title: Kinescope

text: Even after the introduction of quadruplex videotape machines in 1956 removed the need for "hot kines", the television networks continued to use kinescopes in the "double system" method of videotape editing. It was impossible to slow or freeze frame a videotape at that time, so the unedited tape would be copied to a kinescope, and edited conventionally. The edited kinescope print was then used to conform the videotape master. More than 300 videotaped network series and specials used this method over a 12-year period, including the fast-paced "Rowan & Martin's Laugh-In".


title: Kinescope

text: With the variable quality of Kinescopes, networks looked towards alternative methods to replace them with a higher degree of quality.


title: Kinescope

text: Programs originally shot with film cameras (as opposed to kinescopes) were also used in television's early years, although they were generally considered inferior to the big-production live programs because of their lower budgets and loss of immediacy.


title: Kinescope

text: In 1951, the stars and producers of the Hollywood-based television series "I Love Lucy", Desi Arnaz and Lucille Ball, decided to film the show directly onto 35 mm film using the three-camera system, instead of broadcasting it live. Normally, a live program originating from Los Angeles would be performed live in the late afternoon for the Eastern Time Zone and seen on a kinescope three hours later in the Pacific Time Zone. But as an article in "American Cinematographer" explained,


title: Kinescope

text: The "I Love Lucy" decision introduced reruns to most of the American television audience, and set a pattern for the syndication of TV shows after their network runs.


title: Kinescope

text: The program director of the DuMont Television Network, James L. Caddigan, devised an alternativethe Electronicam. In this, all the studio TV cameras had built-in 35 mm film cameras which shared the same optical path. An Electronicam technician threw switches to mark the film footage electronically, identifying the camera "takes" called by the director. The corresponding film segments from the various cameras then were combined by a film editor to duplicate the live program. The "Classic 39" syndicated episodes of "The Honeymooners" were filmed using Electronicam (as well as the daily five-minute syndicated series " Les Paul & Mary Ford At Home" in 1954–55), but with the introduction of a practical videotape recorder only one year away, the Electronicam system never saw widespread use. The DuMont network did not survive into the era of videotape, and in order to gain clearances for its programs, was heavily dependent on kinescopes, which it called Teletranscriptions.


title: Kinescope

text: Attempts were made for many years to take television images, convert them to film via kinescope, then project them in theatres for paying audiences. In the mid-1960s, Producer/entrepreneur H. William "Bill" Sargent, Jr. used conventional analog Image Orthicon video camera tube units, shooting in the B&W 819-line interlaced 25fps French video standard, using modified high-band quadruplex VTRs to record the signal. The promoters of Electronovision (not to be confused with Electronicam) gave the impression that this was a new system created from scratch, using a high-tech name (and avoiding the word kinescope) to distinguish the process from conventional film photography. Nonetheless, the advances in picture quality were, at the time, a major step ahead. By capturing more than 800 lines of resolution at 25 frame/s, raw tape could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement. The 1960s productions used Marconi image orthicon video cameras, which have a characteristic white glow around black objects (and a corresponding black glow around white objects), which was a defect of the pickup. Later vidicon and plumbicon video camera tubes produced much cleaner, more accurate pictures.


title: Kinescope

text: In 1951, singer Bing Crosby’s company Bing Crosby Enterprises made the first experimental magnetic video recordings; however, the poor picture quality and very high tape speed meant it would be impractical to use. In 1956, Ampex introduced the first commercial Quadruplex videotape recorder, followed in 1958 by a color model. Offering high quality and instant playback at a much lower cost, Quadruplex tape quickly replaced kinescope as the primary means of recording television broadcasts.


title: Kinescope

text: US television networks continued to make kinescopes of their daytime dramas available (many of which still aired live into the late 1960s) as late as 1969 for their smaller network affiliates that did not yet have videotape capability but wished to time-shift the network programming. Some of these programs aired up to two weeks after their original dates, particularly in Alaska and Hawaii. Many episodes of programs from the 1960s survive only through kinescoped copies.


title: Kinescope

text: In Australia, kinescopes were still being made of some evening news programs as late as 1977, if they were recorded at all. A recording of a 1975 episode of Australian series "This Day Tonight" is listed on the National Archives of Australia website as a kinescope, while surviving episodes of the 1978 drama series "The Truckies" also exist as kinescopes, indicating that the technology was still being used by ABC at that point.


title: Kinescope

text: Until the early 1960s, much of the BBC's output, and British television in general, was broadcast live, and entire drama productions were performed live for a second time until recording methods improved. Eventually, telerecordings would be used to preserve a programme for repeat showings. In the UK, telerecordings continued to be made after the introduction of commercial broadcast videotape in 1958 as they possessed several distinct advantages. Firstly, they were easier to transport and more durable than videotape. Secondly, they could be used in any country regardless of the television broadcasting standard, which was not true of videotape. Later, the system could be used to make black-and-white copies of color programs for sale to television stations that were not yet broadcasting in colour.


title: Kinescope

text: The system was largely used for black-and-white reproduction. Although some colour telerecordings were made, they were generally in the minority as by the time colour programs were widely needed for sale, video standards conversion was easier and higher quality and the price of videotape had become much reduced. Before videotape became the exclusive recording format during the early to mid-1980s, any (colour) video recordings used in documentaries or filmed program inserts were usually transferred onto film.


title: Kinescope

text: In the 1950s a home telerecording kit was introduced in Britain, allowing enthusiasts to make 16 mm film recordings of television programs. The major drawback, apart from the short duration of a 16 mm film magazine, was that a large opaque frame had to be placed in front of the TV set in order to block out any stray reflections, making it impossible to watch the set normally while filming. It is not known if any recordings made using this equipment still exist.


title: Kinescope

text: British broadcasters used telerecordings for domestic purposes well into the 1960s, with 35 mm film usually used as it produced a higher quality result. For overseas sales, 16 mm film would be used, as it was cheaper. Although domestic use of telerecording in the UK for repeat broadcasts dropped off sharply after the move to color in the late 1960s, 16 mm black and white film telerecordings were still being offered for sale by British broadcasters well into the 1970s.


title: Kinescope

text: Telerecording was still being used internally at the BBC in the 1980s too, to preserve copies for posterity of programs that were not necessarily of the highest importance, but which nonetheless their producers wanted to be preserved. If there were no videotape machines available on a given day, then a telerecording would be made. There is evidence to suggest that the children's magazine program "Blue Peter" was occasionally telerecorded as late as 1985. After this point, however, cheap domestic videotape formats such as VHS could more easily be used to keep a backup reference copy of a program.


title: Kinescope

text: Another occasional use of telerecording into the late 1980s was by documentary makers working in 16 mm film who wished to include a videotape-sourced excerpt in their work, although such use was again rare.


title: Kinescope

text: In other territories, film telerecordings stopped being produced after the introduction of videotape. In Czechoslovakia, the first videotape recorders (Machtronics MVR-15) were introduced in 1966 but soon were replaced by the Ampex 2" Quadruplex in 1967. Most of the programs, like TV dramas, were recorded on video, but only a few programmes continued to be telerecorded onto 16 mm film. The last known telerecording was produced in 1971 and soon after, all programmes were recorded on video only.


title: Kinescope

text: Kinescopes were intended to be used for immediate rebroadcast, or for an occasional repeat of a program; thus, only a small fraction of kinescope recordings remain today. Many television shows are represented by only a handful of episodes, such as with the early television work of comedian Ernie Kovacs, and the original version of "Jeopardy!" hosted by Art Fleming.


title: Kinescope

text: Another purpose of Kinescopes involved satisfying show sponsors. Kinescopes sometimes would be sent to the advertising agency for the sponsor of a show so that the ad agency could determine whether or not the sponsor's ads appeared properly. Due to this practice, some kinescopes have actually been discovered in the storage areas of some of these older advertising agencies or in the storage areas of the program sponsors themselves.


title: Kinescope

text: Telerecordings form an important part of British television heritage, preserving what would otherwise have been lost. Nearly every pre-1960s British television programme in the archives is in the form of a telerecording, along with the vast majority of existing 1960s output. Videotape was expensive and could be wiped and re-used; film was cheaper, smaller, and in practice more durable. Only a very small proportion of British television from the black and white era survives at all; perhaps 5% from the 1953–58 period and 8–10% from the 1960s.


title: Kinescope

text: Many recovered programmes, particularly those made by the BBC, have been returned as telerecordings by foreign broadcasters or private film collectors from the 1980s onwards, as the BBC has taken stock of the large gaps in its archive and sought to recover as much of the missing material as possible. Many of these surviving telerecorded programmes, such as episodes of "Doctor Who", "Steptoe and Son" and "Till Death Us Do Part" continue to be transmitted on satellite television stations such as UKTV Gold, and many such programmes have been released on VHS and DVD.


title: Kinescope

text: In 2008, the BBC undertook colour restoration work on the existing 16mm monochrome telerecording of "Room at the Bottom", a 1969 episode of the sitcom "Dad's Army". Although this episode was originally produced and broadcast in colour, the black & white film was the only surviving copy of the episode following the wiping of the original videotape. However, the telerecording process left colour information in the form of chroma dots in the frames of the film; using a specially designed computer programme, these chroma dots were used to bring out the original colour information, which as then applied to the film, allowing the colour to be restored to the episode. The restored version of "Room at the Bottom" was broadcast on 13 December 2008, the first time it had been seen in colour since May 1970.


title: Kinescope

text: NTSC television images are scanned at roughly 60 Hz, with two interlaced fields per frame, displayed at 30 frames per second.


title: Kinescope

text: In kinescoping an NTSC signal, 525 lines are broadcast in one frame. A 35 mm or 16 mm camera exposes one frame of film for every one frame of television (525 lines), and moving a new frame of film into place during the time equivalent of one field of television (131.25 lines). In the British 405-line television system, the French 819-line television system and the greater European 625-line television system, television ran at 25 frames—or more correctly, 50 fields—per second, so the film camera would also be run at 25 frames per second rather than the cinematic film standard of 24 frames.


title: Kinescope

text: Therefore, in order to maintain successful kinescope photography, a camera must expose one frame of film for "exactly" 1/30th or 1/25th of a second, the time in which one frame of video is transmitted, and move to another frame of film within the small interval of 1/120 of a second. In some instances, this was accomplished through means of an electronic shutter which cuts off the TV image at the end of every set of visible lines.


title: Kinescope

text: Most U.S. kinescope situations, however, utilized a mechanical shutter, revolving at 24 revolutions per second. This shutter had a closed angle of 72° and an open angle of 288°, yielding the necessary closed time of 1/120 of a second and open time 1/30 of a second. Using this shutter, in 1 second of video (60 fields equaling 30 frames), 48 television fields (totalling to 24 frames of video) would be captured on 24 frames of film, and 12 additional fields would be omitted as the shutter closed and the film advanced.


title: Kinescope

text: Because television is a field- rather than frame-based system, however, not all the information in the picture can be retained on film in the same way as it can on videotape. The time taken physically to move the film on by one frame and stop it so that the gate can be opened to expose a new frame of film to the two fields of television picture is much longer than the vertical blanking interval between these fields—so the film is still moving when the start of the next field is being displayed on the television screen. It is not possible to accelerate the film fast enough to get it there in time without destroying the perforations in the film stock—and the larger the film gauge used, the worse the problem becomes.


title: Kinescope

text: The problem of adapting the way the image is either displayed or captured on film, to get around the above, was solved in various different ways as time went on—improving the quality of the image.


title: Kinescope

text: The telerecording system could be of very high quality, easily reproducing the full detail of the television picture. One side effect of the system was that it removed the "fluid" look of interlaced video and gave the picture a film look.


title: Kinescope

text: The 72°/288° shutter and the systematic loss of 12 fields per second were not without its side effects. In going from 30 frame/s to 24 frame/s, the camera photographed "part" of some fields. The juncture on the film frame where these part-fields met was called a "splice".


title: Kinescope

text: If the timing was accurate, the splice was invisible. However, if the camera and television were out of phase, a phenomenon known as "shutter bar" or "banding" took place. If the shutter was slow in closing, overexposure resulted where the part-fields joined and the "shutter bar" took the form of a white line. If the shutter closed too soon, underexposure took place and the line was black. The term "banding" referred to the phenomenon occurring on the screen as two bars.


title: Kinescope

text: A simpler system, less prone to breakdown, was to suppress one of the two fields in displaying the television picture. This left the time during which the second field would have been displayed for the film camera to advance the film by one frame, which proved sufficient. This method was also called 'Skip field' recording.


title: Kinescope

text: The method had several disadvantages. In missing out every second field of video, half the information of the picture was lost on such recordings. The resulting film thus consisted of fewer than 200 lines of picture information, so as a result, the line structure was very apparent; the missing field information also made movement look very 'jerky'.


title: Kinescope

text: A development on the suppressed field system was to display the image from one of the fields at a much higher intensity on the television screen during the time when the film gate was closed, and then capture the image as the second field was being displayed. By adjusting the intensity of the first field, it was possible to arrange it so that the luminosity of the phosphor had decayed to exactly match that of the second field, so that the two appeared to be at the same level and the film camera captured both. This method came to be preferred.


title: Kinescope

text: Another technique developed by the BBC, known as 'spot wobble', involved the addition of an extremely high frequency but low voltage sine wave to the vertical deflection plate of the television screen, which changed the moving 'spot' - a circular beam of electrons by which the television picture was displayed - into an elongated oval. While this made the image slightly blurred, it removed the visible line structure (by causing adjacent lines to touch, so that no separating band of darkness lay between them) and thereby resulted in a better image. It also prevented moiré patterns appearing when the resulting film was re-broadcast on television, which occurred if the line structure on the film recording did not precisely match the scanning lines of the electronic film scanner.


title: Kinescope

text: The first successful procedure was to use the Mechau film projector mechanism in reverse. The Mechau system used a synchronised rotating mirror to display each frame of a film in sequence without the need for a gate. When reversed, a high-quality television monitor was set up in place of the projection screen, and unexposed film stock is run through at the point where the lamp was illuminating the film.


title: Kinescope

text: This procedure had the advantage of capturing both fields of the frame on a film, but it was difficult to keep the mirrors running at the right speed and all the equipment adjusted correctly, which often resulted in poor quality output. An additional problem was that the whole procedure took place in an open room and it was known for insects to settle on the screen which were then permanently present on the film recording. The Mechau film magazine only held enough for nine minutes so two recorders were needed to run in sequence in order to record anything longer.


title: Kinescope

text: Lenses did not need a great depth of field but had to be capable both of producing a very sharp image with high resolution of a flat surface and of doing so at high speed. In order to minimise light fall-off on the perimeter of the lens, a coated lens was preferable. 40 mm or 50 mm lenses were usually used with 16 mm in calibrated mounts. Focus was checked by examining a print under a microscope.


title: Kinescope

text: The camera could be equipped with sound recording to place the soundtrack and picture on the same film for single-system sound recording. More commonly, the alternative double system, whereby the soundtrack was recorded on an optical recorder or magnetic dubber in sync with the camera, yielded a better quality soundtrack and greatly facilitated editing.


title: Kinescope

text: Kinescope tubes intended for photographic use were coated with phosphors rich in blue and ultra-violet radiations. This permitted the use of positive type emulsions for photographing in spite of their slow film speeds. The brightness range of kinescope tubes was about 1 to 30.


title: Kinescope

text: Kinescope images were capable of great flexibility. The operator could make the image brighter or darker, adjust contrast, width and height, turn left, right or upside down, and positive or negative.


title: Kinescope

text: Since kinescopes were able to produce a negative picture, direct positive recordings could be made by simply photographing a negative image on the kinescope tube. When making a negative film, in order for final prints to be in the correct emulsion position, the direction of the image was reversed on the television. This applied only when double system sound was used.


title: Kinescope

text: For kinescopes, 16 mm film was the common choice by most studios because of the lower cost of stock and film processing, but in the larger network markets, it was not uncommon to see 35 mm kinescopes, particularly for national rebroadcast. By law, all film supplied to TV stations, both 16 mm and 35 mm had to be on a non-flammable, safety film base.


title: Kinescope

text: For U.S. video recording, fine grain positive stock was the most common used because of its low cost and high resolution yield. Of the fine grain stocks, the following were recommended by film manufacturers:


title: Kinescope

text: Because each field is sequential in time to the next, a kinescope film frame that captured two interlaced fields at once often showed a ghostly fringe around the edges of moving objects, an artifact not as visible when watching television directly at 50 or 60 fields per second.


title: Kinescope

text: Some kinescopes filmed the television pictures at the television frame rate - 30 full frames per second for American System M broadcasts and 25 full frames per second for European System B broadcasts, resulting in more faithful picture quality than those that recorded at 24 frames per second. The standard was later changed to 59.94 fields/s or 29.97 frame/s for System M broadcasts, due to the technical requirements of color TV. Since these reasons did not affect System B, the color TV framerate in Europe remained at 25 frames/s.


title: Kinescope

text: In the era of early color TV, the chroma information included in the video signal filmed could cause visible artifacts. It was possible to filter the chroma out, but this was not always done. Consequently, the color information was included (but not in color) in the black & white film image. Using modern computing techniques, the color may now be recovered, a process known as colour recovery.


title: Kinescope

text: In recent years, the BBC has introduced a video process called "VidFIRE", which can restore kinescope recordings to their original frame rate by interpolating video fields between the film frames.


title: Kinescope

text: Certain performers or production companies would require that a kinescope be made of every television program. Such is the case with performers Jackie Gleason and Milton Berle, for whom nearly complete program archives exist. As Jackie Gleason's program was broadcast live in New York, the show was kinescoped for later rebroadcast for the West Coast. Per his contract, he would receive one copy of each broadcast, which he kept in his vault, and only released them to the public (on home video) shortly before his death in 1987.


title: Kinescope

text: Milton Berle sued NBC late in his life, believing the kinescopes of a major portion of his programs were lost. However, the programs were later found in a warehouse in Los Angeles.


title: Kinescope

text: Mark Goodson-Bill Todman Productions, the producers of such TV game shows as "What's My Line?", had a significant portion of their output recorded on both videotape and kinescopes. These programs are rebroadcast on the American cable TV's Game Show Network.


title: Kinescope

text: All of the NBC Symphony Orchestra telecasts with Arturo Toscanini, from 1948 to 1952, were preserved on kinescopes and later released on VHS and LaserDisc by RCA and on DVD by Testament. The original audio from the kinescopes, however, was replaced with high fidelity sound that had been recorded simultaneously either on transcription discs or magnetic tape.


title: Kinescope

text: In the mid-1990s, Edie Adams, wife of Ernie Kovacs, claimed that so little value was given to the kinescope recordings of the DuMont Television Network that after the network folded in 1956 its entire archive was dumped into upper New York bay. Today however, efforts are made to preserve the few surviving DuMont kinescopes, with the UCLA Film and Television Archive having collected over 300 for preservation.


title: Kinescope

text: In September 2010, a kinescope of game 7 of the 1960 World Series was found in the wine cellar of Bing Crosby. The game was thought lost forever but was preserved due to Crosby's superstition about watching the game live. The film was transferred to DVD and was broadcast on the MLB Network shortly afterwards.


title: Kinescope

text: Because videotape records at fifty interlaced fields per second and telerecordings at twenty-five progressive frames per second, videotaped programmes that exist now only as telerecordings have lost their characteristic "live video" look and the motion now looks filmic. One solution to this problem is VidFIRE, an electronic process to restore video-type motion.


title: Kinescope

text: Early Australian television drama series were recorded as kinescopes, such as "Autumn Affair" and "Emergency", along with variety series like "The Lorrae Desmond Show". Kinescopes continued to be made after videotape was introduced to Australia; most existing episodes of the 1965–1967 children's series "Magic Circle Club" are kinescopes (per listings for episodes on National Film and Sound Archive website)


title: Sutter's Mill

text: Sutter's Mill was a water-powered sawmill on the bank of the South Fork American River in the foothills of the Sierra Nevada in California. It was named after its owner John Sutter. A worker constructing the mill, James W. Marshall, found gold there in 1848. This discovery set off the California Gold Rush (1848–1855), a major event in the history of the United States.


title: Sutter's Mill

text: The mill was later reconstructed in the original design and today forms part of Marshall Gold Discovery State Historic Park in Coloma, California. A meteorite fall in 2012 landed close to the mill; the recovered fragments were named the Sutter's Mill meteorite.


title: Sutter's Mill

text: The territory of Alta California, which includes modern-day California, was settled by the Viceroyalty of New Spain from 1683 onwards. It became part of an independent Mexico in 1821. John Sutter, a German-Swiss settler, arrived in the region in 1839. He established a colony at New Helvetia (now part of Sacramento), in the Central Valley. The United States conquered the region during the Mexican-American War (1846–1848): California was overrun by US forces in 1846 and a ceasefire in the region was agreed in January 1847. A peace treaty for the wider war had not yet been completed when Sutter decided to begin construction of a sawmill in the forest about 30 miles north-east of his existing colony. Sutter employed James Wilson Marshall, a carpenter originally from New Jersey, to supervise construction of the new building.


title: Sutter's Mill

text: On January 24, 1848, while working on construction of the mill, Marshall found flakes of gold in the South Fork American River. On February 2, 1848, before news of the discovery had arrived, the Treaty of Guadalupe Hidalgo was signed in Mexico City. This peace treaty formally transferred sovereignty over the region to the United States. Two workers at the mill, Henry Bigler and Azariah Smith, were veterans of the Mormon Battalion and recorded their experience in journals. Bigler recorded the date when gold was discovered, January 24, 1848, in his diary. Sutter's claim to the US government for mineral rights was investigated by Joseph Libbey Folsom, who issued confirmation the gold discovery in June. The first flake found by Marshall was shipped to President James K. Polk in Washington DC, arriving in August 1848. It is now on display in the National Museum of American History, part of the Smithsonian Institution.


title: Sutter's Mill

text: As news of the gold spread, settlers flocked to the new US territory of California. The population expanded from 14,000 non-natives to an estimated 85,000 newcomers in just a year. There were roughly 81,000 newcomers in 1849 and another 91,000 in 1850. Many settled at the new town of Coloma, California, which sprung up close to Sutter's Mill. Numerous further discoveries of gold in California were made. During the next seven years, approximately 300,000 people came to California (half by land and half by sea) to seek their fortunes from either mining for gold or selling supplies to the prospectors. This California Gold Rush permanently changed the territory, both through mass immigration and the economic effects of the gold. California became a US State in 1850.


title: Sutter's Mill

text: The site of the mill is part of the Marshall Gold Discovery State Historic Park, registered as California Historical Landmark number 530. The current Sutter's Mill is a replica of the original building. It was built in 1967 based on Marshall's own drawings and a photograph of the mill taken in 1850.


title: Sutter's Mill

text: On April 22, 2012 a meteor entered the Earth's atmosphere and exploded, showering meteorite fragments over parts of California and Nevada. The first samples of this meteorite fall were recovered close to Sutter's Mill, so it was named the Sutter's Mill meteorite. Several dozen fragments were eventually identified, with a total weight of about a kilogram. The meteorite is classified as a carbonaceous chondrite and contains some of the oldest known material in the Solar System.


title: Sutter's Mill

text: The mill was the namesake and inspiration for a song by singer-songwriter Dan Fogelberg. The mill was also the namesake for a song by the New Riders of the Purple Sage, and for Herb Sutter's blog. In Beverly Cleary's novel "Mitch and Amy", the protagonists build a model of Sutter's Mill out of toothpicks.


title: Sutter's Mill

text: Sutter's Mill is referenced heavily in an episode of Little House on the Prairie titled At the End of the Rainbow, in which Laura Ingalls Wilder and a friend believe they have found gold in a stream near Walnut Grove. It is mentioned a few other times as well.


title: Sex and Candy

text: "Sex and Candy" is a song by American alternative rock group Marcy Playground, a single from their 1997 self-titled debut album. It is a post-grunge song with psychedelic elements. Lead singer John Wozniak was inspired to write the song after a woman told him that a room smelled like "sex and candy." The song's abstract lyrics refer to the disco era and include hippie lingo. In 1997, Wozniak said that "Sex and Candy" is an unorthodox love song; later, he said he does not know what the song means. It was released to radio on the week of September 15, 1997. It was physically released on November 4.


title: Sex and Candy

text: Music critics mostly praised the song. Some found it sensual; many compared it to the music of Nirvana. Some critics interpreted the track as a love song, and others thought its lyrics were nonsensical. Commercially, "Sex and Candy" peaked at number 2 on the Canadian "RPM" Top Singles chart, number 8 on the US "Billboard" Hot 100 and number 1 on the "Billboard" Modern Rock Songs chart, staying there for a record-setting 15 weeks. Worldwide, the single reached the top 20 in Australia, Iceland and Norway; it is the band's only hit song. A music video was directed and conceptualized by Jamie Caliri, depicting Wozniak's head protruding from a hole inside of a mountain and a crawling spider; it has been interpreted in Freudian terms and compared to the work of Salvador Dalí. "Sex and Candy" remains popular on rock radio and has been covered by Maroon 5 and Slothrust.


title: Sex and Candy

text: "Sex and Candy" stemmed from a moment in the late 1980s when John Wozniak, who had not yet started Marcy Playground, was in his girlfriend's dormitory at Bryn Mawr College, where his father taught. While he and his girlfriend were having sex in her dorm room, another young woman walked in following coitus interruptus. She said the room smelled like "sex and candy," a phrase that struck Wozniak as "weird and cool." Several years later, either in 1992 or 1993, Wozniak wrote the song in less than an hour in his bedroom at 4 a.m. In the song, he decided to combine the phrase "sex and candy" with "all these weird disco-era references that I was making up, 'platform double suede' and all that business". He also cited early grunge as an influence. According to MTV News, writing "Sex and Candy" was Wozniak's "first stab at coolness" following a childhood where he was isolated and often bullied. Wozniak also said that "If you listen to that song, it's pretty clear it wasn't written to be a hit. It's just a quirky little weird song."


title: Sex and Candy

text: Wozniak's explanations of the song's meaning have changed. In a 1997 interviw in "Billboard", he said it was a love song. While he enjoyed "classic" love songs by Cole Porter and The Beatles, he found most love songs that were on the radio during the 1980s formulaic and boring. Wozniak described "Sex and Candy" as his attempt to compose a love song which "didn't follow the typical formula, especially with the lyrics." When asked about the song's meaning in 2015, he said "It means so many different things, and so many different parts of it came from so many different places" before saying:


title: Sex and Candy

text: "Sex and Candy" is a post-grunge song with elements of psychedelic music that lasts for two minutes and fifty-two seconds. It has a slow tempo and down-tempo chords. Abstract lyrics reference "double cherry pie," "disco superfly," "disco lemonade" and "platform double-suede". While this studio recorded track merits notable mention of producer and musician Jared Kotler on drums, and Glenn Braver on bass, "Sex and Candy" features "drawling" vocals from John Wozniak. Band members include Dylan Keefe (bass guitar) and Dan Reiser (drums). The track's refrain is "I smell sex and candy." Jon Vena of MTV News described the track as "radio-friendly". Nathan Smith of the "Houston Press" stated "Sex and Candy" was perfect crossover music, as its edgy, sexual lyrics were suitable for rock radio, while it was still "pussy enough for adult contemporary."


title: Sex and Candy

text: Several media outlets compared "Sex and Candy" to the work of Nirvana with Jonah Bayer of "The A.V. Club" specifically likening it to the sound of that band's 1994 album "MTV Unplugged in New York". Dan Weiss of "LA Weekly" wrote "Sex and Candy" is the only song on "Marcy Playground" besides "Saint Joe on the School Bus" that resembles Nirvana's music. According to Gladstone of Cracked.com, many people mistakenly believe that "Sex and Candy" is a Nirvana song despite the fact that it was released after the suicide of Kurt Cobain; Gladstone opined "Only in the most superficial way is this song Nirvana-esque. It's moody and hooky." Other bands and sounds that critics heard in the song were the sort of music played at coffeehouses, Pearl Jam's session on "MTV Unplugged" session, jam bands, The Beatles, and Beck.


title: Sex and Candy

text: Critics offered different interpretations of the song. "Billboard" Bradley Bambarger and MTV News Colin Devenish understood it as a love song while "Rolling Stone" Chuck Eddy said that was about "a sad sack strung out on hippie lingo ('Dig it,' 'Yeah, mama') and caffeine." In his book "Rock Song Index: The 7500 Most Important Songs for the Rock and Roll Era", Bruce Pollock said the song takes "the 'Good Morning, Little Schoolgirl' ethos a bit too far." John Barrett of "Paste" deemed it "a simple, dreamlike tale of first laying eyes on a beautiful woman." Bayer wrote that listeners tried hard to find meaning in the track's seemingly meaningless lyrics. He added that "nobody, including the songwriter, really knows what it's about." For "Stereogum", Peter Helman called the song "nonsensical".


title: Sex and Candy

text: According to Zachary Houle of "PopMatters", "Sex and Candy" has a reputation for being the only good song in Marcy Playground's catalogue; Houle disputed the notion while praising the song. Bayer of "The A. V. Club" said that "There is something powerful in the simplicity and straight-forwardness of the song" and that its "chorus still sounds as captivating and strangely sensual as it did years ago." Stephen Thomas Erlewine of AllMusic commented that "songs like 'Sex and Candy' capture the band at their best, turning out hard-edged, melodic pop songs with strong hooks and backbeats." For MTV News, Jon Vena opined that the track "draws you in with sultry lyrics and a chillingly slow...tempo."


title: Sex and Candy

text: Barrett of "Paste" ranked it fifteenth on "Paste" list of "25 Awesome One-Hit Wonders of the 1990s" while "Consequence of Sound" ranked it thirty-fourth on its list of "The 100 Best One-Hit Wonder Songs." Bruce Pollock included it as one of the entries in his book "Rock Song Index: The 7500 Most Important Songs for the Rock and Roll Era". In "Bustle", Rachel Semigran called the song "well-loved". Mike Wass of Idolator called the song "a post-grunge classic that is still played with alarming frequency on adult rock radio stations today." Mike Joyce of "The Washington Post" wrote "Some rock bands don't attract radio airplay so much as provoke it. Marcy Playground pulled off the trick...with 'Sex and Candy,' a titillating hit single that contained the sure-fire refrain, 'I smell sex and candy.'"


title: Sex and Candy

text: Chuck Eddy of "Rolling Stone" gave the song a less enthusiastic review, calling it "an unappetizing artificial-sweetener marriage of down-tempo Nirvana chords and greasy Dave Matthews frat-minstrel sensitivity". Nathan Smith of the "Houston Press" put it on a list of the publication's least favorite one-hit wonders, calling it "one of the most despicable hits of the '90s" because it "refuses to rock and it refuses to go away. I hated it the first time I heard it, and I hate it now. I will die hating it." Joe Robinson of Diffuser.fm found the song's references to sex and mothers Freudian and disturbing.


title: Sex and Candy

text: "Sex and Candy" was released to radio on the week of September 15, 1997. The "Marcy Playground" album drew little notice until a radio station in San Diego began playing "Sex and Candy". As the song became more popular, Wozniak was offered money for the publishing rights, offers that increased from $100,000 to $750,000. Wozniak decided that he would sell the rights to "Sex and Candy" if a buyer was willing to give him $1 million for the rights to the track and $750,000 for his next album. A week after the song reached the top position on "Billboard" Modern Rock Tracks, he got three offers for those amounts and sold the rights. "Sex and Candy" spent a then-record 15 weeks at number one on "Billboard" Modern Rock Tracks chart, a record bested four years later by Nickelback's "How You Remind Me". The track peaked at number 8 on the "Billboard" Hot 100 and number 2 on the Canadian Top Singles chart. In the US, only 175,000 copies of the single were sent to retail outlets, selling 37,500 units during its first week on sale.


title: Sex and Candy

text: "Sex and Candy" was the band's only hit. The song became so successful that it had its own accountant. The head of radio promotion at Capitol Records, Marcy Playground's label, felt that "Sex and Candy"'s ubiquity hurt the band's career; Gil Kaufman of MTV News called the song a "career killer" and the band became known as a one-hit wonder. Wozniak said that, while he was pleased that the track "became a quintessential '90s moment," he was flabbergasted and overwhelmed by its success, adding that he would not want to produce another hit song of comparable popularity. Andrew Unterberger of "Stylus Magazine" wrote of its surprising success, calling it "easily one of the strangest top ten hits in history (Pavement sounds like Sister Hazel by comparison) and as much of a death knell for grunge as 'To Be with You' was for hair metal."


title: Sex and Candy

text: The song's music video was directed and conceptualized by Jamie Caliri. Wozniak admired Caliri's surrealist artistic sensibility as well as the video he directed for Morphine's "Early to Bed". According to Wozniak, Caliri infused the video for "Sex and Candy" with various hidden meanings. The video for "Sex and Candy" took a week to film in October and was Marcy Playground's first video.


title: Sex and Candy

text: The video begins with a shot of synthetic hills with a checkerboard pattern on them. Wozniak's head appears, protruding from a hole inside one of the hills. A hook descends from the sky and lifts up a glass cage, releasing a spider who crawls toward Wozniak. Two men are shown in a room with a dresser. Wozniak is then seen in front of an arch; a shoe attached to a string lowers from the arch and men try to grab it. The same men pull strings out of a wall. The video ends with Wozniak lying in a blue puddle.


title: Sex and Candy

text: Wozniak's father, a developmental psychologist, analyzed the video in Freudian terms, seeing it as a representation of a wet dream. He believed that the hole Wozniak's head was in represented the womb, the spider Wozniak's loss of innocence (which he is both afraid of and drawn to), and the puddle at the end of the video to be a symbol for semen. Chad Childers of "Loudwire" deemed the video reminiscent of the art of Salvador Dalí and called it one of the "most romantic rock music videos". He saw it as depicting a romance between Wozniak and the spider.


title: Sex and Candy

text: "Sex and Candy" appeared on the soundtrack albums for the films "Hurricane Streets" (1997) and "Zack and Miri Make a Porno" (2008). The song is included in "Polka Power!", a polka medley from "Weird Al" Yankovic's album "Running with Scissors" (1999). Will Hines of "Vulture" deemed Yankovic's rendition of "Sex and Candy" the comedic highlight of the medley. "Sex and Candy" was used in "Scratches," an episode of "True Blood" second season. Sheila Dichoso of "Paste" wrote that the episode's use of the song was one of the show's "best musical moments." Jimmy Fallon parodied the song with Halloween-themed lyrics during a "Weekend Update" sketch on "Saturday Night Live".


title: Sex and Candy

text: Maroon 5 released a slow, soul cover of the song as a bonus track on the album "V" (2014). "Bustle" deemed it the best song on the album and praised it for sounding different from Maroon 5's earlier work, while Idolator said the cover "is a well-executed reminder that the late '90s were, well, completely awesome." A version of "Sex and Candy" serves as the opening track of Slothrust's "Show Me How You Want It To Be" (2017), an EP of cover songs. Slothrust's arrangement of the song includes a classic rock-style guitar solo. Beth Bowles of "Exclaim!" enjoyed the cover, calling it "haunting and raw, closely comparable to the original but threaded with Slothrust's signature smoky grunge."


title: Campa Cola

text: Campa Cola is a soft drink brand in India. It was a market leader in the Indian soft drink market in the 1970s and 1980s in most regions of India until the advent of the foreign players Pepsi and Coca-Cola after the liberalisation policy of the P. V. Narasimha Rao Government in 1991.


title: Campa Cola

text: Pure Drinks Group were pioneers in the Indian soft drink industry when they introduced Coca-Cola into India in 1949, and were the sole manufacturers and distributors of Coca-Cola till the 1970s when Coke was asked to leave. The Pure Drinks Group and Campa Beverages Pvt. Ltd. virtually dominated the entire Indian soft drink industry for about 15 years, and then started Campa Cola during the absence of foreign competition. The brand's slogan was "The Great Indian Taste", an appeal to nationalism. It subsequently marketed an orange flavoured drink called 'Campa Orange', with the logo "Campa" on its bottles.


title: Campa Cola

text: During the 1980s, Campa Orange and Rush were the two main orange soft drinks in India, with large bottling plants in Mumbai (Worli) and Delhi. Following the return of foreign corporations to the soft drink market in the 1990s, the popularity of Campa Cola declined. In 2000–2001, its bottling plant and offices in Delhi were closed. In 2009 a small amount of product was still being bottled in the state of Haryana but the drink was hard to find.


title: Campa Cola

text: In 2022, Campa Cola was acquired by Reliance Industries for crores. Reliance Retail Ventures, the retail arm of the Reliance group launched three variants of the drinks (cola, orange and lemon) at some select stores. As per a report, it would be released in the general markets around Diwali of the year.


title: Campa Cola

text: It subsequently relaunched itself, with a drink called Sun Dew, and Campa in four flavours (orange, lemon, coca and mango).


title: M67 recoilless rifle

text: The M67 recoilless rifle is a 90 mm (3.55 inch) anti-tank recoilless rifle made in the United States and later in South Korea. It could also be employed in an anti-personnel role with the use of the M590 antipersonnel round. It was designed to be fired primarily from the ground using the bipod and monopod, but could also be fired from the shoulder using the folded bipod as a shoulder rest and the monopod as a front grip. The weapon was air-cooled and breech-loaded, and fired fixed ammunition. It is a direct fire weapon employing stadia lines to allow simple range finding, based on a typical tank target bridging the lines once in range.


title: M67 recoilless rifle

text: Adopted in 1959 in Army service, the M67 was used in the Vietnam War together with the much larger 106 mm M40. The M67 proved an effective weapon, though it was primarily used against personnel in combat, and saw little or no use against armor and even against fortifications. While troops praised its effectiveness, the M67 came under heavy criticism due to the weapon's weight and length as well as its backblast, which often precluded its use in offensive operations. Because of these disadvantages, the Marine Corps units continued to use the old M20 "Super Bazooka" in preference to the M67. It was largely replaced in Army service by the M47 Dragon anti-tank missile system starting in 1975. The M67 was also issued to anti-armour platoons of 1 ATF (Australian/New Zealand Task Force) during the Vietnam war, being used near the perimeter of the defense bases due to its weight. The M67 was issued in lieu of the standard issue Carl Gustav for these armies. This may have been to simplify logistics, or it may be that ammunition for the Carl Gustav could not be sourced due to Swedish opposition to the war in Vietnam.


title: M67 recoilless rifle

text: The M67 was not completely withdrawn from infantry service. Instead, it was retained as a substitute standard antitank weapon for special tasks or battle environments. Since the batteries of the Dragon and the wires of the TOW could fail due to extremely low temperatures, the M67 was used for units deploying to arctic environments and remained in many infantry units in West Germany, such as the 1st Battalion, 15th Infantry, 3rd Infantry Division. Also, VII Corps Combat Engineer Battalions were using the M67 as their main anti-armor weapon during the mid-1980s. Heavy Physical Security Military Police Companies used the M67 on Special Weapons Sites in West Germany as an anti-vehicular weapon. These weapons were issued 6 per company, 2 per platoon for each combat engineer company. Until the 1990s, the 6th Light Infantry Division in Alaska was still using the M67 in its special weapons platoons. Two M67s were used by C Co 5/87th (Lt Infantry) 193rd Infantry Brigade during Operation Just Cause in the Republic of Panama in 1989, using the M590 Antipersonal ammunition. Similarly, the urban environment of West Berlin prompted the Army to keep the weapon with the 4th, 5th and 6th Battalions of the 502nd Infantry Regiment, Berlin Brigade, as late as winter 1991; the M47 Dragon replaced it in January 1992. The Army Rangers retained the M67 in their weapons platoons until the 1990s, when it was replaced by the 84 mm M3 Carl Gustav; Ranger M67s played a key role in knocking out two BTR-60 APCs of the People's Revolutionary Army in Grenada during Operation Urgent Fury in 1983. Lastly, Combat Engineer units used the M67 as a demolition gun to destroy bunkers and other hard point targets as part of their MTOE (Modified Table Of Organization & Equipment) at least as late as 1990.


title: M67 recoilless rifle

text: The Salvadoran Army received 379 M67s between 1981 and 1992 and used them in urban warfare against the FMLN rebels. The Argentine Army also fielded some M67s during the Falklands War. Royal Saudi Land Forces fielded M67s against Iraq during Gulf War.


title: M67 recoilless rifle

text: In February 2011, it was reported that stocks of surplus M67 recoilless rifles were reintroduced to the 101st Airborne Division for limited combat service in Afghanistan. Numbers of these weapons were issued to the 506th Infantry Regiment, "Currahee", 4th Brigade Combat Team, for use against fortifications, and concentrations of enemy personnel. The M67 was issued in response to a demand for a reloadable shoulder-fired weapon to be used in static defensive positions as well as ambushes. In particular, the flechette anti-personnel round saw common usage. The M67s were eventually phased out again as the Army expanded issuing of the M3 Carl Gustav recoilless rifle to regular infantry units.


title: M67 recoilless rifle

text: It was designed by the Midwest Research Institute in Kansas City, Missouri. It was also produced in South Korea by Kia Motors, while rounds were manufactured by . Additionally, a licensed version was made in Greece, the "EM-67".


title: M67 recoilless rifle

text: The M67 is shaped like a long tube with the sight assembly and trigger offset to the side in opposite directions about halfway along the barrel. Under this point is the monopod, with the bipod halfway back from there. The weapon requires a crew of three to operate it; a gunner, assistant gunner (loader) and ammunition bearer. The breech is hinged on the right side, and has to be swung open to load the round. It is then swung closed and when the rifle is fired, the rear end of the shell case breaks up and is blown out of the back of the breech block. On the left side of the barrel, near the sight and trigger assemblies, is an asbestos heat shield to protect the gunner's shoulder and neck from the heat of the barrel when firing.


title: M67 recoilless rifle

text: It is capable of maintaining a sustained fire rate of one round per minute, but the weapon could also be rapid fired at an increased rate of one round every six seconds (10 rpm) by a well trained crew. The rapid firing is limited to five rounds, with a mandatory 15 minute cool-off period afterward.


title: M67 recoilless rifle

text: The M49A1 sub-caliber device, which uses NATO 7.62 mm rounds, is typically used for zeroing the sight and for qualifying purposes. The sight is visually zeroed by setting crossed strings over the gun barrel opening (a rubber loop and notches at the end of the barrel facilitate holding the string in the correct position), then looking through the barrel of the sub-caliber device (and crossed strings) and setting the fixed stadia, reticle sight to the same target. The sub-caliber rounds can then be used to further refine the zero and to qualify.


title: M67 recoilless rifle

text: Ammunition for the 90 mm rifle was issued in complete fixed cartridges. The term "fixed" means that the projectile and the cartridge case are crimped together. This ensures correct alignment of the projectile and the cartridge case. It also permits faster loading because the projectile and the cartridge case are loaded as one unit. The rear end of the cartridge case is made of frangible material that is completely destroyed when fired. The projectiles used are pre-engraved with a rifling band, that is, the rotating bands are cut to engage the rifled bore both to trap gases and to spin-stabilize the projectile.


title: M67 recoilless rifle

text: The TP M371 is a practice round for the M371A1 HEAT round. It has the high explosive filler replaced with inert ballast to keep it at the same weight and flight properties. The nose cap contains a smoke pellet to mark the point of impact.


title: M67 recoilless rifle

text: The M371A1 round utilizes a special fin-stabilized projectile which employs the shaped charge principle to defeat armor. It does not depend upon the warhead's velocity at the moment of impact for its effect, relying instead on the focusing effect of the shape of its explosive filler. The explosive charge collapses a conical metal liner inside the warhead into an extremely high-velocity superplastic jet. This superplastic jet is capable of penetrating steel armor to a depth of seven or more times the diameter of the explosive charge. The end of the projectile is a long and narrow stand-off of a length that allows the HEAT warhead to achieve maximum effect against the target.


title: M67 recoilless rifle

text: The M371A1 HEAT round is used primarily against armor. It can also be used against secondary targets such as gun emplacements and pillboxes with excellent results. It is capable of penetrating 1.15 ft (350 mm) of armor plate (steel), 3.5 ft (1.1 m) of packed soil, or 2.5 ft (0.8 m) of reinforced concrete.


title: M67 recoilless rifle

text: The "Antipersonnel (Canister) Cartridge M590 (XM590E1)" or M590 cartridge is a flechette round designed for close-in defense against massed infantry attacks. The cartridge consists of an aluminum cartridge case crimped to an aluminum canister. The canister consists of a thin-walled, deep-drawn, aluminum body that contains a payload of 2,400 eight-grain (0.5 g), low-drag, fin-stabilized, steel-wire flechettes. When the canister leaves the muzzle, the pressure ruptures the canister along inscribed score marks to release the flechettes, which disperse in a cone angle of approximately 8 degrees.


title: East Grinstead

text: East Grinstead is a town in West Sussex, England, near the East Sussex, Surrey, and Kent borders, south of London, northeast of Brighton, and northeast of the county town of Chichester. Situated in the extreme northeast of the county, the civil parish has an area of . The population at the 2011 Census was 26,383.


title: East Grinstead

text: Nearby towns include Crawley and Horley to the west, Tunbridge Wells to the east and Redhill and Reigate to the northwest. The town is contiguous with the village of Felbridge to the northwest. Until 1974 East Grinstead was in East Sussex, before joining together with Haywards Heath and Burgess Hill as the Mid-Sussex district of West Sussex.


title: East Grinstead

text: The town is on the Greenwich Meridian. It has many historic buildings, and the Weald and Ashdown Forest lie to the south-east.


title: East Grinstead

text: The High Street contains one of the longest continuous runs of 14th-century timber-framed buildings in England. Other notable buildings in the town include Sackville College, the sandstone almshouse, built in 1609, where John Mason Neale wrote the Christmas carol "Good King Wenceslas". The college has sweeping views towards Ashdown Forest. The adjacent St Swithun's Church stands on the highest ground in the town and was rebuilt in the eighteenth century (the tower dating from 1789) to a perpendicular design by James Wyatt. The imposing structure dominates the surrounding countryside for many miles around. In the churchyard are commemorated the East Grinstead Martyrs, and in the south-east corner is the grave of John Mason Neale.


title: East Grinstead

text: The Greenwich Meridian runs through the grounds of the historic 1769 East Court mansion, home of the Town Council, giving the visitor an opportunity to stand with a foot in both the east and west. The mansion stands in a parkland setting. In 1968, the East Grinstead Society was founded as an independent body, both to protect the historically important buildings of East Grinstead (and its environs) and to improve the amenities for future generations.


title: East Grinstead

text: During the Second World War, the Queen Victoria Hospital was developed as a specialist burns unit by Sir Archibald McIndoe. It became world-famous for pioneering treatment of RAF and allied aircrew who were badly burned or crushed, and required reconstructive plastic surgery. It was here the Guinea Pig Club was formed in 1941, which then became a support network for the aircrew and their family members. The club remained active after the end of the war, and its annual reunion meetings at East Grinstead continued until 2007, when the club was wound down in view of the increasing frailty of its surviving members. As such, the townspeople became very supportive of the patients at the Queen Victoria Hospital. Even though many of the victims were horribly disfigured (often missing limbs, and in the worst cases faces, their faces made up of burn tissue), the townspeople would go out of their way to make the men feel normal. Families invited the men to dinner, and girls asked them to go on dates. Patients of the burn units remember, and cherish, the charity received from the townspeople of East Grinstead.


title: East Grinstead

text: During the same War, the town became a secondary target for German bombers which failed to make their primary target elsewhere. On the afternoon of Friday 9 July 1943, a Luftwaffe bomber became separated from its squadron, followed the main railway line and circled the town twice, then dropped eight bombs. Two bombs, one with a delayed-action fuse, fell on the Whitehall Theatre, a cinema on the London Road, where 184 people at the matinée show were watching a Hopalong Cassidy film before the main feature. A total of 108 people were killed in the raid, including children in the cinema, many of whom were evacuees; and some twenty Canadian servicemen stationed locally, who were either in the cinema when it was hit, or arrived minutes later to help with rescuing survivors. A further 235 were injured. This was the largest loss of life of any single air raid in Sussex.


title: East Grinstead

text: In the winter of 2010, Claque Theatre produced the East Grinstead Community Play, which focussed on the bombing of the town in 1943, the work of Archibald McIndoe and his team at the hospital, and the Guinea Pig Club and its members. It was performed by local residents. On 9 June 2014 The Princess Royal unveiled a monument to Sir Archibald McIndoe and the Guinea Pigs. It stands in front of Sackville College at the east end of the High Street. It was funded by a public appeal and sculpted by Martin Jennings, whose own father was a Guinea Pig. It depicts a burned airman looking to the sky, with McIndoe placing reassuring hands on his shoulders. The stone ring around the statue is for visitors to sit and reflect and in doing so become part of the story representing "The town that did not stare".


title: East Grinstead

text: In 2006, the East Grinstead Town Museum was moved to new custom-built premises in the historic centre of the town, and successfully re-opened to the public. Chequer Mead Theatre includes a modern 320-seat purpose-built auditorium, which stages professional and amateur plays/musicals and music (local rock groups to chamber music orchestras), opera, ballet, folk music, tribute bands, film, event cinema and talks. The venue also has a popular spacious cafe with outdoor seating.


title: East Grinstead

text: In addition to the nearby Ashdown Forest, East Grinstead is served by the Forest Way and Worth Way linear Country Parks which follow the disused railway line from Three Bridges all the way through to Groombridge and which are part of the Sustrans national cycle network.


title: East Grinstead

text: East Grinstead has an unusually diverse range of religious and spiritual organisations for a town of its size.


title: East Grinstead

text: A broad range of mainstream Christian denominations have places of worship in the town, and several others used to be represented; Protestant Nonconformism has featured especially prominently for the last two centuries, in common with other parts of northern Sussex. Several other religious groups have connections with the town, from merely owning property to having national headquarters there.


title: East Grinstead

text: In 1994, a documentary, "Why East Grinstead?", was produced for Channel 4's "Witness" strand of documentaries. It sought to examine and explain the convergence of such a wide variety of religious organisations in the East Grinstead area. The documentary, produced by Zed Productions and directed by Ian Sellar, reached no definite conclusion: explanations ranged from the local presence of ley lines to the more prosaic idea that religious leaders had settled there because they liked the views.


title: East Grinstead

text: The Church of England has four places of worship in the town. St Swithun's Church was founded in the 11th century. Architect James Wyatt rebuilt it in local stone in 1789 after it became derelict and collapsed. Near the entrance to the church, three stones mark the supposed ashes of Anne Tree, Thomas Dunngate and John Forman who were burned as martyrs on 18 July 1556 because they would not renounce the Protestant faith. John Foxe wrote about them in his 1,800-page "Foxe's Book of Martyrs". Two other churches are in St Swithun's parish.


title: East Grinstead

text: St Luke's Church, in Holtye Avenue on the Stone Quarry estate, was built in 1954 to serve the northeast of the town. The church was demolished around 2014 and flats have been built at the location. St Barnabas' Church in Dunnings Road serves the south of the town. The present wooden structure of 1975 replaced an older church built in 1912. The fourth church, in the northwest of the town, is dedicated to St Mary the Virgin. Built by W.T. Lowdell over a 21-year period beginning in 1891, the Decorated Gothic Revival church was consecrated in 1905 and has its own parish. It was established by adherents of the Oxford Movement, and services still follow a more Anglo-Catholic style than East Grinstead's other Anglican churches.


title: East Grinstead

text: East Grinstead's first Nonconformist church was the Zion Chapel, built in 1810 for the Countess of Huntingdon's Connexion. The small evangelical Calvinistic group owned the church until 1980; it is now used by Baptists and is called West Street Baptist Church. Trinity Methodist Church is the much-expanded successor to older places of Methodist worship in the town; the community dates back to 1868. The United Reformed Church community meets in the Moat Church, a former Congregational chapel built in the Early English Gothic Revival style in 1870.


title: East Grinstead

text: A 2007 book also noted the New Life Church—a Newfrontiers evangelical charismatic church—the Kingdom Faith Church, another independent charismatic congregation, and the Full Gospel Church.


title: East Grinstead

text: Roman Catholics worship at the Church of Our Lady and St Peter, founded in 1898 by Edward Blount of the Blount baronetcy, a resident of nearby Worth. Opus Dei has a conference centre at Wickenden Manor near the town, and Rosicrucians also have a presence in nearby Greenwood Gate.


title: East Grinstead

text: Jehovah's Witnesses worship at a modern Kingdom Hall. The community, established in 1967, previously used a former Salvation Army building.


title: East Grinstead

text: The meetinghouse of the LDS Church on Ship Street was built in 1985. The London England Temple of the Church of Jesus Christ of Latter-day Saints, is just over the Surrey border at Newchapel.


title: East Grinstead

text: The United Kingdom (and former world) headquarters of the Church of Scientology is at Saint Hill Manor on the southwestern edge of East Grinstead. Scientology's founder L. Ron Hubbard bought the Georgian mansion and its of grounds from the Maharaja of Jaipur in 1959 and lived in the town until 1967.


title: East Grinstead

text: The East Grinstead Town Centre Master Plan was adopted on 10 July 2006 as a Supplementary Planning Document (SPD). The scheme proposed regeneration of the town centre in association with Thornfield Properties PLC. Thornfield Properties had submitted plans to the council for the start of an ambitious development of the Queens Walk and West Street area. It was expected that other redevelopment companies would fulfil targets outlined in the SPD over the next 20 years.


title: East Grinstead

text: Gatwick Airport is from the town, whilst Redhill Aerodrome and Biggin Hill Airport are both within half an hour's drive. Hammerwood Park has a helicopter landing site for visiting pilots ( from the town).


title: East Grinstead

text: East Grinstead became a railway terminus in 1967, after the line from Three Bridges to Royal Tunbridge Wells was closed under the Beeching Axe, a rationalisation of British Railways' branch lines based on a report by Dr Richard Beeching, a resident of the town at that time. The line to Lewes, part of the Bluebell Railway, closed in 1958.


title: East Grinstead

text: In the late 1970s, the town's inner relief road was built along a section of one of the closed railway lines and is named "Beeching Way". Because the road runs through a cutting, it has been nicknamed "Beeching Cut". Much of rest of the trackbed of the disused Three Bridges to Groombridge line now forms the route of the Worth Way and Forest Way, linear Country Parks allowing access to the Wealden countryside.


title: East Grinstead

text: A part of the Lewes line was re-constructed by the Bluebell Railway, a nearby preserved standard gauge railway. The extension work was carried out in stages. The first paid-passenger service departed from East Grinstead station at 9:45 on Saturday 23 March 2013, and the first train left Sheffield Park for East Grinstead at 9:30 a.m. with services running each way every 45 minutes thereafter.


title: East Grinstead

text: The town lies on the junction of the A22 and A264 roads. For just over , from just to the north of the Town Centre to Felbridge village in Surrey, the two routes use the same stretch of single carriageway road. This is one of the principal causes of traffic congestion in the town.


title: East Grinstead

text: The town is within commuting distance of London (about ) and Crawley/Gatwick (about ) by road. According to the 2001 Census, one in eight residents commuted to Crawley and Gatwick Airport for work with over 98% travelling by car.


title: East Grinstead

text: Education in the town is provided through both state and independent schools. West Sussex County Council provides seven primary schools along with two secondary schools. All these schools are co-educational and comprehensive. Private secondary education is provided by several day and boarding schools in the surrounding areas straddling Kent and Sussex.


title: East Grinstead

text: The Queen Victoria Hospital was founded as a cottage hospital in 1863, and was rebuilt on its current site in the 1930s. Queen Victoria Hospital remains at the forefront of specialist care today, and is renowned for its burns treatment facilities and expertise.


title: East Grinstead

text: There are many facilities for mental healthcare in East Grinstead, including Springvale Community Mental Health Centre and Charters Court.


title: East Grinstead

text: East Grinstead is served by local sports and social clubs. Municipal facilities include the King George's Field, which was left to the town by a local benefactor and was named as a memorial to King George V. The King's Centre leisure centre, currently owned and operated by Mid Sussex District Council is on this land. The centre includes an indoor swimming pool and other facilities such as a gym and sports hall.


title: East Grinstead

text: There are floodlit tennis courts and bowling green at Mount Noddy and also tennis courts and a variety of pitches at East Court where Non-League football club East Grinstead Town F.C. play. The athletics club, East Grinstead AC, which was formed in 1978 train at Imberhorne School. The senior team competes in the Southern Athletics League Division 3 and has young athletes teams competing in regional leagues. East Grinstead Rugby Football Club currently play in Harvey's of Sussex 1. EGRFC are supported by a junior section which fields teams from Under 18's down to Under 7's. East Grinstead is also home to East Grinstead Hockey Club and East Grinstead Lacrosse Club established in 2004, with two men's teams and a women's team catering to a variety of skill levels.


title: East Grinstead

text: East Grinstead Runners meet every Tuesday and Thursday evenings usually at the station top car park for various training runs and every Sunday morning for the Sunday social which is always on the trails around town.


title: East Grinstead

text: Chequer Mead Theatre (formerly Chequer Mead Community Arts Centre) was built in the 1990s and is a 320-seat theatre. It is home to the East Grinstead Music & Arts Festival, which exists to encourage and promote dancing, singing and speech and drama in Sussex and neighbouring counties. The honorary vice-president of the festival is former ballerina Beryl Grey. Local groups include the East Grinstead Choral Society and the East Grinstead Operatic Society.


title: East Grinstead

text: The local weekly newspaper is the "East Grinstead Courier", published each Tuesday by Local World Ltd.


title: East Grinstead

text: Another local weekly newspaper is the "East Grinstead Gazette", published each Wednesday by the Johnston Press.


title: East Grinstead

text: Local news is provided by BBC South East & BBC London on BBC One and ITV Meridian & ITV London on ITV. The town receives TV programmes from the Heathfield and Crystal Palace television transmissions. The local TV transmission station only broadcast programs from London.


title: John Dykstra

text: John Charles Dykstra, A.S.C. (; born June 3, 1947) is an American special effects artist, pioneer in the development of the use of computers in filmmaking and recipient of three Academy Awards, among many other awards and prizes. He was one of the original employers of Industrial Light & Magic, the special effects and computer graphics division of Lucasfilm. He is well known as the special effects lead on the original "Star Wars", helping bring the original visuals for lightsabers, space battles between X-wings and TIE fighters, and Force powers to the screen. He also led special effects on many other movies, including "Batman Forever", "Batman & Robin", "Stuart Little", "", "Spider-Man" and "Spider-Man 2".


title: John Dykstra

text: Dykstra was born in Long Beach, California. After studying industrial design at California State University, Long Beach (where he was a member of Phi Kappa Tau fraternity), in 1971 he landed a job working with Douglas Trumbull on "Silent Running" filming model effects, when Trumbull hired recent college graduates due to the film's low budget.


title: John Dykstra

text: In 1975, when George Lucas was recruiting people for the special effects work on "Star Wars", he approached Douglas Trumbull, but he was unavailable as he was about to start working on Steven Spielberg's "Close Encounters of the Third Kind". Trumbull pointed Lucas towards Dykstra. Lucas formed his own special effects company, Industrial Light & Magic (ILM), based in warehouse premises in Van Nuys, and appointed Dykstra to supervise the new team. This led to the development of the Dykstraflex motion-controlled camera, which enabled many of the film's groundbreaking effects to be produced. The system was made possible by the availability of off-the-shelf integrated-circuit RAM at relatively low cost and secondhand VistaVision cameras.


title: John Dykstra

text: However, tensions arose between Dykstra and Lucas, the latter complaining that too much time and money was spent on developing the digital camera systems and that the effects team did not deliver all the shots that he had wanted causing the production to run behind schedule. These tensions would reportedly culminate with Dykstra's dismissal from ILM following Lucas' return from principal photography in London. Regardless, following the release of "Star Wars", Dykstra and his team won Academy Awards for best special effects and special technical achievement.


title: John Dykstra

text: After "Star Wars", Dykstra began working on "Battlestar Galactica" for Universal Studios. Supervising the special effects for the three-hour pilot episode (which was also released theatrically), Dykstra formed his own effects company called Apogee, Inc. which included several ILM employees who had worked on "Star Wars". Dykstra was also given a Producer credit for the pilot of the television series. As Universal then opted to make "Galactica" into a weekly series, many of Dykstra's effects shots were recycled and used repeatedly throughout the show's single season run.


title: John Dykstra

text: After "Galactica" aired, Lucas and 20th Century Fox began legal proceedings against Universal claiming that they had plagiarised "Star Wars", a matter not helped by the similar effects and design styles (artist Ralph McQuarrie had also contributed to "Galactica"). Lucas was also reportedly unhappy about Dykstra using the equipment (that had been developed and paid for from the "Star Wars" budget) on a production that was essentially a competitor. When Lucas relocated ILM to San Francisco from Van Nuys to commence work on "The Empire Strikes Back", several members of the Apogee team (including Richard Edlund and Dennis Muren) would return to ILM but Dykstra was not invited to join them. He continued to work under his Apogee brand name and subsequently went to work on the effects for "Avalanche Express" and "" (on which he was reunited with Douglas Trumbull).


title: John Dykstra

text: Dykstra's next major achievement was the effects work on "Firefox" in 1982. Here, he took on the same challenge that Lucas had set with "The Empire Strikes Back" of combining miniature effects with actual backgrounds and matte work on white backgrounds using reverse bluescreen. The film secured further awards but was only a modest box office hit.


title: John Dykstra

text: In 1985, Dykstra produced the special effects for the sci-fi horror film "Lifeforce" which was made in England. He followed with work on the 1986 remake of "Invaders from Mars" and "My Stepmother Is an Alien" (1988). Apogee Inc also did the effects for the spoof comedy Spaceballs(1987).


title: John Dykstra

text: In the late 1980s Dykstra was asked by Nissan Motor Company of Japan to work on special effects for a commercial for the introduction of the Nissan R32 Skyline. He stated in an interview that ran before the commercial that he got out his "Special Effects Atlas" to provide a world that "not only looked different" but also had some "very unusual inhabitants"; the "Space Fish". The Space Fish can be seen following and then examining the new Skyline during the ad.


title: John Dykstra

text: In the mid-1990s, Dykstra was supervisor for the special effects of "Batman Forever" and "Batman & Robin". He was also Senior Visual Effects Supervisor for "Stuart Little". Dykstra was the visual effects designer on the first two "Spider-Man" films, and received an Oscar for Best Visual Effects for his work on "Spider-Man 2". He acted as the visual effects designer on "", ensuring the six effects companies involved delivered all the shots required despite the tight schedule.


title: John Dykstra

text: In 1987, Dykstra directed the full-motion video game "Sewer Shark", originally intended for Hasbro's VHS-based NEMO console. When Hasbro abandoned the project, the system's creator Tom Zito acquired the rights to the game. In 1992, "Sewer Shark" was converted to the Sega CD by Zito's Digital Pictures, and released as a launch title for the system.


title: Duke of Albany

text: Duke of Albany is a peerage title that has occasionally been bestowed on the younger sons in the Scottish and later the British royal family, particularly in the Houses of Stuart and Hanover.


title: Duke of Albany

text: The Dukedom of Albany was first granted in 1398 by King Robert III of Scotland on his brother, Robert Stewart, the title being in the Peerage of Scotland. "Albany" was a broad territorial term representing the parts of Scotland north of the River Forth, roughly the former Kingdom of the Picts. The title (along with the Dukedom of Rothesay) was the first Dukedom created in Scotland. It passed to Robert's son Murdoch Stewart, and was forfeited in 1425 due to the attainder of Murdoch.


title: Duke of Albany

text: The title was again created in 1458 for Alexander Stewart but was forfeit in 1483. His son John Stewart was restored to the second creation in 1515 but died without heirs in 1536. In 1541 Robert, second son of James V of Scotland, was styled Duke of Albany, but he died at less than a month old. The fourth creation, along with the Earldom of Ross and Lordship of Ardmannoch, was for Mary, Queen of Scots' king consort Lord Darnley, whose son, later James VI of Scotland, I of England and Ireland, inherited the titles on his death. That creation merged with the Scottish crown upon James's ascension. The title, along with the title of Duke of York, with which it has since been traditionally coupled, was created for a fifth time in 1604 for Charles, son of James VI and I. Upon Charles's ascent to the throne in 1625, the title of Duke of Albany merged once again in the crowns.


title: Duke of Albany

text: The title was next granted in 1660 to Charles I's son, James, by Charles II. When James succeeded his elder brother to the throne in 1685, the titles again merged into the crown. The cities of New York and Albany, New York, were thus both named after James, as he was the Duke of York and of Albany. The pretender, Charles Edward Stuart, gave the title Duchess of Albany to his illegitimate daughter Charlotte; she died in 1789.


title: Duke of Albany

text: The title of "Albany" alone was granted for the fifth time, this time in the Peerage of the United Kingdom, in 1881 to Prince Leopold, the fourth son of Queen Victoria. Prince Leopold's son, Prince Charles Edward (who had succeeded as reigning Duke of Saxe-Coburg and Gotha in 1900), was deprived of the peerage in 1919 for bearing arms against the United Kingdom in World War I. His grandson, Ernst Leopold (1935–1996), only son of Charles Edward's eldest son Johann Leopold, Hereditary Prince of Saxe-Coburg and Gotha (1906–1972), sometimes used the title "Duke of Albany", although the Titles Deprivation Act 1917 stipulates that any successor of a suspended peer shall be restored to the peerage only by direction of the sovereign, the successor's petition for restoration having been submitted for and obtained a satisfactory review of the appropriate Privy Council committee.


title: Lyme Park

text: Lyme Park is a large estate south of Disley, Cheshire, England, managed by the National Trust and consisting of a mansion house surrounded by formal gardens and a deer park in the Peak District National Park. The house is the largest in Cheshire, and is recorded in the National Heritage List for England as a designated Grade I listed building.


title: Lyme Park

text: The estate was granted to Sir Thomas Danyers in 1346 and passed to the Leghs of Lyme by marriage in 1388. It remained in the possession of the Legh family until 1946 when it was given to the National Trust. The house dates from the latter part of the 16th century. Modifications were made to it in the 1720s by Giacomo Leoni, who retained some of the Elizabethan features and added others, particularly the courtyard and the south range. It is difficult to classify Leoni's work at Lyme, as it contains elements of both Palladian and Baroque styles. Further modifications were made by Lewis Wyatt in the 19th century, especially to the interior. Formal gardens were created and developed in the late 19th and early 20th centuries. The house, gardens and park have been used as locations for filming and they are open to the public. The Lyme Caxton Missal, an early printed book by William Caxton, is on display in the Library.


title: Lyme Park

text: The land now occupied by Lyme Park was granted to Piers Legh and his wife Margaret D'anyers, by letters patent dated 4 January 1398, by Richard II, son of the Black Prince. Margaret D'anyers' grandfather, Sir Thomas D'anyers, had taken part in retrieving the standard of the Black Prince at the Battle of Crécy in 1346, and was rewarded with annuity of 40 marks a year by the Black Prince, drawn on his Cheshire estate, and which could be exchanged for land of that value belonging to the Black Prince. Sir Thomas died in 1354, and the annuity passed to his nearest surviving kin, his granddaughter Margaret, who in 1388 married the first Piers Legh (Piers Legh I). Richard II favoured Piers and granted his family a coat of arms in 1397, and the estate of Lyme Handley in 1398 redeeming the annuity. However, Piers was executed two years later by Richard's rival for the throne, Henry Bolingbroke.


title: Lyme Park

text: When in 1415 Sir Piers Legh II was wounded in the Battle of Agincourt, his mastiff stood over and protected him for many hours through the battle. The mastiff was later returned to Legh's home and was the foundation of the Lyme Hall Mastiffs. They were bred at the hall and kept separate from other strains, figuring prominently in founding the modern breed. The strain died out around the beginning of the 20th century.


title: Lyme Park

text: The first record of a house on the site is in a manuscript folio dated 1465, but that house was demolished when construction of the present building began during the life of Piers Legh VII, in the middle of the 16th century. This house, by an unknown designer, was L-shaped in plan with east and north ranges; piecemeal additions were made to it during the 17th century. In the 1720s Giacomo Leoni, an architect from Venice, added a south range to the house creating a courtyard plan, and made other changes. While he retained some of its Elizabethan features, many of his changes were in a mixture of Palladian and Baroque styles. During the latter part of the 18th century Piers Legh XIII bought most of the furniture which is in the house today. However, the family fortunes declined and the house began to deteriorate. In the early 19th century the estate was owned by Thomas Legh, who commissioned Lewis Wyatt to restore the house between 1816 and 1822. Wyatt's alterations were mainly to the interior, where he remodelled every room. Leoni had intended to add a cupola to the south range but this never materialised. Instead, Wyatt added a tower-like structure (a hamper) to provide bedrooms for the servants. He also added a one-storey block to the east range, containing a dining-room. Later in the century William Legh, 1st Baron Newton, added stables and other buildings to the estate, and created the Dutch Garden. Further alterations were made to the gardens by Thomas Legh, 2nd Baron Newton and his wife during the early 20th century. During the Second World War, the park was used as an RAF lorry depot. In 1946 Richard Legh, 3rd Baron Newton, gave Lyme Park to the National Trust. From 1947 the estate was managed by Stockport Corporation and its successor Stockport Metropolitan Borough Council until 1994 when the National Trust took direct control.


title: Lyme Park

text: The house is the largest in Cheshire, measuring overall by round a courtyard plan. The older part is built in coursed, squared buff sandstone rubble with sandstone dressings; the later work is in ashlar sandstone. The whole house has a roof of Welsh slates. The symmetrical north face is of 15 bays in three storeys; its central bay consists of a slightly protruding gateway. The arched doorway in this bay has Doric columns with a niche on each side. Above the doorway are three more Doric columns with a pediment, and above this are three further columns. Over all this are four further columns with an open pediment bearing an image of Minerva. The architectural historian Nikolaus Pevsner referred to this gateway as "the craziest Elizabethan frontispiece". The endmost three bays on each side project slightly forwards. The ground floors of the three outer bays on each side are rusticated, and their upper storeys are divided by large Corinthian pilasters. The west front is also in three storeys, with nine bays, the outer two bays on each side projecting forward. The ground floor is rusticated and the upper floors are smooth.


title: Lyme Park

text: The symmetrical 15-bay three-storey south front overlooking the lake is the work of Leoni. Although Leoni had been influenced by the works and principles of Palladio, both Pevsner and the authors of the citation in the "National Heritage List for England" agree that the design of this front is more Baroque than Palladian. The bottom storey is rusticated with arched windows, and the other storeys are smooth with rectangular windows. The middle three bays consist of a portico of which the lowest storey has three arches. Above this arise four giant fluted Ionic columns supporting a triangular pediment. Standing on the pediment are three lead statues, of Neptune, Venus and Pan. The pediment partly hides Wyatt's blind balustraded ashlar attic block. The other bays are separated by plain Ionic pilasters and the end three bays on each side protrude slightly. The nine-bay three-storey east front is mostly Elizabethan in style and has Wyatt's single-storey extension protruding from its centre. The courtyard was remodelled by Leoni, who gave it a rusticated cloister on all sides. Above the cloister the architecture differs on the four sides although all the windows on the first (piano nobile) floor have pediments. On the west side is a one-bay centrepiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule. This entrance is between the first and second storeys and is approached by symmetrical pairs of stairs with iron balusters, which were made in 1734 by John Gardom of Baslow, Derbyshire. In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble.


title: Lyme Park

text: The Entrance Hall, which is in the east range, was remodelled by Leoni. It is asymmetrical and contains giant pilasters and a screen of three fluted Ionic columns. The doorway to the courtyard has an open pediment. A hinged picture can be swung out from the wall to reveal a squint looking into the Entrance Hall. Also in the Entrance Hall are tapestries which were woven at the Mortlake Tapestry Works between 1623 and 1636. They were originally in the Leghs' London home in Belgrave Square and were moved to Lyme in 1903. In order to accommodate them, the interior decorator, Amadée Joubert, had to make alterations, including the removal of a tabernacle and cutting out four of the pilasters. To the south of the Entrance Hall is the Library, and to the east is Wyatt's Dining Room, which has a stucco ceiling and a carved overmantel both in a late 17th-century style, as well as a frieze. The decoration of this room is considered to be a rare early example of the Wrenaissance style.


title: Lyme Park

text: To the north of the Entrance Hall are the two principal Elizabethan rooms, the Drawing Room and the Stag Parlour. The Drawing Room is panelled with intersecting arches above which is a marquetry frieze. The ceiling has studded bands, strapwork cartouches and a broad frieze. Over the fireplace is a large stone overmantel, which is decorated with pairs of atlantes and caryatids framing the arms of Elizabeth I. The stained glass in this room includes medieval glass that was moved from the original Lyme Hall to Disley Church and returned to Lyme in 1835. The Stag Parlour has a chimneypiece depicting an Elizabethan house and hunting scenes, and it includes the arms of James I. The other Elizabethan rooms in the house are the Stone Parlour on the ground floor, and the Long Gallery, which is on the top floor of the east range. The Long Gallery also has a chimneypiece with the arms of Elizabeth I. The Grand Staircase dates from the remodelling by Leoni and it has a Baroque ceiling. The Saloon is on the first floor of the south range, behind the portico. Its ceiling is decorated in rococo style, and the room contains wooden carvings that have been attributed to Grinling Gibbons. The Chapel, in the northeast corner of the ground floor, also contains detailed carvings.


title: Lyme Park

text: This missal had been owned by the Legh family since at least 1508. It is the only known nearly complete copy of the earliest edition of a missal according to the Sarum Rite still in existence. When the family moved from the house in 1946, the missal went with them, and was held for safe-keeping in the John Rylands Library in Manchester. In the late 2000s the National Trust acquired it, and it was decided to return it to Lyme Park. To celebrate this the décor of the library was restored to the way it had been during the 19th century. This included re-graining of its ceiling, reproducing velvet for the upholstery and curtains, and re-papering the room with replica wallpaper, based on its original design.


title: Lyme Park

text: The house is surrounded by formal gardens of in a deer park of about which are listed at Grade II* in the National Register of Historic Parks and Gardens. In the gardens and deer park are a number of structures.


title: Lyme Park

text: To the west of the house is the former mill pond. From the south side a lawn slopes down to another pond beyond which is a small ravine with a stone bridge, this area being known as "Killtime". To the west of the lawn is the sunken Dutch Garden, which was created by William Legh. It consists of formal flower beds with a central fountain. To the west, south and east of the orangery are further formal flower gardens, including rose gardens.


title: Lyme Park

text: The park was enclosed in the 14th century by Piers Legh I. In the 17th century Richard Legh planted avenues of sycamore and lime trees. Richard's son, Peter Legh XII carried out more extensive tree-planting in the park, giving it its current appearance. Red deer descended from the original deer present when the park was enclosed graze in the grounds, as do Highland cattle. Formerly an unusual breed of wild white cattle with red ears grazed in the park but they became extinct in 1884.


title: Lyme Park

text: Sheep also graze in the park. The Gritstone Trail and the Peak District Boundary Walk long-distance footpaths both cross the park.


title: Lyme Park

text: The most obvious structure in the park, other than the house, is a tower called the Cage which stands on a hill to the east of the approach road to the house (). It was originally a hunting lodge and was later used as a park-keeper's cottage and as a lock-up for prisoners. The first structure on the site was built about 1580; this was taken down and rebuilt in 1737, possibly to a design by Leoni for Peter Legh X. The tower is built in buff sandstone rubble with ashlar sandstone dressings. It is square in plan, in three storeys, with attached small square towers surmounted by cupolas at the corners. The Cage is a Grade II* listed building. Also in the park is the Paddock Cottage which was erected by Peter Legh IX and restored in the early 21st century. To the east of this are the remains of the Stag House (). To the left of the house in Lantern Wood is a belvedere known as the Lantern (). It is built in sandstone and has three storeys and a spire; the lowest storey is square in plan while the other storeys and the spire are octagonal. The top storey and spire date from about 1580 and originally formed a bellcote on the north gatehouse. This was removed during the restoration of the house by Wyatt and rebuilt on the present site. It is a Grade II* listed building.


title: Lyme Park

text: Immediately to the northeast of the house is the Orangery which was designed in 1862 by Alfred Darbyshire. The Orangery is joined to the house by a covered passage known as the Dark Passage. This was designed by Wyatt for Sir Thomas Legh in 1815 and is a Grade II listed building. Further from the house, to the northeast of the orangery, are the stables (). These are dated 1863 and were also designed by Darbyshire. They are built in sandstone on a courtyard plan and are listed at Grade II. Other structures in the grounds listed at Grade II are the Pheasant House dating from about 1870, an Italian white marble wellhead in the centre of the courtyard of the house dating from the 18th century and probably brought to the house from Venice in about 1900, sandstone kennels in an H-plan dating from around 1870, a pair of gardener's cottages dated 1871, terrace revetment walls to the west of the house containing some 17th-century masonry with later repairs, the lodge, gate piers and gates on Lyme Park Drive, the forward gatepiers to Lyme Park Drive, dating from the late 17th century and moved to their present position about 1860, the gate piers in Red Lane, and the gate piers, gates and railings to the north of the north front of the house.


title: Lyme Park

text: Lyme Park is owned and administered by the National Trust. The house, garden and park are open to the public at advertised hours. An entrance fee to the house, garden and park is payable by non-members of the National Trust. In the grounds are shops, a refreshment kiosk, a coffee shop and a restaurant. The Lyme Caxton Missal is on display in the saloon. Events are held in the park. The Bowmen of Lyme use the park for archery.


title: Lyme Park

text: In August 2019, the park was hit by severe flooding and was evacuated. Though staff attempted to rescue antiques and collectables, a large section of the garden was washed away.


title: Lyme Park

text: Lyme Park and its hall have been used in several films and television programmes. The exterior of the hall was used as Pemberley, the seat of Mr Darcy, in the 1995 BBC adaptation of Jane Austen's novel "Pride and Prejudice", and as a location for the "Red Dwarf" episode "Timeslides". It was also used as a location in the 2011 film "The Awakening" and in the second series of "The Village" in 2014.


title: Vektroid

text: Ramona Andra Xavier (born August 19, 1992) is an American electronic musician from Portland, Oregon. She has released music under her primary Vektroid alias, as well as others, such as dstnt, Laserdisc Visions, New Dreams Ltd., Virtual Information Desk, and PrismCorp Virtual Enterprises. Xavier played a prominent role in the popularization of the vaporwave subgenre with the release of her ninth studio album, "Floral Shoppe", under the alias Macintosh Plus. The album helped popularize the vaporwave genre throughout the Internet. Since then, she has continued to release music through Bandcamp and other online platforms.


title: Vektroid

text: She began producing and releasing electronic music in 2005. Xavier has released music through aliases, including Macintosh Plus, PrismCorp, and Laserdisc Visions, among others. She reports that she has put out over forty releases since 2005. Paolo Scarpa characterized Xavier's music as an "exposé of late capitalism". James Parker noted Vektroid's "sensuous virtuality" and "new cyber-pop unconscious". Writing for Sputnikmusic, Adam Downer called "Floral Shoppe" a shift toward beauty in an age that has nearly "run the gamut of what artists and musicians can do".


title: Vektroid

text: Tiny Mix Tapes ranked "Floral Shoppe" and "札幌コンテンポラリー", released by Xavier under her Macintosh Plus and 情報デスクVIRTUAL aliases, respectively, on its list of its 50 favorite albums of 2012. "Fact" magazine called "Floral Shoppe" the defining album of Bandcamp, the streaming service through which Vektroid releases her music. The album is the site's most user-recommended album in the experimental music category.


title: Vektroid

text: Xavier stopped releasing music regularly in early 2013, only releasing two albums of that year, "Home™" and "ClearSkies™". Both albums were released under the PrismCorp Virtual Enterprises pseudonym in April. In 2014, Xavier released "", a revision of her release "Initiation Tape - Part One", as New Dreams Ltd. In early 2015, she collaborated with electronic duo Magic Fades to produce a remix of the song "Ecco" from their debut album, "Push Through". In February 2016 she released three albums, "Fuji Grid TV EX", Shader Complete and Sleepline. The first two are revisions of some of her albums, while the last one was produced in 2013 but never released previously.


title: Vektroid

text: Under various aliases, Xavier played a role in the creation of the modern electronic genre vaporwave between 2010 and 2013. Her projects, Macintosh Plus and New Dreams Ltd., are considered as the primary artists in the vaporwave genre.


title: Rishta Likhenge Hum Naya

text: Rishta Likhenge Hum Naya (We will write a new relation) is an Indian drama series that aired on SET India, starring Tejaswi Prakash and Rohit Suchanti. It premiered on 7 November 2017.


title: Rishta Likhenge Hum Naya

text: The series is a restructuring of "Pehredaar Piya Ki", which received negative social media response for depicting its two central characters, Diya, an 18-year-old princess and Ratan, a 9-year-old prince, as married. The Broadcasting Content Complaints Council (BCCC) asked SET India to move the series to a later 10pm time slot and the network complied. After a drop in viewership resulting from the move, series producers opted to restructure the series for prime time, in part by removing the child marriage theme by advancing Ratan's age to adulthood and recasting the character.