title: Alfred Stieglitz

text: He also continued to take his own photographs. Late in 1896, he hand-pulled the photogravures for a first portfolio of his own work, "Picturesque Bits of New York and Other Studies". He continued to exhibit in shows in Europe and the U.S., and by 1898 he had gained a solid reputation as a photographer. He was paid $75 () for his favorite print, "Winter – Fifth Avenue". Ten of Stieglitz's prints were selected that year for the first Philadelphia Photographic Salon, where he met and then became friends of Gertrude Käsebier and Clarence H. White.


title: Alfred Stieglitz

text: On September 27, 1898, Stieglitz's daughter, Katherine "Kitty", was born. Using Emmy's inheritance, the couple hired a governess, cook and a chambermaid. Stieglitz worked at the same pace as before the birth of his daughter, and as a result, the couple predominantly lived separate lives under the same roof.


title: Alfred Stieglitz

text: In November 1898, a group of photographers in Munich, Germany, mounted an exhibit of their work in conjunction with a show of graphic prints from artists that included Edvard Munch and Henri de Toulouse-Lautrec. They called themselves the "Secessionists", a term that Stieglitz latched onto for both its artistic and its social meanings. Four years later, he used this same name for a newly formed group of pictorial photographers that he organized in New York.


title: Alfred Stieglitz

text: In May 1899, Stieglitz was given a one-man exhibition, consisting of eighty-seven prints, at the Camera Club. The strain of preparing for this show, coupled with the continuing efforts to produce "Camera Notes", took a toll on Stieglitz's health. To lessen his burden he brought in his friends Joseph Keiley and Dallet Fugeut, neither of whom were members of the Camera Club, as associate editors of "Camera Notes". Upset by this intrusion from outsiders, not to mention their own diminishing presence in the Club's publication, many of the older members of the Club began to actively campaign against Stieglitz's editorial authority. Stieglitz spent most of 1900 finding ways to outmaneuver these efforts, embroiling him in protracted administrative battles.


title: Alfred Stieglitz

text: One of the few highlights of that year was Stieglitz's introduction to a new photographer, Edward Steichen, at the First Chicago Photographic Salon. Steichen, originally a painter, he brought many of his artistic instincts to photography. The two became good friends and colleagues.


title: Alfred Stieglitz

text: Due to the continued strain of managing the Camera Club, by the following year he collapsed in the first of several mental breakdowns. He spent much of the summer at the family's Lake George home, Oaklawn, recuperating. When he returned to New York, he announced his resignation as editor of "Camera Notes".


title: Alfred Stieglitz

text: Photographer Eva Watson-Schütze urged him to establish an exhibition that would be judged solely by photographers who, unlike painters and other artists, knew about photography and its technical characteristics. In December 1901, he was invited by Charles DeKay of the National Arts Club to put together an exhibition in which Stieglitz would have "full power to follow his own inclinations." Within two months Stieglitz had assembled a collection of prints from a close circle of his friends, which, in homage to the Munich photographers, he called the Photo-Secession. Stieglitz was not only declaring a secession from the general artistic restrictions of the era, but specifically from the official oversight of the Camera Club. The show opened at the Arts Club in early March 1902, and it was an immediate success.


title: Alfred Stieglitz

text: He began formulating a plan to publish a completely independent magazine of pictorial photography to carry forth the artistic standards of the Photo-Secessionist. By July, he had fully resigned as editor of "Camera Notes", and one month later he published a prospectus for a new journal he called "Camera Work". He was determined it would be "the best and most sumptuous of photographic publications". The first issue was printed four months later, in December 1902, and like all of the subsequent issues it contained beautiful hand-pulled photogravures, critical writings on photography, aesthetics and art, and reviews and commentaries on photographers and exhibitions. "Camera Work" was "the first photographic journal to be visual in focus."


title: Alfred Stieglitz

text: Stieglitz was a perfectionist, and it showed in every aspect of "Camera Work". He advanced the art of photogravure printing by demanding unprecedentedly high standards for the prints in "Camera Work". The visual quality of the gravures was so high that when a set of prints failed to arrive for a Photo-Secession exhibition in Brussels, a selection of gravures from the magazine was hung instead. Most viewers assumed they were looking at the original photographs.


title: Alfred Stieglitz

text: Throughout 1903, Stieglitz published "Camera Work" and worked to exhibit his own work and that of the Photo-Secessionists while dealing with the stresses of his home life. Luxembourgish American photographer, Edward Steichen, who later would curate the landmark exhibit The Family of Man, was the most frequently featured photographer in the magazine. Fuguet, Keiley, and Strauss, Stieglitz’s three associate editors at "Camera Notes", he brought with him to "Camera Work". Later, he said that he alone individually wrapped and mailed some 35,000 copies of "Camera Work" over the course of its publication.


title: Alfred Stieglitz

text: By 1904, Stieglitz was again mentally and physically exhausted and decided to take his family to Europe in May. He planned a grueling schedule of exhibitions, meetings and excursions and collapsed almost upon arrival in Berlin, where he spent more than a month recuperating. He spent much of the rest of 1904 photographing Germany while his family visited their relations there. On his way back to the U. S. Stieglitz stopped in London and met with leaders of the Linked Ring but was unable to convince them to set up a chapter of their organization in America (with Stieglitz as the director).


title: Alfred Stieglitz

text: On November 25, 1905, the "Little Galleries of the Photo-Secession" opened on Fifth Avenue with one hundred prints by thirty-nine photographers. Steichen had recommended and encouraged Stieglitz, on his return from Europe, to lease out three rooms across from Steichen's apartment that the pair felt would be perfect to exhibit photography. The gallery became an instant success, with almost fifteen thousand visitors during its first season and, more importantly, print sales that totaled nearly $2,800. Work by his friend Steichen, who had an apartment in the same building, accounted for more than half of those sales.


title: Alfred Stieglitz

text: Stieglitz continued to focus his efforts on photography, at the expense of his family. Emmy, who hoped she would one day earn Stieglitz's love, continued giving him an allowance from her inheritance.


title: Alfred Stieglitz

text: In the October 1906 issue of "Camera Work", his friend Joseph Keiley said: "Today in America the real battle for which the Photo-Secession was established has been accomplished – the serious recognition of photography as an additional medium of pictorial expression."


title: Alfred Stieglitz

text: Two months later the 42 year-old Stieglitz met 28 year-old artist Pamela Colman Smith, who wished to have her drawings and watercolors shown at his gallery. He decided to show her work because he thought it would be "highly instructive to compare drawings and photographs in order to judge photography's possibilities and limitations". Her show opened in January 1907, with far more visitors to the gallery than any of the previous photography shows, and soon all of her exhibited works were sold. Stieglitz, hoping to capitalize on the popularity of the show, took photographs of her art work and issued a separate portfolio of his platinum prints of her work.


title: Alfred Stieglitz

text: In the late spring of 1907, Stieglitz collaborated on a series of photographic experiments with his friend Clarence H. White. They took several dozen photographs of two clothed and nude models and printed a selection using unusual techniques, including toning, waxing and drawing on platinum prints. According to Stieglitz, it overcame "the impossibility of the camera to do certain things."


title: Alfred Stieglitz

text: He made less than $400 for the year due to declining "Camera Work" subscriptions and the gallery's low profit margin. For years, Emmy had maintained an extravagant lifestyle that included a full-time governess for Kitty and expensive European vacations. In spite of her father's concerns about his growing financial problems, the Stieglitz family and their governess once again sailed across the Atlantic.


title: Alfred Stieglitz

text: While on his way to Europe, Stieglitz took what is recognized not only as his signature image but also as one of the most important photographs of the 20th century. Aiming his camera at the lower class passengers in the bow of the ship, he captured a scene he titled "The Steerage". He did not publish or exhibit it for four years.


title: Alfred Stieglitz

text: While in Europe, Stieglitz saw the first commercial demonstration of the Autochrome Lumière color photography process, and soon he was experimenting with it in Paris with Steichen, Frank Eugene and Alvin Langdon Coburn. He took three of Steichen's Autochromes with him to Munich in order to have four-color reproductions made for insertion into a future issue of "Camera Work".


title: Alfred Stieglitz

text: He was asked to resign from the Camera Club, but due to protests by other members he was reinstated as a life member. Just after he presented a groundbreaking show of Auguste Rodin's drawings, his financial problems forced him to close the Little Galleries for a brief period, until February 1908, when it was reopened under the new name "291".


title: Alfred Stieglitz

text: Stieglitz deliberately interspersed exhibitions of what he knew would be controversial art, such as Rodin's sexually explicit drawings, with what Steichen called "understandable art", and with photographs. The intention was to "set up a dialogue that would enable 291 visitors to see, discuss and ponder the differences and similarities between artists of all ranks and types: between painters, draftsmen, sculptors and photographers; between European and American artists; between older or more established figures and younger, newer practitioners." During this same period the National Arts Club mounted a "Special Exhibition of Contemporary Art" that included photographs by Stieglitz, Steichen, Käsebier and White along with paintings by Mary Cassatt, William Glackens, Robert Henri, James McNeill Whistler and others. This is thought to have been the first major show in the U.S. in which photographers were given equal ranking with painters.


title: Alfred Stieglitz

text: For most of 1908 and 1909, Stieglitz spent his time creating shows at 291 and publishing "Camera Work". There were no photographs taken during this period that appear in the definitive catalog of his work, "Alfred Stieglitz: The Key Set".


title: Alfred Stieglitz

text: In May 1909, Stieglitz's father Edward died, and in his will he left his son the then significant sum of $10,000 (). Stieglitz used this new infusion of cash to keep his gallery and "Camera Work" in business for the next several years.


title: Alfred Stieglitz

text: During this period, Stieglitz met Marius de Zayas, an energetic and charismatic artist from Mexico, who became one of his closest colleagues, assisting both with shows at the gallery and with introducing Stieglitz to new artists in Europe. As Stieglitz's reputation as a promoter of European modern art increased, he soon was approached by several new American artists hoping to have their works shown. Stieglitz was intrigued by their modern vision, within months Alfred Maurer, John Marin and Marsden Hartley all had their works hanging on the walls of 291.


title: Alfred Stieglitz

text: In 1910, Stieglitz was invited by the director of the Albright Art Gallery to organize a major show of the best of contemporary photography. Although an announcement of an open competition for the show was printed in "Camera Work", the fact that Stieglitz would be in charge of it generated a new round of attacks against him. An editorial in "American Photography" magazine claimed that Stieglitz could no longer "perceive the value of photographic work of artistic merit which does not conform to a particular style which is so characteristic of all exhibitions under his auspices. Half a generation ago this school [the Photo-Secession] was progressive, and far in advance of its time. Today it is not progressing, but is a reactionary force of the most dangerous type."


title: Alfred Stieglitz

text: Stieglitz wrote to fellow photographer George Seeley "The reputation, not only of the Photo-Secession, but of photography is at stake, and I intend to muster all the forces available to win out for us." The exhibition opened in October with more than 600 photographs. Critics generally praised the beautiful aesthetic and technical qualities of the works. However, his critics found that the vast majority of the prints in the show were from the same photographers Stieglitz had known for years and whose works he had exhibited at 291. More than five hundred of the prints came from only thirty-seven photographers, including Steichen, Coburn, Seeley, White, F. Holland Day, and Stieglitz himself.


title: Alfred Stieglitz

text: In the January 1911 edition of "Camera Work", Stieglitz, dismissive of what he perceived as commercialism, reprinted a review of the Buffalo show with disparaging words about White and Käsebier's photos. White never forgave Stieglitz. He started his own school of photography, and Käsebier and White co-founded the "Pictorial Photographers of America".


title: Alfred Stieglitz

text: Throughout 1911 and early 1912, Stieglitz organized ground-breaking modern art exhibits at 291 and promoted new art along with photography in the pages of "Camera Work". By the summer of 1912, he was so enthralled with non-photographic art that he published an issue of "Camera Work" (August 1912) devoted solely to Matisse and Picasso.


title: Alfred Stieglitz

text: In late 1912, painters Walter Pach, Arthur B. Davies and Walt Kuhn organized a modern art show, and Stieglitz lent a few modern art pieces from 291 to the show. He also agreed to be listed as an honorary vice-president of the exhibition along with Claude Monet, Odilon Redon, Mabel Dodge and Isabella Stewart Gardner. In February 1913, the watershed Armory Show opened in New York, and soon modern art was a major topic of discussion throughout the city. He saw the popularity of the show as a vindication of the work that he had been sponsoring at 291 for the past five years. He mounted an exhibition of his own photographs at 291 to run at the same time as the Armory Show. He later wrote that allowing people to see both photographs and modern paintings at the same time "afforded the best opportunity to the student and public for a clearer understanding of the place and purpose of the two media."


title: Alfred Stieglitz

text: In January 1914, his closest friend and coworker Joseph Keiley died, which left him distraught for many weeks. He was also troubled by the outbreak of World War I for several reasons. He was concerned about the safety of family and friends in Germany. He needed to find a new printer for the photogravures for "Camera Work", which had been printed in Germany for many years. The war caused a significant downturn in the American economy and art became a luxury for many people. By the end of the year, Stieglitz was struggling to keep both 291 and "Camera Work" alive. He published the April issue of "Camera Work" in October, but it would be more than a year before he had the time and resources to publish the next issue.


title: Alfred Stieglitz

text: In the meantime Stieglitz's friends de Zayas, Paul de Haviland, and Agnes Meyer convinced him that the solution to his problems was to take on a totally new project, something that would re-engage him in his interests. He published a new journal, called "291" after his gallery, that intended to be the epitome of avant-garde culture. While it was an aesthetic triumph, it was a financial disaster and ceased publication after twelve issues.


title: Alfred Stieglitz

text: During this period, Stieglitz became increasingly intrigued with a more modern visual aesthetics for photography. He became aware of what was going on in avant-garde painting and sculpture and found that pictorialism no longer represented the future – it was the past. He was influenced in part by painter Charles Sheeler and by photographer Paul Strand. In 1915, Strand, who had been coming to see shows at 291 for many years, introduced Stieglitz to a new photographic vision that was embodied by the bold lines of everyday forms. Stieglitz was one of the first to see the beauty and grace of Strand's style, and he gave Strand a major exhibit at 291. He also devoted almost the entire last issue of "Camera Work" to his photographs.


title: Alfred Stieglitz

text: In January 1916, Stieglitz was shown a portfolio of charcoal drawings by a young artist named Georgia O'Keeffe. Stieglitz was so taken by her art that without meeting O'Keeffe or even getting her permission to show her works he made plans to exhibit her work at 291. The first that O'Keeffe heard about any of this was from another friend who saw her drawings in the gallery in late May of that year. She finally met Stieglitz after going to 291 and chastising him for showing her work without her permission.


title: Alfred Stieglitz

text: Soon thereafter O'Keeffe met Paul Strand, and for several months she and Strand exchanged increasingly romantic letters. When Strand told his friend Stieglitz about his new yearning, Stieglitz responded by telling Strand about his own infatuation with O'Keeffe. Gradually Strand's interest waned, and Stieglitz's escalated. By the summer of 1917 he and O'Keeffe were writing each other "their most private and complicated thoughts", and it was clear that something very intense was developing.


title: Alfred Stieglitz

text: The year 1917 marked the end of an era in Stieglitz's life and the beginning of another. In part because of changing aesthetics, the changing times brought on by the war and because of his growing relationship with O'Keeffe, he no longer had the interest or the resources to continue what he had been doing for the past decade. Within the period of a few months, he disbanded what was left of the Photo-Secession, ceased publishing "Camera Work" and closed the doors of 291. It was also clear to him that his marriage to Emmy was over. He had finally found "his twin", and nothing would stand in his way of the relationship he had wanted all of his life.


title: Alfred Stieglitz

text: In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks. By the end of July they were in the same bed together, and by mid-August when they visited Oaklawn "they were like two teenagers in love. Several times a day they would run up the stairs to their bedroom, so eager to make love that they would start taking their clothes off as they ran."


title: Alfred Stieglitz

text: Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art.


title: Alfred Stieglitz

text: O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording."


title: Alfred Stieglitz

text: In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. It was in the catalog for this show that Stieglitz made his famous declaration: "I was born in Hoboken. I am an American. Photography is my passion. The search for Truth my obsession." What is less known is that he conditioned this statement by following it with these words:


title: Alfred Stieglitz

text: PLEASE NOTE: In the above STATEMENT the following, fast becoming "obsolete", terms do not appear: ART, SCIENCE, BEAUTY, RELIGION, every ISM, ABSTRACTION, FORM, PLASTICITY, OBJECTIVITY, SUBJECTIVITY, OLD MASTERS, MODERN ART, PSYCHOANALYSIS, AESTHETICS, PICTORIAL PHOTOGRAPHY, DEMOCRACY, CEZANNE, "291", PROHIBITION. The term TRUTH did creep in but it may be kicked out by any one.


title: Alfred Stieglitz

text: In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said:


title: Alfred Stieglitz

text: I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…


title: Alfred Stieglitz

text: By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as "Equivalents".


title: Alfred Stieglitz

text: Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico.


title: Alfred Stieglitz

text: In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union."


title: Alfred Stieglitz

text: In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor."


title: Alfred Stieglitz

text: At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society.


title: Alfred Stieglitz

text: In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz." Only one small painting by O'Keeffe was sold during the three-week exhibit.


title: Alfred Stieglitz

text: Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, "The Intimate Gallery," which he nicknamed "The Room" because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery.


title: Alfred Stieglitz

text: In 1927, Stieglitz became infatuated with the 22 year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day.


title: Alfred Stieglitz

text: O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946.


title: Alfred Stieglitz

text: In early 1929, Stieglitz was told that the building that housed the Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship.


title: Alfred Stieglitz

text: In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened "An American Place", the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates.


title: Alfred Stieglitz

text: In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art.


title: Alfred Stieglitz

text: Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless."


title: Alfred Stieglitz

text: In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium.


title: Alfred Stieglitz

text: The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico.


title: Alfred Stieglitz

text: In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period.


title: Alfred Stieglitz

text: In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.


title: Alfred Stieglitz

text: Stieglitz produced more than 2,500 mounted photographs over his career. After his death, O'Keeffe assembled a set of what she considered the best of his photographs that he had personally mounted. In some cases she included slightly different versions of the same image, and these series are invaluable for their insights about Stieglitz's aesthetic composition. In 1949, she donated the first part of what she called the "key set" of 1,317 Stieglitz photographs to the National Gallery of Art in Washington, DC. In 1980, she added to the set another 325 photographs taken by Stieglitz of her, including many nudes. Now numbering 1,642 photographs, it is the largest, most complete collection of Stieglitz's work. In 2002 the National Gallery published a two-volume, 1,012-page catalog that reproduced the complete key set along with detailed annotations about each photograph.


title: Alfred Stieglitz

text: In 2019, the National Gallery published an updated, Online Edition of the "Alfred Stieglitz Key Set".


title: Chauchat

text: The Chauchat ("show-sha", ) was the standard light machine gun or "machine rifle" of the French Army during World War I (1914–18). Its official designation was "Fusil Mitrailleur Modele 1915 CSRG" ("Machine Rifle Model 1915 CSRG"). Beginning in June 1916, it was placed into regular service with French infantry, where the troops called it the FM Chauchat, after Colonel Louis Chauchat, the main contributor to its design. The Chauchat in 8mm Lebel was also extensively used in 1917–18 by the American Expeditionary Forces (A.E.F.), where it was officially designated as the "Automatic Rifle, Model 1915 (Chauchat)". A total of 262,000 Chauchats were manufactured between December 1915 and November 1918, including 244,000 chambered for the 8mm Lebel service cartridge, making it the most widely manufactured automatic weapon of World War I. The armies of eight other nations—Belgium, Finland, Greece, Italy, Poland, Romania, Russia, and Serbia—also used the Chauchat machine rifle in fairly large numbers during and after World War I.


title: Chauchat

text: The Chauchat was one of the first light, automatic rifle-caliber weapons designed to be carried and fired by a single operator and an assistant, without a heavy tripod or a team of gunners. It set a precedent for several subsequent 20th-century firearm projects, being a portable, yet full-power automatic weapon built inexpensively and in very large numbers. The Chauchat combined a pistol grip, an in-line stock, a detachable magazine, and a selective fire capability in a compact package of manageable weight (20 pounds) for a single soldier. Furthermore, it could be routinely fired from the hip and while walking (marching fire). The Chauchat is the only mass produced fully-automatic weapon actuated by long recoil, a Browning-designed system already applied in 1906 to the Remington Model 8 semi-automatic rifle: extraction and ejection of the empties takes place when the barrel returns forward, while the bolt is retained in the rear position. Afterwards the barrel trips a lever which releases the bolt and allows it to chamber another round.


title: Chauchat

text: The muddy trenches of northern France exposed a number of weaknesses in the Chauchat's design. Construction had been simplified to facilitate mass production, resulting in low quality of many metal parts. The magazines in particular were the cause of about 75% of the stoppages or cessations of fire; they were made of thin metal and open on one side, allowing for the entry of mud and dust. The weapon also ceased to function when overheated, the barrel sleeve remaining in the retracted position until the gun had cooled off. Consequently, in September 1918, barely two months before the Armistice of November 11, the A.E.F. in France had already initiated the process of replacing the Chauchat with the M1918 Browning Automatic Rifle. Shortly after World War I, the French army replaced the Chauchat with the new gas-operated Mle 1924 light machine gun.


title: Chauchat

text: It was mass manufactured during World War I by two reconverted civilian plants: "Gladiator" and "Sidarme". Besides the 8mm Lebel version, the Chauchat machine rifle was also manufactured in U.S. .30-06 Springfield and in 7.65×53mm Argentine Mauser caliber to arm the American Expeditionary Forces (A.E.F.) and the Belgian Army, respectively. The Belgian military did not experience difficulties with their Chauchats in 7.65mm Mauser and kept them in service into the early 1930s, as did the Polish Army. Conversely, the Chauchat version in U.S. .30-06 made by "Gladiator" for the A.E.F., the Model 1918, proved to be fundamentally defective and had to be withdrawn from service. The weapon has a poor reputation in some quarters, with some experts assessing it as the worst machine gun ever fielded. Although this may be the case, outside of the muddy conditions of the trenches, many say the gun is easy to control, has a good sight picture, and is actually quite reliable when not jammed with mud and dirt.


title: Chauchat

text: The design of the Chauchat dates back to 1903, and its long recoil operation is based on the John Browning-designed Remington Model 8 semi-automatic rifle of 1906, not (as so often repeated in the past) on the later designs (1910) of Rudolf Frommer, the Hungarian inventor of the commercial Frommer Stop pistol. The Chauchat machine rifle project was initiated between 1903 and 1910 in a French Army weapon research facility located near Paris: Atelier de Construction de Puteaux (APX). This development was aiming at creating a very light, portable automatic weapon served by one man only, yet firing the 8 mm Lebel service ammunition. The project was led from the beginning by Colonel Louis Chauchat, a graduate from Ecole Polytechnique, assisted by senior armorer Charles Sutter. Not less than eight trial prototypes were tested at APX, between 1903 and 1909. As a result, a small series (100 guns) of 8 mm Lebel CS (Chauchat-Sutter) machine rifles was ordered in 1911, then manufactured between 1913 and 1914 by Manufacture d'armes de Saint-Étienne (MAS). Because they were light, they were used temporarily during the early part of World War I to arm observation crews on French military aircraft. Only one CS machine rifle is known to have survived in a Prague museum.


title: Chauchat

text: In 1914, when World War I broke out, French troops did not operate any light machine gun. It was clear that this type of weapon had become indispensable in modern warfare, because of the increase in firepower it could provide to an infantry section. Spurred by General Joseph Joffre, it was decided to adopt the Chauchat, above all else because the pre-war CS (Chauchat-Sutter) machine rifle was already in existence, thoroughly tested, and designed to fire the 8mm Lebel service ammunition. Furthermore, due to its projected low manufacturing costs and relative simplicity, the newly adopted (1915) CSRG machine rifle could be mass-produced by a converted peacetime industrial plant. The term CSRG is made up of the initials of Chauchat, Sutter, Ribeyrolles and Gladiator, the respective manufacturers. Paul Ribeyrolles was the general manager of the Gladiator company, a peacetime manufacturer of motor cars, motorcycles, and bicycles located in Pre-Saint-Gervais (a northern suburb of Paris). The fairly large Gladiator factory was thus converted into an arms manufacturer in 1915 and became the principal industrial producer of Chauchat machine rifles during World War I. Later on, in 1918, a subsidiary of Compagnie des forges et acieries de la marine et d'Homecourt named SIDARME and located in Saint-Chamond, Loire, also participated in the mass manufacture of CSRGs.


title: Chauchat

text: The Chauchat machine rifle or "automatic rifle" functioned on the long barrel recoil principle with a gas assist.


title: Chauchat

text: The Chauchat machine rifle (CSRG) delivered to the French Army fired the 8mm Lebel cartridge at the slow rate of 240 rounds per minute. At , the gun was much lighter than the contemporary portable light machine guns of the period, such as the Hotchkiss M1909 Benét–Mercié machine gun and the Lewis gun. It was a selective fire weapon, either on automatic or semi-automatic mode.


title: Chauchat

text: The Chauchat's construction was a mix of new, high quality components, re-used parts proven in other designs, and the shoddy and sub standard . This combination did not help in the reliability of the weapon. The recoiling barrel sleeve, as well as all the bolt moving parts, were precision milled from solid steel and always fully interchangeable. The barrels were standard Lebel rifle barrels that had been shortened from the muzzle end. The barrel radiators were made of ribbed cast aluminum. On the other hand, the outer breech housing was a simple tube, and the rest of the gun was built of stamped metal plates of mediocre quality. Side plate assemblies were held by screws that could become loose after prolonged firings. The sights were always misaligned on the Gladiator-made guns, creating severe aiming problems that had to be corrected by the gunners. The exact number on record of Chauchat machine rifles manufactured between 1916 and the end of 1918 is 262,300. The Gladiator factory manufactured 225,700 CSRGs in 8 mm Lebel plus 19,000 in the U.S. caliber .30-06 between April 1916 and November 1918. SIDARME manufactured 18,600 CSRGs, exclusively in 8mm Lebel, between October 1917 and November 1918. The SIDARME-manufactured Chauchats were generally better finished and better functioning than those made by Gladiator. The French Army had a stock of 63,000 CSRG's just before the Armistice.


title: Chauchat

text: The French military at the time considered the Chauchat's performance as inferior in comparison to the reliable heavy Hotchkiss M1914 machine gun. However, whereas the Hotchkiss was a weighty, tripod-mounted weapon, the Chauchat was a light, portable gun that could be mass-produced quickly, cheaply, and in very large numbers. It was also never intended to take the role of static defense of the heavy machine gun. On the contrary, it was designed to be a light, thus highly portable, automatic weapon that would increase the firepower of infantry squads while they progressed forward during assaults. A significant plus is that it could easily be fired while walking (marching fire), by hanging the Chauchat's sling over a shoulder hook located onto the gunner's upper left side of his Y–strap.


title: Chauchat

text: The CSRG 1915 Chauchat was operated with "Balle D" 8mm ammunition, which was standard for the French until 1932 when they went to an improved "Balle N" 8mm Lebel cartridge. The Chauchats, as they were retired, were not converted to the "Balle N", and as a result, they do not operate well with the "Balle N" cartridge (French World War I weapons converted to "Balle N" will have a noticeable "N" markings). Only "Balle D" 8mm should be used in the Chauchat 1915. The quickest way to identify the different cartridge is that the "Balle D" bullet is brass colored while the "Balle N" is a shiny silver.


title: Chauchat

text: The Mle 1915 Chauchat's performance on the battlefield drew decidedly mixed reviews from the users when the war was stagnating in the mud of the trenches in 1916. This brought about a survey, regiment by regiment, requested by General Pétain in late 1916; the survey's essential conclusion was that the open-sided half-moon magazines were defective and caused about two thirds of all stoppages. For instance, it was a common practice for the gunners to oil up the inside of the magazines to facilitate movement of the 8mm Lebel rounds. Also, loose earth, grit, and other particles easily entered the gun through these open-sided magazines, an ever-present risk in the muddy environment of the trenches. An insistence on using only good, undeformed magazines with strong springs was the most practical solution to this problem. Chauchat gunners were also known to load their magazines with 18 or 19 rounds, instead of the maximum 20, in order to avoid the dreaded first-round failure to feed. The Chauchat's long recoil system is often cited as a source of excessive stress on the gunner when firing, though recent and extensive firing tests have demonstrated that it is the Chauchat's ergonomics and its loose bipod, rather than its recoil, that makes it a difficult gun to keep on target beyond very short bursts. On most of the Gladiator-made guns, the sights also made the Chauchat shoot systematically too low and to the right, a failing which was soon recognized but never corrected. Overheating during uninterrupted periods of full automatic fire (about 120 rounds with the 8mm Lebel version) often resulted in the barrel sleeve assembly locking in the rear position due to thermal expansion, causing stoppage of fire until the gun had cooled off. Hence, French and US Army manuals recommended firing in short bursts or semi-auto. In 1918, the A.E.F. officially labeled the Chauchat in its user manuals as an "automatic rifle", a product of mistranslation of the term ""Fusil Mitrailleur"", instead of "Machine Gun Rifle", a more accurate description.


title: Chauchat

text: While rate of fire restrictions (250 rounds/minute) made the gun manageable in its 8mm Lebel version, the U.S. .30-06 version fired more powerful cartridges that exacerbated the problems of overheating. Furthermore, the 18,000 Chauchats in .30-06 delivered to the A.E.F. were not conversions of the French model. Rather, they were newly manufactured guns which had been delivered directly to the A.E.F. by the Gladiator factory. As documented from the original American and French military archives, most of these Mle 1918 Chauchats in .30-06 were flawed from the beginning due to incomplete chamber reaming and other dimensional defects acquired during the manufacturing process at the Gladiator factory. Very few .30-06 Chauchats reached the front lines of northern France; however, when they did, it was reportedly not uncommon for U.S. units to simply discard their Chauchats in favor of M1903 Springfield rifles and cease to function as an auto-rifle squad altogether. Whereas instruction manuals in both French and English for the 8mm Lebel Chauchat are still commonly found today, instruction manuals for the US 30-06 "American Chauchat" have never been seen in U.S. and French military archives or in private collections.


title: Chauchat

text: After the United States entered World War I in April 1917, the American Expeditionary Forces (AEF) arrived in France without automatic weapons or field artillery. Consequently, it turned to its French ally to purchase ordnance. General Pershing chose the Hotchkiss M1914 machine gun and the Chauchat machine rifle (designated as "Automatic Rifle, Model 1915 (Chauchat)" by the AEF and nicknamed the "Sho-Sho" by the troops) to equip U.S. infantry. Between August 1917 and the November 11, 1918 Armistice with Germany, the Gladiator factory delivered to the AEF 16,000 Chauchats in 8 mm Lebel and, late in 1918, 19,000 Chauchats in .30-06.


title: Chauchat

text: While the performance of the M1915 Chauchat in 8 mm Lebel was combat-effective, judging by the numbers of decorated U.S. Chauchat gunners found in the U.S. Divisional Histories, the performance of the M1918 Chauchat in .30-06 was soon recognized as abysmal (and in large part the reason for the gun's bad reputation). The most common problem was a failure to extract after the gun had fired only a few rounds and became slightly hot. A modern-day test firing of the M1918 .30-06 Chauchat was performed at Aberdeen Proving Grounds in July 1973, but no particular problem was described in the official report, which is accessible on open file. Conversely, an exhaustive firing test of the M1918 Chauchat in .30-06 was also carried out in 1994 near Chambersburg, Pennsylvania, by R. Keller and W. Garofalo. Their testing, which is reported in "The Chauchat Machine Rifle" volume, did expose severe extraction problems caused by incorrect chamber measurements and other substandard manufacturing. During World War I, in 1918, the preserved U.S. archival record also documents that American inspectors at the Gladiator factory had rejected about 40% of the .30-06 Chauchat production, while the remaining 60% proved problematic when they reached the front lines. Supplies of the newly manufactured and superior M1918 Browning Automatic Rifle (BAR) were allocated sparingly and only very late, during the Meuse-Argonne offensive, which began in late September 1918. Therefore, about 75% of the U.S. Divisions were still equipped with the Chauchat – in its original French M1915 version in 8 mm Lebel – at the time of the Armistice of November 11, 1918. It is also well documented that General Pershing had been holding back on the BAR until victory was certain, for fear it would be copied by Germany. However, it is also known that the very first BARs delivered had improperly tempered recoil springs, and had these guns been prematurely introduced during the summer of 1918, their employment may also have been problematic. One of the most significant accounts of the Chauchat's poor performance was from then-lieutenant Lemuel Shepherd, who was quoted saying:


title: Chauchat

text: As documented by World War I veteran Laurence Stallings (in "The Doughboys", 1963) and by U.S. Divisional Histories, the Medal of Honor was awarded to three American Chauchat gunners in 1918:


title: Chauchat

text: Several prototypes of dirt-proof, fully enclosed Chauchat magazines were successfully tested in May and June 1918, but came too late to be placed into service. Stronger open-sided standard magazines, as well as tailored canvas gun covers protecting the gun against mud during transport, had previously been issued in late 1917; as well as a flash hider. The initial two-man Chauchat team was considered effective and grew to a four-man squad by October 1917 (the squad leader, the gunner, the first ammo bearer who handled the magazines plus one additional ammo bearer). Both the gunner and the assistant gunner ("pourvoyeur", ammo bearer) carried at all times a .32 ACP Ruby pistol with three magazines, each one loaded with 9 rounds, as part of their regular equipment. The squad leader and the magazine carrier were both equipped with a rifle or with a Berthier carbine. The additional men provided assistance in carrying loaded magazines, helping manage malfunctions, and protecting the gunner, but mainly to carry more ammunition; thus boosting the combat load. This is still the basic layout of a modern infantry squad or fire-team, with the suppressive fire as the center of its combat formations.


title: Chauchat

text: The French infantry section/platoon took its modern form in the years 1916-1918. It was then equipped with six portable light machine guns (Chauchat) and four to six rifle grenade launchers (VB rifle grenade) and its "voltigeurs" started being equipped with semi-automatic rifles, some with scopes. This differentiation induces an interdependence of the men which increases the psychological resistance superior to that of the aligned bayonet-men of 1914. Above all, the infantry platoon can maneuver other than in line, as an articulated unit at intervals thanks to its autonomous combat groups. The qualitative leap in a few years is enormous and modern squads and platoons still function in the same manner, albeit with more sophisticated equipment such as portable radios and night vision devices.


title: Chauchat

text: A specially lightened assault order was introduced in June 1915. The pack was now to be left behind in the second line; instead, rations and spare ammunition were rolled up in a blanket and worn bandolier-style. Steel helmets were standard for the infantry in September 1915, in time for the Champagne offensive; standard issue for other arms occurred in October. Experience at Verdun showed how difficult it was to keep men in the front lines supplied with fresh water, so every man was given a second water bottle and a second haversack to carry necessities for a day or two of unsupported fighting; plus two gas masks (one in the ready position, one in a tin box); tools like an M1909 folding pick/shovel; extra ammunition and grenades, and sandbags for consolidating the objective.


title: Chauchat

text: The rifle grenadiers and bombers (hand grenadiers) each carried a special haversack, which held the grenades in individual pouches inside. The rifle grenade cup was carried in its own pouch attached to the user's waistbelt. The men of the new fire and support teams were given new equipment for their spare ammunition. The Chauchat gunners each wore semi-circular pouches on the waistbelt, containing one spare magazine each, as well as a pack containing a further eight magazines and 64 loose rounds, and a haversack containing a further four magazines. Riflemen would be discouraged to fire, as this slowed the advance, their job was to leapfrog while being covered; firing by the platoon and half-platoon was only permitted to cover its own advance or that of a neighbouring platoon, or to deal with enemy pockets on their way.


title: Chauchat

text: The principal role of the Chauchat was to provide a mobile barrage during the advance. This required skilled teamwork on the part of the crew, changing the magazines while on the move to keep up the volume of fire. As the center of the tactical device, the Chauchat gunner ("tireur") would expect casualties - but also decorations:""Soldat Carpentier, 20e RI, near Nogentel, Oise, 31 August 1918... he advanced on the enemy, firing while walking, the rest of the platoon led by Sergeant Berthault. He succeed in maneuvering around the flank of an island of resistance and in capturing, with his comrades, four machine guns and twenty-five German gunners"."Carpentier was awarded the "Croix de Guerre" with palm.


title: Chauchat

text: By 1916, French Army tactical methods started emphasizing concentrated firepower and the flexible use of infantry. The experience of Verdun would carry to the Somme, and French units were successful in capturing their objectives at the beginning of the offensive, as well as suffering less casualties.


title: Chauchat

text: From October 1917 the platoon had two LMG/rifle-grenadier sections, one hand grenade section and one rifle section. This new system would fight the Battle of La Malmaison, from 23 to 27 October, with the French interarms infantry beating back enemy attacks where the German infantry attacked "en masse", shoulder to shoulder. At the same battle, General Franchet d'Espèrey the commander of 6th Army, successfully introduced specially trained squads of infantry whose role was to accompany the tanks ("chars d'assaut", as they were called). In a series of instructions in 1918, General Philippe Pétain sought to achieve greater cooperation between air power, artillery and tanks, all acting in support of the assaulting infantry; measures which bore fruit in the counter-offensives of summer 1918.


title: Chauchat

text: By mid-1918, the Allies managed to restore some degree of mobility to the war and the end of the stalemate on the Western Front; with less muddy trenches and more open fields. Furthermore, French infantry regiments had been reorganized into multiple small (18 men) combat groups (""Demi-Sections de Combat""). The infantry platoon now had a platoon leader and platoon sergeant, formed in two half-platoons commanded by sergeants. The 1st half-platoon had a Grenadier Squad (Corporal, 2x hand grenadiers, 2x grenade carriers, 2x riflemen) and a LMG Squad (Corporal, 3x rifle grenadiers, 2x ammo carriers, 1x LMG gunner), the 2nd half-platoon had a LMG Squad (Corporal, 3x rifle grenadiers, 2x ammo carriers, 1x LMG gunner) and a Rifle Squad (Corporal, 6x riflemen).


title: Chauchat

text: The French regimental records and the statistics of medals given to Chauchat gunners document that they were an essential contribution to the success of these updated infantry tactics. Those were applied to suppress enemy machine gun nests, that would be approached by fire on the move, and destroyed by the combined action of Chauchat automatic fire coming from the sides and VB rifle grenades fired from the front, within less than 200 yards (182.9 meters); in military terms, assault distance. Captured terrain would be defended by emplaced Chauchat fire bases suppressing enemy counter-attacks until heavier machine guns could be brought from the rear.


title: Chauchat

text: A number of captured Chauchats were used by German front-line infantrymen in flamethrower units and assault troops because they had no equivalent light machine guns of their own until their attempt at one such portable weapon - the Maxim MG 08-15 lightened machine guns - that were issued to them during early 1917. The German army tried to modify some of these guns to fire the 7.92×57mm Mauser cartridge.


title: Chauchat

text: The Belgian Army, which held a large sector of the Western Front but left its arms industry on the territories occupied by the Germans, started to acquired Chauchats for its infantry in the spring of 1916, getting over 1400 in a year, all in 8 mm Lebel. In order to simplify squad-level logistics in the spring of 1917 a version chambered in their standard 7.65×53mm Mauser ammunition was tested, which had a new curved box magazine lacking cutouts for the mud to get inside. During the war, Belgium acquired almost 7000 Chauchats, and reportedly about a half of those were either produced in 7.65 or retrofitted to the "modelle 1915-17" standard, with 3250 in active service and an unknown number (taking into account combat losses) in reserve. These numbers, however, are inconsistent with the fact that 4000 of Belgian M1915/17s were sold to Yugoslavia (see below). By 1924, Belgium only had 2902 automatic rifles to declare to the League of Nations, with none in reserve.


title: Chauchat

text: The remaining ones were modified to address the numerous deficiencies in the unrefined design, the most visually obvious one was being covers against mud and dust on all the orifices. Less obvious modifications were a better bipod and a latch to tighten upper receiver to the lower. Postwar-upgraded guns were designated "Fusil-Mitrailleur 1915-27". They were kept in service into the 1930s including some rear-line troops in 1940.


title: Chauchat

text: The Royal Serbian Army received at least 1,400 Chauchats, locally known as "puškomitraljez M. 1915", between December 1916 and April 1917. In mid-1920s Yugoslavia bought 4,000 M1915/17s more from Belgium as a stopgap measure, and in 1926-1928 rechambered them from 7,65-mm Belgian to captured 7.9x57 M1888 ammo, designating the result as "puškomitraljez 7,9 mm. M. 15/26".


title: Chauchat

text: Chauchat entered service with Hellenic Army in 1917. The guns fired the 6.5×54mm Mannlicher–Schönauer cartridge, stored in semi-circular magazine. Turkish National Movement forces used captured guns during the Greco-Turkish War. The Chauchat was still in frontline use during the Greco-Italian War.


title: Chauchat

text: Poland received French military assistance, notably infantry weapons and artillery, after World War I. As a part of those French weaponry transfers, Poland received over 2,000 Chauchats, which they used extensively during the Polish–Soviet War (1919–1921). After that war, Poland bought more of them, and their numbers reached 11,869, becoming a standard Polish light machine gun (the "RKM wz 15"). Eventually, about half of them were successfully converted during the mid-1920s to 7.92×57mm Mauser (or 8mm Mauser) and kept in service until the early 1930s under the designation "RKM wz 15/27". One remaining specimen of these Polish Chauchats in 8mm Mauser is preserved and visible in the MoD (Ministry of Defence) National Firearms Centre which is a part of the Royal Armouries in Leeds, Great Britain. Later, in 1936–1937, some 2,650 Chauchats were sold abroad by Poland, some to the Mexican Army, others to Republican Spain and also on the international surplus weapon market.


title: Chauchat

text: During the Winter War between Soviet Union and Finland, over 5,000 surplus Chauchats were donated by France to Finland, which was short on automatic weapons. The weapons arrived too late to see action but were used in Continuation War, mostly on the home front. After the war they were warehoused until 1955 and sold to Interarmco in 1959–1960.


title: Chauchat

text: Chinese-made copies of the Chauchat were captured by Japanese forces during the Second Sino-Japanese War. French third-line units that faced the German breakthrough during the Fall of France in May and June 1940 were still equipped with Chauchat machine guns.


title: Chauchat

text: Nazi Germany seized Chauchats from Poland, Belgium, France, Greece and Yugoslavia. Ex-French guns were designated "LeMG 156(f)", ex-Yugoslav and ex-Polish "LeMG 147(j)", ex-Greek "LeMG 156(g)" and ex-Belgian "LeMG 126(b)". A small number of Chauchats captured by the Germans were issued to the Hungarians.


title: Chauchat

text: The Chauchat was not comparable to the submachine guns of World War I, which used pistol, rather than rifle, ammunition and were thus less powerful. Compared to the Chauchat, the early submachine guns were used in relatively small numbers (thousands, rather than hundreds of thousands), had much shorter effective ranges and were used in different missions.


title: Chauchat

text: Unlike much heavier air- and water-cooled machine guns (such as the Hotchkiss machine gun and the various belt-fed Maxim gun derivatives), and like the Madsen machine gun and Lewis gun, the Chauchat was not designed for sustained defensive fire from fixed positions. The tactical edge expected from the light and portable Chauchat machine rifle was to increase the offensive firepower of advancing infantry during the assaults. This particular tactic became known as marching fire. Colonel Chauchat had already formulated this tactical vision since the early 1900s, in his many proposals to the highest levels of the French military command structure, including General Joffre.


title: Chauchat

text: After the Armistice of 11 November 1918, the French military decided to upgrade to a more reliable light squad automatic weapon that would be designed and manufactured nationally. Experimentation was carried out at the Manufacture d'Armes de Châtellerault during the early 1920s, culminating in the adoption of the new light machine gun (in French: "fusil-mitrailleur"), the FM Mle 1924. Gas-operated, and using a new 7.5 mm rimless cartridge (that would evolve into the 7.5x54mm French), this finally corrected all the problems associated with the Chauchat, and was manufactured in large numbers (232,000) and widely used by the French Army until the late 1950s.


title: Poison Ivy (musician)

text: Kristy Marlana Wallace (born February 20, 1953), known as Poison Ivy or Poison Ivy Rorschach, is an American guitarist, songwriter, arranger, producer, and occasional vocalist who co-founded the rock band The Cramps.


title: Poison Ivy (musician)

text: Ivy was born as Kristy Wallace in San Bernardino, California, and raised near Sacramento. In 1972, while attending Sacramento State College, Wallace met future Cramps singer Lux Interior.


title: Poison Ivy (musician)

text: In 1974, they moved first to Lux Interior's hometown of Akron, Ohio, and then to New York City. In 1976, as part of the emerging punk rock scene, they began performing as the Cramps. They quickly gained a reputation for their unusual, rockabilly-inspired music and wild live performances. The Cramps, with Ivy, Lux, and various other guitarists, drummers, and bassists, continued to release records and perform live until the fall of 2006, enjoying some commercial success (mainly in Europe) and acquiring a strong cult following worldwide.


title: Poison Ivy (musician)

text: Throughout The Cramps' career Ivy co-wrote all of the group's original songs with Lux Interior, and provided the arrangements for songs they covered. She produced or co-produced several of their albums and singles, sang on the songs "Kizmiaz" and "Get Off the Road," and played theremin on later records.


title: Poison Ivy (musician)

text: Songs written by Ivy and Interior and performed by other artists include "Human Fly" (Sinful Lilly, Crestfallen, The Dead Brothers, Nouvelle Vague, Supernaut, Hanni El Khatib, Los Esquizitos [a Mexican garage band] covered Human Fly as El Moscardón); "New Kind of Kick" (The Jesus and Mary Chain, The Drones, Muse, Tinfed); and "Thee Most Exalted Potentate of Love" (Queens of the Stone Age).


title: Poison Ivy (musician)

text: Early on, Ivy used a clear plexiglass Dan Armstrong guitar, then the unusual Canadian-made Bill Lewis guitar heard on the first few Cramps recordings. From 1985 forward, she mostly used a 1958 Gretsch 6120 hollow-body. She used Fender Pro Reverb amplifiers onstage, and smaller Valco and Allen amps in the studio.


title: Poison Ivy (musician)

text: Ivy and Lux were married for 37 years, until his death on February 4, 2009. She lives in Glendale, California.


title: Astral Chain

text: Set in a dystopian future Earth, the game follows the events of a special police task force that protect remnants of humanity from interdimensional creatures and aberrations that invade the planet, with the story centering on the task force's two new twin recruits. Utilizing the titular "Astral Chain", the twins restrain and tether the creatures, employing them in combat and investigation, referring to them as "Legions". The setting of the game draws heavy inspiration from various cyberpunk manga and anime, while the gameplay combines hack and slash combat with role-playing elements and investigative adventure game sections. These segments revolve heavily around the simultaneous controlling of two characters; the player character twin and their Legion.


title: Astral Chain

text: "Astral Chain" was estimated to have had a five-year long development cycle and follows a slate of previous collaborations between PlatinumGames and Nintendo, with both companies having previously worked together on titles such as "The Wonderful 101" and "Bayonetta 2". The game was announced February 2019 as a part of that month's Nintendo Direct presentation. "Astral Chain" received highly positive reviews from critics who praised its dual-character gameplay, world building, presentation, customization, and soundtrack, though it received some criticism for its usage of a silent protagonist. As of December 2019, the game has sold over a million copies worldwide, making it one of the best-selling games on the Nintendo Switch.


title: Astral Chain

text: "Astral Chain" is an action-adventure game where the player assumes the role of a detective from the "Neuron" special police task force, who are tasked with solving cases and investigating incidents that take place in "The Ark", the game's main world. Exploring the world, questioning non-playable characters and examining evidence yields clues and logic puzzles that become "leads" which further the investigation process. During the course of the game, the player will access the "Astral Plane"—an interdimensional area where they must traverse hazardous terrain, solve puzzles, and battle enemies, similar to that of traditional video game dungeons.


title: Astral Chain

text: Neuron officers are able to summon a tethered familiar known as a "Legion", bound by a chain that is the game's namesake. Legions come in various different forms sporting different abilities that are used both for puzzle-solving and combat. These include: a sword-based Legion with swift blade attacks that can be used to sever circuitry and interrupt enemy attacks, an archer Legion that can target weak points and distant switches, a Legion with powerful punches that can move large objects, an axe-based Legion which generates a shield and can destroy breakable objects and enemy shields, and a K9 Legion that can track scents, unearth hidden objects, and also be ridden for added mobility and evasiveness. The player begins the game with the Sword Legion, capturing the other four over the course of the game. Legions can be swapped at any time during battle, and can also be upgraded via experience points and unlockable skills. On top of the player's own health, Legions have their own individual health meter that gradually depletes while they are summoned, and they are also susceptible to enemy attacks, which depletes higher amounts of their health. Their health regenerates automatically when they're not active. If the entirety of a Legion's health is depleted, the player becomes unable to utilize it until it has restored all of its health.


title: Astral Chain

text: Combat takes place in real-time, both melee and ranged weapons are used to fight enemies, predominantly the malevolent race of "Chimeras". The player can summon the Legion during combat in order to have them automatically fight with the player to create combo attacks. The Legion can be manually directed with the right analog stick, allowing the player to position the Legion for more specific maneuvers. Each Legion also has a unique "Legion Action" that allows the player to take direct control over a Legion's signature ability, such as manually aiming and firing projectiles with the Archer Legion, or using the Arm Legion as protective armor that can hover over hazardous terrain and attack with a flurry of punches. Additional skills include being able to perform powerful health-restorative finishing moves, unchaining a Legion to summon multiple at once, using the chain that connects the player to the Legion in order to bind enemies—referred to as a "Chain Bind"—and also using the chain as an arresting wire on enemies that attempt charging into the player—referred to as a "Chain Counter". The player is also able to utilize the chain in order to zip line out of danger through enemy crowds, as well as crossing gaps and bottomless pits between buildings and platforms.


title: Astral Chain

text: Completing combos, interrupting enemy attacks, restraining enemies, dodging, and deploying a Legion at the correct moment will offer the player a chance to perform a sync attack, requiring the player to press the left trigger at the right instant, similar to a quick time event. Sync attacks can extend combos, trigger special attacks, bind enemies, and help the player recover from a fall. After performing a large number of sync attacks, the player may fuse with their Legion for a short while to recover health and deal large amounts of damage.


title: Astral Chain

text: The game features four difficulty settings, allowing the player to switch difficulty between each chapter. The highest difficulty is only unlocked for a corresponding chapter once the player has beaten it once. When played on the two highest difficulties, the game ranks the player based on their individual case performance, giving the player an overall ranking at the end of each chapter. On the two lowest difficulties, the player will not be ranked.


title: Astral Chain

text: Early in the game players unlock the IRIS tool, a heads up display from which they can inspect the environment and search for clues, as well as save their progress, manage the inventory, customize in-game menus, view the level map, and manage orders (benchmarks and photo challenges that reward the player with items, crafting materials, XP, money, and photo filters). Previously completed chapters can be accessed and replayed via the player's desk at the Neuron Headquarters at the beginning of each new chapter. The player can also return to this area to maintain and customize their Legions, customize their character, and interact with other Neuron officers. Consumable items can also be obtained from vendors that can later be used for crafting, health recovery, or combat.


title: Astral Chain

text: "Astral Chain" is set in the year 2078, where humanity is on the brink of extinction. The remnants of the human populace have retreated to a megacity called "The Ark", which rests on a massive artificial island. The world is under attack by interdimensional lifeforms called "Chimeras", which reside in the "Astral Plane"; a vast parallel dimension composed of crystallized data that is uninhabitable to humans. The Chimeras cause destruction, drag civilians into the Astral Plane via wormholes, and spread "red matter" that corrupts living things and humans. To combat the Chimeras, the "Neuron" Police Task Force is employed. They utilize "Legions"—subservient Chimeras that have been tethered to an officer via a psychic chain, utilizing them for combat and investigation.


title: Astral Chain

text: The player assumes the role of one of two twin police officers, who join Neuron early into the game as new recruits. The player-selected character has a custom identity, whereas their opposite-gender sibling becomes "Akira Howard". The two twins were adopted by the current Neuron Captain, Maximilian Howard. Other characters include Neuron Commander and scientific genius Yoseph Calvert; Chief Medical Officer and scientist Brenda Moreno; fellow veteran officers Alicia Lopez and Jin Wong who assist the players on the field; Neuron Dispatcher and former TV newscaster Olive Espinosa; and the Neuron Office Manager Marie Wentz. The Neuron officers are also assisted by a hacker named Harold "Hal" Clark, who pilots a modified field drone.


title: Astral Chain

text: The Player and Akira are dispatched to respond to an aberration attack, but are quickly outmatched by Chimeras. The twins are saved by Neuron officers Max, Alicia, and Jin, who wield Legions capable of fighting them. Yoseph assigns Legions to the Player and Akira, enabling them to repel the Chimeras. Afterwards, the twins are both formally inducted into Neuron. Their first investigation mission goes awry when the Player ends up being pulled into the Astral Plane, causing the rest of the squad to pursue them into the Astral Plane to save them. Due to prolonged Astral Plane exposure having the effect of weakening humans, the Neuron officers lose control over their Legions, causing them to break free and go berserk. In the end, only the Player is successful in subduing their Legion. Max battles the remaining frenzied Legions and sacrifices himself to allow the rest of the squad to escape. Meanwhile, Neuron's Legion production facility is attacked and put out of commission, leaving the Player as the only officer with access to a Legion.


title: Astral Chain

text: The Player is sent on further missions to respond to Chimera attacks, eventually recapturing the lost Legions in the process. During this time, the twins come into contact with Dr. Jena Anderson, a former pupil of Yoseph's who is instigating Chimera attacks and bears a grudge against UNION, the Ark's ruling government. She manages to critically wound Akira while evading capture and leaves behind clues to the Player to investigate Zone 09, a quarantined section of the Ark which Neuron officers are forbidden from entering. The Player goes undercover and explores Zone 09 with Hal, discovering that UNION developed a drug called Blue Evolve that could allow humans to fight Chimeras, which also carried the side effect of turning the users into Aberrations. After battling one of Jena's chimeric homonculi, they are saved by a recovered Akira, who has obtained a new Legion. As a result of entering Zone 09 without permission, the Player is jailed for insubordination, and Hal goes into hiding to avoid arrest.


title: Astral Chain

text: After another wave of Chimera attacks occur, Neuron is forced to provisionally release the Player to combat them. Jena stages a large scale invasion of the Ark, announcing her intention to save humanity by merging Earth with the Astral Plane, which serves as a collective memory bank of humanity. The skirmish leaves Neuron's headquarters defenseless, allowing Jena to infiltrate it and take Yoseph hostage. The twins arrive to rescue Yoseph, causing Jena to power herself up with Blue Evolve before battling the Player. During the battle, the Player unwittingly ends up fully merging with their Legion and goes berserk, attacking Akira. Jena distracts the transformed Player and sacrifices herself in the process, warning them that this is the true form of their Legion's power. Yoseph then calls in the Ravens—a newly created task force of Legion users—and orders them to kill the Player, causing them to fall off an overpass.


title: Astral Chain

text: The Player wakes up back in their human form, having been rescued by Hal and Olive, and brought into a hiding place in Zone 09. Hal explains that Yoseph has largely replaced Neuron with the Ravens and is actively hunting the Player, accusing them of treason. While carrying out a covert rescue operation to retrieve Brenda from Neuron, the crew are confronted by Akira, who tries to convince the Player to return to Neuron, but they are ambushed by the Raven unit, revealing themselves to be clones of Akira. The Ravens attack Akira, causing Akira to inadvertently merge with their Legion and go on a rampage. To stop Akira, the Player willingly merges with their own Legion and manages to knock Akira back into their human form.


title: Astral Chain

text: Wanting to find out and stop Yoseph's plans, the twins stage an assault on his lab. After being confronted, Yoseph uses the Ravens as a catalyst to create the ultimate Legion, Noah, and merges himself with it, intending to absorb all life on Earth in order to become a god. Akira ends up being absorbed into Noah while trying to protect the Player. The Player battles Noah and weakens him enough to allow Akira to temporarily seize control of Noah's body, allowing the Player to destroy Noah, but killing Akira in the process.


title: Astral Chain

text: Following Noah's destruction, Chimera attacks begin to decrease drastically, allowing humans to consider leaving the Ark and repopulating the Earth. Alicia and Jin put Neuron back together, with Olive as interim commander, and the task force continues to handle the few Chimera attacks that still occur on the Ark. Akira is also revealed to have survived through one of their remaining clones, having been transplanted memories by Brenda using traces found in the original's Legion.


title: Astral Chain

text: The development of "Astral Chain" preceded the release of "Nier: Automata", with PlatinumGames estimating that the game had been in the works for roughly five years between its conceptualizing and eventual release. With the assistance of former "Scalebound" and PlatinumGames producer Jean Pierre Kellams, the game was pitched to Nintendo after the company requested the development of a new game with high difficulty. Despite comparisons to "Scalebound" dual-character gameplay, PlatinumGames producer Atsushi Inaba has explained that the two games are very different in concept, and sees "Astral Chain" as an evolution of their previous action games. Internally, the company refers to the game as a "synergetic action game". Takahisa Taura was appointed as director due to his previous work on "Nier: Automata", and the company's belief that they need to foster multiple directors that can bring a different flavor for each of their individual projects.


title: Astral Chain

text: "Astral Chain" was initially envisioned as a fantasy game where the player would utilize magic, however at Nintendo's recommendation the game was changed to a cyberpunk setting as they felt it would make for a more unique setting. Taura explained that the game's setting was inspired by various anime such as "Ghost in the Shell" and "Appleseed", as well as the works of Masakazu Katsura, who was hired to be the game's character designer. While the ability to play as male or female was always intended as an option, the game initially did not feature twin protagonists in the project's early stages. The decision to make the lead characters twins came about from ideas based on Katsura's concept sketches for the protagonists. The inclusion of character customization was also done to help the player immerse themselves into the world.


title: Astral Chain

text: The gameplay of "Astral Chain" is designed around controlling two characters at once, which Taura has said comprises the core of the game itself, comparing it to the way the "Wicked Weaves" ability is the core of "Bayonetta". The developers also took plenty of inspiration from "Libble Rabble" with the dual-character concept. World building was considered important during development; the developers wanted to showcase the police performing day-to-day tasks and services beyond crime fighting, and built an expanded cast around such to accommodate. Taura noted that the main difference in approach compared to PlatinumGames' work on "Nier: Automata" was that "Astral Chain" had its scenario built around the gameplay rather than the other way around.


title: Astral Chain

text: When asked about the possibility of "Astral Chain" becoming available on multiple platforms in a February 2020 interview (focused on the then-recently announced Kickstarter campaign for the remastered "The Wonderful 101"), Inaba stated that "it's too early to say", and that "ultimately, it's Nintendo's call, not [theirs]". Fans had later noted in January 2021 that the game's copyright notice on PlatinumGames' website had changed to show Nintendo having full ownership of the title, despite previous claims that the property was co-owned. Inaba would confirm this change in an interview the very same month, stating Nintendo now have full ownership of the intellectual property, though they were not at liberty to disclose the specifics of the change.


title: Astral Chain

text: The score for "Astral Chain" was primarily written and produced by Satoshi Igarashi, who previously worked on "Bayonetta 2". Igarashi revealed that the background music will change genres depending on the mood of the scene. For example, dramatic scenes will use orchestral music, scenes with more tension will start to use more metal music and the calm scenes are more likely to use electronic music.


title: Astral Chain

text: Nintendo proposed to PlatinumGames the idea of partnering with Avex Group to acquire vocalists for the game's theme songs. William Aoyama, of the Japanese pop group Intersection; and Beverly, who performed the theme song for the 2019 anime adaptation of "Fruits Basket"; were ultimately picked by Igarashi and Taura to perform vocals on three separate theme songs. The decision of hiring two vocalists was made to represent the game's dual protagonists. The opening theme song called "Savior" plays during the game's opening sequence, which Taura requested be made as an anime opening. "Dark Hero" serves as a featured song within the game, and "The Answer" acts as the ending theme song.


title: Astral Chain

text: On Metacritic, "Astral Chain" holds an aggregated score of 87/100, indicating "generally favorable reviews". In a non-scored review, "Eurogamer" review editor Martin Robinson awarded the game with an "Essential" ranking, referring to the game as PlatinumGames' best game to date, citing that it "shines brighter than anything in the studio's past." Steven Petite of "IGN" praised the combat, commenting that "though "Astral Chain" lacks a deep combo system, it makes up for that and then some with its roster of Legions". "Destructoid" reviews director Chris Carter pointed out that while the game has a slightly slow start, he was "completely sold" once the game introduced customization, while also praising the bosses and the game's variety of enemies.


title: Astral Chain

text: The game received criticism for its use of a silent protagonist. Francesco De Meo of "Wccftech" concluded that the decision to have a silent protagonist "doesn't really work well in the context of the story, considering the same character is fully voiced if not picked as main character at the beginning of the game"; a sentiment that was echoed by "Game Informer" and "GameSpot". Despite this, the game generally received praise for its side characters and world building. Writing for "Polygon", Chris Plante highlighted the game's non-combat side activities that involves the player investigating and performing helpful tasks toward non-player characters, citing that the game is "a deeply human game about a group of people striving to do good—not just on the world-saving level, but on the minute-to-minute level, during a time when the future seems incredibly bleak", concluding by calling the game Nintendo's best new IP since "Splatoon".


title: Astral Chain

text: The game became a target of review-bombing by Metacritic users, primarily for being an exclusive Nintendo Switch game. "", another title also published by Nintendo, was review-bombed at around the same time for similar reasons, with users countering the negative scores on both games with 10/10 scores. The review bombs on both "Astral Chain" and "Fire Emblem: Three Houses" were later removed by Metacritic.


title: Astral Chain

text: "Astral Chain" launched at #1 on the UK physical charts, #2 on the Japanese physical charts, and #10 on the NPD charts for August. The game sold 46,875 physical copies within its first three weeks on sale in Japan. PlatinumGames tweeted a commemorative picture a week after launch, thanking fans for making the game a success. While full sales numbers weren't disclosed at the time, Taura mentioned in an interview with Famitsu that "Astral Chain" had outperformed the companies' sales expectations. As of March 2020, the game has sold 1.08 million copies worldwide. The 2022 CESA Games White Papers revealed that "Astral Chain" had sold 1.28 million units, as of December 31, 2021.


title: Astral Chain

text: The game won the award for "Nintendo Game of the Year", and came in tenth place for "Game of the Year" at the 2019 "Edge" Awards.


title: Akshara Singh

text: Akshara Singh is an Indian actress who is primarily active in Bhojpuri films and, is a recipient of several awards. Singh is known for her roles in films like action drama "Tabadala", political drama "Sarkar Raj" and action romance "Satya". She is one of the highest-paid actresses in Bhojpuri cinema.


title: Akshara Singh

text: Singh made her acting debut opposite Ravi Kishan in the 2010 action drama "Satyamev Jayate". She subsequently appeared in 2011 family drama "Pran Jaye Par Vachan Na Jaye". Singh also appeared in the 2016 romantic drama "A Balma Bihar Wala" opposite Khesari Lal Yadav and in 2017 Action Drama "Satya", "Tabadla", "Maa Tujhe Salaam" opposite Pawan Singh.


title: Akshara Singh

text: Singh first appeared in Hindi television in 2015 on "Kaala Teeka and Service Wali Bahu" on Zee TV. Singh subsequently played the role of Gandhari in the Indian mythological epic "Suryaputra Karn" and Kadika for the historical show Porus on Sony TV.


title: Vodafone Idea Ltd

text: Vodafone Idea (or Vi, and/but stylised as V!) is an Indian telecom operator with its headquarters based in Mumbai and Gandhinagar. It is a pan-India integrated GSM operator offering 2G, 3G, 4G, 4G+, VoLTE, and VoWiFi service. As of 31 October 2022, Vi has a subscriber base of 245.62 million, making it third largest mobile telecommunications network in India and 11 th largest mobile telecommunications network in the world. The company was created on 31 August 2018 by the merger of Vodafone India and Idea Cellular, to form a new entity named Vodafone Idea Limited.


title: Vodafone Idea Ltd

text: On 7 September 2020, Vodafone Idea unveiled its new brand identity, 'Vi' which involves the integration of the company's erstwhile separate brands 'Vodafone' and 'Idea' into one unified brand.


title: Vodafone Idea Ltd

text: Announced in March 2017 that Idea Cellular and Vodafone India would merge. The merger got approval from the Department of Telecommunications in July 2018. On 30 August 2018, National Company Law Tribunal gave the final nod to the Vodafone-Idea merger The merger was completed on 31 August 2018, and the newly merged entity was named Vodafone Idea Limited. The merger created the largest telecom company in India by subscribers and by revenue. Under the terms of the deal, the Vodafone Group holds a 45.2% stake in the combined entity, the Aditya Birla Group holds 26% and the remaining shares will be held by the public. Vi lost a significant number of gross and active subscribers in the month of August 2020 after the merger.


title: Vodafone Idea Ltd

text: Until 7 September 2020, Vodafone Idea Limited operated two separate brands: "Vodafone" and "Idea" who both operated pre-paid and post-paid GSM service.


title: Vodafone Idea Ltd

text: Vi also provides services including Mobile payments, IoT, enterprise offerings and entertainment, accessible via both digital channels as well as on-ground touch points, centres across the country. Vi has a broadband network of 340,000 sites, distribution reach of 1.7 million retail outlets.


title: Vodafone Idea Ltd

text: Vi owns spectrum in 900 MHz, 1800 MHz, 2100 MHz, 2300 MHz, 2500 MHz, 3500 MHz and 26 GHz bands across the country.


title: Vodafone Idea Ltd

text: This table contains Vi (Vodafone & Idea) radio frequency details because they had integrated their networks with each other and using one anchor network for both brands in all respective telecom circles. For example, Idea has started 4G services in Delhi and Kolkata telecom circle from May 2018 where the Vodafone is anchor network vice versa Vodafone has Started 4G services in Madhya Pradesh & Chhattisgarh, Bihar & Jharkhand, Andhra Pradesh & Telangana, Himachal Pradesh and Jammu and Kashmir telecom Circle's where Idea is Anchor network. .


title: Vodafone Idea Ltd

text: By March 2019, Vi announced its network consolidation across major circles, easing network issues faced by consumers and also enhancing its 4G coverage. Announcements of Network Consolidation were made as below


title: Vodafone Idea Ltd

text: Vi announced the successful consolidation of its radio network integration in Rajasthan service area. With this, Rajasthan is amongst the first eleven circles to complete integration in the world's largest network integration exercise which is currently underway in India.


title: Vodafone Idea Ltd

text: According to the telecom regulator's data, the pan India wireless subscriber base of Vodafone Idea at the end of March 2019 stood at 394.8 million. The statement on network consolidation in Punjab, said 4G services have been enhanced for both Vodafone and Idea customers in cities including Chandigarh, Ludhiana, Amritsar, Jalandhar, Patiala, Bathinda, Moga, and Hoshiarpur. And in Rajasthan Jaipur, Jodhpur, Bikaner, Kota, Ajmer, Udaipur among others.


title: Vodafone Idea Ltd

text: Vi deployed technologies such as massive MIMO, small cells, TDD sites to enhance coverage and network capacity in Mumbai and Delhi during March. As part of the modernisation exercise, the company deployed more than 5000 massive MIMO, small cells and TDD sites across Churchgate, Prabhadevi, Pali Hill, Lokhandwala, Versova, Andheri, Jogeshwari, Bandra and Dadar among other regions in Mumbai. The company also deployed more than 4,000 Massive Mimo, small cells and TDD sites across the New Delhi and NCR region.


title: Vodafone Idea Ltd

text: Vi has launched "Giganet" 4G services in select cities of Uttar Pradesh, Rajasthan, Karnataka and Rest of Bengal (including Kolkata) circles. The launch of Giganet 4G follows the consolidation of its radio network integration and the deployment of technologies such as Dynamic Spectrum Re-farming (DSR), Spectrum Re-farming, M-MIMO, L900, TDD, and Small Cells to further boost network capacity and coverage across large parts of the country.


title: Vodafone Idea Ltd

text: Vi Provides wifi hotspot services in major cities Mumbai, Pune and Bangalore with over 200 locations. It is available for all Vi brand customers


title: Vodafone Idea Ltd

text: YOU Broadband (wholly owned subsidiary of Vodafone Idea) offers fixed line broadband (FTTH) and voice services (VoIP) in major cities of India which includes Ahmedabad, Aurangabad, Bengaluru, Chennai, Gurugram, Hyderabad, Kakinada, Mumbai, Nagpur, Nashik, Navi Mumbai, Navsari, Powai, Pune, Rajkot, Surat, Thane, Vadodara, Valsad, Vapi, Vijayawada and Visakhapatnam.


title: Road to Kingdom

text: Road to Kingdom () is a television program that aired every Thursday at 20:00 (KST) on Mnet from April 30 to June 18, 2020. It is known as the first part of the male counterpart of "Queendom", and the prequel of "".


title: Road to Kingdom

text: The program is a battle for a spot in Kingdom (킹덤) between 7 boy groups with potential, but are mostly unknown to many. Similar to Queendom, there will be Comeback Singles (newly produced songs) released, on June 12, 2020.


title: Road to Kingdom

text: Special interview clips with Queendom contestants Park Bom, AOA (Chanmi), Mamamoo (Solar, Hwasa), Lovelyz (Mijoo, Kei), Oh My Girl (Hyojung, YooA) and (G)I-DLE (Soyeon, Yuqi) were shown in episode 1, as they share their first thoughts about Road to Kingdom.


title: Road to Kingdom

text: The number hints, which were given 1 week before the first recording of the show, are shown as follow:


title: Road to Kingdom

text: There is no order decided before the performances - the order is decided on the spot. The first performing boy group is decided by the boy group that volunteers themselves first. After the first boy group has performed, they will decide on the second performing boy group, and the second boy group that has performed will then decide on the third performing boy group. The process goes on until all performances have been completed.


title: Road to Kingdom

text: The round's points are entirely decided through a self-evaluation where each boy group will rank the other boy groups' performances from 1st to 6th.


title: Road to Kingdom

text: Each boy group would receive self-evaluation points from the other 6 boy groups, and they will be added up to become the round's total points obtained for the boy group. This will, however, be not included in the overall points for the show.


title: Road to Kingdom

text: The 7 boy groups each perform one song from their boy group seniors, and is rearranged into a different style.


title: Road to Kingdom

text: The 7 boy groups each perform one of their representative hit songs, that is rearranged and different from their usual stages of the song.


title: Road to Kingdom

text: The 6 remaining boy groups will have 2 performances for this round: the first being a collaboration performance, and the second being the performance of a song chosen by another boy group.


title: Road to Kingdom

text: In the ratings below, the highest rating for the show will be in and the lowest rating for the show will be in . Some of the ratings found have already been rounded off to 1 decimal place, as they are usually of lower rankings in terms of the day's ratings.


title: Road to Kingdom

text: On October 29, 2020, Mnet confirmed that the sequel of the show, "" (킹덤), targets to begin its broadcast by first half of 2021.


title: Guy Debord

text: Guy-Ernest Debord (; ; 28 December 1931 – 30 November 1994) was a French Marxist theorist, philosopher, filmmaker, critic of work, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International. He was also briefly a member of "Socialisme ou Barbarie".


title: Guy Debord

text: Guy Debord was born in Paris in 1931. Debord's father, Martial, was a pharmacist who died when Debord was young. Debord's mother, Paulette Rossi, sent Guy to live with his grandmother in her family villa in Italy. During World War II, the Rossis left the villa and began to travel from town to town. As a result, Debord attended high school in Cannes, where he began his interest in film and vandalism. The family lived in Pau, Pyrénées-Atlantiques for a period where he attended Lycée Louis-Barthou.


title: Guy Debord

text: As a young man, Debord actively opposed the French war in Algeria and joined in demonstrations in Paris against it. Debord studied law at the University of Paris, but left early and did not complete his university education. After ending his stint at the University of Paris, he began his career as a writer.


title: Guy Debord

text: Debord joined the Lettrists when he was 18. The Lettrists were led dictatorially by Isidore Isou until a widely agreed upon schism ended Isou's authority. This schism gave rise to several factions. One of them, the Letterist International, was decidedly led by Debord upon Gil Wolman's unequivocal recommendation. In the 1960s, Debord led the Situationist International group, which influenced the Paris Uprising of 1968, during which he took part in the occupation of the Sorbonne. Some consider his book "The Society of the Spectacle" (1967) to be a catalyst for the uprising, although perhaps a more immediately significant text was Mustapha Khayati's "On the Poverty of Student Life", published in November 1966.


title: Guy Debord

text: In 1957, the Letterist International, the International Movement for an Imaginist Bauhaus, and the London Psychogeographical Association gathered in Cosio d'Arroscia (Imperia), Italy, to found the Situationist International, with Debord having been the leading representative of the Letterist delegation. Initially made up of a number of well-known artists such as Asger Jorn and Pinot Gallizio, the early days of the SI were heavily focused on the formulation of a critique of art, which would serve as a foundation for the group's future entrance into further political critiques. The SI was known for a number of its interventions in the art world, which included one raid against an international art conference in Belgium during 1958 that included a large pamphlet drop and significant media coverage, all of which culminated in the arrest of various situationists and sympathizers associated with the scandal. In addition to this action, the SI endeavored to formulate industrial painting, or, painting prepared en masse with the intent of defaming the original value largely associated with the art of the period. In the course of these actions, Debord was heavily involved in the planning and logistical work associated with preparing these interventions, as well as the work for "Internationale Situationniste" associated with theoretical defense of the Situationist International's actions.