Paste is a monthly music and entertainment digital magazine, headquartered in Atlanta, with studios in Atlanta and Manhattan, owned by Paste Media Group. The magazine began as a website in 1998, it ran as a print publication from 2002 to 2010 before converting to online-only. The magazine was founded as a quarterly in July 2002, was owned, by Josh Jackson, Nick Purdy, Tim Regan-Porter, it switched to a bimonthly format. In 2005, Paste fulfilled remaining subscriptions for the competing magazine Tracks, which had ceased publishing its print edition. Paste became a monthly with its August 2006 issue. For two years in the mid-2000s, Paste had a weekly segment on CNN Headline News called "Paste Picks", wherein editors would recommend new albums and films every Tuesday. In October 2007, the magazine tried the "Radiohead" experiment, offering new and current subscribers the ability to pay what they wanted for a one-year subscription to Paste; the subscriber base increased by 28,000, but Paste president Tim Regan-Porter noted the model was not sustainable.
Amidst an economic downturn, Paste began to suffer from lagging ad revenue, as did other magazine publishers in 2008 and 2009. On May 14, 2009, Paste editors announced a plan to save the magazine, by pleading to its readers and celebrities for contributions. Cost-cutting by the magazine did not stem the losses; the main crux cited. In 2009, Paste launched. On August 31, 2010, Paste suspended the print magazine, but continues publication as the online PasteMagazine.com. From 2011-2016, Paste offered a digital subscription service, covering music, movies, TV, books, video games, tech and drink; each issue included a digital version of the Paste Sampler with seven new songs each week. In 2017, Paste launched a new, large-format print magazine with an accompanying vinyl sampler, but it was discontinued after just two issues, its tagline is "Signs of Life in Music and Culture". Paste's initial focus was music, covering a variety of genres with an emphasis on adult album alternative and indie rock, along with independent film and books.
Each issue included a CD music sampler but was dropped in favor of digital downloading as a Going-Green initiative. Featured artists included Paul McCartney, Ryan Adams, Regina Spektor, The Whigs, Fiona Apple, The Decemberists, Mark Heard, Woven Hand and the Devils Party, Liam Finn, The Trolleyvox, Thom Yorke. Many of these artists contributed to the Campaign to Save Paste. Paste added video game coverage in 2006, has since expanded to include television, drinks, politics and tech; the site streams original music performances daily from its studios in New York. Paste has been recording live performances since 2006, first in its office in Decatur, Ga. and in its Manhattan studio location beginning in 2012. Artists who've performed in the Paste studio include: The Joy Formidable, Steve Martin, Waka Flocka Flame, Violent Femmes, Minus the Bear, Flogging Molly, The Civil Wars, Chris Thile, Dashboard Confessional, The Zombies, Laura Marling, Puddles Pity Party, Arrested Development and Grace VanderWaal.
Paste has filmed exclusive performances at events across the country, including The Lumineers, Billy Bragg, Courtney Barnett, Lord Huron at SXSW. In 2015, Paste added several collections of archival live audio and video to PasteMagazine.com and now boasts more than 100,000 performances available to stream for free on its site or the Paste Music & Daytrotter app, launched in late 2017. Available content includes performances from Prince, U2, The Rolling Stones, Aretha Franklin, The Zephyr Bones, Wilco and thousands more, along with everything recorded in the Paste Studio. In 2019, Paste opened a second studio in Downtown Atlanta. In 2005, Paste was listed at #21 on the Chicago Tribune's list of "50 Best Magazines". Paste was named "Magazine of the Year" by the PLUG Independent Music Awards in 2006, 2007 and 2008. In 2008, 2009 and 2010, Paste was nominated for a National Magazine Award in the category of General Excellence, in 2010, associate editor Rachael Maddux' writings were nominated for Best Reviews.
Ryūjō was a light aircraft carrier built for the Imperial Japanese Navy during the early 1930s. Small and built in an attempt to exploit a loophole in the Washington Naval Treaty of 1922, she proved to be top-heavy and only marginally stable and was back in the shipyard for modifications to address those issues within a year of completion. With her stability improved, Ryūjō returned to service and was employed in operations during the Second Sino-Japanese War. During World War II, she provided air support for operations in the Philippines and the Dutch East Indies, where her aircraft participated in the Second Battle of the Java Sea. During the Indian Ocean raid in April 1942, the carrier attacked British merchant shipping with her guns and aircraft. Ryūjō next participated in the Battle of the Aleutian Islands in June, she was sunk by American carrier aircraft at the Battle of the Eastern Solomons on 24 August 1942. Ryūjō was planned as a light carrier of around 8,000 metric tons standard displacement to exploit a loophole in the Washington Naval Treaty of 1922 that carriers under 10,000 long tons standard displacement were not regarded as "aircraft carriers".
While Ryūjō was under construction, Article Three of the London Naval Treaty of 1930 closed the above-mentioned loophole. Ryūjō had a length of 179.9 meters overall. With a beam of 20.32 meters and a draft of 5.56 meters. She displaced 8,000 metric tons at 10,150 metric tons at normal load, her crew enlisted men. To keep Ryūjō's weight to 8,000 metric tons, the hull was built with no armor, she was designed with only a single hangar, which would have left an low profile. Between the time the carrier was laid down in 1929 and launched in 1931, the Navy doubled her aircraft stowage requirement to 48 in order to give her a more capable air group; this necessitated the addition of a second hangar atop the first. Coupled with the ship's narrow beam, the consequent top-heaviness made her minimally stable in rough seas, despite the fitting of Sperry active stabilizers; this was a common flaw amongst many treaty-circumventing Japanese warships of her generation. The Tomozuru Incident of 12 March 1934, in which a top-heavy torpedo boat capsized in heavy weather, caused the IJN to investigate the stability of all their ships, resulting in design changes to improve stability and increase hull strength.
Ryūjō known to be only marginally stable, was promptly docked at the Kure Naval Arsenal for modifications that strengthened her keel and added ballast and shallow torpedo bulges to improve her stability. Her funnels were moved higher up the side of her hull and curved downward to keep the deck clear of smoke. Shortly afterward, Ryūjō was one of many Japanese warships caught in a typhoon on 25 September 1935 while on maneuvers during the "Fourth Fleet Incident." The ship's bridge, flight deck and superstructure were damaged and the hangar was flooded. The forecastle was raised one deck and the bow was remodelled with more flare to improve the sea handling. After these modifications, the beam and draft increased to 20.78 meters and 7.08 meters respectively. The displacement increased to 10,600 metric tons at standard load and 12,732 metric tons at normal load; the crew grew to 924 officers and enlisted men. The ship was fitted with two geared steam turbine sets with a total of 65,000 shaft horsepower, each driving one propeller shaft, using steam provided by six Kampon water-tube boilers.
Ryūjō had a designed speed of 29 knots, but reached 29.5 knots during her sea trials from 65,270 shp. The ship carried 2,490 long tons of fuel oil, which gave her a range of 10,000 nautical miles at 14 knots; the boiler uptakes were trunked to the ship's starboard side amidships and exhausted horizontally below flight deck level through two small funnels. Ryūjō was a flush-decked carrier without an island superstructure; the 156.5-meter flight deck was 23 meters wide and extended well beyond the aft end of the superstructure, supported by a pair of pillars. Six transverse arrestor wires were installed on the flight deck and were modernised in 1936 to stop a 6,000 kg aircraft; the ship's hangars were both 102.4 meters long and 18.9 meters wide, had an approximate area of 3,871 square metres. Between them, they gave the ship the capacity to store 48 aircraft, but only 37 could be operated at one time. After the Fourth Fleet Incident, Ryūjō's bridge and the leading edge of the flight deck were rounded off to make them more streamlined.
This reduced the length of the flight deck by 2 meters. Aircraft were transported between the flight deck by two elevators; the small rear elevator became a problem as the IJN progressively fielded larger and more modern carr
Grandstreet Theatre is a theatre in Helena, Montana. It is one of Montana's largest theatres. Located in historic downtown Helena, the community theatre presents several plays and youth extravaganzas each year. Founded in 1975, "GST" remains a cornerstone for entertainment and education in Montana's capital city. GST's Summer Conservatory combines education with a full-scale summer stock experience. Grandstreet Theatre School offers year-round classes, has produced a large number of theatre professionals across the country. Grandstreet Theatre current staff includes Managing Director Kal Poole, Artistic Director Jeff Downing and Director of Education Marianne Adams. Carl Darchuck, a Montana native, returned to Helena at the invitation of John Wheeler in May, 1975 to investigate the potential for starting a community theater in Helena, much as he did in Fort Peck, Montana and Port Townsend, Washington. For a year, the theatre was located on Grand Street and Last Chance Gulch, in the ballroom of the historic Placer Hotel.
In August, 1976, Grand Street Theatre was invited to move into its current space, a beautiful stone building designed as Unitarian church and serving as the Helena Public Library from 1933 until 1976. Since the move, the original avenue of Grand Street was demolished, Grandstreet became one word; the Theatre has flourished under the guidance of several skilled directors, notably Don McLaughlin, who served for fourteen years, leaving in August, 1993. Artistic Directors include Jerry Morrison, Blair Bybee, Stephen Alexander. Grandstreet Theatre produces seven to ten productions a year, including comedies and musicals - all the best titles. During the McLaughlin years, Don's wife Janet, began the Grandstreet Theatre School. Now run by Marianne Adams, Theatre School offers school-year classes of a wide variety, the celebrated Summer Theatre School. Adams coordinated the Summer Conservatory, bringing burgeoning artists from across the country to the picturesque locale for rousing Summer Stock. Grandstreet's historic building, beautiful setting and excellent plays is a must during any visit to Montana's "Queen City," Helena.
Built as a Unitarian Church in 1901, the facility included the sloping floor and the proscenium stage area of today. Early church documents indicated it was intended as a multi-use facility; the Reverend Leslie Willis Sprague idea for the building: "...nor do I believe God wants churches that are too holy for usefulness in any cause for the entertainment and pastime of His children...." In 1933, an earthquake destroyed Helena's main public library. The church was donated to the City of Helena in memory of Ellen Dean for use as an interim library following the near destruction of the original facility by earthquakes. Renovations were made to the building by adding a mezzanine. In 1976, Grand Street Theatre assumed occupancy and transformed the building into Helena's full-time, year-round community theater, its former elegance was restored thanks to a Historic Preservation Award in May, 1996. Carl Darchuck oversaw such projects as restoring the original sloped audience floor, the removal of the temporary mezzanine, putting back in the balcony, protecting its priceless 1910 Tiffany window.
The final piece of restoration came with the discovery of the 1901 blueprints of the spectacular stained glass frieze. Under the direction of Tom Cordingley, it was pain-stakingly reproduced, with the addition of the comedy and tragedy theatre masks. Official website