Jade (film) (traditional land division) of Moanalua to Damon when she died in 1884. Damon renovated the cottage and used it as a residence. The cottage was moved to its present location in 1960; it had been in three locations in Moanalua before then. Hitachi tree. The Hitachi tree, a large monkeypod tree with a distinctive umbrella-shaped canopy, grows in the middle of a grassy area in the middle of the park. The tree is registered as an exceptional tree by the City and County of Honolulu and cannot be removed or destroyed without city council approval. Japanese electronics manufacturer 	Moanalua Gardens
8499224	Hitachi, Ltd. has used the tree as a corporate symbol since 1973. An agreement between the Damon Estate and Hitachi gave Hitachi exclusive worldwide rights to use the tree's image for promotional purposes in exchange for annual payments of US$20,000. The status of the agreement was called into question when the Damon Estate was dissolved after the last remaining grandchild died in 2004. Hitachi negotiated with the new owner and reached an agreement with Kaimana Ventures in December 2006 where Hitachi would pay US$400,000 annually for promotional rights until 2016. The revenue from Hitachi is expected to 	Moanalua Gardens
8499225	only partially defray the US$600,000 annual expenses for the park. Moanalua Gardens Moanalua Gardens is a privately owned public park in Honolulu, Hawaii. The park is the site of the Kamehameha V Cottage which used to be the home of Prince Lot Kapuāiwa, who would later become King Kamehameha V. It is also the site of the annual Prince Lot Hula Festival, and the home of a large monkeypod tree that is known in Japan as the Hitachi tree. The gardens. The gardens are located just off Interstate H-201 in the Moanalua district near Tripler Army Medical Center at 	Moanalua Gardens
8499226	Canon EOS-1N Canon EOS-1N The EOS-1N is a 35mm single lens reflex (SLR) camera body produced by Canon. It was announced by Canon in 1994, and was the professional model in the range, superseding the original EOS-1. The camera was itself superseded by the EOS-1v in 2000. The original EOS-1 had been launched in 1989, two years after the company had introduced their new EOS autofocus system. It was the company's first professional-level EOS camera and was aimed at the same photographers who had used Canon's highly regarded, manual focus professional FD mount SLRs, such as the Canon 	Canon EOS-1N
8499227	New F-1 and the Canon T90. On a physical level the EOS-1 resembled the T90, which had been designed for Canon by Luigi Colani. The EOS-1N was a revision of the EOS-1, with five autofocus points spread across the frame rather than a single centrally-mounted autofocus point, plus more effective weather sealing, a wider exposure range, and numerous other improvements. In common with the EOS-1, the 1N used Canon's A-TTL automatic flash system, and does not support the more modern E-TTL. Features. At the time of its creation, The Canon EOS-1N was placed at the top 	Canon EOS-1N
8499228	of Canon's EOS camera line. The camera featured polycarbonate external construction with weather-resistant seals around buttons, dials and its Canon EF lens mount. The fixed eye-level pentaprism viewfinder has 100-percent vertical and horizontal coverage, has dioptric viewfinder adjustment from –3 to +1 diopter and has as a viewfinder eyepiece blind to block stray light when on a tripod. For automatic focusing, the camera used a 5-point BASIS auto focus system with the sensors arranged horizontally across the middle of the viewing area. The center point is a cross-type, which detects horizontal and vertical lines	Canon EOS-1N
8499229	, while the outer four detect vertical lines only. Metering modes include a 16-zone evaluative, center-weighted average, partial, selectable spot, and fine central spot metering mode. Film speeds can be set from ISO 6-6400 either manually or automatically by DX codes on the film canisters. The camera allows variable Program autoexposure, as well as aperture-priority and shutter-priority automatic exposure and manual exposure. Another option is Depth-of-field AE (DEP), an automatic mode that selects the focusing distance and aperture f-number to place the depth of field between two user-specified near and far points	Canon EOS-1N
8499230	. Shutter speeds range from 30 seconds to 1/8000 of a second in all exposure modes. A non-timed bulb speed is available. Flash X-sync is available up to a shutter speed of 1/250 of a second. There are 14 custom functions to change the way the camera operates, which set options like exposure steps and mirror lock-up. The camera has user-interchangeable focusing screens, interchangeable with those out of other EOS-1-series cameras, and a now-discontinued interchangeable Canon Command Back E1. Power comes from one 2CR5 battery, an optional BP-E1 Battery Pack housing four AA alkaline 	Canon EOS-1N
8499231	or lithium batteries or the PB-E1 Power Booster drive housing eight AA batteries and allowing for 6 frames per second to be photographed, depending on the type of battery and the shutter speed selected. The camera weighs in at 855 grams, or 1 lb and 14.15 oz. Background. There were several versions of the EOS-1N available. The base model EOS-1N consisted of the standard camera body with significant upgrades over the EOS 1, launched in 1989. The EOS-1N DP comprised the standard body and the BP-E1 pack (see below) and the EOS-1N HS comprised the standard body plus 	Canon EOS-1N
8499232	booster (see below). One feature the EOS-1N (and previous/subsequent '1' models) lacks, which lower models in the range have, is built-in flash, intentionally omitted to provide an overall very rigid camera body able to withstand severe treatment by professionals. Weather sealing was incorporated after feedback from working professionals. Other notable omissions are the eye-controlled focus feature of the EOS 5 and the bar code reader of the EOS 10, neither of which are professional-level cameras. Another feature of the EOS-1N, and other professional models in the range, is the provision for a precise viewfinder indication of 	Canon EOS-1N
8499233	exposure in manual mode. This had previously been provided in fully manual cameras such as the F-1, but older Canon cameras with automatic exposure modes merely provided a recommended exposure reading in manual mode, leaving the user to accept the offered settings or not. The EOS-1N provides a viewfinder readout similar to the old F-1's needle display, but in electronic LCD form showing steps in 0.3, 0.5 or 1 stops. Like the EOS 5, the internal displays of the EOS 1N self-adjust in brightness in response to the brightness level of the subject. The optional Power Booster PB	Canon EOS-1N
8499234	-E1 or Battery Pack BP-E1 attach to the base of the camera. The booster (PB-E1) holds 8 AA batteries or an optional Ni-Cad pack, and boosts the standard drive from 3 frames per second to 6(AI Servo AF: 5). The Power Booster E1 has its own shutter release and input dial for use when shooting in the vertical format. The battery pack (BP-E1) is a lighter and simpler accessory. This holds 4 AA cells and a lithium battery, and the user can select between the two power sources with a switch. It provides a grip for 	Canon EOS-1N
8499235	vertical shots but no additional controls. The major appeal of the Battery Pack BP-E1 is that is lighter and less expensive than the power booster. There is also a PB-E2 (has AF-field-button, a wheel around the shutter-button). ATT: Statement about input dial on PB-E1 is wrong. PB-E1 has 2 buttons (shutter button, AE-lock) and vertical control switch (on/oFF) and nothing else. Input Dial is then only on PB-E2!Also called Power Drive Booster PDB. AA-Lithium -Batteries only if AE-Lock-button has a star * imprinted. In addition to the standard 	Canon EOS-1N
8499236	EOS-1N there was another, specialised model in the range — the EOS-1N RS, introduced in 1995, with a permanently attached power drive booster. This camera has a fixed pellicle mirror so there is no viewfinder black-out at the moment of exposure. The fixed mirror allows high-speed continuous shooting at a top speed of 10 frames per second, with a shutter release lag as low as 6 ms. There is a cost to this however: slightly less light reaches the film, as some is always being directed up to the viewfinder and optical quality loss. By the time of the 	Canon EOS-1N
8499237	release of the next generation EOS 1V, considerable technical improvements to the standard camera design meant that Canon no longer offered RS model variants. The EOS 1N was discontinued in 2001 with the arrival of the EOS 1V. Digital. During the late 1990s, Canon and Kodak collaborated on a range of professional digital SLRs which combined Canon EOS-1N bodies with Kodak digital sensors and electronics. They were Canon's first ventures into the digital SLR marketplace and divided into two distinct generations. The first generation was the Kodak EOS DCS series of 1995, which encompassed the 6 mp EOS DCS 	Canon EOS-1N
8499238	1, the 1.5 mp DCS 3, and the 1.3 mp DCS 5. The EOS 1N camera bodies were almost unmodified from stock configuration, and were mounted on a removable Kodak digital back. The relationship continued with the Kodak DCS 500 series, which fully integrated the EOS-1N body with Kodak's imaging components. The range consisted of the 2 mp DCS 520 and the 6 mp DCS 560. The two cameras were also sold by Canon, as the Canon EOS D2000 and D6000 respectively. Canon's subsequent professional digital SLRs were produced independently of Kodak, and were initially based on the 	Canon EOS-1N
8499239	Canon EOS-1V, before moving to custom-designed digital bodies. Canon EOS-1N The EOS-1N is a 35mm single lens reflex (SLR) camera body produced by Canon. It was announced by Canon in 1994, and was the professional model in the range, superseding the original EOS-1. The camera was itself superseded by the EOS-1v in 2000. The original EOS-1 had been launched in 1989, two years after the company had introduced their new EOS autofocus system. It was the company's first professional-level EOS camera and was aimed at the same photographers who had used Canon's highly regarded, manual 	Canon EOS-1N
8499240	Hyperscore Hyperscore Hyperscore is a computer-assisted music composition program intended to make the creation of music readily accessible to experienced musicians as well as those without any musical training. To accomplish this, the software maps complex musical concepts to intuitive visual representations. Color, shape, and texture are used to convey high-level musical features such as timbre, melodic contour, and harmonic tension. Hyperscore has received international media attention and awards. It has been featured in numerous news and journal publications, including the New York Times, as well as television programs such as Scientific American Frontiers. Composing. Users of Hyperscore compose 	Hyperscore
8499241	music by first creating simple melodies or sequences of notes. A library of predefined elements is also provided. These melodies are assigned unique colors. The user then creates a musical sketch composed of colored lines, where each line instances the notes from the corresponding melody. The contour and position of the line alters the pitch at which notes are played back. The software can optionally use different classes of automated harmonization to organize the given notes, in order to easily generate more pleasing results. The effects of the harmony algorithms can be controlled by contours in a special line presented 	Hyperscore
8499242	throughout the sketch. Modulations and sections of harmonic tension and resolution can be introduced in this manner, adding interest and variation to the music. Hyperscore also provides users with control over tempo and dynamics. MIDI synthesis is used for audible output from within the application and all General MIDI voices are available for use. History. Hyperscore was originally developed by Morwaread Farbood in Tod Machover's Opera of the Future group at the Massachusetts Institute of Technology Media Lab. Early versions of the software allowed users to generate novel compositions from predefined motives by sketching lines indicating patterns of musical 	Hyperscore
8499243	tension. In 2021, Hyperscore was re-developed by Peter Torpay, who earned his PhD in Machover's group at the MIT Media Lab. In the new version, scheduled for release in 2022, the graphical user interface has been updated and the application is web-based so that it will be broadly accessible. The application evolved to play a prominent role in the Toy Symphony. During an international tour of this project, children were given the opportunity to compose orchestral pieces using Hyperscore, which were then performed in concert along with other works utilizing traditional and technologically enhanced instruments and approaches	Hyperscore
8499244	. Hyperscore was also used extensively in Machover's series of City Symphonies, in which children and adults in cities around the world composed original music that was incorporated by Machover into orchestral works performed by major symphony orchestras. Current applications. In 2004, Hyperscore became a commercial product under Harmony Line, Inc. The company created H-Lounge, an online music and ring tone-oriented social networking website dedicated to music makers who can upload mp3's or songs they have created with Hyperscore. The company closed in 2017. Subsequently, a nonprofit, New Harmony Line, was formed and acquired the license to 	Hyperscore
8499245	Hyperscore. New Harmony Line is focused on re-developing Hyperscore as a web-based software application for music education, which it plans to make available to educators and the general public. Hyperscore Hyperscore is a computer-assisted music composition program intended to make the creation of music readily accessible to experienced musicians as well as those without any musical training. To accomplish this, the software maps complex musical concepts to intuitive visual representations. Color, shape, and texture are used to convey high-level musical features such as timbre, melodic contour, and harmonic tension. Hyperscore has received international media attention and 	Hyperscore
8499246	Jade (film) Jade (film) Jade is a 1995 American erotic thriller film written by Joe Eszterhas, produced by Robert Evans, directed by William Friedkin, and starring David Caruso, Linda Fiorentino, Chazz Palminteri, Richard Crenna, and Michael Biehn. The original music score was composed by James Horner based on a song composed by Loreena McKennitt. The film was marketed with the tagline Some fantasies go too far." Plot. Assistant District Attorney David Corelli (Caruso) is called to the murder scene of prominent businessman Kyle Medford, found bludgeoned to death in his San Francisco home by an antique hatchet. Police detectives Bob Hargrove and  Petey Vesko find photographs in Medford's safe of Governor Lew Edwards (Crenna) having sex with a prostitute, later identified as Patrice Jacinto. During questioning, Patrice reveals that she and several other women were paid by Medford to have sex with wealthy men at his beach house in Pacifica. She also informs them that the most desired prostitute among the clients was a woman known only as "Jade". In a private meeting with Governor Edwards and aide Bill Barrett, Corelli is warned not to make the photographs public. Corelli is then almost killed when his brake line is deliberately cut  and his vehicle goes out of control while driving down a steep hill. The detectives find fingerprints on the hatchet belonging to Katrina Gavin, a clinical psychologist and former lover of Corelli's who eventually married his close friend, defense attorney Matt Gavin. When interviewed, Katrina explains that Medford gave her a tour of his antique collection on the day in question, but claims to have nothing to do with his death. At Medford's beach house, Corelli and the detectives find various drugs, alcohol, and sex toys, as well as hidden video cameras. They conclude Medford was recording the  sex sessions to blackmail the men. Corelli is shocked to discover Katrina on one of the tapes; the revelation renews the detectives' interest in her as a suspect. Patrice arranges to meet Corelli at a restaurant to discuss Jade's identity, but she is murdered in a hit-and-run attack by an unknown assailant driving a black Ford Thunderbird. Corelli, witnessing the murder first-hand, chases the assailants' vehicle in vain. The detectives discover the Gavins own a similar Thunderbird, so suspect Katrina of killing Patrice, but then find the actual vehicle used in the hit-and-run abandoned , suggesting that someone is trying to frame Katrina. Katrina is again brought in for questioning and is shown the sex tape. Matt, in his capacity as her attorney, ends the interrogation before she fully explains her involvement. When confronted at their home, Katrina admits to her husband that she did have sex with the man on the tape, due in part to her knowledge of Matt's many affairs. Katrina visits Corelli at his apartment and tries unsuccessfully to seduce him. She admits having felt sexually liberated by sleeping with several men at the beach house. Meanwhile, the only witness  to identify Katrina at the Pacifica beach house, a man named Henderson, is found murdered. Corelli informs the detectives at the crime scene that Katrina could not have killed him because he was with her at the time. Back at his apartment, Corelli is confronted by Matt, who holds him at gunpoint and angrily accuses him of sleeping with Katrina. Corelli denies it and persuades Matt that his wife's life is in danger. They hurry to the Gavin home, where Det. Hargrove, Barrett, and Pat Callendar have come to kill Katrina and search for the incriminating photos of the  governor. Callendar is shot by Matt, but Barrett manages to escape. In the meantime, Hargrove tries to rape and kill Katrina, but Corelli and Matt arrive and Hargrove is shot by Matt. Corelli goes to the governor for a guarantee of Katrina's safety by leveraging his possession of the photographs. The governor denies any knowledge of Hargrove or Callendar's actions, but insinuates they were both acting on his behalf. As she gets ready for bed at home, Katrina finds photographs laid out in her bathroom of her having sex at the beach house. Matt admits to Katrina that  he killed Medford, certain that Medford eventually would blackmail them both. He then tells Katrina to "introduce me to Jade" the next time they "make love". Production. Warren Beatty was the first choice to play the role of David Corelli, but turned it down. After his sudden departure from "NYPD Blue", David Caruso was hoping to break through with a film career and accepted the role. The part of Matt Gavin was offered to Kenneth Branagh, before Chazz Palminteri was eventually cast. Julia Roberts and Sharon Stone were considered to play Katrina Gavin, but both rejected it. Linda Fiorentino was  then asked, but she originally turned it down because she did not want to play a prostitute, but changed her mind once her character was changed through rewrites. According to Joe Eszterhas' autobiography, "Hollywood Animal", William Friedkin changed the script so much that Eszterhas threatened to remove his name from the credits. He claimed Paramount settled by giving him a "blind script deal" worth $2–4 million. In an interview in Linda Ruth Williams' book "The Erotic Thriller in Contemporary Cinema", Friedkin admitted that he had virtually rewritten the script. Friedkin also said that "Jade" was the favorite of all  the films he had made. He later wrote the movie had "a terrific cast. A wonderful script. Great locations. How could it miss?" Release. A year prior to the film's release, Caruso decided that his popularity as star of the hit ABC TV series "NYPD Blue" would provide enough momentum to successfully make the risky jump from television to feature-film leading man. Although he did play an assistant district attorney, this film was a departure from his more heroic role on TV. Despite a large marketing campaign, moviegoers did not seem to accept Caruso in this character, or  the dark and overtly sexual themes of the film. Comeback roles in television failed until he landed the lead role in CBS' 2002 spin-off series, "". Reception. Box office. The film, with an estimated production budget of $50 million, earned $9,851,610 at the North American domestic box office, taking in $4,284,246 in its opening weekend and ranking number five in the box-office charts. Critical response. The film received negative reviews from critics. Rotten Tomatoes retrospectively collected 30 reviews and gave the film an approval score of 13%, with an average rating of 4.2/10. The site's  consensus reads: "An ostensible erotic thriller that's largely neither erotic nor thrilling, "Jade" marks one of several unfortunate low points for aggressively sexual mid-'90s cinema". On Metacritic it has a score of 33% based on reviews from 27 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale. Gene Siskel singled the film out as the worst one he saw in 1995. Roger Ebert of the Chicago Sun-Times responded to Siskel's worst-of selection by mounting a very mild defense where he said that  he didn't think the movie was amongst the worst of 1995, although he added that he gave it a thumbs-down grade on their show and said that the plot was incomprehensible; in his print review, Ebert awarded it 2 out of 4 stars, and wrote: "There's only one character we can identify with - a San Francisco police detective played by David Caruso - and he doesn't drive the plot so much as get swept along by it." Brian Lowry of Variety called it "A muddled mix of sex, political corruption and murder, Jade is a jigsaw puzzle  that never puts all the pieces together." Janet Maslin of "The New York Times" wrote: "Though the combination of Linda Fiorentino, Chazz Palminteri and David Caruso promised Jade some fire, it winds up with no more spark than a doused campfire." Awards. It earned two Golden Raspberry Award nominations, for Worst Screenplay and Worst New Star (for Caruso, who was nominated for both "Jade" and "Kiss of Death"), but lost both categories to "Showgirls", also written by Joe Eszterhas. Other response. Friedkin admitted the film was "a critical and financial disaster", although it "contained some of my best work. I  felt I had let down the actors, the studio, and most of all, Sherry (Sherry Lansing, his wife, an executive at Paramount). I went into a deep funk. Was it the "Exorcist" curse, as many have suggested, a poor choice of material, or simply that whatever talent I had was ephemeral? Maybe all of the above." Michael Biehn was not fond of the film: "Well, on "Jade", I had no idea what I was doing. I don't think anybody had any idea what they were doing. It was a Joe Eszterhas script. To me, none of it ever really  made any sense. I didn't realize until the read-through that I was the bad guy in it. It was like a jumbled mess. And the movie came out a mess, too. It had great people on it, though. It had William Friedkin directing, it had Chazz Palmenteri, who was nominated that year for an Academy Award, it had Linda Fiorentino, who had just come out with that famous movie she did "The Last Seduction", and it had David Caruso, who's a brilliant actor when given the right material, and a very smart guy. So a great cast , great director... everything but a script." Director's cut. An unrated "director's cut" version featuring additional scenes and more explicit sexual footage with an additional 12 minutes was later released to VHS, though it is now out of print; the theatrical cut was used for the subsequent DVD and Blu-ray editions. The planned unrated versions for DVD, LaserDisc, and Blu-ray were cancelled, due to poor sales of the unrated VHS version. In one alternate version of "Jade", rather than having Gavin get away with murder, Corelli returns to the house, clearly planning to place him under arrest . Cable channels USA, Cinemax, and WGN air the director's cut, including some scenes originally cut to avoid a possible NC-17 rating and for length. Jade (film) Jade is a 1995 American erotic thriller film written by Joe Eszterhas, produced by Robert Evans, directed by William Friedkin, and starring David Caruso, Linda Fiorentino, Chazz Palminteri, Richard Crenna, and Michael Biehn. The original music score was composed by James Horner based on a song composed by Loreena McKennitt. The film was marketed with the tagline "Some fantasies go too far." Plot. Assistant District Attorney David Corelli (Caruso) is called to the