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Anthony Crosland

Charles Anthony Raven Crosland (29 August 1918 – 19 February 1977) was a British Labour Party politician and author. A social democrat on the right wing of the Labour Party, he was a prominent socialist intellectual. His influential book The Future of Socialism (1956) argued against many Marxist notions and the traditional Labour Party doctrine that expanding public ownership was essential to make socialism work, arguing instead for prioritising the end of poverty and improving public services. He offered positive alternatives to both the right wing and left wing of the Labour Party.

Having served as Member of Parliament (MP) for South Gloucestershire from 1950 to 1955, Crosland returned to Parliament for Great Grimsby (1959–1977). During Harold Wilson's governments of 1964–1970 he served as Economic Secretary to the Treasury (1964), then Minister of State for Economic Affairs (1964–1965). Entering the Cabinet as Secretary of State for Education and Science (1965–1967), he led the Labour campaign to replace grammar schools with comprehensive schools that did not use the eleven-plus for the selection of pupils. He later served as President of the Board of Trade (1967–1969), then Secretary of State for Local Government and Regional Planning (1969–1970).

When Labour returned to power he served as Secretary of State for the Environment (1974–1976) and briefly as Foreign Secretary (1976–1977). In that role he promoted détente with the Soviet Union. He died suddenly in February 1977 of a cerebral haemorrhage, aged 58.

Early life
Crosland was born at St Leonards-on-Sea in East Sussex. His father, Joseph Beardsall Crosland, was a senior official at the War Office, and his mother, Jessie Raven, was an academic. Both of his parents were members of the Plymouth Brethren. His maternal grandfather was Frederick Edward Raven (1837–1903), founder of the Raven Exclusive Brethren and secretary of the Royal Naval College, Greenwich. Crosland later rejected his family's religion. He grew up in north London and was educated at Highgate School and at Trinity College, Oxford, obtaining a second class honours degree in Classical Moderations in Greek and Latin Literature.

In the spring of 1941, Crosland was commissioned in the Royal Welch Fusiliers, and in late 1942 he joined (as part of the 6th (Royal Welch) Parachute Battalion) the 2nd Parachute Brigade, which was part of the 1st Airborne Division. In September 1943, he participated in the landings at Taranto, Operation Slapstick. Crosland had his first direct experience of combat in Italy in December. He then became an intelligence officer gathering information for several months in the front line about troop movements at the Battle of Monte Cassino, and was also briefly involved in the Allied invasion of southern France as part of Operation Rugby in August 1944. He ended the war as a Captain.

After the war, Crosland returned to Oxford University and obtained first class honours in Philosophy, Politics and Economics, which he studied in 12 months; he also became President of the Oxford Union. He then became a university don at Oxford, tutoring in Economics. Notable people he taught at Oxford included Tony Benn, Norris McWhirter and Ross McWhirter.

Early years in parliament
Crosland, who had been talent-spotted by Hugh Dalton, was chosen as a Labour candidate in December 1949 to fight the next general election. He entered Parliament at the February 1950 general election, being returned for the South Gloucestershire constituency. He held that seat until the 1955 general election, when he was defeated at Southampton Test.

Crosland returned to the House of Commons at the 1959 general election when he was elected for Grimsby, which he would represent for the rest of his life. He was, like Roy Jenkins and Denis Healey, a friend and protégé of Hugh Gaitskell, and together they were regarded as the "modernisers" of their day.

From June 1960, Crosland played an important part in the establishment of the Campaign for Democratic Socialism, a right-wing grassroots group within the Labour Party, created, in part, as a response to the debates around the Left's advocacy of unilateral nuclear disarmament and Clause IV. However, Crosland was against Gaitskell's attempts to change Clause 4.

1963 leadership election
Even though they were from the same wing of the party, the thought of the Labour Party being led by the volatile George Brown appalled Crosland, but he also was a critic of Harold Wilson for his apparent lack of principles. Just over two years earlier Wilson had challenged Gaitskell for the party leadership. Crosland nominated and voted for James Callaghan in the leadership contest caused by Gaitskell's death on 18 January 1963. He rationalised his decision to back Callaghan on the basis that "We have to choose between a crook (Harold Wilson) and a drunk (George Brown)". However, Callaghan was eliminated after obtaining 41 votes, the margin in votes between Wilson and Brown in the final ballot. With Callaghan eliminated, Crosland's second wife wrote in her 1982 biography, he voted for George Brown in the second ballot, although with zero enthusiasm, and with little interest about the result, as he was opposed to both of the candidates now standing for the party leadership. Wilson won by 144 votes to Brown's 103 on 14 February 1963.

Although critical of Harold Wilson, and angry with him for his 1960 challenge to Gaitskell for the party leadership, Crosland respected him as a political operator. Under Wilson, Crosland was first appointed Brown's deputy in October 1964. In November 1964 Crosland and Brown told Wilson and Callaghan that ruling out devaluation was a mistake in the face of the economic crisis then under way. However, Crosland was not Brown's deputy for long.

In government
On 22 January 1965, Wilson appointed Crosland Secretary of State for Education and Science.

Grammar schools controversy
The ongoing campaign for Comprehensive schools in England and Wales gained a major boost with Circular 10/65, which as a statute rather than a Government Bill was controversial at the time, although a government motion in favour of the policy had been passed in January 1965. Crosland's policy gained approval from local government; by 1979 over 90% of pupils were in comprehensive schools. In her biography published in 1982, Susan Crosland said her husband had told her "If it's the last thing I do, I'm going to destroy every fucking grammar school in England. And Wales and Northern Ireland."

Another major educational change was that presaged by his speech at Woolwich Polytechnic (now Greenwich University) establishing a 'binary system' of higher education, in which universities would be joined by polytechnic institutions which concentrated on high-level vocational skills.

Overseas student fees hike
In October 1966, a committee of ministers in the Labour government decided to increase university fees for overseas students. Two months later Crosland announced their decision which treated Commonwealth students for the first time as if they were foreign. Widespread protests, which erupted immediately, soon united a large number of influential people from across a wide spectrum from left-wing militant students to mildly conservative vice-chancellors.

1967–1976
Crosland subsequently served as President of the Board of Trade from September 1967 to October 1969. He was deeply disappointed not to have been made Chancellor of the Exchequer after the November 1967 cabinet reshuffle which followed the devaluation of the pound. That job went to Roy Jenkins instead. Then he became Secretary of State for Local Government and Regional Planning until the election defeat of June 1970.

Crosland was seen as a leader and intellectual guru of the "right wing" or "social democratic" wing of the Labour Party in the 1970s. In April 1972, he stood for the deputy leadership of the party after Roy Jenkins resigned. He polled 61 votes of the Parliamentary Labour Party and was eliminated in the first round. The contest was eventually won by Edward Short, who defeated Michael Foot. Crosland was embarrassed by the national press in January 1973 when it emerged he had been given a silver coffee pot donated by disgraced corrupt architect John Poulson when opening a school in Bradford in January 1966. It later transpired that the pot was only silver-plated, and therefore of trivial value.

After Labour's return to power in March 1974, Crosland became Secretary of State for the Environment. He was instrumental in changing Transport policy on British Rail to be a higher fare fast intercity passenger service rather than its previous role as a general freight common carrier. He contested the leadership in March 1976 following Wilson's resignation, but polled only 17 votes and finished bottom of the poll. After his elimination, he switched his support to the eventual winner James Callaghan, who duly rewarded Crosland by appointing him Foreign Secretary on 8 April 1976.

According to John P. Mackintosh, the Wilson and Callaghan governments were dominated by Crosland's views on equality:
 * Crosland’s ideas continued to be almost unchallenged and dominated the Labour governments of 1964–1970. [...] [T]he Labour Government which came into office in 1974 edged back towards a Croslandite position. [...] [I]f any ideas or policies could be said to have characterised Mr Callaghan's very matter-of-fact and cautious government, they were the continuation of an approach which Crosland had set out in 1956.

Crosland's time as foreign secretary was dominated by the Third Cod War and relations with Rhodesia. Crosland once quipped to his wife that "when I pop off and they cut open my heart, on it will be engraved 'fish' and 'Rhodesia'".

Personal life
Early in his life Crosland had numerous gay affairs, including allegedly with Roy Jenkins. He later described the relationship as "an exceedingly close and intense friendship."

Crosland benefited from the patronage of Hugh Dalton, who, in 1951, wrote to Richard Crossman: "Thinking of Tony, with all his youth and beauty and gaiety and charm... I weep. I am more fond of that young man than I can put into words." According to Nicholas Davenport, Dalton's unrequited feelings for Crosland became an embarrassing joke within the Labour Party.

Crosland married Hilary Sarson in November 1952, divorcing after five years, though the marriage had effectively ended after a year. Crosland had numerous affairs with other women. He remarried on 7 February 1964 to Susan Catling, an American from Baltimore resident in London whom he had met in 1956, and, in contrast to his first marriage, this was very happy and contented. Susan Crosland was a successful journalist and writer. There were no children of either marriage, although Crosland's second wife had two daughters from a previous marriage. He persuaded his step-daughters to abandon their elite private schools to attend Holland Park Comprehensive. Susan Crosland died on 26 February 2011.

Crosland was a keen football fan and an avid viewer of the television show Match of the Day. He insisted on taking the then American Secretary of State Henry Kissinger, a football fan, to Blundell Park to watch Grimsby Town play Gillingham in April 1976 when the two met for the first time. In December 1976, when Kissinger bowed out after the Republican defeat, he watched a football match with Crosland at Stamford Bridge between Chelsea and Wolverhampton Wanderers.

Labour revisionist
After losing his seat in 1955, he wrote (as C.A.R. Crosland) The Future of Socialism which was published in autumn 1956. This became a seminal work for the moderate British left. (A revised 50th anniversary edition was published in 2006.) In the book he outlines the need for socialism to adapt to modern circumstances – a context from which the use of the term "revisionism" has its origins in Britain, despite the gradualism associated with the Fabian Society since the end of the nineteenth century.

Labour revisionism was a powerful ideological tendency within the Party in the 1950s and 1960s, taking intellectual sustenance from the Crosland book, and political leadership from Hugh Gaitskell. The goal was to reformulate socialist principles, and bring the Labour Party policies up to date with the changing British society and economy. Revisionism rejected the view that socialism ought to be primarily identified with the ownership of the means of production. That meant that continuous nationalisation was not a central goal. Second, was a series of political values focused on personal liberty, social welfare, and equality. Themes of destroying or overthrowing the rich and elite were downplayed in favour of policies of high taxation, more widespread educational opportunity, and expanded social services. Revisionists insisted on the necessity of a market-oriented mixed economy with a central role for capitalism and entrepreneurship.

Crosland was himself an active member of the Fabian Society, contributing to the New Fabian Essays collection, which saw the emerging generation of Labour thinkers and politicians attempt to set out a new programme for Labour following the Attlee governments of 1945 to 1951. In the 1951 essay "The Transition from Capitalism" he claimed that "by 1951 Britain had, in all the essentials, ceased to be a capitalist country" as a result of the establishment of the welfare state. In particular, Crosland wished to challenge the dominance of Sidney and Beatrice Webb in Fabian thinking, challenging their austere, managerialist, centralising, "top-down", bureaucratic Fabianism with a more liberal vision of the good society and the good life, writing in The Future of Socialism that "Total abstinence and a good filing system are not now the right signposts to the socialist utopia. Or at least, if they are, some of us will fall by the wayside".

Two further books of essays by Crosland were published: The Conservative Enemy (London, Cape, 1962) and Socialism Now, and Other Essays (London, Cape, 1974).

Death
Crosland and his wife bought a converted mill at Adderbury in Oxfordshire in 1975, as well as having a home at Lansdowne Road in Notting Hill, London. On the afternoon of 13 February 1977, Crosland was at his home in Adderbury, working on a paper on the Rhodesian situation, and was planning that evening to complete a major foreign policy speech on détente. However, he suffered a massive cerebral haemorrhage and fell into a coma. He died six days later, on 19 February, at Radcliffe Infirmary in Oxford, aged 58. Crosland was succeeded as foreign secretary by David Owen, who delivered his speech to the Diplomatic Writers Association on 3 March 1977. The following day, Crosland's ashes were scattered at sea near Grimsby.

His papers are held at the London School of Economics.

title: Anthony Crosland


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Irish red ale

Irish red ale (leann dearg ), also known as red ale or Irish ale, is a style of pale ale that is brewed using a moderate amount of kilned malts and roasted barley, giving the beer its red colour. Its strength typically ranges from 3.8% to 4.8% alcohol by volume, although some craft varieties can be as high as 6%.

In the United States, "Irish red" is sometimes used to describe a darker amber ale or a "red" beer that is a lager with caramel colouring. However, these beers are not Irish red ales.

History
The true origins of Irish Red Ale are unknown. It is said that ale has been brewed in Kilkenny city, at St. Francis Abbey, since the 14th century. Commercial brewing, distilling, malting and milling took place in the city in the 18th century by a merchant class of predominantly Catholic families, namely Archdeakin, Brennan, Cormick, Connell, Dullard, Hyland, Kinchella, McCreary, Meighan, Smithwick, Sullivan and Watters. Conditions for brewing and distilling in Kilkenny were ideal, and by 1782 there were eight distilleries in the city. Due to County Kilkenny's favourable climate, the city's agricultural hinterland provided abundant yields of corn, wheat and barley. Further, as noted by MP and brewer Richard Sullivan in 1834, the nearby Castlecomer Plateau provided brewers and distillers in the city with a plentiful supply of coal.

Perhaps the most well known Irish red ale is Smithwick's, which traces its lineage to 1710, with the establishment of John Smithwick's brewery at St. Francis Abbey. The venture was short-lived and the brewery was sold by the family. This was commonplace in Kilkenny at the time, as periods of political instability and sporadic famine in Ireland in the 18th and 19th centuries weighed heavily on the industry. John's grandson, Edmond Smithwick, acquired the St. Francis Abbey brewery in 1827 from the Brennans and greatly expanded its operations.

The company was acquired by Guinness in 1965 and the current brand was launched, replacing other now discontinued beers brewed by Smithwick's, such as 'Time ale' and 'Time barley wine'. In 1987, Guinness developed an export-only brand of Smithwick's known as Kilkenny, which has since evolved into its own distinct variant, with a redder colour, more bitter taste and foamier head.

While ale had been brewed for centuries in Ireland, the term "Irish red ale" was rarely, if ever, used in Ireland. It was popularised in the United States to describe a style of reddish-amber ale that has its roots in Ireland. In 1981, Coors licensed Killian's Irish Red from Heineken France, which became one of the top selling specialty beer brands in the United States. Killian's Irish Red, which is actually an amber lager, popularised the name "Irish red ale" to such an extent that the term was imported back into Ireland by many craft brewers as a classification.

In 2013, the Smithwick's brewery in Kilkenny was finally closed and all brewing moved to St. James's Gate in Dublin. In order to keep the tradition of Kilkenny brewing alive, descendants of both the Smithwick and Sullivan families opened a new brewery in Kilkenny in 2016 and relaunched the Sullivan's brand, which had been discontinued in 1918. Sullivan's claims it can trace it's lineage to a brewery on James's Street in 1702, which would make it the oldest branded red ale.

Style
The colour of Irish red ale is in the 11 to 18 range as defined by the Standard Reference Method (SRM). The style of beer is characterised by its malt profile, which typically includes a caramel or toffee-like sweetness. Irish red ales have a dry finish and a low to moderate bitterness of 15-30 IBU. Due to its sweet taste and relatively low alcohol content, Irish red ales are very popular with American craft brewers. Kilkenny and Smithwick's are by far the most common macro-brewed varieties.

Ireland

 * Carlow
 * O'Hara's Irish Red

 * Cork
 * Franciscan Well Rebel Red
 * Murphy's Irish Red
 * 8 Degrees Irish Red

 * Kilkenny
 * Costello's
 * Kilkenny
 * Sullivan's
 * Smithwick's

 * Derry
 * Heaney's Red Ale
 * Heaney's Modern Red

 * Dublin
 * Porterhouse Red
 * Rascal's Big Hop Red
 * J.W. Sweetman Irish Red Ale
 * Dublin Red

 * Galway
 * Blood Red Ale
 * Bay Ale Red

 * Kildare
 * Rye River Red Ale

 * Limerick
 * Thomond Red Ale
 * Bill's Red Ale

 * Sligo
 * Lough Gill Anderson's Red Ale

 * Tipperary
 * White Gypsy Ruby Red

 * Waterford
 * Copper Coast Red Ale

 * Wexford
 * Yellowbelly Red Noir Dark Ale

Canada

 * Garrisons irish red ale

United States

 * California
 * Red Trolley Ale

 * Indiana
 * Brian Boru

 * Kentucky
 * Kentucky Irish Red Ale

 * Maryland
 * Lucky SOB Red Ale

 * Massachusetts
 * Samuel Adams Irish Red

 * Ohio
 * Conway's Irish Ale

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

title: Irish red ale


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In the First Circle

In the First Circle (В круге первом; also published as The First Circle) is a novel by Russian writer Aleksandr Solzhenitsyn, released in 1968. A more complete version of the book was published in English in 2009.

The novel depicts the lives of the occupants of a sharashka (a research and development bureau made of Gulag inmates) located in the Moscow suburbs. This novel is highly autobiographical. Many of the prisoners (zeks) are technicians or academics who have been arrested under Article 58 of the RSFSR Penal Code in Joseph Stalin's purges following the Second World War. Unlike inhabitants of other Gulag labor camps, the sharashka zeks were adequately fed and enjoyed good working conditions; however, if they found disfavor with the authorities, they could be instantly shipped to Siberia.

The title is an allusion to Dante's first circle, or limbo of Hell in The Divine Comedy, wherein the philosophers of Greece, and other virtuous pagans, live in a walled green garden. They are unable to enter Heaven, as they were born before Christ, but enjoy a small space of relative freedom in the heart of Hell.

Plot summary
Innokentii Volodin, a diplomat, makes a telephone call to an old family doctor (Dobrumov) he feels obliged by conscience to make, even though he knows he could be arrested. His call is taped and the NKVD seek to identify who has made the call.

The sharashka prisoners, or zeks, work on technical projects to assist state security agencies and generally pander to Stalin's increasing paranoia. While most are aware of how much better off they are than "regular" gulag prisoners (some of them having come from gulags themselves), some are also conscious of the overwhelming moral dilemma of working to aid a system that is the cause of so much suffering. As Lev Rubin is given the task of identifying the voice in the recorded phone call, he examines printed spectrographs of the voice and compares them with recordings of Volodin and four other suspects. He narrows it down to Volodin and one other suspect, both of whom are arrested.

By the end of the book, several zeks, including Gleb Nerzhin, the autobiographical hero, choose to stop co-operating, even though their choice means being sent to much harsher camps.

Volodin, initially crushed by the ordeal of his arrest, begins to find encouragement at the end of his first night in prison.

The book also briefly depicts several Soviet leaders of the period, including Stalin himself, who is depicted as vain and vengeful, remembering with pleasure the torture of a rival, dreaming of one day becoming emperor of the world, or listening to his subordinate Viktor Abakumov and wondering: "...has the day come to shoot him yet?"

Themes
The novel addresses numerous philosophical themes, and through multiple narratives is a powerful argument both for a stoic integrity and humanism. Like other Solzhenitsyn works, the book illustrates the difficulty of maintaining dignity within a system designed to strip its inhabitants of it.

Characters

 * A Ministry official whose phone call at the beginning of the book functions as a catalyst for much of the later action in the sharashka and eventually leads to his arrest.
 * A zek mathematician, 31. An autobiographical character. He is offered a position in a cryptography group, and refuses, even knowing this means he will be sent away from the sharashka.
 * Gleb's wife. Waited for eight years and became a student in Moscow because of him (Marfino is not far from Moscow) but is considering divorce because remaining married to a prisoner blocks her prospects for continuing studies or finding a job.
 * A zek designer, 36, a survivor of the northern camps now serving his second term. Sologdin is based on Solzhenitsyn's friend Dimitrii Mikhailovich Panin, who later wrote a book entitled The Notebooks of Sologdin. He works on a cryptographic machine in secret, but is found out and has to develop his invention so as not to get sent back.
 * A zek philologist and teacher, 36, a Communist from youth, but nevertheless always ready for a good joke, even about socialism. Rubin is based on Solzhenitsyn's friend Lev Kopelev. He gets a position in a new group; his first task is to identify the man who called to warn Dr. Dobrumov not to share his medical discoveries with international colleagues.
 * A zek engineer and head of the acoustic laboratory, he is not taken seriously and behaves like a child, despite the fact that he is as old as Nerzhin.
 * A zek mechanic, 23. Loves Klara, daughter of the prosecutor Makarygin. An informer himself, albeit a reluctant one, is beaten and sent away for helping fellow inmates find out who the other informers are.
 * Makarygin's youngest daughter, works in the vacuum laboratory and falls in love with Ruska.

Editions
Solzhenitsyn first wrote this book with 96 chapters. He felt he could never get this version published in the USSR, so he produced a "lightened" version of 87 chapters. In the long version, the diplomat Volodin's phone call (chapter 1) was to the US embassy, warning them of a Soviet attempt to get atomic bomb secrets. In the short version this call is to an old family doctor warning him not to share a new medicine with some French doctors he will visit. Another difference, in the long version Sologdin is a Roman Catholic, while in the short version his faith is not described.

Shortly after One Day in the Life of Ivan Denisovich was published, Solzhenitsyn submitted his "lightened" version for publication in the USSR, but it was never accepted. This version was first published abroad in 1968. An English version was first published in Great Britain by Collins and the Harvill Press in 1968. A paperback edition, still consisting of 87 chapters was published in 1988, translated from the Russian by Max Hayward, Manya Harari and Michael Glenny. The complete 96 chapter version (with some later revisions) was published in Russian by YMCA Press in 1978, and has been published in Russia as part of Solzhenitsyn's complete works. Excerpts from the full 96 chapter version were published in English by The New Yorker and in The Solzhenitsyn Reader. An English translation of the full version was published by Harper Perennial in October 2009, entitled In the First Circle rather than The First Circle.

Adaptations
The Polish director Aleksander Ford made an English language film based on the novel in 1973, The First Circle. While it adhered closely to Solzhenitsyn's plot, the film was a critical and commercial failure.

The 1992 TV movie based on the novel, The First Circle, won Canada's Gemini Award for Best Photography in a Dramatic Program or Series, awarded to Ron Orieux. Directed by Larry Sheldon, it received nominations for best dramatic miniseries, best actor, best actress, and best writing in the category. It starred Victor Garber as the protagonist, Christopher Plummer, Robert Powell and Dominic Raacke, with F. Murray Abraham as Stalin. It was released on DVD.

In January 2006, the Rossiya Telekanal aired a miniseries directed by Gleb Panfilov. Solzhenitsyn helped adapt the novel for the screen and narrated the film.

Translations

 * Henry Carlisle and Olga Carlisle
 * Michael Guybon (1968)

title: In the First Circle


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Heritage USA

Heritage USA was an American Christian-themed water park, theme park and residential complex in Fort Mill, South Carolina, built by televangelist Jim Bakker and his wife Tammy Faye Bakker, founders of The PTL Club.

The park, which occupied 2300 acre, was built by church builder Roe Messner. Since its closure in 1989, projects have been constructed on the land it once occupied, portions of which have been sold to several companies.

The former Heritage USA facilities in Fort Mill, South Carolina, which were purchased by MorningStar Fellowship Church in 2004, were renamed Heritage International Ministries (H.I.M.).

History
Heritage USA opened in 1978, and by 1986, it attracted nearly 6 million visitors annually and employed around 2,500 people. The facilities included the 501-room Heritage Grand Hotel, the attraction Main Street USA, an indoor shopping complex, the Heritage Village Church, Upper Room, a 400-unit campground, The Jerusalem Amphitheater, conference facilities, King's Castle, a skating rink, prayer and counseling services, cable television production studios, Bible and evangelism school, visitor retreat housing, staff and volunteer housing, timeshares and the Heritage Island water park and recreational facilities. It was the third-largest theme park by attendance, with 4.9 million visitors per year, behind only Walt Disney World in Orlando, Florida and Disneyland in Anaheim, California. Heritage USA was described as a Christian version of Disneyland; before the scandal leading to its closure, Jim Bakker had plans to expand the park.

Falwell's slide
According to the September 21, 1987, issue of Time magazine, televangelist Jerry Falwell "plunged" down a 163 ft "hellish" water slide called the "Typhoon" wearing a suit, fulfilling "a promise made during a fund-raising drive that netted $20 million for the debt-ridden PTL". This drive eventually took the PTL Club and Heritage USA from Jim Bakker. The article said Jim Bakker "arranged for Falwell to take over PTL in March in an effort to avoid what he called a 'hostile takeover' of the television ministry by people threatening to expose a sexual encounter he admitted to having seven years earlier with church secretary Jessica Hahn." Photographs of Falwell's water-slide plunge circulated worldwide. Video of the slide is also available on YouTube.

Closure
At Heritage USA's peak, when it earned $126 million per year, the IRS revoked its tax exemption. Soon after Bakker's federal indictment and public condemnation for raping and drugging Jessica Hahn with another man in his employ, John Fletcher, seven years before, park attendance dropped. Falwell said the park competed unfairly with tax-paying attractions and that the tax-exempt ministry should be separated from PTL's business interests. Under Falwell's leadership, Heritage USA sought Chapter 11 bankruptcy protection with debts estimated at $72 million.

In return for a promised lifetime annual four-day vacation stay, 165,000 people had donated $1,000 to Jim Bakker's planned Heritage USA hotel tower; each donor received $6.54 in compensation. Starting in 1987, Bakker's legal and personal troubles made headlines, and in September 1989, Hurricane Hugo caused severe damage to many of the buildings. Heritage USA closed shortly after the storm.

Redevelopment efforts
In 1991, the Heritage USA property was purchased for $52 million by San Diego evangelist Morris Cerullo in partnership with a Malaysian investment group, MUI Group (Malayan United Industries Berhad). The property was renamed "New Heritage USA". The partnership between Cerullo and MUI ended over a disagreement concerning Cerullo's issuance of discount cards for the theme park. MUI filed suit against Cerullo and ultimately bought out his interest in the venture, renaming the property Regent Park. Cerullo retained control of PTL's cable network, which at the time was known as "The Inspirational Network", ultimately moving it to Charlotte, North Carolina and renaming it "The New Inspirational Network".

, it is known as The Inspiration Network (INSP). MUI is the parent company of Laura Ashley plc, which moved its US headquarters and distribution center to the property. The corporate offices of Laura Ashley are located in the former PTL World Outreach Center, a pyramid-shaped building that formerly housed the Bakkers' offices and those of the leaders of PTL. Since MUI purchased the building, it has been renamed "The Regent Building". Through its local subsidiary Regent Carolina Corporation, MUI built a golf course and residential development on most of the former Heritage USA property.

For a short period in the 1990s, MUI operated the 501-room hotel and resort under a management agreement with Radisson Hotels, calling the property the "Radisson Grand Resort," but the complex was not successful as a secular venture and ultimately closed and fell into disrepair. In December 2004, the remainder of the property was sold to Coulston Enterprises, owned by local developer and former MUI executive Earl Coulston. Coulston Enterprises sold portions of the property that had housed the PTL Ministry to MorningStar Ministries of Charlotte, headed by Rick Joyner; and Flames-of-Fire Ministries of Fort Mill, headed by Coulston's wife Sabrina.

MorningStar has undertaken ongoing renovations to the portions of the property purchased by the ministry, including the Heritage tower, despite a few wishing to see the tower torn down and erecting a new billboard on Interstate 77 calling for its demolition. The buildings that had housed Flames-of-Fire were sold to The Broadcast Group, a television and multi-media production company headed by Dr. Dale Hill, who formerly worked for Bakker and PTL. Coulston Enterprises has developed several new subdivisions that include houses and restaurants on the remainder of the property.

In January 2006, a 24-hour prayer ministry opened at the former Heritage USA. Musicians and prayer leaders formed The Zadok House of Prayer (ZHOP) after relocating from the International House of Prayer in Kansas City. In April 2009, ZHOP vacated the grounds, and the building that housed their ministry, a former PTL warehouse complex, was sold to MorningStar Fellowship Church. It now houses MorningStar's K-12 private school Comenius School of Creative Leadership (CSCL). In late 2006, the IRS placed a tax lien for $13.2 million on Regent Carolina Corporation, which had not yet transferred control of the golf course, common areas and roads to the Regent Park homeowners association. The golf course was subsequently sold to Southern Gailes. In 2018, Rick Joyner expressed interest in rebuilding the theme park.

The Barn & PTL Studios
Coulston entered into a lease/purchase agreement in April 2009 with The Broadcast Group, a multimedia production and training company founded in 1986 by former PTL Television Network executive Dr. Dale Hill, for the portion of the property encompassing the former Barn auditorium, Total Learning Center and PTL Television Network Studios. The studio production facility was renamed "The Broadcast Group Complex". The former PTL Television Studios and adjacent Total Learning Center complex were almost immediately renovated and reopened upon the closing of the lease/purchase agreement in 2009. The Barn Auditorium renovations were completed in April 2012 and the facility was reopened and renamed "The Barn at Regent Park".

In February 2014, The Broadcast Group suddenly relocated their operations from the buildings to a nearby office park in Fort Mill and shortly afterwards it was announced that all of the buildings and the surrounding 18-acre property had been acquired by Antioch International Church, which operating from a converted/renovated former PTL warehouse near the Heritage Grand Hotel, for $3.81 million on April 24, 2014; according to York County, South Carolina tax records. Antioch moved their church to a property at 8400 Regent Parkway (address since renumbered/renamed 453 Glynwood Forest Drive) and now uses the former Barn Auditorium as their new church home. The complex comprising The Barn & studios has since been renamed The River Place.

The Upper Room
In January 2009, a group called "Friends of The Upper Room" created an online petition to Flames-of-Fire Ministry and Coulston Enterprises—then owners of The Upper Room—asking them to consider donating the property to another ministry or selling it at a reduced price to save the property from rumored demolition plans. The Upper Room building and surrounding properties were placed on the market.

In November 2010, over 565 people had signed the petition and rumors that The Upper Room's owners planned to demolish it continued to circulate. In May 2010, the Friends of the Upper Room called for interested people worldwide to pray daily to ensure the building's future. On November 19, 2010, it was announced that The Upper Room had been acquired by Christian concert promoter Russell James, who planned to begin renovations on December 1, 2010, with planned opening date of January 1, 2011; it would be known as the Upper Room Chapel.

The facility underwent extensive restoration; the outdoor "Walk of Faith" was restored and is again used as a house of intercessory prayer. It will ultimately be open 24 hours a day, with live video streaming through a website.

Heritage Grand Hotel redevelopment
MorningStar Fellowship Church bought the tower from Coulston Enterprises in 2004 on the condition that the tower be torn down in two years, or Coulston would be paid $300,000. York County approved a development plan in 2005 that would have required the tower be torn down. Later, MorningStar persuaded the county to let the ministry complete the tower. In 2013, MorningStar sued the county for breaching the development agreement, and the county claimed MorningStar did. The county continued to appeal its claims until 2019, and a joint agreement in 2020 gave MorningStar time to start the process of finishing the tower for senior housing. The county reinstated lawsuits in 2021, and continues to claim the tower should have come down by 2013 because it is unfit for the purpose. On March 16, 2022, the county stated in a news release that it never stood in MorningStar's way but says codes require an unsafe building to be demolished. Numerous supporters of MorningStar have asked York County Council to change its mind, and MorningStar has filed another legal motion.

King's Castle demolition
On March 19, 2013, developer Earl Coulston, who had purchased much of the former Heritage USA property, began demolishing "The King's Castle", an abandoned arcade and go-kart track that was originally intended to house the world's largest Wendy's restaurant. The building was under construction at the time of the Bakkers' departure in the late 1980s; construction ceased when Heritage USA entered bankruptcy and payments to contractor Roe Messner were stopped. The castle was later completed by Heritage USA's then-new owner Regent Carolina Corporation (f/k/a New Heritage Carolina Corporation), a subsidiary of MUI Corporation of Malaysia. It was used for several years as an arcade and go-kart track before closing and falling into disrepair and abandonment.

Coulston jointly owned the building with neighboring MorningStar Fellowship Church as his property line ran through the rear portion of the building. MorningStar had originally intended the castle to be renovated and used as a youth center but later determined that it had been too heavily vandalized and was in too much disrepair to renovate. Coulston approached MorningStar and offered to pay for the cost of demolition because it was partially on his property and abutted a nearby housing complex he was developing. As soon as demolition began, it was halted the same day because the contractor did not have proper permission from either the State of South Carolina or York County. Demolition resumed once the proper permits were secured and the site has since been cleared.

Jerusalem Amphitheater/King's Arena
The property encompassing the "Jerusalem Amphitheater" (also known as "King's Arena") and campground is owned by Earl Coulston. The campgrounds have been renovated and are now known as Crown Cove RV Park. The outdoor amphitheater has been demolished. A large portion of the amphitheater was demolished as part of Coulston's plan to retrofit it with a roof and turn it into a venue for youth concerts. This never materialized and the amphitheater remained abandoned for many years before being demolished in October 2012.

title: Heritage USA


text:
Monterey International Pop Festival

The Monterey International Pop Festival was a three-day music festival held June 16 to 18, 1967, at the Monterey County Fairgrounds in Monterey, California. The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a mass American audience.

The festival embodied the theme of California as a focal point for the counterculture and generally is regarded as one of the beginnings of the "Summer of Love" in 1967 and the public debut of the hippie, flower power and flower children movements and era. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. Rolling Stone publisher Jann Wenner said "Monterey was the nexus – it sprang from what the Beatles began, and from it sprang what followed."

Background

In early 1967, Michael Bowen produced the Human Be-In at Golden Gate Park in San Francisco, where many attendees dropped acid for the first time (lysergic acid diethylamide or LSD) and listened to Timothy Leary tell the crowd that people living in cities should reorganize as tribes and villages. This was one of the important precursors to the Summer of Love five months later. The Human Be-In directly inspired the Monterey International Pop Festival.

The first American hippie-style rock festival was held during June 10–11 at Mount Tamalpais in Marin County, California, produced by radio station KFRC as the Fantasy Fair and Magic Mountain Music Festival. Star performers included the Doors, the Sons of Champlin, Moby Grape, the Steve Miller Blues Band, Jefferson Airplane, Hugh Masekela, Country Joe and the Fish, Canned Heat and the Byrds; the latter seven acts also played Monterey Pop one week later.

Planning
The festival was planned in seven weeks by John Phillips of the Mamas & the Papas, record producer Lou Adler, Alan Pariser and publicist Derek Taylor. Monterey and Big Sur had been known as the site for the long-running Monterey Jazz Festival and Big Sur Folk Festival; the promoters saw a notional Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. Taylor announced the festival on March 25, 1967, in his regular column for Disc and Music Echo magazine. The festival's board of governors included some such as Smokey Robinson and Berry Gordy who displayed initial enthusiasm but did little to organize the event. Local Big Sur resident and Stage Manager for the Monterey Jazz Festival, Paul Vieregee was brought in to be the Stage Manager for the Monterey Pop Festival, along with McCune Sound for production.

The artists performed for free, with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000, not by the festival, but from revenue generated from the D. A. Pennebaker documentary, Monterey Pop. The artists did, however, have their flights and accommodation paid for. Apart from Shankar, each act was given up to 40 minutes for their performance. Several ended their sets earlier, including the Who, who played for only 26 minutes.

Monterey's bill boasted a lineup that put established stars like the Mamas and the Papas, Simon & Garfunkel, Jefferson Airplane and the Byrds alongside groundbreaking new acts from the UK and the U.S.

Crowd estimates for the festival have ranged from 25,000 to 90,000 people, which congregated in and around the festival grounds. The fairgrounds' enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night's show, with many extra attendees standing around the sides of the arena. Festival-goers who wanted to see the musical performances were required to have either an 'all-festival' ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($0–0 in 2024, adjusted for inflation).

The song "San Francisco (Be Sure to Wear Flowers in Your Hair)" was written by Phillips and sung by Scott McKenzie, released in May 1967, to promote the event.

Friday night
The Los Angeles–based band the Association with hits such as "Along Comes Mary" and "Never My Love" was the first act to perform at the festival. Newsweek magazine's reporter Michael Lydon reviewed their performance as having a "professional style and entertaining manner," especially on their latest hit single "Windy", which was rising steadily on the Billboard Hot 100.

The Association was followed by the Paupers, a rock band from Toronto, who delivered a "screaming volume and a racy quality," according to Lydon. The Paupers were proud to be judged on their music alone, not relying on "gimmicks" or lighting effects.

The next act was blues singer Lou Rawls fronting a big band, the song arrangements conveying a "rock 'n' soul" style. Rawls also spoke to the crowd about the gritty experiences of African American life. After his set, he said to reporters that he was confident that "the blues is the way of the future. The fads come and go, but the blues remain. The blues is the music that makes a universal language." He described how rock artists were increasingly drawing from the blues to give their music more substance.

Beverley Martyn sang a short set followed by Johnny Rivers. After Rivers was Eric Burdon leading his new incarnation of the Animals, introduced as the New Animals, re-interpreted the Stones song "Paint It Black", adding electric violin. With this appearance, Burdon signaled a change to more of a politically charged hard rock style mixed with psychedelia. He later wrote the song "Monterey" about his experience at the concert.

The headliner of Friday night was Simon & Garfunkel, who started after midnight, and performed minimally with just two voices and one guitar. They finished at 1:30 am on Saturday morning. Lydon reviewed their set as sweetly retrospective, but "they seemed sadly left behind" by the shifting of rock music away from the duo's established folk rock style.

Saturday afternoon
Canned Heat started the Saturday afternoon show; their set was deemed "uninspired" by Lydon. In a thrilling display of raw emotion, Janis Joplin sang next, backed by Big Brother and the Holding Company. Joplin's wildly elemental interpretation of the blues standard "Ball and Chain" was described by Lydon as "the blues big mama style, tough, raw, and gutsy, and with an aching that few black singers reach." For the first time at Monterey Pop, the audience rose to their feet. This Saturday set was not recorded by filmmaker Pennebaker, so the group was asked to play again on Sunday night. San Francisco Examiner music critic Phil Elwood wrote that Joplin proved to be "the real queen of the festival". This ended up being Joplin's breakout appearance, bringing her fame far beyond the San Francisco Bay Area. Columbia Records signed Big Brother and the Holding Company on the basis of their performance at Monterey.

Country Joe and the Fish came next, delivering a funny performance with an anti-war message. Guitarist and songwriter Barry Melton said afterward that he put political messages in the band's music because "we feel that in this society, you have to make your stance clear. Others don't want to speak up in songs, be right up front." Melton said that taking LSD was part of his "liberation", allowing him to draw from many different musical genres. "When I hear a sound that is groovy I use it. I try to find music all over the place. Listening to anything can give you musical ideas. That's freedom, and maybe that's psychedelic."

Organist Al Kooper sang and played two extended songs for a half hour, followed by the Butterfield Blues Band who were appraised by Lydon as reinvigorating the crowd with "precisely" interpreted blues without being "uptight". One of Paul Butterfield's standout harmonica solos was described as an exercise in serialism, breaking a "few notes into tiny bits and experiment[ing] with their regroupings." The next two bands were dismissed by Lydon as forgettable sets: Quicksilver Messenger Service and the Steve Miller Band.

The final set of Saturday afternoon was the Electric Flag, a band led by guitarist Mike Bloomfield, containing Buddy Miles on drums, Barry Goldberg on organ, and Nick Gravenites singing in front. Their act was hailed as a "smash success" by Lydon. David Crosby announced later that night that if anyone in the audience had failed to see Electric Flag play, "man, you are out of it, so far out of it."

Saturday night
Moby Grape kicked off Saturday evening's concert with an unmemorable performance, according to Lydon. Due to legal and managerial disputes, the group was not included in the Pennebaker-produced film. Some of the Moby Grape footage was shown in 2007 as part of the 40th anniversary celebration of the film. An outtake of Moby Grape's performance of "Hey Grandma" appears on the bonus disc of the Criterion release of the film. Regarding the decision for Moby Grape to open the evening, guitarist Jerry Miller recalled that "everybody was arguing. Nobody wanted to play first and I said that would be fine for me."

Moby Grape was followed by a "terrible" showing by South African trumpeter Hugh Masekela, helped only by a spirited display by Danny "Big Black" Rey on the congas. The Byrds sang some hits and some new songs, but did not energize the crowd. The band ended with a new single, "So You Want to Be a Rock 'n' Roll Star", featuring Masekela on trumpet, reprising his participation in the studio recording.

A 20-year-old Laura Nyro gave one of her earliest performances at the Monterey Pop Festival. Lydon wrote that Nyro's "melodramatic" set, "accompanied by two dancing girls who pranced absurdly", was a disaster during which "the evening hit bottom". Other critics wrote that the black-gowned Nyro was out of sync with the psychedelic sensibilities of the event. Upon the conclusion of her set, Nyro was upset, having heard booing from the audience. While reviewing the raw footage in the 1990s, Pennebaker picked out an audience member saying "beautiful", and invited Nyro to witness it, but she died before this could be arranged.

With two huge singles behind them, San Francisco–based Jefferson Airplane was one of the major attractions of the festival, having built a large following on the West Coast. Lydon wrote that the band "thoroughly proved themselves" masters of psychedelia, aided by a trippy Headlights liquid light show projected overhead, enticing hundreds to join the band on stage dancing. Grace Slick "sang as if possessed" while she swayed in a full-length blue robe.

After this, Booker T. & the M.G.'s played a handful of instrumental R&B tunes, wearing brilliant lime green suits, then they were joined by an identically attired Otis Redding who electrified the audience with his sexually charged singing style. He sang his 1965 song "Respect" which was topping the charts because of a popular new interpretation by Aretha Franklin. Redding finished with a riveting "Try a Little Tenderness". The crowd responded by standing and screaming for more. Redding had been included on the bill through the efforts of promoter Jerry Wexler, who saw the festival as an opportunity to advance Redding's career. Until that point, Redding had performed mainly for black audiences, besides a few successful shows at the Whisky a Go Go. Redding's show, received well by the audience ("there is certainly more audible crowd participation in Redding's set than in any of the others filmed by Pennebaker that weekend") included a version of the Stones' "Satisfaction". The festival would be one of his last major performances: Redding died only six months later, in a plane crash, at the age of 26.

Sunday afternoon
Ravi Shankar was another artist who was introduced to the U.S. at the festival. Shankar's set began Sunday afternoon following a rainy morning, and the audience filled the arena to about 80% capacity. All other musical acts played to a packed house. He and his group of East Indian instrumentalists played for three hours, after asking everyone to refrain from photography and smoking. Shankar performed several ragas, two of which were released on the album Live: Ravi Shankar at the Monterey International Pop Festival. A dhun based on the raga Panchamse-Ghara (later miscredited as raga Bhimpalasi) concluded the Monterey Pop film.

Sunday night
The Blues Project opened the final night of the festival. Lydon said that their blues fusion music was "part blues, part Scottish air, part weird phrases that became images of ambiguity." Big Brother and the Holding Company returned for a short set designed to capture on film Janis Joplin singing "Ball and Chain". A team led by Cyrus Faryar, called Group With No Name, played a "terrible" set, as judged by Lydon. Buffalo Springfield, introduced by Peter Tork of the Monkees, appeared with a competent and efficient delivery of a half dozen songs, with "Bluebird" called out as memorable.

Although already a big act in the UK, and now gaining some attention in the U.S. after playing some New York dates two months earlier, the Who were propelled into the American mainstream at Monterey. The band used rented Sound City amps for their set, which were not as powerful as their regular Vox amps which they had left in England to save shipping costs. At the end of their frenetic performance of "My Generation", the audience was stunned as guitarist Pete Townshend smashed his guitar and slammed the neck against the amps and speakers. Smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage. During Jimi Hendrix's stay in England, he and the Who had seen each other perform; they were both impressed with and intimidated by each other, so neither wanted to be upstaged by the other. They decided to toss a coin, resulting in the Who winning the right to play first.

The festival crew cleared the mess left behind by the Who, and set the stage for the Grateful Dead. While a psychedelic light show was projected overhead, the band, fronted by lead guitarist and singer Jerry Garcia, played extended jams, starting with "Viola Lee Blues" for 14 minutes, and finishing with a 20-minute segue of "Alligator" into "Caution (Do Not Stop on Tracks)". Lydon commented: "The Grateful Dead were beautiful. They did at top volume what Shankar had done softly. They played pure music, some of the best music of the concert. I have never heard anything in music that could be said to be qualitatively better than the performance of the Dead, Sunday night.

Brian Jones of the Rolling Stones introduced the Jimi Hendrix Experience at the Monterey Pop Festival on the evening of Sunday, June 18. Jimi Hendrix's use of extremely high volumes, the feedback this produced, and the combination of the two along with his dive-bombing use of the vibrato bar on his guitar, produced sounds that, with the exception of the British in attendance, none of the audience had ever heard before. This, along with his look, his clothing, and his erotic antics onstage, had an enormous impact on the audience. To take things further, aware of the Who's planned explosive finale, he asked around for a can of lighter fluid, which he placed behind one of his amplifier stacks before beginning his set. He ended his Monterey performance with an unpredictable version of "Wild Thing", which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it on fire, and then smashing it onto the stage seven times before throwing its remains into the audience. This performance put Hendrix on the map and generated an enormous amount of attention in the music press and newspapers alike. Robert Christgau later wrote in The Village Voice of Hendrix's performance:

"Music was a given for a Hendrix stuck with topping The Who's guitar-smashing tour de force. It's great sport to watch this outrageous scene-stealer wiggle his tongue, pick with his teeth, and set his axe on fire, but the showboating does distract from the history made that night—the dawning of an instrumental technique so effortlessly fecund and febrile that rock has yet to equal it, though hundreds of metal bands have gotten rich trying. Admittedly, nowhere else will you witness a Hendrix still uncertain of his divinity."

Backstage before their sets, Hendrix played his guitar while staring at guitarist Pete Townshend, who denied the assumption that they were jamming together. Townshend said later, "It was just Jimi on a chair playing at me. Playing at me like 'Don't fuck with me, you little shit.'"

The Mamas & the Papas closed the festival. They also brought on Scott McKenzie to play his John Phillips–written single "San Francisco (Be Sure to Wear Flowers in Your Hair)". Their set included their hits "Monday, Monday" and "California Dreamin'". The song "Dancing in the Street" was the final song performed at the festival, with Mama Cass telling the audience "You're on your own".

After the concert, members of Jefferson Airplane, the Jimi Hendrix Experience, and the Grateful Dead jammed together backstage for four more hours, stopping for breakfast at dawn.

The Beach Boys

The Beach Boys' Brian Wilson was among the festival's board members. His group was, at one point, slotted to perform after the Byrds on June 17, the second evening of the event. During mid–1967, the Beach Boys were struggling with numerous personal and professional issues. At the last minute, they announced that they could not play the gig due to Carl Wilson's dispute with officials over his refusal to be drafted into military service, as well as the band's commitments to finishing the long-overdue "Heroes and Villains" single for Capitol Records.

Another (unofficial) reason given for the band's cancellation was that Brian had had disagreements with the promoter. Carl later commented: "Brian was on the board and [the festival] changed several times, the concept of it, and he decided 'This is shit, let's not play it.' I think there were some people getting hostile about the group at the time, about the surfing thing and he figured, 'Fuck you,' or something like that." Asked about the decision, Bruce Johnston said "it went from 'Here's the money, here's the offer, you're headlining' to 'Now this is gonna be a non-profit show' so we pulled out." Other issues plaguing the group involved Brian and Dennis Wilson's drug use.

Many of the people involved with the festival thought that the group was simply too scared to compete with the "new music". Derek Taylor, who had previously worked as their publicist, presumed that "it had to be down to Brian. Those sorts of decision were always his, really." John Phillips told a reporter that "Brian was afraid that the hippies from San Francisco would think The Beach Boys were square and boo them." Wilson's assistant Michael Vosse recalled that Wilson thought the Beach Boys would have been criticized by festival goers who were intent on seeing British acid rock groups. Writer David Leaf posited that the band dropped out because they had no fitting material in their repertoire besides "Good Vibrations".

Mike Love stated that none of the band members "were afraid to perform at Monterey" and explained that "Carl was to appear in federal court the Tuesday after the concert, but for all we knew, they were going to arrest him again if he performed onstage ... ". In a 1974 interview, he stated that he was "ready to go", but Brian "got sort of cold feet on the situation because he didn't trust that the people there in that organization were going to do right with the money and everything, and sure enough there was a scandal about that about a year or two after." Stephen Desper, who was a sound engineer for the event, wrote that the band dropped out due to Love's objections toward Coca-Cola, one of the event's sponsors. In 2017, Love reflected that drugs were influencing the band's decisions at the time and maintained that pulling out of Monterey was not his doing.

In the week after the festival had occurred, Brian traveled to the Monterey County Fairgrounds to pick up programmes of the event. According to journalist Domenic Priore, the band attempted to "make up for their non-appearance" by recording a live album, Lei'd in Hawaii, but it was never released.

The Beach Boys' sudden cancellation drew much criticism from the music press, and it had a long-lasting impact on critics' opinions of the group. Taylor remembered that dropping out of the program "undoubtedly set the band in a very bad light. They were certainly heavily criticized at the time for it. It seemed rather like an admission of defeat." Biographer Steven Gaines writes that the band's cancellation "had a snowballing effect" that came to represent "a damning admission that [they] were washed up". In the description of Pitchfork contributor Jesse Jarnow, "when the band pulled out of their performance, the ascendant underground effectively wrote the Beach Boys—one of the biggest American hitmakers of the decade—out of the '60s rock narrative that followed."

Other

 * Donovan was mentioned as a possible attendee in Taylor's original March 25, 1967, press release, but he was refused a visa to enter the United States because of a 1966 drug charge.
 * The Kinks were also mentioned in Taylor's press release, but the band declined the invitation after anticipating issues obtaining U.S. work visas. Due to incidents during the band's 1965 US tour, the US musicians' union blacklisted them from American performance until 1969.
 * The Lovin' Spoonful were invited but declined because of a marijuana investigation and resulting bandmember changes.
 * Dionne Warwick canceled her appearance shortly before the festival.
 * The Monkees, despite being the biggest selling act of 1967, were never in any serious consideration to play, although band members Micky Dolenz and Peter Tork did attend the festival. Dolenz can be seen in footage during Ravi Shanker's performance while Tork introduced Buffalo Springfield.

Influence
The festival launched the careers of many who played there, making some of them into stars virtually overnight, including Janis Joplin.

Monterey was also the first high-profile event to mix acts from major regional music centers in the U.S. – San Francisco, Los Angeles, Chicago, Memphis, Tennessee, and New York City – and it was the first time many of these bands had met each other in person. It was a particularly important meeting place for bands from the Bay Area and L.A., who had tended to regard each other with a degree of suspicion, and until that point the two scenes had been developing separately along fairly distinct lines. Paul Kantner of Jefferson Airplane said "The idea that San Francisco was heralding was a bit of freedom from oppression."

Monterey also marked a significant changing of the guard in British music. The Who and Eric Burdon and the Animals represented the UK, with the Beatles and the Rolling Stones conspicuously absent. The Stones' Brian Jones was seen many times strolling through the crowds, resplendent in full psychedelic regalia, and appeared on stage briefly to introduce Jimi Hendrix. It would be two more years before the Stones went on tour, by which time Jones was dead. The Beatles had already stopped touring altogether. Meanwhile, the Who's striking performance brought them widespread fame in the US.

Also notable was the festival's innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands and went on to become a leading sound designer for the American theater. Jacob's groundbreaking Monterey sound system was the progenitor of all the large-scale PAs that followed. It was a key factor in the festival's success and it was greatly appreciated by the artists—in the Monterey film, David Crosby can clearly be seen saying "Great sound system!" to bandmate Chris Hillman at the start of the Byrds' soundcheck. Lighting by Chip Monck attracted the attention of the Woodstock Festival promoters.

Electronic music pioneers Paul Beaver and Bernie Krause set up a booth at Monterey to demonstrate the new electronic music synthesizer developed by Robert Moog. Beaver and Krause had bought one of Moog's first synthesizers in 1966 and had spent a fruitless year trying to get someone in Hollywood interested in using it. Through their demonstration booth at Monterey, they gained the interest of acts including the Doors, the Byrds, the Rolling Stones, Simon & Garfunkel, and others. This quickly built into a steady stream of business, and the eccentric Beaver was soon one of the busiest session men in L.A. He and Krause earned a contract with Warner Brothers.

Eric Burdon and the Animals later that same year, in their hit "Monterey", quoted a line from the Byrds' song "Renaissance Fair" ("I think that maybe I'm dreamin'") and mentioned performers the Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, the Who, Hugh Masekela, Grateful Dead, and the Rolling Stones' Brian Jones ("His Majesty Prince Jones smiled as he moved among the crowd"). The instruments used in the song imitate the styles of these performers.

Anniversary festival
The festival did not become an annual event. However, in 2017 on the 50th anniversary of the festival, the "Monterey International Pop Festival – Celebrates 50 Years" was held at the same venue on the same weekend, with the participation of Lou Adler. Norah Jones, daughter of Ravi Shankar, was one of the headliners.

Recording and filming the festival
The festival was the subject of a documentary movie titled Monterey Pop by noted documentary filmmaker D.A. Pennebaker. Pennebaker's team used recently developed portable 16mm crystal-sync motion picture cameras that stayed synchronized with double-system sound-recording systems. The film stock was Eastman Kodak's recently released "high-speed" 16mm Ektachrome 100 ASA color reversal motion picture stock, without which the nighttime shows would have been virtually impossible to shoot in color. Sound was captured by Wally Heider's mobile studio on a then state-of-the art eight-channel recorder, with one track used for the crystal-sync tone, to synchronize it with the film cameras. The Grateful Dead believed that the film was too commercial and refused permission for their performance to be shown. The screening of the film in theaters nationwide helped raise the festival to mythic status, rapidly swelled the ranks of festival-goers looking for the next festival, and inspired new entrepreneurs to stage more such festivals around the country. Adler said the cameramen were instructed to capture at least two complete songs for most of the acts, but for certain others, particularly the Who and Hendrix, to film as much of the sets as possible. As a result, only one song was not captured in part at least from both acts' performances.

Big Brother's scheduled set was not filmed because of a disagreement. However, due to the huge reaction the band got, they were asked to return to play two songs on Sunday, to be filmed specifically for the movie.

An expanded version of the documentary has been released on DVD and Blu-ray by the Criterion Collection.

The audio recordings of the festival eventually became the basis for many albums, most notably the 1970 release Historic Performances Recorded at the Monterey International Pop Festival featuring partial sets by Otis Redding and Jimi Hendrix. Other releases recorded at the festival included dedicated live albums by Ravi Shankar in 1967 and Jefferson Airplane in 1991. In 1992, a four-CD box set was released featuring performances by most of the artists; various other compilations have been released over the years. According to a radio promotional feature that accompanied the box-set release, on modified stages, including flatbed Kaleidscope (LA) trucks, set up in the surrounding environs, there had been several spontaneous jam sessions for the overflow crowds and campers. Among them was one at the Monterey Peninsula Community College sports stadium (right across the Hwy. 1 interchange), where Jimi Hendrix, flanked by Jorma Kaukonen and John Cipollina, played for an enthusiastic audience.

Performers
Friday, June 16 (evening)
 * The Association
 * The Paupers
 * Lou Rawls
 * Beverley
 * Johnny Rivers
 * Eric Burdon and the Animals
 * Simon & Garfunkel

Saturday, June 17 (afternoon)
 * Canned Heat
 * Big Brother and the Holding Company
 * Country Joe and the Fish
 * Al Kooper
 * The Butterfield Blues Band
 * The Electric Flag
 * Quicksilver Messenger Service
 * Steve Miller Band

(evening)
 * Moby Grape
 * Hugh Masekela
 * The Byrds
 * Laura Nyro
 * Jefferson Airplane
 * Booker T. & the M.G.'s
 * The Mar-Keys
 * Otis Redding

Sunday, June 18 (afternoon)
 * Ravi Shankar

(evening)
 * The Blues Project
 * Big Brother and the Holding Company
 * The Group With No Name
 * Buffalo Springfield
 * The Who
 * Grateful Dead
 * The Jimi Hendrix Experience
 * Scott McKenzie
 * The Mamas & the Papas

title: Monterey International Pop Festival


text:
Article 58 (RSFSR Penal Code)

Article 58 of the Russian SFSR Penal Code was put in force on 25 February 1927 to prosecute those suspected of counter-revolutionary activities. It was revised several times. In particular, its Article 58-1 was updated by the listed sub-articles and put in force on 8 June 1934.

This article introduced the formal notion of the enemy of workers: those subject to articles 58-2 — 58-13 (those under 58-1 were "traitors", 58-14 were "saboteurs").

Penal codes of other republics of the Soviet Union also had articles of similar nature.

Summary
Note: In this section, the phraseology of article 58 is given in quotes.

The article covered the following offenses.

"A counter-revolutionary action is any action aimed at overthrowing, undermining or weakening of the power of workers' and peasants' Soviets... and governments of the USSR and Soviet and autonomous republics, or at the undermining or weakening of the external security of the USSR and main economical, political and national achievements of the proletarian revolution"
 * 58-1: Definition of counter-revolutionary activity:

It was not limited to anti-Soviet acts: by "international solidarity of workers", any other "worker's state" was protected by this article.
 * 58-1а. Treason: death sentence or 10 years of prison, both cases with property confiscation.
 * 58-1б. Treason by military personnel: death sentence with property confiscation.
 * 58-1в. In the case of flight of the offender in treason subject to 58-1б (military personnel only), his relatives were subject to 5–10 years of imprisonment with confiscation or 5 years of Siberia exile, depending on the circumstances: either they helped or knew and did not report or simply lived with the offender.
 * 58-1г. Non-reporting of a treason by a military man: 10 years of imprisonment. Non-reporting by others: offense by Article 58-12.
 * 58-2. Armed uprising or intervention with the goal to seize the power: up to death with confiscation, including formal recognition as "enemy of workers".
 * 58-3. Contacts with foreigners "with counter-revolutionary purposes" (as defined by 58-1) are subject to Article 58-2.
 * 58-4. Any kind of help to "international bourgeoisie" which, not recognizing the equality of communist political system, strives to overthrow it: punishment similar to 58-2.
 * 58-5. Urging any foreign entity to declaration of war, military intervention, blockade, capture of state property, breaking diplomatic relations, breaking international treaties, and other aggressive actions against USSR: similar to 58-2.
 * 58-6. Espionage. Punishment: similar to 58-2.
 * 58-7. Undermining of state industry, transport, monetary circulation or credit system, as well as of cooperative societies and organizations, with counter-revolutionary purpose (as defined by 58-1) by means of the corresponding usage of the state institutions, as well as by opposing their normal functioning: same as 58-2. Note: the offense according to this article was known as wrecking and the offenders were called "wreckers".
 * 58-8. Terrorist acts against representatives of Soviet power or of workers and peasants organisations: same as 58-2.
 * 58-9. Damage of transport, communication, water supply, warehouses and other buildings or state and communal property with counter-revolutionary purpose: same as 58-2.
 * 58-10. Anti-Soviet and counter-revolutionary propaganda and agitation: at least 6 months of imprisonment. In the conditions of unrest or war: same as 58-2.
 * 58-11. Any kind of organisational or support actions related to the preparation or execution of the above crimes is equated to the corresponding offenses and prosecuted by the corresponding articles.
 * 58-12. Non-reporting of a "counter-revolutionary activity": at least 6 months of imprisonment.
 * 58-13. Active struggle against revolutionary movement of tsarist personnel and members of "counter-revolutionary governments" during the civil war, same as 58-2.
 * 58-14 (added on June 6, 1927 ) "Counter-revolutionary sabotage", i.e., conscious non-execution or deliberately careless execution of "defined duties", aimed at the weakening of the power of the government and of the functioning of the state apparatus is subject to at least one year of freedom deprivation, and under especially aggravating circumstances, up to the highest measure of social protection: execution by shooting with confiscation of property.

Application
Sentences were long, up to 25 years, and frequently extended indefinitely without trial or consultation. Inmates under Article 58 were known as "politichesky" (полити́ческий, short for полити́ческий заключённый, "politichesky zakliuchonny" or "political prisoner"), as opposed to common criminals, "ugolovnik" (уголо́вник). Often prisoners would be released without the right to settle within 100 km of large cities.

Section 10 of Article 58 made "propaganda and agitation against the Soviet Union" a triable offence, whilst section 12 allowed for onlookers to be prosecuted for not reporting instances of section 10. In effect, Article 58 was carte blanche for the secret police to arrest and imprison anyone deemed suspicious, making for its use as a political weapon.

Article 58 was applied to Soviet citizens outside the USSR as well. In the Soviet occupation zone of Germany people were interned as "spies" for suspected opposition to the Stalinist regime, e.g. for contacts with organizations based in the Western occupation zones, on the basis of Article 58 of the Soviet penal code. In the NKVD special camp in Bautzen, 66% of the inmates fell into this category.

Evolution
After the denunciation of Stalinism by Nikita Khrushchev the code was significantly rewritten.

Application of the article
Aleksandr Solzhenitsyn in his 1973 book The Gulag Archipelago characterized the enormous scope of the article in this way:

"One can find more epithets in praise of this article than Turgenev once assembled to praise the Russian language, or Nekrasov to praise Mother Russia: great, powerful, abundant, highly ramified, multiform, wide sweeping 58, which summed up the world not so much through the exact terms of its sections as in their extended dialectical interpretation. Who among us has not experienced its all-encompassing embrace? In all truth, there is no step, thought, action, or lack of action under the heavens which could not be punished by the heavy hand of Article 58."

According to Solzhenitsyn, "The paragraph 58 had no minimum of age! So was it even told at the lectures on law held for the people — Tallinn, 1945. Dr Uusmaa had known a six year old boy, who was in the colony on the ground of paragraph 58 — this is obviously a record!"

Analogs in other Union republics
In Ukraine the article corresponded to Article 54 (UkrSSR Penal Code), in Belarus – Article 63 (BSSR Penal Code).

Comparable concepts in other countries

 * Inciting subversion of state power, Hurting the feelings of the Chinese people, China
 * Berufsbeamtengesetz, Reichstag Fire Decree, The Malicious Practices Act 1933, Nazi Germany
 * Insulting Turkishness, Turkey

title: Article 58 (RSFSR Penal Code)


text:
Citizens Party (United States)

The Citizens Party was a political party in the United States. It was founded in Washington, D.C., by Barry Commoner, who aimed to gather under one banner a nationwide political organization of progressive, environmentalist and liberal groups, many of which were unsatisfied with President Jimmy Carter's administration, for the first time since the dissolution of the national Progressive Party in the 1960s. The Citizens Party registered with the Federal Elections Commission at the end of 1979. Commoner, a professor of environmental science at Washington University in St. Louis, was the head of the Center for the Biology of Natural Systems in St. Louis, Missouri and editor of Science Illustrated magazine.

The Citizens Party platform was very progressive, pro-science, and environmentalist. Some have claimed that it was possibly socialist as well, but this claim arose from a misunderstanding of the economic democracy platform of the party, which appears to be a form of corporatism. Commoner repeatedly espoused opposition to socialism for parts of the economy other than essential infrastructure. His economic democracy idea stated that the business of business is to do business, but that the business of government is to regulate business to prevent abuses.

In all, the party was founded around four essential platforms, including economic democracy.

1980 election cycle
The first Citizens Party National Convention met in Cleveland, Ohio, in the Cleveland Plaza Hotel from April 10 to 13, 1980. There were 260 delegates from 30 states present. The "proposals presented at the convention reportedly numbered some 300 items, a list largely irreducible to a manageable platform ... Units of the party organization on the state level thus became more or less responsible for delineating their own briefer versions of the list of goals" (Kruschke, p. 46). The party nominated Barry Commoner and LaDonna Harris (then, at that time, the wife of Democratic senator Fred Harris of Oklahoma) for president and vice president respectively. La Donna Harris was "a leading feminist and a Comanche Indian [who] labeled herself as 'a woman of color.'"

In order to increase public awareness of its existence, the Citizens Party ran a commercial on 600 radio stations which used profanity (the advertisement began with an actor exclaiming: "Bullshit! ... Carter, Reagan and Anderson, it's all bullshit!"). Several of the radio stations tried to remove the profanity, but the Federal Communications Commission forbade them to do so.

As the party's presidential candidate in 1980, Commoner achieved ballot status in 29 states (22 and DC under the Citizens Party label, six as an Independent, and in Pennsylvania with the Consumer Party), although his major activity was centered in the large states of California, Illinois, Michigan, New York, and Pennsylvania.

In addition to the national ticket in the presidential election, twenty-two other Citizens candidates appeared on the ballot in various states, including three for the U.S. Senate and eleven for the U.S. House. Commoner received 221,083 votes. Although Commoner did not garner more than one percent in any state, the party received enough support to be the first minor party to qualify for federal matching funds (about $157,000) for the 1984 elections.

1982 election cycle
In 1981, the Citizens Party won an election for the first time when Terry Bouricius was elected to the board of Aldermen in Burlington, Vermont. In 1982, the Citizens Party fielded two candidates for governorships (Pennsylvania and Texas), three candidates for the Senate (Pennsylvania, Texas, and Vermont), and 15 candidates for the U.S. House.

1984 election cycle
In 1984, the Citizens Party held its second national convention at Hamline University in St. Paul, Minnesota, from August 10 to 12, 1984. There were 125 delegates from 30 states present. The convention nominated Sonia Johnson of Virginia, “a radical feminist,” for president and Richard Walton of Rhode Island for vice president. Johnson had been excommunicated from the LDS Church in 1979 as a result of her outspoken support of the Equal Rights Amendment. In 1982 Johnson undertook a publicized 37-day fast which was meant to encourage the Illinois legislature to ratify the ERA.

Two other minor parties endorsed the Citizens ticket in 1984. The Socialist Party USA National Convention in New York City from September 3 to 5, 1983 voted to try to run a joint ticket with the Citizens Party, and the Peace and Freedom Party in California endorsed Johnson for president (although it ran Emma Wong Mar for vice president).

Despite the two additional endorsements, the Citizens Party suffered serious setbacks during 1984. It ran fewer candidates for office: one for the Senate (Illinois), one for Governor (Vermont), and two for the U.S. House. Johnson appeared on the ballot in thirteen states as the Citizens candidate, two as an Independent, one (Arkansas) as the Citizens Group nominee, and one (Pennsylvania) as the Consumer nominee. The Citizens Party vote fell by two thirds, to 72,153, although Johnson significantly improved upon Commoner's totals in Pennsylvania and Louisiana.

1986 election cycle and party dissolution
In the 1986 election, the Citizens Party once again offered four candidates: two for governor (Pennsylvania and Rhode Island), one for the Senate (Pennsylvania), and one for the U.S. House (Minnesota). The Pennsylvania candidates used the Consumer Party label.

After the disappointing number of votes cast in favor of the Citizens Party nominees, it dissolved. The 1987 Socialist Party National Convention nominated its own ticket of Willa Kenoyer (a former co-chair of the Citizens Party) and Ron Ehrenreich for the 1988 presidential election, while the Consumer Party in Pennsylvania resumed its separate existence, picking up the remaining pieces of the Citizens Party.

Presidential election summary
The Citizens Party nominated two candidates for President of the United States:

title: Citizens Party (United States)


text:
Georg Büchner

Karl Georg Büchner (17 October 1813 – 19 February 1837) was a German dramatist and writer of poetry and prose, considered part of the Young Germany movement. He was also a revolutionary and the brother of physician and philosopher Ludwig Büchner. His literary achievements, though few in number, are generally held in great esteem in Germany and it is widely believed that, had it not been for his early death, he might have joined such central German literary figures as Johann Wolfgang von Goethe and Friedrich Schiller at the summit of their profession.

Life and career
Born in Goddelau (now part of Riedstadt) in the Grand Duchy of Hesse as the son of a physician, Büchner attended the Darmstadt gymnasium, a humanistic secondary school.

In 1828, he became interested in politics and joined a circle of William Shakespeare aficionados, which later on probably became the Giessen and Darmstadt section of the Society for Human Rights (Gesellschaft für Menschenrechte).

In 1831, at age 18, he began to study medicine in Strasbourg. In Strasbourg, he immersed himself in French literature and political thought. He was influenced by the utopian communist theories of François-Noël Babeuf and Claude Henri de Saint-Simon. In 1833 he moved to Giessen and continued his studies at the local university.

While Büchner continued his studies in Giessen, he established a secret society dedicated to the revolutionary cause. In July 1834, with the help of evangelical theologian Friedrich Ludwig Weidig, he published the leaflet Der Hessische Landbote, a revolutionary pamphlet critical of social injustice in the Grand Duchy of Hesse. The authorities charged them with treason and issued a warrant for their arrest. Weidig was arrested, tortured and later died in prison in Darmstadt; Büchner managed to flee across the border to Strasbourg where he wrote most of his literary work and translated two French plays by Victor Hugo, Lucrèce Borgia and Marie Tudor. Two years later, his medical dissertation, "Mémoire sur le Système Nerveux du Barbeaux (Cyprinus barbus L.)" was published in Paris and Strasbourg. In October 1836, after receiving his M.D. and being appointed by the University of Zürich as a lecturer in anatomy, Büchner relocated to Zürich where he spent his final months writing and teaching until his death from typhus at the age of twenty-three.

His first play, Dantons Tod (Danton's Death), about the French Revolution, was published in 1835, followed by Lenz (first partly published in Karl Gutzkow's and Wienberg's Deutsche Revue, which was quickly banned). Lenz is a novella based on the life of the Sturm und Drang poet Jakob Michael Reinhold Lenz. In 1836 his second play, Leonce and Lena, satirized the nobility. His unfinished and most famous play, Woyzeck, exists only in fragments and was published posthumously.

Legacy
By the 1870s, Büchner was nearly forgotten in Germany when Karl Emil Franzos edited his works; these later became a major influence on the naturalist and expressionist movements. Arnold Zweig described Lenz, Büchner's only work of prose fiction, as "the beginning of modern European prose".

The play Woyzeck became the basis for many adaptations including Alban Berg's landmark atonal opera Wozzeck which premiered in 1925, and Werner Herzog's 1979 film Woyzeck (see main article, Woyzeck, for a full list). Woyzeck has been included in the curriculum for students in grade 12 in Germany.

A German literary Georg Büchner Prize is awarded annually. It was created in 1923.

Works

 * The Hessian Courier, 1834 – in cooperation with Friedrich Ludwig Weidig (Flugschrift)
 * Danton's Death, 1835 (Drama)
 * Lenz, 1835 (Short story)
 * Leonce and Lena, 1836 (Comedy)
 * Woyzeck, 1837 (Drama – fragment)
 * Pietro Aretino, his drama about Pietro Aretino, has been lost.
 * Translations:
 * Lucrezia Borgia, 1835 (Of the play by Victor Hugo)
 * Maria Tudor, 1835 (Of the play by Victor Hugo)

Editions

 * Georg Büchner, Werke und Briefe. Münchner Ausgabe (dtv, 1997). ISBN 3-423-12374-5.
 * Georg Büchner, Dichtungen, Schriften, Briefe und Dokumente (Deutscher Klassiker Verlag, 2006). ISBN 978-3-618-68013-0. The most complete, authoritative edition.

Translations

 * Red Yucca – German Poetry in Translation (trans. Eric Plattner)
 * Georg Büchner, Complete Plays and Prose, trans. Carl Richard Mueller (Hill and Wang, 1963)
 * Georg Büchner, The Complete Plays: Danton's Death; Leonce and Lena; Woyzeck; Lenz; the Hessian Messenger; on Cranial Nerves; Selected Letters trans. John Reddick (Penguin Classics, 1993)  ISBN 0-14-044586-2.
 * Georg Büchner, Danton's Death, Leonce and Lena and Woyzeck, trans. Victor Price, (Oxford World's Classics, 1998). ISBN 0-19-283650-1.

title: Georg Büchner


text:
Large format

Large format photography refers to any imaging format of 9 × 12 cm or larger. Large format is larger than "medium format", the 6 × 6 cm or 6 × 9 cm size of Hasselblad, Mamiya, Rollei, Kowa, and Pentax cameras (using 120- and 220-roll film), and much larger than the 24 × 36 mm frame of 35 mm format.

The main advantage of a large format, film or digital, is a higher resolution at the same pixel pitch, or the same resolution with larger pixels or grains which allows each pixel to capture more light enabling exceptional low-light capture. A 4×5 inch image (12.903 mm²) has about 15 times the area, and thus 15 times the total resolution, of a 35 mm frame (864 mm²).

Large format cameras were some of the earliest photographic devices, and before enlargers were common, it was normal to just make 1:1 contact prints from a 4×5, 5×7, or 8×10-inch negative.

Formats
The most common large format is 4×5 inches (10.2x12.7 cm), which was the size used by cameras like the Graflex Speed Graphic and Crown Graphic, among others. Less common formats include quarter-plate (3.25x4.25 inches (8.3x10.8 cm)), 5×7 inches (12.7x17.8 cm), and 8×10 inches (20×25 cm); the size of many old 1920s Kodak cameras (various versions of Kodak 1, 2, and 3 and Master View cameras, to much later Sinar monorail studio cameras) are 11×14 inches (28x36 cm), 16×20 inches (41x51 cm), 20×24 inches (51x61 cm), various panoramic or "banquet" formats (such as 4×10 and 8×20 inches (10x25 and 20x51 cm), and metric formats, including 9×12 cm, 10×13 cm, and 13×18 cm and assorted old and current aerial image formats of 9×9 inches, 9×18 inches (K17, K18, K19, K22 etc.), using roll film of 4, 5, 6, 7, 9, or 10 inches width or, view cameras (including pinhole cameras), reproduction/process cameras, and x-ray film.

Above 8×10 inches, the formats are often referred to as Ultra Large Format (ULF) and may be 11×14, 16×20, or 20×24 inches or as large as film, plates, or cameras are available. Many large formats (e.g., 24×24, 36x36, and 48x48 inches) are horizontal cameras designed to make big negatives for contact printing onto press-printing plates.

The Polaroid 20×24 camera is one of the largest format instant cameras in common usage and can be hired from Polaroid agents in various countries. Many well-known photographers have used the 235 lb, wheeled-chassis Polaroid.

Control
Most, but not all, large format cameras are view cameras, with fronts and backs called "standards" that allow the photographer to better control rendering of perspective and increase apparent depth of field. Architectural and close-up photographers in particular benefit greatly from this ability. These allow the front and back of the camera to be shifted up/down and left/right (useful for architectural images where the scene is higher than the camera, and produces images where the scene is lower than the camera), and tilted out of parallel with each other left/right, up/down, or both; based on the Scheimpflug principle. The shift and tilt movements make it possible to solve otherwise impossible depth-of-field problems, and to change perspective rendering, and create special effects that would be impossible with a conventional fixed-plane fixed-lens camera.

Ansel Adams' photographs, and those of the other Group f/64 photographers, demonstrate how the use of front (lens plane) and back (film plane) adjustments can secure great apparent depth of field when using the movements available on large format view cameras.

Operation
A number of actions need to be taken to use a typical large format camera, resulting in a slower, often more contemplative, photographic style. For example, film loading using sheet film holders requires a dark space to load and unload the film, typically a changing bag or darkroom, although prepackaged film magazines and large format roll films have also been used in the past.

A tripod is typically used for view camera work, but some models are designed for hand-held use. These "technical cameras" have separate viewfinders and rangefinders for faster handling.

In general large format camera use, the scene is composed on the camera's ground glass, and then a film holder is fitted to the camera back prior to exposure. A separate Polaroid back using instant film is used by some photographers, allowing previewing of the composition, correctness of exposure and depth of field before committing the image to film to be developed later. Failure to "Polaroid" an exposure risks discovery later, at the time of film development, that there was an error in camera setup.

Uses
The 4×5 inch sheet film format was very convenient for press photography since it allowed for direct contact printing on the printing plate, hence it was widely used in press cameras. This was done well into the 1940s and 1950s, even with the advent of more convenient and compact medium format or 35 mm roll-film cameras which started to appear in the 1930s. The 35 mm and medium format SLR which appeared in the mid-1950s were soon adopted by press photographers.

Large format photography is not limited to film; large digital camera backs are available to fit large format cameras. These are either medium-format digital backs adapted to fit large format cameras (sometimes resulting in cropped images), step and repeat Multishot systems, or scanning backs (which scan the image area in the manner of a flat-bed scanner). Scanning backs can take seconds or even several minutes to capture an image. When using a Sinar Macroscan unit and 54H data files, over 1 gigabyte of data is produced.

Large format, both film-based and digital, is still used for many applications, such as landscape photography, advertising photos, fine-art photography, scientific applications and generally for images that will be enlarged to a high magnification while requiring a high level of detail. High quality fine art prints can be made at sizes in the range of 40x50″ from a 4×5″ original, and well beyond that for larger negatives.

In the printing industry, very large fixed cameras were also used to make large films for the preparation of lithographic plates before computer to film and computer to plate techniques were introduced. These are generally referred to as a "process camera" and consist of vertically mounted models for smaller work and horizontal units mounted on rails for very large works such as maps and plans.

National Park Service documentation programs
Large format film is also used to create a record of historic places and things for the National Park Service documentation programs. The Historic American Buildings Survey (HABS), the Historic American Engineering Record (HAER), and the Historic American Landscapes Survey (HALS) require large format film-based photography. 4×5″, 5×7″, and 8×10″ large format film formats are the only acceptable formats for inclusion in these collections at the Library of Congress. 4x5 and 5x7 are generally used in the field (5×7″ is preferred for very significant buildings) and 8×10″ is generally used for photo-duplication of historic photographs, documents and blueprints. Through HABS/HAER/HALS, buildings and sites of historic significance are recorded with large format cameras and black and white film and using techniques that document the key features of the historic resource with special care not to distort the angles and views. This rectified photography can be accomplished with large format cameras by keeping the film, lens and subject perfectly parallel. Smaller format cameras need to be tilted to view high or low subjects, but the same subjects can be captured by shifting the lens element of a large format camera up or down to keep the film, lens, and subject planes parallel.

HABS, HAER, and HALS also requires the increased resolution of large format film. A sheet of 5×7″ film has almost twice the resolution of 4×5″ film, and 4×5″ is almost 16 times larger than a 35 mm film image (24×36 mm). This added negative size not only allows for more detail, but the large format polyester film is also far more durable than acetate 35 mm stock. HABS, HAER, and HALS require that all submissions to the Library of Congress include the original film (archivally washed) and it must also include contact prints on fiber-based paper; these contacts are the same size as the film being submitted, 4×5″, 5×7″, or 8×10″, and the large size allows people to readily see the prints, while 35 mm contacts would be too small and would require magnification.

Photographers noted for having used large format

 * Ansel Adams
 * Robert Adams
 * Takashi Amano (8×20" and 11×14")
 * Eugène Atget
 * Richard Avedon
 * Tina Barney
 * Gabriele Basilico
 * Bernd and Hilla Becher
 * Margaret Bourke-White
 * Marilyn Bridges
 * Richard Bryant
 * Christopher Burkett
 * David Burnett
 * Edward Burtynsky
 * Clyde Butcher
 * Julia Margaret Cameron
 * Keith Carter
 * Paul Caponigro
 * Chuck Close (20×24", 40×80")
 * Anne Collier
 * Linda Connor
 * Thomas Joshua Cooper
 * Gregory Crewdson
 * Rineke Dijkstra
 * Elsa Dorfman (20"×24")
 * William Eggleston
 * Mitch Epstein
 * Walker Evans
 * Andreas Feininger
 * Yishay Garbasz
 * Miguel Gómez
 * Emmet Gowin
 * Peter Gowland
 * Timothy Greenfield-Sanders
 * Olivier Grunewald
 * Guido Guidi (8×10")
 * Andreas Gursky (5×7")
 * Milton Halberstadt
 * Charles "Teenie" Harris
 * Evelyn Hofer (4×5")
 * Yousuf Karsh (8×10")
 * Seydou Keïta
 * Mark Klett
 * Nick Knight (8×10")
 * An-My Lê (8×10")
 * Herman Leonard
 * Sze Tsung Leong
 * O. Winston Link
 * Rodney Lough Jr.
 * Janelle Lynch (8x10")
 * Sally Mann
 * George Masa
 * Louis Mendes
 * Joel Meyerowitz (8×10")
 * Richard Misrach
 * Andrea Modica (8x10")
 * David Muench
 * Nicholas Nixon (8×10")
 * Eliot Porter
 * Mark Power
 * Judith Joy Ross
 * Paolo Roversi
 * Thomas Ruff
 * John Sanderson (4x5" and 8x10")
 * John Sexton
 * Stephen Shore
 * Toshio Shibata
 * Julius Shulman
 * Michael A. Smith (8×10", 8×20" and 18×22")
 * Alec Soth
 * David Stephenson
 * Joel Sternfeld
 * Ezra Stoller
 * Paul Strand
 * Thomas Struth
 * Hiroshi Sugimoto
 * George Tice
 * Arthur Tress
 * Brian Ulrich
 * Jeff Wall
 * Peter Watson
 * Weegee (4×5")
 * William Wegman
 * Brett Weston
 * Edward Weston

title: Large format