title: Single-lens reflex camera

text: From the late 1980s competition and technical innovations made 35 mm camera systems more versatile and sophisticated by adding more advanced light metering capabilities such as spot-metering; limited area metering such as used by Canon with the F1 series; matrix metering as used by Nikon, exposure communication with dedicated electronic flash units. The user interface also changed on many cameras, replacing meter needle displays that were galvanometer-based and thereby fragile, with light-emitting diodes (LEDs) and then with more comprehensive liquid crystal displays (LCDs) both in the SLR viewfinder and externally on the cameras' top plate using an LCD screen. Wheels and buttons replaced the shutter dial on the camera and the aperture ring on the lens on many models, although some photographers still prefer shutter dials and aperture rings. Some manufacturers introduced image stabilization on certain lenses to combat camera shake and to allow longer hand-held exposures without using a tripod. This feature is especially useful with long telephoto lenses.


title: Single-lens reflex camera

text: Canon, Nikon and Pentax have all developed digital SLR cameras (DSLRs) using the same lens mounts as on their respective film SLR cameras. Konica Minolta did the same, and after having bought Konica Minolta's camera division in 2006 Sony continue using the Minolta AF lens mount in their DSLRs, including cameras built around a semi-transparent fixed mirror. Samsung builds DSLRs based on the Pentax lens mount. Olympus, on the other hand, chose to create a new digital-only Four Thirds System SLR standard, adopted later by Panasonic and Leica.


title: Single-lens reflex camera

text: Contax came out with a DSLR model, the Contax N-Digital. This model was too late and too expensive to be competitive with other camera manufacturers. The Contax N-digital was the last Contax to use that maker's lens system, and the camera, while having impressive features such as a full-frame sensor, was expensive and lacked sufficient write-speed to the memory card for it to be seriously considered by some professional photographers.


title: Single-lens reflex camera

text: The digital single-lens reflex camera have largely replaced film SLRs design in convenience, sales and popularity at the start of 21st century.


title: Single-lens reflex camera

text: A cross-section ("or" 'side-view') of the optical components of a typical SLR camera shows how the light passes through the lens assembly (1), is reflected by the mirror (2) placed at a 45-degree angle, and is projected on the matte focusing screen (5). Via a condensing lens (6) and internal reflections in the roof pentaprism (7) the image appears in the eyepiece (8). When an image is taken, the mirror moves upwards from its resting position in the direction of the arrow, the focal plane shutter (3) opens, and the image is projected onto the film or sensor (4) in exactly the same manner as on the focusing screen.


title: Single-lens reflex camera

text: This feature distinguishes SLRs from other cameras as the photographer sees the image composed exactly as it will be captured on the film or sensor (see Advantages below).


title: Single-lens reflex camera

text: Most 35 mm SLRs use a roof pentaprism or penta-mirror to direct the light to the eyepiece, first used on the 1948 Duflex constructed by Jenő Dulovits and patented August 1943 (Hungary). With this camera also appeared the first Instant-return mirror.


title: Single-lens reflex camera

text: The first Japanese pentaprism SLR was the 1955 Miranda T, followed by the Asahi Pentax, Minolta SR-2, Zunow, Nikon F and the Yashica Pentamatic. Some SLRs offered removable pentaprisms with optional viewfinder capabilities, such as the waist-level finder, the interchangeable sports finders used on the Canon F1 and F1n; the Nikon F, F2, F3, F4 and F5; and the Pentax LX.


title: Single-lens reflex camera

text: Another prism design was the porro prism system used in the Olympus Pen F, the Pen FT, the Pen FV half-frame 35 mm SLR cameras. This was later used on the Olympus EVOLT E-3x0 series, the Leica Digilux 3 and the Panasonic DMC-L1.


title: Single-lens reflex camera

text: A right-angle finder is available that slips onto the eyepiece of most SLRs and D-SLRs and allows viewing through a waist-level viewfinder. There is also a finder that provides EVF remote capability.


title: Single-lens reflex camera

text: Almost all contemporary SLRs use a focal-plane shutter located in front of the film plane, which prevents the light from reaching the film even if the lens is removed, except when the shutter is actually released during the exposure. There are various designs for focal plane shutters. Early focal-plane shutters designed from the 1930s onwards usually consisted of two curtains that travelled horizontally across the film gate: an opening shutter curtain followed by a closing shutter curtain. During fast shutter speeds, the focal-plane shutter would form a 'slit' whereby the second shutter curtain was closely following the first opening shutter curtain to produce a narrow, vertical opening, with the shutter slit moving horizontally. The slit would get narrower as shutter speeds were increased. Initially these shutters were made from a cloth material (which was in later years often rubberised), but some manufacturers used other materials instead. Nippon Kōgaku (now Nikon Corporation), for example, used titanium foil shutters for several of their flagship SLR cameras, including the Nikon F, F2, and F3.


title: Single-lens reflex camera

text: Other focal-plane shutter designs, such as the Copal Square, travelled vertically — the shorter travelling distance of 24 millimetres (as opposed to 36 mm horizontally) meant that minimum exposure and flash synchronisation times could be reduced. These shutters are usually manufactured from metal, and use the same moving-slit principle as horizontally travelling shutters. They differ, though, in usually being formed of several slats or blades, rather than single curtains as with horizontal designs, as there is rarely enough room above and below the frame for a one-piece shutter. Vertical shutters became very common in the 1980s (though Konica, Mamiya, and Copal first pioneered their use in the 1950s and 1960s, and are almost exclusively used for new cameras. Nikon used Copal-made vertical plane shutters in their Nikomat/Nikkormat -range, enabling x-sync speeds from to while the only choice for focal plane shutters at that time was . Later, Nikon again pioneered the use of titanium for vertical shutters, using a special honeycomb pattern on the blades to reduce their weight and achieve world-record speeds in 1982 of second for non-sync shooting, and with x-sync. Nowadays most such shutters are manufactured from cheaper aluminium (though some high-end cameras use materials such as carbon-fibre and Kevlar).


title: Single-lens reflex camera

text: One unusual design, the Olympus Pen half-frame 35 mm SLR system, manufactured by Olympus in Japan, used a rotary focal-plane shutter mechanism that was extremely simple and elegant in design. This shutter used titanium foil but consisted of one piece of metal with a fixed opening, which allowed electronic flash synchronisation up to and including its maximum speed of 1/500 of a second – rivalling the capabilities of leaf-shutter systems


title: Single-lens reflex camera

text: Another 35 mm camera system that used a rotary shutter, was the Robot Royal cameras, most of which were rangefinder 35 mm cameras. Some of these cameras were full-frame; some were half-frame, and at least one Robot camera produced an unusual square-sized image on the 35 mm frame.


title: Single-lens reflex camera

text: Another shutter system is the leaf shutter, whereby the shutter is constructed of diaphragm-like blades and can be situated either between the lens or behind the lens. If the shutter is part of a lens assembly some other mechanism is required to ensure that no light reaches the film between exposures.


title: Single-lens reflex camera

text: An example of a behind-the-lens leaf shutter is found in the 35 mm SLRs produced by Kodak, with their Retina Reflex camera line; Topcon, with their Auto 100; and Kowa with their SE-R and SET-R reflexes.


title: Single-lens reflex camera

text: A primary example of a medium-format SLR with a between-the-lens leaf shutter system would be Hasselblad, with their 500C, 500 cm, 500 EL-M (a motorized Hasselblad) and other models (producing a 6 cm square negative). Hasselblads use an auxiliary shutter blind situated behind the lens mount and the mirror system to prevent the fogging of film.


title: Single-lens reflex camera

text: Other medium-format SLRs also using leaf shutters include the now discontinued Zenza-Bronica camera system lines such as the Bronica ETRs, the ETRs'i (both producing a 6 × 4.5 cm. image), the SQ and the SQ-AI (producing a 6 × 6 cm image like the Hasselblad), and the Zenza-Bronica G system (6 × 7 cm). Certain Mamiya medium-format SLRs, discontinued camera systems such as the Kowa 6 and a few other camera models also used between-the-lens leaf shutters in their lens systems.


title: Single-lens reflex camera

text: Thus, any time a photographer purchased one of these lenses, that lens included a leaf shutter in its lens mount.


title: Single-lens reflex camera

text: Because leaf shutters synchronized electronic flash at all shutter speeds especially at fast shutter speeds of of a second or faster, cameras using leaf shutters were more desirable to studio photographers who used sophisticated studio electronic flash systems.


title: Single-lens reflex camera

text: Some manufacturers of medium-format 120 film SLR cameras also made leaf-shutter lenses for their focal-plane-shutter models. Rollei made at least two such lenses for their Rolleiflex SL-66 medium format which was a focal-plane shutter SLR. Rollei later switched to a camera system of leaf-shutter design (e.g., the 6006 and 6008 reflexes) and their current medium-format SLRs are now all of the between-the-lens shutter design.


title: Single-lens reflex camera

text: Since the technology became widespread in the 1970s, SLRs have become the main photographic instrument used by dedicated amateur photographers and professionals. Some photographers of static subjects (such as architecture, landscape, and some commercial subjects), however, prefer view cameras because of the capability to control perspective. With a triple-extension bellows 4" × 5" camera such as the Linhof SuperTechnika V, the photographer can correct certain distortions such as "keystoning", where the image 'lines' converge (i.e., photographing a building by pointing a typical camera upward to include the top of the building). Perspective correction lenses are available in the 35 mm and medium formats to correct this distortion with film cameras, and it can also be corrected after the fact with photo software when using digital cameras. The photographer can also extend the bellows to its full length, tilt the front standard and perform photomacrography (commonly known as 'macro photography'), producing a sharp image with depth-of-field without stopping down the lens diaphragm.


title: Single-lens reflex camera

text: Early SLRs were built for large format photography, but this film format has largely lost favor among professional photographers. SLR film-based cameras have been produced for most film formats as well as for digital formats. These film-based SLRs use the 35 mm format as, this film format offers a variety of emulsions and film sensitivity speeds, usable image quality and a good market cost. 35 mm film comes in a variety of exposure lengths: 20 exposure, 24 exposure and 36 exposure rolls. Medium format SLRs provide a higher-quality image with a negative that can be more easily retouched than the smaller 35 mm negative, when this capability is required.


title: Single-lens reflex camera

text: A small number of SLRs were built for APS such as the Canon IX series and the Nikon Pronea cameras. SLRs were also introduced for film formats as small as Kodak's 110, such as the Pentax Auto 110, which had interchangeable lenses.


title: Single-lens reflex camera

text: The Narciss camera is an all-metal 16 mm subminiature single lens reflex camera made by Russian optic firm Krasnogorsky Mekhanichesky Zavod (KMZ) Narciss (Soviet Union; Нарцисс) between 1961 and 1965.


title: Single-lens reflex camera

text: Other features found on many SLR cameras include through-the-lens (TTL) metering and sophisticated flash control referred to as "dedicated electronic flash". In a dedicated system, once the dedicated electronic flash is inserted into the camera's hot shoe and turned on, there is then communication between camera and flash. The camera's synchronization speed is set, along with the aperture. Many camera models measure the light that reflects off of the film plane, which controls the flash duration of the electronic flash. This is denoted TTL flash metering.


title: Single-lens reflex camera

text: Some electronic flash units can send out several short bursts of light to aid the autofocus system or for wireless communication with off-camera flash units. A pre-flash is often used to determine the amount of light that is reflected from the subject, which sets the duration of the main flash at time of exposure. Some cameras also employ automatic fill-flash, where the flash light and the available light are balanced. While these capabilities are not unique to the SLR, manufacturers included them early on in the top models, whereas the best rangefinder cameras adopted such features later.


title: Single-lens reflex camera

text: Many of the advantages of SLR cameras derive from viewing and focusing the image through the attached lens. Most other types of cameras do not have this function; subjects are seen through a viewfinder that is near the lens, making the photographer's view different from that of the lens. SLR cameras provide photographers with precision; they provide a viewing image that will be exposed onto the negative exactly as it is seen through the lens. There is no parallax error, and exact focus can be confirmed by eye—especially in macro photography and when photographing using long focus lenses. The depth of field may be seen by stopping down to the attached lens aperture, which is possible on most SLR cameras except for the least expensive models. Because of the SLR's versatility, most manufacturers have a vast range of lenses and accessories available for them.


title: Single-lens reflex camera

text: Compared to most fixed-lens compact cameras, the most commonly used and inexpensive SLR lenses offer a wider aperture range and larger maximum aperture (typically to for a 50 mm lens). This allows photographs to be taken in lower light conditions without flash, and allows a narrower depth of field, which is useful for blurring the background behind the subject, making the subject more prominent. "Fast" lenses are commonly used in theater photography, portrait photography, surveillance photography, and all other photography requiring a large maximum aperture.


title: Single-lens reflex camera

text: The variety of lenses also allows for the camera to be used and adapted in many different situations. This provides the photographer with considerably more control (i.e., how the image is viewed and framed) than would be the case with a view camera. In addition, some SLR lenses are manufactured with extremely long focal lengths, allowing a photographer to be a considerable distance away from the subject and yet still expose a sharp, focused image. This is particularly useful if the subject includes dangerous animals (e.g., wildlife); the subject prefers anonymity to being photographed; or else, the photographer's presence is unwanted (e.g., celebrity photography or surveillance photography). Practically all SLR and DSLR camera bodies can also be attached to telescopes and microscopes via an adapter tube to further enhance their imaging capabilities.


title: Single-lens reflex camera

text: In most cases, single-lens reflex cameras cannot be made as small or as light as other camera designs—such as rangefinder cameras, autofocus compact cameras and digital cameras with electronic viewfinders (EVF)—owing to the mirror box and pentaprism/pentamirror. The mirror box also prevents lenses with deeply recessed rear elements from being mounted close to the film or sensor unless the camera has a mirror lockup feature; this means that simple designs for wide angle lenses cannot be used. Instead, larger and more complex retrofocus designs are required.


title: Single-lens reflex camera

text: The SLR mirror 'blacks-out' the viewfinder image during the exposure. In addition, the movement of the reflex mirror takes time, limiting the maximum shooting speed. The mirror system can also cause noise and vibration. Partially reflective (pellicle) fixed mirrors avoid these problems and have been used in a very few designs including the Canon Pellix and the Canon EOS-1N RS, but these designs introduce their own problems. These pellicle mirrors reduce the amount of light travelling to the film plane or sensor and also can distort the light passing through them, resulting in a less-sharp image. To avoid the noise and vibration, many professional cameras offer a mirror lock-up feature, however, this feature totally disables the SLR's automatic focusing ability. Electronic viewfinders have the potential to give the 'viewing-experience' of a DSLR (through-the-lens viewing) without many of the disadvantages. More recently, Sony have resurrected the pellicle mirror concept in their "single-lens translucent" (SLT) range of cameras.


title: Single-lens reflex camera

text: SLRs vary widely in their construction and typically have bodies made of plastic or magnesium. Most manufacturers do not cite durability specifications, but some report shutter life expectancies for professional models. For instance, the Canon EOS 1Ds MkII is rated for 200,000 shutter cycles and the Nikon D3 is rated for 300,000 with its exotic carbon fiber/kevlar shutter. Because many SLRs have interchangeable lenses, there is a tendency for dust, sand and dirt to get into the main body of the camera through the mirror box when the lens is removed, thus dirtying or even jamming the mirror movement mechanism or the shutter curtain mechanism itself. In addition, these particles can also jam or otherwise hinder the focusing feature of a lens if they enter into the focusing helicoid. The problem of sensor cleaning has been somewhat reduced in DSLRs as some cameras have a built-in sensor cleaning unit.


title: Single-lens reflex camera

text: The price of SLRs in general also tends to be somewhat higher than that of other types of cameras, owing to their internal complexity. This is compounded by the expense of additional components, such as flashes or lenses. The initial investment in equipment can be prohibitive enough to keep some casual photographers away from SLRs, although the market for used SLRs has become larger particularly as photographers migrate to digital systems.


title: Single-lens reflex camera

text: The digital single-lens reflex camera has largely replaced the film SLR for its convenience, sales, and popularity at the start of 21st century. These cameras are currently the marketing favorite among advanced amateur and professional photographers. Film-based SLRs are still used by a niche market of enthusiasts and format lovers.


title: Raheel Sharif

text: General Raheel Sharif (Urdu: ; born 16 June 1956), is a retired four-star army general of the Pakistan Army who served as the 9th Chief of Army Staff from 29 November 2013 to 29 November 2016. After his retirement as Pakistan's army chief, he was appointed as the commander-in-chief of the Islamic Military Counter Terrorism Coalition, a 41-nation alliance of Muslim countries headquartered in Riyadh, Saudi Arabia.


title: Raheel Sharif

text: Under General Raheel Sharif's command, the Pakistan Army carried out anti-terrorism operations across the country. The most important of these was in North Waziristan, namely Operation Zarb-e-Azb which eradicated taliban strongholds in the region and stabilized the entire country. He expanded the role of paramilitaries in Karachi which is widely credited with reducing the level of violence in Pakistan's commercial capital. The Pakistani military under his command has also supported the democratically elected government on the federal level and the Baloch provincial and local government in ending the Balochistan insurgency by pursuing reconciliation and integration of former militants back into mainstream Pakistani society. General Sharif also developed a new brigade-level military unit to help protect and secure the China-Pakistan Economic Corridor which runs through Balochistan province. General Sharif helped to develop Pakistan's indigenous defence industry which resulted in the savings of more than $1.14 billion of Pakistan's forex, over a year and half time period.


title: Raheel Sharif

text: General Sharif achieved his objectives by strengthening the role of the military in affairs directly concerning national security and foreign policy, while leaving the civilian government of Prime Minister Nawaz Sharif in control of social and economic policy. and reconciled Pakistan with America by striking against militant groups near the Afghan border, carrying out Pakistan's first joint military exercises with Russia, and deepening relations with China.


title: Raheel Sharif

text: For the first time in twenty years, a general retired on time (without seeking extension of tenure) with General Sharif's retirement. General Sharif said that he was "ready to serve Pakistan" even after his retirement. General Sharif left a respected legacy in Pakistan. He is widely credited with reducing terrorism inside the country; violence in the country was reduced to its lowest level since 2006, with an overall decline of 80% in terrorist attacks under his tenure.


title: Raheel Sharif

text: General Raheel Sharif was born in Quetta, capital of Pakistan's Balochistan province. He belongs to a Punjabi Rajput family with roots in Punjab (in the town of Kunjah, Gujrat). He has a prominent military background, and is the son of (late) Major Muhammad Sharif. He is the youngest sibling among three brothers and two sisters. his elder brother Major Shabbir Sharif (28 April 1943 – 6 December 1971) was a Pakistan Army officer who was posthumously awarded the Nishan-e-Haider during the Indo-Pakistani War of 1971. Shabbir Sharif is regarded as the highest decorated military officer of the Pakistan Army who received both the Nishan-e-Haider (1971) and Sitara-e-Jurat (1965), and received the Sword of Honour at Pakistan Military Academy upon graduation. His second brother, Captain Mumtaz Sharif, served in Pakistan Army and for his bravery in saving soldiers from a burning tank during an exercise accident, was awarded Sitara-e-Basalat, he received an early retirement due to his injuries. From his mother's side, he is related to Major Raja Aziz Bhatti, another Nishan-e-Haider recipient, who was declared as the martyr of Indo-Pakistani War of 1965 by Pakistan. Raheel Sharif is married to Fariha Raheel and has three children, two sons Omer and Usman and a daughter Mehreen.


title: Raheel Sharif

text: Sharif received his formal education from the Government College in Lahore and afterward attended the 54th long course (L/C) of Pakistan Military Academy (PMA) . After his passing out in October 1976, he was commissioned into the 6th Battalion of the Frontier Force Regiment, where his elder brother had also served. He served as an adjutant to the Pakistan Military Academy and joined an infantry brigade in Gilgit. He has the distinction of commanding two infantry units, 6FF and 26FF as a Lt. Colonel and also as an Acting Brigade Commander in Sialkot during 1999 Kargil War. During the Army monitoring of 2000 he was given control of Gujranwala district and is credited for bringing substantial administrative and social reforms to the area. As a Brigadier, he commanded two infantry brigades. In 2001, he was appointed Chief of Staff of 30 Corps Gujranwala. He was later posted as Chief of Staff at Corps Headquarters Quetta, Balochistan. In 2004 he was selected to join the prestigious Royal College of Defence Studies, UK where he graduated with distinction.


title: Raheel Sharif

text: In 2005 he was promoted to the rank of Major General and assigned command of the coveted 11th Infantry Division in Lahore. After commanding the division for over two years, he was posted as Commandant of the Pakistan Military Academy, Kakul. Following his promotion to Lieutenant General, Sharif served as a Corps Commander Gujranwala and then as the Inspector General for Training and Evaluation of the Pakistan Army before becoming the 15th Chief of Army Staff of Pakistan.


title: Raheel Sharif

text: As the Inspector General for Training and Evaluation, he enhanced the military colleges in the country and provided unconventional warfare training to the troops. He also deals with the evaluation of military doctrines and war strategies with a view to shaping future training programs. He changed the army's focus more towards carrying out counter-insurgency operations against Tehrik-i-Taliban (Pakistani Taliban) militants.


title: Raheel Sharif

text: General Sharif has spearheaded a thinking in Pakistan military since 2007 that fighting Taliban inside Pakistan is more important than focusing on India, Pakistan's arch rival since independence.


title: Raheel Sharif

text: On 27 November 2013, Sharif was appointed as the 15th Chief of Army Staff of the Pakistan Army by Prime Minister Nawaz Sharif.


title: Raheel Sharif

text: In 2013, Sharif was conferred with Nishan-e-Imtiaz (military). He has the distinction of being conferred with 5 international military awards, highest for any Pakistani Army Chief till date, in recognition for his outstanding leadership in the fight against terrorism and bringing stability to the region. General Raheel Sharif retired as the Chief of Army Staff on 29 November 2016.


title: Raheel Sharif

text: In April 2017, Raheel got the approval of the Government of Pakistan to serve as head of Islamic Military Counter Terrorism Coalition a 41-nation Islamic military alliance being headquartered in Saudi Arabia.


title: Bandish Bandits

text: Bandish Bandits is an Indian musical romantic drama streaming television series on Amazon Prime Video created by Amritpal Singh Bindra and Anand Tiwari, produced by Still & Still Moving Pictures and directed by Anand Tiwari. The script was written by Bindra, Tiwari and Lara Chandni. The series feature debutants Ritwik Bhowmik as Radhe Rathod, a Hindustani Classical musician and Shreya Chaudhary as Tamanna Sharma, a pop singer, who hail from different worlds of music. Exploring the debate of music being a discipline versus a means of liberation. The series also features Naseeruddin Shah, Sheeba Chaddha and Atul Kulkarni.


title: Bandish Bandits

text: The series officially announced in February 2019, and principal shoot took place across Jodhpur and Bikaner in Rajasthan. The film's soundtrack album and background score is composed by Shankar–Ehsaan–Loy, in their maiden attempt in scoring music for web series, and the soundtrack album received positive reviews from critics.


title: Bandish Bandits

text: "Bandish Bandits" released on 4 August 2020, through Amazon Prime Video. The series received positive response from critics and audiences, praising the performances of the cast, writing and direction, songs and background score. It was listed by critics as one of the best Indian television shows of 2020. The series was nominated for seven Filmfare OTT Awards including, Best Supporting Actor for Shah, Best Supporting Actress for Chaddha and Best Original Story and Best Screenplay. In September 2020, it was officially renewed for a second season.


title: Bandish Bandits

text: Classical music student Radhe and pop sensation Tamanna, coming from very different worlds of music, set out together on a journey of self-discovery to see if opposites, though they might attract, can also adapt and go the long haul.


title: Bandish Bandits

text: On 14 February 2019, Vijay Subramaniam, chief director and head of content of Amazon Prime Video India, announced the release of six Indian originals, at the Television Critics Association's press tour held in Los Angeles, California. It was produced by Still and Still Moving Pictures, with the series created by Amritpal Singh Bindra and Anand Tiwari, who previously collabrated for Netflix film "Love per Square Foot" (2018), while Tiwari helmed the series. Bindra eventually stated that "The show is a millennial love story set against the backdrop of a clash between pop and Hindustani classical music. Based in Jodhpur, it explores the central theme of whether music is discipline or is it liberation." On 18 February 2019, the makers announced that Shankar–Ehsaan–Loy, will compose music for the series, making their debut on a digital platform.


title: Bandish Bandits

text: To play the lead characters Radhe and Tamanna, the makers hired debutants Ritwik Bhowmik and Shreya Chaudhary. Shreya, opened up about what drew her to the script stating, "The script chose me. I was immediately sold when I came to know about the director and the cast. And things got even better when I read it. Tamannah is very different from Shreya, so that was exciting. Moreover, this is a romantic show woven around music and that aspect was very fresh for me." Ritwik eventually took no time to give his nod to the project, after revealing details about the director and cast. He further stated "There were 10 blueprints that I had to go through in order to get Radhe right. It took time to understand him as he is very far off from who I am in my life. It is about relationship dynamics, art versus exhibitionism, mediocrity versus genius among other things." The two actors were trained under musician Akshit Parikh, who also made a cameo in the series.


title: Bandish Bandits

text: Principal Photography began in December 2018. The series were primarily shot in Jodhpur and Bikaner in Rajasthan. From its very first episode, the series had captured several traditional Rajasthani elements which include traditional paintings, couches, walls, huts and palaces. The makers shot few scenes at the Lakshmi Vilas Palace located in Rajasthan, and some of the scenes were shot at the deserts located in Bikaner district. In an interview with a media portal, actor Ritwik Bhowmik described his experience at the desserts of Bikaner. Bhowmik said that the team filmed one of the ragas in the Bikaner desert during the peak of summer. However, when the team was shooting the raga, it started to rain. Bhowmik said that this was "one of the most divine and magical experiences of his life". Shooting wrapped up in June 2019.


title: Bandish Bandits

text: The music for "Bandish Bandits" was composed by Shankar–Ehsaan–Loy, in their debut composition for web series. On their inclusion, the composers stated that the background score will work in tandem to the story-line and building the scenes, the songs in this series form a part of the core narrative. The 11-song soundtrack album features lyrics by Divyanshu Malhotra, Tanishk S Nabar, Sameer Samant and also consists traditional verses. The soundtrack album was released on 27 July 2020, and received positive response from critics. Devarsi Ghosh of "Scroll.in" opined that "The blend of easy-listening pop and soaring semi-classical tunes brings to mind the trio's vast body of work". Baradwaj Rangan of "Film Companion" praised the album as a "magnificent east-meets-west soundtrack". Karthik Srinivasan of "Milliblog" hailed as "one of the best soundtracks in Hindi in recent times". Vipin Nair of "Music Aloud" reviewed as "a solid piece of work, despite noty being an extraordinary work by the trio (Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa), when it comes to classical fusion".


title: Bandish Bandits

text: On 15 July 2019, Amazon Prime Video announced the series officially, with a first look and teaser being released to coincide the Prime Day celebrations. The series was initially scheduled to release in the last quarter of 2019. However, the series was scheduled for a release date in late 2020. On 13 July 2020, the makers unveiled the first look motion poster of the series, followed by the teaser on 16 July, and the trailer on 20 July. As a part of the promotional strategy, the makers hosted a virtual music concert on 3 August 2020, with Shankar–Ehsaan–Loy, Prateek Kuhad, Lisa Mishra, Armaan Malik, Jonita Gandhi and Mame Khan, giving live performances. The series premiered on 4 August 2020 on Amazon Prime Video. On 11 December 2020, the makers released the Tamil and Telugu dubbed versions of the series.


title: Bandish Bandits

text: Shubhra Gupta of "The Indian Express" reviewed "The conversation around the need to revive interest in classical music, and the fact that there doesn't need to be a rift between the classical and the popular, needs to be on-going. Despite its flaws, Bandish Bandits keeps up focus on this crucial theme." Nandini Ramanath of "Scroll.in" reviewed "One thing which is missing from the mix is a reflection of the audience base for classical music that allows performers to maintain tradition, pursue long careers, and become stars in their own right. An understanding of the ability of classical musicians to successfully renegotiate the boundaries of form and performance on their own terms is also absent." Saibal Chatterjee of "NDTV" gave three out of five stars and reviewed "Watch "Bandish Bandits" for the music and the actors: they soar even when the show doesn't."


title: Bandish Bandits

text: Pratishruti Ganguly of "Firstpost" gave three out of five stating "What "Bandish Bandits" fails to do, is meld its musical largesse with the narrative scope of the show. Predictably, the length of the show (10 episodes, each over 40 minutes) demands a complex storyline that slowly builds its dramatic tension to climax to a rousing crescendo." Saraswati Datar of "The News Minute" stated "It's no masterpiece but watch "Bandish Bandits" for the lovely music that we will not get to hear on any other show, and for some its fabulous actors who quite like the music only get seen on web series like these."


title: Bandish Bandits

text: In contrast Mini Anthikkad Chibber of "The Hindu" reviewed ""Bandish Bandits" would have scraped through as a 90-minute vanilla rom-com. Padding up that wafer-thin story with inanities and songs is a terrible test of the viewer's patience." Rahul Desai of "Film Companion" reviewed "There are several problems with Bandish Bandits, but purely on a storytelling level, the writing suffers from attention deficit disorder."


title: Lavash

text: Lavash () is a thin flatbread usually leavened, traditionally baked in a tandoor ("tonir") or on a "sajj", and common to the cuisines of South Caucasus, Western Asia, and the areas surrounding the Caspian Sea. Lavash is one of the most widespread types of bread in Armenia, Azerbaijan, Iran and Turkey. The traditional recipe can be adapted to the modern kitchen by using a griddle or wok instead of the "tonir".


title: Lavash

text: In 2014, "Lavash, the preparation, meaning and appearance of traditional bread as an expression of culture in Armenia" was inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In 2016, making and sharing flatbread (lavash, katyrma, jupka or yufka) in communities of Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey was inscribed on the list as well. Lavash is similar to "yufka", but in Turkish cuisine lavash ("lavaş") is prepared with a yeast dough while "yufka" is typically unleavened.


title: Lavash

text: According to "The American Heritage Dictionary of the English Language" lavash is "a thin unleavened flatbread of Armenian origin". In 2014, Lavash was described by the Intangible Cultural Heritage of Humanity as "an expression of Armenian culture". This decision led to protests in Azerbaijan, Iran, Kyrgyzstan, and Kazakhstan over claims that the food was "regional", not "Armenian".


title: Lavash

text: The origin of lavash is often attributed to Armenia, but some scholars say lavash probably originated in Iran. Food historian Gil Marks identifies the origin more generally as the Middle East.


title: Lavash

text: Gil Marks traces the history of lavash to the early innovation of cooking thin flatbreads on terracotta griddles. The earliest forms of bread were cooked as cakes either on heated rocks or in embers, but when griddles started to be used breads had to be made thinner to fully cook through without burning like the bread "rakik" described in the Bible. With the innovation of early ovens, thicker loaves became possible.


title: Lavash

text: Hrach Martirosyan tentatively connects Armenian with dialectal , , 'palm, flat of the hand', , 'flat, polished stone for playing', 'very thin' and assumes derivation from Proto-Armenian 'flat'. He remarks that semantically this is conceivable since this bread is specifically flat and thin. It is sometimes spelt "lavosh" in English.


title: Lavash

text: Sevan Nişanyan connects both Armenian, Turkish words for lavash ultimately to Aramaic root meaning 'to knead'.


title: Lavash

text: Lavash is made with flour, water, yeast, sugar and salt. It can also be made in an unleavened version by omitting sugar and yeast. Toasted sesame seeds and/or poppy seeds are sometimes sprinkled on before baking. Traditionally the dough is rolled out flat and slapped against the hot walls of a clay oven, but modern recipes may adapt for cooking on a wok or "tava".


title: Lavash

text: While quite flexible when fresh, lavash dries out quickly and becomes brittle and hard. The soft form is easier to use when making wrap sandwiches.


title: Lavash

text: In Armenian villages, dried lavash is stacked high in layers to be used later, and when the time comes to rehydrate the bread, it is sprinkled with water to make it softer again. The dried bread is broken up into (), while fresh lavash is used to wrap the Armenian specialty dish () and to make other wraps with herbs and cheese.


title: Lavash

text: In Iran, Turkey and some Middle Eastern countries lavash is used with kebabs to make wraps like . In its dry form, leftover lavash is used in Iran to make quick meals after being rehydrated with water, butter, or cheese.


title: Lavash

text: In Turkish cuisine can be used also for sweet dishes and served alongside some traditional Turkish dessert dishes like , , ('braised fruit leather'), and .


title: Lavash

text: In Sabirabad District of Azerbaijan after a wedding when the bride comes into her new house, her mother-in-law puts lavash on her shoulder and says: "Let you come to the house of wealth, let your foot be lucky". In the Novkhani settlement, after a funeral, it is customary for people to prepare "kyulchya", which sometimes consists of halva wrapped up in lavash.


title: Lavash

text: Dried lavash can be stored over a long time period (almost one year) and is used instead of leavened bread in Eucharist traditions by the Armenian Apostolic Church.


title: Lavash

text: Women baking lavash is a common theme that has inspired Armenian painters. One such portrait by the famous Soviet-era painter Minas Minassian is displayed at the National Museum of Art in Yerevan. A print of the painting "Armenian Ladies Baking Lavash" by Armenian American artist Manuel Tolegian was selected by U.S. President Gerald Ford to hang in the White House Bicentennial Collection. The weekend open-air arts-and-crafts market in downtown Yerevan offers many lavash-related paintings and handiworks, with renditions of happy women making lavash having become a common sight.


title: Treaty of Verdun

text: The Treaty of Verdun (), agreed in , divided the Frankish Empire into three kingdoms among the surviving sons of the emperor Louis I, the son and successor of Charlemagne. The treaty was concluded following almost three years of civil war and was the culmination of negotiations lasting more than a year. It was the first in a series of partitions contributing to the dissolution of the empire created by Charlemagne and has been seen as foreshadowing the formation of many of the modern countries of western Europe.


title: Treaty of Verdun

text: The treaty was the first of the four partition treaties of the Carolingian Empire, followed by the Treaties of Prüm (855), Meerssen (870), and Ribemont (880).


title: Treaty of Verdun

text: Following Charlemagne's death, Louis was made ruler of the Frankish Empire. During his reign, he divided the empire so that each of his sons could rule over their own kingdom under the greater rule of their father. Lothair I was given the title of emperor but because of several re-divisions by his father and the resulting revolts, he became much less powerful. When Louis the Pious died in 840, his eldest son, Lothair I, claimed overlordship over the entirety of his father's kingdom in an attempt to reclaim the power he had at the beginning of his reign as emperor. He also supported his nephew, Pepin II's claim to Aquitaine, a large province in the west of the Frankish realm. Lothair's brother, Louis II, and his half-brother Charles II refused to acknowledge Lothair's suzerainty and declared war against him. After a bloody civil war, they defeated Lothair at the Battle of Fontenoy in 841 and sealed their alliance in 842 with the Oaths of Strasbourg which declared Lothair unfit for the imperial throne, after which he became willing to negotiate a settlement. The meeting happened shortly before August 10, as confirmed by a contemporary letter.


title: Treaty of Verdun

text: Each of the three brothers was already established in one kingdom: Lothair in the Kingdom of Italy; Louis the German in the Kingdom of Bavaria; and Charles II in the Kingdom of Aquitaine.


title: Treaty of Verdun

text: After Lothair's death in 855, his eldest son, Louis II, inherited Italy and his father's claim to the Imperial throne. Upper Burgundy and Lower Burgundy (Arles and Provence) passed to Lothair's third son, Charles of Provence. The remaining territory north of the Alps, which did not previously have a name, was inherited by Lothair's second son, Lothair II, and was then named Lotharingia (present day Lorraine) after him.


title: Treaty of Verdun

text: The division reflected an adherence to the old Frankish custom of partible or divisible inheritance amongst a ruler's sons, rather than primogeniture (i.e., inheritance by the eldest son) which would soon be adopted by both Frankish kingdoms. Since Lotharingia combined lengthy and vulnerable land borders with poor internal communications as it was severed by the Alps, it was not a viable entity and soon fragmented. This made it difficult for a single ruler to reassemble Charlemagne's empire. Only Charles the Fat achieved this briefly.


title: Treaty of Verdun

text: In 855, the northern section became fragile Lotharingia, which became disputed by the more powerful states that evolved out of Francia Occidentalis (present day "France") and Francia Orientalis (present day "Germany"). Generations of kings of France and Germany were unable to establish a firm rule over Lothair's kingdom. While the north of Lotharingia was then composed of independent countries, the southern third of Lotharingia, Alsace-Lorraine, was traded back and forth between France and Germany from the 18th to the 20th century. In 1766, it passed to France after the death of Stanisław Leszczyński, who had acquired the region from the German Habsburgs by the Treaty of Vienna (1738) ending the War of Polish Succession (1733–1738). In 1871, Alsace-Lorraine became German, after the victory of Prussia and its German allies over the French in the Franco-Prussian War (1870–1871). In 1919, it became French again by the Treaty of Versailles (1919), following the French victory over the Germans in World War I (1914–1918). In 1940, Germany reannexed Alsace-Lorraine following Germany's successful invasion of France. Finally, in 1945, after World War II (1939–1945), Alsace-Lorraine was solidified as French territory, which it remains to this day, more than a thousand years after the Treaty of Verdun. The collapse of the Middle Frankish Kingdom also compounded the disunity of the Italian Peninsula, which persisted into the 19th century.


title: Basic reproduction number

text: In epidemiology, the basic reproduction number, or basic reproductive number (sometimes called basic reproduction ratio or basic reproductive rate), denoted formula_1 (pronounced "R nought" or "R zero"), of an infection is the expected number of cases directly generated by one case in a population where all individuals are susceptible to infection. The definition assumes that no other individuals are infected or immunized (naturally or through vaccination). Some definitions, such as that of the Australian Department of Health, add the absence of "any deliberate intervention in disease transmission". The basic reproduction number is not necessarily the same as the effective reproduction number formula_2 (usually written formula_3 ["t" for time], sometimes formula_4), which is the number of cases generated in the current state of a population, which does not have to be the uninfected state. formula_1 is a dimensionless number (persons infected per person infecting) and not a time rate, which would have units of time, or units of time like doubling time.


title: Basic reproduction number

text: formula_1 is not a biological constant for a pathogen as it is also affected by other factors such as environmental conditions and the behaviour of the infected population. formula_1 values are usually estimated from mathematical models, and the estimated values are dependent on the model used and values of other parameters. Thus values given in the literature only make sense in the given context and it is recommended not to use obsolete values or compare values based on different models. formula_1 does not by itself give an estimate of how fast an infection spreads in the population.


title: Basic reproduction number

text: The most important uses of formula_1 are determining if an emerging infectious disease can spread in a population and determining what proportion of the population should be immunized through vaccination to eradicate a disease. In commonly used infection models, when formula_10 the infection will be able to start spreading in a population, but not if formula_11. Generally, the larger the value of formula_1, the harder it is to control the epidemic. For simple models, the proportion of the population that needs to be effectively immunized (meaning not susceptible to infection) to prevent sustained spread of the infection has to be larger than formula_13. This is the so-called "Herd immunity" "threshold" or "herd immunity level". Here, herd immunity means that the disease cannot spread in the population because each infected person, on average, can only transmit the infection to less than one other contact. Conversely, the proportion of the population that remains susceptible to infection in the endemic equilibrium is formula_14. However, this threshold is based on simple models that assume a fully mixed population with no structured relations between the individuals. For example, if there is some correlation between people's immunization (e.g., vaccination) status, then the formula formula_13 may underestimate the herd immunity threshold.


title: Basic reproduction number

text: The basic reproduction number is affected by several factors, including the duration of infectivity of affected people, the infectiousness of the microorganism, and the number of susceptible people in the population that the infected people contact.


title: Basic reproduction number

text: The roots of the basic reproduction concept can be traced through the work of Ronald Ross, Alfred Lotka and others, but its first modern application in epidemiology was by George Macdonald in 1952, who constructed population models of the spread of malaria. In his work he called the quantity basic reproduction rate and denoted it by formula_16. "Rate" in this context means per person, which makes formula_16 dimensionless as required. Because this can be misleading to anyone who understands "rate" only in the sense per unit of time, "number" or "ratio" is now preferred.


title: Basic reproduction number

text: Suppose that infectious individuals make an average of formula_18 infection-producing contacts per unit time, with a mean infectious period of formula_19. Then the basic reproduction number is:formula_20This simple formula suggests different ways of reducing formula_1 and ultimately infection propagation. It is possible to decrease the number of infection-producing contacts per unit time formula_18 by reducing the number of contacts per unit time (for example staying at home if the infection requires contact with others to propagate) or the proportion of contacts that produces infection (for example wearing some sort of protective equipment). Hence, it can also be written as


title: Basic reproduction number

text: where formula_24 is the rate of contact between susceptible and infected individuals and formula_25 is the transmissibility, i.e, the probability of infection given a contact. It is also possible to decrease the infectious period formula_19 by finding and then isolating, treating or eliminating (as is often the case with animals) infectious individuals as soon as possible.


title: Basic reproduction number

text: Latent period is the transition time between contagion event and disease manifestation. In cases of diseases with varying latent periods, the basic reproduction number can be calculated as the sum of the reproduction numbers for each transition time into the disease. An example of this is tuberculosis (TB). Blower and coauthors calculated from a simple model of TB the following reproduction number:formula_27In their model, it is assumed that the infected individuals can develop active TB by either direct progression (the disease develops immediately after infection) considered above as FAST tuberculosis or endogenous reactivation (the disease develops years after the infection) considered above as SLOW tuberculosis.


title: Basic reproduction number

text: In populations that are not homogeneous, the definition of formula_1 is more subtle. The definition must account for the fact that a typical infected individual may not be an average individual. As an extreme example, consider a population in which a small portion of the individuals mix fully with one another while the remaining individuals are all isolated. A disease may be able to spread in the fully mixed portion even though a randomly selected individual would lead to fewer than one secondary case. This is because the typical infected individual is in the fully mixed portion and thus is able to successfully cause infections. In general, if the individuals infected early in an epidemic are on average either more likely or less likely to transmit the infection than individuals infected late in the epidemic, then the computation of formula_1 must account for this difference. An appropriate definition for formula_1 in this case is "the expected number of secondary cases produced, in a completely susceptible population, produced by a typical infected individual".


title: Basic reproduction number

text: The basic reproduction number can be computed as a ratio of known rates over time: if an infectious individual contacts formula_18 other people per unit time, if all of those people are assumed to contract the disease, and if the disease has a mean infectious period of formula_32, then the basic reproduction number is just formula_33. Some diseases have multiple possible latency periods, in which case the reproduction number for the disease overall is the sum of the reproduction number for each transition time into the disease.


title: Basic reproduction number

text: In reality, diseases spread over networks of contact between people. Such a network can be represented mathematically with a graph and is called the contact network. Every node in a contact network is a representation of an individual and each link (edge) between a pair of nodes represents the contact between them. Links in the contact networks may be used to transmit the disease between the individuals and each disease has its own dynamics on top of its contact network. For example, individuals in a population can be assigned to compartments with labels – for example, S, I, or R, (Susceptible, Infectious, or Recovered) and they progress between compartments. The order of the labels usually shows the flow patterns between the compartments; for instance, SIR means each individual is originally susceptible then changes to infectious and finally gets recovered and remained recovered (immune) forever. On the other hand, public health may apply some interventions such as vaccination or contact tracing to reduce the spread of an epidemic disease. The combination of disease dynamics under the influence of interventions, if any, on a contact network may be modeled with another network, known as a transmission network. In a transmission network, all the links are responsible for transmitting the disease. If such a network is a locally tree-like network, meaning that any local neighborhood in such a network takes the form of a tree, then the basic reproduction can be written in terms of the average excess degree of the transmission network such that:


title: Basic reproduction number

text: where formula_35 is the mean-degree (average degree) of the network and formula_36 is the second moment of the transmission network degree distribution. It is, however, not always straightforward to find the transmission network out of the contact network and the disease dynamics. For example, if a contact network can be approximated with an Erdős–Rényi graph with a Poissonian degree distribution,and the disease spreading parameters are as defined in the example above, such that formula_18 is the transmission rate per person and the disease has a mean infectious period of formula_32, then the basic reproduction number is formula_39 since formula_40 for a Poisson distribution.


title: Basic reproduction number

text: One way to calculate formula_41 is to average the expected number of new infections over all possible infected types. The next-generation method is a general method of deriving formula_42 when more than one class of infectives is involved. This method, originally introduced by Diekmann "et al". (1990), can be used for models with underlying age structure or spatial structure, among other possibilities. In this picture, the spectral radius of the next-generation matrix formula_43 gives the basic reproduction number, formula_44


title: Basic reproduction number

text: Consider a sexually transmitted disease. In a naive population where almost everyone is susceptible, but the infection seed, if the expected number of gender 1 is formula_45 and the expected number of infected gender 2 is formula_46, we can know how many would be infected in the next-generation. Such that the "next-generation matrix" formula_43 can be written as:formula_48where each element formula_49 is the expected number of secondary infections of gender formula_50 caused by a single infected individual of gender formula_51, assuming that the population of gender formula_50 is entirely susceptible. Diagonal elements are zero because people of the same gender cannot transmit the disease to each other but, for example, each formula_45 can transmit the disease to formula_46, on average. Meaning that each element formula_49 is a reproduction number, but one where who infects whom is accounted for. If generation formula_56 is represented with formula_57 then the next generation formula_58 would be formula_59.


title: Basic reproduction number

text: The spectral radius of the next-generation matrix is the basic reproduction number, formula_60, that is here, the geometric mean of the expected number of each gender in the next-generation. Note that multiplication factors formula_45 and formula_46 alternate because, the infectious person has to ‘pass through’ a second gender before it can enter a new host of the first gender. In other words, it takes two generations to get back to the same type, and every two generations numbers are multiplied by formula_46×formula_45. The average per generation multiplication factor is therefore formula_65. Note that formula_43 is a non-negative matrix so it has single, unique, positive, real eigenvalue which is strictly greater than all the others.


title: Basic reproduction number

text: In mathematical modelling of infectious disease, the dynamics of spreading is usually described through a set of non-linear ordinary differential equations (ODE). So there is always formula_67 coupled equations of form formula_68 which shows how the number of people in compartment formula_69 changes over time. For example, in a SIR model, formula_70, formula_71, and formula_72. Compartmental models have a disease-free equilibrium (DFE) meaning that it is possible to find an equilibrium while setting the number of infected people to zero, formula_73. In other words, as a rule, there is an infection-free steady state. This solution, also usually ensures that the disease-free equilibrium is also an equilibrium of the system. There is another fixed point known as an Endemic Equilibrium (EE) where the disease is not totally eradicated and remains in the population. Mathematically, formula_41 is a threshold for stability of a disease-free equilibrium such that:


title: Basic reproduction number

text: To calculate formula_41, the first step is to linearise around the disease-free equilibrium (DFE), but for the infected subsystem of non-linear ODEs which describe the production of new infections and changes in state among infected individuals. Epidemiologically, the linearisation reflects that formula_41 characterizes the potential for initial spread of an infectious person in a naive population, assuming the change in the susceptible population is negligible during the initial spread. A linear system of ODEs can always be described by a matrix. So, the next step is to construct a linear positive operator that provides the next generation of infected people when applied to the present generation. Note that this operator (matrix) is responsible for the number of infected people, not all the compartments. Iteration of this operator describes the initial progression of infection within the heterogeneous population. So comparing the spectral radius of this operator to unity determines whether the generations of infected people grow or not. formula_41 can be written as a product of the infection rate near the disease-free equilibrium and average duration of infectiousness. It is used to find the peak and final size of an epidemic.


title: Basic reproduction number

text: As described in the example above, so many epidemic processes can be described with a SIR model. However, for many important infections, such as COVID-19, there is a significant latency period during which individuals have been infected but are not yet infectious themselves. During this period the individual is in compartment "E" (for exposed). Here, the formation of the next-generation matrix from the SEIR model involves determining two compartments, infected and non-infected, since they are the populations that spread the infection. So we only need to model the exposed, E, and infected, I, compartments. Consider a population characterized by a death rate formula_80 and birth rate formula_81 where a communicable disease is spreading. As in the previous example, we can use the transition rates between the compartments per capita such that formula_18 be the infection rate, formula_83 be the recovery rate, and formula_84 be the rate at which a latent individual becomes infectious. Then, we can define the model dynamics using the following equations:


title: Basic reproduction number

text: formula_85Here we have 4 compartments and we can define vector formula_86 where formula_87 denotes the number or proportion of individuals in the "formula_88"-th compartment. Let formula_89 be the rate of appearance of new infections in compartment "formula_88" such that it includes only infections that are newly arising, but does not include terms which describe the transfer of infectious individuals from one infected compartment to another. Then if formula_91 is the rate of transfer of individuals into compartment "formula_88" by all other means and formula_93 is the rate of transfer of individuals out of the "formula_88"-th compartment, then the difference formula_95 gives the rate of change of such that formula_96.


title: Basic reproduction number

text: We now can form the next-generation matrix (operator) formula_102. Basically, formula_103 is a non-negative matrix which represents the infection rates near the equilibrium, and formula_104 is an M-matrix for linear transition terms making formula_105 a matrix which represents the average duration of infectiousness. Therefore, formula_106 gives the rate at which infected individuals in "formula_107" produce new infections in "formula_87", times the average length of time an individual spends in a single visit to compartment "formula_109"


title: Basic reproduction number

text: The basic reproduction number can be estimated through examining detailed transmission chains or through genomic sequencing. However, it is most frequently calculated using epidemiological models. During an epidemic, typically the number of diagnosed infections formula_113 over time formula_114 is known. In the early stages of an epidemic, growth is exponential, with a logarithmic growth rateformula_115For exponential growth, formula_116 can be interpreted as the cumulative number of diagnoses (including individuals who have recovered) or the present number of infection cases; the logarithmic growth rate is the same for either definition. In order to estimate formula_1, assumptions are necessary about the time delay between infection and diagnosis and the time between infection and starting to be infectious.


title: Basic reproduction number

text: If an individual, after getting infected, infects exactly formula_1 new individuals only after exactly a time formula_19 (the serial interval) has passed, then the number of infectious individuals over time grows asformula_123orformula_124The underlying matching differential equation isformula_125orformula_126In this case, formula_127 or formula_128.


title: Basic reproduction number

text: If formula_1 is time dependentformula_133showing that it may be important to keep formula_134 below 0, time-averaged, to avoid exponential growth.


title: Basic reproduction number

text: This is a SEIR model and formula_1 may be written in the following formformula_139This estimation method has been applied to COVID-19 and SARS. It follows from the differential equation for the number of exposed individuals formula_140 and the number of latent infectious individuals formula_141,formula_142The largest eigenvalue of the matrix is the logarithmic growth rate formula_118, which can be solved for formula_1.


title: Basic reproduction number

text: In the special case formula_145, this model results in formula_146, which is different from the simple model above (formula_147). For example, with the same values formula_129 and formula_130, we would find formula_150, rather than the true value of formula_151. The difference is due to a subtle difference in the underlying growth model; the matrix equation above assumes that newly infected patients are currently already contributing to infections, while in fact infections only occur due to the number infected at formula_135 ago. A more correct treatment would require the use of delay differential equations.


title: Basic reproduction number

text: In reality, varying proportions of the population are immune to any given disease at any given time. To account for this, the effective reproduction number formula_4 or formula_2 is used. formula_3 is the average number of new infections caused by a single infected individual at time "t" in the partially susceptible population. It can be found by multiplying formula_1 by the fraction "S" of the population that is susceptible. When the fraction of the population that is immune increases (i. e. the susceptible population "S" decreases) so much that formula_4 drops below 1 in a basic SIR simulation, "herd immunity" has been achieved and the number of cases occurring in the population will gradually decrease to zero.


title: Basic reproduction number

text: Use of formula_1 in the popular press has led to misunderstandings and distortions of its meaning. formula_1 can be calculated from many different mathematical models. Each of these can give a different estimate of formula_1, which needs to be interpreted in the context of that model. Therefore, the contagiousness of different infectious agents cannot be compared without recalculating formula_1 with invariant assumptions. formula_1 values for past outbreaks might not be valid for current outbreaks of the same disease. Generally speaking, formula_1 can be used as a threshold, even if calculated with different methods: if formula_11, the outbreak will die out, and if formula_10, the outbreak will expand. In some cases, for some models, values of formula_11 can still lead to self-perpetuating outbreaks. This is particularly problematic if there are intermediate vectors between hosts, such as malaria. Therefore, comparisons between values from the "Values of formula_1 of well-known infectious diseases" table should be conducted with caution.


title: Basic reproduction number

text: Although formula_1 cannot be modified through vaccination or other changes in population susceptibility, it can vary based on a number of biological, sociobehavioral, and environmental factors. It can also be modified by physical distancing and other public policy or social interventions, although some historical definitions exclude any deliberate intervention in reducing disease transmission, including nonpharmacological interventions. And indeed, whether nonpharmacological interventions are included in formula_1 often depends on the paper, disease, and what if any intervention is being studied. This creates some confusion, because formula_1 is not a constant; whereas most mathematical parameters with "nought" subscripts are constants.


title: Basic reproduction number

text: formula_2 depends on many factors, many of which need to be estimated. Each of these factors adds to uncertainty in estimates of formula_2. Many of these factors are not important for informing public policy. Therefore, public policy may be better served by metrics similar to formula_2, but which are more straightforward to estimate, such as doubling time or half-life (formula_174).


title: Basic reproduction number

text: Methods used to calculate formula_1 include the survival function, rearranging the largest eigenvalue of the Jacobian matrix, the next-generation method, calculations from the intrinsic growth rate, existence of the endemic equilibrium, the number of susceptibles at the endemic equilibrium, the average age of infection and the final size equation. Few of these methods agree with one another, even when starting with the same system of differential equations. Even fewer actually calculate the average number of secondary infections. Since formula_1 is rarely observed in the field and is usually calculated via a mathematical model, this severely limits its usefulness.


title: Basic reproduction number

text: Despite the difficulties in estimating formula_1mentioned in the previous section, estimates have been made for a number of genera, and are shown in this table. Each genus may be composed of many species, strains, or variants. Estimations of formula_1 for species, strains, and variants are typically less accurate than for genera, and so are provided in separate tables below for diseases of particular interest (influenza and COVID-19).<section begin="r0hittable" />


title: Basic reproduction number

text: Estimates for variants of SARS-CoV-2.


title: Basic reproduction number

text: In the 2011 film "Contagion", a fictional medical disaster thriller, a blogger's calculations for formula_1 are presented to reflect the progression of a fatal viral infection from case studies to a pandemic.


title: Anna (South Korean TV series)

text: Anna () is a South Korean web series, written and directed by Lee Joo-young, and starring Bae Suzy in the title role, along with Jung Eun-chae, Kim Jun-han, and Park Ye-young. It premiered on Coupang Play, on June 24, 2022.


title: Anna (South Korean TV series)

text: The series tells the story of a woman who lives a completely different life starting with a small lie.


title: Anna (South Korean TV series)

text: On August 2, 2022, director Lee Joo-young accused Coupang Play for making major edits to the series without her consent. Though the final version of the series submitted by Lee was consisted of 8 episodes (45–61 minutes per episode), the series which premiered on July 24 consisted of 6 episodes (45–63 minutes per episode). Lee had requested to remove her name in the credits for director and screenplay, but that was ignored.


title: Anna (South Korean TV series)

text: In a statement a day later, Coupang Play explained that they found that the director's editing was significantly different from what was initially agreed with them but when they requested multiple times to edit according to what was agreed, director refused it. Hence Coupang Play edited the work to match the original production intent, with the consent of the producer and in accordance with the rights stipulated in the contract. However, director Lee's side stated that she neither received request for corrections nor has she refused to do so. Further more, both Lee and editor Kim Jung-hoon claimed that they never received any opinions regarding editing from Coupang Play.


title: Anna (South Korean TV series)

text: Previously on July 8, Coupang Play had announced to release a extended version of the series in August. Amidst the controversy, it was revealed to be the director’s cut which consists of 8 episodes. It was released on August 12.


title: Hiro Yamamoto

text: Hiro Yamamoto (born April 13, 1961) is an American bassist who was a founding member of grunge band Soundgarden, along with Kim Thayil and Chris Cornell in 1984. He left the band in 1989, and two years later, he started the independent rock band Truly together with Screaming Trees drummer Mark Pickerel and Robert Roth from The Storybook Krooks. In 2016, Yamamoto co-founded the surf trio Stereo Donkey.


title: Hiro Yamamoto

text: Hiro Yamamoto (; "Yamamoto Hiro") was the founding bassist of Soundgarden. He performed with Cornell, Thayil, and drummer Scott Sundquist on the Deep Six compilation, and performed with Cornell, Thayil, and drummer Matt Cameron on the EPs "Screaming Life", "Fopp", and "Loudest Love", as well as on the albums "Ultramega OK" and "Louder Than Love". He departed the band following the spring 1989 European tour. Jason Everman (formerly of Nirvana) replaced him on the bass briefly, after which Ben Shepherd became the permanent bassist. After Yamamoto departed, he completed the requirements for his master's degree in physical chemistry at Western Washington University. He is currently the Chief of Organic Chemistry at Edge Analytical in Burlington, Washington.


title: Hiro Yamamoto

text: In 1991, Yamamoto formed a three-piece indie band, Truly; the other members were former Screaming Trees drummer Mark Pickerel and singer Robert Roth. Truly released two studio albums and a compilation of unreleased material before breaking up in 2000. The band reunited in 2008.


title: Hiro Yamamoto

text: Following a successful 2016 jam session, Yamamoto formed a surf-inspired trio, Stereo Donkey, with drummer Mike Bajuk, and guitarist Pat Wickline. Unlike most surf music, which tends to feature either the guitar or the drums, Stereo Donkey emphasizes all three instruments- with Yamamoto's bass providing a fresh, melodic sound.


title: Hiro Yamamoto

text: In November 2018, the band released an eponymous six-track EP, recorded in the old church that Wickline lives in. According to Wickline, “'The room is a fourth member of the band.'” The recording reportedly works as both surf music and exotica, yet is still rooted in, "Pacific Northwest rock history."


title: Hiro Yamamoto

text: On November 8, 2021, Yamamoto performed with other noted musicians at an event in Seattle honoring the Asian Hall of Fame's 2021 inductees, and the 35th anniversary of the Robert Chinn Foundation. The other performers included Jeff Kashiwa, Krist Novoselic, Ed Roth, and Danny Seraphine.


title: A House on the Bayou

text: A House on the Bayou is a 2021 American television horror film written and directed by Alex McAulay. It stars Paul Schneider, Angela Sarafyan, Jacob Lofland, Lia McHugh, Doug Van Liew, and Lauren Richards.


title: A House on the Bayou

text: Jessica Chambers confronts her husband John over an affair. John admits he has been seeing Vivienne Ballard, one of his students. John agrees to break things off with Vivienne, to not tell anything about his affair to their daughter, Anna, and to go on vacation with his wife and daughter to mend their family.


title: A House on the Bayou

text: The family travels to a house on the Louisiana bayou that Jessica manages through her job as a realtor. The family will vacation at the home while Jess sets it up for the market. Jessica and John argue over whether to have hamburgers or veal cutlets for dinner. Jess sends John and Anna to pick up veal, her preference. While at the store, Anna meets and flirts with a boy named Isaac. The store owner writes a cryptic message on John's receipt that says: "The devil is watching you." John leaves without buying the veal and lies to Jess, saying the veal was sold out.


title: A House on the Bayou

text: Isaac soon appears at the door and manipulates Jessica and John into inviting Isaac and his Grandpappy, the store owner, in to cook a veal dinner, exposing John's lie. Over dinner Isaac shows hostility towards John and psychologically tortures the three family members with vague threats. Grandpappy explains that Isaac is a mysterious force and plays a record while Isaac is away. The disc plays a conversation that reveals John planned to leave his family for Vivienne. John denies this and is goaded into going outside with Isaac, where it is revealed that John paid Isaac and Grandpappy to murder Jessica. Isaac suggests he is controlling things now as inside Grandpappy insists John is guilty of being a poor husband and father.


title: A House on the Bayou

text: Upon his return, Jessica tells John she is divorcing him and that she sees through his gaslighting. Isaac tricks John into entering a room and locks him in. Vivienne shows up at the front door, lured there by Isaac using John's phone. Grandpappy forces Anna at gunpoint to burn Vivienne, locked in her car, for her transgressions but Jess burns her instead. In the chaos, John is killed by a coyote inside the locked room, and Jess murders Grandpappy. Isaac threatens to take Anna for his wife, claiming that he‘s been alive for centuries, has been to hell, and isn't sure if he‘s angel or a demon. When he reaches for Anna, Jessica kills him.


title: A House on the Bayou

text: Jessica and Anna go to Vierge County's Sheriff Torres to report events, but return to the site to find the house gone and the terrain vacantexcept for John's wedding ring laying on the (now) field of grass. On the ride back to the station, Torres reveals pulls over to let the perfectly fine Isaac and Grandpappy drive by in their truck. Torres confirms that Isaac and Grandpappy are not human, they clean the town of evil-doers and sinners, and Jessica should take her survival as a boon and never return to the town.


title: A House on the Bayou

text: In March 2021, was announced that Alex McAulay would write and direct the television horror thriller film "A House on the Bayou". The film is the first of eight films that Blumhouse Television will develop and produce exclusively for cable network Epix. On March 29, 2021, it was announced that Lia McHugh joined the cast of the film. Paul Schneider, Angela Sarafyan, Jacob Lofland, Doug Van Liew and Lauren Richards were cast in April.


title: Filmfare Award for Best Actress

text: The Filmfare Award for Best Actress is given by "Filmfare" as part of its annual Filmfare Awards for Hindi films, to recognise the female actor who has delivered an outstanding performance in a leading role. The award was first given in 1954 for the films released in the preceding year 1953.


The Kinks Are the Village Green Preservation Society is the sixth studio album by the English rock band the Kinks. Released on 22 November 1968, "Village Green" is regarded by commentators as an early concept album. A modest seller on release, it was the band's first studio album which failed to chart in either the United Kingdom or United States, but was lauded by contemporary critics for its songwriting. It was embraced by America's new underground rock press, completing the Kinks' transformation from mid-1960s pop hitmakers to critically favoured cult band.


title: The Kinks Are the Village Green Preservation Society

text: Bandleader Ray Davies loosely conceptualised the album as a collection of character studies, an idea he based on Dylan Thomas's 1954 radio drama "Under Milk Wood". Centring on themes of nostalgia, memory and preservation, the album reflects Davies's concerns about the increasing modernisation and encroaching influence of America and Europe on English society. Musically an example of pop or rock music, the album incorporates a range of stylistic influences, including music hall, blues, psychedelia and calypso. It was the first album which Davies produced on his own and was the last to feature the original Kinks line-up, as bassist Pete Quaife departed the band in March1969. It also marked the final collaboration between the Kinks and session keyboardist Nicky Hopkins, whose playing features heavily on piano, harpsichord and Mellotron.


text: Other than "Village Green", which was recorded in November1966 and re-recorded in February1967, sessions for the album began in March1968 at Pye Studios in London. In addition to the non-album singles "Wonderboy" and "Days", the sessions resulted in numerous tracks, some of which went unreleased for years. The album's planned September1968 release was delayed by two months in the UK after Davies's last-minute decision to rearrange and augment the track listing, though release of the earlier twelve-track edition went ahead in several European countries. The album had no accompanying lead single in the UK, though "Starstruck" was issued in the US and Europe.


text: Despite its initial commercial shortcomings, it has influenced numerous musical acts, especially American indie artists from the late 1980s and 1990s and Britpop groups like Blur and Oasis. Driven in part by this influence, the album experienced a critical and commercial resurgence in the 1990s, and it has been reissued several times, including an expanded edition in 2018. The album has since become the Kinks' best-selling album in the UK, where it was certified silver in 2008 and gold in 2018. It has been included in several critics' and listeners' polls for the best albums of all time, including those published by "Rolling Stone" magazine and in the book "All Time Top 1000 Albums".


text: In July1965, the Kinks were informally blacklisted from performing in the United States by the American Federation of Musicians. The circumstances that led to the ban are unclear but likely stemmed from several incidents during the band's first US tour; bandleader Ray Davies later attributed it to a combination of "bad luck, bad management, [and] bad behaviour". Despite the Kinks' recent commercial successes, the band's extensive touring and promotional appearances led Ray to a nervous breakdown in March1966.


text: Following Ray's breakdown, the band reduced their touring commitments and spent more time recording in the studio, a change which allowed Ray to develop as a songwriter while leaving him increasingly separated from the emerging youth and drug cultures. Author Ian MacDonald further suggests that the band's US touring ban left the group comparatively isolated from American influence, guiding them away from their earlier blues-based riffing towards a distinctly English style. In the year that followed, Ray grew obsessed with aspects of English aristocracy and the country's dying traditions. He expressed his pride of Britain in an April1966 interview with "Melody Maker" magazine, wishing its culture could remain distinct from that of America and Europe. He further indicated his desire to keep writing "very English songs" and hoped to convey his feelings in a new composition.


text: According to author Johnny Rogan, "The Kinks Are the Village Green Preservation Society" (often shortened as "Village Green") reflects a progression in the thematic linking apparent on the Kinks' albums. Originally known as a singles act, the band assembled their earliest LPs without thought towards making a larger artistic statement. Their 1964 hit singles "You Really Got Me" and "All Day and All of the Night" focused on simple boy-girl relationships, a format Ray derided on his May 1965 B-side "I Need You". Over the next year, Ray shifted his songwriting approach towards social commentary about contemporary British society, exemplified in the September1965 song "A Well Respected Man" and February 1966 single "Dedicated Follower of Fashion".


text: The band's November1965 album "The Kink Kontroversy" marked the first time Ray composed songs specifically for a single project, resulting in an LP which the band considered their most unified work to date. Ray further shifted his approach with the band's 1966 album "Face to Face", conceptualising an LP made up of songs connected through the use of sound effects and segues. Though Pye Records's objections forced him to reestablish the traditional separation between tracks, retrospective commentators often regard the album as one of rock music's first thematically linked albums, dealing loosely with themes of English class and social structures. Despite these later sentiments, Ray was unsatisfied with "Face to Face"; in interviews after its release, he disparaged the album as lacking in cohesion.


text: In November1966, as the Kinks started sessions for their next album, "Something Else by the Kinks", Ray began envisioning an LP unified around his newest composition "Village Green". He considered numerous concepts over time, including writing a piece of musical theatre or pantomime or filming a television special with live bands and an orchestra. The idea was shelved while the band worked on "Something Else" after it was deemed more appropriate for a potential solo album than a Kinks LP. Ray spent early and mid-1967 increasingly thinking about the form his solo project would take; press releases in June announced that his solo LP would be released in September, and magazine articles in July and August reported that the album would be made up of "orchestra and things like that", "ideas and songs" or one with "the songs linked up in a musical story".


text: In later interviews, Ray has regularly cited the Kinks' five-year ban from American performance as producing his pivot towards English-focused lyrics. Author Andy Miller instead connects Ray's writing to a broader tradition of English pastoral poetry – made up of authors like William Blake, William Wordsworth and Oliver Goldsmith – which often yearned for an idealised past rural England. Academic Carey Fleiner writes that his idealisation of both rural and home life fitted in the revival of the "heritage escapism" trend, which surged across English popular culture following the Second World War. Ray has also discussed his childhood as influencing his lyrics' sentiments towards village life. Both Ray and his brother Dave grew up in Fortis Green, a suburban neighbourhood of Muswell Hill in North London; though the area did not have a traditional village green as a common area, Ray has regularly described the area in rural terms. He has also mentioned Waterlow Park in the nearby suburb of Highgate and its small lake as an influence.


text: In writing the songs on "Village Green", Ray was initially inspired by Dylan Thomas's 1954 radio drama "Under Milk Wood", a work which focuses on the townspeople of a small Welsh town on a typical spring day. Miller further connects Ray's writing the works of English author George Orwell. He and other commentators draw particular comparison between "Village Green" and Orwell's 1939 novel "Coming Up for Air", a work which presents a similarly ambivalent view of nostalgia. Journalist and musician Rob Chapman suggests that in addition to "Coming Up for Air", Ray's lyrics further allude to other English writings, including Harold Nicolson's short stories, E. M. Forster's Bloomsbury essays and the writings of Philip Larkin. Author Ken Rayes compares the album to the 1925 novel "The Great Gatsby" by American author F. Scott Fitzgerald, a relationship he thinks is hinted at in the song "Village Green" by the presence of the characters Tom and Daisy, who have the same names as the novel's characters Tom and Daisy Buchanan. Rayes writes that Ray's notion of "an encroaching modern English culture" parallels the novel's motifs of "mythic America and the changing American dream".


text: The Kinks first recorded "Village Green" at the beginning of the sessions for "Something Else" on 24–25 November 1966. They re-recorded the song in February1967. Though the song was recorded during the sessions for "Something Else", Ray did not include it on that album in September1967. In November, the Kinks shifted to working on a project tentatively titled "Village Green", at that time still envisaged as a Ray solo project. Ray wrote most of "Village Green" songs from late 1967 into 1968, though he later suggested that several had been half-finished from years earlier. He generally composed songs on his Fender Malibu acoustic guitar in his living room at 87 Fortis Green, North London.


text: The band began rehearsing Ray's new songs at his home in late1967. Around the same time, they stockpiled studio recordings for later use without initially knowing when or in what format they would be released. "Mr. Songbird", "Monica" and "Phenomenal Cat" may all to date to around this period. Between late1967 and early1968, the Kinks remained generally inactive as a band; Dave spent time promoting his recent solo single "Susannah's Still Alive", while Ray wrote weekly songs for the BBC variety series "At the Eleventh Hour" between 30December and 2March.


text: The Kinks began recording "Village Green" in earnest in March1968. Most of the album was recorded in Pye Studio 2, the smaller of two basement studios at Pye's London offices. The band recorded any time they were able to obtain studio time, generally in the late afternoon or in the middle of the night. While Ray produced, Pye's in-house engineers operated the four-track mixing console; the band's longtime engineer Alan "Mac" MacKenzie worked on the album until departing from Pye in early1968. Brian Humphries engineered from May onward, beginning with the recording of "Days".


text: The band's initial March1968 sessions produced numerous recordings, only some of which ended up on the final album, including "Animal Farm" and "Johnny Thunder". Other tracks like "Berkeley Mews", "Did You See His Name" and "Rosemary Rose" went unreleased for years. The band also recorded two songs for Dave's next solo single, "Lincoln County" backed with "There Is No Life Without Love". Pye planned to issue Dave's single in the second week of April at the same time as the Kinks' next single, but the band negotiated with the label to delay the release of Dave's until August.


text: After being quickly written and recorded earlier in March, "Wonderboy" was selected by Pye from the available recordings to be the band's next single. Despite Ray's protestations that the song was insufficiently commercial for release as a single, Pye rush-released it in the UK on 5 April. Its B-side "Polly", also recorded in March, indicated Ray's continued interested in "Under Milk Wood" by directly referencing a character in the drama, Polly Garter. Though it was moderately advertised and was well-received by music critics, "Wonderboy" flopped in the UK and was the band's worst performing British single since 1964. The failure ended the band's streak of twelve consecutive top twenty hits, the last five of which had made it into the top five. It sold 26,000 copies in the UK, roughly one-tenth of each of the band's two most recent singles, "Waterloo Sunset" (May 1967) and "Autumn Almanac" (October 1967).


text: Recording for the album paused from 6 to 28 April 1968 as the Kinks toured cinemas across the UK. Further indicating their diminishing status, the band were unable to support themselves as the headlining act but instead shared the bill with the Herd. Supporting acts included the Tremeloes and Ola & the Janglers, among other groups. Contemporary reviewers criticised the Kinks for their poor stage presence and often inaudible vocals; Dave later recalled that the band were insufficiently rehearsed due to Ray's intense focus on his songwriting and a lack of motivation among the other Kinks.


text: The band resumed work on the album in May1968, recording "Picture Book", "Misty Water" and "Pictures in the Sand". After the commercial disappointment of "Wonderboy", Ray opted to record his new composition "Days" as quickly as possible in order to reestablish the Kinks' status. Recording for the song concluded in early June and it was issued as a single in the UK on the 28th. Though the single was not as successful as the band's earlier hits, it received strong airplay and helped them return to the top twenty of the British charts, reaching and in "Record Retailer" and "Melody Maker", respectively. Hinman writes that by early June, Ray's solo LP and the band's next album had "[slowly] mutated into one" under the expected title "Village Green". Pye Records allowed the band extra time to record more tracks for "Village Green" and made plans to release the album in September in the lead-up to Christmas 1968.


text: Throughout the 1960s, the Kinks were on different record labels in the US and UK and had differing contract schedules between the two countries. By June1968, the band were contractually obligated to immediately submit a finished LP to their US label, Reprise Records. Of those songs the band had already recorded, except "Village Green", Ray sent fifteen to the label. The label titled the album "Four More Respected Gentlemen" in reference to "A Well Respected Man". After Reprise learned about the Kinks' plans for a September release of "Village Green", the label planned to not issue "Four More Respected Gentlemen" immediately but instead scheduled a November release. The band again took time off from recording for a tour of Sweden from 8 to 23 June 1968. Because of the band's weakening reputation, the booking agency and the band's new agent, Barry Dickens, scheduled them to perform at outdoor public parks, seeing it as the only realistic way for the band to turn a profit.


text: After returning from Sweden, the band began rehearsing more songs for "Village Green" in July at Ray's Fortis Green home. To boost the album's track listing, the Kinks spent most of the second half of July recording new songs. New tracks included "Do You Remember Walter", "Wicked Annabella", "Starstruck", "People Take Pictures of Each Other" and "Sitting by the Riverside". In late July, Ray and his family moved out of their Fortis Green home to a larger Tudor house in Borehamwood, Hertfordshire. Ray's previous work had been heavily inspired by life in the original area, not far from his and his brother's childhood home. He later reflected that as soon as he moved into the new house he felt unhappy.


text: In mid-August1968, the Kinks recorded Ray's new composition "The Village Green Preservation Society". Ray intended for the song to be the last recorded for the album, making it a twelve track LP. With its recording, he changed the album's title to "The Kinks are the Village Green Preservation Society" and did its final mixing. Publishing was assigned for the LP's songs on 16 August. Around the same time, Ray interviewed with "Record Mirror" and "New Musical Express" ("NME") magazines in anticipation of the album's release, and the album cover was photographed.


text: In September1968, with recording for "Village Green" finished, the Kinks returned to Pye to record Ray's composition "Till Death Us Do Part" for a film of the same name. Extracts from the LP were played by Pye executives at the label's international sales conference, held on 5 and 6 September at London's Europa Hotel, and around 11 September, Keith Altham of "NME" listened to a tape of the album at the band's manager's office. Before Altham's favourable review was published in the 21 September issue of "NME", Ray had Pye halt the album's production and postpone its planned UK release of 27 September.


text: Ray's reason for delaying "Village Green" release is unclear. Hinman writes the last-minute decision foreshadowed major conflicts between Pye and Ray in late 1968. Ray later suggested he was annoyed that the label demanded hit singles from him and afforded little support for full-length LPs, and Hinman suggests this annoyance moved Ray to withhold from Pye any potential Kinks singles. Miller suggests Ray may have desired to increase "Village Green" track listing after becoming aware that both the Beatles and the Jimi Hendrix Experience would be issuing double albums. On 30 September, a press release stated that the Kinks' next album would be released in a month as a double-record with at least eighteen songs. Interviewed in October for next month's issue of "Beat Instrumental" magazine, drummer Mick Avory explained that the band were talking to their record label about the possibility of having twenty songs on two LPs but sold for the price of one, something they hoped would give fans more for their money. After Ray suggested the change to Pye, the label rejected it for financial reasons but accepted a compromise of a fifteen-song single-disc LP.


text: The Kinks returned to Pye Studios around 12 October 1968 to record more tracks for the album, including "Big Sky", "Last of the Steam-Powered Trains" and "All of My Friends Were There", though the latter may have been recorded in July. Ray remixed several songs from the July sessions on 28 October, likely because his original mixes from August had been rushed. He submitted the final tapes to Pye for the fifteen-track LP in November. In anticipation of the UK release of "Village Green", Reprise cancelled "Four More Respected Gentlemen" in October, only a month before its planned release.


text: "Village Green" is the Kinks' first studio album which credits Ray as its producer. Halfway through the sessions for "Something Else", he and the band's longtime producer Shel Talmy experienced a breakdown in their relationship, resulting in a mixture of tracks produced by one or the other. Engineer Brian Humphries later reflected that though Ray was not formally trained as a producer, he had become "quite knowledgeable" by the time of "Village Green" due to his practice of standing behind Talmy during the production process of the band's earlier albums. Ray's production of "Village Green" is subdued and his mix is generally light on the bottom end. Author Nicholas Schaffner describes the production as "unassuming in the extreme, with embellishments kept to a minimum". Ray subsequently suggested he under-recorded the songs, either deliberately or out of inexperience, resulting in a demo-like sound.


text: The album uses a variety of contrasting instruments and sounds, such as harmonica, harpsichord and flute, as well as guitar feedback. The Kinks' recording process generally consisted of laying down the rhythm track first, featuring drums, bass and Ray on piano or rhythm guitar. The band would next overdub percussion, keyboards and a guitar contribution from Dave, before mixing down the recording to make room for vocal contributions. The recordings are generally driven by Ray's 1965 Fender Malibu acoustic guitar, while Dave often supplemented an electric guitar contribution on Ray's 1963 Fender Telecaster or with one of his own guitars, such as his 1959 Gibson Flying V or Guild Starfire III. Dave's typical Vox AC30 amplifier was likely used for most tracks, though the long sustain heard on "Wicked Annabella" suggests the use of an early-era solid-state amplifier. Four microphones were placed around Avory's drum kit and Pete Quaife's Rickenbacker bass was plugged directly into the mixing desk. Avory altered his drum sound on "Wicked Annabella" and "Picture Book" by disengaging the snare and deadened the sound on "Phenomenal Cat" by placing newspaper over a floor tom.


text: Among the songs on "Village Green" with real string sections are "Village Green" and possibly "Animal Farm", as arranged by English composer David Whitaker. String and brass sections are generally absent from the Kinks' late 1960s recordings, likely because Pye executives saw the hiring of an arranger and session players as too expensive to warrant; the album prominently employs a Mellotron as an inexpensive alternative. A predecessor to the synthesiser, the Mellotron is a keyboard instrument on which the keys trigger tape loops of recordings of a variety of instruments, enabling its user to play keyboard parts using those voices. Ray was introduced to the instrument in May1967 while visiting the home of Graham Nash, a member of the contemporary English rock band the Hollies. He purchased his own soon after and likely first employed it in early June1967 on the Kinks' song "Lazy Old Sun". The sounds it mimics on "Village Green" include a horn section ("Do You Remember Walter"), accordion ("Sitting by the Riverside") and flute ("Phenomenal Cat"), among others.