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{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 12, "sc": 1031, "ep": 12, "ec": 1660}
| 160,306 |
Q20077126
| 12 | 1,031 | 12 | 1,660 |
Sound recording and reproduction
|
Disc phonograph
|
speeds, the major recording companies eventually settled on a de facto industry standard of nominally 78 revolutions per minute. The specified speed was 78.26 rpm in America and 77.92 rpm throughout the rest of the world. The difference in speeds was due to the difference in the cycle frequencies of the AC electricity that powered the stroboscopes used to calibrate recording lathes and turntables. The nominal speed of the disc format gave rise to its common nickname, the "seventy-eight" (though not until other speeds had become available). Discs were made of shellac or similar brittle plastic-like materials, played with
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 12, "sc": 1660, "ep": 12, "ec": 2285}
| 160,306 |
Q20077126
| 12 | 1,660 | 12 | 2,285 |
Sound recording and reproduction
|
Disc phonograph
|
needles made from a variety of materials including mild steel, thorn, and even sapphire. Discs had a distinctly limited playing life that varied depending on how they were manufactured.
Earlier, purely acoustic methods of recording had limited sensitivity and frequency range. Mid-frequency range notes could be recorded, but very low and very high frequencies could not. Instruments such as the violin were difficult to transfer to disc. One technique to deal with this involved using a Stroh violin to which uses a conical horn connected to a diaphragm that in turn is connected to the violin bridge. The horn was
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 12, "sc": 2285, "ep": 12, "ec": 2891}
| 160,306 |
Q20077126
| 12 | 2,285 | 12 | 2,891 |
Sound recording and reproduction
|
Disc phonograph
|
no longer needed once electrical recording was developed.
The long-playing 33¹⁄₃ rpm microgroove LP record, was developed at Columbia Records and introduced in 1948. The short-playing but convenient 7-inch (18 cm) 45 rpm microgroove vinyl single was introduced by RCA Victor in 1949. In the US and most developed countries, the two new vinyl formats completely replaced 78 rpm shellac discs by the end of the 1950s, but in some corners of the world, the 78 lingered on far into the 1960s. Vinyl was much more expensive than shellac, one of the several factors that made its use for 78 rpm records
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 12, "sc": 2891, "ep": 16, "ec": 243}
| 160,306 |
Q20077126
| 12 | 2,891 | 16 | 243 |
Sound recording and reproduction
|
Disc phonograph & Electrical recording
|
very unusual, but with a long-playing disc the added cost was acceptable. The compact 45 format required very little material. Vinyl offered improved performance, both in stamping and in playback. Vinyl records were, over-optimistically, advertised as "unbreakable". They were not, but they were much less fragile than shellac, which had itself once been touted as "unbreakable" compared to wax cylinders. Electrical recording Sound recording began as a purely mechanical process. Except for a few crude telephone-based recording devices with no means of amplification, such as the telegraphone, it remained so until the 1920s. Between the invention of the phonograph in
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 243, "ep": 16, "ec": 927}
| 160,306 |
Q20077126
| 16 | 243 | 16 | 927 |
Sound recording and reproduction
|
Electrical recording
|
1877 and the first commercial digital recordings in the early 1970s, arguably the most important milestone in the history of sound recording was the introduction of what was then called electrical recording, in which a microphone was used to convert the sound into an electrical signal that was amplified and used to actuate the recording stylus. This innovation eliminated the "horn sound" resonances characteristic of the acoustical process, produced clearer and more full-bodied recordings by greatly extending the useful range of audio frequencies, and allowed previously unrecordable distant and feeble sounds to be captured. During this time, several radio-related developments
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 927, "ep": 16, "ec": 1623}
| 160,306 |
Q20077126
| 16 | 927 | 16 | 1,623 |
Sound recording and reproduction
|
Electrical recording
|
in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording.
In 1906, Lee De Forest invented the Audion triode vacuum tube, an electronic valve that could amplify weak electrical signals. By 1915, it was in use in long-distance telephone circuits that made conversations between New York and San Francisco practical. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the mid-1950s.
During World War I,
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 1623, "ep": 16, "ec": 2278}
| 160,306 |
Q20077126
| 16 | 1,623 | 16 | 2,278 |
Sound recording and reproduction
|
Electrical recording
|
engineers in the United States and Great Britain worked on ways to record and reproduce, among other things, the sound of a German U-boat for training purposes. Acoustical recording methods of the time could not reproduce the sounds accurately. The earliest results were not promising.
The first electrical recording issued to the public, with little fanfare, was of November 11, 1920 funeral services for The Unknown Warrior in Westminster Abbey, London. The recording engineers used microphones of the type used in contemporary telephones. Four were discreetly set up in the abbey and wired to recording equipment in a vehicle outside. Although
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 2278, "ep": 16, "ec": 2986}
| 160,306 |
Q20077126
| 16 | 2,278 | 16 | 2,986 |
Sound recording and reproduction
|
Electrical recording
|
electronic amplification was used, the audio was weak and unclear. The procedure did, however, produce a recording that would otherwise not have been possible in those circumstances. For several years, this little-noted disc remained the only issued electrical recording.
Several record companies and independent inventors, notably Orlando Marsh, experimented with equipment and techniques for electrical recording in the early 1920s. Marsh's electrically recorded Autograph Records were already being sold to the public in 1924, a year before the first such offerings from the major record companies, but their overall sound quality was too low to demonstrate any obvious advantage over traditional
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 2986, "ep": 16, "ec": 3667}
| 160,306 |
Q20077126
| 16 | 2,986 | 16 | 3,667 |
Sound recording and reproduction
|
Electrical recording
|
acoustical methods. Marsh's microphone technique was idiosyncratic and his work had little if any impact on the systems being developed by others.
Telephone industry giant Western Electric had research laboratories (merged with the AT&T engineering department in 1925 to form Bell Telephone Laboratories) with material and human resources that no record company or independent inventor could match. They had the best microphone, a condenser type developed there in 1916 and greatly improved in 1922, and the best amplifiers and test equipment. They had already patented an electromechanical recorder in 1918, and in the early 1920s, they decided to intensively apply their
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 3667, "ep": 16, "ec": 4373}
| 160,306 |
Q20077126
| 16 | 3,667 | 16 | 4,373 |
Sound recording and reproduction
|
Electrical recording
|
hardware and expertise to developing two state-of-the-art systems for electronically recording and reproducing sound: one that employed conventional discs and another that recorded optically on motion picture film. Their engineers pioneered the use of mechanical analogs of electrical circuits and developed a superior "rubber line" recorder for cutting the groove into the wax master in the disc recording system.
By 1924, such dramatic progress had been made that Western Electric arranged a demonstration for the two leading record companies, the Victor Talking Machine Company and the Columbia Phonograph Company. Both soon licensed the system and both made their earliest published electrical
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 4373, "ep": 16, "ec": 5076}
| 160,306 |
Q20077126
| 16 | 4,373 | 16 | 5,076 |
Sound recording and reproduction
|
Electrical recording
|
recordings in February 1925, but neither actually released them until several months later. To avoid making their existing catalogs instantly obsolete, the two long-time archrivals agreed privately not to publicize the new process until November 1925, by which time enough electrically recorded repertory would be available to meet the anticipated demand. During the next few years, the lesser record companies licensed or developed other electrical recording systems. By 1929 only the budget label Harmony was still issuing new recordings made by the old acoustical process.
Comparison of some surviving Western Electric test recordings with early commercial releases indicates that the record
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 16, "sc": 5076, "ep": 20, "ec": 385}
| 160,306 |
Q20077126
| 16 | 5,076 | 20 | 385 |
Sound recording and reproduction
|
Electrical recording & Other recording formats
|
companies "dumbed down" the frequency range of the system so the recordings would not overwhelm non-electronic playback equipment, which reproduced very low frequencies as an unpleasant rattle and rapidly wore out discs with strongly recorded high frequencies. Other recording formats In the 1920s, Phonofilm and other early motion picture sound systems employed optical recording technology, in which the audio signal was graphically recorded on photographic film. The amplitude variations comprising the signal were used to modulate a light source which was imaged onto the moving film through a narrow slit, allowing the signal to be photographed as variations in the
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 20, "sc": 385, "ep": 20, "ec": 1041}
| 160,306 |
Q20077126
| 20 | 385 | 20 | 1,041 |
Sound recording and reproduction
|
Other recording formats
|
density or width of a "sound track". The projector used a steady light and a photoelectric cell to convert these variations back into an electrical signal, which was amplified and sent to loudspeakers behind the screen. Ironically, the introduction of "talkies" was spearheaded by The Jazz Singer (1927), which used the Vitaphone sound-on-disc system rather than an optical soundtrack. Optical sound became the standard motion picture audio system throughout the world and remains so for theatrical release prints despite attempts in the 1950s to substitute magnetic soundtracks. Currently, all release prints on 35 mm movie film include an analog optical
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 20, "sc": 1041, "ep": 20, "ec": 1719}
| 160,306 |
Q20077126
| 20 | 1,041 | 20 | 1,719 |
Sound recording and reproduction
|
Other recording formats
|
soundtrack, usually stereo with Dolby SR noise reduction. In addition, an optically recorded digital soundtrack in Dolby Digital and/or Sony SDDS form is likely to be present. An optically recorded timecode is also commonly included to synchronise CDROMs that contain a DTS soundtrack.
This period also saw several other historic developments including the introduction of the first practical magnetic sound recording system, the magnetic wire recorder, which was based on the work of Danish inventor Valdemar Poulsen. Magnetic wire recorders were effective, but the sound quality was poor, so between the wars, they were primarily used for voice recording and marketed
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 20, "sc": 1719, "ep": 20, "ec": 2383}
| 160,306 |
Q20077126
| 20 | 1,719 | 20 | 2,383 |
Sound recording and reproduction
|
Other recording formats
|
as business dictating machines. In 1924, a German engineer, Kurt Stille, developed the Poulsen wire recorder as a dictating machine. The following year, Ludwig Blattner began work that eventually produced the Blattnerphone, enhancing it to use steel tape instead of wire. The BBC started using Blattnerphones in 1930 to record radio programmes. In 1933, radio pioneer Guglielmo Marconi's company purchased the rights to the Blattnerphone, and newly developed Marconi-Stille recorders were installed in the BBC's Maida Vale Studios in March 1935. The tape used in Blattnerphones and Marconi-Stille recorders was the same material used to make razor blades, and not
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 20, "sc": 2383, "ep": 24, "ec": 203}
| 160,306 |
Q20077126
| 20 | 2,383 | 24 | 203 |
Sound recording and reproduction
|
Other recording formats & Magnetic tape
|
surprisingly the fearsome Marconi-Stille recorders were considered so dangerous that technicians had to operate them from another room for safety. Because of the high recording speeds required, they used enormous reels about one metre in diameter, and the thin tape frequently broke, sending jagged lengths of razor steel flying around the studio. The K1 Magnetophon was the first practical tape recorder, developed by AEG in Germany in 1935. Magnetic tape An important field of invention during this period was the tape recorder. Magnetic tape recording uses an amplified electrical audio signal to generate analogous variations of the magnetic field produced
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 24, "sc": 203, "ep": 24, "ec": 809}
| 160,306 |
Q20077126
| 24 | 203 | 24 | 809 |
Sound recording and reproduction
|
Magnetic tape
|
by a tape head, which impresses corresponding variations of magnetization on the moving tape. In playback mode, the signal path is reversed, the tape head acting as a miniature electric generator as the varyingly magnetized tape passes over it. The original solid steel ribbon was replaced by a much more practical coated paper tape, but acetate soon replaced paper as the standard tape base. Acetate has fairly low tensile strength and if very thin it will snap easily, so it was in turn eventually superseded by polyester. This technology, the basis for almost all commercial recording from the 1950s to
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 24, "sc": 809, "ep": 24, "ec": 1479}
| 160,306 |
Q20077126
| 24 | 809 | 24 | 1,479 |
Sound recording and reproduction
|
Magnetic tape
|
the 1980s, was developed in the 1930s by German audio engineers who also rediscovered the principle of AC biasing (first used in the 1920s for wire recorders), which dramatically improved the frequency response of tape recordings. The technology was further improved just after World War II by American audio engineer John T. Mullin with backing from Bing Crosby Enterprises. Mullin's pioneering recorders were modifications of captured German recorders. In the late 1940s, the Ampex company produced the first tape recorders commercially available in the US.
Magnetic tape brought about sweeping changes in both radio and the recording industry. Sound could be
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 24, "sc": 1479, "ep": 24, "ec": 2139}
| 160,306 |
Q20077126
| 24 | 1,479 | 24 | 2,139 |
Sound recording and reproduction
|
Magnetic tape
|
recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by physically cutting the tape and rejoining it.
Within a few years of the introduction of the first commercial tape recorder—the Ampex 200 model, launched in 1948—American musician-inventor Les Paul had invented the first multitrack tape recorder, ushering in another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the Musique
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 24, "sc": 2139, "ep": 24, "ec": 2842}
| 160,306 |
Q20077126
| 24 | 2,139 | 24 | 2,842 |
Sound recording and reproduction
|
Magnetic tape
|
Concrète school and avant garde composers like Karlheinz Stockhausen, which in turn led to the innovative pop music recordings of artists such as Frank Zappa, The Beatles, and The Beach Boys.
The ease and accuracy of tape editing, as compared to the cumbersome disc-to-disc editing procedures previously in some limited use, together with tape's consistently high audio quality finally convinced radio networks to routinely prerecord their entertainment programming, most of which had formerly been broadcast live. Also, for the first time, broadcasters, regulators and other interested parties were able to undertake comprehensive audio logging of each day's radio broadcasts. Innovations like
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 24, "sc": 2842, "ep": 28, "ec": 291}
| 160,306 |
Q20077126
| 24 | 2,842 | 28 | 291 |
Sound recording and reproduction
|
Magnetic tape & Stereo and hi-fi
|
multitracking and tape echo allowed radio programs and advertisements to be produced to a high level of complexity and sophistication. The combined impact with innovations such as the endless loop broadcast cartridge led to significant changes in the pacing and production style of radio program content and advertising. Stereo and hi-fi In 1881, it was noted during experiments in transmitting sound from the Paris Opera that it was possible to follow the movement of singers on the stage if earpieces connected to different microphones were held to the two ears. This discovery was commercialized in 1890 with the Théâtrophone
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 291, "ep": 28, "ec": 916}
| 160,306 |
Q20077126
| 28 | 291 | 28 | 916 |
Sound recording and reproduction
|
Stereo and hi-fi
|
system, which operated for over forty years until 1932. In 1931, Alan Blumlein, a British electronics engineer working for EMI, designed a way to make the sound of an actor in a film follow his movement across the screen. In December 1931, he submitted a patent including the idea, and in 1933 this became UK patent number 394,325. Over the next two years, Blumlein developed stereo microphones and a stereo disc-cutting head, and recorded a number of short films with stereo soundtracks.
In the 1930s, experiments with magnetic tape enabled the development of the first practical commercial sound systems that could
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 916, "ep": 28, "ec": 1577}
| 160,306 |
Q20077126
| 28 | 916 | 28 | 1,577 |
Sound recording and reproduction
|
Stereo and hi-fi
|
record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie Listen, Darling in 1938. The first commercially released movie with a stereo soundtrack was Walt Disney's Fantasia, released in 1940.
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 1577, "ep": 28, "ec": 2197}
| 160,306 |
Q20077126
| 28 | 1,577 | 28 | 2,197 |
Sound recording and reproduction
|
Stereo and hi-fi
|
The 1941 release of Fantasia used the "Fantasound" sound system. This system used a separate film for the sound, synchronized with the film carrying the picture. The sound film had four double-width optical soundtracks, three for left, center, and right audio—and a fourth as a "control" track with three recorded tones that controlled the playback volume of the three audio channels. Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock until 1956, when Disney released the
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 2197, "ep": 28, "ec": 2865}
| 160,306 |
Q20077126
| 28 | 2,197 | 28 | 2,865 |
Sound recording and reproduction
|
Stereo and hi-fi
|
film with a stereo soundtrack that used the "Cinemascope" four-track magnetic sound system.
German audio engineers working on magnetic tape developed stereo recording by 1941, even though a 2-track push-pull monaural technique existed in 1939. Of 250 stereophonic recordings made during WW2, only three survive: Beethoven's 5th Piano Concerto with Walter Gieseking and Arthur Rother, a Brahms Serenade, and the last movement of Bruckner's 8th Symphony with Von Karajan. The Audio Engineering Society has issued all these recordings on CD. (Varèse Sarabande had released the Beethoven Concerto on LP, and it has been reissued on CD several times since). Other
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 2865, "ep": 28, "ec": 3540}
| 160,306 |
Q20077126
| 28 | 2,865 | 28 | 3,540 |
Sound recording and reproduction
|
Stereo and hi-fi
|
early German stereophonic tapes are believed to have been destroyed in bombings. Not until Ampex introduced the first commercial two-track tape recorders in the late 1940s did stereo tape recording become commercially feasible. However, despite the availability of multitrack tape, stereo did not become the standard system for commercial music recording for some years, and remained a specialist market during the 1950s. EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first Stereosonic tape in 1954. Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic tapes were released, mostly classical
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 3540, "ep": 28, "ec": 4139}
| 160,306 |
Q20077126
| 28 | 3,540 | 28 | 4,139 |
Sound recording and reproduction
|
Stereo and hi-fi
|
music or lyric recordings. RCA imported these tapes into the USA.
Two-track stereophonic tapes were more successful in America during the second half of the 1950s. They were duplicated at real time (1:1) or at twice the normal speed (2:1) when later 4-track tapes were often duplicated at up to 16 times the normal speed, providing a lower sound quality in many cases. Early American 2-track stereophonic tapes were very expensive. A typical example is the price list of the Sonotape/Westminster reels: $6.95, $11.95 and $17.95 for the 7000, 9000 and 8000 series respectively. Some HMV
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 4139, "ep": 28, "ec": 4796}
| 160,306 |
Q20077126
| 28 | 4,139 | 28 | 4,796 |
Sound recording and reproduction
|
Stereo and hi-fi
|
tapes released in the USA also cost up to $15. The history of stereo recording changed after the late 1957 introduction of the Westrex stereo phonograph disc, which used the groove format developed earlier by Blumlein. Decca Records in England came out with FFRR (Full Frequency Range Recording) in the 1940s, which became internationally accepted as a worldwide standard for higher quality recording on vinyl records. The Ernest Ansermet recording of Igor Stravinsky's Petrushka was key in the development of full frequency range records and alerting the listening public to high fidelity in 1946.
Record companies mixed most popular music singles
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 4796, "ep": 28, "ec": 5433}
| 160,306 |
Q20077126
| 28 | 4,796 | 28 | 5,433 |
Sound recording and reproduction
|
Stereo and hi-fi
|
into monophonic sound until the mid-1960s—then commonly released major recordings in both mono and stereo until the early 1970s. Many 1960s pop albums available only in stereo in the 2000s were originally released only in mono, and record companies produced the "stereo" versions of these albums by simply separating the two tracks of the master tape, creating "pseudo stereo". In the mid Sixties, as stereo became more popular, many mono recordings (such as The Beach Boys' Pet Sounds) were remastered using the so-called "fake stereo" method, which spread the sound across the stereo field by directing higher-frequency sound into one
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 28, "sc": 5433, "ep": 32, "ec": 684}
| 160,306 |
Q20077126
| 28 | 5,433 | 32 | 684 |
Sound recording and reproduction
|
Stereo and hi-fi & Audio components
|
channel and lower-frequency sounds into the other. Audio components The replacement of the relatively fragile thermionic valve (vacuum tube) by the smaller, lighter-weight, cooler-running, less expensive, more robust, and less power-hungry transistor also accelerated the sale of consumer high-fidelity "hi-fi" sound systems from the 1960s onward. In the 1950s, most record players were monophonic and had relatively low sound quality. Few consumers could afford high-quality stereophonic sound systems. In the 1960s, American manufacturers introduced a new generation of "modular" hi-fi components — separate turntables, pre-amplifiers, amplifiers, both combined as integrated amplifiers, tape recorders, and other ancillary equipment like the graphic
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 32, "sc": 684, "ep": 36, "ec": 284}
| 160,306 |
Q20077126
| 32 | 684 | 36 | 284 |
Sound recording and reproduction
|
Audio components & Digital recording
|
equaliser, which could be connected together to create a complete home sound system. These developments were rapidly taken up by major Japanese electronics companies, which soon flooded the world market with relatively affordable, high-quality transistorized audio components. By the 1980s, corporations like Sony had become world leaders in the music recording and playback industry. Digital recording The advent of digital sound recording and later the compact disc (CD) in 1982 brought significant improvements in the durability of consumer recordings. The CD initiated another massive wave of change in the consumer music industry, with vinyl records effectively relegated to a small
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 36, "sc": 284, "ep": 36, "ec": 1004}
| 160,306 |
Q20077126
| 36 | 284 | 36 | 1,004 |
Sound recording and reproduction
|
Digital recording
|
niche market by the mid-1990s. However, the record industry fiercely resisted the introduction of digital systems, fearing wholesale piracy on a medium able to produce perfect copies of original released recordings. However, the industry succumbed to the inevitable, though using various protection system (principally Serial Copy Management System, or SCMS).
The most recent and revolutionary developments have been in digital recording, with the development of various uncompressed and compressed digital audio file formats, processors capable and fast enough to convert the digital data to sound in real time, and inexpensive mass storage
. This generated new types of portable digital audio players.
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 36, "sc": 1004, "ep": 36, "ec": 1619}
| 160,306 |
Q20077126
| 36 | 1,004 | 36 | 1,619 |
Sound recording and reproduction
|
Digital recording
|
The minidisc player, using ATRAC compression on small, cheap, re-writeable discs was introduced in the 1990s but became obsolescent as solid-state non-volatile flash memory dropped in price. As technologies that increase the amount of data that can be stored on a single medium, such as Super Audio CD, DVD-A, Blu-ray Disc, and HD DVD become available, longer programs of higher quality fit onto a single disc. Sound files are readily downloaded from the Internet and other sources, and copied onto computers and digital audio players. Digital audio technology is now used in all areas of audio, from casual use of
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 36, "sc": 1619, "ep": 36, "ec": 2374}
| 160,306 |
Q20077126
| 36 | 1,619 | 36 | 2,374 |
Sound recording and reproduction
|
Digital recording
|
music files of moderate quality to the most demanding professional applications. New applications such as internet radio and podcasting have appeared.
Technological developments in recording, editing, and consuming have transformed the record, movie and television industries in recent decades. Audio editing became practicable with the invention of magnetic tape recording, but technologies like MIDI (Musical Instrument Digital Interface), sound synthesis allowed greater control for composers and artists. These digital audio techniques and mass storage have reduced recording and marketing costs so high-quality digital recordings can be produced in small studios.
Today, the process of making a recording is separated into tracking,
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 36, "sc": 2374, "ep": 40, "ec": 411}
| 160,306 |
Q20077126
| 36 | 2,374 | 40 | 411 |
Sound recording and reproduction
|
Digital recording & Software
|
mixing and mastering. Multitrack recording makes it possible to capture signals from several microphones, or from different takes to tape, disc or mass storage, with maximized headroom and quality, allowing previously unavailable flexibility in the mixing and mastering stages. Software There are many different digital audio recording and processing programs running under several computer operating systems for all purposes, ranging from casual users (e.g., a small business person recording their "to-do" list on an inexpensive digital recorder) to serious amateurs (an unsigned "indie" band recording their demo on a laptop) to professional sound engineers who are recording albums, film scores
|
{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 40, "sc": 411, "ep": 44, "ec": 269}
| 160,306 |
Q20077126
| 40 | 411 | 44 | 269 |
Sound recording and reproduction
|
Software & Legal status
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and doing sound design for video games. A comprehensive list of digital recording applications is available at the digital audio workstation article. Digital dictation software for recording and transcribing speech has different requirements; intelligibility and flexible playback facilities are priorities, while a wide frequency range and high audio quality are not. Legal status In copyright law, a "phonogram" or "sound recording" is a work that results from the fixation of sounds in a medium. The notice of copyright in a phonogram uses the sound recording copyright symbol, which the Geneva Phonograms Convention defines as ℗ (the letter P in a
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{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 44, "sc": 269, "ep": 48, "ec": 154}
| 160,306 |
Q20077126
| 44 | 269 | 48 | 154 |
Sound recording and reproduction
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Legal status & US
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full circle). This usually accompanies the copyright notice for the underlying musical composition, which uses the ordinary © symbol.
The recording is separate from the song so copyright for a recording usually belongs to the record company. It is less common for an artist or producer to hold these rights. Copyright for recordings has existed since 1972, while copyright for musical composition, or songs, has existed since 1831. Disputes over sampling and "beats" are ongoing. US United States copyright law defines "sound recordings" as "works that result from the fixation of a series of musical, spoken, or other sounds" other than
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{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 48, "sc": 154, "ep": 52, "ec": 256}
| 160,306 |
Q20077126
| 48 | 154 | 52 | 256 |
Sound recording and reproduction
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US & UK
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an audiovisual work's soundtrack. Prior to the Sound Recording Amendment (SRA), which took effect in 1972, copyright in sound recordings was handled at the level of the several states. Federal copyright law preempts most state copyright laws but allows state copyright in sound recordings to continue for one full copyright term after the SRA's effective date, which means 2067. UK Since 1934, copyright law in Great Britain has treated sound recordings (or phonograms) differently from musical works. Copyright, Designs and Patents Act 1988 defines a sound recording as (a) a recording of sounds, from which the sounds may be reproduced,
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{"datasets_id": 160306, "wiki_id": "Q20077126", "sp": 52, "sc": 256, "ep": 52, "ec": 628}
| 160,306 |
Q20077126
| 52 | 256 | 52 | 628 |
Sound recording and reproduction
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UK
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or (b) a recording of the whole or any part of a literary, dramatic or musical work, from which sounds reproducing the work or part may be produced, regardless of the medium on which the recording is made or the method by which the sounds are reproduced or produced. It thus covers vinyl records, tapes, compact discs, digital audiotapes, and MP3s that embody recordings.
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{"datasets_id": 160307, "wiki_id": "Q18379793", "sp": 2, "sc": 0, "ep": 4, "ec": 72}
| 160,307 |
Q18379793
| 2 | 0 | 4 | 72 |
South Sudan National Museum
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South Sudan National Museum South Sudan National Museum is a planned national museum in South Sudan.
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|
{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 2, "sc": 0, "ep": 6, "ec": 588}
| 160,308 |
Q7574236
| 2 | 0 | 6 | 588 |
Speakeasy Tiger
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Formation and debut album (2008–2010)
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Speakeasy Tiger Formation and debut album (2008–2010) In the summer of 2008 original vocalist Kyle Simmons took her solo folk project Girl Named Kyle in a different direction, pairing with Peter Schmidt and Lauren Gale to form a backing band for her improvised compositions. Soon after the Denver-based group changed its name to Speakeasy Tiger after making the decision to change genres of music from folk to pop.
The name Speakeasy Tiger was derived as a satirical play on the words speakeasy and blind tiger, which individually are both slang for the reference of illegal establishments selling alcohol during Prohibition. Original
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{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 6, "sc": 588, "ep": 6, "ec": 1243}
| 160,308 |
Q7574236
| 6 | 588 | 6 | 1,243 |
Speakeasy Tiger
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Formation and debut album (2008–2010)
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vocalist Kyle Simmons is quoted saying:
The name Speakeasy Tiger is a sort of passive aggressive term. I think of 'Tiger' as aggressive and 'Speakeasy' as more passive. The combination of words suits the members of this band perfectly and the kind of impact we're trying to create.
— Kyle Simmons,
The group began looking for members to finish the line up in November 2008. They found drummer Lucas Gordon hailing from Colorado Springs, Colorado, having previously played in the metalcore band The Murder Formula. Promptly after, guitarist Tavis Alley, who attended Brigham Young University at the time, was recruited to the Mile
|
{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 6, "sc": 1243, "ep": 6, "ec": 1790}
| 160,308 |
Q7574236
| 6 | 1,243 | 6 | 1,790 |
Speakeasy Tiger
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Formation and debut album (2008–2010)
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High City to finish the line up after responding to a Facebook ad from the band looking for guitarists.
Lucas Gordon comments on the change:
The change has been immense. We don’t recognize it all the time when we’re with each other most of each day, but when you step back to look at where Speakeasy Tiger started and the impact we’ve been able to make on the public in such a short time it’s one of the most fulfilling thoughts I can think of. That’s the reason why we make music- not only for our own lives but also to influence
|
{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 6, "sc": 1790, "ep": 8, "ec": 20}
| 160,308 |
Q7574236
| 6 | 1,790 | 8 | 20 |
Speakeasy Tiger
|
Formation and debut album (2008–2010) & Addition & Departure of Katrina Stone (2010)
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the lives of others.
— Lucas Gordon,
Speakeasy Tiger released its debut album The Public on July 11, 2009. The album was an immediate success reaching the College Music Journal Billboard top 200 albums chart. It peaked at position 142 and was a top 20 add for the week of August 29, 2009.
In November 2009, the group went back into the studio to remaster the single off The Public entitled "Oil Rising" at The Blasting Room in Fort Collins, Colorado, with producer Lee Miles. The single was released in April 2010 shortly before the departure of vocalist Kyle Simmons. Addition & Departure
|
{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 8, "sc": 20, "ep": 10, "ec": 584}
| 160,308 |
Q7574236
| 8 | 20 | 10 | 584 |
Speakeasy Tiger
|
Addition & Departure of Katrina Stone (2010)
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of Katrina Stone (2010) In May 2010 after rumors of vocalist Kyle Simmons' struggles with other band mates the band revealed the vocalist's departure from the band. After canceling a string of tour dates, the group took a small hiatus to search for a new vocalist. In June 2010 Speakeasy Tiger announced the addition of frontwoman Katrina Stone as an indefinite member while assuring they would not be canceling summer tour dates on The Vans Warped Tour.
Not long after the tour, however, Schmidt and Stone announced to the band that they were quitting, providing little explanation why. The band was
|
{"datasets_id": 160308, "wiki_id": "Q7574236", "sp": 10, "sc": 584, "ep": 14, "ec": 503}
| 160,308 |
Q7574236
| 10 | 584 | 14 | 503 |
Speakeasy Tiger
|
Addition & Departure of Katrina Stone (2010) & Music with a voice
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in pre-production on a new EP at the time, but the project has since been abandoned.
Speakeasy Tiger has since been on hiatus. Music with a voice Band members have stated that when writing music, they feel compelled to create music that manifests feelings of love, compassion, and caring in listeners. The group has teamed with various non-profit organizations including Keep A Breast and online blogs including Vans Girls Blog to promote a national sense of community through music.
Drummer Lucas Gordon quotes:
We make music we love.
With the people we love.
For the people we love.
— Lucas Gordon,
|
{"datasets_id": 160309, "wiki_id": "Q7588922", "sp": 2, "sc": 0, "ep": 6, "ec": 107}
| 160,309 |
Q7588922
| 2 | 0 | 6 | 107 |
St. John Vianney Catholic Church
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Patron saint
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St. John Vianney Catholic Church Patron saint Jean Vianney was a French parish priest who became a Catholic saint and the patron saint of parish priests.
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{"datasets_id": 160310, "wiki_id": "Q28104108", "sp": 2, "sc": 0, "ep": 8, "ec": 467}
| 160,310 |
Q28104108
| 2 | 0 | 8 | 467 |
St. Stanislaus' Church (Pleasant Valley, New York)
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History
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St. Stanislaus' Church (Pleasant Valley, New York) The Church of St Stanislaus is located at 1590 Main St, Pleasant Valley, NY 12569 History Founded by Jesuits in 1903, the parish was dedicated to St. Stanislaus Kostka, a Polish Jesuit seminarian. The parish began with services in a barn on the inn property across the street from where the church now stands. The parish was attended by priests from the Jesuit novitiate St. Andrew-on-the-Hudson, in Hyde Park. The novitiate is now the site of the main campus of the Culinary Institute of America.
A small chapel was originally built for services on
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{"datasets_id": 160310, "wiki_id": "Q28104108", "sp": 8, "sc": 467, "ep": 8, "ec": 944}
| 160,310 |
Q28104108
| 8 | 467 | 8 | 944 |
St. Stanislaus' Church (Pleasant Valley, New York)
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History
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the current site and the present building was erected in 1956. The sanctuary of the church was renovated between 1999 and 2000.
St. Stanislaus Kostka is one of five parishes in the Northeast Cluster. "Clusters" are groups of parishes that work together to assist each other in spiritual and educational work. The other parishes are St. Joseph’s in Millbrook, Immaculate Conception in Amenia, St. Charles Borromeo in Dover Plains and St. John the Evangelist in Pawling.
|
{"datasets_id": 160311, "wiki_id": "Q19655105", "sp": 2, "sc": 0, "ep": 10, "ec": 69}
| 160,311 |
Q19655105
| 2 | 0 | 10 | 69 |
St Catherine's Church, Nechells
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History & Organ
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St Catherine's Church, Nechells History The foundation stone was laid on 27 July 1877 and the church was built to designs by Frank Barlow Osborn and Alfred Reading. It was consecrated on 9 November 1878 by the Bishop of Worcester.
A parish was assigned of St Clement's Church, Nechells in 1879.
The church was damaged in an air raid during the Second World War and closed formally in 1945. The parish was united with that of St Matthew's Church, Duddeston and Nechells and the church was subsequently demolished. Organ An organ by Henry Jones was installed in 1878. A specification of the
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{"datasets_id": 160311, "wiki_id": "Q19655105", "sp": 10, "sc": 69, "ep": 10, "ec": 125}
| 160,311 |
Q19655105
| 10 | 69 | 10 | 125 |
St Catherine's Church, Nechells
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Organ
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organ can be found on the National Pipe Organ Register.
|
{"datasets_id": 160312, "wiki_id": "Q15221586", "sp": 2, "sc": 0, "ep": 8, "ec": 228}
| 160,312 |
Q15221586
| 2 | 0 | 8 | 228 |
Starmen Point
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Location
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Starmen Point Starmen Point (Bulgarian: нос Стърмен, ‘Nos Starmen’ \'nos 'st&r-men\) is the point on the west side of the entrance to Crates Bay on the northeast coast of Stresher Peninsula, Graham Coast on the Antarctic Peninsula.
The feature is named after the settlement of Starmen in Northeastern Bulgaria. Location Starmen Point is located at 66°07′29″S 65°28′22″W, which is 7.23 km east-southeast of Black Head, 14.3 km south-southwest of Prospect Point and 4.9 km west-northwest of the headland formed by Lens Peak. British mapping in 1976.
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{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 2, "sc": 0, "ep": 4, "ec": 549}
| 160,313 |
Q554511
| 2 | 0 | 4 | 549 |
State Dining Room of the White House
|
State Dining Room of the White House The State Dining Room is the larger of two dining rooms on the State Floor of the Executive Residence of the White House, the home of the President of the United States in Washington, D.C. It is used for receptions, luncheons, larger formal dinners, and state dinners for visiting heads of state on state visits. The room seats 140 and measures approximately 48 by 36 feet (15 by 11 m).
Originally office space, the State Dining Room received its name during the presidency of James Monroe, at which time it was first extensively furnished.
|
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 4, "sc": 549, "ep": 4, "ec": 1175}
| 160,313 |
Q554511
| 4 | 549 | 4 | 1,175 |
State Dining Room of the White House
|
The room was refurbished during several administrations in the early to mid 1800s, and gasified in 1853. Doors were cut through the west wall in 1877. The State Dining Room underwent a major expansion and renovation in 1902, transforming it from a Victorian dining room into a "baronial" dining hall of the early 19th century—complete with stuffed animal heads on the walls and dark oak panelling. The room stayed in this form until the White House's complete reconstruction in 1952.
The 1952 rebuilding of the White House retained much of the 1902 renovation, although much of the "baronial" furnishings were removed
|
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 4, "sc": 1175, "ep": 8, "ec": 210}
| 160,313 |
Q554511
| 4 | 1,175 | 8 | 210 |
State Dining Room of the White House
|
The Adams administration
|
and the walls were painted celadon green. Another major refurbishment from 1961 to 1963 changed the room even further, more closely approximating an Empire style room with elements from a wide range of other periods. Incremental changes to the room were made throughout the 1970s and 1980s, with major refurbishments of the furnishings in 1998 and 2015. The Adams administration The northern third of what is now the State Dining Room was originally the western part of the Cross Hall. Two flights of stairs (one against the north wall, one against the south wall) led from the State Floor
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 8, "sc": 210, "ep": 8, "ec": 777}
| 160,313 |
Q554511
| 8 | 210 | 8 | 777 |
State Dining Room of the White House
|
The Adams administration
|
to the Second Floor. A single, central stair then led up to the Third Floor (then an attic). Not completed when the White House was occupied in 1800, the Grand Stairs were probably finished by architect Benjamin Henry Latrobe in 1803 or shortly thereafter. To the south of the Grand Stair was a small room, designated by Hoban for use as a Cabinet Room or President's Library.
President John Adams was the first president to occupy the White House. The White House was far too large for their needs, and they had few furnishings with which to make it a home.
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 8, "sc": 777, "ep": 12, "ec": 333}
| 160,313 |
Q554511
| 8 | 777 | 12 | 333 |
State Dining Room of the White House
|
The Adams administration & The Jefferson office
|
The State Dining Room was temporarily partitioned in order to make it usable. The southwest corner became a "levee room", where the public could meet and mingle with the president, while the northwest corner became a dining room. The Jefferson office President Thomas Jefferson used the southwest corner of the State Dining Room as his primary office from 1801 to 1809. The room was sparsely furnished at this time, with only a desk and chairs. He also kept his gardening tools and an assortment of potted plants in the room. The floor was covered with canvas, painted green. In time,
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 12, "sc": 333, "ep": 16, "ec": 162}
| 160,313 |
Q554511
| 12 | 333 | 16 | 162 |
State Dining Room of the White House
|
The Jefferson office & Transformation into the State Dining Room
|
charts, maps, and globes; six small mahogany sets of shelves; three long mahogany tables with green cloth tops; two mahogany stools; two mahogany armshairs; a tall bookcase; a small set of mahogany steps (for reaching the top of the bookcase); and a desk, letterpress printer, and sofa. For seating, Jefferson moved 12 of the black-and-gold painted mahogany chairs (purchased during the Adams administration) from the dining room to the office. Transformation into the State Dining Room Jefferson's successor, James Madison, wanted the room to be a dining room. First Lady Dolley Madison worked with Jefferson's architect, Benjamin Henry Latrobe, to
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 16, "sc": 162, "ep": 16, "ec": 806}
| 160,313 |
Q554511
| 16 | 162 | 16 | 806 |
State Dining Room of the White House
|
Transformation into the State Dining Room
|
make some structural changes to the State Dining Room, which primarily meant closing off two windows in the west wall.
A large dining table, capable of seating at least 40, was placed in the room, surrounded by simple rush-bottomed chairs.
A silver service and a blue-and-gold china service purchased from the Lowestoft Porcelain Factory in England were used for dining, and a simple surtout de table (or "plateau") was used as the centerpiece. Other than the dining table, the largest piece of furniture in the room was a massive sideboard. The windows were uncurtained, and walls papered. Paintings of George Washington, John
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 16, "sc": 806, "ep": 20, "ec": 222}
| 160,313 |
Q554511
| 16 | 806 | 20 | 222 |
State Dining Room of the White House
|
Transformation into the State Dining Room & Reconstruction of the State Dining Room
|
Adams, and Thomas Jefferson were hung on the walls. The Washington image was a copy of the Lansdowne portrait, a full-length, life-size figure of the first President painted by Gilbert Stuart in 1796.
The canvas flooring was removed, and an ingrain carpet (an inexpensive, flatwoven textile) installed. Otherwise, the room remained only sparsely furnished. Reconstruction of the State Dining Room The White House was burned on August 24, 1814, by the British Army during the War of 1812. The Landsdowne copy was saved from destruction by doorman Jean Pierre Sioussat and White house gardener Tom Magraw, who cut it from
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 20, "sc": 222, "ep": 20, "ec": 890}
| 160,313 |
Q554511
| 20 | 222 | 20 | 890 |
State Dining Room of the White House
|
Reconstruction of the State Dining Room
|
its elaborate frame and spirited it away from the White House just minutes before British troops arrived.
The White House was reconstructed in 1817, after which the Cabinet Room/Presidential Library was called the State Dining Room. The reconstruction added an extensive chimney breast to the fireplace in the room's west wall.
The State Dining Room was extensively furnished at this time. President James Monroe, rather than First Lady Elizabeth Monroe (who was in fragile physical health), was primarily responsible for making decorative decisions for the White House. Monroe decided to have the walls of the State Dining Room covered in green silk.
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 20, "sc": 890, "ep": 20, "ec": 1512}
| 160,313 |
Q554511
| 20 | 890 | 20 | 1,512 |
State Dining Room of the White House
|
Reconstruction of the State Dining Room
|
Two Italian Carrara marble mantels, featuring Neoclassical caryatids on either side, were also bought by Monroe and installed over the two fireplaces in this room.
One of Monroe's most important purchases were several ornamental ormolu (or bronze doré) pieces to furnish the State Dining Room. The surtout de table, crafted by Denière et Matelin in France, was 14 feet (4.3 m) long when fully extended. The piece had seven sections, each 24 inches (61 cm) long, which could be removed or inserted as needed to adjust the length. It had a mirrored floor, and garlands of fruit and flowers formed the rim. Seventeen
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 20, "sc": 1512, "ep": 20, "ec": 2162}
| 160,313 |
Q554511
| 20 | 1,512 | 20 | 2,162 |
State Dining Room of the White House
|
Reconstruction of the State Dining Room
|
bacchantes (personifications of the female servants of Bacchus, the ancient Roman god of wine) standing on orbs, their outstretched arms holding candleholders, could be inserted into small rectangular pedestals at equidistant points around the centerpiece. Although surtout de table were common in elegant English and French dining rooms, few Americans had seen them and the piece deeply impressed those who saw it. Other ormolu items included three pedestals for crystal vases (one large, two small), consisting of the Three Graces holding up a basket; three porcelain vases in the Etruscan style and ornamented with festoons of flowers; and a pair
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 20, "sc": 2162, "ep": 20, "ec": 2853}
| 160,313 |
Q554511
| 20 | 2,162 | 20 | 2,853 |
State Dining Room of the White House
|
Reconstruction of the State Dining Room
|
of pedestal stands, or trepieds, consisting of sphinxes sitting on slender legs, their upraised wings supporting a shallow bowl.
Monroe also ordered the White House's first tableware and dinnerware. These included 72 silver place-settings, which included an unknown number of serving dishes, platters, tureens, chafing dishes, and other items. These were manufactured by Jacques Henri Fauconnier of Paris. Thirty-six vermeil (gold-gilt silver) flatware settings, manufactured by J. B. Boitin of Paris, were also purchased. A 30-setting gilt porcelain china service was also purchased, although its design and manufacturer are not known as no pieces have survived. A few items of the
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 20, "sc": 2853, "ep": 24, "ec": 301}
| 160,313 |
Q554511
| 20 | 2,853 | 24 | 301 |
State Dining Room of the White House
|
Reconstruction of the State Dining Room & Changes in the early to mid 1800s
|
accompanying 166-piece, 30-setting dessert service, manufactured by Dagoty et Honoré in Paris, have survived. The dessert plates for this amaranth-on-white china service feature a Napoleonic eagle in the center. Five vignettes, representing agriculture, strength, commerce, science, and arts, are set into the broad, red rim. Changes in the early to mid 1800s President Andrew Jackson had the dining room wallpapered some time after 1829. The paper was purchased from French-born Louis Véron, a Philadelphia fine furnishings purveyor. This material, which was blue, green, yellow, and white and with a scattering of gold stars and gilt borders, was used in most
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 24, "sc": 301, "ep": 24, "ec": 925}
| 160,313 |
Q554511
| 24 | 301 | 24 | 925 |
State Dining Room of the White House
|
Changes in the early to mid 1800s
|
of the rooms on the State Floor. Some time during 1833 and 1834, Veron supplied mirrors as well, and carpeting from Belgium and new mahogany dining room chairs from Alexandria, Virginia, cabinetmaker James Green also helped refurbish the room. An 1829, 18-light chandelier (fueled by whale oil and of unknown make) was moved from the East Room into the State Dining Room in 1834 to provide light.
Heavy crowds in the White House during the Jackson administration left the mansion in shabby condition. President Martin Van Buren purchased a new, 30-foot (9.1 m) table for the State Dining Room, and reupholstered the
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 24, "sc": 925, "ep": 24, "ec": 1535}
| 160,313 |
Q554511
| 24 | 925 | 24 | 1,535 |
State Dining Room of the White House
|
Changes in the early to mid 1800s
|
chairs in blue satin fabric. Blue and yellow drapes and rugs complimented the chairs. At some point, the mantels over the fireplace had been replaced with new ones of black marble, and three chandeliers now lit the room.
Although little upkeep was made to the White House during the administrations of William Henry Harrison and John Tyler due to a national depression, President James K. Polk redecorated the State Dining Room in the summer of 1845. New purple and gold drapes were hung in the room, and 42 rosewood balloon-back side chairs with cabriole legs and a heart-shaped crest were purchased.
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 24, "sc": 1535, "ep": 24, "ec": 2169}
| 160,313 |
Q554511
| 24 | 1,535 | 24 | 2,169 |
State Dining Room of the White House
|
Changes in the early to mid 1800s
|
They were upholstered in purple velvet and manufactured by New York City furniture maker Charles Baudouine. The carpet was likely replaced with one of Turkish make.
President Franklin Pierce completely refurbished the room in 1853. The chandeliers were converted to natural gas, the wood moldings and dado rails replaced, the room replastered and repainted, and new carpets and drapes provided. L. R. Menger & Co. of New York provided gilt plaster cornices for the windows, and new gilt frames for the mirrors in the room. It is likely that Anthony and Henry Jenkins, furniture makers from Baltimore, crafted four walnut side
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 24, "sc": 2169, "ep": 24, "ec": 2745}
| 160,313 |
Q554511
| 24 | 2,169 | 24 | 2,745 |
State Dining Room of the White House
|
Changes in the early to mid 1800s
|
tables for Pierce, and that these were later used in the State Dining Room.
A large greenhouse was added to the west side of the White House by President Pierce in 1857, replacing one on the east side which had been torn down that year to make way for expansion of the Treasury Building.
Although First Lady Mary Todd Lincoln refurbished most of the rooms in the White House in 1861, there is scant evidence to indicate she did much to the State Dining Room. However, the room was used by Francis Bicknell Carpenter as an artist's workshop as he painted First
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 24, "sc": 2745, "ep": 28, "ec": 364}
| 160,313 |
Q554511
| 24 | 2,745 | 28 | 364 |
State Dining Room of the White House
|
Changes in the early to mid 1800s & Changes in the mid to late 1800s
|
Reading of the Emancipation Proclamation of President Lincoln from February to July 1864. In 1867, four walnut console tables were placed against the walls of the dining room. Changes in the mid to late 1800s The western greenhouse burned down in 1867, and in 1869 President Ulysses S. Grant built a larger, taller greenhouse in its place. Grant also rebuilt the Grand Stair at this time, so that only a single staircase against the north wall led to the Second Floor. (A second stair on the south wall of the Second Floor led to the Third Floor.) Later presidents expanded
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 28, "sc": 364, "ep": 28, "ec": 957}
| 160,313 |
Q554511
| 28 | 364 | 28 | 957 |
State Dining Room of the White House
|
Changes in the mid to late 1800s
|
the greenhouse further, and after it was turned into a palm court in 1877 by President Rutherford B. Hayes new doors were cut through the stone of the mansion's walls to provide access between the Palm Court and State Dining Room.
Minor furnishing changes were also made in the last quarter of the 1800s. In 1880, First Lady Lucy Webb Hayes installed a new carpet and lace curtains in the State Dining Room. She also purchased two Victorian candelabra for $125 each ($3,245 in 2018 dollars) from Tiffany & Co.. The three-tiered items, featuring floral garlands and the heads of satyrs
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 28, "sc": 957, "ep": 28, "ec": 1575}
| 160,313 |
Q554511
| 28 | 957 | 28 | 1,575 |
State Dining Room of the White House
|
Changes in the mid to late 1800s
|
and reclining children at the base, were probably made in Europe (their manufacturer is not known) and have remained in the room ever since.
In 1882, President Chester A. Arthur contracted with Tiffany & Co. to redecorate the State Dining Room. Most of the work involved painting and regilding, and it was at this time that the Monroe surtout du table was regilded. A major redecoration of the State Dining Room occurred again about 1884, which received new carpets, curtains, draperies, and wall and ceiling paint. Paint scheme was a yellow-brown, and featured a 5-foot (1.5 m) high stencil frieze in various
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 28, "sc": 1575, "ep": 32, "ec": 382}
| 160,313 |
Q554511
| 28 | 1,575 | 32 | 382 |
State Dining Room of the White House
|
Changes in the mid to late 1800s & 1902 Roosevelt renovation
|
shades of yellow and gold.
The room was electrified in 1891, which included the installation of bronze wall sconces. By 1901, 40 dining room chairs were moved from the Family Dining Room to the State Dining Room. 1902 Roosevelt renovation The White House was extensively renovated in 1902 after the West Wing was completed, which allowed a number of government offices to vacate the Executive Residence. President Theodore Roosevelt selected the New York City architectural firm of McKim, Mead & White to oversee the renovations and redecoration. The Grand Stair was demolished and a new Grand Staircase built east of the
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 382, "ep": 32, "ec": 978}
| 160,313 |
Q554511
| 32 | 382 | 32 | 978 |
State Dining Room of the White House
|
1902 Roosevelt renovation
|
Entrance Hall. The State Dining Room expanded northward into the space formerly occupied by the Grand Stair. The small fireplaces in the east and west walls of the State Dining Room were removed, and the northern door leading west to the Palm Court sealed. (Another door to the Palm Court, beneath the former Grand Stairs, was also sealed.) Where the old Palm Court door existed, a new, massive stone fireplace and oversize mantel (the famous "Buffalo mantel") were added, to match the enlarged room's size and grandeur. McKim, Mead & White implemented a decorative style for the room similar to
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 978, "ep": 32, "ec": 1647}
| 160,313 |
Q554511
| 32 | 978 | 32 | 1,647 |
State Dining Room of the White House
|
1902 Roosevelt renovation
|
that of an English manor house. This mixed style has been described as early Elizabethan with elements of Italian Renaissance, Beaux-Arts, early 19th century Georgian, late Victorian, and "baronial". Herter Brothers of New York City designed and installed new plasterwork ceiling and cornice. The ceiling was white, while the cornice was painted a delicate gray. Below the cornice was a delicately carved frieze featuring (at Roosevelt's insistence) taxidermied animal heads. Dark English oak panelling carved in a Renaissance Revival style, with Corinthian pilasters, was also crafted and installed by Herter Brothers. A baseboard of white marble ran around the room,
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 1647, "ep": 32, "ec": 2257}
| 160,313 |
Q554511
| 32 | 1,647 | 32 | 2,257 |
State Dining Room of the White House
|
1902 Roosevelt renovation
|
and a new oak floor was installed.
The furnishing of the White House (including the State Dining Room) was overseen by First Lady Edith Roosevelt, and carried out by Charles Follen McKim. The creation of "baronial" hall look included the hanging of tapestries and 11 stuffed animal heads on the wall and cooking racks over the fireplace. The Monroe mantels were moved to the Green Room and Red Room to make way for the "Buffalo mantel".
To furnish the room, Stanford White designed William and Mary oak armchairs with caned backs and Queen Anne style mahogany side chairs. The chairs were then
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 2257, "ep": 32, "ec": 2878}
| 160,313 |
Q554511
| 32 | 2,257 | 32 | 2,878 |
State Dining Room of the White House
|
1902 Roosevelt renovation
|
manufactured by the A. H. Davenport and Company of Boston. Based on furniture in his own home, he also designed two small and one large mahogany side tables with marble tops and carved wooden eagle pedestals. All these pieces of furniture were manufactured by A. H. Davenport and Company of Boston. Large, heavy Chiavari chairs were also used in the room.
A silver-plated chandelier and eight, silver-plated, six-branch wall sconces were designed by McKim and manufactured and installed by Edward F. Caldwell & Co. The chandelier was of a unique design, as it contained no glass or crystal. Instead, it consisted
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 2878, "ep": 32, "ec": 3505}
| 160,313 |
Q554511
| 32 | 2,878 | 32 | 3,505 |
State Dining Room of the White House
|
1902 Roosevelt renovation
|
of individual candelabra, each supported by curved piping (a gooseneck). Each gooseneck was attached to the central body, and the entire chandelier hung from the ceiling by a chain. The chandelier proved 6 inches (15 cm) too wide, and had to be taken down and altered. What other furnishings were needed were drawn from the pre-1902 items in the room.
Limited changed were made to the State Dining Room after the Roosevelt renovation. First Lady Ellen Axson Wilson had the taxidermied heads removed in March 1913, shortly after occupying the White House. Ellen Wilson died in August 1914. President Woodrow Wilson then
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 32, "sc": 3505, "ep": 36, "ec": 261}
| 160,313 |
Q554511
| 32 | 3,505 | 36 | 261 |
State Dining Room of the White House
|
1902 Roosevelt renovation & 1952 Truman reconstruction
|
married Edith Bolling Galt in December 1915. Mrs. Wilson disliked the two square tables in the State Dining Room, and had them removed in favor of a round table (capable of seating 14 to 16 people) which she found in the White House kitchen. Mrs. Wilson also had the drapes replaced and chairs reupholstered. 1952 Truman reconstruction The room remained largely unchanged until 1952. One of the few changes made was the addition of a painting, Abraham Lincoln by George P.A. Healy, hung over the fireplace by President Franklin D. Roosevelt in 1937. The 1869 oil-on-canvas painting by George Peter
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 36, "sc": 261, "ep": 36, "ec": 879}
| 160,313 |
Q554511
| 36 | 261 | 36 | 879 |
State Dining Room of the White House
|
1952 Truman reconstruction
|
Alexander Healy depicts a seated, thoughtful Abraham Lincoln, and has remained over the State Dining Room fireplace ever since. Roosevelt also added an inscription to the "Buffalo mantel". The inscription was taken from a letter by John Adams to his wife Abigail written the second night he lived in the White House: "I pray Heaven to bestow the best of blessings on this House, and all that shall hereafter inhabit it. May none but honest and wise men ever rule under this roof."
Systematic failure of the internal wood beam structure required reconstruction during the administration of Harry S. Truman. The
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 36, "sc": 879, "ep": 36, "ec": 1563}
| 160,313 |
Q554511
| 36 | 879 | 36 | 1,563 |
State Dining Room of the White House
|
1952 Truman reconstruction
|
building was dismantled and an internal steel superstructure was constructed within the sandstone walls. While providing critically needed repairs, much of the original interior materials were damaged or not reinstalled. The State Dining Room, more than any room, had the majority of its wall and ceiling materials reinstalled.
During the 1948-to-1952 reconstruction of the White House, the State Dining Room was completely redecorated. The "Buffalo mantel" was replaced with a simple neo-Georgian style mantel of dark green marble. The upscale New York City department store, B. Altman and Company, was selected as the chief interior design consultant and supplier for decor
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 36, "sc": 1563, "ep": 36, "ec": 2169}
| 160,313 |
Q554511
| 36 | 1,563 | 36 | 2,169 |
State Dining Room of the White House
|
1952 Truman reconstruction
|
and furnishings. Charles T. Haight, director of Altman's design department, chose new fabrics for the carpet and chairs in the room. The "Buffalo mantel" was given to President Truman (who had it installed it in his presidential library). The oak panelling, heavily damaged during its removal, was reinstalled and given a coat of bright celadon green to hide the flaws. (Some of the frieze had to be recarved where it had been sanded down to accommodate the stuffed animal heads.) King George VI of the United Kingdom donated a late 17th-century carved and gilded overmantel mirror and painting frame, and
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 36, "sc": 2169, "ep": 40, "ec": 377}
| 160,313 |
Q554511
| 36 | 2,169 | 40 | 377 |
State Dining Room of the White House
|
1952 Truman reconstruction & Kennedy renovation
|
a pair of 1770 bronze and blue candelabra designed and manufactured by the renowned metalsmith, Matthew Boulton. Edith Wilson's round dining table was removed, and replaced with a mahogany dining table in the style of George Hepplewhite. Kennedy renovation First Lady Jacqueline Kennedy worked with American antiques expert Henry Francis du Pont and French interior designer Stéphane Boudin on the restoration of the State Dining Room. Du Pont and Boudin both recommended that changes should emphasize the earlier work of McKim. Most of Boudin's suggestions for the room mirrored changes he had made to the dining room at Leeds Castle
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 40, "sc": 377, "ep": 40, "ec": 1018}
| 160,313 |
Q554511
| 40 | 377 | 40 | 1,018 |
State Dining Room of the White House
|
Kennedy renovation
|
in Kent, England.
On Boudin's recommendation, the panelling was repainted bone white and the silver plated chandelier and wall sconces were regilded to match the Monroe-era surtout du table. The pilaster-mounted sconces were reinstalled on the side panels at the suggestion of Henry Francis du Pont, who chaired the Fine Arts Committee for the White House. Boudin and du Pont were in agreement that the 1952 mantel should be replaced. Boudin designed a replacement mantel, but du Pont wanted the original 1902 "Buffalo mantel" and asked the Truman presidential library to return it. The library declined, so a reproduction "Buffalo
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 40, "sc": 1018, "ep": 40, "ec": 1650}
| 160,313 |
Q554511
| 40 | 1,018 | 40 | 1,650 |
State Dining Room of the White House
|
Kennedy renovation
|
mantel" was made and installed. This mantel was of white marble (rather than unpolished grey stone) to match the room's new color scheme.
At Boudin's suggestion, McKim's mahogany side and console tables were painted to mimick white marble with gold veining, and the eagle supports and bowknots were gilded. The new color scheme for those pieces were intended to make them blend into the panelling. A new carpet, a copy of one Boudin designed for Leeds Castle, was woven by Stark Carpet Co. of New York City and installed. The "Healy Lincoln" portrait was restored, reversing conspicuous damage. The Chippendale reproduction
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 40, "sc": 1650, "ep": 40, "ec": 2297}
| 160,313 |
Q554511
| 40 | 1,650 | 40 | 2,297 |
State Dining Room of the White House
|
Kennedy renovation
|
side chairs were removed and replaced by the Chiavari chairs by McKim, Mead & White.
The gold damask draperies installed during the Truman administration were retained until 1967, when new, straight-falling drapes and scalloped window valances were installed. These window treatments had been designed by Boudin in 1963, based on work at Leeds Castle. The fabrics were supplied by Maison Jansen, Boudin's firm.
A Chinese coromandel screen was set up in the State Dining Room in 1961. This screen was on loan from Anne McQuarrie Hatch, wife of Lorenzo Boyd Hatch (co-founder of Atlas Corporation). It was later donated to the White
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 40, "sc": 2297, "ep": 40, "ec": 2948}
| 160,313 |
Q554511
| 40 | 2,297 | 40 | 2,948 |
State Dining Room of the White House
|
Kennedy renovation
|
House, and eventually moved to the Second Floor. The Monroe administration surtout de table, long absent from the room, was retrieved from storage and placed on the table. New vermeil baskets were purchased and used for floral arrangements on the other rounds, while plain tulip-shaped crystal glasses were purchased from the Morgantown Glassware Guild of West Virginia to augment the existing china service.
The way the State Dining Room was set for events was also fundamentally changed by the Kennedys. All previous administrations had set the tables in an E-shaped or horseshoe arrangement. The Kennedys changed this to rounds, which made
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 40, "sc": 2948, "ep": 44, "ec": 444}
| 160,313 |
Q554511
| 40 | 2,948 | 44 | 444 |
State Dining Room of the White House
|
Kennedy renovation & Johnson, Nixon, Reagan, and George H.W. Bush refurbishments
|
for more socializing and relaxed protocol. On occasion, tables were also set up in the adjacent Blue Room as well. Johnson, Nixon, Reagan, and George H.W. Bush refurbishments In 1967, Lady Bird Johnson oversaw the installation of new draperies, based on a design created by Stephane Boudin shortly before President Kennedy's assassination, as well as reupholstery of the 1902 chairs. First Lady Pat Nixon worked with White House curator Clement Conger to refresh the room in 1971. She had the room painted antique white in 1971 after the Kennedy-era paint proved too bright, and she replaced the Kennedy-era carpet with
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 44, "sc": 444, "ep": 44, "ec": 1048}
| 160,313 |
Q554511
| 44 | 444 | 44 | 1,048 |
State Dining Room of the White House
|
Johnson, Nixon, Reagan, and George H.W. Bush refurbishments
|
one of Indian manufacture.
In 1973, a man and woman broke away from the public tour of the White House and splashed six vials of blood on the walls and some of the furniture in the State Dining Room. The couple said they were protesting the status of oppressed people everywhere.
First Lady Nancy Reagan hung new gold silk draperies designed by interior designer Ted Graber. She initially had the room repainted antique white in 1981, but in 1985, the room was painted off-white with an umber glaze.
During the presidency of George W. Bush, the badly worn 1952 floor of the State
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 44, "sc": 1048, "ep": 48, "ec": 435}
| 160,313 |
Q554511
| 44 | 1,048 | 48 | 435 |
State Dining Room of the White House
|
Johnson, Nixon, Reagan, and George H.W. Bush refurbishments & Clinton renovation
|
Dining Room was removed. New flooring made of white oak, manufactured by Kentucky WoodFloors, was installed by Mountain State Floors (a West Virginia company) in a herringbone pattern. Clinton renovation By the early 1990s, more than 50,000 people a year were being entertained in the State Dining Room. The heavy use left the room shabby and in need of significant repair and conservation.
In December 1998, First Lady Hillary Clinton unveiled a renovated State Dining Room. She was advised by interior designer Kaki Hockersmith (a long-time friend of the Clintons), interior designer Mark Hampton of New York City (who had worked
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 48, "sc": 435, "ep": 48, "ec": 1081}
| 160,313 |
Q554511
| 48 | 435 | 48 | 1,081 |
State Dining Room of the White House
|
Clinton renovation
|
on the White House for President George H. W. Bush and First Lady Barbara Bush), and the Committee for the Preservation of the White House. The room's walls were repainted a light stone color, with architectural details lightly highlighted. The pedestal console tables were stripped of paint which mimicked white marble with gold veining, and their original mahogany finish was restored. The gilded chandelier and wall sconces were polished and brightened. The room's 66 chairs were reupholstered in a gold damask. New ivory silk draperies, manufactured by F. Schumacher & Co., with printed full-color baskets, flowers, and ribbons replicating a
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 48, "sc": 1081, "ep": 48, "ec": 1709}
| 160,313 |
Q554511
| 48 | 1,081 | 48 | 1,709 |
State Dining Room of the White House
|
Clinton renovation
|
1901 damask design used by the firm, replaced the solid gold fabric drapes of the 1980s. The drapes were designed to reflect the color pattern of the White House china. A $113,031 ($173,747 in 2018 dollars), 43-by-28-foot (13.1 by 8.5 m) carpet with a floral medallion pattern was also installed. The Colonial Revival-style carpet was woven by Scott Group Custom Carpets in Grand Rapids, Michigan. The 1902 silver-plated chandelier and the wall sconces—last gilded in 1961—were refinished, repaired, rewired, and cleaned. Sources differ as to the cost, with one putting it at $270,507 ($415,812 in 2018 dollars) and another at
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 48, "sc": 1709, "ep": 48, "ec": 2296}
| 160,313 |
Q554511
| 48 | 1,709 | 48 | 2,296 |
State Dining Room of the White House
|
Clinton renovation
|
$341,000 ($524,171 in 2018 dollars), but the cost was paid for by the White House Endowment Trust. The Clinton refurbishment was not as successful as hoped. White House Curator William G. Allman noted that at night, the lack of backlighting from outside tended to make the drapes fade into the walls.
The Clintons were also the first to use the East Room for most state dinners, rather than the much smaller State Dining Room. The reason was size: The State Dining Room could accommodate only about 136 people, while the East Room sat 260. The Clintons also used marqees, set up
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 48, "sc": 2296, "ep": 52, "ec": 106}
| 160,313 |
Q554511
| 48 | 2,296 | 52 | 106 |
State Dining Room of the White House
|
Clinton renovation & Obama renovation
|
on the South Lawn of the White House, for state dinners, which allowed seating to run as high as 700 individuals. President George W. Bush, however, returned to the practice of hosting state dinners almost exclusively in the State Dining Room. The gold-upholstered chairs were often removed for meals and replaced with smaller chairs from elsewhere in the White House, as they proved too bulky to accommodate large numbers of guests around dining tables. Obama renovation By 2011, the heavy wear and tear on the State Dining Room had taken a toll on the rugs and drapes in State
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 52, "sc": 106, "ep": 52, "ec": 729}
| 160,313 |
Q554511
| 52 | 106 | 52 | 729 |
State Dining Room of the White House
|
Obama renovation
|
Dining Room.
On June 25, 2015, a renovated State Dining Room was unveiled by First Lady Michelle Obama. Mrs. Obama and the Committee for the Preservation of the White House began planning the renovation in 2012. The first element of the renovation, a 28-by-43-foot (8.5 by 13.1 m) carpet, was installed in 2012. The wool rug, woven by Scott Group Custom Carpets, features a border of wreaths surrounding a field of mottled light blue accented by clusters of oak leaves. The carpet's design mimics the plaster molding of the ceiling.
The new silk window draperies are ecru in color, accented with stripes of
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 52, "sc": 729, "ep": 52, "ec": 1340}
| 160,313 |
Q554511
| 52 | 729 | 52 | 1,340 |
State Dining Room of the White House
|
Obama renovation
|
peacock blue intended to mimic the Kailua blue color of the White House china (which in turn mimics the waters of President Obama's home state of Hawaii). Fabric for the draperies was manufactured by an undisclosed firm in Pennsylvania. The window valances feature heavy swags, with gold bullion fringe, and reflect similar window treatments from the 1800s. The drapes hang from carved and gilded poles whose design echoes that of similar drapery poles in the Red Room and Green Room. The walls and moldings were repainted in various shades of white and glazed, to highlight their details.
A new set of
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 52, "sc": 1340, "ep": 52, "ec": 1950}
| 160,313 |
Q554511
| 52 | 1,340 | 52 | 1,950 |
State Dining Room of the White House
|
Obama renovation
|
34 mahogany chairs replaced the Theodore Roosevelt-era Chiavari chairs, which had proved too large and cumbersome. The set includes six armchairs and 28 side chairs. The new chairs were designed to be multifunctional, and fit with both the heavy, main dining table as well as smaller dining rounds. The look of the Obama armchairs is based on chairs designed by Georgetown cabinetmaker William King, Jr. in 1818 for President James Monroe. The side chairs are an adaptation of this design. All the chairs are upholstered in brown horsehair fabric in a grid-like pattern, and trimmed with brass nailheads. The
|
{"datasets_id": 160313, "wiki_id": "Q554511", "sp": 52, "sc": 1950, "ep": 52, "ec": 2133}
| 160,313 |
Q554511
| 52 | 1,950 | 52 | 2,133 |
State Dining Room of the White House
|
Obama renovation
|
chairs were manufactured by Baker Furniture in Hickory, North Carolina, and the fabric by Brunschwig & Fils.
The White House Endowment Trust paid for the $590,000 renovation.
|
{"datasets_id": 160314, "wiki_id": "Q27282970", "sp": 2, "sc": 0, "ep": 6, "ec": 638}
| 160,314 |
Q27282970
| 2 | 0 | 6 | 638 |
Statutory declaration
|
Australia
|
Statutory declaration Australia Australian law defines a statutory declaration as a written statement declared to be true in the presence of an authorised witness. The Statutory Declarations Act 1959 governs the use of statutory declarations in matters involving the law of the Australian Commonwealth, Australian Capital Territory, and other territories but not including the Northern Territory.
Any person within the jurisdiction of this law may make a statutory declaration in relation to any matter. The declaration may be used in connection with matters of law, including judicial proceedings, but what weight is given to the declaration is a matter for the
|
{"datasets_id": 160314, "wiki_id": "Q27282970", "sp": 6, "sc": 638, "ep": 6, "ec": 1400}
| 160,314 |
Q27282970
| 6 | 638 | 6 | 1,400 |
Statutory declaration
|
Australia
|
judge to decide.
Statutory declarations must be made in a prescribed form and witnessed by a person as specified in the Statutory Declarations Regulations (1993). Prescribed witnesses include legal and medical practitioners, justices of the peace, notaries public, police officers, military officers, registered members of certain professional organisations (i.e. National Tax Accountant's Association and Institution of Engineers Australia), and certain other Commonwealth employees.
Intentionally making a false statement as a statutory declaration is a crime equivalent to perjury, and punishable by fines and/or a prison sentence of up to four years.
The states of Australia each have their own laws regarding statutory declarations.
|
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