One-hundred, thirty-two years ago, today, inventor George Eastman received a patent (number 388,850) for [the shutter of a roll-film hand camera] and the trademark (number 15,825) for the Kodak name […].
Birth of a Company
In 1879, London was the center of the photographic and business world. George Eastman went there to obtain a patent on his plate-coating machine. An American patent was granted the following year. In April 1880, Eastman leased the third floor of a building on State Street in Rochester and began to manufacture dry plates for sale. Success of the dry plate venture so impressed businessman Henry A. Strong, that he invested some money in the infant concern. On January 1, 1881, Eastman and Strong formed a partnership called The Eastman Dry Plate Company. While actively managing all phases of the firm’s activities, [Eastman] continued research in an effort to simplify photography.
In 1883, Eastman startled the trade with the announcement of film in rolls, with the roll holder adaptable to nearly every plate camera on the market. [By] 1884, the Eastman-Strong partnership had given way to a new firm…the Eastman Dry Plate and Film Company with 14 shareowners.
George Eastman History
Building the Foundation
My very first camera was a late 70s Kodak Instamatic with 126 film. It was a gift from my paternal grandmother and it got a lot of use. ~Vic
Additional Reading & Sources:
From The Camera Obscura To The Revolutionary Kodak (Eastman Museum)
Kodak History (Kodak Company)
“She may be one good reason to leave but, I’m a hundred reasons to stay…”
This Sunday’s playlist submission is Hands Tied by American pop rock band Scandal, formed in 1981 in New York City by guitarist Zack Smith…and not to be confused with the Japanese band or the Australian band. Written by Holly Knight and Mike Chapman, it was the third track from the album Warrior (featuring Patty Smyth). I can’t find a release date but, it entered the Billboard Hot 100 on October 20, 1984, and peaked at #41 on December 1st. It also peaked at #21 on the Billboard Mainstream Rock Tracks on the same day.
This album was the very first CD I ever owned. It was a gift and, up until that point, I only had vinyl, 45s and cassettes. I wore this one out, too. The band called it quits in 1985 but, reformed in 2004 and are still active. The song Love’s Got A Line On You from their debut EP Scandal was on the soundtrack to the 1983 movie Easy Money and Smyth was a solo artist on soundtracks for Caddyshack II & Armageddon. Other songs have appeared in additional movies and TV.
Patty Smyth & Scandal (Official Site)
Sixty-four years ago, today…
Also known as the Federal Aid Highway Act of 1956 (Public Law 84-627), [it] was enacted on June 29, 1956, when President Dwight D. Eisenhower signed the bill into law. With an original authorization of $25 billion for the construction of 41,000 miles (66,000 km) of the Interstate Highway System, supposedly over a 10-year period, it was the largest public works project in American history [at] that time.
The addition of the term defense in the act’s title was for two reasons. First, some of the original cost was diverted from defense funds. Secondly, most U.S. Air Force bases have a direct link to the system. One of the stated purposes was to provide access in order to defend the United States during a conventional or nuclear war with the Soviet Union and its communist allies. All of these links were in the original plans, [though] some, such as Wright Patterson AFB, were not connected […] in the 1950s but, [were] later.
The money for the Interstate […] and Defense Highways was [drawn from] a Highway Trust Fund that paid for 90% of highway construction costs, with the states required to pay the remaining [10%]. It was expected that the money would be generated through new taxes on fuel, automobiles, trucks and tires. As a matter of practice, the federal portion of the cost of the Interstate Highway System has been paid for by taxes on gasoline and diesel fuel.
Eisenhower‘s support of the Federal Aid Highway Act of 1956 can be directly attributed to his experiences in 1919 as a participant in the U.S. Army’s first Transcontinental Motor Convoy across the United States on the historic Lincoln Highway, which was the first road across America. The convoy was memorable enough for a young Army officer, 28-year-old Lieutenant Colonel Dwight David Eisenhower, to include a chapter about the trip, titled Through Darkest America With Truck and Tank in his book At Ease: Stories I Tell to Friends (Doubleday and Company, Inc., 1967).
Following completion of the highways, the cross-country journey that took the convoy two months in 1919 was cut down to five days.
Additional Reading & Sources:
Federal Aid Highway Act of 1956: Creating The Interstate System (Federal Highway Administration)
Federal Highway Act of 1956 (Web Archive of the Class Brain Site)
Federal Aid Highway Act of 1956 (Wikipedia)
Two-hundred, seventy-four years ago, today, the Battle of Culloden (east of Inverness), also referred to as the Battle Of Drummossie was the last confrontation of the 1745 Jacobite Rising (Forty-Five Rebellion).
The battle […] is significant as the last pitched battle fought on the British mainland. It was also the last battle of the final Jacobite Rising that commenced in 1745 when Charles Edward Stuart (Bonnie Prince Charlie), grandson of the exiled King James VII & II, arrived in Scotland from France in July and raised his standard at Glenfinnan [in August]. His aim was to put his father on the throne in place of the Hanoverian George II.
The battle was a total and bloody defeat for the Jacobites which effectively marked the end of almost sixty years of the Jacobite struggle, as never again would an armed uprising be used in the attempt to return the Stuarts to the throne. The government victory also paved the way for a sustained programme to destroy the power base of the rebel clans.
Culloden (pronounced culawden, with the emphasis on ‘oden‘) is one of the most important battles in the history of the British Isles and has international significance. It is the final battle fought on the British mainland and brings to an end more than half a century […] of Jacobite conflict, itself played out against a background of wider international wars. Its aftermath transforms the Highlands, bringing to an end the traditional way of life of the area and contributing to the subsequent clearances. The battle also holds a prominent place within the Scottish cultural legacy, frequently depicted, and commemorated, in art, music, literature and film. The battlefield, itself, is one of the most visited tourist sites in the Highlands […]. [T]he site holds a particularly high significance, and emotional connection, to many within Scotland and to the ancestors of the Scottish Diaspora.
The official return for British Army casualties (government troops) was 50 officers, and men, killed and 259 wounded [with] one missing (a proportion of the wounded later died of their wounds). Jacobite fatalities have been estimated at between 1,200-1,500 with between 400 and 500 prisoners taken in the immediate aftermath and many more in the days which followed. Only the Irish and Scottish troops in French service were treated as bona fide prisoners of war, the rest as rebels.
The battle, which lasted only 40 minutes, resulted in bitter defeat for the heavily outnumbered Jacobites. Led by the Duke of Cumberland, son of King George II, [the] devastating slaughter of the Jacobites was the result of the opening British cannonade and, subsequent tactics of the Redcoats during the attack […] when each British soldier, instead of attacking the Highlander directly in front of him, bayoneted the exposed side of the man to his right. The Highlanders finally broke and fled […].
Hunted by troops and spies, Prince Charles wandered over Scotland for five months before escaping to France and final exile. The [battle] […] marked the end of any serious attempt by the Jacobites to restore the Stuart dynasty to the British throne.
A generation before, a previous Jacobite rebellion had been thwarted by the king’s officer, George Wade, who had “pacified” and “disarmed” the highland clans. So concerned was the English establishment, and relieved by Wade’s actions, that an additional verse to the National Anthem was penned:
God grant the Marshal Wade
May be thy Mighty aid,
May he sedition hush,
And like a torrent rush,
Rebellious Scots to crush,
God save the king
Fallout (Late Add):
The high ranking “rebel lords” were executed on Tower Hill in London. Britain enacted punitive laws to prevent the clans rising, again:
(1) Episcopal clergy were required to swear allegiance to the House of Hanover.
(2) The Heritable Jurisdictions Act 1749 abolished judicial rights of heritors, stripping estates from lords and clan chiefs.
(3) The Act of Proscription 1746 was enacted to destroy the clan system.
(4) The Dress Act 1746 made wearing the Highland Dress illegal in Scotland, except for the military-based kilt wearing of the Black Watch
Addendum: “Culloden is viewed by the Scottish people as a war grave. To my fellow Americans, stepping onto the Culloden battlefield would be like visiting Gettysburg or Normandy. And, since Scotland views it as a grave, you could also liken it to Arlington Cemetery. You don’t simply walk onto any of these places with a light spirit.” ~Brit At Heart
Ascanius (Web Archive)
Battle of Culloden (Britannica)
Battle of Culloden (British Battles)
Battle of Culloden (Historic Environment Scotland)
Battle of Culloden (Wikipedia)
Battle of Culloden Moor (Web Archive)
Culloden (National Trust for Scotland)
Culloden 1745 Culloden 2010 (Bluestocking)
Culloden Ghosts (About Aberdeen)
Culloden Moor (Web Archive)
The Battle of Culloden (Historic UK)
2020 Anniversary Lament
Documentary From 1964
One-hundred years ago, today, the silent black & white drama film The Girl In Number 29 premiered (though not released, widely). Directed by John Ford and written by Philip D. Hurn, it was based upon the novel The Girl In The Mirror (1919) by Elizabeth Jordan. Starring Frank Mayo, Elinor Fair, Claire Anderson, Robert Bolder and Bull Montana, it is considered a lost film.
After turning out a successful drama, young playwright Laurie Devon settles down to a life of idleness. Alarmed and disgusted, his friends make every effort to get him to work again but, he refuses. One evening, while glancing into his mirror, Laurie sees a beautiful girl in the apartment across the way, holding a revolver to her head. Dashing out of his apartment house, he prevents her from pulling the trigger. He learns that her name is Doris Williams and discovers that her plight is caused by a man named Shaw. Soon after, Shaw and his thugs abduct her, and Laurie comes to her rescue, shooting her tormentor. Returning home, he confesses his crime to his sister and friends, and learns that the whole incident was a trick to restore his interest in life. The plot succeeds and Laurie writes another hit play in which his new wife Doris is the star.
Laurie Devon (Mayo) is a New York playwright who, having had one success, refuses to work on another play. One night he sees a woman (Anderson) in an apartment across the street take out a gun and place it to her forehead. He reaches her in time to save her and she tells him that she is under some terrible evil influence, which she will not disclose. Devon attempts to untangle the mystery and is led on an adventure. The woman is taken to a house on Long Island, where Devon, after a fight, rescues her. He takes out the revolver and shoots one of the pursuers, who falls to the ground. On returning home, he is heartbroken and tells his sister Barbara (Fair) and his friends that he is a murderer. His sister, and two of his friends, then confess that the whole thing was a frame-up. [T]hey had hired some actors to stage everything and that it was an attempt to get the ambitionless [sic] author to write again. The revolver used in the suicide attempt by the woman, and in the later shooting, had blanks. Devon and the woman from the apartment melt into each other’s arms at the final fade-out.
One hundred, ten years ago, the silent, black & white short film The Roman was released. Directed by Francis Boggs and written by Edward Bulwer-Lytton, it starred Hobart Bosworth, Betty Harte, Robert Z. Leonard and Tom Santschi. It was filmed at the studios of the Selig Polyscope Company.
The Moving Picture World (January-June 1910 Archive):
Perhaps the most attractive feature of this picture is the reproduction of early Roman costumes and Roman surroundings. It is a story of political intrigue, with all the contests and disagreeable features, connected therewith in the ancient city. But, the reproduction of manners and customs and, the historically correct scenery and settings, add immensely to the interest and, insure attention when, perhaps, the mere political story would scarcely be considered. The greatest service the motion picture can do is in the direction of educating the people, and a film like this, which faithfully illustrates long past and, perhaps, partially forgotten life, is of vast importance and, deserves a cordial reception. The Selig players have brought enthusiasm to their work and, have put much ability and life into the interpretation of this play.
This film may have been based on the 1835 novel Rienzi, the Last of the Tribunes, by Edward Bulgar-Lytton [sic]. An advertisement in the [February] 19, 1910, Film Index billed Bosworth above the title, “Hobart Bosworth in The Roman,” and labeled the movie “Film De Art of the Classics,” declaring: “Its teachings are based upon the scriptures and traditions of the early history of the eternal city.” The advertisement also suggested that theater owners book The Roman as a “Special Lenten Picture.”
A young woman [orders] her girl slave to deposit in the waters of the Tiber a child which she has cause to be rid of. The infant is found by one of the aristocracy and adopted. In later years she is betrothed but, just before the wedding, the ruler of the land claims the young woman, on the ground that she was born in slavery. By military force, she is torn from the arms of her foster father and taken to the ruling house where she is held captive for only a few hours, as the father and young lover, have aroused a popular rebellion which overthrows the ruler, end[ing] in his death and the defeat of his defenders. (Variety February 19, 1910)
One Trivia Bit:
♦ Per [Hobart] Bosworth, first picture made at Selig’s (Studio at 1845 Allesandro Street, now Glendale Blvd.) in the Edendale (now Silver Lake) plant of Los Angeles.
[There was not much written about this film and no video clip(s). The image, above, doesn’t seem to jive with the TCM synopsis. But, that is all I could find.
Addendum: I continued to dig and found the, above, write-ups via the Internet Archive database and AFI. Turner Classic Movies synopsis was WAY off. ~Vic]
Forty years ago, today, the very first American Movie Awards was televised on NBC. Filmed at the Wilshire Theatre, the ceremony honored film, actors, directors, screenwriters, music, favorites and a special recognition. Co-hosts were David Frost (also Executive Producer) and Dudley Moore with Angie Dickinson as Co-Hostess. Susan Anton was a performer. Judging by what few images I could find, the trophy was designed to resemble the Empire State Building.
♦ Best Film: Rocky II
♦ Best Actor: Alan Alda (The Seduction of Joe Tynan)
♦ Best Actress: Sally Field (Norma Rae)
♦ Best Supporting Actor: Robert Duvall (Apocalypse Now)
♦ Best Supporting Actress: Meryl Streep (The Deer Hunter)
♦ Best Director: Michael Cimino (The Deer Hunter)
♦ Best Screenplay: The China Syndrome
♦ Best Original Song: Every Which Way But Loose (Every Which Way But Loose)
♦ Favorite Film Star-Female: Jane Fonda
♦ Favorite Film Star-Male: Burt Reynolds
♦ Special Marquee: Clint Eastwood (Distinguished and Continuing Career)
There was another ceremony in March 1982 at a different location and a relaunch in 2013 with ceremonies in 2014, 2015, 2016, 2017 and 2018 focusing mainly on Independent Film. I doubt there will be anymore ceremonies as the website was taken down last year. There are no videos of the event on YouTube, either.
A Blog Post From: The Chris Thomas Files
Oh deary, deary me. What a fine mess we seem to have gotten ourselves into. Just as we were beginning to believe all the messages that we are changing for the better, we seem to be surrounded by more and more chaos and, confusion. If we are changing, raising our energy frequencies, how come everything seems to be becoming worse?
As we undergo our ‘changes’, what we are actually doing is bringing more and more of our soul energy into the body, until we once again become a true human being. Let me explain: For the past 7,000 years our human form has been divided into a ‘physical self’ and a ‘higher self’. The physical self, that which we refer to as the human body, has only contained about one-quarter of our total consciousness, our total soul. The higher self has made up the other three-quarters.
At long, long last we have found the way to reintegrate the whole, to bring the whole soul back into the physical body. That is why I always explain to people that we are not ‘ascending’ anywhere. We are just becoming ‘whole’, we are just becoming human. This is what is meant by change.
Always remember that, fundamentally, we are energy. Einstein’s Theory of Relativity is correct: all things ‘physical’ are made of energy and that energy cannot be destroyed, it can only be altered. The same applies to consciousness energy, the energy that is the soul. Consciousness is not just seated within one small region of the brain, as current scientific thinking is suggesting. The energy that is the soul infuses all the cells of the body and, extends via the chakras and aura far beyond the physical confines of the body.
We began this process of soul reintegration back in 1996 and, as we did so, we began to realise that we had a great deal of accumulated emotional debris to clear. Our state of seeming chaos is entirely brought about by the amount of emotional debris we have built up over the past seven thousand years.
We have become used to not being us. We have become used to wearing masks, presenting faces to the world that we think the world wants to see. We have become so un-used to showing our true selves and, we have kept our true selves so hidden that, even we do not know who we truly are any longer. We have become accustomed to believing the web of falsities we have woven around ourselves and the journey to re-discovering who we really are is proving uncomfortable. This is the reason for the chaos. This is the reason for the confusion.
The simple answer is that we have become used to not being honest and this lack of honesty has led to all the confusion (conflicts, wars and prejudice) that we are currently experiencing.
As we reintegrate the higher elements of consciousness, our higher selves are requesting us to become more and more honest with ourselves and, with those with whom we share our lives. The further we progress through the process of re-integration, the more this request becomes an imperative and the less we can hide from the requirements of the higher self, the requirements of the soul.
We have also begun to realise that truth has its own vibration. Words spoken to us by others become recognised for what they are: the truth or not. This ‘feeling’ for truth is also adding to our confusion. Conventions or ideologies we accepted as truth in the past are now being seen as less than truth.
What we, now, need to do is to bring all our new understanding, of what is honest and what is not, to bear on all aspects of our lives. The way to remove the chaos from our lives, and from humanity as a whole, is to be as honest as possible within every situation…honest with ourselves and honest with those around us. This is how we complete our process of change…by being totally honest in everything we do. If we all became totally honest tomorrow, we could all complete our reintegrations the day after. The truth is that powerful!
Becoming honest begins with little steps. If someone asks you a question, reply in as honest a way as possible. This does not mean forgetting about diplomacy but, it does mean expressing your truth. If someone makes you angry or sad, or upsets you in any way, let them know as honestly as possible what their actions have done. It is no good trying to ‘let it go with love’ any longer, as that is a false situation and, it will only lead to resentment and a delay in your personal development. Neither is it good to think that, by being honest, you will ‘hurt the other person’s feelings’. You are assuming that your honest reaction is going to be hurtful but, how are you able to judge what price the other person has put on their feelings? Being dishonest, by not expressing your true feelings, always creates more harm and damage than being honest does. Of course we need to be as diplomatic as the situation or person warrants but, we all need to begin to realise that we cannot pre-judge someone else’s reactions. Do not forget that being honest with someone gives them full permission to be honest in return and that builds a stronger relationship.
The soul, the higher self, is not a hard taskmaster. All that it requires of us is that we be ourselves and be as honest as it is possible to be in any given situation. It is not a question of being rude or unthinking, just of being who we truly are without masks.
The end of 2011 is the date we humans have set ourselves to finally complete our process of reintegration. Every single person on the planet has the potential and capability to fulfil the task we have set ourselves. Whilst time seems short, all that is needed is honest communication…with ourselves and others. Once honest communication in all aspects of our lives is achieved, individually and collectively, we automatically and, without further effort, become more than we have ever dreamed possible.
With love and good wishes,