the park, which included a large bathhouse, one large pool and a smaller pool, as well as a beach-like area and a lighthouse. It operated until 1971, when it was closed at the start of the Hersheypark theme park conversion renovation.


title: Hersheypark

text: Hersheypark did not add another pool until 2007 when The Boardwalk at Hersheypark opened. It is a small wave pool for children, called Bayside Pier. That was followed by the addition of a much larger wave pool, called The Shore, which opened in 2009.


title: Hersheypark

text: Hersheypark developed a number of themed areas, the first being Carousel Circle, Der Deitsch Platz, and Animal Garden in 1972, followed by Tower Plaza in 1975, Pioneer Frontier in 1985, Midway America in 1996, as well as The Boardwalk at Hersheypark in 2007. In 2014, Hersheypark merged several theme areas – Tudor Square, Rhineland, Founder's Circle and Music Box Way, became an area called Founder's Way, while the coal mining region themed area Minetown was re-themed as Kissing Tower Hill. The themed areas had featured different music to each area, such as polka-style songs being played in Der Deitsch Platz and Carousel Circle, country music being played in the Pioneer Frontier themed area, the Beach Boys being played near Tidal Force and later in The Boardwalk, as well as Ragtime and jazz music being played in Midway America. However, the music was phased into being the same across the park, except in The Boardwalk and Pioneer Frontier. In the summer of 2020, Hersheypark opened a new themed area called Hershey's Chocolatetown, which included a new entrance plaza, ice cream parlor, flagship retail store, and a Bolliger & Mabillard hyper coaster named Candymonium. This includes the first ever Starbucks inside the park.


title: Hersheypark

text: Hersheypark has had 142 rides in the park's history. There are currently 76 rides in operation. The park has featured 18 roller coasters, five of which no longer stand – Wild Cat, Wildcat, Twin Towers Toboggan, Mini Comet and Roller Soaker. The park had two concepts canceled during their many years of operation, the first in 1942 Flying Turns and Turbulence in 2005.


title: Hersheypark

text: The first ride the park purchased was a Herschell carousel in 1908. The most recent coaster added is Wildcat's Revenge, a hybrid roller coaster made by Rocky Mountain Construction, which opens in 2023.


title: Hersheypark

text: Hersheypark uses Hershey Company products as names for each height range to determine who can ride which rides.


title: Hersheypark

text: Hersheypark uses a ride ratings system to alert guests to the aggressiveness of the ride. The "Ratings" for each ride are as follows: (descriptions come from the 2007 edition of the map of Hersheypark)


title: Hersheypark

text: Hersheypark features a number of entertainment shows in a number of venues including Hersheypark Aquatheatre and the Music Box Theatre, as well as strolling shows throughout the park. 12 resident shows are offered along with Spring, Summer, Halloween, and Christmas seasonal shows. A popular event offered each year from November to January is Hersheypark's Christmas Candylane. The park also has an amphitheatre, but it has been out of use for several years.


title: Hersheypark

text: There are facilities for accommodating particular dietary needs, including a kosher restaurant (Central PA's Kosher Mart) and a variety of restaurants offering gluten-free rolls and bread. Groups can pre-arrange catering in one of six private picnic areas inside the park. Signs are posted prohibiting guests from bringing in outside food and drink. A casual sit-down restaurant called Hersheypark Place (formerly Tudor Grill) is located just outside the park. A Chickie and Pete's Crab House restaurant and a frozen yogurt stand were added for the 2014 season. A Chick-fil-A restaurant (closed Sundays) was added for the 2017 season. BBLzs a unique beverage experience, located in Kissing Tower Hill, where guests can taste "soft drink mixology" by trained BBLz makers.


title: Hersheypark

text: Also included in the price of admission is access to ZooAmerica. It is open year-round and offers 11 acres of land to visit and walk throughout. It is smoke-free, as ZooAmerica houses "more than 200 animals from five regions of North America" and offers tours, birthday parties, and informational programs at varying costs, even having their own individual seasonal pass.


title: Hersheypark

text: Hersheypark is made up of seven themed areas, starting with Hershey's Chocolatetown, an area which spans from outside the main gate, to around the area of the former Sky Ride station. From there, it becomes Founder's Way, which leads to a junction where three sections – Kissing Tower Hill, The Hollow and Pioneer Frontier – meet and make up the central and southern end of the park, while two sections, Midway America and The Boardwalk, make up the northern end of the park.


title: Hersheypark

text: On October 3, 2018, Hershey Entertainment and Resorts revealed its "biggest announcement ever" – a new section of the park called Hershey's Chocolatetown. It features Candymonium, a Bolliger & Mabillard hypercoaster; the Chocolatier themed restaurant, bar, and patio; the Sweeterie confectionery kitchen; as well as a 10,000 square foot flagship boutique store, Hersheypark Supply Co, Milton's Ice Cream Parlor, a 2,200-square-foot Starbucks store and a kettle corn location that is the largest in Hersheypark. Also, a one-of-a-kind Hershey's Kisses fountain is part of Chocolatetown.


title: Hersheypark

text: The project cost an estimated $150 million making this the largest capital expense in the park's history. The new area sits on of land previously unoccupied by Hersheypark. Along with the expansion, Hershey announced plans to introduce a new entrance to the park, which will lead directly to the new section. The park's Carrousel was relocated from Founder's Way to Chocolatetown. The expansion, along with the rest of the park, opened on July 3, 2020, after being delayed due to the COVID-19 pandemic. The Chocolatier Restaurant, The Sweeterie, and Milton's Ice Cream Parlor were rescheduled to open in 2021. All three locations as well as the Hersheypark Supply Co. main gift shop are open year-round even when the park is closed.


title: Hersheypark

text: It is now the first area one encounters when entering the park. It replaced the former Tudor Square and Rhineland buildings that were built during the park's retheming in the 1970s. There are only a few remaining buildings from the Rhineland section towards the back of the area, where it becomes Founder's Way.


title: Hersheypark

text: Founder's Way is the second themed area of Hersheypark. Prior to the opening of Hershey's Chocolatetown, it began outside of the main gate near Tram Circle and encompassed the former Tudor Square (1973–2013) and Rhineland (1973–2013) areas when they were merged with Founder's Circle and Music Box Way. Now a few buildings from Rhineland still remain, including a few gift shops, the now-empty former station of the Sky Ride, Nathan's, and Dispatch Pizzeria Express.


title: Hersheypark

text: After the completion of Hershey's Chocolatetown, the rather steep hill in this area was leveled off. Going into the main circle of the area is a statue of Milton S. Hershey and a surrounding fountain, which honors the chocolate maker and founder of the park. The center of this circle is where the carousel used to be before being moved to Chocolatetown. The red, white, and blue pavilion that it used to be under still remains, and is the middle of a circle that has a number of rides on the outside of the circle. From 1972 until 2004, this area was known as Carousel Circle. In 2005, Carousel Circle became Founder's Circle, until 2013, when it was merged with Music Box Way, Rhineland and Tudor Square.


title: Hersheypark

text: The section of Founder's Way beyond Carousel circle is an area formerly themed as Der Deitsch Platz. This is home to the 1906 Grille, a Get the Picture Souvenir Photo Stand, where guests can see and purchase pictures taken of them by park photographers throughout their day, as well as a Subway restaurant.


title: Hersheypark

text: The next section that was merged, formerly known as Music Box Way, is home to the Music Box Theater, the first enclosed theater stage in the park. It also includes rides such as the Fender Bender bumper cars, the Pirate, Reese's Cupfusion, as well as a number of kiddie rides. It is from this area that guests can access The Hollow, Pioneer Frontier, and a bridge leading to Kissing Tower Hill.


title: Hersheypark

text: This section was originally named "Comet Hollow" after the oldest operating coaster in the park, Comet, and lies along Spring Creek. This is one of the oldest areas of Hersheypark; many rides have come and gone in this area. The park's first water ride, the Mill Chute installed in 1929, was alongside the creek where Great Bear runs today. The original location for the bumper cars, then called the Auto Skooters, is now the SooperDooperLooper Sandwich Stop. There were giant slides on the hill where the Hersheypark Amphitheater is located. A Streco turnpike ride was located underneath the high bridge that crossed Spring Creek to Minetown. In 1932 the Park installed a Traver Tumble Bug ride next to the Mill Chute. It was removed in 1981 to make room for the Wave Swinger. The park's carousel, before being moved to Carousel Circle in 1972, was located along the creek adjacent to the station of Comet. Before SooperDooperLooper came to Comet Hollow in 1977, a Himalaya ride was in that location, and before that, twin Eli Bridge Ferris wheels. A whip, and a station for the Electric Railroad were also located in Comet Hollow at one time.


title: Hersheypark

text: One of Hersheypark's most significant floods occurred in 1972 as a result of Hurricane Agnes. A number of rides were heavily damaged or destroyed as a result. These rides include the turnpike ride, the Mill Chute (which at the time of the flood was rethemed as the Lost River), and the giant slides. They were eventually replaced; the Coal Cracker (1973) and Twin Turnpike (1975) were put on higher ground in Minetown, and the Merry Derry Dip Fun Slide was put in Midway America twenty-five years later in 1997.


title: Hersheypark

text: Today, The Hollow features three roller coasters, Comet, Skyrush and SooperDooperLooper. It also houses the Wave Swinger, Tea Cups, and Sweet Swing rides. Almost all of Great Bear's track courses through The Hollow.


title: Hersheypark

text: Beginning with the 2012 season and renovations being done to this area, the famous chocolate smell that was used in building materials was dampened due to concerns about safety. Additionally, the park changed the name of the once 'Comet Hollow' to the present name of 'The Hollow'.


title: Hersheypark

text: Until the start of the 2014 season, this area of the park had been called Minetown, which had been officially opened in 1990 with the additions of Convoy, Red Baron, Flying Falcon and Dinosaur-Go-Round. All except Dinosaur-Go-Round, Red Baron, and Flying Falcon are still in the area; Dinosaur-Go-Round was moved to Founder's Circle for the 2007 season so the Frog Hoppers could be moved to its location to make room for the Boardwalk, and following the 2016 season, Red Baron was moved to Pioneer Frontier and Flying Falcon was removed completely to make room for Hershey Triple Tower. The section features many classic Hersheypark attractions, including the Sunoco Twin Turnpike, Coal Cracker flume ride, Kissing Tower and Great Bear. It is also home to the Overlook Arcade (formerly the Minetown Arcade), Overlook Food Court (formerly the Minetown Restaurant), Hersheypark Amphitheater, Hersheypark Aquatheater and the Hersheypark entrance to ZooAmerica. The Overlook Food Court Restaurant is a cafeteria-style place, and for many years was the only area in the park where alcohol was served. Alcohol is now also served at various locations in Pioneer Frontier and Midway America.


title: Hersheypark

text: Pioneer Frontier is the southwestern-themed section of the park, and includes four of the park's roller coasters: Trailblazer (the second oldest in the park), Jolly Rancher Remix, Storm Runner, and Fahrenheit. It also includes the Frontier Flyers, The Howler, Mini Scrambler, Livery Stables, and Red Baron. It also has its own food court which features a wide variety of restaurants. The section previously included the area up to and including Tidal Force until 2007 when Tidal Force and Canyon River Rapids were rezoned into the new Boardwalk. However, the southern end of the section was expanded at this time, encompassing the Pirate (swinging ship), The Claw, and the Dry Gulch Railroad, all rezoned from Music Box Way. Pioneer Frontier is also home to the Playdome Arcade (formerly the Double "R" Cade, the Frontier Meetinghouse, and a Cinema Vision), which was newly remodeled for the 2018 season.


title: Hersheypark

text: Opened in 1996 as a homage to the classic midway fair, Midway America features four roller coasters, including Wildcat's Revenge, a steel hybrid coaster opening in 2023, Lightning Racer (a dueling wooden roller coaster), and two steel coasters, Wild Mouse, and Laff Trakk, a glow in the dark spinning family indoor coaster across from the Wild Mouse. The section also has the Whip, Music Express, Merry Derry Dip Fun Slides, Ferris Wheel and three kiddies rides: Granny Bugs, Pony Parade, and Tiny Tracks.


title: Hersheypark

text: The Boardwalk at Hersheypark, a water park, was officially opened in 2007 and featured five new water park attractions along with three already standing rides: Roller Soaker, Tidal Force, and Canyon River Rapids. Canyon River Rapids and Tidal Force were rezoned from Pioneer Frontier to the Boardwalk. In 2009, the Boardwalk received an expansion known as the Seaquel which replaced Canyon River Rapids with Intercoastal Waterway (a lazy river), the Shore (a wave pool) and cabanas. Roller Soaker was removed for the 2013 season; however, the station was left up. That same year, the area was renovated and taken up by a kiddie spray ground and some tables. For the 2018 season, Hersheypark announced that two new water attractions would be in this area: Breaker's Edge, a hydro-magnetic coaster slide that also counts as the park's 14th coaster, and Whitecap Racer, the longest mat racer slide in the world which features two sets of twisting enclosed tubes. Breaker's Edge uses the station that was formerly used by Roller Soaker.


title: Hersheypark

text: Capital Area Transit provides direct access to/from Harrisburg with its HP bus during the summer season. Throughout the year, the 322 CAT route provides service to downtown Hershey and the Outlets at Hershey.


title: Courtier

text: A courtier () is a person who attends the royal court of a monarch or other royalty. The earliest historical examples of courtiers were part of the retinues of rulers. Historically the court was the centre of government as well as the official residence of the monarch, and the social and political life were often completely mixed together.


title: Courtier

text: Monarchs very often expected the more important nobles to spend much of the year in attendance on them at court. Not all courtiers were noble, as they included clergy, soldiers, clerks, secretaries, agents and middlemen with business at court. All those who held a court appointment could be called courtiers but not all courtiers held positions at court. Those personal favourites without business around the monarch, sometimes called the camarilla, were also considered courtiers. As social divisions became more rigid, a divide, barely present in Antiquity or the Middle Ages, opened between menial servants and other classes at court, although Alexandre Bontemps, the head valet de chambre of Louis XIV, was a late example of a "menial" who managed to establish his family in the nobility. The key commodities for a courtier were access and information, and a large court operated at many levels: many successful careers at court involved no direct contact with the monarch.


title: Courtier

text: The largest and most famous European court was that of the Palace of Versailles at its peak, although the Forbidden City of Beijing was even larger and more isolated from national life. Very similar features marked the courts of all very large monarchies, including in India, Topkapı Palace in Istanbul, Ancient Rome, Byzantium or the Caliphs of Baghdad or Cairo. Early medieval European courts frequently travelled from place to place following the monarch as they travelled. This was particularly the case in the early French court. But, the European nobility generally had independent power and was less controlled by the monarch until around the 18th century, which gave European court life greater complexity.


title: Courtier

text: The earliest courtiers coincide with the development of definable courts beyond the rudimentary entourages or retinues of rulers. There were probably courtiers in the courts of the Akkadian Empire where there is evidence of court appointments such as that of cup-bearer which was one of the earliest court appointments and remained a position at courts for thousands of years. Two of the earliest titles referring to the general concept of a courtier were likely the "ša rēsi" and "mazzāz pāni" of the Neo-Assyrian Empire. In Ancient Egypt a title has been found that translates to high steward or great overseer of the house.


title: Courtier

text: The courts influenced by the court of the Neo-Assyrian Empire such as those of the Median Empire and the Achaemenid Empire had numerous courtiers After invading the Achaemenid Empire, Alexander the Great returned with the concept of the complex court featuring a variety of courtiers to the Kingdom of Macedonia and Hellenistic Greece.


title: Courtier

text: The imperial court of the Byzantine Empire at Constantinople would eventually contain at least a thousand courtiers. The court's systems became prevalent in other courts such as those in the Balkan states, the Ottoman Empire and Russia. Byzantinism is a term that was coined for this spread of the Byzantine system in the 19th century.


title: Courtier

text: In modern English, the term is often used metaphorically for contemporary political favourites or hangers-on.


title: Courtier

text: In modern literature, courtiers are often depicted as insincere, skilled at flattery and intrigue, ambitious and lacking regard for the national interest. More positive representations include the role played by members of the court in the development of politeness and the arts.


title: Malva

text: Malva is a genus of herbaceous annual, biennial, and perennial plants in the family Malvaceae. It is one of several closely related genera in the family to bear the common English name mallow. The genus is widespread throughout the temperate, subtropical and tropical regions of Africa, Asia and Europe.


title: Malva

text: The leaves are alternate, palmately lobed. The flowers are from 0.5–5 cm diameter, with five pink, lilac, purple or white petals.


title: Malva

text: The word "mallow" is derived from Old English "mealwe", which was imported from Latin "malva", cognate with Ancient Greek μαλάχη (malakhē) meaning "mallow", both perhaps reflecting a Mediterranean term.


title: Malva

text: Several species are widely grown as garden flowers. Very easily grown, short-lived perennials are often grown as ornamental plants.


title: Malva

text: Many species are edible as leaf vegetables and commonly foraged in the West. Known as "ebegümeci" in Turkish, it is used as vegetable in Turkey in various forms such as stuffing the leaves with bulgur or rice or using the boiled leaves as side dish. "Malva verticillata" (, Korean: "auk") is grown on a limited commercial scale in China; when made as a herbal infusion, it is used for its colon cleansing properties and as a weight loss supplement.


title: Malva

text: Mild tasting, young mallow leaves can be a substitute for lettuce, whereas older leaves are better cooked as a leafy green vegetable. The buds and flowers can be used in salads. Small fruits that grow on the plants can also be eaten raw.


title: Malva

text: Bodos of Northeast India cultivate a subspecies of "Malva" called lapha and use it extensively in their traditional cuisine, although its use is not much known among other people of India except in the northern Indian state of Kashmir where "Malva" leaves are a highly cherished vegetable dish. It is called "Soachal".


title: Malva

text: In Catalonia (Spain) they use the leaves to cure the sting or paresthesia of the stinging nettle ("Urtica dioica").


title: Malva

text: Leaves of various species "Malva" have been used in traditional Austrian medicine internally as tea or externally as baths for treatment of disorders of the skin, gastrointestinal tract and respiratory tract. The leaves can also be chewed to soothe coughs or sore throats.


title: Malva

text: Cultivation is by sowing the seeds directly outdoors in early spring. The seed is easy to collect, and they will often spread themselves by seed.


title: Malva

text: This plant is one of the earliest cited in recorded literature. The third century BC physician Diphilus of Siphnus wrote that "[mallow] juice lubricates the windpipe, nourishes, and is easily digested." Horace mentions it in reference to his own diet, which he describes as very simple: "Me pascunt olivae, / me cichorea levesque malvae" ("As for me, olives, endives, and mallows provide sustenance"). Lord Monboddo describes his translation of an ancient epigram that demonstrates "Malva" was planted upon the graves of the ancients, stemming from the belief that the dead could feed on such perfect plants.


title: Business continuity planning

text: Business continuity may be defined as "the capability of an organization to continue the delivery of products or services at pre-defined acceptable levels following a disruptive incident", and business continuity planning (or business continuity and resiliency planning) is the process of creating systems of prevention and recovery to deal with potential threats to a company. In addition to prevention, the goal is to enable ongoing operations before and during execution of disaster recovery. Business continuity is the intended outcome of proper execution of both business continuity planning and disaster recovery.


title: Business continuity planning

text: Several business continuity standards have been published by various standards bodies to assist in check listing ongoing planning tasks.


title: Business continuity planning

text: An organization's resistance to failure is "the ability ... to withstand changes in its environment and still function". Often called resilience, it is a capability that enables organizations to either endure environmental changes without having to permanently adapt, or the organization is forced to adapt a new way of working that better suits the new environmental conditions.


title: Business continuity planning

text: Any event that could negatively impact operations should be included in the plan, such as supply chain interruption, loss of or damage to critical infrastructure (major machinery or computing/network resource). As such, BCP is a subset of risk management. In the U.S., government entities refer to the process as "continuity of operations planning" (COOP). A Business Continuity Plan outlines a range of disaster scenarios and the steps the business will take in any particular scenario to return to regular trade. BCP's are written ahead of time and can also include precautions to be put in place. Usually created with the input of key staff as well as stakeholders, a BCP is a set of contingencies to minimize potential harm to businesses during adverse scenarios.


title: Business continuity planning

text: A 2005 analysis of how disruptions can adversely affect the operations of corporations and how investments in resilience can give a competitive advantage over entities not prepared for various contingencies extended then-common business continuity planning practices. Business organizations such as the Council on Competitiveness embraced this resilience goal.


title: Business continuity planning

text: Adapting to change in an apparently slower, more evolutionary manner - sometimes over many years or decades - has been described as being more resilient, and the term "strategic resilience" is now used to go beyond resisting a one-time crisis, but rather continuously anticipating and adjusting, "before the case for change becomes desperately obvious".


title: Business continuity planning

text: Resilience Theory can be related to the field of Public Relations. Resilience is a communicative process that is constructed by citizens, families, media system, organizations and governments through everyday talk and mediated conversation.


title: Business continuity planning

text: The theory is based on the work of Patrice M. Buzzanell, a professor at the Brian Lamb School of Communication at Purdue University. In her 2010 article, "Resilience: Talking, Resisting, and Imagining New Normalcies Into Being" Buzzanell discussed the ability for organizations to thrive after having a crisis through building resistance. Buzzanell notes that there are five different processes that individuals use when trying to maintain resilience- crafting normalcy, affirming identity anchors, maintaining and using communication networks, putting alternative logics to work and downplaying negative feelings while foregrounding positive emotions.


title: Business continuity planning

text: When looking at the resilience theory, the crisis communication theory is similar, but not the same. The crisis communication theory is based on the reputation of the company, but the resilience theory is based on the process of recovery of the company. There are five main components of resilience: crafting normalcy, affirming identity anchors, maintaining and using communication networks, putting alternative logics to work, and downplaying negative feelings while foregrounding negative emotions. Each of these processes can be applicable to businesses in crisis times, making resilience an important factor for companies to focus on while training.


title: Business continuity planning

text: There are three main groups that are affected by a crisis. They are micro (individual), meso (group or organization) and macro (national or interorganizational). There are also two main types of resilience, which are proactive and post resilience. Proactive resilience is preparing for a crisis and creating a solid foundation for the company. Post resilience includes continuing to maintain communication and check in with employees. Proactive resilience is dealing with issues at hand before they cause a possible shift in the work environment and post resilience maintaining communication and accepting chances after an incident has happened. Resilience can be applied to any organization.


title: Business continuity planning

text: Plans and procedures are used in business continuity planning to ensure that the critical organizational operations required to keep an organization running continue to operate during events when key dependencies of operations are disrupted. Continuity does not need to apply to every activity which the organization undertakes. For example, under ISO 22301:2019, organizations are required to define their business continuity objectives, the minimum levels of product and service operations which will be considered acceptable and the maximum tolerable period of disruption (MTPD) which can be allowed.


title: Business continuity planning

text: A major cost in planning for this is the preparation of audit compliance management documents; automation tools are available to reduce the time and cost associated with manually producing this information.


title: Business continuity planning

text: Quantifying of loss ratios must also include "dollars to defend a lawsuit." It has been estimated that a dollar spent in loss prevention can prevent "seven dollars of disaster-related economic loss."


title: Business continuity planning

text: A Business impact analysis (BIA) differentiates critical (urgent) and non-critical (non-urgent) organization functions/activities. A function may be considered critical if dictated by law.


title: Business continuity planning

text: Each function/activity typically relies on a combination of constituent components in order to operate:


title: Business continuity planning

text: Maximum time constraints for how long an enterprise's key products or services can be unavailable or undeliverable before stakeholders perceive unacceptable consequences have been named as:


title: Business continuity planning

text: According to ISO 22301 the terms "maximum acceptable outage" and "maximum tolerable period of disruption" mean the same thing and are defined using exactly the same words.


title: Business continuity planning

text: When more than one system crashes, recovery plans must balance the need for data consistency with other objectives, such as RTO and RPO.


title: Business continuity planning

text: While RTO and RPO are absolute per-system values, RCO is expressed as a percentage that measures the deviation between actual and targeted state of business data across systems for process groups or individual business processes.


title: Business continuity planning

text: The following formula calculates RCO with "n" representing the number of business processes and "entities" representing an abstract value for business data:


title: Business continuity planning

text: After defining recovery requirements, each potential threat may require unique recovery steps. Common threats include:


title: Business continuity planning

text: The above areas can cascade: Responders can stumble. Supplies may become depleted. During the 2002-2003 SARS outbreak, some organizations compartmentalized and rotated teams to match the incubation period of the disease. They also banned in-person contact during both business and non-business hours. This increased resiliency against the threat.


title: Business continuity planning

text: SHARE's seven tiers of disaster recovery released in 1992, were updated in 2012 by IBM as an eight tier model:


title: Business continuity planning

text: There are many standards that are available to support Business continuity planning and management. ISO has for example developed a whole series of standards on Business continuity management systems under responsibility of technical committee ISO/TC 292:


title: Business continuity planning

text: These standards has been withdrawn and replaced by the ISO standards above. Within the UK, BS 25999-2:2007 and BS 25999-1:2006 were being used for business continuity management across all organizations, industries and sectors. These documents give a practical plan to deal with most eventualities—from extreme weather conditions to terrorism, IT system failure, and staff sickness.


title: Business continuity planning

text: In 2004, following crises in the preceding years, the UK government passed the Civil Contingencies Act of 2004: Businesses must have continuity planning measures to survive and continue to thrive whilst working towards keeping the incident as minimal as possible.


title: Business continuity planning

text: United Kingdom and Australia have incorporated resilience into their continuity planning. In the United Kingdom, resilience is implemented locally by the Local Resilience Forum.


title: Business continuity planning

text: In New Zealand, the Canterbury University Resilient Organizations programme developed an assessment tool for benchmarking the Resilience of Organizations. It covers 11 categories, each having 5 to 7 questions. A "Resilience Ratio" summarizes this evaluation.


title: Business continuity planning

text: The 2008 book "Exercising for Excellence", published by The British Standards Institution identified three types of exercises that can be employed when testing business continuity plans.


title: Business continuity planning

text: While start and stop times are pre-agreed, the actual duration might be unknown if events are allowed to run their course.


title: Business continuity planning

text: Biannual or annual maintenance cycle maintenance of a BCP manual is broken down into three periodic activities.


title: Business continuity planning

text: The BCP manual must evolve with the organization, and maintain information about who has to know what:


title: Business continuity planning

text: Software and work process changes must be documented and validated, including verification that documented work process recovery tasks and supporting disaster recovery infrastructure allow staff to recover within the predetermined recovery time objective.


title: Richard Avedon

text: Richard Avedon (May 15, 1923 – October 1, 2004) was an American fashion and portrait photographer. He worked for "Harper's Bazaar", "Vogue" and "Elle" specializing in capturing movement in still pictures of fashion, theater and dance. An obituary published in "The New York Times" said that "his fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century".


title: Richard Avedon

text: Avedon was born in New York City to a Jewish family. His father, Jacob Israel Avedon, was a Russian-born immigrant who advanced from menial work to starting his own successful retail dress business on Fifth Avenue called Avedon's Fifth Avenue. His mother, Anna, from a family that owned a dress-manufacturing business, encouraged Richard's love of fashion and art. Avedon's interest in photography emerged when, at age 12, he joined a Young Men's Hebrew Association (YMHA) Camera Club. He would use his family's Kodak Box Brownie not only to feed his curiosity about the world but also to retreat from his personal life. His father was a critical and remote disciplinarian, who insisted that physical strength, education, and money prepared one for life.


title: Richard Avedon

text: The photographer's first muse was his younger sister, Louise. During her teen years, she struggled through psychiatric treatment, eventually becoming increasingly withdrawn from reality and diagnosed with schizophrenia. These early influences of fashion and family would shape Avedon's life and career, often expressed in his desire to capture tragic beauty in photos.


title: Richard Avedon

text: Avedon attended DeWitt Clinton High School in Bedford Park, Bronx, where from 1937 until 1940 he worked on the school paper, "The Magpie," with James Baldwin. As a teen, he also won a Scholastic Art and Writing Award. After graduating from DeWitt Clinton that year, he enrolled at Columbia University to study philosophy and poetry but dropped out after one year. He then started as a photographer for the Merchant Marines, taking ID shots of the crewmen with the Rolleiflex camera his father had given him. From 1944 to 1950, Avedon studied photography with Alexey Brodovitch at his Design Laboratory at The New School for Social Research.


title: Richard Avedon

text: In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the fashion magazine "Harper's Bazaar". Lillian Bassman also promoted Avedon's career at "Harper's". In 1945, his photographs began appearing in "Junior Bazaar" and, a year later, in "Harper's Bazaar".


title: Richard Avedon

text: In 1946, Avedon had set up his own studio and began providing images for magazines including "Vogue" and "Life". He became the chief photographer for "Harper's Bazaar". From 1950, he also contributed photographs to "Look" and "Graphis". In 1952, he became staff editor/photographer for "Theatre Arts Magazine". However, towards the end of the 1950s, he became dissatisfied with daylight photography and open air locations and so turned to studio photography, using strobe lighting.


title: Richard Avedon

text: When Diana Vreeland left "Harper's Bazaar" for "Vogue" in 1962, Avedon joined her as a staff photographer. He proceeded to become the lead photographer at "Vogue" and photographed most of the covers from 1973 until Anna Wintour became editor in chief in late 1988.


title: Richard Avedon

text: Among his fashion advertisement series are the recurring assignments for Gianni Versace, beginning with the spring/summer campaign 1980. He also photographed the Calvin Klein Jeans campaign featuring a fifteen-year-old Brooke Shields, as well as directing her in the accompanying television commercials. Avedon first worked with Shields in 1974 for a Colgate toothpaste ad. He shot her for Versace, 12 American "Vogue" covers and Revlon's Most Unforgettable Women campaign.


title: Richard Avedon

text: In the February 9, 1981, issue of "Newsweek", Avedon said that "Brooke is a lightning rod. She focuses the inarticulate rage people feel about the decline in contemporary morality and destruction of innocence in the world." On working with Avedon, Shields told "Interview" magazine in May 1992, "When Dick walks into the room, a lot of people are intimidated. But when he works, he's so acutely creative, so sensitive. And he doesn't like it if anyone else is around or speaking. There is a mutual vulnerability, and a moment of fusion when he clicks the shutter. You either get it or you don't".


title: Richard Avedon

text: In addition to his continuing fashion work, by the 1960s Avedon was making studio portraits of civil rights workers, politicians, and cultural dissidents of various stripes in an America fissured by discord and violence. He branched out into photographing patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall.


title: Richard Avedon

text: A personal book called "Nothing Personal" with a text by his high school classmate James Baldwin, appeared in 1964. It includes photographs documenting the civil rights movement, cultural figures and an extended collection of pictures of people in a mental asylum; together with Baldwin's searing text, it makes a striking commentary on America in 1964.


title: Richard Avedon

text: During this period, Avedon also created two well known sets of portraits of The Beatles. The first, taken in mid to late 1967, consisted of five psychedelic portraits of the group — four heavily solarized individual color portraits, and a black-and-white group portrait taken with a Rolleiflex camera and a normal Planar lens. The next year, he photographed the much more restrained portraits that were included with "The Beatles" LP in 1968. Among the many other rock bands photographed by Avedon, in 1973, he shot Electric Light Orchestra with all the members exposing their bellybuttons for recording "On the Third Day".


title: Richard Avedon

text: Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became more well known, he photographed many public figures in his studio with a large-format 8×10 view camera. His subjects include Buster Keaton, Marian Anderson, Marilyn Monroe, Ezra Pound, Isak Dinesen, Dwight D. Eisenhower, Andy Warhol, and the Chicago Seven.


title: Richard Avedon

text: By eliminating the use of soft lights and props, Avedon was able to focus on the inner worlds of his subjects evoking emotions and reactions. He would at times evoke reactions from his portrait subjects by guiding them into uncomfortable areas of discussion or asking them psychologically probing questions. Through these means he would produce images revealing aspects of his subject's character and personality that were not typically captured by others.


title: Richard Avedon

text: Avedon's mural groupings featured emblematic figures: Andy Warhol with the players and stars of The Factory; The Chicago Seven, political radicals charged with conspiracy to incite riot at the 1968 Democratic National Convention; the Beat poet Allen Ginsberg and his extended family; and the Mission Council, a group of military and government officials who governed the United States' participation in the Vietnam War.


title: Richard Avedon

text: In 1982, Avedon produced a playfully inventive series of advertisements for fashion label Christian Dior, based on the idea of film stills. Featuring director Andre Gregory, photographer Vincent Vallarino and model/actress Kelly Le Brock, the color photographs purported to show the wild antics of a fictional "Dior family" living ménage à trois while wearing elegant fashions.


title: Richard Avedon

text: Avedon became the first staff photographer for "The New Yorker" in 1992, where his post-apocalyptic, wild fashion fable “In Memory of the Late Mr. and Mrs. Comfort,” featuring model Nadja Auermann and a skeleton, was published in 1995. Other pictures for the magazine, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair and nude photographs of Charlize Theron in 2004, were topics of wide discussion.


title: Richard Avedon

text: Serious heart inflammations hindered Avedon's health in 1974. The troubling time inspired him to create a compelling collection from a new perspective. In 1979, he was commissioned by Mitchell A. Wilder (1913–1979), the director of the Amon Carter Museum in Fort Worth, Texas, to complete the “Western Project.”


title: Richard Avedon

text: Wilder envisioned the project to portray Avedon's take on the American West. It became a turning point in Avedon's career when he focused on everyday working class subjects such as miners soiled in their work clothes, housewives, farmers and drifters on larger-than-life prints, instead of the more traditional options of focusing upon public figures or the openness and grandeur of the West. The project lasted five years concluding with an exhibition and a catalogue. It allowed Avedon and his crew to photograph 762 people and expose approximately 17,000 sheets of 8×10 Kodak Tri-X Pan film. The collection identified a story within his subjects of their innermost self, a connection Avedon admits would not have happened if his new sense of mortality through severe heart conditions and aging hadn't occurred. Avedon visited and traveled through state fair rodeos, carnivals, coal mines, oil fields, slaughter houses and prisons to find subjects.


title: Richard Avedon

text: In 1994, Avedon revisited his subjects who would later speak about "In the American West" aftermath and its direct effects. Billy Mudd, a trucker, spent long periods of time on his own away from his family. He was a depressed, disconnected and lonely man before Avedon offered him the chance to be photographed. When he saw his portrait for the first time, Mudd saw that Avedon revealed something about him that allowed him to recognize the need for change in his life. The portrait transformed Mudd, and led him to quit his job and return to his family.


title: Richard Avedon

text: Helen Whitney's 1996 "American Masters" documentary episode, "Avedon: Darkness and Light," depicts an aging Avedon identifying "In the American West " as his best body of work.


title: Richard Avedon

text: During the production period Avedon encountered problems with size availability for quality printing paper. While he experimented with platinum printing he eventually settled on Portriga Rapid, a double-weight, fiber-based gelatin silver paper manufactured by Agfa-Gevaert. Each print required meticulous work, with an average of thirty to forty manipulations. Two exhibition sets of "In the American West" were printed as artist proofs, one set to remain at the Carter after the exhibition there, and the other, property of the artist, to travel to the subsequent six venues. Overall, the printing took nine months, consuming about of paper.


title: Richard Avedon

text: While "In the American West" is one of the Avedon's most notable works, it has often been criticized for falsifying the West through voyeuristic themes and for exploiting his subjects. Critics question why a photographer from the East who traditionally focuses on models or public figures would go out West to capture the working class members who represent hardship and suffering. They argue that Avedon's intentions are to influence and evoke condescending emotions from the viewer such as pity.


title: Richard Avedon

text: Avedon had numerous museum exhibitions around the world. His first major retrospective was at the Minneapolis Institute of Arts in 1970.


title: Richard Avedon

text: The Metropolitan Museum of Art (NYC) presented two solo exhibitions during his lifetime, in 1978 and 2002. In 1980, a retrospective was organized by the University Art Museum in Berkeley. Major retrospectives were mounted at the Whitney Museum of American Art, New York (1994), and at the Louisiana Museum of Modern Art, Humlebaek, Denmark (2007; which traveled to Milan, Paris, Berlin, Amsterdam and San Francisco, through 2009). Showing Avedon's work from his earliest, sun-splashed pictures in 1944 to portraits in 2000 that convey his fashion fatigue, the International Center of Photography in 2009 mounted the largest survey of his fashion work. Also in 2009, the Corcoran Gallery of Art showed "Richard Avedon: Portraits of Power," bringing together his political portraits for the first time.


title: Richard Avedon

text: In 2010, a record price of £719,000 was achieved at Christie's for a unique seven-foot-high print of model Dovima, posing in a Christian Dior evening dress with elephants from the Cirque d’Hiver, Paris, in 1955. This particular print, the largest of this image, was made in 1978 for Avedon's fashion retrospective at the Metropolitan Museum of Art in New York, and was bought by Maison Christian Dior.


title: Richard Avedon

text: In 1944, Avedon married 19-year-old bank teller Dorcas Marie Nowell, who later became the model and actress Doe Avedon; they did not have children and divorced in 1949. The couple summered at the gay village of Cherry Grove, Fire Island, and Avedon's bisexuality has been attested to by colleagues and family. He was reportedly devastated when Nowell left him.


title: Richard Avedon

text: In 1951, he married Evelyn Franklin; she died on March 13, 2004. Their marriage produced one son, John Avedon, who has written extensively about Tibet.


title: Richard Avedon

text: In 1970, Avedon purchased a former carriage house on the Upper East Side of Manhattan that would serve as both his studio and apartment. In the late 1970s, he purchased a four-bedroom house on a estate in Montauk, New York, between the Atlantic Ocean and a nature preserve; he sold it for almost $9 million in 2000.


title: Richard Avedon

text: According to Norma Stevens, Avedon's longtime studio director, Avedon confided in her about his homosexual relationships, including a decade-long affair with director Mike Nichols.


title: Richard Avedon

text: On October 1, 2004, Avedon died in a San Antonio, Texas, hospital of complications from a cerebral hemorrhage. He was in San Antonio shooting an assignment for "The New Yorker". At the time of his death, he was also working on a new project titled "Democracy" to focus on the run-up to the 2004 U.S. presidential election.


title: Richard Avedon

text: The Richard Avedon Foundation is a private operating foundation, structured by Avedon during his lifetime. It began its work shortly after his death in 2004. Based in New York, the foundation is the repository for Avedon's photographs, negatives, publications, papers, and archival materials. In 2006, Avedon's personal collection was shown at the Pace/MacGill Gallery, New York, and at the Fraenkel Gallery, San Francisco, and later sold to benefit the Avedon Foundation. The collection included photographs by Martin Munkacsi, Edward Steichen and Man Ray, among others. A slender volume, "Eye of the Beholder: Photographs From the Collection of Richard Avedon" (Fraenkel Gallery), assembles the majority of the collection in a boxed set of five booklets: “Diane Arbus,” “Peter Hujar”, “Irving Penn”, “The Countess de Castiglione” and “Etcetera,” which includes 19th- and 20th-century photographers.


title: Richard Avedon

text: Hollywood presented a fictional account of Avedon's early career in the 1957 musical "Funny Face", starring Fred Astaire as the fashion photographer "Dick Avery." Avedon supplied some of the still photographs used in the production, including its most noted single image: an intentionally overexposed close-up of Audrey Hepburn's face in which only her noted features – her eyes, her eyebrows, and her mouth – are visible.


title: Richard Avedon

text: Hepburn was Avedon's muse in the 1950s and 1960s, and he went so far as to say: "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."


title: Richard Avedon

text: The 2005 film "Capote" contains a recreation of Avedon photographing convicted murderers Perry Edward Smith and Richard Hickock in April 1960. Avedon is portrayed by the film's cinematographer, Adam Kimmel.


title: Socratic questioning

text: Socratic questioning (or Socratic maieutics) was named after Socrates. He used an educational method that focused on discovering answers by asking questions from his students. According to Plato, who was one of his students, Socrates believed that "the disciplined practice of thoughtful questioning enables the scholar/student to examine ideas and be able to determine the validity of those ideas". Plato described this rigorous method of teaching to explain that the teacher assumes an ignorant mindset in order to compel the student to assume the highest level of knowledge. Thus, a student has the ability to acknowledge contradictions, recreate inaccurate or unfinished ideas and critically determine necessary thought.


title: Socratic questioning

text: Socratic questioning is a form of disciplined questioning that can be used to pursue thought in many directions and for many purposes, including: to explore complex ideas, to get to the truth of things, to open up issues and problems, to uncover assumptions, to analyze concepts, to distinguish what we know from what we do not know, to follow out logical consequences of thought or to control discussions. Socratic questioning is based on the foundation that thinking has structured logic, and allows underlying thoughts to be questioned. The key to distinguishing Socratic questioning from questioning "per se" is that the former is systematic, disciplined, deep and usually focuses on fundamental concepts, principles, theories, issues or problems.


title: Socratic questioning

text: Socratic questioning is referred to in teaching, and has gained currency as a concept in education, particularly in the past two decades. Teachers, students, or anyone interested in probing thinking at a deep level can construct Socratic questions and engage in them. Socratic questioning and its variants have also been extensively used in psychotherapy.


title: Socratic questioning

text: When teachers use Socratic questioning in teaching, their purpose may be to probe student thinking, to determine the extent of student knowledge on a given topic, issue or subject, to model Socratic questioning for students or to help students analyze a concept or line of reasoning. It is suggested that students should learn the discipline of Socratic questioning so that they begin to use it in reasoning through complex issues, in understanding and assessing the thinking of others and in following-out the implications of what they and others think. In fact, Socrates himself thought that questioning was the only defensible form of teaching.


title: Socratic questioning

text: Socratic questioning illuminates the importance of questioning in learning. This includes differentiating between systematic and fragmented thinking, while forcing individuals to understand the root of their knowledge and ideas. Educators who support the use of Socratic questioning in educational settings argue that it helps students become active and independent learners. Examples of Socratic questions that are used for students in educational settings:


title: Socratic questioning

text: The art of Socratic questioning is intimately connected with critical thinking because the art of questioning is important to excellence of thought. Socrates argued for the necessity of probing individual knowledge, and acknowledging what one may not know or understand. Critical thinking has the goal of reflective thinking that focuses on what should be believed or done about a topic. Socratic questioning adds another level of thought to critical thinking, by focusing on extracting depth, interest and assessing the truth or plausibility of thought. Socrates argued that a lack of knowledge is not bad, but students must strive to make known what they don't know through the means of a form of critical thinking.


title: Socratic questioning

text: Critical thinking and Socratic questioning both seek meaning and truth. Critical thinking provides the rational tools to monitor, assess, and perhaps reconstitute or re-direct our thinking and action. This is what educational reformer John Dewey described as "reflective inquiry": "in which the thinker turns a subject over in the mind, giving it serious and consecutive consideration." Socratic questioning is an explicit focus on framing self-directed, disciplined questions to achieve that goal.


title: Socratic questioning

text: The technique of questioning or leading discussion is spontaneous, exploratory, and issue-specific. The Socratic educator listens to the viewpoints of the student and considers the alternative points of view. It is necessary to teach students to sift through all the information, form a connection to prior knowledge, and transform the data to new knowledge in a thoughtful way.


title: Socratic questioning

text: It has been proposed in different studies that the "level of thinking that occurs is influenced by the level of questions asked". Thus, utilizing the knowledge that students don't know stimulates their ability to ask more complex questions. This requires educators to create active learning environments that promote and value the role of critical thinking, mobilising their ability to form complex thoughts and questions.