text:
Artist's proof

An artist's proof is an impression of a print taken in the printmaking process to see the current printing state of a plate while the plate (or stone, or woodblock) is being worked on by the artist. A proof may show a clearly incomplete image, often called a working proof or trial impression, but in modern practice is usually used to describe an impression of the finished work that is identical to the numbered copies. There can also be printer's proofs which are taken for the printer to see how the image is printing, or are final impressions the printer is allowed to keep.

Artist's proofs are not included in the count of a limited edition, and sometimes the number of artist's proofs, which belong to the artist, can be twenty or more. By convention, the artist is not supposed to sell these at once. However, some artists use it as a method of re-issuing an edition that has sold out, marking such editions for example 'Artist's Proof no.8 of 50.'

History
The term "proof" is generally, but not consistently, applied only to prints from the late eighteenth-century onwards, beginning with the English mezzotinters, who began the practice of issuing small editions of proofs for collectors, often before the "lettering" or inscription below the image was added. The practices of signing or numbering impressions in the main edition had not begun, and in the absence of this, it is normally only when the image is clearly different from the final form that the term proof has any meaning.

In old master prints, a proof will be described as belonging to a different state of the print. States are numbered I, II, III etc., in the sequence they were produced, which can normally be determined.

For example, Rembrandt, who had his own printing-press and printed at least the earliest copies of his etchings himself, was a great taker of proofs, but these are normally described as different states - his record was nine for one etching, although this involved returning to an older print he had sold many copies of, and largely reworking it.

But the term proof can be used in the case of a clear working proof of an old master print, like the two impressions of Albrecht Dürer's Adam and Eve (1504, British Museum and Albertina, Vienna) which show the figures largely finished but the background with only the main outlines lightly done.

Status
Art historians, curators, and collectors view working proofs as especially desirable because of their rarity, the insight they may give into the progress of the work, and because they may well have belonged to the artist. Especially in the case of dead artists, they can be the only evidence of the artist's incremental development of an image, something not usually available with drawings, paintings, or sculpture. Some lithographs may be hand signed in the border and labeled "Epreuve D'Artiste", which means Artist's Proof, which also increases its value.

Collectors also usually prefer final artist's proofs even when they are identical to the main edition; if nothing else the print may have been presented to a friend by the artist. Prints are generally sold as limited editions, with a print being cheaper than a drawing or painting because the artist/gallery makes more money by selling multiples. An artist's proof has special value because of its extra rarity and its possible differences from the "standard" print, factors that are often reflected in its price.

Printshop technicians
Since many printmaking processes require expensive equipment, most artists choose to work with specialist printers. The print shop provides technicians skilled in the process; the artist provides the art. It is customary in these cases to pay the technicians with a signed artist's proof, in addition to his wages. The print shop will also retain a proof, normally signed off as "bon à tirer" ("good for printing" in French) to use as a control example against which the other impressions are compared. This has resulted in some very impressive collections of prints owned by printmakers themselves.

An artist's proof is also known as a "comp" or "complimentary" if given to printers.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Artist's proof


text:
Saw

A saw is a tool consisting of a tough blade, wire, or chain with a hard toothed edge used to cut through material. Various terms are used to describe toothed and abrasive saws.

Saws began as serrated materials, and when mankind learned how to use iron, it became the preferred material for saw blades of all kind. There are numerous types of hands saws and mechanical saws, and different types of blades and cuts.

Description
A saw is a tool consisting of a tough blade, wire, or chain with a hard toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone.

Terminology
A number of terms are used to describe saws.

Kerf
The narrow channel left behind by the saw and (relatedly) the measure of its width is known as the kerf. As such, it also refers to the wasted material that is turned into sawdust, and becomes a factor in measurements when making cuts. For example, cutting an 8 foot (2.4 meter) piece of wood into 1 foot (30 cm) sections, with 1/8 inch (3 mm) kerf will produce only seven sections, plus one that is 7/8 inch (21 mm) too short when factoring in the kerf from all the cuts. The kerf depends on several factors: the width of the saw blade; the set of the blade's teeth; the amount of wobble created during cutting; and the amount of material pulled out of the sides of the cut. Although the term "kerf" is often used informally, to refer simply to the thickness of the saw blade, or to the width of the set, this can be misleading, because blades with the same thickness and set may create different kerfs. For example, a too-thin blade can cause excessive wobble, creating a wider-than-expected kerf. The kerf created by a given blade can be changed by adjusting the set of its teeth with a tool called a saw tooth setter. The kerf left behind by a laser beam can be changed based on the laser's power and type of material being cut.

Toothed saws
A toothed saw or tooth saw has a hard toothed edge. The cut is made by placing the toothed edge against the material and moving it back and forth, or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power source.

Frequency of teeth
The most common measurement of the frequency of teeth on a saw blade is point per inch (25 mm). It is taken by setting the tip (or point) of one tooth at the zero point on a ruler, and then counting the number of points between the zero mark and the one-inch mark, inclusive (that is, including both the point at the zero mark and any point that lines up precisely with the one-inch mark). There is always one more point per inch than there are teeth per inch (e.g., a saw with 14 points per inch will have 13 teeth per inch, and a saw with 10 points per inch will have 9 teeth per inch). Some saws do not have the same number of teeth per inch throughout their entire length, but the vast majority do. Those with more teeth per inch at the toe are described as having incremental teeth, in order to make starting the saw cut easier.

An alternative measurement of the frequency of teeth on a saw blade is teeth per inch. Usually abbreviated TPI, as in, "a blade consisting of 18TPI." (cf. points per inch.)

Set
Set is the degree to which the teeth are bent out sideways away from the blade, usually in both directions. In most modern serrated saws, the teeth are set, so that the kerf (the width of the cut) will be wider than the blade itself. This allows the blade to move through the cut easily without binding (getting stuck). The set may be different depending on the kind of cut the saw is intended to make. For example, a ripsaw has a tooth set that is similar to the angle used on a chisel, so that it rips or tears the material apart. A "flush-cutting saw" has no set on one side, so that the saw can be laid flat on a surface and cut along that surface without scratching it. The set of the blade's teeth can be adjusted with a tool called a saw set.

Other toothed saw terms

 * Back: The edge opposite the toothed edge.
 * Fleam: The angle of the faces of the teeth relative to a line perpendicular to the face of the saw.
 * Gullet: The valley between the points of the teeth.
 * Heel: The end closest to the handle.
 * Rake: The angle of the front face of the tooth relative to a line perpendicular to the length of the saw. Teeth designed to cut with the grain (ripping) are generally steeper than teeth designed to cut across the grain (crosscutting)
 * Teeth: Sharp protrusions along the cutting side of the saw.
 * Toe: The end farthest from the handle.
 * Toothed edge: the edge with the teeth (on some saws both edges are toothed).
 * Web: a narrow saw blade held in a frame, worked either by hand or in a machine, sometimes with teeth on both edges

Abrasive saws
An abrasive saw has a powered circular blade designed to cut through metal or ceramic.

History
Saws were at first serrated materials such as flint, obsidian, sea shells and shark teeth.

Serrated tools with indications that they were used to cut wood were found at Pech-de-l'Azé caveIV in France. These tools date to 90,000-30,000 years BCE. In ancient Egypt, open (unframed) pull saws made of copper are documented as early as the Early Dynastic Period, c. 3,100–2,686 BC. Many copper saws were found in tomb No. 3471 dating to the reign of Djer in the 31st century BC. Saws were used for cutting a variety of materials, including humans (death by sawing), and models of saws were used in many contexts throughout Egyptian history. Particularly useful are tomb wall illustrations of carpenters at work that show the sizes and use of different types of saws. Egyptian saws were at first serrated, hardened copper which may have cut on both pull and push strokes. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD and was for sawing stone.

According to Chinese legend, the saw was invented by Lu Ban. In Greek mythology, as recounted by Ovid, Talos, the nephew of Daedalus, invented the saw. In archeological reality, saws date back to prehistory and most probably evolved from Neolithic stone or bone tools. "[T]he identities of the axe, adz, chisel, and saw were clearly established more than 4,000 years ago."

Manufacture of saws by hand
Once mankind had learned how to use iron, it became the preferred material for saw blades of all kinds; some cultures learned how to harden the surface ("case hardening" or "steeling"), prolonging the blade's life and sharpness.

Steel, made of iron with moderate carbon content and hardened by quenching hot steel in water, was used as early as 1200 BC. By the end of the 17th century European manufacture centred on Germany, (the Bergisches Land) in London, and the Midlands of England. Most blades were made of steel (iron carbonised and re-forged by different methods). In the mid 18th century a superior form of completely melted steel ("crucible cast") began to be made in Sheffield, England, and this rapidly became the preferred material, due to its hardness, ductility, springiness and ability to take a fine polish. A small saw industry survived in London and Birmingham, but by the 1820s the industry was growing rapidly and increasingly concentrated in Sheffield, which remained the largest centre of production, with over 50% of the nation's saw makers. The US industry began to overtake it in the last decades of the century, due to superior mechanisation, better marketing, a large domestic market, and the imposition of high tariffs on imports. Highly productive industries continued in Germany and France.

Early European saws were made from a heated sheet of iron or steel, produced by flattening by several men simultaneously hammering on an anvil. After cooling, the teeth were punched out one at a time with a die, the size varying with the size of the saw. The teeth were sharpened with a triangular file of appropriate size, and set with a hammer or a wrest. By the mid 18th century rolling the metal was usual, the power for the rolls being supplied first by water, and increasingly by the early 19th century by steam engines. The industry gradually mechanized all the processes, including the important grinding the saw plate "thin to the back" by a fraction of an inch, which helped the saw to pass through the kerf without binding. The use of steel added the need to harden and temper the saw plate, to grind it flat, to smith it by hand hammering and ensure the springiness and resistance to bending deformity, and finally to polish it.

Most hand saws are today entirely made without human intervention, with the steel plate supplied ready rolled to thickness and tensioned before being cut to shape by laser. The teeth are shaped and sharpened by grinding and are flame hardened to obviate (and actually prevent) sharpening once they have become blunt. A large measure of hand finishing remains to this day for quality saws by the very few specialist makers reproducing the 19th century designs.

Pit saws
A pit saw was a two-man ripsaw. In parts of early colonial North America, it was one of the principal tools used in shipyards and other industries where water-powered sawmills were not available. It was so-named because it was typically operated over a saw pit, either at ground level or on trestles across which logs that were to be cut into boards. The pit saw was "a strong steel cutting-plate, of great breadth, with large teeth, highly polished and thoroughly wrought, some eight or ten feet in length" with either a handle on each end or a frame saw. A pit-saw was also sometimes known as a whipsaw. It took 2-4 people to operate. A "pit-man" stood in the pit, a "top-man" stood outside the pit, and they worked together to make cuts, guide the saw, and raise it. Pit-saw workers were among the most highly paid laborers in early colonial North America.

Hand saws

Hand saws typically have a relatively thick blade to make them stiff enough to cut through material. (The pull stroke also reduces the amount of stiffness required.) Thin-bladed handsaws are made stiff enough either by holding them in tension in a frame, or by backing them with a folded strip of steel (formerly iron) or brass (on account of which the latter are called "back saws.") Some examples of hand saws are:
 * Artillery saw, Chain saw, Portable link saw: a flexible chain saw up to 122 cm (four feet) long, supplied to the military for clearing tree branches for gun sighting;
 * Butcher's saw: for cutting bone; many different designs were common, including a large one for two men, known in the USA as a beef-splitter; most were frame saws, some backsaws;
 * Crosscut saw: for cutting wood perpendicular to the grain;
 * Docking saw: a large, heavy saw with an unbreakable metal handle of unique pattern, used for rough work
 * Farmer's/Miner's saw: a strong saw with coarse teeth;
 * Felloe saw;: the narrowest-bladed variety of pit saw, up to 213 cm (7 feet) long and able to work the sharp curves of cart wheel felloes; a slightly wider blade, equally long, was called a stave saw, for cutting the staves for wooden casks;
 * Floorboard/flooring saw: a small saw, rarely with a back, and usually with the teeth continued onto the back at the toe for a short distance; used by house carpenters for cutting across a floor board without damaging its neighbour;
 * Grafting/grafter/table saw; a hand saw with a tapering narrow blade from 15 to 76 cm (6 to 30 inches) long; the origins of the terms are obscure
 * Ice saw: either of pit saw design without a bottom tiller, or a large handsaw, always with very coarse teeth, for harvesting ice to be used away from source, or stored for use in warmer weather;
 * Japanese saw or pull saw: a thin-bladed saw that cuts on the pull stroke, and with teeth of different design to European or American traditional forms;
 * Keyhole saw or compass saw: a narrow-bladed saw, sharply tapered thin to the back to cut round curves, with one end fixed in a handle;
 * Musical saw, a hand saw, possibly with the teeth filed off, used as a musical instrument.
 * Nest of saws: three or four interchangeable blades fitted to a handle with screws or quick-release nuts;
 * One-man cross cut saw: a coarse-toothed saw of 76 to 152 cm (30-60 inches) length for rough or green timber; a second, turned, handle could be added at the heel or the toe for a second operator;
 * Pad saw: a short narrow blade held in a wooden or metal handle (the pad);
 * Panel saw: a lighter variety of handsaw, usually less than 61 cm (24 inches) long and having finer teeth;
 * Plywood saw: a fine-toothed saw (to reduce tearing), for cutting plywood
 * Polesaw: a saw blade attached to a long handle
 * Pruning saw: the commonest variety has a 30-71 cm (12-28 inch) blade, toothed on both edges, one tooth pattern being considerably coarser than the other;
 * Ripsaw: for cutting wood along the grain;
 * Rule saw or combination saw: a handsaw with a measuring scale along the back and a handle making a 90° square with the scaled edge;
 * Salt saw: a short hand saw with a non-corroding zinc or copper blade, used for cutting a block of salt at a time when it was supplied to large kitchens in that form;
 * Turkish saw or monkey saw: a small saw with a parallel-sided blade, designed to cut on the pull stroke;
 * Two-man saw: a general term for a large crosscut saw or ripsaw for cutting large logs or trees;
 * Veneer saw: a two-edged saw with fine teeth for cutting veneer;
 * Wire saw: a toothed or coarse cable or wire wrapped around the material and pulled back and forth.

Back saws
"Back saws" which have a thin blade backed with steel or brass to maintain rigidity, are a subset of hand saws. Back saws have different names depending on the length of the blade; "tenon saw" (from use in making mortise and tenon joints) is often used as a generic name for all the sizes of woodworking backsaw. Some examples are:
 * Bead saw/gent's saw/jeweller's saw: a small backsaw with a turned wooden handle;
 * Blitz saw: a small backsaw, for cutting wood or metal, with a hook at the toe for the thumb of the non-dominant hand;
 * Carcase saw: a term used until the 20th century for backsaws with 10 - 14 inch long blades;
 * Dovetail saw: a backsaw with a blade of 6 - 10 inch length, for cutting intricate joints in cabinet making work;
 * Electrician's saw: a very small backsaw used in the early 20th century on the wooden capping and casing in which electric wiring was run;
 * Flush-cutting saw/offset saw: a backsaw with a flat side and a handle offset toward the opposite side, usually reversible, for cutting flush to a surface such as a floor;
 * Mitre-box saw: a saw with a blade 18 - 34 inch long, held in an adjustable frame (the mitre box) for making accurate crosscuts and mitres in a workplace;
 * Sash saw: a backsaw of blade length 14 - 16 inch.

Frame saws
A class of saws for cutting all types of material; they may be small or large and the frame may be wood or metal.
 * Bow saw, turning saw, or buck saw: a saw with a narrow blade held in tension in a frame; the blade can usually be rotated and may be toothed on both edges; it may be a rip or a crosscut, and was the preferred form of hand saw for continental European woodworkers until superseded by machines;
 * Coping saw: a saw with a very narrow blade held in a metal frame in which it can usually be rotated, for cutting wood patterns;
 * Felloe saw; a pit saw with a narrow tapering blade for sawing out the felloes of wooden cart wheels
 * Fretsaw: a saw with a very narrow blade which can be rotated, held in a deep metal frame, for cutting intricate wood patterns such as jigsaw puzzles;
 * Girder saw: a large hack saw with a deep frame;
 * Hacksaw/bow saw for iron: a fine-toothed blade held in a frame, for cutting metal and other hard materials;
 * Pit saw/sash saw/whip saw: large wooden-framed saws for converting timber to lumber, with blades of various widths and lengths up to 305 cm (10 feet); the timber is supported over a pit or raised on trestles; other designs are open-bladed;
 * Stave saw: a narrow tapering-bladed pit saw for sawing out staves for wooden casks;
 * Surgeon's/surgical saw/Bone cutter: for cutting bone during surgical procedures; some designs are framed, others have an open blade with a characteristic shape of the toe.

Circular-blade saws

 * Circular saw: a saw with a circular blade which spins. Circular saws can be large for use in a mill or hand held up to 24" blades and different designs cut almost any kind of material including wood, stone, brick, plastic, etc.
 * Table saw: a saw with a circular blade rising through a slot in a table. If it has a direct-drive blade small enough to set on a workbench, it is called a "workbench" or "jobsite" saw. If set on steel legs, it is called a "contractor's saw." A heavier, more precise and powerful version, driven by several belts, with an enclosed base stand, is called a "cabinet saw." A newer version, combining the lighter-weight mechanism of a contractor's saw with the enclosed base stand of a cabinet saw, is called a "hybrid saw."
 * Radial arm saw: a versatile machine, mainly for cross-cutting. The blade is pulled on a guide arm through a piece of wood that is held stationary on the saw's table.
 * Rotary saw or "spiral-cut saw" or "RotoZip": for making accurate cuts, without using a pilot hole, in wallboard, plywood, and other thin materials.
 * Electric miter saw or "chop saw," or "cut-off saw" or "power miter box": for making accurate cross cuts and miter cuts. The basic version has a circular blade fixed at a 90° angle to the vertical. A "compound miter saw" has a blade that can be adjusted to other angles. A "sliding compound miter saw" has a blade that can be pulled through the work, in an action similar to that of a radial-arm saw, which provides more capacity for cutting wider workpieces.
 * Concrete saw: (usually powered by an internal combustion engine and fitted with a Diamond Blade) for cutting concrete or asphalt pavement.
 * Pendulum saw or "swing saw": a saw hung on a swinging arm, for the rough cross cutting of wood in a sawmill and for cutting ice out of a frozen river.
 * Abrasive saw: a circular or reciprocating saw-like tool with an abrasive disc rather than a toothed blade, commonly used for cutting very hard materials. As it does not have regularly shaped edges the abrasive saw is not a saw in technical terms.
 * Hole saw: ring-shaped saw to attach to a power drill, used for cutting a circular hole in material.

Reciprocating blade saws

 * Dragsaw: for bucking logs (used before the invention of the chainsaw).
 * Frame saw or sash saw: A thin bladed rip-saw held in tension by a frame used both manually and in sawmills. Some whipsaws are frame saws and some have a heavy blade which does not need a frame called a mulay or muley saw.
 * Ice saw: for ice cutting. Looks like a mulay saw but sharpened as a cross-cut saw.
 * Jigsaw or "saber saw" (US): narrow-bladed saw, for cutting irregular shapes. (Also an old term for what is now more commonly called a "scroll saw.")
 * Power hacksaw or electric hacksaw: a saw for cutting metal, with a frame like a normal hacksaw.
 * Reciprocating saw or "sabre saw" (UK and Australia): a saw with an "in-and-out" or "up-and-down" action similar to a jigsaw, but larger and more powerful, and using a longer stroke with the blade parallel to the barrel. Hand-held versions, sometimes powered by compressed air, are for demolition work or for cutting pipe.
 * Scroll saw: for making intricate curved cuts ("scrolls").
 * Sternal saw: for cutting through a patient's sternum during surgery.

Continuous band

 * Band saw: a ripsaw on a motor-driven continuous band. Portable sawmills are typically band saw mills.

Chainsaws

 * Chainsaw: an engine-driven saw with teeth on a chain normally used as a cross-cut saw.
 * Chainsaw mill: a chainsaw with a special saw chain and guide system for use as a rip-saw.

Types of blades and blade cuts
Most blade teeth are made either of tool steel or carbide. Carbide is harder and holds a sharp edge much longer.
 * Band saw blade: A long band welded into a circle, with teeth on one side. Compared to a circular-saw blade, it produces less waste because it is thinner, dissipates heat better because it is longer (so there is more blade to do the cutting, and is usually run at a slower speed.
 * Crosscut: In woodworking, a cut made at (or close to) a right angle to the direction of the wood grain of the workpiece. A crosscut saw is used to make this type of cut.
 * Rip cut: In woodworking, a cut made parallel to the direction of the grain of the workpiece. A ripsaw is used to make this type of cut.
 * Plytooth blade: A circular saw blade with many small teeth, designed for cutting plywood with minimal splintering.
 * Dado blade: A special type of circular saw blade used for making wide-grooved cuts in wood so that the edge of another piece of wood will fit into the groove to make a joint. Some dado blades can be adjusted to make different-width grooves. A "stacked" dado blade, consisting of chipper blades between two dado blades, can make different-width grooves by adding or removing chipper blades. An "adjustable" dado blade has a movable locking cam mechanism to adjust the degree to which the blade wobbles sideways, allowing continuously variable groove widths from the lower to upper design limits of the dado.
 * Strobe saw blade: A circular saw blade with special rakers/cutters to easily saw through green or uncured wood that tends to jam other kinds of saw blades.

Materials used for saws
There are several materials used in saws, with each of its own specifications.
 * Brass: Used only for the reinforcing folded strip along the back of backsaws, and to make the screws that in earlier times held the blade to the handle.
 * Iron: Used for blades and for the reinforcing strip on cheaper backsaws until superseded by steel.
 * Zinc: Used only for saws made to cut blocks of salt, as formerly used in kitchens
 * Copper: Used as an alternative to zinc for salt-cutting saws
 * Steel: Used in almost every existing kind of saw. Because steel is cheap, easy to shape, and very strong, it has the right properties for most kind of saws.
 * Diamond: Fixed onto the saw blade's base to form diamond saw blades. As diamond is a superhard material, diamond saw blades can be used to cut hard brittle or abrasive materials, for example, stone, concrete, asphalt, bricks, ceramics, glass, semiconductor and gem stone. There are many methods used to fix the diamonds onto the blades' base and there are various kinds of diamond saw blades for different purposes.
 * High-speed steel (HSS): The whole saw blade is made of High-Speed Steel (HSS). HSS saw blades are mainly used to cut steel, copper, aluminum and other metal materials. If high-strength steels (e.g., stainless steel) are to be cut, the blades made of cobalt HSS (e.g. M35, M42) should be used.
 * Tungsten carbide: Normally, there are two ways to use tungsten carbide to make saw blades:
 * Carbide-tipped saw blades: The saw blade's teeth are tipped (via welding) with small pieces of sharp tungsten carbide block. This type of blade is also called TCT (Tungsten Carbide-Tipped) saw blade. Carbide-tipped saw blades are widely used to cut wood, plywood, laminated board, plastic, glass, aluminum and some other metals.
 * Solid-carbide saw blades: The whole saw blade is made of tungsten carbide. Comparing with HSS saw blades, solid-carbide saw blades have higher hardness under high temperatures, and are more durable, but they also have a lower toughness.

Uses

 * Saws are commonly used for cutting hard materials. They are used extensively in forestry, construction, demolition, medicine, and hunting.
 * Musical saws are used as instruments to make music.
 * Chainsaw carving is a flourishing modern art form. Special saws have been developed for the purpose.
 * The production of lumber, lengths of squared wood for use in construction, begins with the felling of trees and the transportation of the logs to a sawmill.
 * Plainsawing: Lumber that will be used in structures is typically plainsawn (also called flatsawn), a method of dividing the log that produces the maximum yield of useful pieces and therefore the greatest economy.
 * Quarter sawing: This sawing method produces edge-grain or vertical grain lumber, in which annual growth rings run more consistently perpendicular to the pieces' wider faces.

title: Saw


text:
Leitmotif (album)

Leitmotif is the debut studio album by American rock band Dredg. The album was originally self-released on May 30, 1999, through the band's own label, Woven Recordings, before being nationally re-released in the United States by Interscope Records, with different artwork, on September 11, 2001. A "leitmotif" is also a recurring musical theme associated within a particular piece of music with a particular person, place, or idea. The album is currently out of print.

Content
Leitmotif was recorded in ten days.

Interscope Records re-released Leitmotif unchanged from its original version, both in the recording and in the booklet's text, essentially duplicating the band's original, independently released demo.

The newer case features the uniform brown paper package with white text as pictured, to the lower right, with only the phrase "We live like penguins in the desert. Why can't we live like tribes?" printed on the inner sleeve; a phrase used in the lyrics to Triangle on Dredg's next album, El Cielo. The older case features the cover pictured, to the upper right, as well as more brown and blue topographical photos on the case and the booklet which are similar to the cover. Aside from the difference in artwork, the two versions of Leitmotif remain nearly identical.

Most of the lyrics can be found at Traversing ; the lyrics to parts of several verses (and most of one whole song) are unknown outside the band. All the music found on this album is created by Dredg; there are no samples. As claimed in the booklet, "all instruments and sounds are real. No samples."

Leitmotif was produced and engineered by Dredg and Travis Crenshaw, and was recorded at Brilliant Studios in San Francisco, CA.

In May 2010, to celebrate the album's 11th birthday, the band re-released a limited edition of the album on vinyl, with only 500 copies produced. In addition, the band performed the album in its entirety during the tour dates surrounding the anniversary. During the live performance of the album, Gus Lyndon Farwell, who sang the operatic parts on track 6, "Movement III: Lyndon", on the original recording, made a guest appearance on the song.

Track listing

 * The track list on the back of the album simply lists the name of the first track as a variation of the Chinese character, 易 (pinyin: yì), which means "change". However, since this character is not in the English language, most sources simply list the title as "Symbol Song" (including the band's official website). The song starts after eight seconds of silence.

title: Leitmotif (album)


text:
El Cielo (album)

El Cielo is the second album from the American progressive/alternative rock band, dredg. It was released on October 8, 2002, by Interscope Records. Like dredg's first album, Leitmotif, El Cielo is a concept album. The title can be translated to mean "the sky" or "the heaven" in Spanish, and to mean "peace and freedom of expression" in dreams.

Recording
The album was recorded at George Lucas' Skywalker Ranch in Nicasio, CA, and at Long View Farm in North Brookfield, MA. Producers included Ron St. Germain, Tim Palmer, and Michael Rosen.

El Cielo has also been released in the SACD format. This particular disc is a multi-channel hybrid SACD. It is playable as a standard CD in a normal CD player. However, in an SACD player, the album is played in high resolution audio with surround sound.

Song Details
The song "Brushstroke: Reprise" can be divided in two parts, the first part is a 40-second alternate version of the song "Same ol' Road" (hence the title "reprise"). The second part is an extract from a song called "Wind at the End", which was recorded by the band but not released on any studio album, EP, or DVD.

A demo of the song "Of the Room" appeared on their 2001 Industry Demos EP, and later on Extended Play for the Eastern Hemisphere.

Inspiration
One of dredg's main influences on the album, El Cielo, was a painting by Salvador Dalí entitled Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening, which is also what the acronym in the title "Brushstroke: dcbtfoabaaposba", stands for ("one" second instead of "a" second). The painting clearly influences many of the album's core themes and song titles. For example, in the painting there is a long-legged elephant ("An Elephant In The Delta Waves") with a papal insignia upon its back. "The Papal Insignia" was a song recorded for El Cielo but only saw release of Industry Demos, recorded in 2001, and didn't make it onto El Cielo. Also pictured in the painting is a woman lying in a canyon: "The Canyon Behind Her" is the title of the last song on the album.

This is further supported by the translation of the Japanese spoken words from the beginning of "The Canyon Behind Her": "This album was inspired by a painting titled 'Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening'. It is recommended that you view this painting as you listen to El Cielo. It is as if one stimulus awakens other senses. In other words, it's about 'drawing music'".

Band members have also been quoted as saying that this Dalí painting symbolizes sleep paralysis, a literal representation of the condition from which Dalí's wife actually suffered. The booklet with El Cielo contains letters written by sufferers of sleeping disorders with descriptions of various experiences with or relating to sleep paralysis. Singer/Songwriter Gavin Hayes incorporates and expands upon the material found in the booklet for the lyrics to the album.

Packaging
Early pressings of El Cielo were in a digipack with pictures of clouds bordered by runes. Later pressings of El Cielo are in a jewel case. The cover of the later versions is the cover of the booklet, which is a sort of brown leathery texture with the band's name and the album name on it (although jewel case versions with the "clouds" cover are known to exist). The image provided on this page is the cover of the digipack version. The booklet which came with versions featuring the "clouds" cover are in full color, the booklet included in copies featuring the "brown leather" cover are in black and white, except for the limited digipak version. This version has a clouds packaging with the brown leather booklet in full color. All releases of the album contain the same disc except for the limited jewel case version, which disc is yellow and white and the SACD version which is an all-white gold disc with blue writing.

Personnel
dredg Additional musicians Production
 * Gavin Hayes – vocals, acoustic guitar, mandolin
 * Mark Engles – guitars
 * Drew Roulette – bass
 * Dino Campanella – drums, piano
 * Ron Saint Germaine – vocals
 * Zack Hexum – saxophone
 * Greg Ellis – percussion
 * Ron Saint Germain - production on tracks 1–6, 8–11, 13–16, mixing on track 1, 8, 10, 13
 * Tim Palmer - production on track 7 and 16, mixing (at Track Record Studios in Hollywood)
 * Micheal Rosen - mixing, production on "Of The Room" (track 12)

Music videos

 * "Same ol' Road" directed by American McGee.
 * "Of the Room" directed by Ben Rehki.

Crickets
The Crickets DVD was a promotional item that was to be given away with copies of Dredg's second album, El Cielo, on tour. It was first given away by band members during the March 2003 SnoCore tour. As this concert was not heavily advertised many fans were unaware the event was taking place, never receiving a copy. In an effort to make up for this, for a limited amount of time anyone who spent $50 or more at dredg's webstore received a signed copy with their purchase.

The DVD consists of three sections. The first is the band's Electronic Press Kit, the second a long video entitled "An Elephant in Halong Bay" which begins with the El Cielo track "Brushstroke: An Elephant in the Delta Waves" and ends with "Halong Bay", a b-side from the El Cielo recording sessions. Around eight minutes of footage in between the two tracks shows various video clips of the band. Two other b-sides played during the videos include "walter's sound track" & "birds". The third section of the DVD is the music video for "Same ol' Road".

The DVD is now out of print.

Track listing

 * 1) "E.P.K."
 * 2) "An Elephant in Halong Bay"
 * 3) "Same ol' Road"

title: El Cielo (album)


text:
Shaw Brothers Studio

Shaw Brothers (HK) Limited was the largest film production company in Hong Kong, operating from 1925 to 2011.

In 1925, three Shaw brothers—Runje, Runme, and Runde—founded Tianyi Film Company (also called "Unique") in Shanghai, and established a film distribution base in Singapore, where Runme and their youngest brother, Run Run Shaw, managed the precursor to the parent company, Shaw Organisation. Runme and Run Run took over the film production business of its Hong Kong-based sister company, Shaw & Sons Ltd; in 1958, a new company, "Shaw Brothers," was set up. In the 1960s, Shaw Brothers established what was once the largest privately-owned studio in the world, Movietown.

The company's most famous works include The Love Eterne (1963), Come Drink with Me (1966), The One-Armed Swordsman (1967), King Boxer (1972), Executioners from Shaolin (1977), The 36th Chamber of Shaolin and Five Deadly Venoms (both 1978).

Over the years, the film company produced around 1,000 films, some becoming the most popular and significant Chinese-language films of the period. It also popularized the kung fu genre of films. In 1987, the company suspended film production in order to concentrate on the television industry through its subsidiary, TVB. Film production resumed in limited capacity in 2009.

In 2011, Shaw Brothers was reorganized into the Clear Water Bay Land Company Limited; its film production business was taken over by other companies within the Shaw conglomerate. However, the company continues to remain active in producing TV shows under the Shaw Brothers name to this day as of 2022.

History
Prior to their involvement in the filmmaking business, the Shaw brothers were interested in opera and happened to own a theater in Shanghai; their father also owned a cinema. One of the plays in their theater, The Man from Shensi, was very popular. The Shaw brothers then bought their first camera, and Runje Shaw made this play into a silent film that turned out to be a success. Runje Shaw and his brothers Runde and Runme formed a film production company in 1925 in Shanghai called the Tianyi Film Company (also known as Unique). The company's earliest films, New Leaf (立地成佛) and Heroine Li Feifei (女侠李飛飛), were shown in Shanghai in 1925.

A rival studio, Mingxing Film Company, formed a syndicate with 5 other Shanghai companies to monopolize the distribution and exhibition markets in order to exclude Tianyi films from being shown in theater chains in Shanghai and Southeast Asia. The brothers therefore became interested in forming their own network, and Runme Shaw, who was then the distribution manager, traveled to Singapore to establish a movie distribution business for Southeast Asia. Runme incorporated the Hai Seng Co. (海星, which later became the Shaw Brothers Pte Ltd) to distribute films made by Tianyi and other studios. In 1927, they operated their own cinema in Tanjong Pagar in Singapore, expanded in Malaya, and opened four cinemas there. The number of cinemas owned by the Shaw chain in Southeast Asia would eventually reach 200 by the 1970s before it declined. In 1928, Run Run Shaw moved to Singapore to assist Runme.

In 1931, the Tianyi Studio in Shanghai produced what is considered by some to be the first sound-on-film Chinese talkie, Spring on Stage (歌場春色). In 1932, they teamed up with Cantonese opera singer Sit Gok-Sin (薛覺先) to make the first Cantonese talkie, White Golden Dragon (白金龍). This film proved to be very successful, and in 1934, they established the Tianyi Studio (Hong Kong) in Kowloon to make Cantonese films. The move to Hong Kong was accelerated as the Nanjing government had issued a ban on martial arts films as well as Cantonese films, and two years later, they moved the entire film production operation from Shanghai to Hong Kong. Tianyi was reorganized into Nanyang (南洋) Productions with Runde Shaw as the studio head. They also announced plan for their first film production studio in Singapore in 1937 to make films in Malay; a studio was built in 1940 to make Malay and Cantonese films, followed by another called Singapore Film Studios in 1941 on Jalan Ampas. It produced Malay films under the studio named Malay Film Productions (formally incorporated in 1949) which lasted until 1967. The most prominent Malay actor, director and producer of this period was P. Ramlee.

The Shaw Brothers continued to expand but suffered a setback during the Second World War when the Japanese occupied Malaya and Singapore. After the war, they began to rebuild. In the 1950s, Nanyang started to switch film production from Cantonese to Mandarin as the communist takeover of mainland China had cut off the supply of Mandarin films to overseas Chinese communities. In this period, Nanyang Studio operated under the company name of Shaw and Sons Ltd. The Mandarin films of the 1950s were primarily wenyi films (文藝片) in a contemporary setting as well as a few period dramas. In 1957, Run Run Shaw moved to Hong Kong, set up a new company, Shaw Brothers (Hong Kong) Ltd., and built a new studio at Clearwater Bay, which officially opened in 1961 as Movietown. In the mid-1960s, Movietown was the largest and best-equipped studio in Chinese filmmaking as well as the largest privately owned studio in the world, with 15 stages, two permanent sets, state-of-the-art film-making equipment and facilities, and 1,300 employees. Period and music dramas were popular in the 1960s, and later in the decade Kung fu films also became popular. Some of Shaw Brothers' most notable films were made in this period, including The Magnificent Concubine, The Love Eterne, as well as One-Armed Swordsman, which broke the box office records and some spawned multiple sequels. The studio popularized the kung-fu genre of films, which included Five Fingers of Death and The 36th Chamber of Shaolin made in the 1970s. The 1960s was a period of intense rivalry between Shaw Brothers and Cathay Organisation, but eventually Shaw Brothers gained the upper hand and Cathay ceased film production in 1970. Sir Run Run Shaw became involved in television when TVB was launched in 1967. In 1969, Shaw Brothers (HK) issued shares and became a public listed company.

In the 1970s, Shaw Brothers faced a strong challenge from a new studio, Golden Harvest, which had considerable success internationally with the martial arts film, Enter the Dragon starring Bruce Lee. Shaw Brothers then also began to co-produce films with Western producers for the international market and invest in films such as Meteor and Blade Runner. However, Shaw Brothers ceased film production in 1986 because of competition from Golden Harvest and increasing piracy, focusing instead on TV production. In 1986, Movietown became TV City, which was leased to TVB for TV production. In 1988, the company was reorganized under the umbrella of the Shaw Organization. In the 1990s, Shaw again started making a few films, but no longer on the same scale as before. Shaw has since relocated to a new site in Tseung Kwan O, Hong Kong.

Directors
Shaw Brothers is noted for film directors such as King Hu, Lau Kar-leung, P. Ramlee and Chang Cheh. King Hu was an early director who is best remembered for his film, Come Drink with Me, a martial arts film which differed from those of Chang Cheh in that it featured a capable female protagonist and revolved around romance in the martial arts world, rather than fast-paced action and the tales of brotherhood which Chang Cheh would later popularize. Chang Cheh, who was more fond of the latter components, would go on to be Shaw Studio's best-known director, with such films as Five Deadly Venoms, The Brave Archer (based on the works of Jin Yong), One-Armed Swordsman, and other classics of Wuxia and Wushu film. Almost equally as famous was fight-choreographer-turned-director Lau Kar-leung, who would produce such highly regarded kung fu films as The 36th Chamber of Shaolin and The Eight Diagram Pole Fighter, while P. Ramlee was known for Malay style romantics and comedy such as Nujum Pa' Belalang, Seniman Bujang Lapok and Do Re Mi.

Actors

Shaw Brothers was modeled after the classic Hollywood system, with hundreds of actors signed to exclusive contracts. While other studios rotated cast members, Shaw Brothers assigned certain groups of actors to work exclusively with certain directors.

Shaw Brothers productions during the late 1950s to early '60s were dominated by actresses like Li Li-Hua, Ivy Ling Po, Linda Lin Dai, Betty Loh Ti, Li Ching in dramatic and romantic features. In particular, the Huangmei opera The Love Eterne, starring Ivy Ling Po and Betty Loh Ti and based on the Butterfly Lovers folk legend from the Jin Dynasty, is one of the highest-grossing features of the Shaw Studio. Its huge success is in part due to the ingenious casting of Ivy Ling Po, who was a relatively unknown supporting actress, as the male lead. In the story of Butterfly Lovers, the female lead, played by Betty Loh Ti, disguised herself as a male to attend college because social mingling between the sexes was forbidden. The film resonated with its audience, and reportedly some members of the audience in Hong Kong and Taiwan repeatedly bought tickets and watched the feature in theaters over and over again in 1962, with some having watched it over 20 times.

From the late 1960s onward, production of dramatic features was reduced in favor of martial arts features. The group of actors from the 1978 release, Five Deadly Venoms, and the subsequent series of films—known by the name the Venom Mob—were among the most memorable. They were Lo Mang, Lu Feng, Sun Chien, Chiang Sheng, and Kuo Chui, who had been stars in the Shaw Studio for years, but did not become memorable faces until Five Deadly Venoms. Wei Pai, who played the Snake (referred to as "Number Two" throughout the film Five Deadly Venoms), was also part of the Venom Mob, which numbered over 15 actors who appeared in almost all of the Venom movies.

In the first half of the 1970s, two other stars were particularly renowned and favored by the "Million-Dollar Director" Chang Cheh in his movies: Ti Lung and David Chiang. He is also accredited as a capable actor who reinforced his muscular glamor with strong characterization over his many films. Chiang, on the other hand, was slight and wiry and often played the sarcastic antihero to Lung's standard archetype. Chang Cheh, with his stars Ti Lung and David Chiang, were known as the cinematic "Iron Triangle" throughout Southeast Asia. In the middle of that decade, the duo was overshadowed by the rise of Alexander Fu Sheng, who had played supporting roles opposite them on many occasions. Fu was killed in 1983 in a car accident, at age 28, ending a brief but spectacular career.

Members of the Peking Opera School, including Jackie Chan, Yuen Biao, and Sammo Hung, played extras and bit parts in several Shaw Brothers films in the 1970s, although they were unknowns at the time.

Better-known female martial arts actresses of Shaw Brothers include Cheng Pei-pei, Lily Ho, Shih Szu, Lily Li, and Kara Hui Ying-Hung. Cheng Pei-pei in particular is relatively well-known for her starring role in King Hu's Come Drink with Me and more recently in Ang Lee's Crouching Tiger, Hidden Dragon as Jade Fox.

Influences
The films produced by the Shaw Brothers Studio were highly popular among Chinese communities in Hong Kong and Southeast Asia and they would have a significant influence on later filmmakers, particularly in the kung fu genre. These films also reached the West and were popular for a time in the 1970s and early 1980s, having some influence on filmmakers such as Quentin Tarantino, who paid homage to the studio by displaying their logo in his Kill Bill: Volume 1 and 2 films and adapting the styles of some of their films.

The 2023 animated movie Teenage Mutant Ninja Turtles: Mutant Mayhem also paid homage to the studio by adding clips from classic Shaw Brothers movies into the movie when the title characters were trained in martial arts by their father figure, Master Splinter (voiced by Jackie Chan, who played smaller roles in few Shaw Brothers films), by showing them various video clips containing martial arts techniques, including clips from The 36th Chamber of Shaolin, Dirty Ho, The Magnificent Ruffians and Mad Monkey Kung Fu.

Celestial Pictures acquisition and distribution
Many Shaw Brothers classic films have been bootlegged due to the popularity of particular kung fu/martial arts titles. Celestial Pictures acquired rights to the Shaw Studio's legacy and is releasing, on DVD, 760 out of the nearly 1,000 films with restored picture and sound quality. Many of these DVDs have come under controversy, however, for remixing audio and not including the original mono soundtracks.

Karmaloop TV's licensing deal
Karmaloop TV, a multi-platform programming network designed to help operators "reclaim" viewership among the 18- to 34-year-old demographic, announced its first film licensing deal with Celestial Pictures. The Hong Kong-based company owns, restores and licenses the world's largest collection of Chinese-made films including the Shaw Brothers library of fan-favourite kung fu and action classics such as The 36th Chamber of Shaolin, Five Deadly Venoms, and The One-Armed Swordsman.

The licensing deal with Karmaloop TV means that kung fu and action fans in the United States will see these films in their digitally restored versions, many of which will be premiering for the first time on U.S. television in high definition. The licensed collection includes more than 60 of the greatest martial arts masterpieces—movies which launched the careers of stars like Jimmy Wang Yu, Cheng Pei-Pei, Ti Lung, David Chiang, Alexander Fu Sheng, Chen Kuan-Tai, and Gordon Liu.

Shaw Studios
The Clearwater Bay site at Clearwater Bay Road and Ngan Ying Road is the former home of Shaw Studio (built 1960–1961), as well as the vacated TVB headquarters and studios (1986–2003, since relocated to TVB City) and Celestial Pictures. There are also apartment blocks used to house Shaw actors. The newer Shaw House and Shaw Villa are there. The site has been vacant since 2003 and has been targeted for redevelopment several times since 2006. In 2015, Hong Kong's Antiquities Advisory Board declared the entire studio complex a site of cultural significance and subsequent redevelopment plans have included measures to restore and preserve the existing structures.

A new Shaw Studios (note the plural s) was built at Tseung Kwan O Industrial Estate and opened in stages between 2006 and 2008.

title: Shaw Brothers Studio


text:
Stormwater

Stormwater, also written storm water, is water that originates from precipitation (storm), including heavy rain and meltwater from hail and snow. Stormwater can soak into the soil (infiltrate) and become groundwater, be stored on depressed land surface in ponds and puddles, evaporate back into the atmosphere, or contribute to surface runoff. Most runoff is conveyed directly as surface water to nearby streams, rivers or other large water bodies (wetlands, lakes and oceans) without treatment.

In natural landscapes, such as forests, soil absorbs much of the stormwater. Plants also reduce stormwater by improving infiltration, intercepting precipitation as it falls, and by taking up water through their roots. In developed environments, such as cities, unmanaged stormwater can create two major issues: one related to the volume and timing of runoff (flooding) and the other related to potential contaminants the water is carrying (water pollution). In addition to the pollutants carried in stormwater runoff, urban runoff is being recognized as a cause of pollution in its own right

Stormwater is also an important resource as human population and demand for water grow, particularly in arid and drought-prone climates. Stormwater harvesting techniques and purification could potentially make some urban environments self-sustaining in terms of water.

Stormwater pollution
With less vegetation and more impervious surfaces (parking lots, roads, buildings, compacted soil), developed areas allow less rain to infiltrate into the ground, and more runoff is generated than in undeveloped conditions. Additionally, passages such as ditches and storm sewers quickly transport runoff away from commercial and residential areas into nearby water bodies. This greatly increases the volume of water in waterways and the discharge of those waterways, leading to erosion and flooding. Because the water is flushed out of the watershed during the storm event, little infiltrates the soil, replenishes groundwater, or supplies stream baseflow in dry weather.

A first flush is the initial runoff of a rainstorm. During this phase, polluted water entering storm drains in areas with high proportions of impervious surfaces is typically more concentrated compared to the remainder of the storm. Consequently, these high concentrations of urban runoff result in high levels of pollutants discharged from storm sewers to surface waters.

Daily human activities result in deposition of pollutants on roads, lawns, roofs, farm fields, and other land surfaces. Such pollutants include trash, sediment, nutrients, bacteria, pesticides, metals, and petroleum byproducts. When it rains or there is irrigation, water runs off and ultimately makes its way to a river, lake, or the ocean. While there is some attenuation of these pollutants before entering receiving waters, polluted runoff results in large enough quantities of pollutants to impair receiving waters.

Stormwater runoff as a source of pollution
In addition to the pollutants carried in stormwater runoff, urban runoff is being recognized as a cause of pollution in its own right. In natural catchments (watersheds) surface runoff entering waterways is a relatively rare event, occurring only a few times each year and generally after larger storms. Before development occurred, most rainfall soaked into the ground and contributed to groundwater recharge or was recycled into the atmosphere by vegetation through evapotranspiration.

Modern drainage systems, which collect runoff from impervious surfaces (e.g., roofs and roads), ensure that water is efficiently moved to waterways through pipe networks, meaning that even small storms result in increased waterway flows.

In addition to delivering higher pollutants from the urban catchment, increased stormwater flow can lead to stream erosion, encourage weed invasion, and alter natural flow regimes. Native species often rely on such flow regimes for spawning, juvenile development, and migration. Stormwater runoff from roadways has been observed to contain many metals including zinc (Zn), cadmium (Cd), copper (Cu), nickel (Ni), lead (Pb), chromium (Cr), manganese (Mn), iron (Fe), vanadium (V), cobalt (Co), and aluminum (Al) (Sansalone and Buchberger, 1997; Westerlund and Viklander, 2006) and other constituents.

In some areas, especially along the U.S. coast, polluted runoff from roads and highways may be the largest source of water pollution. For example, about 75 percent of the toxic chemicals getting to Seattle, Washington's Puget Sound are carried by stormwater that runs off paved roads and driveways, rooftops, yards, and other developed land. Industrial stormwater is runoff from precipitation that lands on industrial sites (e.g. manufacturing facilities, mines, airports). This runoff is often polluted by materials that are handled or stored on the sites, and the facilities are subject to regulations to control the discharges.

Stormwater Treatment
Stormwater Management Facilities (SWMF's) are generally designed using Stokes' law to allow rudimentary treatment through the settling particulate matter larger than 40 micron in size and to impound water to reduce downstream flooding. However, regulation on the effluent from SWMF's is becoming more stringent. Impact of the nutrient, Phosphorus either dissolved from (fertilizers) or bound to sediment particles from construction or agriculture runoff, causes algae and toxic cyanobacteria (aka Blue-green algae) blooms in receiving lakes. Cyanotoxin is of particular concern as many drinking water treatment plants can not effectively remove this health hazard. In a recent municipal stormwater treatment study, an advanced sedimentation technology was used passively in large diameter stormwater mains upstream of SWMF's to remove an average of 90% of TSS and phosphorus during a near 50 year rain event turning a management facility into a passive treatment facility.

Passive treatment systems
Chemical treatment of stormwater to remove pollutants can be accomplished without large scale infrastructure improvements. Passive treatment technologies use the energy of water flowing by gravity through ditches, canals, culverts, pipes or other constructed conveyances to enable treatment. Self dosing products, such as Gel Flocculants, are placed in the flowing water where sediment particles, colloids and flow energy combine to release the required dosage, thereby creating heavy flocs which can then be easily filtered or settled. Natural woven fibers like jute are often used in ditch bottoms to act as filtration media. Silt retention mats can also be placed insitu to capture floccules. Sedimentation in a forebay is often utilized as a deposition area to clarify the water and concentrate the material. Mining, heavy construction and other industries have used passive systems for more than twenty years. These types of systems are low carbon as no external power source is needed, they require little skill to operate, minimal maintenance and are effective at reducing Total Suspended Solids, some heavy metals and the nutrient phosphorus.

Urban flooding
Stormwater is a major cause of urban flooding. Urban flooding is the inundation of land or property in a built-up environment caused by stormwater overwhelming the capacity of drainage systems, such as storm sewers. Although triggered by single events such as flash flooding or snow melt, urban flooding is a condition, characterized by its repetitive, costly and systemic impacts on communities. In areas susceptible to urban flooding, backwater valves and other infrastructure may be installed to mitigate losses.

Where properties are built with basements, urban flooding is the primary cause of basement and sewer backups. Although the number of casualties from urban flooding is usually limited, the economic, social and environmental consequences can be considerable: in addition to direct damage to property and infrastructure (highways, utilities and services), chronically wet houses are linked to an increase in respiratory problems and other illnesses. Sewer backups are often from the sanitary sewer system, which takes on some storm water as a result of Infiltration/Inflow.

Stormwater creation of sinkhole collapses
An example of urban stormwater creating a sinkhole collapse is the February 25, 2002 Dishman Lane collapse in Bowling Green, Kentucky where a sinkhole suddenly dropped the road under four traveling vehicles. The nine-month repair of the Dishman Lane collapse cost a million dollars but there remains the potential for future problems.

In undisturbed areas with natural subsurface (karst) drainage, soil and rock fragments choke karst openings thereby being a self-limitation to the growth of openings. The undisturbed karst drainage system becomes balanced with the climate so it can drain the water produced by most storms. However, problems occur when the landscape is altered by urban development. In urban areas with natural subsurface (karst) drainage there are no surface streams for the increased stormwater from impervious surfaces such as roofs, parking lots, and streets to runoff into. Instead, the stormwater enters the subsurface drainage system by moving down through the ground. When the subsurface water flow becomes great enough to transport soil and rock fragments, the karst openings grow rapidly. Where karst openings are roofed by supportive (competent) limestone, there frequently is no surface warning that an opening has grown so large it will suddenly collapse catastrophically. Therefore, land use planning for new development needs to avoid karst areas. Ultimately taxpayers end up paying the costs for poor land use decisions.

Stormwater management
Managing the quantity and quality of stormwater is termed, "Stormwater Management." The term Best Management Practice (BMP) or stormwater control measure (SCM) is often used to refer to both structural or engineered control devices and systems (e.g. retention ponds) to treat or store polluted stormwater, as well as operational or procedural practices (e.g. street sweeping). Stormwater management includes both technical and institutional aspects.

Technical aspects

 * control of flooding and erosion;
 * control of hazardous materials to prevent release of pollutants into the environment (source control);
 * planning and construction of stormwater systems like retention basins, buried vaults with various kinds of media filters, and vortex separators to remove coarse solids before they pollute surface waters or groundwater resources;
 * acquisition and protection of natural waterways or rehabilitation;
 * Sump in the Town of Islip.jpg located in Islip, NY built to collect rainwater and prevent flooding in the surrounding suburbs]]building nature-based solutions such as ponds, swales, constructed wetlands or green infrastructure solutions to work with existing or "hard" drainage structures, such as pipes and concrete channels (constructed wetlands built for stormwater treatment can also serve as habitat for plants, amphibians and fish)

Institutional and policy aspects

 * development of funding approaches to stormwater programs potentially including stormwater user fees and the creation of a stormwater utility;
 * development of long-term asset management programs to repair and replace aging infrastructure;
 * revision of current stormwater regulations to address comprehensive stormwater needs;
 * enhancement and enforcement of existing ordinances to make sure property owners consider the effects of stormwater before, during and after development of their land;
 * education of a community about how its actions affect water quality, and about what it can do to improve water quality.

Integrated water management
Integrated water management (IWM) of stormwater has the potential to address many of the issues affecting the health of waterways and water supply challenges facing the modern urban city. IWM is often associated with green infrastructure when considered in the design process. Professionals in their respective fields, such as urban planners, architects, landscape architects, interior designers, and engineers, often consider integrated water management as a foundation of the design process.

Also known as low impact development (LID) in the United States, or Water Sensitive Urban Design (WSUD) in Australia, IWM has the potential to improve runoff quality, reduce the risk and impact of flooding and deliver an additional water resource to augment potable supply.

The development of the modern city often results in increased demands for water supply due to population growth, while at the same time altered runoff predicted by climate change has the potential to increase the volume of stormwater that can contribute to drainage and flooding problems. IWM offers several techniques, including stormwater harvest (to reduce the amount of water that can cause flooding), infiltration (to restore the natural recharge of groundwater), biofiltration or bioretention (e.g., rain gardens), to store and treat runoff and release it at a controlled rate to reduce impact on streams and wetland treatments (to store and control runoff rates and provide habitat in urban areas).

There are many ways of achieving LID. The most popular is to incorporate land-based solutions to reduce stormwater runoff through the use of retention ponds, bioswales, infiltration trenches, sustainable pavements (such as permeable paving), and others noted above. LID can also be achieved by utilizing engineered, manufactured products to achieve similar, or potentially better, results as land-based systems (underground storage tanks, stormwater treatment systems, biofilters, etc.). The proper LID solution is one that balances the desired results (controlling runoff and pollution) with the associated costs (loss of usable land for land-based systems versus capital cost of manufactured solution). Green (vegetated) roofs are also another low-cost solution.

IWM as a movement can be regarded as being in its infancy and brings together elements of drainage science, ecology and a realization that traditional drainage solutions transfer problems further downstream to the detriment of the environment and water resources.

Federal requirements
In the United States, the Environmental Protection Agency (EPA) is charged with regulating stormwater pursuant to the Clean Water Act (CWA). The goal of the CWA is to restore all "Waters of the United States" to their "fishable" and "swimmable" conditions. Point source discharges, which originate mostly from municipal wastewater (sewage) and industrial wastewater discharges, have been regulated since enactment of the CWA in 1972. Pollutant loadings from these sources are tightly controlled through the issuance of National Pollution Discharge Elimination System (NPDES) permits. However, despite these controls, thousands of water bodies in the U.S. remain classified as "impaired," meaning that they contain pollutants at levels higher than is considered safe by EPA for the intended beneficial uses of the water. Much of this impairment is due to polluted runoff, generally in urbanized watersheds (in other US watersheds, agricultural pollution is a major source).

To address the nationwide problem of stormwater pollution, Congress broadened the CWA definition of "point source" in 1987 to include industrial stormwater discharges and Municipal Separate Storm Sewer Systems ("MS4"). These facilities are required to obtain NPDES permits. In 2017, about 855 large municipal systems (serving populations of 100,000 or more), and 6,695 small systems are regulated by the permit system.

State and local requirements
EPA has authorized 47 states to issue NPDES permits. In addition to implementing the NPDES requirements, many states and local governments have enacted their own stormwater management laws and ordinances, and some have published stormwater treatment design manuals. Some of these state and local requirements have expanded coverage beyond the federal requirements. For example, the State of Maryland requires erosion and sediment controls on construction sites of 5,000 sq ft (460 m2) or more. It is not uncommon for state agencies to revise their requirements and impose them upon counties and cities; daily fines ranging as high as $25,000 can be imposed for failure to modify their local stormwater permitting for construction sites, for instance.

Nonpoint source pollution management
Agricultural runoff (except for concentrated animal feeding operations, or "CAFO") is classified as nonpoint source pollution under the CWA. It is not included in the CWA definition of "point source" and therefore not subject to NPDES permit requirements. The 1987 CWA amendments established a non-regulatory program at EPA for nonpoint source pollution management consisting of research and demonstration projects. Related programs, such as the Environmental Quality Incentives Program are conducted by the Natural Resources Conservation Service (NRCS) in the U.S. Department of Agriculture.

Public education campaigns
Education is a key component of stormwater management. A number of agencies and organizations have launched campaigns to teach the public about stormwater pollution, and how they can contribute to solving it. Thousands of local governments in the U.S. have developed education programs as required by their NPDES stormwater permits.

One example of a local educational program is that of the West Michigan Environmental Action Council (WMEAC), which has coined the term Hydrofilth to describe stormwater pollution, as part of its "15 to the River" campaign. (During a rain storm, it may take only 15 minutes for contaminated runoff in Grand Rapids, Michigan to reach the Grand River.) Its outreach activities include a rain barrel distribution program and materials for homeowners on installing rain gardens.

Other public education campaigns highlight the importance of green infrastructure in slowing down and treating stormwater runoff. DuPage County Stormwater Management launched the "Love Blue. Live Green." outreach campaign on social media sites to educate the public on green infrastructure and some other best management practices for stormwater runoff. Articles, websites, pictures, videos and other media are spread to the public through this campaign.

History
Stormwater infrastructure is an expensive long-term investment that is difficult to replace when the underlying circumstances change. As a result, the system will perform worse or malfunction more frequently over time. This is precisely what is occurring in the region surrounding Europe and the Baltic Sea, where the systems are being stressed by the quickening pace of climate change, the advancement of urbanization, and the stricter regulations. Rethinking stormwater management techniques and stepping up investments in stormwater infrastructure are essential to adapting to these rapidly changing circumstances.

Since humans began living in concentrated village or urban settings, stormwater runoff has been an issue. During the Bronze Age, housing took a more concentrated form, and impervious surfaces emerged as a factor in the design of early human settlements. Some of the early incorporation of stormwater engineering is evidenced in Ancient Greece.

A specific example of an early stormwater runoff system design is found in the archaeological recovery at Minoan Phaistos on Crete.

title: Stormwater


text:
Minkowski inequality

In mathematical analysis, the Minkowski inequality establishes that the Lp spaces are normed vector spaces. Let $$S$$ be a measure space, let $$1 \leq p < \infty$$ and let $$f$$ and $$g$$ be elements of $$L^p(S).$$ Then $$f + g$$ is in $$L^p(S),$$ and we have the triangle inequality $$\|f+g\|_p \leq \|f\|_p + \|g\|_p$$ with equality for $$1 < p < \infty$$ if and only if $$f$$ and $$g$$ are positively linearly dependent; that is, $$f = \lambda g$$ for some $$\lambda \geq 0$$ or $$g = 0.$$ Here, the norm is given by: $$\|f\|_p = \left(\int |f|^p d\mu\right)^{\frac{1}{p}}$$ if $$p < \infty,$$ or in the case $$p = \infty$$ by the essential supremum $$\|f\|_\infty = \operatorname{ess\ sup}_{x\in S}|f(x)|.$$

The Minkowski inequality is the triangle inequality in $$L^p(S).$$ In fact, it is a special case of the more general fact $$\|f\|_p = \sup_{\|g\|_q = 1} \int |fg| d\mu, \qquad \tfrac{1}{p} + \tfrac{1}{q} = 1$$ where it is easy to see that the right-hand side satisfies the triangular inequality.

Like Hölder's inequality, the Minkowski inequality can be specialized to sequences and vectors by using the counting measure: $$\biggl(\sum_{k=1}^n |x_k + y_k|^p\biggr)^{1/p} \leq \biggl(\sum_{k=1}^n |x_k|^p\biggr)^{1/p} + \biggl(\sum_{k=1}^n |y_k|^p\biggr)^{1/p}$$ for all real (or complex) numbers $$x_1, \dots, x_n, y_1, \dots, y_n$$ and where $$n$$ is the cardinality of $$S$$ (the number of elements in $$S$$).

The inequality is named after the German mathematician Hermann Minkowski.

Proof
First, we prove that $$f + g$$ has finite $$p$$-norm if $$f$$ and $$g$$ both do, which follows by $$|f + g|^p \leq 2^{p-1}(|f|^p + |g|^p).$$ Indeed, here we use the fact that $$h(x) = |x|^p$$ is convex over $$\Reals^+$$ (for $$p > 1$$) and so, by the definition of convexity, $$\left|\tfrac{1}{2} f + \tfrac{1}{2} g\right|^p \leq \left|\tfrac{1}{2} |f| + \tfrac{1}{2} |g|\right|^p \leq \tfrac{1}{2}|f|^p + \tfrac{1}{2} |g|^p.$$ This means that $$|f+g|^p \leq \tfrac{1}{2}|2f|^p + \tfrac{1}{2}|2g|^p = 2^{p-1}|f|^p + 2^{p-1}|g|^p.$$

Now, we can legitimately talk about $$\|f + g\|_p.$$ If it is zero, then Minkowski's inequality holds. We now assume that $$\|f + g\|_p$$ is not zero. Using the triangle inequality and then Hölder's inequality, we find that $$\begin{align} \|f + g\|_p^p &= \int |f + g|^p \, \mathrm{d}\mu \\ &= \int |f + g| \cdot |f + g|^{p-1} \, \mathrm{d}\mu \\ &\leq \int (|f| + |g|)|f + g|^{p-1} \, \mathrm{d}\mu \\ &=\int |f||f + g|^{p-1} \, \mathrm{d}\mu+\int |g||f + g|^{p-1} \, \mathrm{d}\mu \\ &\leq \left(\left(\int |f|^p \, \mathrm{d}\mu\right)^{\frac{1}{p}} + \left(\int |g|^p \,\mathrm{d}\mu\right)^{\frac{1}{p}}\right)\left(\int |f + g|^{(p-1)\left(\frac{p}{p-1}\right)} \, \mathrm{d}\mu\right)^{1-\frac{1}{p}} && \text{ Hölder's inequality} \\ &= \left(\|f\|_p + \|g\|_p \right )\frac{\|f + g\|_p^p}{\|f + g\|_p} \end{align}$$

We obtain Minkowski's inequality by multiplying both sides by $$\frac{\|f + g\|_p}{\|f + g\|_p^p}.$$

Minkowski's integral inequality
Suppose that $$(S_1, \mu_1)$$ and $$(S_2, \mu_2)$$ are two $\sigma$-finite measure spaces and $$F : S_1 \times S_2 \to \Reals$$ is measurable. Then Minkowski's integral inequality is: $$\left[\int_{S_2}\left|\int_{S_1}F(x,y)\, \mu_1(\mathrm{d}x)\right|^p \mu_2(\mathrm{d}y)\right]^{\frac{1}{p}} ~\leq~ \int_{S_1}\left(\int_{S_2}|F(x,y)|^p\,\mu_2(\mathrm{d}y)\right)^{\frac{1}{p}}\mu_1(\mathrm{d}x),$$ with obvious modifications in the case $$p = \infty.$$ If $$p > 1,$$ and both sides are finite, then equality holds only if $$|F(x, y)| = \varphi(x) \, \psi(y)$$ a.e. for some non-negative measurable functions $$\varphi$$ and $$\psi.$$

If $$\mu_1$$ is the counting measure on a two-point set $$S_1 = \{1, 2\},$$ then Minkowski's integral inequality gives the usual Minkowski inequality as a special case: for putting $$f_i(y) = F(i, y)$$ for $$i = 1, 2,$$ the integral inequality gives $$\|f_1 + f_2\|_p = \left(\int_{S_2}\left|\int_{S_1}F(x,y)\,\mu_1(\mathrm{d}x)\right|^p \mu_2(\mathrm{d}y)\right)^{\frac{1}{p}} \leq \int_{S_1}\left(\int_{S_2}|F(x,y)|^p\,\mu_2(\mathrm{d}y)\right)^{\frac{1}{p}} \mu_1(\mathrm{d}x) = \|f_1\|_p + \|f_2\|_p.$$

If the measurable function $$F : S_1 \times S_2 \to \Reals$$ is non-negative then for all $$1 \leq p \leq q \leq \infty,$$ $$\left\|\left\|F(\,\cdot, s_2)\right\|_{L^p(S_1, \mu_1)}\right\|_{L^q(S_2, \mu_2)} ~\leq~ \left\|\left\|F(s_1, \cdot)\right\|_{L^q(S_2, \mu_2)}\right\|_{L^p(S_1, \mu_1)} \ .$$

This notation has been generalized to $$\|f\|_{p,q} = \left(\int_{\R^m} \left[\int_{\R^n}|f(x,y)|^q\mathrm{d}y\right]^{\frac{p}{q}} \mathrm{d}x\right)^{\frac{1}{p}}$$ for $$f : \R^{m+n} \to E,$$ with $$\mathcal{L}_{p,q}(\R^{m+n},E) = \{f \in E^{\R^{m+n}} : \|f\|_{p,q} < \infty\}.$$ Using this notation, manipulation of the exponents reveals that, if $$p < q,$$ then $$\|f\|_{q,p} \leq \|f\|_{p,q}.$$

Reverse inequality
When $$p < 1$$ the reverse inequality holds: $$\|f+g\|_p \ge \|f\|_p + \|g\|_p.$$

We further need the restriction that both $$f$$ and $$g$$ are non-negative, as we can see from the example $$f=-1, g=1$$ and $$p = 1:$$ $$\|f+g\|_1 = 0 < 2 = \|f\|_1 + \|g\|_1.$$

The reverse inequality follows from the same argument as the standard Minkowski, but uses that Holder's inequality is also reversed in this range.

Using the Reverse Minkowski, we may prove that power means with $$p \leq 1,$$ such as the harmonic mean and the geometric mean are concave.

Generalizations to other functions
The Minkowski inequality can be generalized to other functions $$\phi(x)$$ beyond the power function $$x^p.$$ The generalized inequality has the form $$\phi^{-1}\left(\textstyle\sum\limits_{i=1}^n \phi(x_i + y_i)\right) \leq \phi^{-1}\left(\textstyle\sum\limits_{i=1}^n \phi(x_i)\right) + \phi^{-1}\left(\textstyle\sum\limits_{i=1}^n \phi(y_i)\right).$$

Various sufficient conditions on $$\phi$$ have been found by Mulholland and others. For example, for $$x \geq 0$$ one set of sufficient conditions from Mulholland is
 * 1) $$\phi(x)$$ is continuous and strictly increasing with $$\phi(0) = 0.$$
 * 2) $$\phi(x)$$ is a convex function of $$x.$$
 * 3) $$\log\phi(x)$$ is a convex function of $$\log(x).$$

title: Minkowski inequality


text:
Johnny Otis

Johnny Otis (born Ioannis Alexandres Veliotes (Ιωάννης Αλέξανδρος Βελιώτης); December 28, 1921 – January 17, 2012) was a first generation Greek-American singer, musician, composer, bandleader, record producer, and talent scout. He was a seminal influence on American R&B and rock and roll. He discovered numerous artists early in their careers who went on to become highly successful in their own right, including Little Esther Phillips, Etta James, Alan O'Day, Big Mama Thornton, Johnny Ace, Jackie Wilson, Little Willie John, Hank Ballard, and The Robins, among many others. Otis has been called the "Godfather of Rhythm and Blues".

Personal life
Otis was born in Vallejo, California, to Greek immigrant parents, Alexander J. Veliotes, a Mare Island longshoreman and grocery store owner, and his wife, the former Irene Kiskakes, a painter. He had a younger sister, Dorothy, and a younger brother, Nicholas A. Veliotes, who became the U.S. Ambassador to Jordan (1978–1981) and Egypt (1984–1986). Johnny grew up in a predominantly black neighborhood in Berkeley, California, where his father owned a grocery store. He became known for his choice to live his professional and personal life as a member of the African-American community. He wrote, "As a kid I decided that if our society dictated that one had to be black or white, I would be black."

On May 2, 1941, when Otis was 19, he married Phyllis Walker, an 18-year-old woman of African American and Filipino descent from Oakland, whom he had known since childhood. Despite deep and enduring objections from his mother, the young couple left California and eloped to marry in Reno, Nevada, where interracial marriage was accepted at the time. They had four children: two sons, Shuggie Otis and Nicholas Otis—both of whom became musicians—and two daughters, Janice and Laura. Johnny and Phyllis also raised Lucky Otis, Shuggie's son with his first wife, Miss Mercy Fontenot of The GTOs.

Music career
Otis began playing drums as a teenager, having bought a set by forging his father's signature on a credit slip. Soon after, he dropped out of Berkeley High School, in his junior year. He joined a local band, the West Oakland House Rockers, with his pianist friend "Count" Otis Matthews. By 1939, they were performing at many local functions, mostly in and around Oakland and Berkeley, and were popular among their peers.

In the early 1940s Otis played in swing orchestras, including Lloyd Hunter's Serenaders and Harlan Leonard's Rockets. He founded his own band in 1945; they had one of the most enduring hits of the big-band era, "Harlem Nocturne", a composition by Earle Hagen. His band included Wynonie Harris, Charles Brown, and Illinois Jacquet, among others. In 1947, he and Bardu Ali opened the Barrelhouse Club in the Watts district of Los Angeles. Otis reduced the size of his band and hired the singers Mel Walker, Little Esther (born Esther Mae Jones and later known as Esther Phillips) and the Robins (who later became the Coasters). He discovered the teenaged Esther Jones when she won a talent show at the Barrelhouse Club. With this band, he toured extensively in the United States as the California Rhythm and Blues Caravan, and had a string of rhythm-and-blues hits through 1950.

Otis and his Orchestra played at the third annual Cavalcade of Jazz concert held at Wrigley Field in Los Angeles produced by Leon Hefflin, Sr. on September 7, 1947. Woody Herman, The Valdez Orchestra, The Blenders, T-Bone Walker, Slim Gaillard, The Honeydrippers, Sarah Vaughn and the Three Blazers also performed that same day.

Otis discovered the tenor saxophonist Big Jay McNeely, who played on his up-tempo "Barrelhouse Stomp". He began recording Little Esther and Mel Walker for Savoy Records, based in Newark, New Jersey, in 1949, and also released a stream of hit records, including "Double Crossing Blues", "Mistrustin' Blues" and "Cupid's Boogie", all of which reached number 1 on the Billboard R&B chart. In 1950, Billboard selected Otis as the R&B Artist of the Year. He also began playing the vibraphone on many of his recordings.

In 1951, Otis released "Mambo Boogie", featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression, the first R&B mambo ever recorded. Otis moved to Mercury Records in 1951. He discovered the singer Etta James, who was then 13 years old, at one of his talent shows. He produced and co-wrote her first hit, The Wallflower (Dance with Me, Henry).

In 1952, while in Houston, Texas, Otis auditioned the singer Willie Mae "Big Mama" Thornton. He produced, co-wrote, and played drums on her 1953 recording of "Hound Dog" (the first recording of the song); he and his band also provided the backup "howling" vocals. The song was co-written by Jerry Leiber and Mike Stoller. Otis had a legal dispute with the songwriting duo over the credits after he learned that Leiber and Stoller had revised the contractual agreement before the singer Elvis Presley recorded a new version of the song, which quickly became a number 1 hit. Claiming Leiber and Stoller illegally had the original contract nullified and rewrote a new one stating that the two boys (who were both 17) were the only composers of the song, Otis sued. The judge decided the case in favor of the defendants, ruling that the first contract with Otis was null and void because they were minors when they signed it.

One of Otis's most famous compositions is the ballad "Every Beat of My Heart", first recorded by the Royals in 1952 for Federal Records. It was a hit for Gladys Knight and the Pips in 1961. Otis also produced and played the vibraphone on "Pledging My Love", by the singer Johnny Ace, which was number 1 on the Billboard R&B chart for 10 weeks. Another successful song for Otis was "So Fine", originally recorded by the Sheiks in 1955 for Federal and a hit for the Fiestas in 1959. As an artist and repertory man for King Records, Otis discovered numerous young prospects who later became successful, including Jackie Wilson, Hank Ballard, and Little Willie John.

Otis hosted a television show, The Johnny Otis Show, and became an influential disc jockey in Los Angeles, with a program on radio station KFOX in Long Beach in 1955.

In 1955, Otis started his own label, Ultra Records (he changed the name to Dig after releasing five singles). He continued to perform and appeared on TV shows in Los Angeles from 1957. On the strength of their success, he signed with Capitol Records. Featuring the singer Marie Adams and with his band, now known as the Johnny Otis Show, he made a comeback, at first in the British charts with "Ma! He's Making Eyes at Me" in 1957. In April 1958, he recorded his best-known song, "Willie and the Hand Jive", a clave-based vamp. It was a hit in the summer of 1958, peaking at number 9 on the U.S. Pop chart, and was Otis's only Top 10 single. The single reached number 1 on the Billboard R&B chart. Otis's success with the song was somewhat short-lived, and he briefly moved to King Records in 1961, where he worked with Johnny "Guitar" Watson.

In 1959, Otis auditioned the Coachella Valley, CA band the Renes which featured a young Alan O'Day on vocals. Impressed, Otis recorded and produced the band performing three O'Day originals and a few covers at El Dorado Studios in Los Angeles. but the recordings were never released as most of the members of the Renes were minors.

In 1969, Otis landed a deal with Columbia Records and recorded the albums Cold Shot! and the sexually explicit Snatch and the Poontangs, both of which featured his son Shuggie and the singer Delmar "Mighty Mouth" Evans. A year later, he recorded a double live album of his band's performance at the Monterey Jazz Festival, Johnny Otis Show Live at Monterey! with Little Esther Phillips, Eddie "Cleanhead" Vinson, Pee Wee Crayton, Ivory Joe Hunter, and The Mighty Flea, among others. A portion of the performance was featured in the Clint Eastwood film Play Misty for Me.

Live at Monterey was released in 1971 by Epic Records. Reviewing it in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "In-concert compilations are often incoherent, but the blues-style hard jive beloved of performer-turned-majordomo Otis has such formal integrity that this r&b spectacular moves smoothly for four sides. Some of the featured players are no more than Otis's hired hands, including guitarist Shuggie O. But (in ascending order) Roy Milton, Big Joe Turner, Ivory Joe Hunter, Little (?) Esther Phillips, Roy Brown, and Cleanhead Vinson are a cast that beats anything Richard Nader's ever put into the Garden."

Otis toured less in the 1970s. He started the Blues Spectrum label and released a series of thirteen albums, Rhythm and Blues Oldies, which featured the 1950s R&B artists Louis Jordan, Charles Brown, Big Joe Turner, Pee Wee Crayton, Joe Liggins, Gatemouth Moore, Roy Milton, Amos Milburn, Eddie "Cleanhead" Vinson, and Richard Berry, with three of those albums by Otis himself.

In the 1980s, Otis had a weekly radio show, airing Mondays from 8 to 11 p.m. on the Los Angeles radio station KPFK, on which he played records and received as guests R&B artists such as Screamin' Jay Hawkins. Otis also recorded with his sons, Shuggie (guitar) and Nicky (drums), releasing the albums The New Johnny Otis Show (Alligator, 1981), ''Johnny Otis! Johnny Otis! (Hawk Sound, 1984) and Otisology'' (Kent, 1986). In the summer of 1987, Otis hosted his own Red Beans & Rice R&B Music Festival in Los Angeles, which featured top-name acts and hosted a Southern-style red beans and rice cook-off. Otis released Spirit of the Black Territory Bands in 1992, for which he was nominated for a Grammy Award. He moved the festival to the city of San Dimas, where it ran annually in association with the Los Angeles County Department of Parks and Recreation for twenty years, until 2006.

Otis and his family moved from southern California to Sebastopol, California, a small apple-farming town in Sonoma County. He continued his weekly radio program from KPFK's sister station KPFA in Berkeley, California, which aired every Saturday from 9am to noon. Otis performed across the United States and Europe well through the 1990s, headlining the San Francisco Blues Festival in 1990 and 2000. In 1993, he opened the Johnny Otis Market   in Sebastopol, a grocery/deli/cabaret where Otis and his band (now joined by his grandsons Lucky on bass and Eric on rhythm guitar) played sold-out shows every weekend until it closed its doors in 1995. He was inducted into the Rock and Roll Hall of Fame and the Blues Hall of Fame in 1994. He was inducted into the National Rhythm & Blues Hall of Fame in 2017.

Other work
In the 1960s, Otis entered journalism and politics. He lost an election for a seat in the California State Assembly. He then became deputy chief of staff to state Assemblyman, later, Democratic Congressman, Mervyn M. Dymally.

Otis also founded and preached in the New Landmark Community Gospel Church, which held Sunday services in Santa Rosa, California. Landmark's worship services centered on Otis's preaching and the traditional-style performances of a vocal group and choir backed by his rhythm section and an organist. The church closed in mid-1998.

The Johnny Otis Show, relocated from KPFK to sister station KPFA in Berkeley, California, where it aired on Saturday mornings. After his market in Sebastopol opened in 1994, Otis broadcast from there, with his band playing live on the air, later broadcasting from the Powerhouse Brewing Co. After Otis' retirement in late 2004, his grandson Lucky hosted the show at KPFA for two years, until its final airing in late 2006, when Otis and his wife moved back to Los Angeles.

In 1980, Frank Zappa stated in a Trouser Press interview that he adopted his trademark mustache and soul patch because "it looked good on bluesman Johnny Otis, so I grew it."

He taught Music 15-B: Jazz, Blues and Popular Music in American Culture, a 3-unit Peralta Community College District class.

Death
Otis died of natural causes on January 17, 2012, in the Altadena area of Los Angeles. He died three days before Etta James, whom he had discovered in the early 1950s. He is interred with his wife at Mountain View Cemetery in Altadena, California, US.

title: Johnny Otis