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Laaga Chunari Mein Daag
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Laaga Chunari Mein Daag
Theatrical release poster
Directed by
Pradeep Sarkar
Produced by
Aditya Chopra
Screenplay by
Rekha Nigam
Story by
Aditya Chopra
Starring
Rani Mukerji
Jaya Bachchan
Konkona Sen Sharma
Abhishek Bachchan
Kunal Kapoor
Narrated by
Rani Mukerji
Music by
Shantanu Moitra
Cinematography
Sushil Rajpal
Edited by
Kaushik Das
Distributed by
Yash Raj Films
Release date
12 October 2007 (2007-10-12)
Running time
137 mins
Country
India
Language
Hindi
Budget
₹150 million (US$2.3 million)(approx.)[1]
Box office
₹250 million (US$3.8 million)[2][3] (Total Worldwide Collection until close date at 4 weeks)
Laaga Chunari Mein Daag – Journey Of A Woman (English: My Veil is Stained) is a 2007 Indian drama film directed by Pradeep Sarkar and starring Rani Mukerji, Jaya Bachchan, Konkona Sen Sharma, Kunal Kapoor and Anupam Kher with special appearances by Abhishek Bachchan and Hema Malini. Produced by Aditya Chopra it premiered on 12 October 2007. The film was the first directed by Sarkar under the Yash Raj Films banner. The movie is loosely inspired by the 1995 Marathi movie Doghi and 1981 movie Ahista Ahista which itself was a remake of 1969 Kannada movie Gejje Pooje.
Contents
[hide]
1 Plot
2 Cast
2.1 Main cast
2.2 Other cast
3 Production
4 Crew
5 Music
6 Reception
7 Box office
8 Awards
8.1 Filmfare Awards
8.2 Stardust Awards
9 References
10 External links
Plot[edit]
Vibhavari, affectionately called Badki (Rani Mukerji), and Shubhavari, affectionately called Chutki (Konkona Sen Sharma) are the daughters of Shivshankar Sahay (Anupam Kher) and Savitri (Jaya Bachchan). They live together on the banks of the Ganges in Banaras. Life is full of happiness and joy for the two, though the family is relatively poor. Badki especially is protective of her family and is determined to ensure Chutki completes her education.
As things go from bad to worse when her father becomes ill, Badki goes to Mumbai to find work. She is unable to find a job as she has not completed 12th standard. Her so-called boss tells her that if she sleeps with him he will give her the job. The next day he declines what he had promised but pays her the money. After encountering many obstacles and feeling desperate and out of options, she is forced to become the exclusive call girl "Natasha". Misleading her family – telling them she is an event planner – and sending them money for her father's medicines. Badki learns to speak English and learns how to dress up in a modern way. She hides her secret to keep the family home from being foreclosed on. Chutki completes her MBA securing 1st rank and, unannounced, comes to live with Badki in Mumbai. The younger sister becomes a trainee at the Matrix Advertising agency, and falls in love with her boss, creative director Vivaan (Kunal Kapoor). Badki finds love in attorney Rohan (Abhishek Bachchan) but leaves him, afraid that he would be disgusted by her profession. Chutki inadvertently discovers what Badki does for a living and is disgusted by this turn of events.
The two sisters return to Banaras for Chutki's wedding. Badki comes face to face with Rohan, and he is revealed to be Vivaan's brother. Old feelings resurface between the two and eventually Rohan asks Badki to marry him. Badki refuses, feeling that Rohan would never accept her after knowing her profession. Chutki convinces Badki to think about her happiness for once and accept his proposal. During the conversation Shivshankar, Savitri and Chutki finally face the lies and secrets realising what Badki sacrificed for the family. Badki reveals her profession to Rohan, who shocks her by announcing that he knew, from the moment he saw her with her client in Zurich, that she was a call girl. Despite that he still wants to marry her and respects her. Badki readily accepts, finally gaining the happiness she has sought and gets married.
Cast[edit]
Main cast[edit]
Rani Mukerji as Vibhavari Sahay (Badki) Varma: Badki (which means "big sister") is also known as Natasha. The elder daughter, Badki is fiercely protective of her family. When her education is stopped to compensate for expenses she does not fret; she instead carries on and helps her mother. Her father has always disliked the fact that she was not born a son, which hurts her. She goes to Mumbai to help her family and does not hesitate in making sacrifices for them.
Jaya Bachchan as Savitri Sahay: Savitri is the one who holds the Sahay family together. As her husband's bitterness grows and affects his health, she leans on Badki for support. She is the only one in the family who knows what Badki has done to keep them all steady.
Konkona Sen Sharma as Shubhavari Sahay (Chutki) Varma: Chutki ("little sister") has everything she could ever want. Her mother and sister love her to the core and do everything to protect her. She is intelligent and sharp-minded but unaware of the sacrifices Badki is making for the family.
Anupam Kher as Shivshankar Sahay: A former economics teacher, Shivshanker is unable to cope with an unfair dismissal at the college and his bitterness grows and grows. As the family sinks into poverty, he does nothing to help. He buys lottery tickets thinking he will win and, more importantly, bring back his days of glory. He resents the fact that Badki was not born a son and vents out his frustrations on his loved ones. His disappointment in Badki continues when she goes to Mumbai, thinking she will achieve nothing.
Kunal Kapoor as Vivaan Varma: Having lived all his life in the big city, Vivaan has no idea how the rest of India lives or functions. When he meets Chutki, he dismisses her citing that she is a small village girl with no prospect of a job in his advertising agency. He changes his mind when he comes face-to-face with her independent attitude and is blown away.
Abhishek Bachchan as Rohan Varma: Rohan is a top attorney. His look may be that of someone who is serious, but inside he has a childlike innocence. He meets Badki and falls in love with her but she runs away from him. Rohan is set on finding out why Badki is the way she is.
Kamini Kaushal[4]
Hema Malini as Dulari Bai (Dancer)
Other cast[edit]
Tarana Raja as Sophia
Ninad Kamat as Karan
Harsh Chhaya as K. Gupta
Murli Sharma as Sunil[5]
Tinnu Anand as Rajshankar 'Rajjo' Sahay[5]
Sushant Singh as Ratan Sahay[5]
Suchitra Pillai as Michele[5]
Production[edit]
Saif Ali Khan was originally approached for the role of Rohan that went to Abhishek Bachchan,[6] and Vidya Balan had earlier been offered the role that went to Konkona Sen Sharma. Laaga Chunari Mein Daag was Jaya Bachchan's first film since Nikhil Advani's Kal Ho Naa Ho in 2003.
The production of the film gathered some controversy when a lighting crew-member drowned in the Ganges River.[7] During a shooting session in Varanasi, bodyguards of Rani Mukerji aggressively moved media people and fans away from the filmset. A political and media storm followed, as various groups insisted that Mukerji should have stopped the security guards. The actress then apologised to the media, though claiming the media were trying to get too close to both her and Konkona Sen Sharma.[8] Some scenes involving Mukerji and Bachchan were shot in Bern, Switzerland and Lucerne, Switzerland.
Crew[edit]
Director: Pradeep Sarkar
Producer: Pradeep Sarkar and Aditya Chopra
Writer: Pradeep Sarkar
Dialogue: Rekha Nigam
Music Director: Shantanu Moitra
Lyrics: Swanand Kirkire
Editing: Kaushik Das
Cinematographer: Sushil Rajpal
Choreography: Howard Rosemeyer
Costumes: Sabyasachi Mukherjee, Subarna Ray Chaudhuri, Shiraz Siddique
Sound design: Rishi Oberoi
Music[edit]
Laaga Chunari Mein Daag — Journey Of A Woman
Studio album by Shantanu Moitra
Released
10 September 2007 (India)
Genre
Feature film soundtrack
Label
Yash Raj Music
Producer
Aditya Chopra
Shantanu Moitra chronology
Eklavya: The Royal Guard
(2007)Eklavya: The Royal Guard2007 Laaga Chunari Mein Daag
(2007) Khoya Khoya Chand
(2007)Khoya Khoya Chand2007
The film's soundtrack was released on 10 September 2007. Songs such as Hum To Aise Hain and Kachchi Kaliyaan featured playback singers such as Sunidhi Chauhan, Shreya Ghoshal and KK. The soundtrack received a 3 out of 5 rating on indiaFm.com.
#
Song
Singer(s)
Length
Picturised on
1 Hum To Aise Hain Sunidhi Chauhan, Shreya Ghoshal, Swanand Kirkire & Pranab Biswas 05:07 Rani Mukerji, Konkona Sen Sharma, Jaya Bachchan & Anupam Kher
2 Zara Gungunalein Chalo Babul Supriyo & Mahalakshmi Iyer 04:46 Abhishek Bachchan and Rani Mukerji
3 Chunari Mein Daag Shubha Mudgal & Meeta Vashisht 04:21 Rani Mukerji
4 Ik Teekhi Teekhi Si Ladki KK & Shreya Ghoshal 04:45 Kunal Kapoor & Konkona Sen Sharma
5 Ehi Thaiyaa Motiya Rekha Bhardwaj 04:40 Hema Malini
6 Kachchi Kaliyaan Sonu Nigam, KK, Sunidhi Chauhan & Shreya Ghoshal 04:35 Abhishek Bachchan, Rani Mukerji, Kunal Kapoor, Anupam Kher, Jaya Bachchan & Konkona Sen Sharma
Reception[edit]
The film premiered on 12 October 2007 in Mumbai and was released on the same day in North America. The film opened well as it was highly anticipated. However, due to negative reviews as well as the competition it faced from the more successful Bhool Bhulaiya it became a box office dud in India. It was however more successful overseas.
In an interview with the filmmaker Pradeep Sarkar, said: "It was tight budget film made with Rs 150 million and already on the first week it has made Rs 250 million gross worldwide. In what way we are saying that it is not doing well?"[1] asked Sarkar. "Admitting that the film did take a slow start in the domestic market, he's hopeful it will grow on audiences in the weeks ahead, much in the same way that his debut film Parineeta did. "[1]
In India, the film critically received a generally negative response, with reviewers criticising the repetitious and obsolete story line. Raja Sen of Rediff.com said the movie "takes us back to a kind of cinema we thought we were done with. Indian cinema threw off the dupatta just a little while ago; let's not shackle it back down".[9] Taran Adarsh from indiaFM said it "stands on a shaky script and has all chances of slipping".[10] Martin D'Souza of Glamsham.com noted, "this is a big letdown" from the director of the well-received Parineeta.[11] The Hindustan Times wrote that, "This one comes out smelling of mothballs, like a wedding dress stored for decades in an attic trunk. Not surprising, since the plot is vintage 1977 from Aaina, and the 1995 award winning Marathi film Doghi" (made by Sumitra Bhave with Uttara Baokar, Sadashiv Amrapurkar, Sonali Kulkarni and Renuka Daftardar).[12] Anupama Chopra found the film "a cauldron of wonderful cinematic talent, undone by half-baked writing".[13]
Critical response in the United States to the film was more mixed. Frank Lovece of Film Journal International said that the film put "glossy Bollywood confection" in a historical context, calling it a "good old-fashioned, Douglas Sirk-style women's weepie ... so universal you could substitute Joan Crawford for Rani Mukerji and New York City for Mumbai".[14] Maitland McDonagh of TV Guide found the film "breaks no new ground but is solidly entertaining"[15] while David Chute of L.A. Weekly said, "The movie works so hard to transform its shocking subject into acceptable material for middlebrow melodrama that it never deals with it".[16] Rachel Saltz of the New York Times termed the film, "A fascinating blend of musical, melodrama and feminist fairy tale".[17]
Box office[edit]
According to Box Office Mojo,the Domestic gross in the Opening Weekend was 19.7 million(approx.)or US$320,987;[18] being release in 60[18] theatres, the close Date was 4 November 2007[18] and It was in release for 28[18] days(4 Weeks).
Total lifetime grosses was 41.6 million (approx.) or US$675,102[18] (7.2%[18] of the total Worldwide Collection), at the Foreign market the collection was 533.1 million (approx.) or US$8,679,460[18] (92.8% of the total Worldwide Collection).[18] Total Worldwide collection 574.7 million or US$9,354,562[18] reported until 4 November 2007.[18]
Awards[edit]
Filmfare Awards[edit]
Nominations
Filmfare Best Actress Award- Rani Mukerji
Filmfare Best Supporting Actress Award- Konkona Sen Sharma
Stardust Awards[edit]
Nominated
Stardust Star of the Year Award - Female- Rani Mukerji
References[edit]
^ Jump up to: a b c http://ibnlive.in.com/news/big-b-loved-laaga-chunari-mein-daag-defends-director/50821-8.html
Jump up ^ http://www.boxofficemojo.com/movies/?id=lagachunarimeindaag.htm
Jump up ^ http://pro.boxoffice.com/statistics/movies/laaga-chunari-mein-daag-journey-of-a-woman-2007[permanent dead link]
Jump up ^ "indiafm.com". Kamini Kaushal on LCMD. Retrieved 11 October 2007.
^ Jump up to: a b c d TVGuide.com: Laaga Chunari Mein Daag: Journey Of A Woman "Cast + Details"
Jump up ^ "Pradeep Sarkar's plans his next with Saif and Vidya". IndiaFM. Retrieved 20 November 2006. External link in |work= (help)
Jump up ^ "Lightman of Yash Raj Films 'Chudiyan' drowns in Varanasi". IndiaFM. Retrieved 20 November 2006. External link in |work= (help)
Jump up ^ "Rani Mukerji in Controversy". IndiaFM. Archived from the original on 11 October 2007. Retrieved 20 November 2006. External link in |work= (help)
Jump up ^ Sen, Raja. Laaga Chunari Se Bhaag. Rediff.com. Accessed 13 October 2007.
Jump up ^ Adarsh, Taran. Laaga Chunari Mein Daag. indiaFM. Accessed 13 October 2007.
Jump up ^ D'Souza, Martin. Movie Review: Laga Chunari Mein Daag. Glamsham.com. Accessed 13 October 2007.
Jump up ^ Hindustan Times, "Old Wine, Older Bottle" Accessed 13 October 2007.
Jump up ^ Chopra, Anupama. [1]. NDTV. Accessed 13 October 2007.
Jump up ^ Film Journal International (Oct. 12, 2007): Review by Frank Lovece
Jump up ^ TVGuide.com (Oct. 12, 2007): Review by Maitland McDonagh,
Jump up ^ L.A. Weekly (Oct. 17, 2007): "Movie Reviews: 30 Days of Night, Canvas, Futbaal" [and more]; review by David Chute
Jump up ^ Movie Review New York Times, 13 October 2007.
^ Jump up to: a b c d e f g h i j http://www.boxofficemojo.com/movies/?page=main&id=lagachunarimeindaag.htm
External links[edit]
Official website
Laaga Chunari Mein Daag on IMDb
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Mardaani (2014)
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Band Baaja Baaraat (2010)
Ladies vs Ricky Bahl (2011)
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Alcohol tolerance
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Beer Street and Gin Lane by William Hogarth, 1751, detailing the Gin Craze in UK cities during the early Industrial Revolution.
Alcohol tolerance refers to the bodily responses to the functional effects of ethanol in alcoholic beverages. This includes direct tolerance, speed of recovery from insobriety and resistance to the development of alcoholism.
Contents
1 Consumption-induced tolerance
2 Physiology of alcohol tolerance
3 Alcohol tolerance in different ethnic groups
4 Footnotes
5 References
6 Further reading
Consumption-induced tolerance[edit]
Alcohol tolerance is increased by regular drinking.[1] This reduced sensitivity requires that higher quantities of alcohol be consumed in order to achieve the same effects as before tolerance was established. Alcohol tolerance may lead to (or be a sign of) alcohol dependency.[1]
Heavy alcohol consumption over a period of years can lead to "reverse tolerance". A liver can be damaged by chronic alcohol use, leading to a buildup of fat and scar tissue. The reduced ability of such a liver to metabolize or break down alcohol means that small amounts can lead to a high blood alcohol concentration (BAC) and more rapid intoxication.[citation needed]
Physiology of alcohol tolerance[edit]
Alcohol dehydrogenase is a dimeric zinc metalloenzyme that catalyzes the reversible oxidation of alcohols to aldehydes
Direct alcohol tolerance is largely dependent on body size. Large-bodied people will require more alcohol to reach insobriety than lightly built people.[2] Thus men, being larger than women on average, will have a higher alcohol tolerance. The alcohol tolerance is also connected with activity of alcohol dehydrogenases (a group of enzymes responsible for the breakdown of alcohol) in the liver, and in the bloodstream.
High level of alcohol dehydrogenase activity results in fast transformation of ethanol to more toxic acetaldehyde. Such atypical alcohol dehydrogenase levels are less frequent in alcoholics than in nonalcoholics.[3] Furthermore, among alcoholics, the carriers of this atypical enzyme consume lower ethanol doses, compared to the individuals without the allele.
An estimated one out of twenty people have an alcohol flush reaction. It is not in any way an indicator for the drunkenness of an individual.[4][5] A mild flushing reaction occurs when the body metabolizes alcohol more quickly into acetaldehyde, a toxic metabolite.[6][7] A more severe flushing reaction occurs when the body metabolizes the acetaldehyde more slowly, generally due to an inactive aldehyde dehydrogenase enzyme. Both of those conditions -- faster conversion of alcohol to acetaldehyde and slower removal of acetaldehyde -- reduce the risk for excessive drinking and alcohol dependence[8].
Alcohol tolerance in different ethnic groups[edit]
See also: Race and health and Genetic epidemiology
To engage in alcohol consumption and development of alcoholism appear to be common to primates, and is not a specific human phenomenon.[9] Humans have access to alcohol on far greater quantity than non-human primates, and the availability increased particularly with the development of agriculture.[10] The tolerance to alcohol is not equally distributed throughout the world's population.[11] Genetics of alcohol dehydrogenase indicate resistance has arisen independently in different cultures.[12] In North America, Native Americans have the highest probability of developing alcoholism compared to Europeans and Asians.[13][14][15][16] Different alcohol tolerance also exists within Asian groups, such as between Chinese and Koreans.[17] The health benefit of a modest alcohol consumption reported in people of European descent appear not to exist among people of African descent.[18]
Higher body masses and the prevalence of high levels of alcohol dehydrogenase in an individual increase alcohol tolerance, and both adult weight and enzymes vary with ethnicity.[19][20] Not all differences in tolerance can be traced to biochemistry however.[21] Differences in tolerance levels are also influenced by socio-economic and cultural difference including diet, average body weight and patterns of consumption.[22][23]
Footnotes[edit]
^ Jump up to: a b "Alcohol and Tolerance". National Institute on Alcohol Abuse and Alcoholism (NIAAA), Alcohol Alert (28). April 1995. Retrieved 2009-08-13.
Jump up ^ "Factors That Affect How Alcohol is Absorbed & Metabolized". Student affairs - Office of Alcohol Policy and Education. Stanford University. Retrieved 26 May 2018.
Jump up ^ Hurley TD, Edenberg HJ. (2012) Genes encoding enzymes involved in ethanol metabolism. Alcohol Res. 34(3): 339-344. PMID: 23134050
Jump up ^ "Myth or reality? The Asian alcohol 'gene' explained". Difford's Guide. September 10, 2013.
Jump up ^ "Identifying the Signs of Intoxication" (PDF). Government of Western Australia. December 2010. Archived from the original (PDF) on March 27, 2011.
Jump up ^ Hurley TD, Edenberg HJ. (2012) Genes encoding enzymes involved in ethanol metabolism. Alcohol Res. 34(3): 339-344. PMID: 23134050
Jump up ^ Eng, MY; Luczak, SE; Wall, TL (2007). "ALDH2, ADH1B, and ADH1C genotypes: A literature review". Alcohol Research & Health. 30 (1): 22–7. PMC 3860439  . PMID 17718397.
Jump up ^ Hurley TD, Edenberg HJ. (2012) Genes encoding enzymes involved in ethanol metabolism. Alcohol Res. 34(3): 339-344. PMID: 23134050
Jump up ^ Juarez, J; Guzman-Flores, C; Ervin, FR; Palmour, RM (December 1993). "Voluntary alcohol consumption in vervet monkeys: individual, sex, and age differences". Pharmacology Biochemistry and Behavior. 46 (4): 985–8. PMID 8309979.
Jump up ^ Curry, A. "Our 9,000-Year Love Affair With Booze". National Geographic. Retrieved 26 May 2018.
Jump up ^ Chan, AW (1986). "Racial differences in alcohol sensitivity". Alcohol and alcoholism (Oxford, Oxfordshire). 21 (1): 93–104. PMID 2937417.
Jump up ^ Osier, Michael V.; Pakstis, Andrew J.; Soodyall, Himla; Comas, David; Goldman, David; Odunsi, Adekunle; Okonofua, Friday; Parnas, Josef; et al. (2002). "A Global Perspective on Genetic Variation at the ADH Genes Reveals Unusual Patterns of Linkage Disequilibrium and Diversity". American Journal of Human Genetics. 71 (1): 84–99. doi:10.1086/341290. PMC 384995  . PMID 12050823.
Jump up ^ "Alcohol Use Disorder". NY Times. 2013. Retrieved July 21, 2016.
Jump up ^ Mail & al. (eds., 2002): Alcohol Use Among American Indians and Alaska Natives: Multiple Perspectives on a Complex Problem. NIAAA Research Monograph No. 37. Bethesda, MD: National Institute on Alcohol Abuse and Alcoholism[page needed]
Jump up ^ Caetano, Raul; Clark, Catherine L (1998). "Trends in Alcohol-Related Problems among Whites, Blacks, and Hispanics: 1984-1995". Alcoholism: Clinical and Experimental Research. 22 (2): 534–538. doi:10.1111/j.1530-0277.1998.tb03685.x.
Jump up ^ Karen Chartier; Raul Caetano. "Ethnicity and Health Disparities in Alcohol Research".
Jump up ^ Duranceaux & al. (2008). "Ethnic differences in level of response to alcohol between Chinese Americans and Korean Americans". J Stud Alcohol Drugs. 69 (2): 227–234. PMID 18299763.
Jump up ^ Jackson, Chandra L.; Hu, Frank B.; Kawachi, Ichiro; Williams, David R.; Mukamal, Kenneth J.; Rimm, Eric B. (July 2015). "Black–White Differences in the Relationship Between Alcohol Drinking Patterns and Mortality Among US Men and Women". American Journal of Public Health. 105 (S3): S534–S543. doi:10.2105/AJPH.2015.302615. PMC 4455501  . Retrieved 26 May 2018.
Jump up ^ Yin, S. -J.; Cheng, T. -C.; Chang, C. -P.; Chen, Y. -J.; Chao, Y. -C.; Tang, H. -S.; Chang, T. -M.; Wu, C. -W. (1988). "Human stomach alcohol and aldehyde dehydrogenases (ALDH): A genetic model proposed for ALDH III isozymes". Biochemical Genetics. 26 (5–6): 343–60. doi:10.1007/BF00554070. PMID 3214414.
Jump up ^ Fenna, D; Schaefer, O; Mix, L; Gilbert, JA (1971). "Ethanol metabolism in various racial groups". Canadian Medical Association Journal. 105 (5): 472–5. PMC 1931291  . PMID 5112118.
Jump up ^ Bennion L.; Li T. K. (1976). "Alcohol metabolism in American Indians and whites". New England Journal of Medicine. 294 (1): 9–13. doi:10.1056/nejm197601012940103. PMID 1244489.
Jump up ^ Waldram, J. B.; Herring, A. & Young, K. (1995). Aboriginal Health in Canada: Historical, Cultural, and Epidemiological Perspectives. Toronto: University of Toronto Press.
Jump up ^ Saggers, S. & Gray, D. (1998b). Dealing with Alcohol: Indigenous Usage in Australia, New Zealand and Canada. Cambridge: Cambridge University Press[page needed]
References[edit]
Carroll, Charles R. Drugs in Modern Society . NY: McGraw-Hill, 2000 (fifth ed.).
Chesher, G.; Greeley, J. (1992). "Tolerance to the effects of alcohol". Alcohol, Drugs and Driving. 8 (2): 93–106.
Osier, M; Pakstis, AJ; Kidd, JR; Lee, JF; Yin, SJ; Ko, HC; Edenberg, HJ; Lu, RB; Kidd, KK (1999). "Linkage disequilibrium at the ADH2 and ADH3 loci and risk of alcoholism". American Journal of Human Genetics. 64 (4): 1147–57. doi:10.1086/302317. PMC 1377839  . PMID 10090900.
Muramatsu, T; Wang, ZC; Fang, YR; Hu, KB; Yan, H; Yamada, K; Higuchi, S; Harada, S; Kono, H (1995). "Alcohol and aldehyde dehydrogenase genotypes and drinking behavior of Chinese living in Shanghai". Human Genetics. 96 (2): 151–4. doi:10.1007/BF00207371. PMID 7635462.
Neumark, YD; Friedlander, Y; Thomasson, HR; Li, TK (1998). "Association of the ADH2*2 allele with reduced ethanol consumption in Jewish men in Israel: A pilot study". Journal of studies on alcohol. 59 (2): 133–9. PMID 9500299.
Borinskaya, S. A.; Gasemianrodsari, F.; Kalyina, N. R.; Sokolova, M. V.; Yankovsky, N. K. (2005). "Polymorphism of Alcohol Dehydrogenase Gene ADH1B in Eastern Slavic and Iranian-Speaking Populations". Russian Journal of Genetics. 41 (11): 1291–4. doi:10.1007/s11177-005-0231-5. Translated from "Polymorphism of alcohol dehydrogenase gene ADH1B in eastern Slavic and Iranian-speaking populations". Genetika. 41 (11): 1563–6. 2005. PMID 16358724.
Borinskaya, Svetlana; Kal'Ina, Nina; Marusin, Andrey; Faskhutdinova, Gulnaz; Morozova, Irina; Kutuev, Ildus; Koshechkin, Vladimir; Khusnutdinova, Elza; et al. (2009). "Distribution of the Alcohol Dehydrogenase ADH1B∗47His Allele in Eurasia". American Journal of Human Genetics. 84 (1): 89–92; author reply 92–4. doi:10.1016/j.ajhg.2008.12.007. PMC 2668054  . PMID 19124091.
Li, Hui; Borinskaya, Svetlana; Yoshimura, Kimio; Kal’Ina, Nina; Marusin, Andrey; Stepanov, Vadim A.; Qin, Zhendong; Khaliq, Shagufta; et al. (2009). "Refined Geographic Distribution of the Oriental ALDH2*504Lys (nee 487Lys) Variant". Annals of Human Genetics. 73 (3): 335–45. doi:10.1111/j.1469-1809.2009.00517.x. PMC 2846302  . PMID 19456322.
Further reading[edit]
Caetano R, Clark CL, Tam T (1998). "Alcohol consumption among racial/ethnic minorities: theory and research" (PDF). Alcohol Health Res World. 22 (4): 233–41. PMID 15706749. Archived from the original (PDF) on June 16, 2015. CS1 maint: Uses authors parameter (link)
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I Still Call Australia Home
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"I Still Call Australia Home"
Song by Peter Allen
from the album Bi-Coastal
Language
English
Released
June 1980
Songwriter(s)
Peter Allen
Lyricist(s)
Peter Allen
"I Still Call Australia Home" is a song written and performed by Peter Allen in 1980. In it, Allen sings of Australian expatriates' longing for home.
Contents
[hide]
1 Significance to Australian culture
2 Charts
3 Use
4 References
5 External links
Significance to Australian culture[edit]
It has been used to signify Australian patriotism and nostalgia for home. An example is the series of Qantas television commercials where it was sung either by individual Australian musicians or one of several Australian youth choirs.[1]
In the 1984 Summer Olympics' Opening Gala TV special (in Los Angeles), Olivia Newton-John performed this song from Sydney, Australia with the choir in a medley with "Waltzing Matilda". Later, both songs were used in the musical about Allen's life, The Boy from Oz, in which Hugh Jackman starred as Allen.
"I Still Call Australia Home" was added to the National Film and Sound Archive's Sounds of Australia registry in 2013.[2]
Charts[edit]
"I Still Call Australia Home" peaked at number 72 on the Australian singles chart in June 1980[3] when it was originally released,[4] but re-entered the charts and peaked at number 60 in September 2015 following the screening of the mini-series Peter Allen: Not the Boy Next Door.[5]
Use[edit]
The song was used in the evening closing sequence for Tasmanian television station TNT-9 Launceston[6] and later by TasTV.[7]
In the version of the song popularly used by Qantas, "Rio" is replaced by "Rome". Qantas does not operate flights to Rio de Janeiro, but flew to the Italian capital at the time the video was made.[1]
The version of the song used by Qantas in its 2009 advertisement replaces the entire first verse with one sung in Kala Lagaw Ya, a dialect of the Torres Strait Islands.[1] This version was performed by the Gondwana National Indigenous Children's Choir and the Sydney Children's Choir as well as the Australian Girls Choir and National Boys Choir.
The song is a popular inclusion in the repertoire of several Welsh male voice choirs, including the Australian Welsh Male Choir and Morriston Orpheus Choir. The Welsh version replaces "London" in the line "from New York, to Rome, and old London town", with "Swansea".[8]
Australian comedy team The Chaser composed a parody of the Qantas version of the song, called "I Still Call Australia 51 per cent Home" in response to Qantas outsourcing some of its engineering services to Singapore Airlines and Lufthansa.[9]
The song was performed by Chris Lilley in episodes one and two of "We Can Be Heroes: Finding The Australian of the Year" (2005).[citation needed]
The song was performed by singer Kylie Minogue in the Sound Relief concert in benefit of the victims of the Australian Bushfires on 14 March 2009.[citation needed]
The song featured as pre-game entertainment at the 2009 AFL Grand Final, performed by the 'Qantas choir' and the Gondwana National Indigenous Children's Choir.[10]
The song was performed by Nicole Kidman, Keith Urban, Hugh Jackman, Olivia Newton-John and Russell Crowe to close Oprah Winfrey's Australian Adventure during her final season on broadcast television. This performance originally aired on US television on Friday, 21 January 2011.
The naming ceremony for Qantas' A380, VH-OQA, the Nancy Bird Walton, the flagship of their fleet, features a choir singing this song
The song was adapted and translated into French by Sylvie Boisel. The title is L'Australie est ma patrie. She performed it at Sydney Town Hall for the Prime Minister of Australia John Howard and the Wallabies in 2007.
The song was performed by a choir at the opening ceremonies of the 1982 Commonwealth Games in Brisbane.
Australian comedian and musician Tim Minchin uploaded a parody of the song called "I Still Call Australia Homophobic" to his Facebook page[11] in reference to the same-sex marriage debate and proposed 2017 survey in Australia.
References[edit]
^ Jump up to: a b c Duncan Macleod. "Qantas I Still Call Australia Home". The Inspiration Room Daily. Retrieved 2 July 2009.
Jump up ^ National Film and Sound Archive: Sounds of Australia.
Jump up ^ "Kent Music Report No 312 – Week Ending 16 June 1980". Imgur.com (original document published by Kent Music Report). Retrieved 12 August 2017. N.B. The HP column displays the highest peak reached.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992 (Illustrated ed.). St Ives: Australian Chart Book. p. 15. ISBN 0-646-11917-6.
Jump up ^ Ryan, Gavin (19 September 2015). "ARIA Singles : Justin Bieber ‘What Do You Mean’ Keeps Top Spot". Noise11. Retrieved 19 September 2015.
Jump up ^ "TNT 9 Closedown Early 1980s". c. 1980. Retrieved 1 September 2010.
Jump up ^ "TAS TV End of Transmission". c. 1986. Retrieved 16 March 2012.
Jump up ^ "Wonderful Welsh Choirs". (track 11)
Jump up ^ "Chaser QANTAS Ad".
Jump up ^ Gondwana Choirs Ltd (2010). Annual Report 2009 (PDF). Annual report. Sydney. p. 7.
Jump up ^ "Tim Minchin - A heartfelt song to my homeland...". Retrieved 11 August 2017.
External links[edit]
I Still Call Australia Home TVC (2004)
Lyrics: Peter Allen - I Still Call Australia Home
I Still Call Australia Home performed in French by Sylvie Boisel
[hide]
v
t
e
Peter Allen
Studio albums
Peter Allen (1971)
Tenterfield Saddler (1972)
Continental American (1974)
Taught by Experts (1976)
I Could Have Been a Sailor (1979)
Bi-Coastal (1980)
Not the Boy Next Door (1983)
Making Every Moment Count (1990)
Compilation albums
It Is Time for Peter Allen (1977)
The Very Best of Peter Allen (1982)
Captured Live at Carnegie Hall (1985)
The Very Best of Peter Allen: The Boy from Down Under (1992)
The Ultimate Peter Allen (2006)
Notable singles
"Tenterfield Saddler" (1972)
"I Honestly Love You" (1975)
"The More I See You" (1976)
"I Go to Rio" (1976)
"Don't Cry Out Loud" (1978)
"I Still Call Australia Home" (1980)
Productions
Soon (1971)
Legs Diamond (1988)
The Boy from Oz (1998)
Peter Allen: Not the Boy Next Door (2015)
Related articles
The Allen Brothers
Liza Minnelli
Bernadette Peters
"I'd Rather Leave While I'm in Love" (1979)
"Arthur's Theme (Best That You Can Do)" (1980)
"I Don't Go Shopping" (1981)
ARIA Hall of Fame
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Still_Call_Australia_Home&oldid=798408559"
Categories:
Australian patriotic songs
Songs about Australia
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All Wikipedia articles written in Australian English
Use dmy dates from September 2010
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Gall–Peters projection
From Wikipedia, the free encyclopedia
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The Gall–Peters projection of the world map
The Gall–Peters projection is a rectangular map projection that maps all areas such that they have the correct sizes relative to each other. Like any equal-area projection, it achieves this goal by distorting most shapes. The projection is a particular example of the cylindrical equal-area projection with latitudes 45° north and south as the regions on the map that have no distortion.
The projection is named after James Gall and Arno Peters. Gall is credited with describing the projection in 1855 at a science convention. He published a paper on it in 1885.[1] Peters brought the projection to a wider audience beginning in the early 1970s by means of the "Peters World Map". The name "Gall–Peters projection" seems to have been used first by Arthur H. Robinson in a pamphlet put out by the American Cartographic Association in 1986.[2]
Maps based on the projection are promoted by UNESCO, and they are also widely used by British schools.[3] In the U.S. state of Massachusetts, Boston Public Schools began phasing in these maps in March 2017, becoming the first public school district in the United States to adopt Gall–Peters maps as their standard.[4]
The Gall–Peters projection achieved notoriety in the late 20th century as the centerpiece of a controversy about the political implications of map design.[5]
Contents
[hide]
1 Description
1.1 Formula
1.2 Simplified formula
1.3 Discussion
2 Origins and naming
3 Peters World Map
4 Controversy
5 In popular culture
6 See also
7 References
8 External links
Description[edit]
Formula[edit]
The projection is conventionally defined as:
x = R π λ cos  45 ∘ 180 ∘ = R π λ 180 ∘ 2 y = R sin  φ cos  45 ∘ = R 2 sin  φ {\displaystyle {\begin{aligned}x&={\frac {R\pi \lambda \cos 45^{\circ }}{180^{\circ }}}={\frac {R\pi \lambda }{180^{\circ }{\sqrt {2}}}}\\y&={\frac {R\sin \varphi }{\cos 45^{\circ }}}=R{\sqrt {2}}\sin \varphi \end{aligned}}}
where λ is the longitude from the central meridian in degrees, φ is the latitude, and R is the radius of the globe used as the model of the earth for projection. For longitude given in radians, remove the π/180° factors.
Simplified formula[edit]
Stripping out unit conversion and uniform scaling, the formulae may be written:
x = R λ y = 2 R sin  φ {\displaystyle {\begin{aligned}x&=R\lambda \\y&=2R\sin \varphi \end{aligned}}}
where λ is the longitude from the central meridian (in radians), φ is the latitude, and R is the radius of the globe used as the model of the earth for projection. Hence the sphere is mapped onto the vertical cylinder, and the cylinder is stretched to double its length. The stretch factor, 2 in this case, is what distinguishes the variations of cylindric equal-area projection.
Discussion[edit]
The Gall–Peters cylindrical equal-area projection with Tissot's indicatrices of deformation
The various specializations of the cylindric equal-area projection differ only in the ratio of the vertical to horizontal axis. This ratio determines the standard parallel of the projection, which is the parallel at which there is no distortion and along which distances match the stated scale. There are always two standard parallels on the cylindric equal-area projection, each at the same distance north and south of the equator. The standard parallels of the Gall–Peters are 45° N and 45° S. Several other specializations of the equal-area cylindric have been described, promoted, or otherwise named.[6][7][8]
Named specializations of the cylindric equal-area projection
Specialization
Standard parallels N/S
Lambert cylindric equal-area Equator
Behrmann cylindric equal-area 30°
Smyth equal-surface (= Craster rectangular) 37°04′
Trystan Edwards 37°24′
Hobo–Dyer 37°30′
Gall–Peters (= Gall orthographic = Peters) 45°
Balthasart 50°
Tobler's world in a square 55°39′
Origins and naming[edit]
The Gall–Peters projection was first described in 1855 by clergyman James Gall, who presented it along with two other projections at the Glasgow meeting of the British Association for the Advancement of Science (the BA). He gave it the name "orthographic" and formally published his work in 1885 in the Scottish Geographical Magazine.[1] The projection is suggestive of the Orthographic projection in that distances between parallels of the Gall–Peters are a constant multiple of the distances between the parallels of the orthographic. That constant is √2.
The name "Gall–Peters projection" seems to have been used first by Arthur H. Robinson in a pamphlet put out by the American Cartographic Association in 1986.[2] Before 1973 it had been known, when referred to at all, as the "Gall orthographic" or "Gall's orthographic." Most Peters supporters refer to it only as the "Peters projection." During the years of controversy the cartographic literature tended to mention both attributions, settling on one or the other for the purposes of the article. In recent years "Gall–Peters" seems to dominate.
Peters World Map[edit]
The right and left borders of the Peters map are in the Bering Strait, so all of Russia is displayed on the right side.
Greenwich great circle
Bering Strait great circle (traversing Florence in Italy, see Florence meridian)
Comparison of the Gall–Peters projection and some cylindrical equal-area map projections with Tissot indicatrix, standard parallels and aspect ratio
In 1967, Arno Peters, a German filmmaker, devised a map projection identical to Gall's orthographic projection and presented it in 1973 as a "new invention". He promoted it as a superior alternative to the Mercator projection, which was suited to navigation but also used commonly in world maps. The Mercator projection increasingly inflates the sizes of regions according to their distance from the equator. This inflation results, for example, in a representation of Greenland that is larger than Africa, which has a geographic area 14 times greater than Greenland's. Since much of the technologically underdeveloped world lies near the equator, these countries appear smaller on a Mercator and therefore, according to Peters, seem less significant.[7]:155 On Peters's projection, by contrast, areas of equal size on the globe are also equally sized on the map. By using his "new" projection, Peters argued that poorer, less powerful nations could be restored to their rightful proportions. This reasoning has been picked up by many educational and religious bodies, leading to adoption of the Gall–Peters projection among some socially concerned groups, including Oxfam,[9] National Council of Churches,[10] New Internationalist magazine,[11] and the Mennonite Central Committee.[12] However, Peters's choice of 45° N/S for the standard parallels means that the regions displayed with highest accuracy include Europe and the US, and not the tropics.
Peters's original description of the projection for his map contained a geometric error that, taken literally, implies standard parallels of 46°02′ N/S. However the text accompanying the description made it clear that he had intended the standard parallels to be 45° N/S, making his projection identical to Gall's orthographic.[13] In any case, the difference is negligible in a world map.
Controversy[edit]
This section's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (January 2016) (Learn how and when to remove this template message)
Further information: Geography and Imperialism
At first, the cartographic community largely ignored Peters's foray into cartography. The preceding century had already witnessed many campaigns for new projections with little visible result. Just twenty years earlier, for example, Trystan Edwards described and promoted his own eponymous projection, disparaging the Mercator, and recommending his projection as the solution.[14] Peters's projection differed from Edwards's only in height-to-width ratio. More problematic, Peters's projection was identical to one that was already over a century old, though he probably did not realize it.[7] That projection—Gall's orthographic—passed unnoticed when it was announced in 1855.
Beyond the lack of novelty in the projection itself, the claims Peters made about the projection were also familiar to cartographers. Just as in the case of Peters, earlier projections generally were promoted as alternatives to the Mercator. Inappropriate use of the Mercator projection in world maps and the size disparities figuring prominently in Peters's arguments against the Mercator projection had been remarked upon for centuries and quite commonly in the 20th century.[14][15][16][17][18][19][20] As early as 1943, Stewart notes this phenomenon and compares the quest for the perfect projection to "squaring the circle or making pi come out even"[21] because the mathematics that governs map projections just does not permit development of a map projection that is objectively significantly better than the hundreds already devised. Even Peters's politicized interpretation of the common use of Mercator was nothing new, with Kelloway's 1946 text mentioning a similar controversy.[17]
Cartographers had long despaired over publishers' inapt use of the Mercator.[22][23][24][25] A 1943 New York Times editorial stated that "The time has come to discard [the Mercator] for something that represents the continents and directions less deceptively ... Although its usage ... has diminished ... it is still highly popular as a wall map apparently in part because, as a rectangular map, it fills a rectangular wall space with more map, and clearly because its familiarity breeds more popularity."[26] Because of the lack of novelty both in the projection Peters devised and in the rhetoric surrounding its promotion, the cartographic community had no reason to think Peters would succeed any more than Edwards or his predecessors had.[26]:165
Peters, however, launched his campaign in a different world from that of Edwards. He announced his map at a time when themes of social justice resonated strongly in academia and politics. Suggesting "cartographic imperialism", Peters found ready audiences. The campaign was bolstered by the claim that the Peters projection was the only "area-correct" map. Other claims included "absolute angle conformality", "no extreme distortions of form", and "totally distance-factual".[27]
All of those claims were erroneous.[28] Some of the oldest projections are equal-area (the sinusoidal projection is also known as the "Mercator equal-area projection"), and hundreds have been described, refuting any implication that Peters's map is special in that regard. In any case, Mercator was not the pervasive projection Peters made it out to be: a wide variety of projections has always been used in world maps.[29] Peters's chosen projection suffers extreme distortion in the polar regions, as any cylindrical projection must, and its distortion along the equator is considerable. Several scholars have remarked on the irony of the projection's undistorted presentation of the mid latitudes, including Peters's native Germany, at the expense of the low latitudes, which host more of the technologically underdeveloped nations.[30][31] The claim of distance fidelity is particularly problematic: Peters's map lacks distance fidelity everywhere except along the 45th parallels north and south, and then only in the direction of those parallels. No world projection is good at preserving distances everywhere; Peters's and all other cylindric projections are especially bad in that regard because east-west distances inevitably balloon toward the poles.[28][32]
The cartographic community met Peters's 1973 press conference with amusement and mild exasperation, but little activity beyond a few articles commenting on the technical aspects of Peters's claims. In the ensuing years, however, it became clear that Peters and his map were no flash in the pan. By 1980 many cartographers had turned overtly hostile to his claims. In particular, Peters writes in The New Cartography,
Philosophers, astronomers, historians, popes and mathematicians have all drawn global maps long before cartographers as such existed. Cartographers appeared in the "Age of Discovery", which developed into the Age of European Conquest and Exploitation and took over the task of making maps.
By the authority of their profession they have hindered its development. Since Mercator produced his global map over four hundred years ago for the age of Europeans world domination, cartographers have clung to it despite its having been long outdated by events. They have sought to render it topical by cosmetic corrections.
... The European world concept, as the last expression of a subjective global view of primitive peoples, must give way to an objective global concept.
The cartographic profession is, by its retention of old precepts based on the Eurocentric global concept, incapable of developing this egalitarian world map which alone can demonstrate the parity of all peoples of the earth.[33]
This attack galled the cartographic community. Their most emphatic refutation of Peters's assertions was the long list of cartographers who, over the preceding century, had formally expressed frustration at publishers' overuse of the Mercator, as noted above.[26] Many of those cartographers had already developed projections they explicitly promoted as alternatives to the Mercator, including the most influential American cartographers of the twentieth century: John Paul Goode (Goode homolosine projection), Erwin Raisz (Armadillo projection), and Arthur H. Robinson (Robinson projection). Hence the cartographic community viewed Peters's narrative as ahistorical and mean-spirited.
The two camps never made any real attempts toward reconciliation. The Peters camp largely ignored the protests of the cartographers. Peters maintained there should be "one map for one world"[34]—his—and did not acknowledge the prior art of Gall[28] until the controversy had largely run its course, late in his life. While Peters likely reinvented the projection independently, his unscholarly conduct and refusal to engage the cartographic community undoubtedly contributed to the polarization and impasse.[5]
Frustrated by some very visible successes and mounting publicity stirred up by the industry that had sprung up around the Peters map, the cartographic community began to plan more coordinated efforts to restore balance, as they saw it. The 1980s saw a flurry of literature directed against the Peters phenomenon. Though Peters's map was not singled out, the controversy motivated the American Cartographic Association (now Cartography and Geographic Information Society) to produce a series of booklets (including Which Map Is Best[2]) designed to educate the public about map projections and distortion in maps. In 1989 and 1990, after some internal debate, seven North American geographic organizations adopted the following resolution,[35][36] which rejected all rectangular world maps, a category that includes both the Mercator and the Gall–Peters projections:
WHEREAS, the earth is round with a coordinate system composed entirely of circles, and
WHEREAS, flat world maps are more useful than globe maps, but flattening the globe surface necessarily greatly changes the appearance of Earth's features and coordinate systems, and
WHEREAS, world maps have a powerful and lasting effect on people's impressions of the shapes and sizes of lands and seas, their arrangement, and the nature of the coordinate system, and
WHEREAS, frequently seeing a greatly distorted map tends to make it "look right",
THEREFORE, we strongly urge book and map publishers, the media and government agencies to cease using rectangular world maps for general purposes or artistic displays. Such maps promote serious, erroneous conceptions by severely distorting large sections of the world, by showing the round Earth as having straight edges and sharp corners, by representing most distances and direct routes incorrectly, and by portraying the circular coordinate system as a squared grid. The most widely displayed rectangular world map is the Mercator (in fact a navigational diagram devised for nautical charts), but other rectangular world maps proposed as replacements for the Mercator also display a greatly distorted image of the spherical Earth.
One map society, the North American Cartographic Information Society (NACIS), declined to endorse the 1989 resolution, although no reasons were given.[citation needed]
The geographic and cartographic communities did not unanimously disparage the Peters World Map. Some cartographers, including J. Brian Harley, have credited the Peters phenomenon with demonstrating the social implications of map projections, at the very least.[37] Crampton sees the condemnation from the cartographic community as reactionary and perhaps demonstrative of immaturity in the profession, given that all maps are political.[5] Denis Wood sees the map as one of many useful tools.[34] Lastly, Terry Hardaker of Oxford Cartographers Limited, sympathetic to Peters's mission, became the map's official cartographer when Peters, overwhelmed by the technical aspects of cartography, sought to pass on those responsibilities.[34]
In popular culture[edit]
A Gall–Peters projection as well as a south-up Peters map were featured in the American television show The West Wing (season 2, episode 16), in which the (fictitious) Organization of Cartographers for Social Equality is given access to the White House Press Secretary due to "Big Block of Cheese Day".[38] Dr. John Fallow (actor John Billingsley) explains why the President of the United States should champion the use of this map in schools, because it correctly represents the size of the countries and therefore gives due prominence to countries in less technologically developed parts of the world that are otherwise underrepresented.
The map is a favorite of military geostrategist Thomas Barnett, who has included it in his presentations of The Brief, which have aired on C-SPAN in the United States.
Webcomic XKCD #977 pokes fun at the controversy surrounding the Gall–Peters projection, where it is humorously compared to other map projections.[39]
See also[edit]
List of map projections
Gall stereographic projection: Another of Gall's projections.
References[edit]
Notes
^ Jump up to: a b Gall, James (1885). "Use of cylindrical projections for geographical, astronomical, and scientific purposes" (PDF). Scottish Geographical Magazine. 1 (4): 119–123. doi:10.1080/14702548508553829.
^ Jump up to: a b c American Cartographic Association's Committee on Map Projections, 1986. Which Map is Best p. 12. Falls Church: American Congress on Surveying and Mapping.
Jump up ^ Higgins, Hannah B. The Grid Book. Cambridge, Massachusetts: MIT Press, 2009. ISBN 9780262512404 p.94. "Embroiled in controversy from the start, the map is nonetheless widely used in the British school system and is promoted by the United Nations Educational and Scientific Cultural Organization (UNESCO) because of its ability to communicate visually the actual relative sizes of the various regions of the planet."
Jump up ^ Joanna Walters (March 19, 2017). "Boston public schools map switch aims to amend 500 years of distortion". The Guardian. Retrieved March 19, 2017.
^ Jump up to: a b c Crampton, Jeremy (1994). "Cartography's defining moment: The Peters projection controversy, 1974–1990". Cartographica. 31 (4): 16–32. doi:10.3138/1821-6811-l372-345p.
Jump up ^ Snyder, John P. (1989). An Album of Map Projections p. 19. Washington, D.C.: U.S. Geological Survey Professional Paper 1453. (Mathematical properties of the Gall–Peters and related projections.)
^ Jump up to: a b c Monmonier, Mark (2004). Rhumb Lines and Map Wars: A Social History of the Mercator Projection p. 152. Chicago: The University of Chicago Press. (Thorough treatment of the social history of the Mercator projection and Gall–Peters projections.)
Jump up ^ Smyth, C. Piazzi. (1870). On an Equal-Surface Projection and its Anthropological Applications. Edinburgh: Edmonton & Douglas. (Monograph describing an equal-area cylindric projection and its virtues, specifically disparaging Mercator's projection.)
Jump up ^ http://www.oxfam.org.uk/education/resources/mapping_our_world/mapping_our_world/03-Findthatplace/findthatplace.htm
Jump up ^ "Ncc Friendship Press' Peters Projection Map".
Jump up ^ "The New Flat Earth".
Jump up ^ Ncc Friendship Press' Peters Projection Map
Jump up ^ Maling, D.H. (1993). Coordinate Systems and Map Projections, second edition, second printing, p. 431. Oxford: Pergamon Press. ISBN 0-08-037234-1.
^ Jump up to: a b Edwards, Trystan (1953). A New Map of the World. London: B.T. Batsford LTD.
Jump up ^ Hinks, Arthur R. (1912). Map Projections p. 29. London: Cambridge University Press.
Jump up ^ Steers, J.A. (1927). An Introduction to the Study of Map Projections 9th ed. p. 154. London: The University of London Press.
^ Jump up to: a b Kellaway, G.P. (1946). Map Projections p. 37–38. London: Methuen & Co. LTD. (Mentions allegations of an "imperialistic motive".)
Jump up ^ Abelson, C.E. (1954). Common Map Projections p. 4. Sevenoaks: W.H. Smith & Sons.
Jump up ^ Chamberlin, Wellman (1947). The Round Earth on Flat Paper p. 99. Washington, D.C.: The National Geographic Society.
Jump up ^ Fisher, Irving (1943). "A World Map on a Regular Icosahedron by Gnomonic Projection." Geographical Review 33 (4): 605. (A jab at Mercator and proposal for a replacement.)
Jump up ^ Stewart, John Q. (1943). "The Use and Abuse of Map Projections". Geographical Review 33 (4): 590. (Noting quixotic promotions of new projections.)
Jump up ^ Bauer, H.A. (1942). "Globes, Maps, and Skyways (Air Education Series)". New York. p. 28
Jump up ^ Miller, Osborn Maitland (1942). "Notes on Cylindrical World Map Projections". Geographical Review. 43 (3): 405–409.
Jump up ^ Raisz, Erwin Josephus. (1938). General Cartography. New York: McGraw-Hill. 2d ed., 1948. p. 87.
Jump up ^ Robinson, Arthur Howard. (1960). Elements of Cartography, second edition. New York: John Wiley and Sons. p. 82.
^ Jump up to: a b c Snyder, John P. (1993). Flattening the Earth: Two Thousand Years of Map Projections p. 157. Chicago and London: The University of Chicago Press. ISBN 0-226-76746-9. (Summary of the Peters controversy.)
Jump up ^ (1977) The Bulletin 25 (17) pp. 126–127. Bonn: Federal Republic of Germany Press and Information Office.
^ Jump up to: a b c Snyder, John P. (1993). Flattening the Earth: Two Thousand Years of Map Projections p. 165. Chicago and London: The University of Chicago Press. ISBN 0-226-76746-9. (Summary of the Peters controversy.)
Jump up ^ Bowyer, T.D.; German, G.A. (1959). A Guide to Map Projections p. 16. London: John Murray.
Jump up ^ Snyder, J.P. (1988). "Social Consciousness and World Maps". Christian Century. 105: 190–192.
Jump up ^ Robinson, Arthur H. (1985). "Arno Peters and His New Cartography". American Cartographer. 12 (2): 103–111. doi:10.1559/152304085783915063.
Jump up ^ Canters, Frank; Decleir, Hugo (1989). The World in Perspective: A Directory of World Map Projections, p. 36. Chichester: John Wiley & Sons LTD. ISBN 0-471-92147-5. (Distortion of distance in world maps. Gall–Peters is structurally very similar to Behrmann.)
Jump up ^ Peters, Arno (1983). Die Neue Kartographie/The New Cartography (in German and English). Klagenfurt, Austria: Carinthia University; New York: Friendship Press.
^ Jump up to: a b c Arno Peters: Radical Map, Remarkable Man. (A DVD documentary.) 2008.
Jump up ^ Robinson, Arthur (1990). "Rectangular World Maps—No!". Professional Geographer. 42 (1): 101–104. doi:10.1111/j.0033-0124.1990.00101.x.
Jump up ^ American Cartographer. 1989. 16(3): 222–223.
Jump up ^ Harley, J.B. (1991). "Can There Be a Cartographic Ethics?". Cartographic Perspectives. 10: 9–16.
Jump up ^ West Wing – Why are we changing maps? (YouTube)
Jump up ^ Munroe, Randall (14 November 2011). "Map Projections". xkcd - A webcomic of romance, sarcasm, math, and language. Retrieved 21 May 2018.
Further reading
Snyder, John P. (1987), Map Projections—A Working Manual: U.S. Geological Survey Professional Paper 1395, Washington: Government Printing Office. https://pubs.er.usgs.gov/publication/pp1395.
External links[edit]
Wikimedia Commons has media related to Gall-Peters projection.
The Size of the Matter—An article in the Times of India on why the Gall–Peters projection should be more widely used.
Peters Projection vs. Mercator Projection—A critique of the importance of the Gall–Peters projection.
An interactive Java Applet to study the metric deformations of the Gall Projection.
Daily Mail, UK: Ten of the greatest maps that changed the world
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