#Java 22 new features

[elgarnaouicom]

Exploring Java 22 New Features

Introduction: As Java 22 reaches feature completeness, it’s time to delve into the significant enhancements it brings. From streamlined stream operations to revamped memory APIs, Java 22 empowers developers with new tools and capabilities. for those who wants to read about new features in JAVA 21 LTS, here is the link: Exploring the Exciting Java 21 New Features. Let’s explore these features in…

[brookstonalmanac]

Events 12.29

1170 – Thomas Becket, Archbishop of Canterbury, is assassinated inside Canterbury Cathedral by followers of King Henry II; he subsequently becomes a saint and martyr in the Anglican Communion and the Catholic Church. 1503 – The Battle of Garigliano was fought between a Spanish army under Gonzalo Fernández de Córdoba and a French army commanded by Ludovico II, Marquess of Saluzzo. 1607 – According to John Smith, Pocahontas, daughter of Powhatan leader Wahunsenacawh, successfully pleads for his life after tribal leaders attempt to execute him. 1778 – American Revolutionary War: Three thousand British soldiers under the command of Lieutenant Colonel Archibald Campbell capture Savannah, Georgia. 1812 – USS Constitution, under the command of Captain William Bainbridge, captures HMS Java off the coast of Brazil after a three-hour battle. 1835 – The Treaty of New Echota is signed, ceding all the lands of the Cherokee east of the Mississippi River to the United States. 1845 – The United States annexes the Republic of Texas and admits it as the 28th state. 1860 – The launch of HMS Warrior, with her combination of screw propeller, iron hull and iron armour, renders all previous warships obsolete. 1874 – The military coup of Gen. Martinez Campos in Sagunto ends the failed First Spanish Republic and the monarchy is restored as Prince Alfonso is proclaimed King of Spain. 1876 – The Ashtabula River railroad disaster occurs, leaving 64 injured and 92 dead at Ashtabula, Ohio. 1890 – On Pine Ridge Indian Reservation, 300 Lakota are killed by the United States 7th Cavalry Regiment. 1911 – Mongolia gains independence from the Qing dynasty, enthroning 8th Jebtsundamba Khutughtu as Khagan of Mongolia. 1913 – Cecil B. DeMille starts filming Hollywood's first feature film, The Squaw Man. 1930 – Sir Muhammad Iqbal's presidential address in Allahabad introduces the two-nation theory and outlines a vision for the creation of Pakistan. 1934 – Japan renounces the Washington Naval Treaty of 1922 and the London Naval Treaty of 1930. 1937 – The Irish Free State is replaced by a new state called Ireland with the adoption of a new constitution. 1940 – In the Second Great Fire of London, the Luftwaffe fire-bombs London, England, killing almost 200 civilians during World War II. 1972 – Eastern Air Lines Flight 401 (a Lockheed L-1011 TriStar) crashes in the Florida Everglades on approach to Miami International Airport, Florida, killing 101 of the 176 people on board. 1975 – A bomb explodes at LaGuardia Airport in New York City, killing 11 people and injuring more than 75. 1989 – Czech writer, philosopher and dissident Václav Havel is elected the first post-communist President of Czechoslovakia. 1989 – The Nikkei 225 for the Tokyo Stock Exchange hits its all-time intra-day high of 38,957.44 and closing high at 38,915.87, serving as the apex of the Japanese asset price bubble. 1992 – Fernando Collor de Mello, president of Brazil, tries to resign amidst corruption charges, but is then impeached. 1994 – Turkish Airlines Flight 278 (a Boeing 737-400) crashes on approach to Van Ferit Melen Airport in Van, Turkey, killing 57 of the 76 people on board. 1996 – Guatemala and leaders of Guatemalan National Revolutionary Unity sign a peace accord ending a 36-year civil war. 1998 – Leaders of the Khmer Rouge apologize for the Cambodian genocide that claimed over one million lives. 2003 – The last known speaker of Akkala Sami dies, rendering the language extinct. 2006 – The UK settles its Anglo-American loan, post-WWII loan debt. 2013 – A suicide bomb attack at the Volgograd-1 railway station in the southern Russian city of Volgograd kills at least 18 people and wounds 40 others. 2013 – Seven-time Formula One champion Michael Schumacher suffers a massive head injury while skiing in the French Alps. 2020 – A large explosion at the airport in the southern Yemeni city of Aden kills at least 22 people and wounds 50.

[georgemaries]

Software QA Testing Training: Learn, Test, and Succeed?

Introduction

In today’s digital world, software quality assurance (QA) is a critical step in the software development lifecycle. Without proper testing, applications can be riddled with bugs, leading to financial losses and reputational damage. This is where Software QA Testing Training becomes crucial for aspiring professionals. If you're looking for a career in software testing, a well-structured QA software testing course can provide the skills needed to land a lucrative job in the industry.

Why Software Testing is in Demand?

The software testing industry is growing rapidly, and the demand for skilled QA professionals is higher than ever. Here are some key statistics:

According to a report by MarketsandMarkets, the software testing market is expected to grow from $40 billion in 2021 to $60 billion by 2026.

The Bureau of Labor Statistics predicts a 22% job growth for software testers by 2030.

Leading tech companies like Google, Amazon, and Microsoft consistently hire QA engineers to ensure their products meet quality standards.

This demand makes QA software training a smart investment for anyone looking to enter or advance in the tech industry.

Understanding Software QA Testing

Software testing involves evaluating applications to ensure they function as intended. QA testers detect issues, verify compliance with requirements, and confirm that the final product meets user expectations. The primary types of software testing include:

Manual Testing: Testers execute test cases manually without automation tools.

Automation Testing: Using tools like Selenium, TestComplete, and Appium to run test cases automatically.

Functional Testing: Ensures that each feature of the software operates correctly.

Performance Testing: Evaluates software speed, scalability, and stability under load.

Security Testing: Identifies vulnerabilities and security flaws in the software.

Regression Testing: Confirms that new code changes do not disrupt existing functionalities.

A QA software testing course covers these methodologies, providing learners with a comprehensive understanding of testing techniques.

Essential Skills for a QA Tester

To succeed in QA software testing, professionals must develop a blend of technical and analytical skills:

Understanding of Software Development Life Cycle (SDLC) and Software Testing Life Cycle (STLC)

Knowledge of Testing Tools (e.g., Selenium, JIRA, TestNG, LoadRunner, Postman)

Programming Skills (Basic scripting in Python, Java, or JavaScript for automation)

Test Case Design and Execution

Bug Reporting and Documentation

Strong Analytical and Problem-Solving Abilities

Attention to Detail to detect defects effectively

A high-quality QA software training program ensures that learners gain hands-on experience with these skills.

What to Expect in a Software QA Testing Course

Enrolling in a QA software testing course offers a structured learning experience covering theoretical and practical aspects of testing. Here's what a typical training program includes:

1. Fundamentals of Software Testing

Introduction to QA and Testing Principles

Types of Testing: Manual vs. Automated

Test Management and Defect Tracking Tools

2. Test Case Development and Execution

Writing Effective Test Cases

Exploratory Testing Techniques

Bug Reporting and Documentation

3. Automation Testing Basics

Introduction to Selenium WebDriver

Writing Basic Automation Scripts

Running Automated Test Cases

4. Advanced Testing Concepts

API Testing with Postman

Performance Testing using JMeter

Security Testing Fundamentals

5. Live Projects and Real-World Scenarios

Hands-on practice with live applications

Collaborative testing with peers

Industry-level project simulations

At institutions like H2K Infosys, learners receive expert guidance from experienced instructors and work on real-world projects to solidify their knowledge.

Career Opportunities After QA Software Training

A well-rounded QA software testing course opens doors to various career paths, including:

Manual QA Tester – Entry-level role focusing on manual test execution.

Automation QA Engineer – Develops automated scripts to streamline testing.

Performance Tester – Ensures software can handle high traffic and workloads.

Security Tester – Specializes in identifying cybersecurity threats.

QA Lead/Manager – Oversees testing teams and strategies.

DevOps Tester – Works in agile environments to integrate testing into development pipelines.

With strong QA software training, professionals can command salaries ranging from $60,000 to $120,000 per year, depending on expertise and location.

Real-World Applications of QA Testing

Software testing is essential across industries. Here’s how different sectors rely on QA professionals:

E-commerce: Ensuring seamless shopping experiences with bug-free checkout processes.

Finance: Verifying security compliance in banking applications.

Healthcare: Testing critical medical software for accuracy and safety.

Gaming: Identifying bugs and improving game performance before release.

QA testing is a versatile skill set that applies to nearly every domain, making it a valuable career choice.

Learning QA Testing Online vs. Offline

Choosing between online and offline training depends on your learning style and availability. Here’s a quick comparison:FeatureOnline TrainingOffline TrainingFlexibilityLearn at your own paceFixed schedulesHands-On PracticeVirtual labs & assignmentsIn-person practiceAccessibilityAvailable globallyLimited to locationCostGenerally more affordableCan be expensiveIndustry ExposureNetworking via webinarsDirect interactions

Online platforms like H2K Infosys offer flexible learning solutions, providing live instructor-led sessions and project-based training to help students succeed.

How to Choose the Right QA Software Training Program

When selecting a training program, consider the following factors:

Comprehensive Curriculum – Covers both manual and automation testing.

Experienced Instructors – Trainers with real-world industry experience.

Hands-On Practice – Live projects and real-time scenarios.

Certification & Placement Support – Assists in job placement after training.

Student Reviews & Testimonials – Check feedback from past learners.

Institutions like H2K Infosys provide structured training with hands-on experience, making it easier for students to land jobs in top companies.

Conclusion

Software QA testing is a rewarding career with vast opportunities in today’s tech-driven world. By enrolling in a QA software testing course, you can build a strong foundation in testing methodologies, gain practical experience, and secure a high-paying job in the industry. Whether you're a beginner or a professional looking to upskill, QA software training is your gateway to a successful career in software quality assurance.

Key Takeaways

The demand for QA testers is growing rapidly across industries.

A QA software training program covers manual and automation testing techniques.

Gaining hands-on experience is essential for career success.

Certifications and real-world projects enhance employability.

Choose a reputable training provider like H2K Infosys to get industry-relevant skills.

[chandra2026]

The Ultimate Timeline for Learning Selenium: From Beginner to Pro

Selenium is one of the most sought-after tools for web automation testing, making it a valuable skill for software testers and developers. Whether you’re starting from scratch or looking to enhance your existing knowledge, this timeline will guide you from a beginner to a Selenium pro. By following this structured approach, you’ll gain proficiency in Selenium within a realistic time frame. If you want to advance your career at the Selenium Course in Pune, you need to take a systematic approach and join up for a course that best suits your interests and will greatly expand your learning path. 

Week 1: Lay the Foundation

Days 1–2: Learn the Basics Before diving into Selenium, ensure you have a solid understanding of:

Programming Fundamentals: Focus on Python, Java, or C#. Python is often the easiest for beginners. For those looking to excel in Selenium, Selenium Online Course is highly suggested. Look for classes that align with your preferred programming language and learning approach.

HTML, CSS, and DOM: Understand how web pages are structured, including tags, attributes, and the DOM.

If you’re entirely new to programming or web technologies, spend a few extra days mastering these essentials.

Days 3–7: Setting Up and Exploring Selenium

Install Selenium: Set up Selenium WebDriver and a browser driver like ChromeDriver.

First Script: Write your first script to open a webpage and automate basic tasks like clicking buttons and filling forms.

Locators: Master identifying web elements using locators like id, name, class, XPath, and CSS Selectors.

Waits: Understand implicit and explicit waits to handle page load times.

By the end of Week 1, you should be comfortable with basic web automation tasks.

Week 2: Building on the Basics

Days 8–10: Interacting with Advanced Elements

Automate dropdowns, checkboxes, and radio buttons.

Handle pop-ups and alerts with Selenium.

Days 11–13: Navigating Frames and Windows

Learn how to switch between iframes and browser windows or tabs.

Practice using real-world websites with multiple frames and pop-ups.

Day 14: Data-Driven Testing

Integrate data-driven techniques to test multiple scenarios by reading data from files like Excel or CSV.

By the end of Week 2, you’ll be skilled at handling complex elements and data-driven testing.

Week 3: Tackling Real-World Scenarios

Days 15–17: Organize Code with POM

Implement the Page Object Model (POM) to make your test scripts reusable, modular, and easy to maintain.

Days 18–20: Work with Testing Frameworks

Combine Selenium with frameworks like TestNG (Java) or pytest (Python).

Learn how to create, organize, and run test suites efficiently.

Day 21: Handling Dynamic Elements

Develop strategies to manage dynamic web elements, such as those with frequently changing IDs or classes.

By the end of Week 3, you’ll be able to write clean, scalable, and efficient test scripts for real-world applications.

Week 4: Mastering Advanced Concepts

Days 22–24: Advanced Selenium Features

Explore headless browser testing to execute tests without a visible browser.

Learn how to run parallel tests to save time.

Days 25–27: Integration with CI/CD Tools

Set up Selenium with tools like Jenkins for continuous integration and delivery.

Automate test execution as part of your CI/CD pipeline.

Days 28–29: Distributed Testing with Selenium Grid

Set up Selenium Grid to run tests on multiple browsers and platforms simultaneously.

Day 30: Final Project

Choose a real-world application and create a comprehensive test suite. Use advanced techniques like POM, data-driven testing, and CI/CD integration.

Pro Tips for Success

Practice Daily: Dedicate 2–3 hours each day to coding and practicing on real websites.

Focus on Hands-On Learning: Write scripts regularly to strengthen your understanding.

Leverage Community Resources: Join forums and Selenium groups to troubleshoot and learn from others.

Stay Consistent: Stick to the timeline, even if progress feels slow.

Learning Selenium is an exciting journey that can significantly boost your career prospects. This timeline gives you a structured approach to mastering Selenium in just four weeks. From understanding the basics to handling advanced scenarios, you’ll be equipped to take on real-world web automation projects with confidence.

So, start today, follow this timeline, and watch yourself grow from a beginner to a Selenium pro in no time!

[educationalinstitutesindia]

Demystifying the World of Code: An Educational Standpoint

Coding education is essential for success in today's digital world. Learning to code enables individuals to develop in-demand and useful skills that benefit their careers and society. This article provides the following: - An overview of why coding is important. - Methods for learning to code. - The role of teachers - Innovative teaching approaches. - Challenges within coding education.

The Basics of Coding

Coding refers to writing instructions that direct computers to perform specific tasks. Coders use programming languages like Python, JavaScript, and C++ to develop software, websites, and mobile apps. Learning to code allows you to become a programmer and build digital solutions. Coding is essential today because so much of how we live, work, and communicate depends on technology. Programmers create the software and apps that power these technologies. Some of the most useful languages for beginners include Python, JavaScript, Java, and C/C++:

Benefits of Learning to Code

Learning to code provides many benefits. Coding is a highly valued skill, with many high-paying software engineering and web development jobs. The US Bureau of Labor Statistics projects over 22% growth for software developer jobs over the next ten years. Building software and apps requires strong problem-solving skills useful in any field. Programmers learn how to break down problems and create solutions logically. Coding education fosters creativity by teaching how to build new technologies, websites, mobile apps, and software. Programmers can design digital solutions to meet all types of needs. Programming languages demand precise syntax and logic to function. Learning to code strengthens analytical abilities through debugging code, understanding algorithms, and developing software. These mindsets translate broadly.

Methods of Learning to Code

Massive open online courses or MOOCs offer free or affordable coding classes on platforms. These interactive courses allow you to learn on schedule but provide deadlines and accountability. Intensive boot camps typically take 2-6 months. They teach tech skills for a software engineer or web developer job placement. Coding schools also provide structured education and career support. These programs charge tuition but often aid in job placement. They offer a quick path to a career in tech for those who still need a formal degree.

An Efficient Teacher Toolkit

To teach students coding, teachers employ various technological tools to streamline and enhance instruction. For example, auto grading systems automatically grade student code so teachers can provide individualized guidance. Coding platforms give students opportunities for the practical application of skills. Tutorials and online lessons allow for self-paced learning. Team collaboration software facilitates group work. These tools, including autograding, coding environments, videos, and collaboration platforms, comprise a robust toolkit for teachers to teach coding engagingly. By leveraging autograding software, hands-on coding platforms, video tutorials, and team collaboration tools, teachers are equipped with technology to teach students coding and help them develop strong computational thinking abilities.

Innovative Approaches to Coding Education

Students learn to code by working on real-world projects and building software and apps. Project-based learning is an engaging method that provides practical experience. Students can collaborate on group projects or work individually on portfolio projects. Incorporating elements like points, badges, and levels, gamification uses game design in non-game contexts like education. For coding, gamification may involve interactive coding challenges, hackathons, or platforms featuring progress meters and achievement-unlocked messages. Studies show gamification can increase motivation and participation. Group work enables students to learn from each other by exchanging ideas, asking questions, explaining concepts, and problem-solving together. For coding, students may work in pairs or small groups to complete hands-on projects, evaluate each other's code, or study programming language documentation together. Social interactions keep students actively engaged and strengthen understanding. Innovative teaching methods will make learning to code more engaging and effective for students. Approaches like project-based learning, gamification, and collaborative coding education could motivate more people to learn programming skills.

Challenges in Coding Education

While coding education is crucial for the future, there are challenges to address. Coding education can be expensive, whether pursuing degrees, boot camps, or self-study. More affordable high-quality options are needed to reach all students. Underrepresented groups like women, minorities, and people with disabilities face barriers to learning to code and entering tech careers. Inclusive outreach and addressing systemic biases are required. Programming languages, frameworks, and other technologies continually evolve. Coding education must keep up to teach relevant and in-demand skills. Updating courses and resources requires an ongoing investment of time and money. Solutions could include public-private partnerships to fund education, tailoring courses to reach underserved groups, and developing flexible programs that adapt quickly to new technologies. With a focus on access and inclusion, coding education can demystify the world of technology for all.

Conclusion

Coding is important because software powers many of the tools we use daily. Coders help build solutions that improve lives and productivity. Coding also promotes critical thinking skills that are useful across fields. However, learning to code can only be challenging with the right educational support. Read the full article

[southeastasianists]

While some Indonesian authors such as Pramoedya Ananta Toer and YB Mangunwijaya are relatively well known by global readers, many works by contemporary writers are just beginning to gain traction as they have just been translated in recent years. Here are several books by Indonesian authors that have been translated into English, for those who wish to enrich their reading palette.

1. Vengeance Is Mine, All Others Pay Cash

Written by Eka Kurniawan, translated by Annie Tucker

Eka Kurniawan, of Beauty is a Wound fame, tackles the world of street fighting and petty criminals in this book. The story puts Ajo Kawir in the spotlight, along with his impotent genitals and his hopeless romance with female fighter Iteung. Following his break-up with Iteung, Ajo Kawir becomes a fearless fighter with nothing to lose.

The book is written in short, fast-paced chapters with poetic and witty lines that are characteristic of Eka Kurniawan. Through the story of Ajo Kawir, Eka presents hard-hitting jabs on the Indonesian government and society.

2. The Original Dream

Written by Nukila Amal, translated by Linda Owens

Originally published in Indonesian as Cala Ibi in 2003, the novel gained widespread attention after it was shortlisted for the Kusala Sastra Khatulistiwa Nominee that year. The book might put off some readers at first due to its nontraditional plot, which tells a story within a story. However, the lyrical writing and vivid imagery lend the book its strongest appeal.

The book tells the story of Maya/Maia and a dragon named Cala Ibi as they venture into the world of dreams, inviting the reader into a magical realism story.

3. The Adventures of Na Willa

Written by Reda Gaudiamo, illustrated by Cecillia Hidayat, translated by Ikhda Ayuning Maharsi Degoul and Kate Wakeling

Despite being marketed as a children's book, Na Willa also makes an amusing yet nostalgic read for all ages.

The book is told in short stories, as if it is written by Willa herself, portraying the day-to-day adventures of a child growing up in a suburb of Surabaya, East Java. Curious and strong-headed, Willa makes a perfect companion for both children and adults.

4. Paper Boats

Written by Dee Lestari, translated by Tiffany Tsao

Published in 2009, Perahu Kertas was adapted into a two-part movie in 2012 starring Maudy Ayunda, Adipati Dolken and Reza Rahadian. The story centers on a quirky girl named Kugy as she begins her university life in Bandung, where she meets Keenan, an aspiring painter. The book follows Kugy and Keenan's friendship as it takes a romantic turn, complicated by the presence of Remi and Luhde, as well as the diverging paths in their adult life.

5. The Birdwoman's Palate

Written by Laksmi Pamuntjak, translated by Tiffany Tsao

What better way to learn about Indonesia than reading a book about food from across the archipelago? Originally published in Indonesian as Aruna dan Lidahnya, the book was shortlisted for the 2015 Khatulistiwa Literary Award. In 2018, a movie adaptation starring Dian Sastrowardoyo and Nicholas Saputra brought the book to popular attention.

The book follows the story of Aruna, a reporter, as she travels the country for an investigative report. In every local cuisine in the cities that she visits, Aruna discovers so much more than just food.

6. Sergius Seeks Bacchus

Written by Norman Erikson Pasaribu, translated by Tiffany Tsao

The poetry book was the first winner of Jakarta Arts Council's Poetry Competition in 2015, and yet, this is not the most special thing about the collection. Consisting of 33 poems, the book tells the experience of being a minority in Indonesia, in terms of both sexuality and religion. The collection shows the range of Norman's references, from mythology to urban, pop-culture. Consider this poem titled "On a Pair of Young Men in the Underground Parking Garage at fX Sudirman Mall" for instance.

7. The Wandering

Written by Intan Paramaditha, translated by Stephen J. Epstein

In a Faustian story, the protagonist makes a pact with the devil: a pair of red shoes that can take her wherever she wants to go, in exchange for the feeling of belonging and the safety of a home. The novel takes the readers on a journey across the globe, from Jakarta to New York. The novel's original title Gentayangan represents the state of constantly being in-between, as in the book, the journey is more important than the destination.

The Wandering is not just another travelogue, as it allows the readers to make their own story, ala the classic Choose Your Own Adventure series.

8. There is No New York Today

Written by Aan Mansyur, translated by John McGlynn

The poetry anthology is launched near the premiere of hit-movie Ada Apa Dengan Cinta? 2 (What's up with love? 2), as some poems of the book were used in the movie.

The 80-page book also features photographs of the streets of New York, presented as if the pictures were taken by the movie's main character Rangga -- who lives in the Big Apple before going back to Indonesia.

9. Eyewitness

Written by Seno Gumira Ajidarma, translated by Jan Lingard and John H. McGlynn

A journalist cum novelist, Seno Gumira presents history and fiction with a clarity that is more effective than dry, and a somewhat murky story on what actually happened in Timor Leste (formerly Indonesia's province of East Timor).

The short stories focus on individuals that become victims of Indonesia's occupation in Timor Leste, fleshing out the human costs that are often shadowed by the big, nationalistic lens in politics.

[archinform]

Cinema moderne: The Punch and Judy Theatre, Chicago, 1930

“The graceful functionalism of the Punch and Judy;” drawing by Nicolas Remisoff. The Western Architect, November 1930, p. 175.

The cinema unique

The Punch and Judy Theatre was a cinematic remodeling in the modern style of an older theater space. Originally the second-third floor Recital Hall of the 1896 Steinway Hall [see Steinway Hall article here], the new cinema space was a complete reimagining, on an intimate scale, of the experience of moviegoing. The Punch and Judy’s design was the work of Eugene Fuhrer, architect, Nicolas Remisoff, theatre designer and consultant, and Edgar Miller, designer of the lobby's relief decorations.

Edgar Miller “Punch” relief

The Punch and Judy was “an extension of the ventures of Louis Machat,”[1]  who had built on the “little theatre” movement in America with his version of “little cinema,” first in the eastern U.S. and then in Chicago’s Towertown [the area off N. Michigan Ave. near the Water Tower].

The “little theatre” movement has courageously invaded the Loop and the result, architecturally, is a most interesting transformation of the one Chicago’s oldest “legitimate” theatres into a motion picture house not only modern but vigorously modernistic, and as such, it is probably one of the most successful examples of this manner that we have in America.[2]

The Western Architect, November 1930, p. 182. 

The existing theater was square-shaped, of late-Victorian design, and with “objectionable features throughout” including two balconies, view-obstructing columns, bad acoustics, improper ventilation, and badly-arranged seats. It was judged “utterly impossible for the present-day theatre, while the general design was of such poor taste that a complete remodelling had to be considered.”[3]

Interior views from “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, pp. 35-40:

The designers’ task was to turn an “antiquated playhouse,” by then “the product of another architectural period,” [4] into the cinema unique, with every modern design feature and convenience. Modern and modernistic were how the designers’ work was described, in terms both of technology and of style. Eschewing the historical trappings of grand movie palaces, the new style was stripped down, almost devoid of ornament, and based on smooth, curving surfaces. Streamline moderne[5] or Depression Modern[6] would later define this style; in France, it would be called at the time Style paquebot, or "Ocean liner style," referring to the classic ocean liner Normandie.[7] Indeed, one description noted “The columns rising like pylons or the stacks of a great ship” (which actually covered the four columns of the earlier theater), as well as “the plain surfaces and strong lines that mark the entire design.[8]

This is modernism in the mood commonly referred to when this style of design is mentioned. For those who like the severer note…it is probably one of the most honest creations in the motif that we have in this country… [one would] be reminded of several of the finest examples of the manner erected in Germany.[9]

  Interior views from Remisoff, Nicolas, “The Punch and Judy Theatre,” The Western Architect, November 1930, pp. 182-191:

The cinema’s broadly-curved walls and domical ceiling, as well as the color scheme – touches of red and blue in reference to Punch and Judy, “faun” or “honey-brown” walls, and bold accents of black – characterized its modern style. A hallmark of this new mode, in addition, was its use of lighting. In the Punch and Judy, illumination was almost all from reflected light. Its principal source was from a light cove set into an elongated proscenium arch, from which the indirect lighting would be reflected off the curtain, softly illuminating the whole room. The lighting allegedly had the same faun tint as the walls.[10]

The new theater was illustrated in The Western Architect of November 1930, one article penned by Nicolas Remisoff, design consultant. The theater had been transformed from a squarish space into one “circular in feeling.”  Its design, the specialized sound-absorbing seats made by the American Seating Company, the color scheme, the acoustics, and even the free demitasse coffee and cigarettes offered in the lobby, reflected the idea that “the whole theme of the theatre is comfort - comfort to all the senses.”[11] A sense intimacy was achieved by reducing the previous space’s 890 seats to just 354.[12]

Main floor and loge plans

The new Punch and Judy offered seating on the main floor and in a second-level loge; the loge featured metal trays where patrons could comfortably rest their demitasses or ashtrays. Its small lobby, with plaques of Punch and Judy by Edgar Miller, was reached by a stairway from the ground floor; the entry was through the space originally occupied by the Lyon & Potter Steinway showroom, to the right of the building’s central entrance.

“Thus by a harmony of forms, colors, sounds, service, that restful result which we have long sought in theatre design has at last been achieved.”[13]

1934 handbill

The “Little Cinema” Movement:

The Little Cinema or art house movement sought an alternative to commercial films, the huge public that supported them, and the huge movie palaces in which they were displayed. Discernment, or the need for something different, was the key. It had similar aims to the Little Theatre movement, which had started in the late 19th century, whose goal was to create experimental centers for the dramatic arts.

Starting in 1925, a chain of small theaters was proposed, designed to provide an "intimate" alternative to the large commercial movie houses of the day, and dedicated to showing "art films that appeal to the intelligent and sophisticated.”[14]

Design features encouraged patrons, in the words of one early promotional brochure, to “Sip delightful Java and smoke cigarettes of your own choosing." Created for comfort and quiet, interiors offered sumptuous lounges appointed with deep carpets, velvet, drapes and soft lighting to encourage rest, relaxation, and "intimate chat."[15]

“Sure seaters” was a nickname given to these art house cinemas, since patrons were always assured of finding a seat, due to the films’ lack of broad appeal.

The sure-seater has a subtle snob appeal that helps at the box office. You go into a theater that has a few tasteful paintings in the lobby and a maid serves you a demitasse of coffee. You’ve just paid top admission prices, but the coffee creates a pleasant aura. Then you’re shown to a comfortable seat in a well mannered audience…. You see a picture that assumes you have average intelligence and it’s such a refreshing switch that you are flattered to be among such perceptive folks who are sharing the experience.[16]

Chicago’s first “art house,” the Playhouse, formerly a legitimate theater, opened on September 11, 1927. Managed by Michael Mindlin, the 602-seat theater had a top ticket price of $1.10, and successfully premiered with Battleship Potemkin.[17]

 The Cinema Art Theatre, 151 East Chicago Avenue, Armstrong, Furst and Tilton, architects, opened on December 26, 1929 with the film Shiraz.[18] This cinema, with 299 seats, was presumably one of “the ventures of Louis Machat” in Chicago’s “Tower town” referred to earlier. Like the Punch and Judy, the cinema was decorated in soft and contrasting color schemes that downplayed its small size, and both featured works of art in the lobby or lounge, “objects embodying distinctive cultural values,”[19]  sometimes exhibited on a rotating basis.

 Foyer and auditorium, Cinema Art Theatre, 151 E. Chicago Ave., from The Western Architect, April 1930.

The Punch and Judy opened September 18, 1930, with D.W. Griffith’s Abraham Lincoln, with a policy of presenting American-made pictures “of the type regarded as appealing to the socalled ‘discriminating’ portion of the citizenry.” The opening-night ticket price was $11 a seat [about $170 at today’s prices]. The Griffith film was then shown three times a day at a top evening price 0f $2.[20]

 Punch and Judy marquee, announcing D.W. Griffith’s Abraham Lincoln, 1930. Photo: Cinema Treasures

An item in the December 20, 1930 Exhibitors World-Herald announced that “We understand that Max Ascher has taken over the defunct, as it were, Punch and Judy theatre on Van Buren street.”[21] Whether the cinema had fallen on hard times in its first three months or simply changed management is not known; the Playhouse had felt the effects of dwindling ticket sales soon after its opening, and perhaps this was also the case with the Punch and Judy. The stock market crash of 1929, as well as a scarcity of quality foreign silent films and the advent of talking pictures, played their role as well.[22]

 The Punch and Judy would change its name to the Sonotone in 1935; it would be known as the Studio 1940-1952, the Ziegfeld 1952-1958, and finally the Capri 1958-1968. The Capri would exhibit adult films until it closed in 1968;[23] the Steinway Hall building, which housed this succession of cinemas, was demolished in 1970.

Movie ads for (top) the Ziegfeld 1950 and (bottom) the Capri March 15 1963. Source: Cinema Treasures

 In retrospect, The Little Cinema Movement seems to have been destined to engage in a rearguard action against the incursion of what must have seemed the vulgar aesthetic tastes represented by the mass-appeal talkies. Early literature…alludes to the physical layout, atmosphere, and programs as exuding elegance, refinement, intelligence, and repose as an antidote to the helter-skelter pace of the Roaring Twenties.[24]

  The Designers

Information about Eugene Fuhrer, architect, is scarce. From a 1956 American Architects Directory (American Institute of Architects) he was born February 2, 1902, in Wallendorf, Austria-Hungary. He earned a B.S. in Architecture in 1923 from the Armour Institute of Technology, where he earned a Huntchinson Medal and AIA Student Medal. He received a Traveling Scholarship from the Chicago School of Architecture in 1923, and traveled to Canada, Mexico, Belgium, Holland, German, Czechoslovakia, Hungary, Austria, Switzerland, and Italy.

Fuhrer was employed as a draftsman and designer for A.S. Alschuler, Inc., Chicago, 1923-26; as a designer for Walter Ahlslager 1926-27, and by Rissman & Hirschfield in 1927. He and his brother Max (b. January 31, 1901, studied at Cane College and Armour Institute) organized the firm Eugene & Max Fuhrer in 1927. The firm received commissions in Illinois, Michigan, Ohio, and Wisconsin. Among these were the Women’s Dormitory and additions to a power plant at Northern Illinois State Teachers College, DeKalb, as well as large construction projects in the Chicago area. Eugene co-authored the book Chicago Building Costs in 1936. The firm’s address was 120 S. LaSalle St. [now the CIBC Building], No. 3, and Eugene’s home was at 5228 S. University Ave., Chicago.[25]

Women’s Dormitory, Northern Illinois State Teachers’ College, DeKalb IL; postcard

Helsing’s Restaurant and Bar, 166 N. State St., matchbook cover

More details are gleaned from a 1946 Architects’ Questionnaire to gain qualification for federal public works. To his prior practice, Eugene added H. Clyde Miller 1920-21, draftsman and tracer, and Root and Hollister 1922-23, draftsman and designer, as well as brother Max’s prior qualifications. A third brother, Martin (b. December 12, 1912) is listed, who commenced practice in 1933. The firm’s large commissions included the Teachers College dormitory referred to ($1,200,000) and Stickney Hospital, Stickney, Illinois ($1,000,000). Smaller commissions included Helsing’s Washington Street Restaurant, Chicago; the Goodman Company, Cleveland; and the McNeill Building, Chicago. Further representative works from 1936 to 1947 are also listed in the questionnaire.[26]

A couple of drawings by Eugene Fuhrer in the Ryerson and Burnham Archive, Art Institute of Chicago, represent his sketching and presentation drawing skills.

  Nicolai (or Nicolas) Remisoff (1887-1975) was born in St. Petersburg, Russia; in 1910 he began studying at the Imperial Academy of Fine Arts, graduating in 1918. He and his family fled Russia, and eventually arrived in Paris in 1921. In Paris, he became the artist director of the famed theatre company Chauve-Souris (the Bat), which traveled the world and brought Remisoff to the United States. In New York, Remisoff began designing covers and doing illustrations for Conde Nast publications; he was then asked by Elizabeth Arden to design her famed “Red Door” salon and spa. In 1924, Remisoff opened a Russian-themed night club in New York called Club Petrushka, but the club burned in 1925.

Remisoff headed to Chicago, where he taught stage design at the Art Institute 1925-1926. While in Chicago, where he stayed until 1935, he designed sets and costumes for the Adolph Bolm and Ruth Page ballet companies. He created murals for the Casino Club, the Chicago Club, the Graceland Cemetery Chapel, and the Lake Forest Public Library, among other buildings. He had one-man shows at The Arts Club of Chicago in 1925 and the Art Institute of Chicago in 1938. He also exhibited at the Century of Progress Exhibition in 1933.

Remisoff left Chicago in 1938 for Hollywood, where he would serve as art or production designer for 31 movies.[27]

 Portrait of Nicolas Remisoff painted by Ilia Repine in 1917

Nicolas Remisoff, Winter Scene Design for a Ballet; Art Institute of Chicago

Edgar Miller (1899-1993) was an American self-taught artist and master craftsman, “a creative virtuoso of the modern era—who applied his skills to a multitude of projects in art, design and architecture.”[28] He was a designer, painter, craftsman, master woodcarver, and stained-glass designer.

Edgar Miller’s genius reached its apex in four fully realized artistic studios that he built on Chicago’s North Side in the 1920s and ‘30s. Miller marked almost every inch of the studios with daring and surprise. He took rustic brick, crude stone, salvaged tile, found glass and recycled steel and wood and “Edgarized” the homes, packing them with stained-glass windows, frescoes, murals, mosaics and woodcarvings.[29]

 These studios include the Carl Street Studio (1927) and the Rudolph Glasner Studio (1928), both in Chicago’s Old Town area.

Edgar Miller painting a mural, 1957

(Left) Edgar Miller interior and stained glass, Architecture, August 1932, p. 66; (right) Carl Street Studio, www.edgarmiller.org

 In his younger years Miller was called everything from “the blond boy Michelangelo” to “a new luminary.” In 1919 he had been was hired as an apprentice in the studio of Alfonso Ianelli, spending five years working on advertising, design, packaging, ink drawings, mural posters, stained glass, and cut stone. Through Ianelli, Miller met important studio clients like Marshall Field & Company and Holabird & Root, developing a network of future employers.[30]

 Of Miller’s plaques for the lobby of the Punch and Judy, Nicolas Remisoff wrote:

In some respects I consider these among the most clever things done by Miller. They are beautifully composed in diagonal compositions, perfectly done. Edgar Miller has, with his usual fine sense of fitness, captured something characteristically theatrical of the old time theatre. This is the one spot where tradition enters boldly, but up the stairway and toward the lounge one sees another plaque that expresses its fitness for its setting and carries out the circular form and motifs of this new theatre.[31]

  The Punch and Judy, which has “…introduced a new form for moving picture theatres, free from any kind of style and scenery,”[32] had offered an innovative and more intimate experience for the discerning movie patron of the 1930s. Its concept was realized by some of the most renowned designers and decorators of their day. Its forms evoked an age of speed, machines, and sleek new “modern” design that in retrospect would come to be called streamline moderne.

  The Punch and Judy would end its existence as the Capri Cinema, which closed in 1968. Photo: Cinema Treasures

Links to PDF documents of works cited:

Edgar Miller Designer-Craftsman, Architecture, August 1932

Finding Aid for the Nicolas Remisoff Papers

Fuhrer & Fuhrer Questionnaire for Federal Public Works

“The Cinema Unique,” The Western Architect Nov. 1930

Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World Oct. 25, 1939

Remisoff, Nicolas, “The Punch and Judy Theater,” The Western Architect Nov. 1930

Notes:

[1] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, p. 35

Louis Machat started in 1910 with an early talking apparatus, such as it was…. Louis Machat was then connected with the old Sixth Avenue Playhouse in New York…. It failed and with the failure of the cylinder film followed the importation of foreign productions from Sweden, France and Italy. This importing business let him into the “Little Theatre” movement and resulted in the opening of the Wardman Park hotel theatre in Washington, D.C. in 1926. Similar theatres followed in New York, Baltimore, Philadelphia, Rochester and Chicago, with still others projected.

Shortly after the Punch and Judy was opened, Machat said to me, “It is high time for the motion picture industry to take cognizance of the fact that the whole population of the United States does not care for gilded walls…. There is a lot of room in America for some native theatrical architecture….”

Ibid. p. 129

Louis Machat would later be listed as the Producer for the 1943 short film Wasted Lives. IMDB https://www.imdb.com/name/nm7956280/?ref_=fn_al_nm_1 

The article’s author, Nick John Matsoukas, was a theater manager, film press agent, and journalist. Limited information about him is available at:https://www.myheritage.com/names/nick_matsoukas#col_a_10220http://cinematreasures.org/photos/229126

 [2] Ibid.

 [3] “The Cinema Unique,” The Western Architect, vol. 29 no. 11, November 1930, p. 175.

[4] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, p. 35.

 [5] “Streamline Moderne,” Archetypical.  https://www.archetypical.us/streamline-moderne/

 [6] Greif, Martin, Depression Modern, The Thirties Style in America. New York: Universe Books, 1975.

 [7] “Streamline Moderne,” Wikipedia. https://en.wikipedia.org/wiki/Streamline_Moderne

 [8] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, pp. 37 and 39.

 [9] “Notes on Writers and Subjects in this Issue,” Exhibitors Herald-World, October 25, 1930, p. 19.

 [10] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, p. 38.

 [11] “The Cinema Unique,” The Western Architect, vol. 39 n. 11 Nov. 1930, pp. 175-76.

 [12] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, p.36.

 [13] “The Cinema Unique,” The Western Architect, vol. 39 n. 11 Nov. 1930, p. 177

[14] “The Little Cinema Movement,” The Little; https://thelittle.org/history

[15] Ibid.

[16] Wilinsky, Barbara, Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press, 2001, p. 1. Accessed at https://books.google.com/books?hl=en&lr=&id=uJp_B8lN0iIC&oi=fnd&pg=PP11&dq=little+cinema+movement&ots=a5AX92LnoG&sig=kzefPGtf9xbHDWuhPlMhja8CCyg#v=onepage&q=little%20cinema%20movement&f=false

 [17] Guzman, Tony, “The Little Theatre Movement: The Institutionalization of the European Art Film in America,” Film History. Vol. 17, No. 2/3, 2005, p. 274.

 [18] “Cinema Theater, 151 E. Chicago Avenue, Chicago, IL 60611,” Cinema Treasures. http://cinematreasures.org/theaters/980

Once a popular art house located off N. Michigan Avenue on E. Chicago Avenue on Chicago’s Near North Side, the Cinema Theater opened on December 26, 1929 with “Shiraz”.

The Cinema Theater closed September 13, 1981, and was demolished and replaced a few years later by the Olympia Centre tower. A Neiman Marcus store is also situated on the former theater site.

The theater was illustrated in The Western Architect, April 1930, p. 60 ff.

[19] “The Cinema Unique,” The Western Architect, vol. 39 n. 11 Nov. 1930, p. 177.

[20] Matsoukas, Nick John, “The unconventional PUNCH and JUDY,” Exhibitors Herald-World, October 25, 1930, p. 35

[21] Little, Jim, “Chicago Personalities,” Exhibitors World-Herald, December 20, 1930, p. 62.

See also: Schiecke, Konrad, Downtown Chicago's Historic Movie Theatres. Jefferson NC: McFarland & Co., Inc., 2011, p. 178; “Ascher Brothers, Wikitia. https://wikitia.com/wiki/Ascher_Brothers

[22] “History of the Reel World,” https://thelittle.org/history

[23] Schiecke, Konrad, Downtown Chicago's Historic Movie Theatres. Jefferson NC: McFarland & Co., Inc., 2011, pp. 75-76.

 “On July 3, 1940, the theatre emerged as the Studio, with new management dedicated to public service and single, first-run features, newsreels and comedy shorts. French without Tears started off Studio’s program. In 1952 the theatre was renamed the Ziegfeld, operated with Tom Down as manager until 1958 when M. Down became owner.

    The newly redecorated “art” theatre, now renamed the Capri, opened on July 3, 1958, with a controversial adult French film, Nana, based on an Emile Zola novel…Adult films were shown until the theatre closed in 1968.”

[24] “History of the Reel World,” https://thelittle.org/history

[25] American Institute of Architects, 1956 American Architects Directory. Accessed at https://aiahistoricaldirectory.atlassian.net/wiki/spaces/AHDAA/pages/20644319/1956+American+Architects+Directory

[26] “Questionnaire for Architects’ Roster and / or Register of Architects Qualified for Federal Public Works,” May 10,1946. Eugene and Max Fuhrer, 160 N. LaSalle St.

[27] Richard Norton Gallery, Nicolas Remisoff biography, no date. http://richardnortongallery.com/artists/nicolai-remisoff

Remisoff’s decor for the New York home of Elizabeth Arden is illustrated here: https://thepeakofchic.blogspot.com/2016/04/an-early-thirties-set-piece.html

[28] “Edgar Miller, the Artist,” https://www.edgarmiller.org/terra-3

[29] “Edgar Miller Legacy,” https://www.edgarmiller.org/history/

[30] Cahan, Richard and Williams, Michael, Edgar Miller and the Handmade Home. Chicago: City Files Pres, 2009, pp. 18–93.

[31] Remisoff, Nicolas, “The Punch and Judy Theatre,” The Western Architect, November 1930, p. 183.

[32] Schiecke, Konrad, Downtown Chicago's Historic Movie Theatres. Jefferson NC: McFarland & Co., Inc., 2011, p. 75.

[burningcupcakeunknown]

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[blackqueerblog]

6 trans women and non-binary activists you should have learned about in history class. Part 2

1. Sylvia Rivera (1951-2002)

Born to Puerto Rican and Venezuelan parents in New York in 1951, Sylvia Rivera was an iconic LGBTQ activist. As a child, she was bullied due to “effeminate” behavior. As an adult, Rivera frequented the famous Stonewall Inn and is believed to have been present during the venue’s landmark 1969 Stonewall Riots (though her role in igniting the riotsthis link opens in a new tab remains unclear).

Kicked out of her home more than once, Rivera co-founded STAR (Street Transvestite Action Revolutionaries), a group dedicated to providing housing and support for homeless queer youth and sex workers in New York City. She also challenged gay rights leadersthis link opens in a new tab who attempted to exclude drag queens and trans people in gay rights legislation, and fought for inclusion for people across the gender spectrum within mainstream LGBTQ organizations and events.

 Rivera’s understanding of her gender was fluid, and evolved over the course of her lifetime. Sometimes she identified as a woman. Sometimes she identified as an “effeminate” gay male. Sometimes as both, or as a third gender. But most importantly, we identify her as an important non-binary activist.

2. Marsha P. Johnson (1945-1992)

Like Rivera, Marsha P. Johnson is an iconic figure of color in queer liberation. Born in New Jersey, Johnson became accustomed to anti-LGBTQ bigotry as a child. In 1967, she moved to the West Village in New York to escape this discrimination. She was present at the legendary Stonewall Riotsthis link opens in a new tab, and is said to have thrown the first brick on that historic evening. After Stonewall, she befriended Rivera, with whom she co-founded the influential LGBTQ support organization STAR.

In the 1980s, Johnson became a tireless AIDS activist, demonstrating with the AIDS Coalition to Unleash Powerthis link opens in a new tab (ACT UP) to help build awareness and lower the prices of AIDS medication. She was everywhere—she even appeared in a series of Andy Warhol photographs featuring drag queens.

 But in July 1992, her dead body was pulled, fully clothed, from the Hudson River near Christopher Street. Officials initially claimed the case was a suicide. Johnson’s family and friends disagreed, and charged that she had been murdered, as she had often been harassed by people around the pier. The case was changed from a suicide to “undetermined,”this link opens in a new tab where it remains today, despite having been reopened in 2012.

Johnson, like Rivera, did not fully identify as transfeminine. She often used female pronouns, as did many other drag queens in her circle, and even considered sex reassignment surgery. But she also identified as male, ultimately putting her under a broad, non-binary umbrella.

3. Sir Lady Java (1943—)

For a long time, cross-dressing was banned in much of America, and trans women—who would have simply been dressing—were treated the same as cross-dressers. Sir Lady Java was born in New Orleans, and later moved to Los Angeles where she protested L.A.’s notorious Rule No. 9this link opens in a new tab, which made cross-dressing illegal.

Java, who worked as both a waitress and “female impersonator” at the Redd Foxx Club and who claimed to have dated Sammy Davis, Jr., was profiled in Jet magazinethis link opens in a new tab for her curvaceous beauty and her persistent picketing. Bowing to pressure from the LAPD, which wanted Java’s so-called “cross-dressing” club act stopped, the Redd Foxx Club cancelled her act. 

So she joined the ACLUthis link opens in a new tab to argue that the law was unconstitutional and took away her income. Even though her legal challenge ultimately failed, Java’s story received national attention, particularly from African American and queer publications, which likely played a factor in such laws eventually disappearing.

4. Renée Richards (1934-present)

Born in New York in 1934, Renée Richards worked as an ophthalmologist and professional tennis player. Though she underwent sex reassignment surgery in 1975 and played tennis as a woman without incident that year, in 1976 she was outed by the pressthis link opens in a new tab after a victory at a tennis tournament in California. In response, the U.S. Open introduced a required “genetic” screening for female athletes to bar Richards from playing. So she sued, and in 1977, New York’s Supreme Court ruled in her favor. Thought to be the first transgender woman to play a professional sport, Richards remains one of the most iconic trans athletes.

5. Nong Toom (1981-present)

A story for the ages: Parinya Charoenphol (better known as Nong Toom) was born to a family of nomads in a poor village in Thailand and was expelled from a monastery as a child. At age 12, she began training to become a Muay Thai kickboxer—and became a champion, winning 20 out of 22 matchesthis link opens in a new tab—so she could afford the extravagant fees of the sex reassignment surgery she’d wanted since she was a child.

In 1999, she underwent surgery and began living full-time as a woman. But Toom quickly became a figure of national controversy for her gender because, at the time, women were prohibited from fighting in kickboxing matches. Having evolved from a way to combat the Burmese to a professional sport, Muay Thai is considered sacrosanct in Thailand, and some argued Toom’s participation in the pastime tarnished it.

Nevertheless, she persisted, and she is an icon for it. “She’s such a person of contradictions,” Ekachai Uekrongtham, the director of a film about her, said in 2005.this link opens in a new tab “She set out to master the most masculine activity in order to achieve total femininity.”

6. Angela Morley (1924-2009)

Angela Morley stands out not only as a female composer  — itself, unfortunately, relatively rare — but as one of the only openly trans composers anywhere.this link opens in a new tab Born in Yorkshire in 1924, Morley transitioned in 1972 and won two Emmys for her musical arrangements. She was also the first openly trans person to be nominated for an Academy Award. Morley died in 2009, but left an important legacy behind her.

[blackkudos]

George Benson

George Benson (born March 22, 1943) is an American guitarist, singer, and songwriter. He began his professional career at the age of 21 as a jazz guitarist. Benson uses a rest-stroke picking technique similar to that of gypsy jazz players such as Django Reinhardt.

A former child prodigy, Benson first came to prominence in the 1960s, playing soul jazz with Jack McDuff and others. He then launched a successful solo career, alternating between jazz, pop, R&B singing, and scat singing. His album Breezin' was certified triple-platinum, hitting no. 1 on the Billboard album chart in 1976. His concerts were well attended through the 1980s, and he still has a large following. Benson has been honored with a star on the Hollywood Walk of Fame.

Biography

Early career

Benson was born and raised in the Hill District in Pittsburgh, Pennsylvania. At the age of seven, he first played the ukulele in a corner drug store, for which he was paid a few dollars. At the age of eight, he played guitar in an unlicensed nightclub on Friday and Saturday nights, but the police soon closed the club down. At the age of 9, he started to record. Out of the four sides he cut, two were released: "She Makes Me Mad" backed with "It Should Have Been Me", with RCA-Victor in New York; although one source indicates this record was released under the name "Little Georgie", the 45rpm label is printed with the name George Benson. The single was produced by Leroy Kirkland for RCA's rhythm and blues label, Groove Records. As he has stated in an interview, Benson's introduction to showbusiness had an effect on his schooling. When this was discovered (tied with the failure of his single) his guitar was impounded. Luckily, after he spent time in a juvenile detention centre his stepfather made him a new guitar.

Benson attended and graduated from Schenley High School. As a youth he learned how to play straight-ahead instrumental jazz during a relationship performing for several years with organist Jack McDuff. One of his many early guitar heroes was country-jazz guitarist Hank Garland. At the age of 21, he recorded his first album as leader, The New Boss Guitar, featuring McDuff. Benson's next recording was It's Uptown with the George Benson Quartet, including Lonnie Smith on organ and Ronnie Cuber on baritone saxophone. Benson followed it up with The George Benson Cookbook, also with Lonnie Smith and Ronnie Cuber on baritone and drummer Marion Booker. Miles Davis employed Benson in the mid-1960s, featuring his guitar on "Paraphernalia" on his 1968 Columbia release, Miles in the Sky before going to Verve Records.

Benson then signed with Creed Taylor's jazz label CTI Records, where he recorded several albums, with jazz heavyweights guesting, to some success, mainly in the jazz field. His 1974 release, Bad Benson, climbed to the top spot in the Billboard jazz chart, while the follow-ups, Good King Bad (#51 Pop album) and Benson and Farrell (with Joe Farrell), both reached the jazz top-three sellers. Benson also did a version of The Beatles's 1969 album Abbey Road called The Other Side of Abbey Road, also released in 1969, and a version of "White Rabbit", originally written and recorded by San Francisco rock group Great Society, and made famous by Jefferson Airplane. Benson played on numerous sessions for other CTI artists during this time, including Freddie Hubbard and Stanley Turrentine, notably on the latter's acclaimed album Sugar.

1970s and 1980s

By the mid-to-late 1970s, as he recorded for Warner Bros. Records, a whole new audience began to discover Benson. With the 1976 release Breezin', Benson sang a lead vocal on the track "This Masquerade" (notable also for the lush, romantic piano intro and solo by Jorge Dalto), which became a huge pop hit and won a Grammy Award for Record of the Year. (He had sung vocals infrequently on albums earlier in his career, notably his rendition of "Here Comes the Sun" on the Other Side of Abbey Road album.) The rest of the album is instrumental, including his rendition of the 1975 Jose Feliciano composition "Affirmation".

In 1976, Benson toured with soul singer Minnie Riperton, who had been diagnosed with terminal breast cancer earlier that year and, in addition, appeared as a guitarist and backup vocalist on Stevie Wonder's song "Another Star" from Wonder's album Songs in the Key of Life.

During the same year, 1976, the top selling album 'Breezin' was released on the Warner Brothers label featuring the Bobby Womack penned title track and the Leon Russell penned This Masquerade which is now a jazz standard. Both tracks won Grammy awards that year and the LP put Benson into the musical limelight both in the USA and in Europe. Ironically, Benson had been discouraged up until this time, from using his singing skills, mainly as the company decision makers felt he wasn't competent enough vocally, and he should stick to playing the guitar. It was here that he clearly proved them wrong.

He also recorded the original version of "The Greatest Love of All" for the 1977 Muhammad Ali bio-pic, The Greatest, which was later covered by Whitney Houston as "Greatest Love of All". During this time Benson recorded with the German conductor Claus Ogerman. The live take of "On Broadway", recorded a few months later from the 1978 release Weekend in L.A., also won a Grammy. He has worked with Freddie Hubbard on a number of his albums throughout the 1960s, 1970s and 1980s.

The Qwest record label (a subsidiary of Warner Bros., run by Quincy Jones) released Benson's breakthrough pop album Give Me The Night, produced by Jones. Benson made it into the pop and R&B top ten with the song "Give Me the Night" (written by former Heatwave keyboardist Rod Temperton). He had many hit singles such as "Love All the Hurt Away", "Turn Your Love Around", "Inside Love", "Lady Love Me", "20/20", "Shiver", "Kisses in the Moonlight". More importantly, Quincy Jones encouraged Benson to search his roots for further vocal inspiration, and he rediscovered his love for Nat Cole, Ray Charles and Donny Hathaway in the process, influencing a string of further vocal albums into the 1990s. Despite returning to his jazz and guitar playing most recently, this theme was reflected again much later in Benson's 2000 release Absolute Benson, featuring a cover of one of Hathaway's most notable songs, "The Ghetto". Benson accumulated three other platinum LPs and two gold albums.

1990s to present

In 1990, Benson was awarded an Honorary Doctorate of Music from the Berklee College of Music.

To commemorate the long relationship between Benson and Ibanez and to celebrate 30 years of collaboration on the GB Signature Models, Ibanez created the GB30TH, a limited-edition model with a gold-foil finish inspired by the traditional Japanese Garahaku art form. In 2009, Benson was recognized by the National Endowment of the Arts as a Jazz Master, the nation's highest honor in jazz. Benson performed at the 49th issue of the Ohrid Summer Festival in North Macedonia on July 25, 2009, and his tribute show to Nat King Cole An Unforgettable Tribute to Nat King Cole as part of the Istanbul International Jazz Festival in Turkey on July 27. In the fall of 2009, Benson finished recording an album entitled Songs and Stories with Marcus Miller, producer John Burk, and session musicians David Paich and Steve Lukather. As a part of the promotion for his album Songs and Stories, Benson has appeared or performed on The Tavis Smiley Show, Jimmy Kimmel Live! and Late Night with Jimmy Fallon.

He performed at the Java Jazz Festival March 4–6, 2011. In 2011, Benson released the album Guitar Man, revisiting his 1960s/early-1970s guitar-playing roots with a 12-song collection of covers of both jazz and pop standards produced by John Burk.

In June 2013, Benson released his fourth album for Concord, Inspiration: A Tribute to Nat King Cole, which included Wynton Marsalis, Idina Menzel, Till Brönner, and Judith Hill. In September, he returned to perform at Rock in Rio festival, in Rio de Janeiro, 35 years after his first performance at this festival, which was then the inaugural one.

In July 2016, Benson participated as a mentor in the Sky Arts program Guitar Star in the search for the UK and Republic of Ireland's most talented guitarist.

In May 2018, Benson was featured on the Gorillaz single "Humility".

On July 12, 2018, it was announced that Benson had signed to Mascot Label Group.

On June 25, 2019, The New York Times Magazine listed George Benson among hundreds of musicians whose material was destroyed in the 2008 Universal fire.

Personal life

Benson has been married to Johnnie Lee since 1965 and has seven children. Benson describes his music as focusing more on love and romance, and eschewing overt sexuality, due to his commitment to his family and religious practices, with Benson serving as one of Jehovah's Witnesses. Benson has been a resident of Englewood, New Jersey.

[douchebagbrainwaves]

BUT IT PROBABLY WOULDN'T START TO WORK PROPERLY TILL ABOUT AGE 22, BECAUSE MOST PEOPLE WERE STUPID

I want to know what the tricks are for growing fast. For example, Ulf Wiger of Ericsson did a study that concluded that Erlang was 4-10x more succinct than C, and proportionately faster to develop software in: Comparisons between Ericsson-internal development projects indicate similar line/hour productivity, including all phases of software development, rather independently of which language Erlang, PLEX, C, C, or Java was used. If you have an idea for a new feature in the morning, you can ask yourself what would I tell my own kids? How do you avoid copying the wrong things? New Yorker, Lockheed's Skunk Works, Xerox Parc. I answered twenty, I could have thought of that. Why did we have to memorize state capitals instead of playing dodgeball? It's hard even to imagine. It costs little effort and no money to try a new one, and eventually someone will discover it. I can't tell is whether they have any kind of creative work. A young architect has to take whatever work he can get, but if you can trade stock for something that improves your odds, it's probably a smart move.

But I decided not to, because that's implicit in making functions first class objects—they're a data type just like integers, strings, etc, and have clean, simple web pages with unintrusive keyword-based ads. When I first read this in my early twenties, it was harder than it looked. The problem is not simply economic inequality. It happened to cloth manufacture in the thirteenth century, generating the wealth that later brought about the Renaissance. Much as we disliked school, the prospect of an actual job was on the horizon. That's the recipe for winning in the past. So obviously that is what we should be doing, and a lot who get rich by creating wealth.

It makes the guys developing the technology more accountable, because they will probably use small problems, and will necessarily use predefined problems, will tend to err on the side. So I bet it would help a lot of people. But except for these few anomalous cases, work was pretty much defined as not-fun. We've done the same thing Kelly Johnson did: if something is ugly, it can't be the best supplier, but falls just short of the standard, I think what they mean is decreasing poverty. This group says one thing. You have to like what you do? Which means the first VC to break ranks and start to do series A rounds—so those are good places to look now. Startups are very counterintuitive. Imitating nature also works in engineering. But in fact there will be a little wider at the bottom. Fortunately we've come up with answers.

It's art that interests its audience, then when you talk about art being good, and artists being good at making it. When oil paint replaced tempera in the fifteenth century. I wasn't looking for it. But just as the greatest danger of applying too many checks to your programmers is not that you'll make them unproductive, but that good programmers won't even want to work on them, and which seem unconvincing. If you mention taste nowadays, a lot of cultural baggage, and in some ways a worse kind of hard. Nearly everyone who writes about it says that economic inequality is to treat it as a symptom that we'll probably only hit whichever of the two-job route is dangerous because it teaches you so little about what you enjoy as guilty pleasures. Attitudes to copying often make a round trip. VC funding has, in the worst case it won't be for too long. Startup funding meant series A rounds. If all you have to do to write or read it. School has trained them to regard work as an unpleasant duty.

[alltopeducation]

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