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1985 Hyundai Stellar
1986 Hyundai Stellar with larger bumpers (Canada). suede car seats
1987 Hyundai Stellar CXL (Canada) air purifier ionizer
1989 GSL exported to Sri Lanka ionic purifier
The engine and transmission were licensed from Mitsubishi Motors. Engines available were 1.4 L (4G33) and 1.6 L (4G32) I4s until 1986 (same as the Hyundai Pony, using either a KM119 5-speed manual or a Borg-Warner 03-55L 3-speed automatic) and a 2.0 L engine for 1987. Trim levels included L (base), GL/CL, and GSL/CXL. The GSL/CXL featured power windows, locks and mirrors; remote fuel door, remote trunk, premium sound system, full instrumentation (speed, tach, fuel, water temp, volts, and oil pressure) and available air conditioning, a rather surprising list of features for the year and type of car. For 1987, the Stellar II (Or Stellar 2.0 in Canada) was refreshed. Changes included a 2-way catalytic converter, new instrument cluster, larger 2.0 L Mitsubishi 4G63 (SOHC 2xBBL, 8 valve) engine with a feedback carburetor, higher output alternator, larger headlights and restyled taillights. The front double wishbone suspension was changed to a MacPherson strut design, along with larger brake calipers, as well as a two-piece driveshaft. The Stellar had the option of riding on several types of aluminum alloy wheels, and was equipped standard with Michelin all-season tires (Canada). Also that year, an automatic transmission (Borg Warner 03-71) with overdrive was available as an option. The Stellar was not available in the United States due to strict emission standards there, but it was available in Canada and other countries. In addition, the Stellar was the only four-cylinder powered mainstream rear-wheel drive sedan, replacing the Toyota Corolla (which shifted to front-wheel drive) in 1984. The Stellar was replaced in Canada by the Hyundai Sonata for 1988. The Stellar (along with the Pony) would be Hyundai's last rear-wheel drive cars for North America until the 2009 Genesis.
Lineup
Prima (1983~1986)
TX (1983~1993)
FX (1983~1986)
GX (1987~1992)
GSL (1983~1986)
SL (1983~1986)
CXL (Canada Export Limited, 1984~1988)
Apex (1987~1991)
GXL (1987~1991)
Major specifications
Overall length: 4556 mm (179.3 in)
Overall width: 1716 mm (67.6 in)
Overall height: 1372 mm (54.0 in)
Wheelbase: 2579 mm (101.5 in)
Front track: 1445 mm (56.89 in)
Rear track: 1425 mm (56.10 in)
Curb weight: 1000 kg (2204 lb)
Gross weight: 1475 kg (3251 lb)
Wheel dimensions: 13 x 4.5 in or 13 x 5.5 in
Steering type: Rack and pinion
Front brakes: Disc
Rear brakes: Drum
See also
Hyundai Sonata
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Hyundai Motor Company Revenue: $000 billion USD (FY2004) Employees: 75,000 (as of March 31, 2009) Stock Mode: (kse 005380, lse HYUD)
Categories: Hyundai vehicles | Rear wheel drive vehicles | Vehicles introduced in 1983 | Mid-size cars | Sedans | 1980s automobilesHidden categories: Articles lacking sources from December 2009 | All articles lacking sources
Monday, May 3, 2010
Hyundai Stellar
Film editing
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Early experiments
Main article: Edwin S. Porter
Edwin S. Porter is generally thought to be the American filmmaker who first put film editing to use. Porter worked as an electrician before joining the film laboratory of Thomas Alva Edison in the late 1890s. Early films by Thomas Edison (whose company invented a motion camera and projector) and others were short films that were one long, static, locked-down shot. Motion in the shot was all that was necessary to amuse an audience, so the first films simply showed activity such as traffic moving on a city street. There was no story and no editing. Each film ran as long as there was film in the camera. When Edison's motion picture studio wanted to increase the length of the short films, Edison came to Porter. Porter made the breakthrough film Life of an American Fireman in 1903. The film was among the first that had a plot, action, and even a closeup of a hand pulling a fire alarm. stool softener
Other films were to follow. Porter's ground-breaking film, The Great Train Robbery is still shown in film schools today as an example of early editing form. It was produced in 1903 and was one of the first examples of dynamic, action editing (the piecing together scenes shot at different times and places and for emotional impact unavailable in a static long shot). Being one of the first film hyphenates (film director, editor and engineer) Porter also invented and utilized some of the very first (albeit primitive) special effects such as double exposures, miniatures and split-screens. krill oil
Porter discovered important aspects of motion picture language: that the screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship. These were the key discoveries that made all non-live or non live-on-videotape narrative motion pictures and television possiblehat shots (in this case whole scenes since each shot is a complete scene) can be photographed widely different locations over a period of time (hours, days or even months) and combined into a narrative whole. That is, The Great Train Robbery contains scenes shot on sets of a telegraph station, a railroad car interior, and a dance hall, with outdoor scenes at a railroad water tower, on the train itself, at a point along the track, and in the woods. But when the robbers leave the telegraph station interior (set) and emerge at the water tower, the audience believes they went immediately from one to the other. Or that when they climb on the train in one shot and enter the baggage car (a set) in the next, the audience believes they are on the same train. agave nectar
Sometime around 1918, Russian director Lev Kuleshov did an experiment that proves this point. (See Kuleshov Experiment) He took an old film clip of a head shot of a noted Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's actinghe hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman. Of course, the shot of the actor was years before the other shots and he never "saw" any of the items. The simple act of juxtaposing the shots in a sequence made the relationship.
History of film editing technology
The original editing machine: an upright Moviola.
Steenbeck film editing machine rollers
Before the widespread use of non-linear editing systems, the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and pasting together pieces of film, using a splicer and threading the film on a machine with a viewer such as a Moviola, or "flatbed" machine such as a K.-E.-M. or Steenbeck. Today, most films are edited digitally (on systems such as Avid or Final Cut Pro) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original.
When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or answer print. Today, production companies have the option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into computer(s) and a cut list is conformed by a DI editor.
Post-production
Editor's cut
Main article: Editor's cut
See also: Rough cut
See also: Offline editing
See also: Online editing
There are several editing stages and the editor's cut is the first. An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Likely, prior to cutting, the editor and director will have seen and/or discussed "dailies" (raw footage shot each day) as shooting progresses. Screening dailies gives the editor a ballpark idea of the director's intentions. Because it is the first pass, the editor's cut might be longer than the final film. The editor continues to refine the cut while shooting continues, and often the entire editing process goes on for many months and sometimes more than a year, depending on the film.
Director's cut
Main article: Director's cut
When shooting is finished, the director can then turn his full attention to collaborating with the editor and further refining the cut of the film. This is the time that is set aside where the film editor's first cut is molded to fit the director's vision. In the United States, under DGA rules, directors receive a minimum of ten weeks after completion of principal photography to prepare their first cut.
While collaborating on what is referred to as the "director's cut", the director and the editor go over the entire movie with a fine-tooth comb; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed. Because of this time working closely and collaborating - a period that is normally far longer, and far more intimately involved, than the entire production and filming - most directors and editors form a unique artistic bond.
Final cut
Main article: Final cut privilege
Often after the director has had his chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company and/or movie studio. There have been several conflicts in the past between the director and the studio, sometimes leading to the use of the "Alan Smithee" credit signifying when a director no longer wants to be associated with the final release.
Emotional versus Physical continuity
Continuity is a film term that suggest that a series of shots should be physically continuous, as if the camera simply changed angles in the course of a single event. For instance, if in one shot a beer glass is empty, it should not be full in the next shot. Live coverage of a sporting event would be an example of footage that is very continuous. Since the live operators are cutting from one live feed to another, the physical action of the shots matches very closely. Many people regard inconsistencies in continuity as mistakes, and often the editor is blamed. In film, however, continuity is very nearly last on a film editor's list of important things to maintain.
Technically, continuity is the responsibility of the script supervisor and film director, who are together responsible for preserving continuity and preventing errors from take to take and shot to shot. The script supervisor, who sits next to the director during shooting, keeps the physical continuity of the edit in mind as shots are set up. He is the editor's watchman. If shots are taken out of sequence, as is often the case, he will be alert to make sure that beer glass is in the appropriate state. The editor utilizes the script supervisor's notes during post-production to log and keep track of the vast amounts of footage and takes that a director might shoot.
However, to most editors what is more important than continuity is the editing of emotional and storytelling aspects of any given film - something that is much more abstract and harder to judge. (Which is why films often take much longer to edit than to shoot.) Emotional continuity, and the clarity of storytelling always take precedence over "technicalities". In fact, very often something that is physically discontinuous will be completely unnoticeable if the emotional rhythm of the scene "feels" right. If you were to slow down scenes from many of your favorite movies, you could easily find many minuscule physical differences from one cut to the next, which are completely hidden by the course of the emotional events.
However, if a continuity error is glaring enough (as in the case of the beer glass), and the edit is emotionally necessary, the editor may try to order a visual effect to fix the problem. Such an effect is not "cheating" or unnecessary. As a rule, anything that distracts from the storytelling is worthy of elimination.
A good example of a continuity error is in the film Braveheart with Mel Gibson. In one of the battle scenes you see William Wallace (Mel Gibson) and his army of Scottish rebels charging into battle with the English. At one moment, you see him with no weapon. Then you see him with his claymore in hand. Then again he has no weapon. Then a pick axe. And when he finally closes in on the enemy, you see him draw his claymore from his back. This often goes unnoticed by audiences and it does not cause any real problems. The whole idea of this scene is to show the rebels fiercely charging into battle, and this small error in no way harms that idea.
Methods of montage
In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique.
There are at least three senses of the term:
In French film practice, "montage" has its literal French meaning (assembly, installation) and simply identifies editing.
In Soviet filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone.
In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion. This is the most common meaning among laymen.
Soviet montage
Main article: Soviet montage theory
Lev Kuleshov was among the very first to theorize about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema that which could be duplicated in no other medium is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. His often-cited Kuleshov Experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context.
Although, strictly speaking, U.S. film director D.W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well. Griffith's work in the teens was highly regarded by Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing.
Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks.
Montage sequence
Main article: Montage sequence
A montage sequence consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. Classic examples are the training montages in Sylvester Stallone's Rocky series of movies..
Continuity editing
Main article: continuity editing
What became known as the popular 'classical Hollywood' style of editing was developed by early European and American directors, in particular D.W. Griffith in his films such as The Birth of a Nation and Intolerance. The classical style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as the 180 degree rule, Establishing shot, and Shot reverse shot.
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Continuity editing topics
180 degree rule 30 degree rule Axial cut Cross-cutting Cutaway Cutting on action Establishing shot Eyeline match Insert L cut Long take Shot reverse shot
Alternatives to continuity editing (Non-Traditional or Experimental)
Early Russian filmmakers such as Lev Kuleshov further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage.
Alternatives to traditional editing were also the folly of early surrealist and dada filmmakers such as Luis Buuel (director of the 1929 Un Chien Andalou) and Ren Clair (director of 1924's Entr'acte which starred famous dada artists Marcel Duchamp and Man Ray). Both filmmakers, Clair and Buuel, experimented with editing techniques long before what is referred to as "MTV style" editing.
The French New Wave filmmakers such as Jean Luc Godard and Franois Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1970s. French New Wave films and the non-narrative films of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its dada and surrealist predecessors, French New Wave editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding the audience that they were watching a film), and by the overt use of jump cuts or the insertion of material not often related to any narrative.
Editing techniques
Stanley Kubrick noted that the editing process is the one phase of production that is truly unique to motion pictures. Every other aspect of film making originated in a different medium than film (photography, art direction, writing, sound recording), but editing is the one process that is unique to film. Kubrick was quoted as saying: "I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit."
Edward Dmytryk stipulates seven "rules of cutting" that a good editor should follow:
"Rule 1: Never make a cut without a positive reason."
"Rule 2: When undecided about the exact frame to cut on, cut long rather than short."
"Rule 3: Whenever possible cut 'in movement'."
"Rule 4: The 'fresh' is preferable to the 'stale'."
"Rule 5: All scenes should begin and end with continuing action."
"Rule 6: Cut for proper values rather than proper 'matches'."
"Rule 7: Substance firsthen form."
According to Walter Murch, when it comes to film editing, there are six main criteria for evaluating a cut or deciding where to cut. They are (in order of importance, most important first):
Emotion Does the cut reflect what the editor believes the audience should be feeling at that moment?
Story Does the cut advance the story?
Rhythm Does the cut occur "at a moment that is rhythmically interesting and 'right'" (Murch, 18)?
Eye-trace Does the cut pay respect to "the location and movement of the audience's focus of interest within the frame" (Murch, 18)?
Two-dimensional plane of the screen Does the cut respect the 180 degree rule?
Three-dimensional space of action Is the cut true to the physical/spatial relationships within the diegesis?
Murch assigned notional percentage values to each of the criteria. Emotion, with 51%, outweighed the combined value of all the other criteria.
References
Bibliography
Dmytryk, Edward (1984). On Film Editing: An Introduction to the Art of Film Construction. Focal Press, Boston.
Knight, Arthur (1957). The Liveliest Art. Mentor Books. New American Library.
Notes
^ Arthur Knight (1957). p. 25.
^ Arthur Knight (1957). pp. 72-73.
^ Walker, Alexander, Stanley Kubrick Directs, New York: Harcourt Brace Jovanovich, 1972.
^ Dmytryk, Edward, On Film Editing, New York
^ Dmytryk, p.23
^ Dmytryk, p.27
^ Dmytryk, p.37
^ Dmytryk, p.38
^ Dmytryk, p.44
^ Dmytryk, p.145
Further reading
Morales, Morante, Luis Fernando (2000). Teora y Prctica de la Edicin en video. Universidad de San Martin de Porres, Lima, Per
Murch, Walter (2001). In the Blink of an Eye: a Perspective on Film Editing. Silman-James Press. 2d rev. ed.. ISBN 1-879505-62-2
See also
180 degree rule
30 degree rule
A Roll (Footage)
B Roll
Cinematic techniques
Clapperboard
Compositing (Keying)
Cut
Axial cut
Cross-cutting
Fast cutting
Jump cut
Long take
Match cut
Slow cutting
Cutaway
Edit decision list (EDL)
Film transition
Dissolve
L cut (split edit)
Wipe
Filmmaking
Kuleshov Effect
List of film-related topics
Motion Picture Editors Guild (MPEG)
Motion picture terminology
Moviola
Re-edited film
Scene
Sequence
Shot
Establishing shot
Insert
Master shot
Point of view shot
Shot reverse shot
Video editing
Wikibooks
Wikibooks has more on the topic of
Film editing
Mewa Film User's Guide
Movie Making Manual
Wikiversity
Wikiversity has learning materials about Film editing
Portal:Filmmaking
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Traditional crafts of Assam
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Assam has maintained a rich tradition of various traditional crafts for more than two thousand years. Presently, Cane and bamboo craft, bell metal and brass craft, silk and cotton weaving, toy and mask making, pottery and terracotta work, wood craft, jewellery making, musical instruments making, etc are remained as major traditions. Historically, Assam also excelled in making boats, traditional guns and gunpowder, colours and paints, articles of lac, traditional building materials, utilities from iron, etc.
Cane and bamboo craft provide the most commonly used utilities in daily life, ranging from household utilities, weaving accessories, fishing accessories, furniture, musical instruments to building construction materials. Traditional utilities and symbolic articles made from bell metal and brass are found in every Assamese household. The Xorai and bota have been in use for centuries to offer gifts to respected persons and are two prominent symbolic elements. Hajo and Sarthebari / Xorthebaary are the most important centres of traditional bell-metal and brass crafts. Assam is the home of several types of silks, the most prominent and prestigious being Muga, the natural golden silk is exclusive only to Assam. Apart from Muga, there are other two varieties called Pat, a creamy-bright-silver coloured silk and Eri, a variety used for manufacturing warm clothes for winter. Apart from Sualkuchi / Xualkuchi, the centre for the traditional silk industry, in almost every parts of the Brahmaputra Valley, rural households produce silk and silk garments with excellent embroidery designs. Moreover, various ethno-cultural groups in Assam make different types of cotton garments with unique embroidery designs and wonderful colour combinations. nursery decoration
Moreover, Assam possesses unique crafts of toy and mask making mostly concentrated in the Vaishnav Monasteries, pottery and terracotta work in lower Assam districts and wood craft, iron craft, jewellery, etc in many places across the region. stocking holders
See also advent wreath
Assam silk
Gamosa
Mekhela chador
Xorai
Categories: Culture of Assam
Hive management
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For honey production
The dependent factors for honey production are the duration and timing of the honey flow in a certain area. Duration and timing of a honey flow may vary widely depending on local predominant climates, weather during the honey flow and the nectar sources in the area. Good honey production sites are the far northern latitudes. In the summer, as days grow longer, bees can fly and forage for longer hours increasing the production. Migrating beekeepers also take advantage of local bloom of agricultural plants or wild flowers and trees. In mountainous regions a beekeeper may migrate up the mountain as the spring and summer bloom progresses.
It has been shown, that a larger bee colony will produce relatively more honey. Therefore the early buildup and spring feeding and subsequent prevention of swarming are of high priority. Several different methods such as the Demaree method, Checkerboarding and opening up the brood nest have been advocated to prevent swarming. stool softener
Techniques to maximize extracted honey production krill oil
Once a good location for an apiary is selected, techniques under the control of a beekeeper for maximizing extracted honey production depend mostly on maximizing the number of foraging bees at the peak time of the honey flow. Techniques may include interrupting brood production right before the main honey flow to free up nurse bees for foraging. A main objective is to prevent swarming. agave nectar
Techniques to maximize comb honey production
Comb honey production requires many of the same techniques that are required for the production of extracted honey. In addition, the colony must be very strong and have comb building traits. Honeycomb for direct consumption as comb honey is always created the same year it is harvested.
Honey combs may also be harvested by crushing the comb and squeezing out the honey. This is the lowest cost method of producing honey. Keepers of the low-cost top-bar hives use this technique to harvest honey. The technique may also be used for the frames of Langstroth hives. The so called cut comb are sections of sealed honey comb that are cut out of the frame. If the cut comb is to be consumed not crushed only the purest beeswax foundation may be used.
Techniques for maximizing Ross rounds and cassette production
Killion Method
Juniper Hill Method
Crowding
Shock Shook Method
For pollination
see pollination management
Techniques for maximizing agricultural crops pollination
see:
Pollinator decline
Pesticide toxicity to bees
Buzz pollination
For queen breeding
Techniques to maximize open mating
Techniques to maximize open mating of virgin queens center around having drones of a desired parentage saturate a queen mating yard.
Techniques to maximize artificial insemination
Artificial insemination of honeybee queens is a process used for very selective breeding of honeybee races. In the open mating of queens the source of drones cannot be fully controlled. In artificial inseminaton the source of drone sperm can be fully controlled and be more predictively selected than in open breeding.
For pollen production
Pollen is one of the byproducts of the hive. Pollen collection is usually not the main management objective. Pollen is collected by installing a pollen trap at the entrance of the bee hive. There are varying designs for pollen traps. The pollen trap makes access to the hive harder for the foraging bees. In the process of climbing through the pollen trap wires some pollen is loosened from the bee's pollen basket and falls into a collection container. Varying recommendations describe leaving the pollen trap on for a few days or for more extended periods. Pollen collection works best in an area with various pollen sources throughout the year. Fresh pollen can be frozen or dried. It is used for human consumption or fed back to the colony in early spring to speed up brood production.
For propolis production
Propolis is another byproduct of the bee hive. Certain races of bees are more prone to using propolis. Propolis can be collected on special plastic propolis screens. The tendency of the bees is to use propolis as a glue to seal openings that are too small for a bee to crawl through. A propolis screen is usually put in place of an inner cover. It has small openings that are propolized by the bees. The propolis screen can be frozen which hardens the propolis. Once the propolis is frozen it can be easily knocked off and collected. Bee races that propolize heavily are usually not desirable as it makes other hive manipulation more difficult. There is only a limited market for propolis.
For beeswax production
Beeswax may be a major product or a minor byproduct. The management technique that yields the highest amount of wax per hive is the top-bar hive. During the harvest of the honey from top-bar hives the whole honey comb is removed and crushed to extract the honey.
The commercial honey producers use Langstroth hive frames. The honey extraction process yields beeswax from the uncapping process. The highest quality beeswax is almost white. Lower quality beeswax from older cappings or comb is yellow or brown. Beeswax should be rendered and filtered before it is sold.
The least amount of beeswax that can be used as such, is produced in Ross rounds or cassette type comb honey production. Wax and honey are not separated and are consumed together.
Tha ability and tendency to build wax comb differs between the honeybee races. It also differs between colonies. A newly hived swarm produces wax and builds comb very quickly.
For royal jelly production
The production of royal jelly is most dependent on the proper genetics of the queen. Queens and drones are selectively bred to increase the production of royal jelly. A good yield per hive is 5 kg per year.
For apitoxin production
Bee venom (apitoxin) is obtained by stimulating the bee with an electrical current that incite them to sting, releasing a drop of poison onto a glass slide. The crystallized venom can be collected and processed. In order to get 1 gram of dry venom, it is necessary to collect the apitoxin of 10,000 to 15,000 bees.
Sources
Breyer & Cia Ltd. Brazil, accessed 05/2005
Apifarma, Obtaining methods Uruguay accessed 05/2005
For bee brood production
Bee brood as such is generally not a commercial commodity. However, bee brood is edible, and is used as a food in Asia and Africa.
Source
The Food Insects Newsletter Vol.3 Number 3, November 1990
For the production of nucs
Hive management techniques to multiply colonies use the bees natural tendency to swarm by simulating a swarm. Nucs are bought and sold usually in the spring time. The advantage to packaged bees is that the bees are on established frames with a laying queen and developing brood. A fast developing nuc can be transferred to a full hive box and may produce honey in the same year.
Walk-away split
In a walk-away split, frames with eggs and worker bees are removed and the bees will create a queen cell out of a suitable egg. Once the queen hatches, successfully mates and returns to the hive, the hive will be queenright.
Cut down split
For bee package production
Packaged bees with a caged queen are usually shipped in the spring from regions of mild winter climates to areas that have more severe winters.
Categories: BeekeepingHidden categories: Articles lacking sources from June 2009 | All articles lacking sources
Chris Prelitz
China Suppliers
Early life
Chris was born in 1956 in Memphis, Tennessee, the oldest of 6 siblings. Son of Paul Philip Prelitz, an ocean and aerospace engineer and a mother of Native American descent.
Prelitz holds a Bachelor of Arts from California State University, Fullerton, and is a graduate of Duke University's Environmental Leadership program. suede car seats
His design-build firm Prelitz + Partners developed projects ranging from off-grid solar communities to the first solar-powered LEED certified auto dealership in the U.S. for Mercedes Benz. air purifier ionizer
Advocacy ionic purifier
Prelitz chairs the City of Laguna Beach Environmental Committee and has served on environmental advisory boards at city, state, and national levels. In the early 1980s, he served on the board of Directors of the Eos Institute, publishers of Earthword, the first American journal on sustainability.
In 1992, when Prelitz discovered that burning rice straw was the number one cause of air pollution in California, he collaborated with 2 colleagues to form the non-profit CASBA (California Straw Builders Assoc.) that found a sustainable use for the straw as a high performance building system. CASBA funds fire, moisture, seismic and load testings that have furthered the adoption of strawbale construction and eventually saw the California Building Code and Department of Energy embrace Straw-bale construction.
Prelitz was the sustainability consultant for the City of Lancaster's award winning Interpretive Center (The Elyze Clifford Interpretive Center), the first publicly funded strawbale structure in the U.S.
Selected Projects
Guest host of The Discovery Channel's Greenovate July 10, 2008 Real estate investor and professional green consultant, Chris Prelitz, is determined to show people the light. He has purchased a 1600 square-foot, two bedroom, two bathroom house in Laguna Woods, California for $460,000 and plans to not only transform it into a model solar-powered home, but also flip it for a profit. However, it's not long before Chris encounters resistance from the local home owners association and he begins to realize that his green vision may require a lot more "green" than he had anticipated.
Mercedes Benz, Az. Sustainability Consultant 2007 First LEED Silver Rated Auto Dealership in U.S. Solar p.v. shade structure will provide up to 35 percent of the electrical power during off-peak hours and any surplus power would be sold back to the electric company. Waste water and storm runoff will be reused in landscape irrigation.
Tesco Corp. 2007, Fresh and Easy Markets - U.S.
City of Lancaster, CA - Prime Desert Interpretive Center | Construction Photos
La Posada Hotel Winslow, AZ
Publications
Green Made Easy: The Everyday Guide for Transitioning to a Green Lifestyle (2009)
Interview, Interview with Chris Prelitz By Terence Loose, August 2008
Interview, Solar Home Lets in the Sun By Kelly Garrison, The Orange County Register, March, 2007.
Interview, Home, Green Home Riviera Magazine 2006, By Kersten Wehde, Photos by Geoff Ragatz
Featured Expert, Citizenre REnU
References
^ http://newleafamerica.com
^ http://www.bizjournals.com/sanfrancisco/blog/2009/06/sf_biz_times_honors_greenest_and_cleanest_tech_that_is.html
^
External links
New Leaf America
Hay House Radio
Chris Prelitz official website
Interview with Chris Prelitz, 2008
Solar Home Lets in the Sun, 2007
Home, Green Home, 2006
The Discovery Channel: Greenovate
Meet the Greenovate Hosts: Chris Prelitz
Five Super Solar Products: Chris Prelitz
Categories: 1956 births | Living peopleHidden categories: Articles with a promotional tone from June 2009 | All articles with a promotional tone | Wikipedia articles with possible conflicts of interest | Articles needing cleanup from June 2009 | Wikipedia external links cleanup | Articles with hCards
Madhubala
China Suppliers
en.wikipedia.org/wiki/Madhubala) (Her death)
Madhubala (Devnagari: ) (14 February 1933 - 23 February 1969) was a popular Hindi movie actress. She starred in several successful movies in the 1950s and early 1960s, many of which have attained a classic status. With her contemporaries Nargis and Meena Kumari, she is widely regarded as one of the most talented Hindi movie actresses.
Contents laminator pouch
1 Early life laminating pouches
2 Early career candy wrapper
3 Serious illness
4 Hollywood Interest
5 Madhubala as a Star
6 Personal Life and Controversial Court Case
7 Mughal-e-Azam and later work
8 Final years and death
9 Madhubala the icon
10 Trivia
11 Filmography
12 References
13 External links
//
Early life
Madhubala was born as Mumtaz Begum Jehan Dehlavi in New Delhi, India on 14 February 1933 in a Muslim family. She was the fifth child among eleven children of a conservative Pathan couple.
After Madhubala's father Ataullah Khan lost his job at the Imperial Tobacco Company in Peshawer, the family endured many hardships, including the deaths of four of Madhubala's sisters and her two brothers. In search of a better life for his impoverished family, her father relocated his family to Mumbai. Young Mumtaz entered the movie industry at the age of nine.
Early career
Mumtaz first movie Basant (1942) was a box-office success. She played in it as the daughter of the popular actress Mumtaz Shanti. She went on to act in several movies as a child artist. Actress Devika Rani was impressed by her performances and potential and advised her to assume the name Madhubala. Madhubala soon garnered reputation as a reliable professional performer. By the time she entered adolescence, she was being groomed for lead roles.
Her first break came when producer Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). She was fourteen when she was given a lead role. The film was not a commercial success, but her performance was received well.
During the next two years, she blossomed into a captivating beauty. After her lead role in Bombay Talkies production Mahal in 1949, Madhubala attained immense popularity. Through her skilful performance, she had upstaged her seasoned co-star Ashok Kumar in that movie. She was sixteen then. The movie and the song Aayega Aanewala in it heralded the arrival of two new superstars: Madhubala and playback singer Lata Mangeshkar.
Serious illness
Madhubala was found to have a heart problem after she coughed up blood in 1950. She was discovered to have been born with a ventricular septal defect, commonly known as a "hole in the heart". At the time, heart surgery was not widely available.
Madhubala hid her illness from the movie industry for many years, but one incident was widely reported by the media in 1954: She was filming in Madras for S.S. Vassan's Bahut Din Huwe when she vomited blood on the set. Vassan and his wife took care of her until she was well again. She continued to work and established herself as an A-grade star.
Madhubala's family was extremely protective of her because of her health problem. When filming at the studios, she would eat only home-prepared food and drink water only from a specific well in order to minimize risks of infection. But her condition took its toll and she died in 1969 at age 36. For most of the 1950s, Madhubala performed successfully despite her illnesss.
Hollywood Interest
In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans.
During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.
Madhubala as a Star
Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over.
She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.
As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most popular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam) . She also ventured into production and made the film Naata (1955) which she also acted in.
During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. & Mrs. '55 (1955). In 1956 she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai (1959). Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.
Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled "Box Office Poison". She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kalapani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again.
In 1960, she consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-e-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India.
Personal Life and Controversial Court Case
Madhubala had a long affair with actor and frequent co-star Dilip Kumar. They first met on the sets of Jwar Bhata (1944), and worked together again in the film Har Singaar (1949) which was never completed or released. It was two years later during the filming of, Tarana (1951), that their off-screen relationship began. They also became a popular romantic screen team appearing in a total of four films together.
Madhubala was known for keeping a low profile, never making public appearances (with the exception of the premiere for the film Bahut Din Huwe in 1954) and she rarely gave interviews. Film media often speculated over her personal life and romantic liaisons and Dilip Kumar was repeatedly mentioned. These rumours were confirmed with a bold and rare public appearance during their courtship in 1955. Madhubala was escorted by Dilip Kumar for the premier of his film Insaniyat (1955), a film with which she had no other association. Though this may have been another gesture of gratitude to the producer and director S. S. Vasan, who had cared for her earlier when she had taken ill during the filming of Bahut Din Huwe (1954), this appearance was significant for another reason. By attending the premiere officially escorted by Dilip Kumar, they publicly acknowledged their relationship.
Madhubala's romance with Kumar lasted five years, between 1951 and 1956. Their association was ended following a highly controversial and widely publicized court case. B.R. Chopra, the director of the film Madhubala and Dilip Kumar were currently starring in, Naya Daur (1957), wanted the unit to travel to Bhopal for an extended outdoor shooting. Ataullah Khan objected and even claimed that the entire Bhopal schedule was a ruse to give Dilip Kumar the opportunity to romance his daughter. Finally, Chopra sued Madhubala for the cash advance she received from him for a film she now had no intention of completing. He also replaced her with South Indian actress Vyjayanthimala. Madhubala obediently supported her father despite her commitment to Dilip Kumar. Kumar testified against Madhubala and Ataullah Khan in favor of the director B.R. Chopra in open court. The case was lost by Madhubala and her father amid much negative publicity. Up until that point Madhubala had worked hard to gain a reputation as a reliable and professional performer with much good will in the industry. Her image was badly damaged after this episode. Madhubala and Dilip Kumar were effectively separated from that point on.
When rediff news spoke to her sister Madhur Bhushan, her account of the story was:
The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed because they wanted a hilly terrain. So my father asked her to quit the film. He was ready to pay the deficit. Chopra asked Dilip Kumar for help. Dilipsaab and Madhubala were engaged then. Dilipsaab tried to mediate but Madhubala refused to disobey her father. Chopra's production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilipsaab told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life. She loved Dilipsaab till the day she died.
She met her husband, actor and playback singer, Kishore Kumar during the filming of Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). At the time he was married to the Bengali singer and actress Ruma Guha Thakurta . After his divorce, because Kishore Kumar was Hindu and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kumar household. They remained married but under great strain for the remainder of Madhubala's life.
Mughal-e-Azam and later work
It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains. From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.
On 5 August 1960, Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema (inflation adjusted). Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). In Khatija Akbar's biography on Madhubala (see reference section), Dilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature. God had gifted her with so many things..."
In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal-e-Azam and Barsaat Ki Raat. She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work. One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...".
She did have intermittent releases in the early 60s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), even performed above average at the box-office. However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They suffer from compromised editing and in some cases the use of "doubles" in an attempt to patch in scenes that Madhubala was unable to shoot. Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film.
Final years and death
In 1960, Madhubala sought treatment in London as her condition deteriorated . Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years.
In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalak. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased.
When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on 23 February 1969, shortly after her 36th birthday. She was buried at Santa Cruz cemetery with her diaryby her family and husband Kishore Kumar. Madhubala's tomb at the Juhu/Santa Cruz Muslim cemetery was beautifully carved in pure marble and bore ayats from the Koran as well as verses dedicated to her. The tomb was demolished in 2010 to make space for new bodies.
Madhubala the icon
In her short life, Madhubala made over 70 films. In all three biographies and numerous articles published on her, she has been compared with Marilyn Monroe and has a similarly iconic position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine. Madhubala was voted the most popular vintage Hindi actress of all time, garnering 58% of the votes, and out ranking contemporary legendary actresses Meena Kumari, Nargis, and Nutan. More recently in rediff.com's International Women's Day 2007 special (see external links), Madhubala was ranked second in their top ten list of "Bollywood's best actresses.Ever" According to the feature, the actresses that made the final list were ranked on "...acting skills, glamour, box office appeal, versatility and icon status -- and the fact that each of them became a figurehead for Bollywood, ushering in a new wave of cinema..."
Her films are widely seen on Television and DVD transfers of most of Madhubala's work have enabled a resurgence of her fan base. Dozens of clips and fan made montage tributes from her films have been uploaded and can be seen on the popular video websites like YouTube. No other vintage Hindi actress has such a large presence on the video sharing site. In India, street traders and shops sell her Black & White posters and publicity shots alongside the current film stars of Hindi Cinema.
In 2004 a digitally colorized version of Mughal-e-Azam was released and, 35 years after her death, the film and Madhubala became a success with cinema audiences all over again.
In the past decade, several biographies and magazine articles have been issued on Madhubala, revealing previously unknown details of her private life and career. Consequently in 2007, a Hindi film Khoya Khoya Chand was produced starring Shiney Ahuja and Soha Ali Khan - the plot included some events loosely based on the life of Madhubala and other vintage film personalities.
In 2008 a commemorative postage stamp featuring Madhubala was issued. The stamp was produced by India Post in a limited edition presentation pack which featured images of the actress. It was launched by veteran actors Nimmi and Manoj Kumar in a glittering ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress to be honoured in this manner is Nargis Dutt.
The popular actress and sex symbol of the 1970s Zeenat Aman is often acknowledged as the prototype of the modern and westernized Hindi film heroine. Yet it is often overlooked that Madhubala was seen portraying westernized and even vamp like characters back in the 1950s. A bold image for a Hindi film heroine to portray in an age when demure and self sacrificing ideals of Indian womanhood were the order of the day. As such it is Madhubala's (and to some degree, her contemporary Nargis ) pioneering influence on modern Hindi actresses that is prevalent today.
Trivia
When Madhubala was an infant, an esteemed Muslim spiritual man predicted that she would earn fame and fortune, but would lead an unhappy life and die at a young age.[citation needed]
Filmaker Mohan Sinha taught Madhubala to drive a car when she was only 12 years old.
She was an avid fan of Hollywood and after learning to speak fluent English, frequently watched American movies on her home projector.
When nervous she suffered from uncontrolled outbursts of giggles and laughter which sometimes antagonised co-stars and directors.
When Guru Dutt first announced his classic film Pyaasa (1957) it was with Madhubala and Nargis in the feminine lead roles. The parts were eventually played by Mala Sinha and Waheeda Rehman who both became stars with the film.
With the exception of Geeta Dutt in Mr. & Mrs. '55 (1955), most of Madhubala's memorable songs were dubbed by Lata Mangeshkar or Asha Bhosle. Madhubala proved lucky for both. The songs from Mahal picturised on Madhubala in 1949 were some of Lata's earliest successes; nine years later, Asha's vocals for the actress in four 1958 films established her as a major playback singer, rivaling her own sister, Lata.
Madhubala's sister Chanchal was also an actress and bore a striking resemblance to her famous sibling. She appeared in Nazneen (1951), Naata (1955), Mahalon Ka Khwab (1960) and Jhumroo (1961) alongside Madhubala. She also played prominent roles in Mehboob Khan's Mother India (1957) and Raj Kapoor's Jis Desh Men Ganga Behti Hai (1960)
Filmography
Movie
Year
Basant
1942
Mumtaz Mahal
1944
Dhanna Bhagat
1945
Rajputani
1946
Pujari
1946
Phoolwari
1946
Saat Samundaron Ki Mallika
1947
Mere Bhagwan
1947
Khubsoorat Duniya
1947
Dil-Ki-Rani Sweet-Heart
1947
Chittor Vijay
1947
Neel Kamal
1947
Parai Aag
1948
Lal Dupatta
1948
Desh Sewa
1948
Amar Prem
1948
Sipahiya
1949
Singaar
1949
Paras
1949
Neki Aur Badi
1949
Mahal
1949
Imtihaan
1949
Dulari
1949
Daulat
1949
Apradhi
1949
Pardes
1950
Nishana
1950
Nirala
1950
Madhubala
1950
Hanste Aansoo
1950
Beqasoor
1950
Tarana
1951
Saiyan
1951
Nazneen
1951
Nadaan
1951
Khazana
1951
Badal
1951
Aaram
1951
Saqi
1952
Sangdil
1952
Rail Ka Dibba
1953
Armaan
1953
Bahut Din Huye
1954
Amar
1954
Teerandaz
1955
Naqab
1955
Naata
1955
Mr. & Mrs. '55
1955
Shirin Farhad
1956
Raj Hath
1956
Dhake Ki Malmal
1956
Yahudi Ki Ladki
1957
Gateway of India
1957
Ek Saal
1957
Police
1958
Phagun
1958
Kalapani
1958
Howrah Bridge
1958
Chalti Ka Naam Gaadi
1958
Baghi Sipahi
1958
Kal Hamara Hai
1959
Insaan Jaag Utha
1959
Do Ustad
1959
Mehlon Ke Khwab
1960
Jaali Note
1960
Barsaat Ki Raat
1960
Mughal-e-Azam
1960
Passport
1961
Jhumroo
1961
Boy Friend
1961
Half Ticket
1962
Sharabi
1964
Jwala
1971
References
^ a b http://specials.rediff.com/movies/2008/mar/25sd1.htm
^ a b http://www.upperstall.com/people/madhubala
^ http://www.madhubalano1.20m.com/profile.html
^ http://www.chakpak.com/celebrity/madhubala/biography/8959
^ http://www.madhubalano1.20m.com/marriage.html
^ Last days
^ "Rafi, Madhubala don't rest in peace here". The Times of India. 11 February 2010. http://timesofindia.indiatimes.com/city/mumbai/Rafi-Madhubala-dont-rest-in-peace-here/articleshow/5558345.cms. Retrieved 2010-02-14.
Books & Film Journals:
Akbar, Khatija. Mahubala: Her Life, Her Films (English). New Delhi: UBS Publishers' Distributors, 1997. ISBN 8174761535.
Deep, Mohan. Madhubala: Mystery and Mystique, Magna Publishing Co. Ltd.
Raheja, Dinesh. The Hundred Luminaries of Hindi Cinema, India Book House Publishers.
Reuben, Bunny. Follywood Flashback, Indus publishers
Bhattacharya, Rinki . Bimal Roy: A man of silence, South Asia Books
Rajadhyaksha, Ashish and Willemen, Paul. The Encyclopedia of Indian Cinema, Fitzroy Dearborn Publishers.
Cort, David. THEATRE ARTS Magazine, Issue Date: August 1952; Vol. XXXVI No. 8.
External links
Madhubala: Women's day special rediff.com
Madhubala: A sweet Seduction rediff.com
Madhubala at the Internet Movie Database
Categories: 1933 births | 1969 deaths | Pashtun people | People from Delhi | Indian actors | Indian film actors | Indian Muslims | Hindi film actorsHidden categories: All articles with unsourced statements | Articles with unsourced statements from August 2009
Marine VHF radio
China Suppliers
Types of equipment
Sets can be fixed or portable. A fixed set generally has the advantages of a more reliable power source, higher transmit power, a larger and more effective aerial and a bigger display and buttons. A portable set (often essentially a waterproof, VHF walkie-talkie in design) can be carried to a lifeboat in an emergency, has its own power source and is more easily water-proofed.
Marine radios can be "voice-only" or can include "Digital Selective Calling" (DSC). magellan roadmate 6000t
Voice-only equipment is the traditional type, which relies totally on the human voice for calling and communicating. gps magellan roadmate 700
A VHF set and a VHF channel 70 DSC set, the DSC on top, both produced by Sailor pet gps tracking
Digital Selective Calling equipment, a part of the Global Maritime Distress Safety System (GMDSS), provides all the functionality of voice-only equipment and, additionally, allows several other features:
a transmitter can automatically call a receiver equipped with Digital Selective Calling, using a telephone-type number known as a Maritime Mobile Service Identity or MMSI. The DSC information is sent on the reserved Channel 70. When the receiver picks up the call, his active channel is automatically switched to the transmitter's channel and normal voice communication can proceed.
a distress button, which automatically sends a digital distress signal identifying the calling vessel and the nature of the emergency
a connection to a GPS receiver allowing the digital distress message to contain the distressed vessel's position
The MMSI is a nine digit number identifying a VHF set or group of sets. The left hand digits of MMSI indicate the country and type of station. For example, here are MMSI prefixes of four station types:
Ship : 232, 233, 234 or 235 are the United Kingdom e.g. a UK ship : 232003556
Coast : 00 e.g. Solent Coastguard : 002320011
Group of stations : 0 e.g. 023207823
Portable DSC equipment : for UK 2359 - e.g. 235900498
Operating procedure
The accepted conventions for use of marine radio are collectively termed "proper operating procedure." These conventions include:
Listening for 2 minutes before transmitting
Using Channel 16 only to establish communication (if necessary) and then switch to a different channel
using a set of international "calling" procedures such as the "Mayday" distress call, the "Pan-pan" urgency call and "Securit" navigational hazard call.
using "pro-words" based on the English language such as Acknowledge, All after, All before, All stations, Confirm, Correct, Correction, In figures, In letters, Over, Out, Radio check, Read back, Received, Repeat, Say again, Spell, Standby, Station calling, This is, Wait, Word after, Word before, Wrong
using the NATO phonetic alphabet: Alpha, Bravo, Charlie, Delta, Echo, Foxtrot, Golf, Hotel, India, Juliet, Kilo, Lima, Mike, November, Oscar, Papa, Quebec, Romeo, Sierra, Tango, Uniform, Victor, Whiskey, X-ray, Yankee, Zulu
using a phonetic numbering system based on the English language: Wun, Too, Tree, Fow-er, Fife, Six, Sev-en, Ait, Nin-er, Zero, Decimal
Slightly adjusted regulations can apply for inland shipping, such as the Basle rules in Western Europe.
Marine VHF radio is sometimes illegally operated inland. Since enforcement is often the job of the local coast guard, enforcement away from the water is sometimes difficult.
Marine VHF Channels and Frequencies
Channel
number
Frequencies (MHz)
United Kingdom
United States
Canada
Australia
New Zealand
Usually ship stations
Usually coast stations
0
156.000
160.600
Private, coast guard
1
156.050
160.650
Public Correspondence (Ship-to-Shore Duplex)
BC Coast
2
156.100
160.700
Public
BC Coast
3
156.150
160.750
Illegal for public use1
Public
BC Coast/Inland
Boat to Boat - Kawau
4
156.200
160.800
Ship-to-ship/shore, commercial and safety
BC and East Coasts
Boat to Boat - Tutukaka/Raglan
5
156.250
160.850
Ship Movements
6
156.300
160.900
Ship-to-ship + Ship-to-Air
Ship-to-ship + Ship-to-Air
Distress - Ship-to-Air
Working - Intership
7
156.350
160.950
General working channel
8
156.400
161.000
Ship-to-ship
Ship-to-ship
East and west coasts,
Lake Winnipeg
Working - Intership
9
156.450
161.050
Ship-to-ship
Calling , commercial and non-commercial.
Ship-to-air for maritime support
Atlantic and BC coasts
Pilots, Port Operations
Port Operations
10
156.500
161.100
Ship-to-ship
Ship-to-air - SAR and antipollution
General working -
Atlantic and BC coasts,
Great Lakes
Port Operations
11
156.550
161.150
VTS - BC Coast
Pilotage
Port Operations
12
156.600
161.200
VTS - BC Coast
Port and pilot ops
Port Operations, VTS
Port Operations
13
156.650
161.250
Ship-to-ship
Bridge-to-Bridge safety : Vessels > 20m must maintain watch, Tx limited to 1 watt.
VTS - BC Coast
Bridge-to-bridge safety
Intership Nav Safety
14
156.700
161.300
VTS - BC Coast
Port and pilot ops
Port Operations
15
156.750
161.350
Ship-to-ship
16
156.800
161.400
International distress, safety and calling
USA: All vessels equipped with VHF must maintain watch.
17
156.850
161.450
Ship-to-ship
Aquatic Sports Events
18
156.900
161.500
19
156.950
161.550
Canadian Coast Guard - Working Channel
20
157.000
161.600
Repeater Operations
Continuous Weather
Maritime Safety Service
21
157.050
161.650
U.S. Coast Guard Only
Continuous Marine Broadcasts (WX 8)
Continuous Weather
Maritime Safety Service
22
157.100
161.700
U.S. Coast Guardublic working channel2
Continuous Weather
Maritime Safety Service
23
157.150
161.750
U.S. Coast Guard Only
Continuous Weather
Maritime Safety Service
24
157.200
161.800
UKSAR G/A Winching
UKSAR TWC
25
157.250
161.850
Maritime Radio Working Channel
26
157.300
161.900
27
157.350
161.950
28
157.400
162.000
60
156.025
160.625
61
156.075
160.675
Illegal for public use1
62
156.125
160.725
UKSAR Calling & Helicopter Channel
UKSAR TWC
Boat to Boat - Waiheke/Whangaroa
63
156.175
160.775
UKSAR TWC (simplex)
Boat to Boat - Manukau
64
156.225
160.825
UKSAR TWC (simplex)
Illegal for public use1
65
156.275
160.875
Marine Assistance Working Channel
Boat to Boat - Coromandel
66
156.325
160.925
67
156.375
160.975
HM Coastguard Search & Rescue
Working Channel, Marine Weather
Maritime Radio Working Channel
68
156.425
161.275
Non-commercial
Maritime Radio Working Channel
69
156.475
161.075
Non-commercial
Australian Navy
Maritime Radio Working channel
Surf Lifesaving
70
156.525
161.125
Digital Selective Calling
71
156.575
161.175
Non-commercial
Maritime Radio Working Channel
72
156.625
161.225
Ship-to-ship
Non-commercial ship-to-ship
73
156.675
161.275
HM Coastguard Safety Broadcasts
Marinas - Working
74
156.725
161.325
British Waterways Channel (Canal System)
Working - Coast/Ship
75
156.775
161.375
76
156.825
161.425
77
156.875
161.475
Ship-to-ship
78
156.925
161.525
Non-commercial
79
156.975
161.575
80
157.025
161.625
Marinas UK Only
Repeater Operations
Coastguard Radio - Working Channel
81
157.075
161.675
U.S. Government Use Only
Repeater Operations
Coastguard Radio - Working Channel
82
157.125
161.725
U.S. Government Use Only
Canadian Coast Guard - Working Channel
Coastguard Radio - Working Channel
83
157.175
161.775
U.S. Coast Guard Use Only
Continuous Marine Broadcasts (WX 9)
84
157.225
161.825
Coastguard Radio - Working Channel
85
157.275
161.875
UKSAR TWC (simplex)
Radio Telephone - Duplex
Coastguard Radio - Working Channel
86
157.325
161.925
Coastguard Radio - Working Channel
87
157.375
161.975
Automatic Identification System
88
157.425
162.025
Automatic Identification System
Notes:
1: Some radios enable channels 3A, 61A, and 64A when configured for "USA mode" even though those channels are not listed for maritime use by the US Coast Guard or by the FCC. The frequencies in question appear to be used for land-mobile communication by police and fire departments in some US Cities.
2: Channel 22A is reserved for communication between the U.S. Coast Guard vessels and private vessels. The Coast Guard does not monitor 22A: Contact must first be established on 16.
3: UKSAR land based search & reacue teams have access to the simplexed versions of 24, 62, 63, 64, 85 for operational & training needs. These include Mountain Rescue teams in England, Wales & Scotland.
See also
2182 kHz
Maritime mobile amateur radio
AIS System
Radio horizon
References
^ UK Maritime and Coastguard Agency Marine Guidance Note MGN324
^ UK Maritime and Coastguard Agency Marine Guidance Note MGN324
^ UK Maritime and Coastguard Agency Marine Guidance Note MGN324
External links
US Coast Guard basic radio information for boaters
US Coast Guard marine channel listing (with frequencies)
US FCC marine channel listing (by function)
UK MCA advice on use of VHF at sea, including collision avoidance, effective ranges, and International channel usage*
Canadian VHF Bands in the Maritime Service
v d e
Two-way radio
Amateur and hobbyist
Amateur radio Amateur radio repeater Citizens' band radio Family Radio Service General Mobile Radio Service Mobile rig Multi-Use Radio Service PMR446 LPD433 UHF CB (Australia)
Aviation (aeronautical mobile)
Air traffic control Aircraft emergency frequency Airband Mandatory frequency airport Single Frequency Approach UNICOM
Land-based commercial and government mobile
Business band Base station Mobile radio Professional Mobile Radio Radio repeater Specialized Mobile Radio Trunked radio system Walkie talkie
Marine (shipboard)
2182 kHz 500 kHz Coast radio station Marine VHF radio Maritime mobile amateur radio
Signaling / Selective calling
CTCSS Dual-tone multi-frequency D-STAR MDC-1200 Push to talk Quik Call I Quik Call II Selcall
System elements and principles
Antenna Audio level compression Automatic vehicle location APRS Call sign CAD DC remote Dispatch Fade margin Link budget Rayleigh fading Tone remote Voice procedure Voting (diversity combining)
Categories: Navigational equipment | Maritime communication | Rescue equipment | Marine electronics
