title: Margaret Mitchell

text: May Belle Mitchell was "hissing blood-curdling threats" to her daughter to make her behave the evening she took her to a women's suffrage rally led by Carrie Chapman Catt. Her daughter sat on a platform wearing a Votes-for-Women banner, blowing kisses to the gentlemen, while her mother gave an impassioned speech. She was nineteen years old when the Nineteenth Amendment was ratified, which gave women the right to vote.


title: Margaret Mitchell

text: May Belle Mitchell was president of the Atlanta Woman's Suffrage League (1915), co-founder of Georgia's division of the League of Women Voters, chairwoman of press publicity for the Georgia Mothers' Congress and Parent Teacher Association, a member of the Pioneer Society, the Atlanta Woman's Club, and several Catholic and literary societies.


title: Margaret Mitchell

text: Mitchell's father was not in favor of corporal punishment in school. During his tenure as president of the educational board (1911–1912), corporal punishment in the public schools was abolished. Reportedly, Eugene Mitchell received a whipping on the first day he attended school and the mental impression of the thrashing lasted far longer than the physical marks.


title: Margaret Mitchell

text: Jackson Hill was an old, affluent part of the city. At the bottom of Jackson Hill was an area of African-American homes and businesses called "Darktown". The mayhem of the Atlanta Race Riot occurred over four days in September 1906 when Mitchell was five years old. Local white newspapers printed unfounded rumors that several white women had been assaulted by black men, prompting an angry mob of 10,000 to assemble in the streets, pulling black people from street cars, beating, killing dozens over the next three days.


title: Margaret Mitchell

text: Eugene Mitchell went to bed early the night the rioting began, but was awakened by the sounds of gunshots. The following morning, as he later wrote, to his wife, he learned "16 negroes had been killed and a multitude had been injured" and that rioters "killed or tried to kill every Negro they saw." As the rioting continued, rumors ran wild that black people would burn Jackson Hill. At his daughter's suggestion, Eugene Mitchell, who did not own a gun, stood guard with a sword.


title: Margaret Mitchell

text: Though the rumors proved untrue and no attack arrived, Mitchell recalled twenty years later the terror she felt during the riot. Mitchell grew up in a Southern culture where the fear of black-on-white rape incited mob violence, and in this world, white Georgians lived in fear of the "black beast rapist".


title: Margaret Mitchell

text: A few years after the riot, the Mitchell family decided to move away from Jackson Hill. In 1912, they moved to the east side of Peachtree Street just north of Seventeenth Street in Atlanta. Past the nearest neighbor's house was forest and beyond it the Chattahoochee River. Mitchell's former Jackson Hill home was destroyed in the Great Atlanta Fire of 1917.


title: Margaret Mitchell

text: Mitchell's father was of a Protestant background, while her mother was a devout Catholic; Mitchell was raised in a Catholic household. As a young woman, she spent time visiting the Sisters of Mercy convent affiliated with St. Joseph's Infirmary in downtown Atlanta. Her religious upbringing influenced her decision to make the O'Hara family in her novel Catholics in a Protestant-majority state. One of Mitchell's mother's cousins entered the Sisters of Mercy at St. Vincent's Convent in Savannah in 1883, becoming Sister Mary Melanie. The characters Melanie Hamilton and Careen O'Hara were probably based on this relation.


title: Margaret Mitchell

text: While "the South" exists as a geographical region of the United States, it is also said to exist as "a place of the imagination" of writers. An image of "the South" was fixed in Mitchell's imagination when at six years old her mother took her on a buggy tour through ruined plantations and "Sherman's sentinels", the brick and stone chimneys that remained after William Tecumseh Sherman's "March and torch" through Georgia. Mitchell would later recall what her mother had said to her:


title: Margaret Mitchell

text: She talked about the world those people had lived in, such a secure world, and how it had exploded beneath them. And she told me that my world was going to explode under me, someday, and God help me if I didn't have some weapon to meet the new world.


title: Margaret Mitchell

text: From an imagination cultivated in her youth, Margaret Mitchell's defensive weapon would become her writing.


title: Margaret Mitchell

text: On Sunday afternoons when we went calling on the older generation of relatives, those who had been active in the Sixties, I sat on the bony knees of veterans and the fat slippery laps of great aunts and heard them talk.


title: Margaret Mitchell

text: On summer vacations, she visited her maternal great-aunts, Mary Ellen ("Mamie") Fitzgerald and Sarah ("Sis") Fitzgerald, who still lived at her great-grandparents' plantation home in Jonesboro. Mamie had been twenty-one years old and Sis was thirteen when the Civil War began.


title: Margaret Mitchell

text: An avid reader, young Margaret read "boys' stories" by G.A. Henty, the Tom Swift series, and the Rover Boys series by Edward Stratemeyer. Her mother read Mary Johnston's novels to her before she could read. They both wept reading Johnston's "The Long Roll" (1911) and "Cease Firing" (1912). Between the "scream of shells, the mighty onrush of charges, the grim and grisly aftermath of war", "Cease Firing" is a romance novel involving the courtship of a Confederate soldier and a Louisiana plantation belle with Civil War illustrations by N. C. Wyeth. She also read the plays of William Shakespeare, and novels by Charles Dickens and Sir Walter Scott. Mitchell's two favorite children's books were by author Edith Nesbit: "Five Children and It" (1902) and "The Phoenix and the Carpet" (1904). She kept both on her bookshelf even as an adult and gave them as gifts. Another author whom Mitchell read as a teenager and who had a major impact in her understanding of the Civil War and Reconstruction was Thomas Dixon. Dixon's popular trilogy of novels "The Leopard's Spots: A Romance of the White Man's Burden" (1902), "" (1905) and "The Traitor: A Story of the Rise and Fall of the Invisible Empire" (1907) all depicted in vivid terms a white South victimized during the Reconstruction by Northern carpetbaggers and freed slaves, with an especial emphasis upon Reconstruction as a nightmarish time when black men ran amok, raping white women with impunity. As a teenager, Mitchell liked Dixon's books so much that she organized the local children to put on dramatizations of his books. The picture the white supremacist Dixon drew of Reconstruction is now rejected as inaccurate, but at the time, the memory of the past was such it was widely believed by white Americans. In a letter to Dixon dated August 10, 1936, Mitchell wrote: "I was practically raised on your books, and love them very much."


title: Margaret Mitchell

text: An imaginative and precocious writer, Margaret Mitchell began with stories about animals, then progressed to fairy tales and adventure stories. She fashioned book covers for her stories, bound the tablet paper pages together and added her own artwork. At age eleven she gave a name to her publishing enterprise: "Urchin Publishing Co." Later her stories were written in notebooks. Mary Belle Mitchell kept her daughter's stories in white enamel bread boxes and several boxes of her stories were stored in the house by the time Margaret went off to college.


title: Margaret Mitchell

text: "Margaret" is a character riding a galloping pony in "The Little Pioneers", and plays "Cowboys and Indians" in "When We Were Shipwrecked".


title: Margaret Mitchell

text: Romantic love and honor emerged as themes of abiding interest for Mitchell in "The Knight and the Lady" (ca. 1909), in which a "good knight" and a "bad knight" duel for the hand of the lady. In "The Arrow Brave and the Deer Maiden" (ca. 1913), a half-white Indian brave, Jack, must withstand the pain inflicted upon him to uphold his honor and win the girl. The same themes were treated with increasing artistry in "Lost Laysen", the novella Mitchell wrote as a teenager in 1916, and, with much greater sophistication, in Mitchell's last known novel, "Gone with the Wind", which she began in 1926.


title: Margaret Mitchell

text: In her pre-teens, Mitchell also wrote stories set in foreign locations, such as "The Greaser" (1913), a cowboy story set in Mexico. In 1913 she wrote two stories with Civil War settings; one includes her notation that "237 pages are in this book".


title: Margaret Mitchell

text: While the Great War carried on in Europe (1914–1918), Margaret Mitchell attended Atlanta's Washington Seminary (now The Westminster Schools), a "fashionable" private girls' school with an enrollment of over 300 students. She was very active in the Drama Club. Mitchell played the male characters: Nick Bottom in Shakespeare's "A Midsummer Night's Dream" and Launcelot Gobbo in Shakespeare's "The Merchant of Venice", among others. She wrote a play about snobbish college girls that she acted in as well. She also joined the Literary Club and had two stories published in the yearbook: "Little Sister" and "Sergeant Terry". Ten-year-old "Peggy" is the heroine in "Little Sister". She hears her older sister being raped and shoots the rapist:


title: Margaret Mitchell

text: Coldly, dispassionately she viewed him, the chill steel of the gun giving her confidence. She must not miss now—she would not miss—and she did not.


title: Margaret Mitchell

text: Mitchell received encouragement from her English teacher, Mrs. Paisley, who recognized her writing talent. A demanding teacher, Paisley told her she had ability if she worked hard and would not be careless in constructing sentences. A sentence, she said, must be "complete, concise and coherent".


title: Margaret Mitchell

text: Mitchell read the books of Thomas Dixon, Jr., and in 1916, when the silent film, "The Birth of a Nation", was showing in Atlanta, she dramatized Dixon's "The Traitor: A Story of the Fall of the Invisible Empire" (1907). As both playwright and actress, she took the role of Steve Hoyle. For the production, she made a Ku Klux Klan costume from a white crepe dress and wore a boy's wig. (Note: Dixon rewrote "The Traitor" as "The Black Hood" (1924) and Steve Hoyle was renamed George Wilkes.)


title: Margaret Mitchell

text: During her years at Washington Seminary, Mitchell's brother, Stephens, was away studying at Harvard College (1915–1917), and he left in May 1917 to enlist in the army, about a month after the U.S. declared war on Germany. He set sail for France in April 1918, participated in engagements in the Lagny and Marbache sectors, then returned to Georgia in October as a training instructor. While Margaret and her mother were in New York in September 1918 preparing for Margaret to attend college, Stephens wired his father that he was safe after his ship had been torpedoed en route to New York from France.


title: Margaret Mitchell

text: Stephens Mitchell thought college was the "ruination of girls". However, May Belle Mitchell placed a high value on education for women and she wanted her daughter's future accomplishments to come from using her mind. She saw education as Margaret's weapon and "the key to survival". The classical college education she desired for her daughter was one that was on par with men's colleges, and this type of education was available only at northern schools. Her mother chose Smith College in Northampton, Massachusetts for Margaret because she considered it to be the best women's college in the United States.


title: Margaret Mitchell

text: Upon graduating from Washington Seminary in June 1918, Mitchell fell in love with a Harvard graduate, a young army lieutenant, Clifford West Henry, who was chief bayonet instructor at Camp Gordon from May 10 until the time he set sail for France on July 17. Henry was "slightly effeminate", "ineffectual", and "rather effete-looking" with "homosexual tendencies", according to biographer Anne Edwards. Before departing for France, he gave Mitchell an engagement ring.


title: Margaret Mitchell

text: On September 14, while she was enrolled at Smith College, Henry was mortally wounded in action in France and died on October 17. As Henry waited in the Verdun trenches, shortly before being wounded, he composed a poem on a leaf torn from his field notebook, found later among his effects. The last stanza of Lieutenant Clifford W. Henry's poem follows:


title: Margaret Mitchell

text: Henry repeatedly advanced in front of the platoon he commanded, drawing machine-gun fire so that the German nests could be located and wiped out by his men. Although wounded in the leg in this effort, his death was the result of shrapnel wounds from an air bomb dropped by a German plane. He was awarded the French "Croix de guerre avec palme" for his acts of heroism. From the President of the United States, the Commander in Chief of the United States Armed Forces, he was presented with the Distinguished Service Cross and an Oak Leaf Cluster in lieu of a second Distinguished Service Cross.


title: Margaret Mitchell

text: Clifford Henry was the great love of Margaret Mitchell's life, according to her brother. In a letter to a friend (A. Edee, March 26, 1920), Mitchell wrote of Clifford that she had a "memory of a love that had in it no trace of physical passion".


title: Margaret Mitchell

text: Mitchell had vague aspirations of a career in psychiatry, but her future was derailed by an event that killed over fifty million people worldwide, the 1918 flu pandemic. On January 25, 1919, her mother, May Belle Mitchell, succumbed to pneumonia from the "Spanish flu". Mitchell arrived home from college a day after her mother had died. Knowing her death was imminent, May Belle Mitchell wrote her daughter a brief letter and advised her:


title: Margaret Mitchell

text: Give of yourself with both hands and overflowing heart, but give only the excess after you have lived your own life.


title: Margaret Mitchell

text: An average student at Smith College, Mitchell did not excel in any area of academics. She held a low estimation of her writing abilities. Even though her English professor had praised her work, she felt the praise was undue. After finishing her freshman year at Smith, Mitchell returned to Atlanta to take over the household for her father and never returned to college. In October 1919, while regaining her strength after an appendectomy, she confided to a friend that giving up college and her dreams of a "journalistic career" to keep house and take her mother's place in society meant "giving up all the worthwhile things that counted for—nothing!"


title: Margaret Mitchell

text: Margaret began using the name "Peggy" at Washington Seminary, and the abbreviated form "Peg" at Smith College, when she found an icon for herself in the mythological winged horse, "Pegasus", that inspires poets. Peggy made her Atlanta society debut in the 1920 winter season. In the "gin and jazz style" of the times, she did her "flapping" in the 1920s. At a 1921 Atlanta debutante charity ball, she performed an Apache dance. The dance included a kiss with her male partner that shocked Atlanta high society and led to her being blacklisted from the Junior League. The Apache and the Tango were scandalous dances for their elements of eroticism, the latter popularized in a 1921 silent film, "The Four Horsemen of the Apocalypse", that made its lead actor, Rudolph Valentino, a sex symbol for his ability to Tango.


title: Margaret Mitchell

text: Mitchell was, in her own words, an "unscrupulous flirt". She found herself engaged to five men, but maintained that she neither lied to or misled any of them. A local gossip columnist, who wrote under the name Polly Peachtree, described Mitchell's love life in a 1922 column:


title: Margaret Mitchell

text: ...she has in her brief life, perhaps, had more men really, truly 'dead in love' with her, more honest-to-goodness suitors than almost any other girl in Atlanta.


title: Margaret Mitchell

text: In April 1922, Mitchell was seeing two men almost daily: one was Berrien ("Red") Kinnard Upshaw (March 10, 1901 – January 13, 1949), whom she is thought to have met in 1917 at a dance hosted by the parents of one of her friends, and the other, Upshaw's roommate and friend, John Robert Marsh (October 6, 1895 – March 5, 1952), a copy editor from Kentucky who worked for the Associated Press. Upshaw was an Atlanta boy, a few months younger than Mitchell, whose family moved to Raleigh, North Carolina in 1916. In 1919 he was appointed to the United States Naval Academy, but resigned for academic deficiencies on January 5, 1920. He was readmitted in May, then 19 years old, and spent two months at sea before resigning a second time on September 1, 1920. Unsuccessful in his educational pursuits and with no job, in 1922 Upshaw earned money bootlegging alcohol out of the Georgia mountains.


title: Margaret Mitchell

text: Although her family disapproved, Peggy and Red married on September 2, 1922; the best man at their wedding was John Marsh, who would become her second husband. The couple resided at the Mitchell home with her father. By December the marriage to Upshaw had dissolved and he left. Mitchell suffered physical and emotional abuse, the result of Upshaw's alcoholism and violent temper. Upshaw agreed to an uncontested divorce after John Marsh gave him a loan and Mitchell agreed not to press assault charges against him. Upshaw and Mitchell were divorced on October 16, 1924.


title: Margaret Mitchell

text: On July 4, 1925, 24-year-old Margaret Mitchell and 29-year-old John Marsh were married in the Unitarian-Universalist Church. The Marshes made their home at the Crescent Apartments in Atlanta, taking occupancy of Apt. 1, which they affectionately named "The Dump" (now the Margaret Mitchell House and Museum).


title: Margaret Mitchell

text: While still legally married to Upshaw and needing income for herself, Mitchell got a job writing feature articles for "The Atlanta Journal Sunday Magazine". She received almost no encouragement from her family or "society" to pursue a career in journalism, and had no prior newspaper experience. Medora Field Perkerson, who hired Mitchell said:


title: Margaret Mitchell

text: There had been some skepticism on the Atlanta Journal Magazine staff when Peggy came to work as a reporter. Debutantes slept late in those days and didn't go in for jobs.


title: Margaret Mitchell

text: Her first story, "Atlanta Girl Sees Italian Revolution", by Margaret Mitchell Upshaw, appeared on December 31, 1922. She wrote on a wide range of topics, from fashions to Confederate generals and King Tut. In an article that appeared on July 1, 1923, "Valentino Declares He Isn't a Sheik", she interviewed celebrity actor Rudolph Valentino, referring to him as "Sheik" from his film role. Less thrilled by his looks than his "chief charm", his "low, husky voice with a soft, sibilant accent", she described his face as "swarthy":


title: Margaret Mitchell

text: His face was swarthy, so brown that his white teeth flashed in startling contrast to his skin; his eyes—tired, bored, but courteous.


title: Margaret Mitchell

text: Mitchell was quite thrilled when Valentino took her in his arms and carried her inside from the rooftop of the Georgian Terrace Hotel.


title: Margaret Mitchell

text: Many of her stories were vividly descriptive. In an article titled, "Bridesmaid of Eighty-Seven Recalls Mittie Roosevelt's Wedding", she wrote of a white-columned mansion in which lived the last surviving bridesmaid at Theodore Roosevelt's mother's wedding:


title: Margaret Mitchell

text: The tall white columns glimpsed through the dark green of cedar foliage, the wide veranda encircling the house, the stately silence engendered by the century-old oaks evoke memories of Thomas Nelson Page's "On Virginia". The atmosphere of dignity, ease, and courtesy that was the soul of the Old South breathes from this old mansion...


title: Margaret Mitchell

text: In another article, "Georgia's Empress and Women Soldiers", she wrote short sketches of four notable Georgia women. One was the first woman to serve in the United States Senate, Rebecca Latimer Felton, a suffragist who held white supremacist views. The other women were: Nancy Hart, Lucy Mathilda Kenny (also known as Private Bill Thompson of the Confederate States Army) and Mary Musgrove. The article generated mail and controversy from her readers. Mitchell received criticism for depicting "strong women who did not fit the accepted standards of femininity."


title: Margaret Mitchell

text: Mitchell's journalism career, which began in 1922, came to an end less than four years later; her last article appeared on May 9, 1926. Several months after marrying John Marsh, Mitchell quit due to an ankle injury that would not heal properly and chose to become a full-time wife. During the time Mitchell worked for the "Atlanta Journal", she wrote 129 feature articles, 85 news stories, and several book reviews.


title: Margaret Mitchell

text: Mitchell began collecting erotica from book shops in New York City while in her twenties. The newlywed Marshes and their social group were interested in "all forms of sexual expression". Mitchell discussed her interest in dirty book shops and sexually explicit prose in letters to a friend, Harvey Smith. Smith noted her favorite reads were "Fanny Hill", "The Perfumed Garden", and "".


title: Margaret Mitchell

text: Mitchell developed an appreciation for the works of Southern writer James Branch Cabell, and his 1919 classic, "Jurgen, A Comedy of Justice". She read books about sexology and took particular interest in the case studies of Havelock Ellis, a British physician who studied human sexuality. During this period in which Mitchell was reading pornography and sexology, she was also writing "Gone with the Wind".


title: Margaret Mitchell

text: Mitchell wrote a romance novella, "Lost Laysen", when she was fifteen years old (1916). She gave "Lost Laysen", which she had written in two notebooks, to a boyfriend, Henry Love Angel. He died in 1945 and the novella remained undiscovered among some letters she had written to him until 1994. The novella was published in 1996, eighty years after it was written, and became a "New York Times" Best Seller.


title: Margaret Mitchell

text: In "Lost Laysen", Mitchell explores the dynamics of three male characters and their relationship to the only female character, Courtenay Ross, a strong-willed American missionary to the South Pacific island of Laysen. The narrator of the tale is Billy Duncan, "a rough, hardened soldier of fortune", who is frequently involved in fights that leave him near death. Courtenay quickly observes Duncan's hard-muscled body as he works shirtless aboard a ship called "Caliban". Courtenay's suitor is Douglas Steele, an athletic man who apparently believes Courtenay is helpless without him. He follows Courtenay to Laysen to protect her from perceived foreign savages. The third male character is the rich, powerful yet villainous Juan Mardo. He leers at Courtenay and makes rude comments of a sexual nature, in Japanese nonetheless. Mardo provokes Duncan and Steele, and each feels he must defend Courtenay's honor. Ultimately Courtenay defends her own honor rather than submit to shame.


title: Margaret Mitchell

text: antagonist, Juan Mardo, lurks in the shadows of the story and has no dialogue. The reader learns of Mardo's evil intentions through Duncan:


title: Margaret Mitchell

text: They were saying that Juan Mardo had his eye on you—and intended to have you—any way he could get you!


title: Margaret Mitchell

text: Mardo's desires are similar to those of Rhett Butler in his ardent pursuit of Scarlett O'Hara in Mitchell's epic novel, "Gone with the Wind". Rhett tells Scarlett:


title: Margaret Mitchell

text: In Mitchell's teenage years, she is known to have written a 400-page novel about girls in a boarding school, "The Big Four". The novel is thought to be lost; Mitchell destroyed some of her manuscripts herself and others were destroyed after her death.


title: Margaret Mitchell

text: In the 1920s Mitchell completed a novelette, "Ropa Carmagin", about a Southern white girl who loves a biracial man. Mitchell submitted the manuscript to Macmillan Publishers in 1935 along with her manuscript for "Gone with the Wind". The novelette was rejected; Macmillan thought the story was too short for book form.


title: Margaret Mitchell

text: In May 1926, after Mitchell had left her job at the "Atlanta Journal" and was recovering at home from her ankle injury, she wrote a society column for the "Sunday Magazine", "Elizabeth Bennet's Gossip", which she continued to write until August. Meanwhile, her husband was growing weary of lugging armloads of books home from the library to keep his wife's mind occupied while she hobbled around the house; he emphatically suggested that she write her own book instead:


title: Margaret Mitchell

text: To aid her in her literary endeavors, John Marsh brought home a Remington Portable No. 3 typewriter (c. 1928). For the next three years Mitchell worked exclusively on writing a Civil War-era novel whose heroine was named Pansy O'Hara (prior to "Gone with the Wind"s publication Pansy was changed to Scarlett). She used parts of the manuscript to prop up a wobbly couch.


title: Margaret Mitchell

text: During World War II, Margaret Mitchell was a volunteer for the American Red Cross and she raised money for the war effort by selling war bonds. She was active in Home Defense, sewed hospital gowns and put patches on trousers. Her personal attention, however, was devoted to writing letters to men in uniform—soldiers, sailors, and marines, sending them humor, encouragement, and her sympathy.


title: Margaret Mitchell

text: The USS "Atlanta" (CL-51) was a light cruiser used as an anti-aircraft ship of the United States Navy sponsored by Margaret Mitchell and used in the naval Battle of Midway and the Eastern Solomons. The ship was heavily damaged during night surface action on November 13, 1942, during the Naval Battle of Guadalcanal and subsequently scuttled on orders of her captain having earned five battle stars and a Presidential Unit Citation as a "heroic example of invincible fighting spirit".


title: Margaret Mitchell

text: Mitchell sponsored a second light cruiser named after the city of Atlanta, the USS "Atlanta" (CL-104). On February 6, 1944, she christened "Atlanta" in Camden, New Jersey, and the cruiser began fighting operations in May 1945. "Atlanta" was a member of task forces protecting fast carriers, was operating off the coast of Honshū when the Japanese surrendered on August 15, 1945, and earned two battle stars. She was finally sunk during explosive testing off San Clemente Island on October 1, 1970.


title: Margaret Mitchell

text: Margaret Mitchell was struck by a speeding automobile as she crossed Peachtree Street at 13th Street in Atlanta with her husband, John Marsh, while on her way to see the movie "A Canterbury Tale" on the evening of August 11, 1949. She died at age 48 at Grady Hospital five days later on August 16 without fully regaining consciousness.


title: Margaret Mitchell

text: The driver, Hugh Gravitt, was an off-duty taxi driver who was driving his personal vehicle when he struck Mitchell. After the collision, Gravitt was arrested for drunken driving and released on a $5,450 bond until Mitchell's death.


title: Margaret Mitchell

text: Gravitt was originally charged with drunken driving, speeding, and driving on the wrong side of the road. He was convicted of involuntary manslaughter in November 1949 and sentenced to 18 months in jail. He served almost 11 months. Gravitt died in 1994 at the age of 74.


title: Margaret Mitchell

text: Margaret Mitchell was buried at Oakland Cemetery, Georgia. When her husband John died in 1952, he was buried next to his wife.


title: Margaret Mitchell

text: In 1978, Mitchell was inducted into the Georgia Newspaper Hall of Fame, followed by the Georgia Women of Achievement in 1994, and the Georgia Writers Hall of Fame in 2000.


title: Margaret Mitchell

text: In 1994, Shannen Doherty starred in the television film "", a fictionalized account of Mitchell's life directed by Larry Peerce.


title: Margaret Mitchell

text: When Mitchell's nephew, Joseph Mitchell, died in 2011, he left fifty percent of trademark and literary rights of the Margaret Mitchell Estate, as well as some personal belongings of Mitchell's, to the Archdiocese of Atlanta.


title: Elvis (1968 TV program)

text: Singer Presents  ... Elvis, commonly referred to as the <nowiki>'</nowiki>68 Comeback Special, is an Elvis Presley concert special that aired on NBC on December 3, 1968. It marked Presley's return to live performance after a seven-year period during which he focused on his film appearances.


title: Elvis (1968 TV program)

text: The concert was initially planned as a Christmas special by the network and Presley's manager, Colonel Tom Parker. Producer Bob Finkel hired director Steve Binder, who, rather than creating a Christmas special, created a concert that would reflect the musical trends of the time and appeal to a younger audience. Filming took place in June 1968 at NBC Studios in Burbank, California. The special included a sit-down session that showcased Presley in an informal setting, surrounded by fans and a small band.


title: Elvis (1968 TV program)

text: The special received positive reviews and topped the Nielsen television ratings for the week in which it aired. It became the most-watched show of the television season, earning 42% of the television audience. Later known as the "Comeback Special", it relaunched Presley's singing career.


title: Elvis (1968 TV program)

text: After he returned from serving in the United States Army in March 1960, Presley enjoyed success with his album releases. "G.I. Blues", the soundtrack album to his 1960 film "G.I. Blues", topped both the "Billboard" pop albums chart and the UK Albums Chart in October 1960. On March 25, 1961, Presley played a concert in Hawaii to benefit the construction of the USS "Arizona" Memorial. It would be his last public performance for seven years. Presley's next number-one album on the "Billboard" pop albums chart was "Something for Everybody," released in June 1961.


title: Elvis (1968 TV program)

text: Presley's manager Colonel Tom Parker shifted the focus of Presley's career to films and stopped him from touring. The films were low-budget, formulaic comedies that were successful at the box office, while the resulting albums sold well. Presley attempted to move into more dramatic roles, trying to reduce the prominence of musical numbers to center on his acting with "Flaming Star" (1960) and "Wild in the Country" (1961). Both releases flopped, and by 1964 Parker decided to limit all recordings exclusively to film soundtracks. Parker then set the Presley formula: the films would promote album releases, while album releases would promote the films.


title: Elvis (1968 TV program)

text: To reduce costs, producer Hal Wallis shortened filming schedules, almost abandoning rehearsals and retakes. He stopped shooting on location and centered all of his activities on the studio. Wallis also resorted to smaller studios, dropping experienced crews. Scenes were limited to long shots, medium shots and close-ups to speed the process. Meanwhile, studio recordings also declined in quality, with musicians often recording their parts before Presley's. He was paid $750,000 and received 50% of the film profits for his appearance in "Tickle Me" (1965), a sum that consumed most of the film's budget. Because Allied Artists was experiencing financial problems, Parker inserted unused songs from other studio sessions on the soundtrack and instructed the studio to work them into the film. The tight production worked, and "Tickle Me" was a box-office success.


title: Elvis (1968 TV program)

text: "Girl Happy" (1965) marked the first failure of this approach. The soundtrack was Presley's least successful release, while the film barely grossed $2 million. Despite the success of Parker's model, Presley soon grew discontented with the quality of his work. With the passage of time, he felt that his connection to the music business was weakening, causing depression and alienation as the quality of his films deteriorated. During a five-year span from 1964 through 1968, Presley had only one top-ten hit, "Crying in the Chapel" (1965), a gospel number recorded in 1960. While the 1964 film "Viva Las Vegas" enjoyed success, the ensuing films saw a progressive decline. By 1967, the difficulty of negotiating with Parker and the poor performance of the films led Wallis to opt out of his contract with Presley.


title: Elvis (1968 TV program)

text: In October 1967, Parker approached Tom Sarnoff, NBC West Coast vice president, to propose a Christmas television special. The US$1,250,000 package (about $ today) included the financing of a motion picture (for US$850,000), its soundtrack (for US$25,000), the television special (US$250,000) and US$125,000 reserved for the costs related to a rerun. The special was to be included in the feature "Singer Presents ...", sponsored by the Singer Corporation.


title: Elvis (1968 TV program)

text: Presley's initial reaction to the special was negative. He felt that it was another scheme concocted by Parker and was angered by the idea of singing Christmas carols on national television. However, his opinion changed after he began talks with the special's producer, Bob Finkel, who persuaded Singer, NBC and Parker to alter the show's original concept. Finkel obtained Parker's approval that the show was to be centered only on Presley, while enough material for a soundtrack album and a Christmas single was to be recorded. Presley's enthusiasm for the project grew, and he assured Finkel that he was ready to perform new material, different from anything he had previously done. He had no interest in Parker's opinion of the project.


title: Elvis (1968 TV program)

text: To reflect the new intended direction of Presley's career, Finkel recruited director Steve Binder, who had directed the concert film "T.A.M.I. Show" and worked for NBC on "Hullabaloo" and a Petula Clark special. Finkel felt that hiring Binder would refresh Presley's image and that Binder would be able to reintroduce Presley to new audiences. Initially reluctant to direct the special, Binder was convinced by his associate Bones Howe, who had met Presley during the 1950s while he worked at Radio Recorders as an audio engineer. He insisted on working with Presley as he thought that Binder had similar production methods. A meeting was arranged during which Parker assured that the team would have full creative control but stressed that the publishing rights must be under Presley's name. Howe and Binder met with Presley later that week and informed him that they would prepare all of the details for the special by the time that Presley would return from his vacation in Hawaii.


title: Elvis (1968 TV program)

text: Binder and Howe hired the production crew, repeating their collaboration with various people whom they had used for past specials. Billy Goldenberg was assigned as the musical director, while the Presley camp chose Billy Strange as the arranger. Chris Bearde and Allan Blye were hired as the writers, and Bill Belew for the costume design. Bearde and Blye proposed an idea based on Maurice Maeterlinck's "The Blue Bird" that was intended to portray Presley's career through his songs. Singer's representative Alfred Discipio approved the idea, as did Parker. The snippets of the story were connected by a number covering Jerry Reed's "Guitar Man." An informal segment was planned featuring Presley talking to members of his entourage in a scripted conversation that was to show him as self-deprecating while discussing his film performances. A gospel number would be added, as well as a live standup performance. The Christmas song, requested by Parker, would then be played, and the special would close with a spoken statement by Presley. Binder wanted Presley to express his feelings about the current social climate, as Presley had been moved by the recent assassinations of Senator Robert F. Kennedy and Reverend Martin Luther King Jr. King's assassination deeply touched Presley, who felt that the murder, which occurred in Memphis, Tennessee, "only confirmed everyone's worst feelings about the south."


title: Elvis (1968 TV program)

text: By June 3, Presley returned to Hollywood to start the rehearsals that would last for two weeks. Howe insisted on the possibility of a soundtrack album from which he would earn royalties as its producer. NBC saw Howe's attitude as a potential danger to the special and ordered Binder to remove him from the staff. The production was further complicated when Goldenberg complained to Binder that Strange had not completed any musical arrangements for the special with only two weeks before the end of preproduction. Strange left the project, alleging that he was too busy with other projects. A week before the end of rehearsals, the production team allowed Howe to return as producer and engineer.


title: Elvis (1968 TV program)

text: On June 17, the team moved to the NBC studios in Burbank, California. Goldenberg asked Finkel to remove Presley's large entourage from the production area, complaining that they interfered with the creative process. Presley worked with choreographer Lance LeGault on the planned numbers, and Belew worked with the costumes.


title: Elvis (1968 TV program)

text: Binder and Howe developed the concept of the informal section of the show after seeing Presley interacting with his entourage while playing music during breaks. Binder planned to shoot the segment in the locker room to give the public a sense of how Presley's music was developed in an intimate setting, but Parker opposed this concept. Binder settled for a sit-down concert on a small stage that resembled a boxing ring. He called Presley's first backup musicians, Scotty Moore and DJ Fontana, to accentuate the nature of Presley's musical origins (Presley's original bassist Bill Black had died in 1965). They were also joined by two members of Presley's entourage, Charlie Hodge and Alan Fortas. The scripted part was canceled but the writers gave Presley a list of topics to discuss between songs. The topics included mentions of his early career, his Hollywood years and the current music business.


title: Elvis (1968 TV program)

text: On June 20, Presley started the recording process at United Western Recorders. Howe arranged for the rhythm section, session musicians from Los Angeles. The band was composed of drummer Hal Blaine and guitarists Mike Deasy and Tommy Tedesco. Members of the string and brass sections of the NBC orchestra were also enlisted. All of the special's music, except for that of the live sections, was prerecorded by Presley. It was to be blended with live vocals during the production numbers, which were taped on June 27.


title: Elvis (1968 TV program)

text: On the same day, Presley taped the first sit-down show. Parker had told the NBC team that he would handle ticket distribution. He assured them that he would recruit fans from across the country to fill the studio. However, by the day of the show, Parker had not distributed the tickets, and only a few people were in line to see the taping. Binder and Finkel invited people from a restaurant across the street and aired a radio announcement to gather an audience. Presley was nervous at the beginning of the first hour-long set. Binder had to convince him to take the stage, but once there, Presley was comfortable. He performed his songs and traded jokes with his companions as the session progressed. By the end of the first show, Belew had to carefully remove the sweat-soaked leather suit that was now stuck to Presley's skin. To prepare the suit for the next show, Belew had to wash it by hand. He was helped by the costume crew, who used hairdryers to hasten the process. During the first show, the producers were concerned about the effects of the toe-tapping on the recordings, so for the 8 p.m. show, rubber mats were placed at the feet of Presley and the band members. The second show found Presley relaxed and running through the set list with ease.


title: Elvis (1968 TV program)

text: On June 29, Presley recorded both stand-up sessions. As with the first two shows, the cameras that shot Presley from different angles did not have individual taping machines. The director would choose the camera angle that he desired and the cameras would then feed either of the two available taping machines. The arrangements of the songs for the stand-up shows were fast-paced, and Presley accompanied them with shakes, gyrations and facial expressions that he emphasized with fist gestures and knee-drops.


title: Elvis (1968 TV program)

text: For the show's closer, Binder decided to replace the spoken statement with a song. He instructed Goldenberg and lyricist Walter Earl Brown to write a song that reflected Presley and his beliefs, and Brown wrote "If I Can Dream" that same night. Binder sent it to Parker, who still thought that the show closer was to be "I'll Be Home for Christmas." After Parker's negative response to the song, Binder bypassed him and played the song for Presley. After hearing it three times, Presley was convinced that he should record it. Seeing Presley's determination, Parker demanded 100 percent of the publishing rights. Goldenberg removed his name from the publishing sheet and told Parker that Brown had written the song. For the "If I Can Dream" number, Presley wore a three-piece white suit designed by Belew. A large sign in red letters that read ELVIS was placed on a black background, and Presley performed the song with a hand-held microphone. After finishing the song, Presley closed the special by saying "Thank you, Good night."


title: Elvis (1968 TV program)

text: The special's final running time was 50 minutes, edited from four hours of taping. Presley was satisfied with the result. "Singer Presents...Elvis" aired on December 3, 1968 at 9 p.m. Eastern Time. It placed first in the Nielsen television ratings for the week ending on December 8, displacing "Rowan & Martin's Laugh-In", which dropped to the second position. Forty-two percent of the total television audience viewed it, making it the most-watched show of the season. The special's soundtrack was released shortly afterward. It reached number eight on "Billboard's" Top LPs chart, and by July 1969, it was certified gold. The special was shown in the United Kingdom on 31 December 1969 on BBC2 under the title "The Fabulous Elvis."


title: Elvis (1968 TV program)

text: In his review for "The New York Times", critic Robert Shelton wrote: "Parts of the hour program were unbelievably stagey, but other parts were believably effective and natural glimpses of one of the pop-culture phenomenons of the century at work where he works best, in music. ... What this special points out is that this charismatic performer was at his best 10 years ago, but he hasn't lost his grip on the best music he had to offer then. Today's rock generation will, more than likely, ask that the real, early Presley stand up."


title: Elvis (1968 TV program)

text: Despite calling Presley's films "atrocities," a "Chicago Tribune" reviewer wrote that "it's great to have the old Elvis back" and characterized the performance as "dynamic, compelling, incredibly sensual."


title: Elvis (1968 TV program)

text: The "Los Angeles Times" deemed Presley's performance "anticlimactic" in comparison to other rock-and-roll acts of the time. The review assured that Presley "managed to sustain the hour very well" but that "some of the magic was gone, diminished."


title: Elvis (1968 TV program)

text: "The Philadelphia Inquirer" wrote: "What separates real from ersatz stars is the quality of excitement, and this Presley generated seriously whether singing, swinging, chatting with sidemen and an ecstatic audience or pacing relentlessly like a caged animal."


title: Elvis (1968 TV program)

text: The Associated Press praised the set design as well as Presley's appearance that felt "sort of like old times."


title: Elvis (1968 TV program)

text: A review by the Newspaper Enterprise Association published in the "El Paso Herald-Post" held that the special showcased a renewed and "more mature" Presley.


title: Elvis (1968 TV program)

text: "The Daily Tar Heel" published a favorable review of the special, remarking on the change since Presley's heyday, declaring: "Elvis still has magic."


title: Elvis (1968 TV program)

text: The "Ottawa Journal" praised Presley while noting that he delivered a calmer stage presence compared to that of his early days. The reviewer lamented the editing of the program and the selection of the "cage-like stage" in which Presley appeared to pace "not at ease."


title: Elvis (1968 TV program)

text: "The Guardian" defined the performances by Presley as "marvellous stuff, performed with a faint hint of self-mockery" but lamented the inclusion of choreography and "ludicrous choral throbs."


title: Elvis (1968 TV program)

text: After the taping of the first sit-down session, Presley called Parker to his dressing room to inform him that he wanted to return to touring. During a press conference, Parker announced that Presley would soon embark on a "comeback tour." Parker's choice of words angered Presley, who felt that he was being labeled a "has-been." Presley was also interested in further collaboration with Binder, but Parker avoided it.


title: Elvis (1968 TV program)

text: By January 1969, propelled by the success of the special and with his renewed enthusiasm, Presley began his return to recording non-soundtrack albums with producer Chips Moman. Recorded at American Sound Studio with the house band known as the Memphis Boys, the resulting single "In the Ghetto" reached #1 and was soon followed by a country-soul album titled "From Elvis in Memphis". "Suspicious Minds," a standalone single from the sessions released in late August, also topped the charts and became one of Presley's signature songs. In July 1969, "Rolling Stone" featured Presley on the cover for the first time, featuring a photo from one of the television special's stand-up performances with the black leather outfit.


title: Elvis (1968 TV program)

text: Parker arranged Presley's return to live performance. He arranged a deal with Kirk Kerkorian, owner of the Las Vegas International Hotel, for Presley to play the newly built, 2,000-seat showroom for four weeks (two shows per night) for $400,000. For his return to Las Vegas, Presley assembled a core rhythm section later given the moniker the TCB Band: James Burton (lead guitar), John Wilkinson (rhythm guitar), Jerry Scheff (bass), Ron Tutt (drums), Larry Muhoberac (piano) and Charlie Hodge (rhythm guitar, stage assistant). Presley also hired two backing vocal groups, the Sweet Inspirations and the Imperials. His initial Las Vegas booking, 57 shows in July-August 1969, attracted a total audience of 101,500, a Las Vegas attendance record. In 1970, Presley toured the U.S. for the first time since October-November 1957, with every show a sellout.


title: Elvis (1968 TV program)

text: NBC rebroadcast the special in the summer of 1969. The song "Blue Christmas" was replaced by the number "Tiger Man" at Parker's request. In 1977, the program was aired after Presley's death as a special titled "Memories of Elvis," hosted by Ann-Margret. It included a bordello scene that was originally approved by the censors but had been removed at the request of the Singer Corporation to avoid controversy.


title: Elvis (1968 TV program)

text: In 1985, HBO broadcast the first sit-down session of the show under the title "Elvis: One Night with You". Elvis Presley Enterprises' business manager Joe Rascoff sold the channel the broadcasting rights for $1,000,000. A home-video version was later released.


title: Elvis (1968 TV program)

text: In 2004, an "Elvis: '68 Comeback Special Deluxe Edition" DVD was released. The three-disc set contained all of the known available footage of the special, outtakes included. A single-disc edition was released in 2006 with the program expanded to 94 minutes by adding material from the outtakes to the original broadcast.


title: Elvis (1968 TV program)

text: The special's first single to be released was "If I Can Dream" by RCA Victor (47–9670) in October 1968. It reached number 12 on the "Billboard" Singles chart and sold 800,000 copies. In November 1968, the live performance of "Tiger Man" appeared on the RCA Camden compilation album "Elvis Sings Flaming Star" (PRS-279), which was first released through Singer stores and given wide release in April 1969 (CAS 2304).


title: Elvis (1968 TV program)

text: An official soundtrack album simply titled "Elvis" was released in December 1968 by RCA (LPM-4088). In March 1969, RCA released "Memories" as a single (47–9730), a song that would later be reused as the closing credits music for the 1972 concert film "Elvis on Tour".


title: Elvis (1968 TV program)

text: Bootleg albums featuring unissued material began circulating as early as 1978. Over the following decades, additional performances from the special were released in parts, particularly in RCA's "A Legendary Performer" compilation series, as well as in the 1985 box set "A Golden Celebration". In the 1990s and 2000s, RCA issued more complete soundtrack recordings, including in 1998, a 30th-anniversary release that was an expansion of the original album. That same year, RCA released "Tiger Man", which consisted of the complete sit-down performances. In 2006, RCA released "Let Yourself Go: The Making of Elvis the Comeback Special", which consisted of outtakes and rehearsal recordings from the special.


title: Elvis (1968 TV program)

text: Various recordings from the special were used as the soundtrack for the "Elvis" pinball machine, released by Stern in 2004. The version of "A Little Less Conversation" originally recorded for (but not used in) the special was later remixed by Junkie XL and became a worldwide hit in 2002. In the United States, the song peaked at number 50 on the "Billboard Hot 100" pop singles chart, the first hit for Presley since 1981, and extended his list of charted singles into the 21st century. It also spent four consecutive weeks at number one on the UK Singles Chart.


title: Elvis (1968 TV program)

text: The sit-down sections of the special were a forerunner of "MTV Unplugged", showing for the first time an artist in a casual setting. Falco's video for his 1986 single "Emotional" features him standing in front of a logo formed by red light bulbs that spell FALCO, an image also shown on the cover of his "Emotional" album. In "The Simpsons" 1993 episode "Krusty Gets Kancelled," the set of Krusty the Clown's television special mimicks Presley's show. In the video for the 2001 single "Inner Smile," Texas lead singer Sharleen Spiteri is dressed as Presley from the special. Robbie Williams' 2002 special "The Robbie Williams Show" features "Trouble" as the opening song as well as similar set decorations and the letters RW in red. In 2004, Morrissey toured with a stage backdrop that spelled MORRISSEY in large red marquee lights reminiscent of the special's ELVIS sign. The special was portrayed in the 2005 biographical television miniseries "Elvis" starring Jonathan Rhys Meyers. In 2008, country singer Martina McBride recorded a virtual duet of "Blue Christmas" for the album "Christmas Duets". The video for the song features McBride singing with Presley during the sit-down session of the special. Glenn Danzig loosely based his 2013 ""Legacy" TV Special" on the Presley special. In 2019, Green Day paid tribute to the "Guitar Man" portion of the special's opening number in the video for "Father of All..."


title: Have You Ever Seen the Rain?

text: "Have You Ever Seen the Rain?" is a song written by John Fogerty and released as a single in 1971 from the album "Pendulum" (1970) by American rock band Creedence Clearwater Revival. The song charted highest in Canada, reaching number 1 on the RPM 100 national singles chart in March 1971. In the U.S., in the same year it peaked at number 8 on the "Billboard" Hot 100 singles chart (where it was listed as "Have You Ever Seen the Rain / Hey Tonight", together with the B-side). On "Cash Box" pop chart, it peaked at number 3. In the UK, it reached number 36. It was the group's eighth gold-selling single.


title: Have You Ever Seen the Rain?

text: John Fogerty released a live version of the song on his "The Long Road Home - In Concert" DVD which was recorded at the Wiltern Theatre in Los Angeles, California, on September 15, 2005. A music video was released for the band's 50th anniversary on December 11, 2018.


title: Have You Ever Seen the Rain?

text: In his review for AllMusic, Mark Deming suggests that the song is about the idealism of the 1960s and about how it faded in the wake of events such as the Altamont Free Concert and the Kent State shootings, and that Fogerty is saying that the same issues of the 1960s still existed in the 1970s but that people were no longer fighting for them. However, Fogerty himself has said in interviews and prior to playing the song in concert that it is about rising tension within CCR and the imminent departure of his brother Tom from the band. In an interview, Fogerty stated that the song was written about the fact that they were on the top of the charts, and had surpassed all of their wildest expectations of fame and fortune. They were rich and famous, but somehow all of the members of the band at the time were depressed and unhappy; thus the line "Have you ever seen the rain, coming down on a sunny day?". The band split up in October the following year after the release of the album "Mardi Gras".


title: Have You Ever Seen the Rain?

text: In a literal sense, the song describes a sunshower, such as in the lyric "It'll rain a sunny day" and the chorus, "Have you ever seen the rain, comin' down on a sunny day?" These events are particularly common in Louisiana, Mississippi, Florida, Georgia, South Carolina, and Alabama, but less common in other parts of the United States, due to localized atmospheric wind shear effects. In Southern regional dialect, there is even a term for it: "the devil beating his wife".


title: Have You Ever Seen the Rain?

text: For the band's 50th anniversary in 2018, a music video was released for "Have You Ever Seen the Rain?" The video stars then up-and-coming actors including Jack Quaid, Sasha Frolova, and Erin Moriarty. The video was shot in Montana by director Laurence Jacobs who described it as "a coming-of-age story" and "something distinctly real that encapsulated identity. Not teenage years, but specifically your early 20s when you're still growing and trying to become someone." The story, cowritten by Jacobs and Luke Klompien, is of "three best friends hanging in Montana until one of them moves away", and includes scenes of the cast "skipping rocks into the river", "driving through the countryside in a vintage red Chevy pickup truck watching the sunset and bonding by the fire." A behind-the-scenes featurette about the making of the video was released June 26, 2019, featuring interviews with the cast and director, and also shows dialogue between the actors.


title: Have You Ever Seen the Rain?

text: The song was featured in movies and television shows "Cold Case," "Nurse Jackie", "Doogie Kameāloha, M.D.", "", "Evan Almighty" and "The Longest Yard", and "The Art of Racing in the Rain".


title: Have You Ever Seen the Rain?

text: Rod Stewart included the song on his 2006 covers album "Still the Same... Great Rock Classics of Our Time".


title: Have You Ever Seen the Rain?

text: Willie Nelson and his daughter Paula Nelson covered the song for his 2013 album, "To All the Girls..."


title: Fine-structure constant

text: In physics, the fine-structure constant, also known as the Sommerfeld constant, commonly denoted by (the Greek letter "alpha"), is a fundamental physical constant which quantifies the strength of the electromagnetic interaction between elementary charged particles.


title: Fine-structure constant

text: It is a dimensionless quantity, independent of the system of units used, which is related to the strength of the coupling of an elementary charge "e" with the electromagnetic field, by the formula . Its numerical value is approximately , with a relative uncertainty of


title: Fine-structure constant

text: The constant was named by Arnold Sommerfeld, who introduced it in 1916 when extending the Bohr model of the atom. quantified the gap in the fine structure of the spectral lines of the hydrogen atom, which had been measured precisely by Michelson and Morley in 1887.


title: Fine-structure constant

text: Since the 2019 redefinition of the SI base units, the only quantity in this list that does not have an exact value in SI units is the electric constant.


title: Fine-structure constant

text: The electrostatic cgs system sets the Coulomb constant , as commonly found in older physics literature, where the expression of the fine-structure constant becomes


title: Fine-structure constant

text: A nondimensionalised system commonly used in high energy physics sets formula_3 where the expressions for the fine-structure constant becomes


title: Fine-structure constant

text: As such, the fine-structure constant is just a quantity determining (or determined by) the elementary charge: in terms of such a natural unit of charge.


title: Fine-structure constant

text: In the system of Hartree atomic units, which sets , the expression for the fine-structure constant becomes


title: Fine-structure constant

text: This value for gives , 3.6 standard deviations away from its old defined value, but with the mean differing from the old value by only 0.54 parts per billion.


title: Fine-structure constant

text: Historically the value of the reciprocal of the fine-structure constant is often given. The 2018 CODATA recommended value is


title: Fine-structure constant

text: While the value of can be determined from estimates of the constants that appear in any of its definitions, the theory of quantum electrodynamics (QED) provides a way to measure directly using the quantum Hall effect or the anomalous magnetic moment of the electron. Other methods include the A.C. Josephson effect and photon recoil in atom interferometry.


title: Fine-structure constant

text: There is general agreement for the value of , as measured by these different methods. The preferred methods in 2019 are measurements of electron anomalous magnetic moments and of photon recoil in atom interferometry. The theory of QED predicts a relationship between the dimensionless magnetic moment of the electron and the fine-structure constant (the magnetic moment of the electron is also referred to as the electron -factor ). The most precise value of obtained experimentally (as of 2012) is based on a measurement of using a one-electron so-called "quantum cyclotron" apparatus, together with a calculation via the theory of QED that involved tenth-order Feynman diagrams:


title: Fine-structure constant

text: This measurement of has a relative standard uncertainty of . This value and uncertainty are about the same as the latest experimental results.


title: Fine-structure constant

text: with a relative accuracy of , which has a significant discrepancy from the previous experimental value.


title: Fine-structure constant

text: The optical conductivity of graphene for visible frequencies is theoretically given by  , and as a result its light absorption and transmission properties can be expressed in terms of the fine-structure constant alone. The absorption value for normal-incident light on graphene in vacuum would then be given by or 2.24%, and the transmission by or 97.75% (experimentally observed to be between 97.6% and 97.8%). The reflection would then be given by .


title: Fine-structure constant

text: When perturbation theory is applied to quantum electrodynamics, the resulting perturbative expansions for physical results are expressed as sets of power series in . Because is much less than one, higher powers of are soon unimportant, making the perturbation theory practical in this case. On the other hand, the large value of the corresponding factors in quantum chromodynamics makes calculations involving the strong nuclear force extremely difficult.


title: Fine-structure constant

text: In quantum electrodynamics, the more thorough quantum field theory underlying the electromagnetic coupling, the renormalization group dictates how the strength of the electromagnetic interaction grows logarithmically as the relevant energy scale increases. The value of the fine-structure constant is linked to the observed value of this coupling associated with the energy scale of the electron mass: the electron is a lower bound for this energy scale, because it (and the positron) is the lightest charged object whose quantum loops can contribute to the running. Therefore, is the asymptotic value of the fine-structure constant at zero energy.


title: Fine-structure constant

text: At higher energies, such as the scale of the Z boson, about 90 GeV, one instead measures an "effective" ≈ 1/127.


title: Fine-structure constant

text: As the energy scale increases, the strength of the electromagnetic interaction in the Standard Model approaches that of the other two fundamental interactions, a feature important for grand unification theories. If quantum electrodynamics were an exact theory, the fine-structure constant would actually diverge at an energy known as the Landau pole – this fact undermines the consistency of quantum electrodynamics beyond perturbative expansions.


title: Fine-structure constant

text: Sommerfeld extended the Bohr model to include elliptical orbits and relativistic dependence of mass on velocity. He introduced a term for the fine-structure constant in 1916.


title: Fine-structure constant

text: The first physical interpretation of the fine-structure constant was as the ratio of the velocity of the electron in the first circular orbit of the relativistic Bohr atom to the speed of light in the vacuum.


title: Fine-structure constant

text: Equivalently, it was the quotient between the minimum angular momentum allowed by relativity for a closed orbit, and the minimum angular momentum allowed for it by quantum mechanics. It appears naturally in Sommerfeld's analysis, and determines the size of the splitting or fine-structure of the hydrogenic spectral lines. This constant was not seen as significant until Paul Dirac's linear relativistic wave equation in 1928, which gave the exact fine structure formula.


title: Fine-structure constant

text: With the development of quantum electrodynamics (QED) the significance of has broadened from a spectroscopic phenomenon to a general coupling constant for the electromagnetic field, determining the strength of the interaction between electrons and photons. The term is engraved on the tombstone of one of the pioneers of QED, Julian Schwinger, referring to his calculation of the anomalous magnetic dipole moment.


title: Fine-structure constant

text: The CODATA values in the above table are computed by averaging other measurements; they are not independent experiments.


title: Fine-structure constant

text: Physicists have pondered whether the fine-structure constant is in fact constant, or whether its value differs by location and over time. A varying has been proposed as a way of solving problems in cosmology and astrophysics.


title: Fine-structure constant

text: String theory and other proposals for going beyond the Standard Model of particle physics have led to theoretical interest in whether the accepted physical constants (not just ) actually vary.


title: Fine-structure constant

text: In the experiments below, represents the change in over time, which can be computed by −  . If the fine-structure constant really is a constant, then any experiment should show that


title: Fine-structure constant

text: or as close to zero as experiment can measure. Any value far away from zero would indicate that does change over time. So far, most experimental data is consistent with being constant.


title: Fine-structure constant

text: The first experimenters to test whether the fine-structure constant might actually vary examined the spectral lines of distant astronomical objects and the products of radioactive decay in the Oklo natural nuclear fission reactor. Their findings were consistent with no variation in the fine-structure constant between these two vastly separated locations and times.


title: Fine-structure constant

text: Improved technology at the dawn of the 21st century made it possible to probe the value of at much larger distances and to a much greater accuracy. In 1999, a team led by John K. Webb of the University of New South Wales claimed the first detection of a variation in .


title: Fine-structure constant

text: Using the Keck telescopes and a data set of 128 quasars at redshifts , Webb "et al." found that their spectra were consistent with a slight increase in over the last 10–12 billion years. Specifically, they found that


title: Fine-structure constant

text: In other words, they measured the value to be somewhere between and . This is a very small value, but the error bars do not actually include zero. This result either indicates that is not constant or that there is experimental error unaccounted for.


title: Fine-structure constant

text: In 2004, a smaller study of 23 absorption systems by Chand "et al.", using the Very Large Telescope, found no measurable variation:


title: Fine-structure constant

text: However, in 2007 simple flaws were identified in the analysis method of Chand "et al.", discrediting those results.


title: Fine-structure constant

text: King "et al." have used Markov chain Monte Carlo methods to investigate the algorithm used by the UNSW group to determine from the quasar spectra, and have found that the algorithm appears to produce correct uncertainties and maximum likelihood estimates for for particular models. This suggests that the statistical uncertainties and best estimate for stated by Webb "et al." and Murphy "et al." are robust.


title: Fine-structure constant

text: Lamoreaux and Torgerson analyzed data from the Oklo natural nuclear fission reactor in 2004, and concluded that has changed in the past 2 billion years by 45 parts per billion. They claimed that this finding was "probably accurate to within 20%". Accuracy is dependent on estimates of impurities and temperature in the natural reactor. These conclusions have to be verified.


title: Fine-structure constant

text: In 2007, Khatri and Wandelt of the University of Illinois at Urbana-Champaign realized that the 21 cm hyperfine transition in neutral hydrogen of the early universe leaves a unique absorption line imprint in the cosmic microwave background radiation.


title: Fine-structure constant

text: They proposed using this effect to measure the value of during the epoch before the formation of the first stars. In principle, this technique provides enough information to measure a variation of 1 part in (4 orders of magnitude better than the current quasar constraints). However, the constraint which can be placed on is strongly dependent upon effective integration time, going as . The European LOFAR radio telescope would only be able to constrain to about 0.3%. The collecting area required to constrain to the current level of quasar constraints is on the order of 100 square kilometers, which is economically impracticable at the present time.


title: Fine-structure constant

text: used the frequency ratio of and in single-ion optical atomic clocks to place a very stringent constraint on the present-time temporal variation of , namely = per year. Note that any present day null constraint on the time variation of alpha does not necessarily rule out time variation in the past. Indeed, some theories


title: Fine-structure constant

text: that predict a variable fine-structure constant also predict that the value of the fine-structure constant should become practically fixed in its value once the universe enters its current dark energy-dominated epoch.


title: Fine-structure constant

text: In September 2010, researchers from Australia said they had identified a dipole-like structure in the variation of the fine-structure constant across the observable universe. They used data on quasars obtained by the Very Large Telescope, combined with the previous data obtained by Webb at the Keck telescopes. The fine-structure constant appears to have been larger by 1 part in 100,000 in the direction of the southern hemisphere constellation Ara, 10 billion years ago. Similarly, the constant appeared to have been smaller by a similar fraction in the northern direction, 10 billion years ago.


title: Fine-structure constant

text: In September and October 2010, after Webb "et al".'s released research, physicists C. Orzel and S.M. Carroll separately suggested various approaches of how Webb's observations may be wrong. Orzel argues


title: Fine-structure constant

text: that the study may contain wrong data due to subtle differences in the two telescopes, in which one of the telescopes the data set was slightly high and on the other slightly low, so that they cancel each other out when they overlapped. He finds it suspicious that the sources showing the greatest changes are all observed by one telescope, with the region observed by both telescopes aligning so well with the sources where no effect is observed. Carroll suggested


title: Fine-structure constant

text: a totally different approach; he looks at the fine-structure constant as a scalar field and claims that if the telescopes are correct and the fine-structure constant varies smoothly over the universe, then the scalar field must have a very small mass. However, previous research has shown that the mass is not likely to be extremely small. Both of these scientists' early criticisms point to the fact that different techniques are needed to confirm or contradict the results, a conclusion Webb, "et al"., previously stated in their study.


title: Fine-structure constant

text: In October 2011, Webb "et al." reported a variation in dependent on both redshift and spatial direction. They report "the combined data set fits a spatial dipole" with an increase in with redshift in one direction and a decrease in the other. "Independent VLT and Keck samples give consistent dipole directions and amplitudes ..." As in the earlier article of October 2010


title: Fine-structure constant

text: the published map and text (Figure 5) showed calculated dipole axis (−58.0 degrees 17.4 hours) passed through the South Magnetic Pole area with the South Magnetic Pole (−64.4 degrees 15.5 hours) centered in the axis region predicted by Keck observatory data,


title: Fine-structure constant

text: In 2020, the team verified their previous results, finding a dipole structure in the strength of the electromagnetic force using the most distant quasar measurements. Observations of the quasar of the universe at only 0.8 billion years old with AI analysis method employed on the Very Large Telescope (VLT) found a spatial variation preferred over a no-variation model at the formula_19 level.


title: Fine-structure constant

text: The anthropic principle is an argument about the reason the fine-structure constant has the value it does: stable matter, and therefore life and intelligent beings, could not exist if its value were very different. For instance, were to change by 4%, stellar fusion would not produce carbon, so that carbon-based life would be impossible. If were greater than 0.1, stellar fusion would be impossible, and no place in the universe would be warm enough for life as we know it.


title: Fine-structure constant

text: As a dimensionless constant which does not seem to be directly related to any mathematical constant, the fine-structure constant has long fascinated physicists.


title: Fine-structure constant

text: Arthur Eddington argued that the value could be "obtained by pure deduction" and he related it to the Eddington number, his estimate of the number of protons in the universe.


title: Fine-structure constant

text: This led him in 1929 to conjecture that the reciprocal of the fine-structure constant was not approximately but precisely the integer 137.


title: Fine-structure constant

text: The fine-structure constant so intrigued physicist Wolfgang Pauli that he collaborated with psychoanalyst Carl Jung in a quest to understand its significance.


title: Fine-structure constant

text: Similarly, Max Born believed that if the value of differed, the universe would degenerate, and thus that = is a law of nature.


title: Fine-structure constant

text: Richard Feynman, one of the originators and early developers of the theory of quantum electrodynamics (QED), referred to the fine-structure constant in these terms:


title: Fine-structure constant

text: Conversely, statistician I. J. Good argued that a numerological explanation would only be acceptable if it could be based on a good theory that is not yet known but "exists" in the sense of a Platonic Ideal.


title: Fine-structure constant

text: Attempts to find a mathematical basis for this dimensionless constant have continued up to the present time. However, no numerological explanation has ever been accepted by the physics community.


title: Fine-structure constant

text: In the early 21st century, multiple physicists, including Stephen Hawking in his book "A Brief History of Time", began exploring the idea of a multiverse, and the fine-structure constant was one of several universal constants that suggested the idea of a fine-tuned universe.


title: People's Television Network

text: People's Television Network (; abbreviated PTV) is the flagship state broadcaster owned by the Government of the Philippines. Founded in 1974, PTV is the main brand of People's Television Network, Inc. (PTNI), one of the attached agencies under the Office of the Press Secretary (OPS).


title: People's Television Network

text: PTV, along with government-owned media companies Intercontinental Broadcasting Corporation and the Philippine Broadcasting Service-Bureau of Broadcast Services, forms the media arm of the OPS and acts as a primary state television broadcaster that focuses on news, information and public service programming. Its head office, studios and transmitter are located at Broadcast Complex, Visayas Avenue, Barangay Vasra, Diliman, Quezon City.


title: People's Television Network

text: As a government-run station, PTV receives funding from the General Appropriations Act (Annual National Budget) and sales from blocktimers and advertisers, among others. PTV also runs a Muslim-oriented digital television channel Salaam TV.


title: People's Television Network

text: In 1961, the Philippine government, through the Philippine Broadcasting Service established a government TV station called DZFM-TV Channel 10 which it time-shared with two other organizations. It was financed by government subsidy; the channel did not last long because of frequency allocation.


title: People's Television Network

text: On September 28, 1972, after declaring martial law in the Philippines, Marcos ordered the takeover of the ABS-CBN Broadcasting Corporation and turned over its facilities to Kanlaon Broadcasting System (KBS), controlled by Marcos crony Roberto Benedicto. ABS-CBN's facilities were later transferred from KBS to the government-owned Maharlika Broadcasting System. Under the Marcos dictatorship, crony-owned media companies broadcast or published news and entertainment meant to project a positive image for the dictatorship and conceal its abuses.


title: People's Television Network

text: The country's government television network began operations on February 2, 1974, as Government Television (GTV-4), a division of the National Media Production Center. The government channel was first headed by Lito Gorospe and later by Press Secretary Francisco Tatad. It was first headquartered in the Solana Building in Intramuros, Manila and later relocated to the ABS-CBN Broadcasting Center in Bohol Avenue, Quezon City. In 1976, it began color broadcasts, the last national network to do so, when it became the long time home of the Philippine Basketball Association for almost two decades.


title: People's Television Network

text: GTV was renamed Maharlika Broadcasting System (MBS) in 1980 under the leadership of Minister of Information Gregorio Cendaña. By then, it began expanding with the opening of provincial stations nationwide, including 3 stations in Cebu, Bacolod, and Davao who once owned by pre-martial law ABS-CBN.


title: People's Television Network

text: MBS-4 was captured by rebel soldiers during the 1986 People Power Revolution. It was, during that very historic event in national history, initially called as New TV 4 but later rebranded as People's Television (PTV) two months later in April. Broadcasters Tina Monzón-Palma and José Mari Vélez were tapped by President Corazon Aquino to handle the newly rebranded station for a few months, before they returned to GMA 7. It later became the national network for the broadcasts of the 1988 Summer Olympics along with RPN.


title: People's Television Network

text: On March 26, 1992, President Cory Aquino signed Republic Act 7306 turning PTV Network into a government corporation known formally as People's Television Network, Inc. The law also grants its congressional franchise for a period co-terminus with its corporate existence. Under Philippine law, no broadcast company can operate without franchise from the Philippine congress, an authority that limits and regulates operations of telecommunications and broadcast media such as televisions and radios.


title: People's Television Network

text: Shortly after he took over the mantle of government in June 1992, President Fidel V. Ramos appointed PTV Network's first board of directors. The Network was given a one-time equity funding for capital outlay. Since 1992, PTV has been operating on revenues it generates on its own. Republic Act 7306 stipulates that the government shall not appropriate funds for the operations of the Network .


title: People's Television Network

text: In 1992, PTNI went on full nationwide satellite broadcast using PALAPA C2. Its flagship station PTV-4, which is based in Quezon City, boasts of a 40-kilowatt brand-new transmitter facility sitting on a tower. With its 32 provincial stations across the country, the network has extended its reach and coverage to approximately 85 percent of the television viewing public nationwide.


title: People's Television Network

text: PTNI was given the Hall of Fame Award for Best Station and for Most Balanced Programming in 1987 and the Catholic Mass Media Awards in the two succeeding years after. It has aired several pioneering and award-winning educational, cultural and public service programs for their relevance and production excellence. In 1996, PTV won the award for Best TV Station ID ("Ang Network Para Sa Pilipino" [lit. The Network For The Filipino]) in the PMPC Star Awards for Television.


title: People's Television Network

text: PTNI has pioneered educational and cultural programming. Some of its award-winning programs were Tele-aralan ng Kakayahan (which predated ABS-CBN's The Knowledge Channel by decades), Ating Alamin, Small World and its successor Kidsongs, For Art's Sake, Coast to Coast and Paco Park Presents. In the 1990s, at the core of its educational programming is the Continuing Studies via Television or CONSTEL, a program aimed at upgrading teaching skills of elementary and secondary teachers of Science and English. Institutionalized by Department of Education, Culture and Sports (DECS), CONSTEL Science and English are being used in teacher training by the Regional and Divisional Leader Schools of the Department of Education, culture and Sports and in Teacher Education Institutions of the Commission on Higher Education.


title: People's Television Network

text: PTNI has also been the official broadcaster of major international sports competitions. It has covered the Olympic Games, starting with the 1988 Olympic Games in Seoul, except Barcelona Olympics in 1992 (covered by ABS-CBN), the Beijing Olympics in 2008 (covered by Solar Entertainment Corporation), London Olympics in 2012, Rio Olympics in 2016 and the Tokyo Olympics in 2021(covered by TV5). PTNI was the carrying station of the South East Asian Games in 1991, 1995, 2005, and 2007, missing from 2009, and resuming at 2017; Asian Games from 1986 to 2006 and the IAAF World Championships in Athletics in 2007 and 2009. During these coverage, PTNI has received commendations from various sports organizations. In 1996, it received a presidential citation from then President Fidel V. Ramos for the successful coverage of the Atlanta Olympic Games.


title: People's Television Network

text: On July 16, 2001, under the new management appointed by President Gloria Macapagal Arroyo, PTNI adopted the new image and name National Broadcasting Network (NBN) carrying a new slogan "One People. One Nation. One Vision." for a new image in line with its new programming thrusts, they continued the new name until the Aquino administration in 2010.


title: People's Television Network

text: NBN expanded its broadcast reach with the launching of NBN World on February 19, 2003, in cooperation with the Television and Radio Broadcasting Service (TARBS). This global expansion signals new directions for NBN as it becomes accessible to the rest of the world, particularly the millions of Filipinos overseas. NBN can be seen in Australia, North America and the Asia-Pacific. NBN was transmitted via satellite nationwide using Agila 2 before moving to ABS 1 (now ABS 2) in September 2011 (Now in Telstar 18 as of present time).


title: People's Television Network

text: Before the year 2010, NBN main studios in Quezon City and its regional stations in Baguio, Cebu and Naga will be equipped with the most modern news gathering equipment for them to compete with the major television networks. Also, a new Harris Transmitter has been installed. NBN's transmitter power shall be increased from 40 kW to 60 kW (However, few years later, in 2013, the network was downgraded its transmitting power output from 60 kW to 50 kW later then back to 40 kW or 25 kW in June 2016 to control power costs). NBN's digital channel is now available on UHF channel 48 (moved to UHF channel 42 and later UHF channel 14) using the Japanese digital TV standard.


title: People's Television Network

text: In 2011, NBN continued to enhance its digital broadcasting capabilities with equipment donated from the Japanese government.


title: People's Television Network

text: This equipment will also allow NBN to begin broadcasting emergency alerts when necessary (similar to the Emergency Alert System in the United States, but it is more likely, due to the usage of the Japanese digital TV standard, that the system would be based on the Japanese J-Alert system).


title: People's Television Network

text: Although the branding is officially known as the National Broadcasting Network, in August 2011, the "People's Television" brand which was retired in 2001 was reintroduced as a secondary brand until a few months later, PTNI became a primary brand, and the branding National Broadcasting Network was retired.


title: People's Television Network

text: On July 2, 2012, PTV launched its new logo and its new slogan "Telebisyon ng Bayan (lit. People's Television)" with a Balangay station ID.


title: People's Television Network

text: In March 2013, President Benigno Aquino III signed Republic Act 10390, superseding the old Charter, in which the management will be under reorganization and the government will infuse P5 billion to PTV to revitalize the station and make it "digital competitive" in spite of GMA Network's questionings of the law, fearing that it may enter competition. PTV has earned P59 million generated revenues for the first and second quarter of 2014.


title: People's Television Network

text: PTV has started their modernization program since 2012, including the acquisition of studio technical equipment, cameras, vehicles and high-powered transmitter for the main office in Visayas Avenue, Quezon City, together with few regional offices, included in their plans is the rehabilitation of PTV stations in Naga, Baguio, Iloilo, Cebu, Zamboanga, Cotabato, Calbayog, Tacloban, Pagadian and Dumaguete.


title: People's Television Network

text: Despite being operated with little or no budget, the new PTV had still managed to cover the biggest events in the country including the 2013 National and Local Elections, 2013 Central Visayas earthquake, Typhoon Ondoy (Ketsana), the visits of US President Barack Obama and Pope Francis, the APEC Philippines 2015. and the 2016 National and Local Elections. PTV also reintroduced its broadcast of the station's digital clock embedded on the lower left part of the screen in 2013, 7 years after Radio Philippines Network abandoned its longstanding practice for 32 years.


title: People's Television Network

text: In 2005, several Radio ng Bayan programs were also aired on then NBN with the Visayas Avenue studios used for some of them, under the "Tinig ng Bayan" banner. In 2014, the partnership between the two was revived with an all new morning news program, "RadyoBisyon", which is also simulcast on IBC-13 and heard in Radyo ng Bayan stations nationwide, broadcasting from its own studios and the RnB radio booth. Before the launch, RnB - as part of the Philippine Broadcasting Service - had already, since 2012, been simulcasting "News @ 1" and "News @ 6" on radio on all its stations.


title: People's Television Network

text: Under then-Presidential Communications Secretary Martin Andanar, the network was set to implement a revitalization plan to improve the station's programming and expand its nationwide presence, to be at par with state-media outfits BBC of United Kingdom, NHK of Japan, PBS of the United States of America, CBC of Canada and ABC Australia. He will be also implement editorial independence in the station. Andanar noted that teams from state-owned networks ABC and BBC will be sent to the Philippines to help with PTV's revitalization plan. He also tapped a former executive of ABS-CBN News, Charie Villa, to oversee the news division of PTV-4. However, Villa turned down the offer due to her strong opposition on key national issues.


title: People's Television Network

text: In June, President-elect Rodrigo Duterte stated that he will no longer conduct press conferences, and instead air announcements and press releases through PTV. Two months later, his promise was retracted, and the press interviews and conferences resumed on the channel.


title: People's Television Network

text: On June 17, 2016, the PTV and Japan signed a 38.20 million yen worth of Cultural Grant Aid and acquisition of programs from NHK to improve the network's overall programming. Within weeks, NHK's "Japan Video Topics" returned to the channel after several years. However, 1 year later on July 11, 2017, PTV and the Japan International Cooperation Agency (JICA) signed an agreement on another cultural grant aid for the planned broadcast of 600 educational and cultural programs from Japanese state-owned broadcaster NHK in the channel thru the ISDB-T digital TV standard.


title: People's Television Network

text: On July 7, 2016, PTNI Chairperson Maria Cristina C. Mariano, PTNI Vice-chairperson Veronica Baluyut-Jimenez, Network General Manager Albert D. Bocobo, and Board Directors Josemaria Claro and Cindy Rachelle Igmat, all appointed during the Aquino administration, tendered their resignation to Duterte through Andanar. and followed by the "Telebisyon ng Bayan" slogan was dropped from the logo, retaining the 2012 PTV logo until April 2, 2017. 3 days later, former PTNI acting News and Administrative Division head, Alex Rey V. Pal takes over as Officer in Charge of the network temporary and while Bocobo retains as General Manager of the Network until November 24, 2016. Andanar also announced the appointment of Dino Antonio C. Apolonio, former vice president for Production Engineering of TV5 as the incoming Network General Manager. However, 4 months later, on November 25, 2016, it was officially announced that PTV named Apolonio was appointed as the Network General Manager replacing Bocobo and he also assumed as Chief Operating Officer (COO) of the network, while the network's board member Claro was also appointed as Network Vice Chairperson.


title: People's Television Network

text: GOCC Undersecretary George Apacible announced during the network's Christmas party on December 20, 2016, that PTV sets its sights to notch higher in the television ratings by 2017 as the network targets the #3 spot currently held by TV5.


title: People's Television Network

text: On January 4, 2017, PCOO Secretary Martin Andanar announced that PTV's transmitter power output was increased from 25 kW to 60 kW for a clearer and better signal reception.


title: People's Television Network

text: On January 12, 2017, PTV and Japan-based IT company NEC signed an agreement for the commissioning of new digital transmitters and head-end system for the network's transition to digital terrestrial television. The network is all set to roll-out its digital terrestrial television service initially on six locations in the Philippines by introducing DTT transmitters and compression multiplexers in Manila, Baguio, Naga, Guimaras, Cebu and Davao in the Philippines by July 2017. 1 year later on January 10, 2018, Minister for Internal Affairs and Communications of Japan Seiko Noda and PCOO Secretary Martin Andanar together with PCOO officials visited at the PTV studios in Quezon City for the ceremonial Switch on of PTV's Digital Terrestrial Television Broadcast.


title: People's Television Network

text: A new logo of PTV, which was conceptualized by former PTV senior graphic artist LA (replacing its 2012 version), was previewed on the March 11, 2017, edition of PTV Newsbreak in the occasion of the inauguration of the station's Cordillera hub in Baguio. Along with the inauguration, the government turned over brand-new Outside Broadcast and Digital Satellite News Gathering Vans. The inauguration was led by President Duterte and PCO Secretary Martin Andanar. The transition to the new logo started on April 3 of the same year, when PTV released its wordmark logo, its corresponding station ID, and new graphics. Finally, its official logo, which represents the elements of the Philippine flag and also previewed at the inauguration of its very own Cordillera hub, was launched upon the station's sign-on on June 28, 2017. The network also launched its new slogan "Para sa Bayan (lit. For the Nation)", which was already used since July 2016 (prior to the re-branding).


title: People's Television Network

text: On June 3, 2017, PTV began simulcasting CGTN programs, part of its staff having visited its facilities earlier in the year as part of a number of training visits to state and private TV channels worldwide, and later started their full-blown broadcast in 1080i Full HD on their Digital Terrestrial Television Broadcast on April 18, 2018.


title: People's Television Network

text: A year since the network introduced their new logo, the new-look PTV was relaunched to the public in a trade launch on July 12, 2018, at the Marquis Events Place, Taguig. During the trade launch, the network showcased their technological achievements since the new administration took over the network's operations in 2016, from upgrading the technical and transmission equipment into HD and Digital TV–ready to their social media presence and their revitalized program line-up from news & public affairs programs, local newscasts from Cordillera and Davao, documentaries, sports, entertainment, and public service shows co-produced by the network and their partner government agencies, along with upcoming local and foreign programs, including those from China, Japan, South Korea and the ASEAN Region. PTV went on a major visual facelift with the airing of their new Station ID entitled "Kasama Mo, Para sa Bayan" (lit. Your Companion, For The Nation), which started on the following day.


title: People's Television Network

text: In his first State of the Nation Address, President Rodrigo Duterte proposed the creation of a law that will merge and integrate the People's Television Network and the Philippine Broadcasting Service into a single entity, to be called the People's Broadcasting Corporation (PBC), similar to the BBC. The proposed PBC will also launch the country's first Specialty channels for the Muslim minority (Salaam TV) and the Lumad peoples of the south. PBC will also put up TV broadcasting hubs in Visayas and Mindanao, aside from its main headquarters in Luzon and TV broadcast studios within its major cities. Salaam TV began test broadcasting on July 10, 2017.


title: People's Television Network

text: Generally, PTV airs locally produced news and public affairs programs and documentaries, sports, public service and entertainment programs, in addition to foreign content coming from their counterparts from China, Japan, South Korea and the ASEAN–member countries, and blocktime programs. The network serves as the main television broadcast arm of the government of the Republic of the Philippines and it is part of the Office of the Press Secretary. Its programming is diverse from other state-controlled network IBC since PTV focuses on its function as the government's voice, while IBC is the general entertainment channel which also airs replays of select PTV programs.


title: People's Television Network

text: The PTV Website is another initiative of People's Television Network to reach out to all Filipinos worldwide using the internet. It is solely maintained by DO of the New Media Unit. The PTV website features free live video streaming of PTV's flagship station programs from Quezon City, Philippines.


title: Holy Spirit

text: In Judaism, the Holy Spirit is the divine force, quality, and influence of God over the Universe or over his creatures. In Nicene Christianity, the Holy Spirit or Holy Ghost is the third person of the Trinity. In Islam, the Holy Spirit acts as an agent of divine action or communication. In the Baha’i Faith, the Holy Spirit is seen as the intermediary between God and man and "the outpouring grace of God and the effulgent rays that emanate from His Manifestation".


title: Holy Spirit

text: The Hebrew Bible contains the term "spirit of God" ("ruach hakodesh") which by Jews is interpreted in the sense of the might of a unitary God. This interpretation is different from the Christian conception of the Holy Spirit as one person of the Trinity.


title: Holy Spirit

text: The Christian concept tends to emphasize the moral aspect of the Holy Spirit more than Judaism, evident in the epithet Spirit that appeared in Jewish religious writings only relatively late but was a common expression in the Christian New Testament. Based on the Old Testament, the book of Acts emphasizes the power of ministry aspect of the Holy Spirit.


title: Holy Spirit

text: According to theologian Rudolf Bultmann, there are two ways to think about the Holy Spirit: "animistic" and "dynamistic". In animistic thinking, it is "an independent agent, a personal power which like a demon can fall upon a man and take possession of him, enabling him or compelling him to perform manifestations of power" while in dynamistic thought it "appears as an impersonal force which fills a man like a fluid". Both kinds of thought appear in Jewish and Christian scripture, but animistic is more typical of the Old Testament whereas dynamistic is more common in the New Testament. The distinction coincides with the Holy Spirit as either a temporary or permanent gift. In the Old Testament and Jewish thought, it is primarily temporary with a specific situation or task in mind, whereas in the Christian concept the gift resides in persons permanently.


title: Holy Spirit

text: On the surface, the Holy Spirit appears to have an equivalent in non-Abrahamic Hellenistic mystery religions. These religions included a distinction between the spirit and psyche, which is also seen in the Pauline epistles. According to proponents of the History of religions school, the Christian concept of the Holy Spirit cannot be explained from Jewish ideas alone without reference to the Hellenistic religions. And according to theologian Erik Konsmo, the views "are so dissimilar that the only legitimate connection one can make is with the Greek term πνεῦμα ["pneuma", Spirit] itself".


title: Holy Spirit

text: Another link with ancient Greek thought is the Stoic idea of the spirit as "anima mundi –" or world soul – that unites all people. Some believe that this can be seen in Paul's formulation of the concept of the Holy Spirit that unites Christians in Jesus Christ and love for one another, but Konsmo again thinks that this position is difficult to maintain. In his Introduction to the 1964 book "Meditations", the Anglican priest Maxwell Staniforth wrote:


title: Holy Spirit

text: Another Stoic concept which offered inspiration to the Church was that of "divine Spirit". Cleanthes, wishing to give more explicit meaning to Zeno's "creative fire", had been the first to hit upon the term "pneuma", or "spirit", to describe it. Like fire, this intelligent "spirit" was imagined as a tenuous substance akin to a current of air or breath, but essentially possessing the quality of warmth; it was immanent in the universe as God, and in man as the soul and life-giving principle. Clearly it is not a long step from this to the "Holy Spirit" of Christian theology, the "Lord and Giver of life", visibly manifested as tongues of fire at Pentecost and ever since associated – in the Christian as in the Stoic mind – with the ideas of vital fire and beneficent warmth.


title: Holy Spirit

text: The Hebrew language phrase "ruach ha-kodesh" (Hebrew: רוח הקודש, "holy spirit" also transliterated "ruaḥ ha-qodesh") is used in the Hebrew Bible and Jewish writings to refer to the spirit of YHWH (רוח יהוה). The Hebrew terms "ruacḥ qodshəka", "thy holy spirit" (רוּחַ קָדְשְׁךָ), and "ruacḥ qodshō", "his holy spirit" (רוּחַ קָדְשׁוֹ), also occur (when a possessive suffix is added the definite article "ha" is dropped).