Miami Beach, Florida
Miami Beach is a coastal resort city in Miami-Dade County, United States. It was incorporated on March 26, 1915; the municipality is located on natural and man-made barrier islands between the Atlantic Ocean and Biscayne Bay, the latter of which separates the Beach from Miami. The neighborhood of South Beach, comprising the southernmost 2.5 square miles of Miami Beach, along with downtown Miami and the Port of Miami, collectively form the commercial center of South Florida. Miami Beach's estimated population is 92,307 according to the most recent United States census estimates. Miami Beach is the 26th largest city in Florida based on official 2017 estimates from the US Census Bureau, it has been one of America's pre-eminent beach resorts since the early 20th century. In 1979, Miami Beach's Art Deco Historic District was listed on the National Register of Historic Places; the Art Deco District is the largest collection of Art Deco architecture in the world and comprises hundreds of hotels and other structures erected between 1923 and 1943.
Mediterranean, Streamline Moderne and Art Deco are all represented in the District. The Historic District is bounded by the Atlantic Ocean on the East, Lenox Court on the West, 6th Street on the South and Dade Boulevard along the Collins Canal to the North; the movement to preserve the Art Deco District's architectural heritage was led by former interior designer Barbara Baer Capitman, who now has a street in the District named in her honor. Miami Beach is governed by six commissioners. Although the mayor runs commission meetings, the mayor and all commissioners have equal voting power and are elected by popular election; the mayor serves for terms of two years with a term limit of three terms and commissioners serve for terms of four years and are limited to two terms. Commissioners are voted for citywide and every two years three commission seats are voted upon. A city manager is responsible for administering governmental operations. An appointed city manager is responsible for administration of the city.
The City Clerk and the City Attorney are appointed officials. In 1870, a father and son and Charles Lum, purchased the land for 75 cents an acre; the first structure to be built on this uninhabited oceanfront was the Biscayne House of Refuge, constructed in 1876 by the United States Life-Saving Service at 72nd Street. Its purpose was to provide food, a return to civilization for people who were shipwrecked; the next step in the development of the future Miami Beach was the planting of a coconut plantation along the shore in the 1880s by New Jersey entrepreneurs Ezra Osborn and Elnathan Field, but this was a failed venture. One of the investors in the project was agriculturist John S. Collins, who achieved success by buying out other partners and planting different crops, notably avocados, on the land that would become Miami Beach. Meanwhile, across Biscayne Bay, the City of Miami was established in 1896 with the arrival of the railroad, developed further as a port when the shipping channel of Government Cut was created in 1905, cutting off Fisher Island from the south end of the Miami Beach peninsula.
Collins' family members saw the potential in developing the beach as a resort. This effort got underway in the early years of the 20th century by the Collins/Pancoast family, the Lummus brothers, Indianapolis entrepreneur Carl G. Fisher; until the beach here was only the destination for day-trips by ferry from Miami, across the bay. By 1912, Collins and Pancoast were working together to clear the land, plant crops, supervise the construction of canals to get their avocado crop to market, set up the Miami Beach Improvement Company. There were bath houses and food stands, but no hotel until Brown's Hotel was built in 1915. Much of the interior land mass at that time was a tangled jungle of mangroves. Clearing it, deepening the channels and water bodies, eliminating native growth everywhere in favor of landfill for development, was expensive. Once a 1600-acre, jungle-matted sand bar three miles out in the Atlantic, it grew to 2,800 acres when dredging and filling operations were completed. With loans from the Lummus brothers, Collins had begun work on a 2½-mile-long wooden bridge, the world's longest wooden bridge at the time, to connect the island to the mainland.
When funds ran dry and construction work stalled, Indianapolis millionaire and recent Miami transplant Fisher intervened, providing the financing needed to complete the bridge the following year in return for a land swap deal. That transaction kicked off the island's first real estate boom. Fisher helped by organizing an annual speed boat regatta, by promoting Miami Beach as an Atlantic City-style playground and winter retreat for the wealthy. By 1915, Collins and Fisher were all living in mansions on the island, three hotels and two bath houses had been erected, an aquarium built, an 18-hole golf course landscaped; the Town of Miami Beach was chartered on March 26, 1915. After the town was incorporated in 1915 under the name of Miami Beach, many visitors thought of the beach strip as Alton Beach, indicating just how well Fisher had advertised his interests there; the Lummus property was called Ocean Beach, with only the Collins interests referred to as Miami Beach. Carl Fisher was the main promoter of Miami Beach's development in the 1920s as the site for wealthy industrialists from the north and Midwest to and build their winter homes here.
Many other Northerners were targeted to vacation on the island. To accommodate the wealthy tourists, several grand hotels were built, among them: The Flamingo Hotel, The Fleetwood Hotel, The Floridi
Carl W. Stalling
Carl W. Stalling was an American composer and arranger for music in animated films, he is most associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros. where he averaged one complete score each week, for 22 years. Stalling was born to Ernest and Sophia C. Stalling, his parents were from Germany. The family settled in Missouri where his father was a carpenter, he started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was the theatre organist at the St. Louis Theatre, which became Powell Symphony Hall. By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in Kansas City, his actual job at the time was to play "organ accompaniment" for silent films. During that time, he met and befriended a young Walt Disney, producing animated comedy shorts in Kansas City. According to music critic Neil Strauss, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation.
Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was impressed with his style, he approached Stalling to introduce himself, their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, Disney ensured that Stalling would play the accompaniment for his films. Disney left Kansas City and moved to California in order to open a new studio. Stalling and Disney kept in touch through correspondence, considered each other friends. In 1928, Disney was on a journey from California to New York City in order to record the sound and make the preview of Steamboat Willie, Disney's first released sound short. During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Stalling composed several early cartoon scores for Walt Disney, including Plane Crazy and The Gallopin' Gaucho in 1928.
Plane Crazy and The Gallopin' Gaucho were silent films and were the first two Mickey Mouse animated short films in production. When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was pleased with the results, offered to hire Stalling as his studio's first music director. In order to get the job, Stalling had to move to California. According to Martha Sigall, Stalling accepted, he realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was at its end. Sound films were the new trend. Stalling soon followed Disney in moving to Hollywood. Animation historian Allan Neuwirth credits Stalling for inventing the process of creating a film score for cartoons. According to Neil Strauss, the "wildly talented" Stalling was suitable as a film score composer for animated films. Stalling voiced Mickey Mouse in Wild Waves in 1929. Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music.
This was still unusual at the time, since film music was played or composed to match the action of a film. Stalling's discussions with Disney on whether the animation or the musical score should come first led to Disney creating the Silly Symphonies series of animated short films. Stalling is credited with both the composition and the musical arrangement of The Skeleton Dance, the first of the Silly Symphonies; these cartoons allowed Stalling to create a score. While there, Stalling pioneered the use of "bar sheets", which allowed musical rhythms to be sketched out with storyboards for the animation; the Silly Symphonies was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music. Stalling helped Disney streamline and update the sound process used in creating early animated sound films, following the long and laborious synchronization process used in Steamboat Willie.
The close synchronization of music and on-screen movement pioneered by the Disney short films became known as Mickey Mousing. While working at the Disney studio, Stalling invented a tick system which helped synchronize music to visuals; this system was a forerunner to the click track, a method which would become a standard process used in both live-action and animated films. An early example of a click track was used in the production of The Skeleton Dance; the method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Neil Strauss, this version of the click track is credited to sound effects artist Jimmy MacDonald. Stalling left Disney at the same time as animator Ub Iwerks, he had completed the scoring of about 20 animated films for Disney. Finding few outlets in New York, Stalling rejoined Iwerks at his studio in California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936.
In 1936, when Leon Schlesinger—under contract to produce animated shorts for Warner Bros.—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. Ac
Elmer's Candid Camera
Elmer's Candid Camera is a 1940 Merrie Melodies cartoon short directed by Chuck Jones, first released on March 2, 1940, by Warner Bros. It marks the first appearance of a redesigned Elmer Fudd, the fourth starring appearance of the anthropomorphic rabbit character that would evolve into Bugs Bunny. Elmer is reading a book on, he whistles at the same time when holding the camera. He wants to take a picture of him; as he tries to photograph the Rabbit, he finds himself a convenient victim to harass. Elmer points to where the rabbit tells him that he wants to take a picture of him; this tormenting drives Elmer insane, causing him to jump into a lake and nearly drown. The rabbit saves him, ensures that Elmer is all right - and promptly kicks him straight back into the lake; the rabbit throws Elmer's "How To Photograph Wildlife" book on his head, thus ending the cartoon as the screen irises-out. VHS- Cartoon Moviestars: Elmer! VHS- Looney Tunes Collectors Edition: Wabbit Tales Laserdisc- Bugs! and Elmer!
Laserdisc- Golden Age of Looney Tunes Vol 2 DVD- Looney Tunes Golden Collection: Volume 1 DVD- Looney Tunes Spotlight Collection: Volume 1 DVD- The Essential Bugs Bunny Blu-ray- Looney Tunes Platinum Collection: Volume 2 Elmer's Candid Camera on IMDb Elmer's Candid Camera on the Internet Archive
Charles Martin Jones was an American animator, cartoonist, author and screenwriter, best known for his work with Warner Bros. Cartoons on the Looney Tunes and Merrie Melodies shorts, he wrote, and/or directed many classic animated cartoon shorts starring Bugs Bunny, Daffy Duck, Wile E. Coyote and the Road Runner, Pepé Le Pew, Porky Pig, Michigan J. Frog, the Three Bears, a slew of other Warner characters. After his career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions, began producing cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas!. He started his own studio, Chuck Jones Enterprises, which created several one-shot specials, periodically worked on Looney Tunes related works. Jones was nominated for an Oscar eight times and won three times, receiving awards for the cartoons For Scent-imental Reasons, So Much for So Little, The Dot and the Line, he received an Honorary Academy Award in 1996 for his work in the animation industry.
Film historian Leonard Maltin has praised Jones' work at Warner Bros. MGM and Chuck Jones Enterprises, he said that the "feud" that there may have been between Jones and colleague Bob Clampett was because they were so different from each other. In Jerry Beck's The 50 Greatest Cartoons, ten of the entries were directed by Jones, with four out of the five top cartoons being Jones shorts. Jones was born on September 21, 1912, in Spokane, the son of Mabel McQuiddy and Charles Adams Jones, he moved with his parents and three siblings to the Los Angeles, California area. In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, an unsuccessful businessman in California in the 1920s, his father, Jones recounts, would start every new business venture by purchasing new stationery and new pencils with the company name on them. When the business failed, his father would turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible.
Armed with an endless supply of high-quality paper and pencils, the children drew constantly. In one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must first get past before they could draw anything worthwhile. Jones recounted years that this pronouncement came as a great relief to him, as he was well past the 200,000 mark, having used up all that stationery. Jones and several of his siblings went on to artistic careers. During his artistic education, he worked part-time as a janitor. After graduating from Chouinard Art Institute, Jones got a phone call from a friend named Fred Kopietz, hired by the Ub Iwerks studio and offered him a job, he worked his way up starting as a cel washer. I went on to take animator's drawings and traced them onto the celluloid. I became what they call an in-betweener, the guy that does the drawing between the drawings the animator makes". While at Iwerks, he met a cel painter named Dorothy Webster, who became his first wife.
Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros. in 1933 as an assistant animator. In 1935, he was promoted to animator, assigned to work with new Schlesinger director Tex Avery. There was no room for the new Avery unit in Schlesinger's small studio, so Avery and fellow animators Bob Clampett, Virgil Ross, Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace"; when Clampett was promoted to director in 1937, Jones was assigned to his unit. Jones became a director himself in 1938; the following year Jones created his first major character, Sniffles, a cute Disney-style mouse, who went on to star in twelve Warner Bros. cartoons. He was involved in efforts to unionize the staff of Leon Schlesinger Studios, he was responsible for recruiting animators, layout men, background people. All animators joined, in reaction to salary cuts imposed by Leon Schlesinger; the Metro-Goldwyn-Mayer cartoon studio had signed a union contract, encouraging their counterparts under Schlesinger.
In a meeting with his staff, Schlesinger talked for a few minutes turned over the meeting to his attorney. His insulting manner had a unifying effect on the staff. Jones gave a pep talk at the union headquarters; as negotiations broke down, the staff decided to go on strike. Schlesinger locked them out before agreeing to sign the contract. A Labor Management Committee was formed and Jones served as a moderator; because of his role as a supervisor in the studio, he could not himself join the union. Jones created many of his lesser-known characters during this period, including Charlie Dog and Bertie, The Three Bears. During World War II, Jones worked with Theodor Geisel, better known as Dr. Seuss, to create the Private Snafu series of Army educational cartoons. Jones collaborated with Seuss on animated adaptations of Seuss' books, including How the Grinch Stole Christmas! in 1966. Jones directed such shorts as The Weakly Reporter, a 1944 short that related to shortag
Technicolor is a series of color motion picture processes, the first version dating to 1916, followed by improved versions over several decades. It was the second major color process, after Britain's Kinemacolor, the most used color process in Hollywood from 1922 to 1952. Technicolor became known and celebrated for its saturated color, was most used for filming musicals such as The Wizard of Oz and Down Argentine Way, costume pictures such as The Adventures of Robin Hood and Gone with the Wind, animated films such as Snow White and the Seven Dwarfs, Gulliver's Travels, Fantasia; as the technology matured it was used for less spectacular dramas and comedies. A film noir—such as Leave Her to Heaven or Niagara —was filmed in Technicolor. "Technicolor" is the trademark for a series of color motion picture processes pioneered by Technicolor Motion Picture Corporation, now a division of the French company Technicolor SA. The Technicolor Motion Picture Corporation was founded in Boston in 1914 by Herbert Kalmus, Daniel Frost Comstock, W. Burton Wescott.
The "Tech" in the company's name was inspired by the Massachusetts Institute of Technology, where both Kalmus and Comstock received their undergraduate degrees and were instructors. Technicolor, Inc. was chartered in Delaware in 1921. Most of Technicolor's early patents were taken out by Comstock and Wescott, while Kalmus served as the company's president and chief executive officer; the term "Technicolor" has been used to describe at least five concepts: Technicolor: an umbrella company encompassing all of the below as well as other ancillary services. Technicolor labs: a collection of film laboratories across the world owned and run by Technicolor for post-production services including developing and transferring films in all major color film processes, as well as Technicolor's proprietary ones. Technicolor process or format: several custom image origination systems used in film production, culminating in the "three-strip" process in 1932. Technicolor IB printing: a process for making color motion picture prints that allows the use of dyes which are more stable and permanent than those formed in ordinary chromogenic color printing.
Used for printing from color separation negatives photographed on black-and-white film in a special Technicolor camera. Prints or Color by Technicolor: used from 1954 on, when Eastmancolor supplanted the three-film-strip camera negative method, while the Technicolor IB printing process continued to be used as one method of making the prints; this meaning of the name applies to nearly all Wikipedia articles about films made from 1954 onward in which Technicolor is named in the credits. Technicolor existed in a two-color system. In Process 1, a prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film one behind a red filter, the other behind a green filter; because two frames were being exposed at the same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures, two lenses, an adjustable prism that aligned the two images on the screen; the results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917.
Technicolor itself produced the only movie made in Process 1, The Gulf Between, which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917 to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this additive color process. Only a few frames of The Gulf Between, showing star Grace Darmond, are known to exist today. Convinced that there was no future in additive color processes, Comstock and Kalmus focused their attention on subtractive color processes; this culminated in what would be known as Process 2. As before, the special Technicolor camera used a beam-splitter that exposed two consecutive frames of a single strip of black-and-white film, one behind a green filter and one behind a red filter; the difference was that the two-component negative was now used to produce a subtractive color print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist.
The frames exposed behind the green filter were printed on one strip of black-and-white film, the frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that the highlights remain clear, dark areas are colored, intermediate tones are colored proportionally; the two prints, made on film stock half the thickness of regular film, we
The South Pole known as the Geographic South Pole or Terrestrial South Pole, is one of the two points where Earth's axis of rotation intersects its surface. It is the southernmost point on the surface of Earth and lies on the opposite side of Earth from the North Pole. Situated on the continent of Antarctica, it is the site of the United States Amundsen–Scott South Pole Station, established in 1956 and has been permanently staffed since that year; the Geographic South Pole is distinct from the South Magnetic Pole, the position of, defined based on Earth's magnetic field. The South Pole is at the center of the Southern Hemisphere. For most purposes, the Geographic South Pole is defined as the southern point of the two points where Earth's axis of rotation intersects its surface. However, Earth's axis of rotation is subject to small "wobbles", so this definition is not adequate for precise work; the geographic coordinates of the South Pole are given as 90°S, since its longitude is geometrically undefined and irrelevant.
When a longitude is desired, it may be given as 0°. At the South Pole, all directions face north. For this reason, directions at the Pole are given relative to "grid north", which points northwards along the prime meridian. Along tight latitude circles, clockwise is east, counterclockwise is west, opposite to the North Pole; the Geographic South Pole is located on the continent of Antarctica. It sits atop a featureless, barren and icy plateau at an altitude of 2,835 metres above sea level, is located about 1,300 km from the nearest open sea at Bay of Whales; the ice is estimated to be about 2,700 metres thick at the Pole, so the land surface under the ice sheet is near sea level. The polar ice sheet is moving at a rate of 10 metres per year in a direction between 37° and 40° west of grid north, down towards the Weddell Sea. Therefore, the position of the station and other artificial features relative to the geographic pole shift over time; the Geographic South Pole is marked by a stake in the ice alongside a small sign.
The sign records the respective dates that Roald Amundsen and Robert F. Scott reached the Pole, followed by a short quotation from each man, gives the elevation as "9,301 FT.". A new marker stake is fabricated each year by staff at the site; the Ceremonial South Pole is an area set aside for photo opportunities at the South Pole Station. It is located some meters from the Geographic South Pole, consists of a metallic sphere on a short bamboo pole, surrounded by the flags of the original Antarctic Treaty signatory states. Amundsen's Tent: The tent was erected by the Norwegian expedition led by Roald Amundsen on its arrival on 14 December 1911, it is buried beneath the snow and ice in the vicinity of the Pole. It has been designated a Historic Site or Monument, following a proposal by Norway to the Antarctic Treaty Consultative Meeting; the precise location of the tent is unknown, but based on calculations of the rate of movement of the ice and the accumulation of snow, it is believed, as of 2010, to lie between 1.8 and 2.5 km from the Pole at a depth of 17 m below the present surface.
Argentine Flagpole: A flagpole erected at the South Geographical Pole in December 1965 by the First Argentine Overland Polar Expedition has been designated a Historic Site or Monument following a proposal by Argentina to the Antarctic Treaty Consultative Meeting. In 1820, several expeditions claimed to have been the first to have sighted Antarctica, with the first being the Russian expedition led by Fabian Gottlieb von Bellingshausen and Mikhail Lazarev; the first landing was just over a year when American Captain John Davis, a sealer, set foot on the ice. The basic geography of the Antarctic coastline was not understood until the mid-to-late 19th century. American naval officer Charles Wilkes claimed that Antarctica was a new continent, basing the claim on his exploration in 1839–40, while James Clark Ross, in his expedition of 1839–43, hoped that he might be able to sail all the way to the South Pole. British explorer Robert Falcon Scott on the Discovery Expedition of 1901–04 was the first to attempt to find a route from the Antarctic coastline to the South Pole.
Scott, accompanied by Ernest Shackleton and Edward Wilson, set out with the aim of travelling as far south as possible, on 31 December 1902, reached 82°16′ S. Shackleton returned to Antarctica as leader of the British Antarctic Expedition in a bid to reach the Pole. On 9 January 1909, with three companions, he reached 88°23' S – 112 miles from the Pole – before being forced to turn back; the first men to reach the Geographic South Pole were the Norwegian Roald Amundsen and his party on December 14, 1911. Amundsen named his camp Polheim and the entire plateau surrounding the Pole King Haakon VII Vidde in honour of King Haakon VII of Norway. Robert Falcon Scott returned to Antarctica with his second expedition, the Terra Nova Expedition unaware of Amundsen's secretive expedition. Scott and four other men reached the South Pole on January 17, 1912, thirty-four days after Amundsen. On the return trip and his four companions all died of starvation and extreme cold. In 1914 Ernest Shackleton's Imperial Trans-Antarctic Expedition set out with the goal of crossing Antarctica via the South Pole, but his ship, the Endurance, was frozen in pack ice and sank 1
Which Is Witch
Which Is Witch is a 1948 Looney Tunes cartoon released by Warner Bros. in 1949, directed by Friz Freleng and written by Tedd Pierce. Bugs Bunny is exploring Dark Africa. A short witch doctor wants to use him as a key ingredient in a prescription. Believing he is enjoying a hot bath, Bugs notices that he's being cooked and escapes, while Dr. Spots chases him. Bugs disguises himself as a Zulu native woman but this ploy fails. In the river, he swims to a ferry boat; as Dr. Spots follows a crocodile eats him. Although the witch doctor is his enemy, Bugs wrestles the croc emerging from the water with a crocodile skin handbag, from which Spots emerges, clad in crocodile skin attire. Cohen, Karl F. "Racism and Resistance:Stereotypes in Animation", Forbidden Animation: Censored Cartoons and Blacklisted Animators in America, McFarland & Company, ISBN 978-0786420322