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Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile.
During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943).
As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed.
In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc.
Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television.
The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films.
In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin.
Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well.
By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts.
The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie.
At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success.
In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day.
Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry.
Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont.
To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership.
Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, parent of NBC. The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006. GE purchased Vivendi's share in NBCU in 2011 and in turn sold 51% of the company to cable provider Comcast. Comcast merged the former GE subsidiary with its own cable-television programming assets, creating the current NBCUniversal. Following Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on Jan 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion.
In late 2005, Viacom's Paramount Pictures acquired DreamWorks SKG after acquisition talks between GE and DreamWorks stalled. Universal's long time chairperson, Stacey Snider, left the company in early 2006 to head up DreamWorks. Snider was replaced by then-Vice Chairman Marc Shmuger and Focus Features head David Linde. On October 5, 2009, Marc Shmuger and David Linde were ousted and their co-chairperson jobs consolidated under former president of worldwide marketing and distribution Adam Fogelson becoming the single chairperson. Donna Langley was also upped to co-chairperson. In 2009, Stephanie Sperber founded Universal Partnerships & Licensing within Universal to license consumer products for Universal. In September 2013, Adam Fogelson was ousted as co-chairman of Universal Pictures, promoting Donna Langley to sole-chairman. In addition, NBCUniversal International Chairman, Jeff Shell, would be appointed as Chairman of the newly created Filmed Entertainment Group. Longtime studio head Ron Meyer would give up oversight of the film studio and appointed Vice Chairman of NBCUniversal, providing consultation to CEO Steve Burke on all of the company's operations. Meyers still retains oversight of Universal Parks and Resorts.
Universal's multi-year film financing deal with Elliott Management expired in 2013. In July 2013, Universal made an agreement with Legendary Pictures to market, co-finance, and distribute Legendary's films for five years starting in 2014, the year that Legendary's similar agreement with Warner Bros. expires.
In June 2014, Universal Partnerships took over licensing consumer products for NBC and Sprout with expectation that all licensing would eventually be centralized within NBCUniversal. In May 2015, Gramercy Pictures was revived by Focus Features as a genre label, that concentrated on action, sci-fi, and horror films.
As of 2015, Universal is the only studio to have released three billion-dollar films in one year; this distinction was achieved in 2015 with Furious 7, Jurassic World and Minions.
In the early 1950s, Universal set up its own distribution company in France, and in the late 1960s, the company also started a production company in Paris, Universal Productions France S.A., although sometimes credited by the name of the distribution company, Universal Pictures France. Except for the two first films it produced, Claude Chabrol's Le scandale (English title The Champagne Murders) and Romain Gary's Les oiseaux vont mourir au Pérou (English title Birds in Peru), it was only involved in French or other European co-productions, the most noticeable ones being Louis Malle's Lacombe, Lucien, Bertrand Blier's Les Valseuses (English title Going Places), and Fred Zinnemann's The Day of the Jackal. It was only involved in approximately 20 French film productions. In the early 1970s, the unit was incorporated into the French Cinema International Corporation arm.
Estonian (eesti keel [ˈeːsti ˈkeːl] ( listen)) is the official language of Estonia, spoken natively by about 1.1 million people in Estonia and tens of thousands in various migrant communities. It belongs to the Finnic branch of the Uralic language family.
One distinctive feature that has caused a great amount of interest among linguists is what is traditionally seen as three degrees of phonemic length: short, long, and "overlong", such that /sɑdɑ/, /sɑˑdɑ/ and /sɑːdɑ/ are distinct. In actuality, the distinction is not purely in the phonemic length, and the underlying phonological mechanism is still disputed.[citation needed]
Estonian belongs to the Finnic branch of the Uralic languages, along with Finnish, Karelian, and other nearby languages. The Uralic languages do not belong to the Indo-European languages. Estonian is distantly related to Hungarian and to the Sami languages.
Estonian has been influenced by Swedish, German (initially Middle Low German, which was the lingua franca of the Hanseatic League and spoken natively in the territories of what is today known as Estonia by a sizeable burgher community of Baltic Germans, later Estonian was also influenced by standard German), and Russian, though it is not related to them genetically.
Like Finnish and Hungarian, Estonian is a somewhat agglutinative language, but unlike them, it has lost vowel harmony, the front vowels occurring exclusively on the first or stressed syllable, although in older texts the vowel harmony can still be recognized. Furthermore, the apocope of word-final sounds is extensive and has contributed to a shift from a purely agglutinative to a fusional language.[citation needed] The basic word order is subject–verb–object.
The two different historical Estonian languages (sometimes considered dialects), the North and South Estonian languages, are based on the ancestors of modern Estonians' migration into the territory of Estonia in at least two different waves, both groups speaking considerably different Finnic vernaculars. Modern standard Estonian has evolved on the basis of the dialects of Northern Estonia.
The domination of Estonia after the Northern Crusades, from the 13th century to 1918 by Denmark, Germany, Sweden, and Russia delayed indigenous literacy in Estonia.[citation needed]
The oldest written records of the Finnic languages of Estonia date from the 13th century. Originates Livoniae in Chronicle of Henry of Livonia contains Estonian place names, words and fragments of sentences.
The earliest extant samples of connected (north) Estonian are the so-called Kullamaa prayers dating from 1524 and 1528. In 1525 the first book published in the Estonian language was printed. The book was a Lutheran manuscript, which never reached the reader and was destroyed immediately after publication.
The first extant Estonian book is a bilingual German-Estonian translation of the Lutheran catechism by S. Wanradt and J. Koell dating to 1535, during the Protestant Reformation period. An Estonian grammar book to be used by priests was printed in German in 1637. The New Testament was translated into southern Estonian in 1686 (northern Estonian, 1715). The two languages were united based on northern Estonian by Anton thor Helle.
The birth of native Estonian literature was in 1810 to 1820 when the patriotic and philosophical poems by Kristjan Jaak Peterson were published. Peterson, who was the first student at the then German-language University of Dorpat to acknowledge his Estonian origin, is commonly regarded as a herald of Estonian national literature and considered the founder of modern Estonian poetry. His birthday on March 14 is celebrated in Estonia as the Mother Tongue Day. A fragment from Peterson's poem "Kuu" expresses the claim reestablishing the birthright of the Estonian language:
From 1525 to 1917 14,503 titles were published in Estonian, as opposed to the 23,868 titles which were published between 1918 and 1940.[citation needed]
Writings in Estonian became significant only in the 19th century with the spread of the ideas of the Age of Enlightenment, during the Estophile Enlightenment Period (1750–1840). Although Baltic Germans at large regarded the future of Estonians as being a fusion with themselves, the Estophile educated class admired the ancient culture of the Estonians and their era of freedom before the conquests by Danes and Germans in the 13th century.
After the Estonian War of Independence in 1919, the Estonian language became the state language of the newly independent country. In 1945, 97.3% of Estonia considered itself ethnic Estonian and spoke the language.
When Estonia was invaded and occupied by the Soviet Union in World War II, the status of the Estonian language changed to the first of two official languages (Russian being the other one). As with Latvia many immigrants entered Estonia under Soviet encouragement. In the second half of the 1970s, the pressure of bilingualism (for Estonians) intensified, resulting in widespread knowledge of Russian throughout the country. The Russian language was termed as ‘the language of friendship of nations’ and was taught to Estonian children, sometimes as early as in kindergarten. Although teaching Estonian to non-Estonians in schools was compulsory, in practice learning the language was often considered unnecessary.
During the Perestroika era, The Law on the Status of the Estonian Language was adopted in January 1989. The collapse of the Soviet Union led to the restoration of Republic of Estonia's independence. Estonian went back to being the only state language in Estonia which in practice meant that use of Estonian was promoted while the use of Russian was discouraged.
The return of Soviet immigrants to their countries of origin has brought the proportion of Estonians in Estonia back above 70%. And again as in Latvia, today many of the remnant non-Estonians in Estonia have adopted the Estonian language; about 40% at the 2000 census.
The Estonian dialects are divided into two groups – the northern and southern dialects, historically associated with the cities of Tallinn in the north and Tartu in the south, in addition to a distinct kirderanniku dialect, that of the northeastern coast of Estonia.
The northern group consists of the keskmurre or central dialect that is also the basis for the standard language, the läänemurre or western dialect, roughly corresponding to Läänemaa and Pärnumaa, the saarte murre (islands') dialect of Saaremaa and Hiiumaa and the idamurre or eastern dialect on the northwestern shore of Lake Peipsi.
The southern group (South Estonian language) consists of the Tartu, Mulgi, Võru (Võro) and Setu (Seto) dialects. These are sometimes considered either variants of a South Estonian language, or separate languages altogether. Also, Seto and Võro distinguish themselves from each other less by language and more by their culture and their respective Christian confession.
Like Finnish, Estonian employs the Latin script as the basis for its alphabet, which adds the letters ä, ö, ü, and õ, plus the later additions š and ž. The letters c, q, w, x and y are limited to proper names of foreign origin, and f, z, š, and ž appear in loanwords and foreign names only. Ö and ü are pronounced similarly to their equivalents in Swedish and German. Unlike in standard German but like Finnish and Swedish (when followed by 'r'), Ä is pronounced [æ], as in English mat. The vowels Ä, Ö and Ü are clearly separate phonemes and inherent in Estonian, although the letter shapes come from German. The letter õ denotes /ɤ/, unrounded /o/, or a close-mid back unrounded vowel. It is almost identical to the Bulgarian ъ /ɤ̞/ and the Vietnamese ơ, and is used to transcribe the Russian ы.
Although the Estonian orthography is generally guided by phonemic principles, with each grapheme corresponding to one phoneme, there are some historical and morphological deviations from this: for example preservation of the morpheme in declension of the word (writing b, g, d in places where p, k, t is pronounced) and in the use of 'i' and 'j'.[clarification needed] Where it is very impractical or impossible to type š and ž, they are substituted with sh and zh in some written texts, although this is considered incorrect. Otherwise, the h in sh represents a voiceless glottal fricative, as in Pasha (pas-ha); this also applies to some foreign names.
Modern Estonian orthography is based on the Newer Orthography created by Eduard Ahrens in the second half of the 19th century based on Finnish orthography. The Older Orthography it replaced was created in the 17th century by Bengt Gottfried Forselius and Johann Hornung based on standard German orthography. Earlier writing in Estonian had by and large used an ad hoc orthography based on Latin and Middle Low German orthography. Some influences of the standard German orthography — for example, writing 'W'/'w' instead of 'V'/'v' persisted well into the 1930s.
It should be noted that Estonian words and names quoted in international publications from Soviet sources are often back-transliterations from the Russian transliteration. Examples are the use of "ya" for "ä" (e.g. Pyarnu instead of Pärnu), "y" instead of "õ" (e.g., Pylva instead of Põlva) and "yu" instead of "ü" (e.g., Pyussi instead of Püssi). Even in the Encyclopædia Britannica one can find "ostrov Khiuma", where "ostrov" means "island" in Russian and "Khiuma" is back-transliteration from Russian instead of "Hiiumaa" (Hiiumaa > Хийума(а) > Khiuma).
Typologically, Estonian represents a transitional form from an agglutinating language to a fusional language. The canonical word order is SVO (subject–verb–object).
In Estonian, nouns and pronouns do not have grammatical gender, but nouns and adjectives decline in fourteen cases: nominative, genitive, partitive, illative, inessive, elative, allative, adessive, ablative, translative, terminative, essive, abessive, and comitative, with the case and number of the adjective(s) always agreeing with that of the noun (except in the terminative, essive, abessive and comitative, where there is agreement only for the number, the adjective being in the genitive form). Thus the illative for kollane maja ("a yellow house") is kollasesse majja ("into a yellow house"), but the terminative is kollase majani ("as far as a yellow house"). With respect to the Proto-Finnic language, elision has occurred; thus, the actual case marker may be absent, but the stem is changed, cf. maja – majja and the Pohjanmaa dialect of Finnish maja – majahan.
The direct object of the verb appears either in the accusative (for total objects) or in the partitive (for partial objects). The accusative coincides with the genitive in the singular and with nominative in the plural. Accusative vs. partitive case opposition of the object used with transitive verbs creates a telicity contrast, just as in Finnish. This is a rough equivalent of the perfective vs. imperfective aspect opposition.
The verbal system lacks a distinctive future tense (the present tense serves here) and features special forms to express an action performed by an undetermined subject (the "impersonal").
Although the Estonian and Germanic languages are of very different origins, one can identify many similar words in Estonian and English, for example. This is primarily because the Estonian language has borrowed nearly one third of its vocabulary from Germanic languages, mainly from Low Saxon (Middle Low German) during the period of German rule, and High German (including standard German). The percentage of Low Saxon and High German loanwords can be estimated at 22–25 percent, with Low Saxon making up about 15 percent.[citation needed]
Often 'b' & 'p' are interchangeable, for example 'baggage' becomes 'pagas', 'lob' (to throw) becomes 'loopima'. The initial letter 's' is often dropped, for example 'skool' becomes 'kool', 'stool' becomes 'tool'.
Estonian language planners such as Ado Grenzstein (a journalist active in Estonia in the 1870s–90s) tried to use formation ex nihilo, Urschöpfung; i.e. they created new words out of nothing.
The most famous reformer of Estonian, Johannes Aavik (1880–1973), used creations ex nihilo (cf. ‘free constructions’, Tauli 1977), along with other sources of lexical enrichment such as derivations, compositions and loanwords (often from Finnish; cf. Saareste and Raun 1965: 76). In Aavik’s dictionary (1921), which lists approximately 4000 words, there are many words which were (allegedly) created ex nihilo, many of which are in common use today. Examples are
Many of the coinages that have been considered (often by Aavik himself) as words concocted ex nihilo could well have been influenced by foreign lexical items, for example words from Russian, German, French, Finnish, English and Swedish. Aavik had a broad classical education and knew Ancient Greek, Latin and French. Consider roim ‘crime’ versus English crime or taunima ‘to condemn, disapprove’ versus Finnish tuomita ‘to condemn, to judge’ (these Aavikisms appear in Aavik’s 1921 dictionary). These words might be better regarded as a peculiar manifestation of morpho-phonemic adaptation of a foreign lexical item.
Paper is a thin material produced by pressing together moist fibres of cellulose pulp derived from wood, rags or grasses, and drying them into flexible sheets. It is a versatile material with many uses, including writing, printing, packaging, cleaning, and a number of industrial and construction processes.
The pulp papermaking process is said to have been developed in China during the early 2nd century AD, possibly as early as the year 105 A.D., by the Han court eunuch Cai Lun, although the earliest archaeological fragments of paper derive from the 2nd century BC in China. The modern pulp and paper industry is global, with China leading its production and the United States right behind it.
The oldest known archaeological fragments of the immediate precursor to modern paper, date to the 2nd century BC in China. The pulp papermaking process is ascribed to Cai Lun, a 2nd-century AD Han court eunuch. With paper as an effective substitute for silk in many applications, China could export silk in greater quantity, contributing to a Golden Age.
Its knowledge and uses spread from China through the Middle East to medieval Europe in the 13th century, where the first water powered paper mills were built. Because of paper's introduction to the West through the city of Baghdad, it was first called bagdatikos. In the 19th century, industrial manufacture greatly lowered its cost, enabling mass exchange of information and contributing to significant cultural shifts. In 1844, the Canadian inventor Charles Fenerty and the German F. G. Keller independently developed processes for pulping wood fibres.
The word "paper" is etymologically derived from Latin papyrus, which comes from the Greek πάπυρος (papuros), the word for the Cyperus papyrus plant. Papyrus is a thick, paper-like material produced from the pith of the Cyperus papyrus plant, which was used in ancient Egypt and other Mediterranean cultures for writing before the introduction of paper into the Middle East and Europe. Although the word paper is etymologically derived from papyrus, the two are produced very differently and the development of the first is distinct from the development of the second. Papyrus is a lamination of natural plant fibres, while paper is manufactured from fibres whose properties have been changed by maceration.
To make pulp from wood, a chemical pulping process separates lignin from cellulose fibres. This is accomplished by dissolving lignin in a cooking liquor, so that it may be washed from the cellulose; this preserves the length of the cellulose fibres. Paper made from chemical pulps are also known as wood-free papers–not to be confused with tree-free paper; this is because they do not contain lignin, which deteriorates over time. The pulp can also be bleached to produce white paper, but this consumes 5% of the fibres; chemical pulping processes are not used to make paper made from cotton, which is already 90% cellulose.
There are three main chemical pulping processes: the sulfite process dates back to the 1840s and it was the dominant method extent before the second world war. The kraft process, invented in the 1870s and first used in the 1890s, is now the most commonly practiced strategy, one of its advantages is the chemical reaction with lignin, that produces heat, which can be used to run a generator. Most pulping operations using the kraft process are net contributors to the electricity grid or use the electricity to run an adjacent paper mill. Another advantage is that this process recovers and reuses all inorganic chemical reagents. Soda pulping is another specialty process used to pulp straws, bagasse and hardwoods with high silicate content.
There are two major mechanical pulps, the thermomechanical one (TMP) and groundwood pulp (GW). In the TMP process, wood is chipped and then fed into large steam heated refiners, where the chips are squeezed and converted to fibres between two steel discs. In the groundwood process, debarked logs are fed into grinders where they are pressed against rotating stones to be made into fibres. Mechanical pulping does not remove the lignin, so the yield is very high, >95%, however it causes the paper thus produced to turn yellow and become brittle over time. Mechanical pulps have rather short fibres, thus producing weak paper. Although large amounts of electrical energy are required to produce mechanical pulp, it costs less than the chemical kind.
Recycled papers can be made from 100% recycled materials or blended with virgin pulp, although they are (generally) not as strong nor as bright as papers made from the latter.
Besides the fibres, pulps may contain fillers such as chalk or china clay, which improve its characteristics for printing or writing. Additives for sizing purposes may be mixed with it and/or applied to the paper web later in the manufacturing process; the purpose of such sizing is to establish the correct level of surface absorbency to suit ink or paint.
Pressing the sheet removes the water by force; once the water is forced from the sheet, a special kind of felt, which is not to be confused with the traditional one, is used to collect the water; whereas when making paper by hand, a blotter sheet is used instead.
Drying involves using air and/or heat to remove water from the paper sheets; in the earliest days of paper making this was done by hanging the sheets like laundry; in more modern times various forms of heated drying mechanisms are used. On the paper machine the most common is the steam heated can dryer. These can reach temperatures above 200 °F (93 °C) and are used in long sequences of more than 40 cans; where the heat produced by these can easily dry the paper to less than 6% moisture.
Paper at this point is uncoated. Coated paper has a thin layer of material such as calcium carbonate or china clay applied to one or both sides in order to create a surface more suitable for high-resolution halftone screens. (Uncoated papers are rarely suitable for screens above 150 lpi.) Coated or uncoated papers may have their surfaces polished by calendering. Coated papers are divided into matte, semi-matte or silk, and gloss. Gloss papers give the highest optical density in the printed image.
The paper is then fed onto reels if it is to be used on web printing presses, or cut into sheets for other printing processes or other purposes. The fibres in the paper basically run in the machine direction. Sheets are usually cut "long-grain", i.e. with the grain parallel to the longer dimension of the sheet.
All paper produced by paper machines as the Fourdrinier Machine are wove paper, i.e. the wire mesh that transports the web leaves a pattern that has the same density along the paper grain and across the grain. Textured finishes, watermarks and wire patterns imitating hand-made laid paper can be created by the use of appropriate rollers in the later stages of the machine.
Wove paper does not exhibit "laidlines", which are small regular lines left behind on paper when it was handmade in a mould made from rows of metal wires or bamboo. Laidlines are very close together. They run perpendicular to the "chainlines", which are further apart. Handmade paper similarly exhibits "deckle edges", or rough and feathery borders.
The thickness of paper is often measured by caliper, which is typically given in thousandths of an inch in the United States and in thousandths of a mm in the rest of the world. Paper may be between 0.07 and 0.18 millimetres (0.0028 and 0.0071 in) thick.
Paper is often characterized by weight. In the United States, the weight assigned to a paper is the weight of a ream, 500 sheets, of varying "basic sizes", before the paper is cut into the size it is sold to end customers. For example, a ream of 20 lb, 8.5 in × 11 in (216 mm × 279 mm) paper weighs 5 pounds, because it has been cut from a larger sheet into four pieces. In the United States, printing paper is generally 20 lb, 24 lb, or 32 lb at most. Cover stock is generally 68 lb, and 110 lb or more is considered card stock.
In Europe, and other regions using the ISO 216 paper sizing system, the weight is expressed in grammes per square metre (g/m2 or usually just g) of the paper. Printing paper is generally between 60 g and 120 g. Anything heavier than 160 g is considered card. The weight of a ream therefore depends on the dimensions of the paper and its thickness.
Most commercial paper sold in North America is cut to standard paper sizes based on customary units and is defined by the length and width of a sheet of paper.
The ISO 216 system used in most other countries is based on the surface area of a sheet of paper, not on a sheet's width and length. It was first adopted in Germany in 1922 and generally spread as nations adopted the metric system. The largest standard size paper is A0 (A zero), measuring one square meter (approx. 1189 × 841 mm). Two sheets of A1, placed upright side by side fit exactly into one sheet of A0 laid on its side. Similarly, two sheets of A2 fit into one sheet of A1 and so forth. Common sizes used in the office and the home are A4 and A3 (A3 is the size of two A4 sheets).
The density of paper ranges from 250 kg/m3 (16 lb/cu ft) for tissue paper to 1,500 kg/m3 (94 lb/cu ft) for some speciality paper. Printing paper is about 800 kg/m3 (50 lb/cu ft).
Much of the early paper made from wood pulp contained significant amounts of alum, a variety of aluminium sulfate salts that is significantly acidic. Alum was added to paper to assist in sizing, making it somewhat water resistant so that inks did not "run" or spread uncontrollably. Early papermakers did not realize that the alum they added liberally to cure almost every problem encountered in making their product would eventually be detrimental. The cellulose fibres that make up paper are hydrolyzed by acid, and the presence of alum would eventually degrade the fibres until the paper disintegrated in a process that has come to be known as "slow fire". Documents written on rag paper were significantly more stable. The use of non-acidic additives to make paper is becoming more prevalent, and the stability of these papers is less of an issue.
Paper made from mechanical pulp contains significant amounts of lignin, a major component in wood. In the presence of light and oxygen, lignin reacts to give yellow materials, which is why newsprint and other mechanical paper yellows with age. Paper made from bleached kraft or sulfite pulps does not contain significant amounts of lignin and is therefore better suited for books, documents and other applications where whiteness of the paper is essential.
Paper made from wood pulp is not necessarily less durable than a rag paper. The ageing behavior of a paper is determined by its manufacture, not the original source of the fibres. Furthermore, tests sponsored by the Library of Congress prove that all paper is at risk of acid decay, because cellulose itself produces formic, acetic, lactic and oxalic acids.
Mechanical pulping yields almost a tonne of pulp per tonne of dry wood used, which is why mechanical pulps are sometimes referred to as "high yield" pulps. With almost twice the yield as chemical pulping, mechanical pulps is often cheaper. Mass-market paperback books and newspapers tend to use mechanical papers. Book publishers tend to use acid-free paper, made from fully bleached chemical pulps for hardback and trade paperback books.
Worldwide consumption of paper has risen by 400% in the past 40 years leading to increase in deforestation, with 35% of harvested trees being used for paper manufacture. Most paper companies also plant trees to help regrow forests. Logging of old growth forests accounts for less than 10% of wood pulp, but is one of the most controversial issues.
Paper waste accounts for up to 40% of total waste produced in the United States each year, which adds up to 71.6 million tons of paper waste per year in the United States alone. The average office worker in the US prints 31 pages every day. Americans also use on the order of 16 billion paper cups per year.
Conventional bleaching of wood pulp using elemental chlorine produces and releases into the environment large amounts of chlorinated organic compounds, including chlorinated dioxins. Dioxins are recognized as a persistent environmental pollutant, regulated internationally by the Stockholm Convention on Persistent Organic Pollutants. Dioxins are highly toxic, and health effects on humans include reproductive, developmental, immune and hormonal problems. They are known to be carcinogenic. Over 90% of human exposure is through food, primarily meat, dairy, fish and shellfish, as dioxins accumulate in the food chain in the fatty tissue of animals.
Some manufacturers have started using a new, significantly more environmentally friendly alternative to expanded plastic packaging. Made out of paper, and known commercially as paperfoam, the new packaging has very similar mechanical properties to some expanded plastic packaging, but is biodegradable and can also be recycled with ordinary paper.
With increasing environmental concerns about synthetic coatings (such as PFOA) and the higher prices of hydrocarbon based petrochemicals, there is a focus on zein (corn protein) as a coating for paper in high grease applications such as popcorn bags.
Paper recycling processes can use either chemically or mechanically produced pulp; by mixing it with water and applying mechanical action the hydrogen bonds in the paper can be broken and fibres separated again. Most recycled paper contains a proportion of virgin fibre for the sake of quality; generally speaking, de-inked pulp is of the same quality or lower than the collected paper it was made from.
Adult contemporary music (AC) is a style of music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, rhythm and blues, quiet storm, and rock influence. Adult contemporary is rather a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music.
Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated. It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music. Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure.
Adult contemporary is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set. The electric guitars are normally faint and high-pitched. However, recent adult contemporary music may usually feature synthesizers (and other electronics, such as drum machines).
AC radio stations may play mainstream music, but they will exclude hip hop, dance tracks, hard rock, and some forms of teen pop, as they are less popular amongst the target demographic of these radio stations, which is intended for an adult audience. AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s. A common practice in recent years is that many adult contemporary stations play less newer music because they also give ample airtime to hits of the past, so the de-emphasis on new songs slows the progression of the AC chart.
Over the years, AC has spawned subgenres including "hot AC", "soft AC" (also known as "lite AC"), "urban AC", "rhythmic AC", and "Christian AC" (a softer type of contemporary Christian music). Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres. Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected tracks from musicians of many different genres.
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70-80% instrumental - 20-30% vocal mix. A few offered 90% instrumentals, and a handful were entirely instrumental. The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations. Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton. The chart described itself as "not too far out in either direction".
Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others. The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out. Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s.
After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced. Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically. As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s. Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers.
One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock. These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs.
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient. Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased, AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists.
Hard rock had been established as a mainstream genre by 1965. From the end of the 1960s, it became common to divide mainstream rock music into soft and hard rock, with both emerging as major radio formats in the US. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. Major artists included Barbra Streisand, Carole King, Cat Stevens, James Taylor and Bread.

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