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Ars Nova (theater)
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Ars Nova
(2007)
Address
511 West 54th Street
New York City
United States
Designation
New York City Landmark
Type
Off-Broadway
Capacity
99
Opened
2003
Website
www.arsnovanyc.com
Ars Nova is an Off-Broadway, non-profit theater in New York City’s Hell’s Kitchen neighborhood. Ars Nova develops and produces theater, comedy, and music created by artists in the early stages of their professional careers. Their unique development programs are designed to support outside-the-box thinking and encourage innovative, genre-bending work. By providing a safe environment where risk-taking and collaboration are paramount, Ars Nova gives voice to a new generation of artists and audiences, pushing the boundaries of live entertainment by nurturing creative ideas into smart, surprising new work. Ars Nova provides an artistic home for emerging talent by cultivating a hive of creative activity, both on stage—through developmental programs and performances—and off—through the support and cultivation of a thriving artist community.[1]
Contents
[hide]
1 Notable alumni
2 History
3 World Premiere Productions
3.1 Past World Premiere Productions
3.2 Natasha, Pierre and the Great Comet of 1812
4 Programs and series
4.1 ANT Fest
4.2 Play Group
4.3 Out Loud
4.4 Uncharted
4.5 Showgasm
4.6 Makers Lab
4.7 The Writer's Room
4.8 Artists-In-Residence
4.9 Project Residencies
4.10 Summer retreat
5 Awards and honors
6 Selected alumni
7 References
8 External links
Notable alumni[edit]
Since Ars Nova's founding, they’ve launched the careers of luminaries like Lin-Manuel Miranda (Pulitzer-winning playwright/composer of Hamilton[2] & In The Heights), Liz Meriwether (Emmy-nominated creator of television’s New Girl), Beau Willimon (Emmy-winning creator of Netflix’s House of Cards), Amy Herzog (OBIE Award-winning playwright of 4000 Miles), Dave Malloy (Richard Rogers Award for Musical Theatre winner for Natasha, Pierre & the Great Comet of 1812), Annie Baker (Pulitzer Prize-winning playwright of The Flick & Circle Mirror Transformation), Thomas Kail (Director of In The Heights and Hamilton), Alex Timbers (two-time tony nominated writer and director, recently directed Rocky, and Peter and the Starcatcher), Billy Eichner (creator of Funny or Die's Billy on the Street), and Bridget Everett (comedian and cabaret performer), among others.[3][4]
Natasha, Pierre & the Great Comet of 1812, produced by Ars Nova in 2012, officially transferred to Broadway in 2016 with Josh Groban playing the role of Pierre.[5][6]
History[edit]
Ars Nova was founded by Jon and Jenny Steingart in 2002 in memory of Gabe Wiener to provide a welcome home for young artists and audiences alike. In 2005 Ars Nova became a 501(c)(3) Not-For-Profit Organization. In addition to Ars Nova’s vast array of development programs for emerging artists, they’re also committed to commissioning new work and producing world premieres.[7]
World Premiere Productions[edit]
Each year, Ars Nova commissions and hosts two large-scale productions, often drawing from work originally shown in their development programs. These productions vary and flux in genre, the only requirement being that the works be original and innovative.
Past World Premiere Productions[edit]
2017 included the world premiere co-production of Sundown, Yellow Moon, with WP Theatre. Sundown, Yellow Moon featured songs by the indie duo the Bengsons and starred Lilli Cooper and Eboni Booth, as twins who return home to find their father in crisis. The play was written by Rachel Bonds, and directed by Anne Kauffman. Sundown, Yellow Moon was a New York Times Critic pick, and New Yorker recommended. [8] [9]
Up next in 2017 includes KPOP a world premiere immersive musical co-produced with Woodshed Collective and Ma-Yi Theater Company. KPOP gives the audience a first-hand opportunity to witness the cultivation and launch of Korean pop stars in New York City. [10]
2016 included the world premiere production of Underground Rail Road Game, created by Jennifer Kidwell and Scott R. Sheppard with Lighting Rod Special, directed by Taibi Magar. Underground Rail Road Game won a 2017 Obie for Best New American Theatre Work for Jennifer Kidwell and Scott R. Sheppard (tied with J.T. Rogers for Oslo at LCT).[11] Underground Railroad Game will commence an international tour in spring of 2017. [12]
2015 included the world premiere production of Bess Wohl's intrepid, almost entirely silent play Small Mouth Sounds. Directed by Rachel Chavkin, the show garnered rave reviews[13][14][15] and completely sold out its extended run.
Small Mouth Sounds was followed by the co-production of FUTURITY (music and lyrics by Cesar Alvarez) with Soho Rep,[16] a beloved downtown New York theater with an eye for innovative contemporary work. The show was produced at The Connelly Theater in the East Village and was directed by Sarah Benson. The New York Times described it as "the most lovely and inventive music you can hear on a New York stage right now."[17] American Theater dubbed the production a "triumphant realization of a new-model American musical." [18] The Fall production also completely sold out its extended run.
Ars Nova 2014 world premiere productions included Vinny DePonto's Charlatan and Jacuzzi by The Debate Society. Their 2014 season also included By The Water, a co-production with Manhattan Theatre Club.[19][20]
Other past Ars Nova productions include Game Play,[21]Eager to Lose,[22]Core Values,[23] The Netflix Plays,[24]Natasha, Pierre and the Great Comet of 1812,[25] The Urban Dictionary Plays,[26]The Lapsburgh Layover, Be a Good LIttle Widow, The Wii Plays, Now Circa Then, Bloodsong of Love, Missed Connections NYC, Sax & Dixon: We Thee Wed, Mel & El: Show & Tell, Two Girls for Five Bucks and the Ten Dollar Heartbreakers, Playlist, Jollyship the Whiz-Bang, Boom, From up Here, Dixie's Tupperware Party, At Least It's Pink, 25 Questions for a Jewish Mother, Holy Cross Sucks!, Freestyle Love Supreme and The Wau Wau Sisters. [27]
Natasha, Pierre and the Great Comet of 1812[edit]
After Dave Malloy first performed on the Ars Nova stage in 2010, Artistic Director Jason Eagan, was blown away by his originality, range, and rigor, which led to a curiosity of what else was swirling around his head. Malloy became Ar Nova's 2012 Composer in Residence, giving Malloy access to all of Ars Nova's resources for one year- time, space, money, writing retreats, and a commission to create a new music-driven work to be produced at Ars Nova. When Dave proposed a musical based on Tolstoy's War and Peace Jason knew it was beyond Ars Nova's typical resources, but the project was too good to pass up. Jason knew that Ars Nova could push Dave farther than he had ever been before, and Dave could push Ars Nova farther than they had been before. October 2011 commenced the first weeklong workshop used to further develop the characters, story, music, and explore the idea of mixing a concert party and theater into one event. As the workshop ended Jason knew that this production would take more resources than they typically put into each production, and would take Ars Nova's entire production budget, a budget usually reserved for two productions, to accomplish this lofty goal. In April of 2012, the production went through its second workshop to explore how the piece would live on its feet in the space.At the conclusion of the second workshop designer, Mimi Lin was brought on and made the decision to elevate the performers on runways that would swirl around the audience, allowing the performers to move through the space in full view. August 27, 2012, marked the date for the first rehearsal at Ars Nova. It was a month of creatively fueled blood, sweat and tears by a tremendous group of artists giving their all. The show officially opened at Ars Nova on October 16, 2012, and by the end of that week, the entire run was sold out. The extension sold out within one hour. [28]
Programs and series[edit]
In addition to its World Premiere theatrical productions, the theater produces a number of series, festivals and programs.
ANT Fest[edit]
ANT Fest is a four-week annual festival designed to showcase the next generation of theater artists, musicians and comedians. The festival works exclusively with emerging artists, giving them the opportunity to showcase their work in front of a New York audience.[29] Each show is given only one performance in order to allow for greater risk taking and the development of as many new artists as possible over the 30 night period.[30] In its premiere year (2008), the All New Talent (ANT) Festival ran from October 16 through November 24 and presented the work of 175 new artists.[31]
In 2012, the festival was moved from fall to summer.[32] ANT Fest is a prime destination for an eclectic mix of brand new shows and has proven to be an important first step in the lifecycle and development of new theatrical work. Through its open submission process, the festival offers a wide range of early career artists a point of entry onto the Ars Nova stage as well as into the greater New York City arts community. Vibrant, new musicians and composers, comedy artists, playwrights, puppeteers, variety acts and performers of all kinds are encouraged to submit!
Play Group[edit]
The Play Group is a vibrant and eclectic group of emerging playwrights that gather twice a month at Ars Nova to share new work and get feedback. The group offers members the chance to develop their plays with peer support, form collaborative relationships and build a strong sense of community within Ars Nova. In addition, members receive dramaturgical support and artistic matchmaking advice from the Ars Nova artistic staff and development opportunities through public readings and workshops.[33]
2016 Play Group Members: Kevin Armento, Sam Chanse, Milo Cramer, Michael Yates Crowley, Sarah DeLappe, Sarah Einspanier, Emma Goidel, Trish Harnetiaux, Tony Menses, Antoinette Nwandu, Erika Sheffer, Kate Tarker & James Tyler
Play Group Alumni: Joshua Allen, Sofia Alvarez, Annie Baker, Rachel Bonds, Mike Batistick, Chad Beckim, Liza Birkenmeier, Bekah Brunstetter, Sarah Burgess, Evan Cabnet, Jenny Connell, Kara Lee Corthron, Dylan Dawson, Kristoffer Diaz, Zayd Dohrn, Matthew-Lee Erlbach, Ron Fitzgerald, Liz Flahive, Sam Forman, Etan Frankel, Sarah Gancher, Nick Gandiello, Tasha Gordon-Solmon, Dipika Guha, Amy Herzog, Suzanne Heathcote, Samuel D. Hunter, Kyle Jarrow, Jake Jeppson, Nick Jones, Stephen Karam, Meghan Kennedy, Jon Kern, Josh Koenigsberg, Justin Kuritzkes, Steven Levenson, Barry Levey, Matthew Lopez, Liz Meriwether, Carly Mensch, Molly Smith Metzler, Lin-Manuel Miranda, Michael Mitnick, Greg Moss, Janine Nabers, Brian Otaño, Jonathan Payne, Daniel Pearle, Max Posner, Erica Saleh, Rachel Shukert, Mat Smart, Celine Song, Aurin Squire, Adam Szymkowicz, Kim Rosenstock, Sharyn Rothstein, Joe Tracz, Samuel Brett Williams, A. Zell Williams, Beau Willimon, Bess Wohl.[34]
Out Loud[edit]
The Out Loud series is a play-reading program dedicated to supporting full-length new work from the second-year Play Group playwrights. Participating playwrights are granted a public reading forum, where their plays are presented with the help of leading directors and actors. Following the readings, the work is offered feedback and support from the Ars Nova artistic staff.[33]
Uncharted[edit]
The Uncharted series is a forum to workshop and develop new musicals, connecting rising composers and writers to create original works. In 2013, the program expanded, modeling after the Play Group series. In this new development, Uncharted members take part in a two-year residency, meeting on a monthly basis to present their work and receive peer support and feedback. First year residencies culminate in public concerts offering the writers the chance to debut their new material in front of a live audience. During the second year of their residencies, the writers participate in weeklong workshops of their musicals with top-notch directors and performers, culminating in Out Loud readings.
2016 Uncharted members: Will Aronson & Sarah Hammond, Heather Christian & Rachel Chavkin, Greta Gertler Gold & Akin Salawu, Rebekah Greer Melocik, Jacob Yandura, & Victor Lesniewski, Michael McQuilken & Martyna Majok and Max Vernon & Jason Kim.
Uncharted alumni: Cesar Alvarez, Charles Vincent Burwell & James D. Sasser, Andrew Butler & Andrew Farmer, Ella Rose Chary & Brandon James Gwinn, Cory Finley & Jeremy Lloyd, Anna K. Jacobs & Michael R. Jackson, Landon Marcus & Chas LiBretto and Julia Meinwald & Gordon Leary, Joe Iconis, Justin Levine, Daniel Zaitchik, Andrew Lippa, Chester Gregory, Debra Barsha, Gavin Creel, Scott Mebus, Bob Stillman, David Clement, Daniel Cartier, GrooveLily, Johnny Hancock, Janice Lowe, Michael Longoria, Ben Birney, Rob Seitelman, Alan Zachary, Michael Wiener, Chris Miller, Nathan Tysen, Benj Pasek, Justin Paul, Pale Horse and Rider, Lori Michaels, The Davenports and Nick Blaemire.[35]
Showgasm[edit]
Showgasm is a rowdy monthly variety show, designed to showcase fresh music, comedy, theater, burlesque, vaudeville and other independent acts. Hosted by John Early (Broad City, High Maintenance and Wet, Hot, American Summer) and House DJ Hamm Samwich, it showcases short works (five minutes or less) by young artists who have not yet developed a full-length show, as well providing a venue for veteran Ars Nova artists to showcase new material.[36]
Makers Lab[edit]
Makers Lab provides a dynamic group of generative theater artists with individually tailored residencies designed to holistically support their careers and develop their new works. Working in a range of category-defying forms and disciplines, these artists, collaborators, and companies use Ars Nova as a home base for twelve-month creative residencies. Through a wide range of supports, makers Lab residents are encouraged to think big, take risks and push their creative potential as they make work at Ars Nova. [37]
2016-17 Makers Lab artists include: Kevin Armento & Jaki Bradley, hanuralee, Emily Oliveira, Sammy Miller & the Congregation.
The Writer's Room[edit]
In 2012, the Manhattan Theatre Club launched The Studio at Stage II, a 150-seat Off-Broadway theater, with the intention of producing new works at the New York City Center. As a part of this program, the Manhattan Theatre Club teamed up with Ars Nova to create the Writer's Room. Together, the two theater groups jointly select four playwrights per year to receive Writer’s Room Commissions. The commissioned writers come together to participate in a program designed to encourage artistic risk taking and provide developmental support, ultimately aiming to have their work put up at MTC's Studio at Stage II.[38]
Past artists have included: Adam Bock & Justin Levine, Rachel Bonds, Thomas Bradshaw, Frances, Ya-Chu Cowhig, Sibblies Drury, Samuel D. Hunter, PigPen Theatre Co. and Sharyn Rothstein.[39]
Artists-In-Residence[edit]
The Artist in Residence program provides emerging directors, designers, composers, and playwrights with an artistic home for one year. Each resident has access to the Ars Nova staff and resources, in return for providing expertise and assistance with artistic planning and production. Residents are also often commissioned to develop new work for the Ars Nova stage.[40] Ars Nova's 2014 Director-in-Residence is Andrew Neisler.
Past artists-in-residence include John Early, Isaac Oliver, The Debate Society, Portia Krieger, Shaina Taub, The Berserker Residents, Dave Malloy, Kim Rosenstock, Stephen Brackett, Amy Herzog, Steven Levenson, Bekah Brunstetter, Kerry Whigham, Geo Wyeth, Joe Iconis, Carly Mensch and Shira Milikowsky.[41]
Project Residencies[edit]
In Project Residencies, new projects are invited into residency at Ars Nova for a focused period of work and exploration culminating in a series of workshop performances. By providing space and resources for experimentation, artistic and production support, and the opportunity to refine new pieces in front of an audience, Ars Nova enables artists to develop new work on their feet.
Past Project Residencies include: I Heard Sex Noises created and performed by Andrew Farmer, Claire Rothrock & Ryann Weir, directed by Annie Tippe; Those Lost Boys created & performed by Frankie J. Alvarez, Nick Choksi, Damon Daunno, Gabriel Ebert, Brendan Spieth & Elvy Yost, Wing-Man created by Mark Gindick, directed by West Hyler; Isaac Oliver's Lonely Christmas created by Isaac Oliver, directed by Jason Eagan; Charlatan created by Vinny DePonto, directed by Andrew Neisler; Travis created by Zackary Grady, directed by Peter James Cook; The Other Baldwins in Haute Mess created by The Other Baldwins, directed by Peter James Cook; Eager to Lose created by Matthew-Lee Erlbach, Wes Grantom, Portia Krieger & Tansy, directed by Wes Grantom & Portia Krieger; Pepper 'N Sam: Whatever Possessed Them? created by Salty Brine & Justin Levine.
Summer retreat[edit]
Each summer, the theater funds a group of artists to attend a week-long retreat outside of New York City. The retreat is divided into focused work sessions, group discussions and social activities.[33]
Awards and honors[edit]
Ars Nova was honored with a 2015 OBIE Award[42] and a 2015 Special Citation from the New York Drama Critics’ Circle for their sustained quality and commitment to the development and production of new work.[43]
Alumni artists from our development programs have gone on to become internationally produced playwrights, Academy Award nominees, MacArthur Genius Grant recipients and Emmy, Tony Award and Pulitzer Prize winners. They’ve won Whiting Awards, Drama Desk Awards, OBIE Awards, Paula Vogel Playwriting Awards, New York Times Outstanding Playwright Awards, and Helen Merrill Awards, Lily Awards, and Lucille Lortel Awards.
In 2008, the Village Voice awarded Ars Nova its "Best Theater Concessions" honor, commenting that "Ars Nova satisfies those few disconsolate [theater concession consumers] among us: In addition to reasonably priced cocktails, it features snacks thematically linked with the play on offer."[44]
Ars Nova's commissioned production of Natasha, Pierre and the Great Comet of 1812 won several awards and nominations, including the Richard Rodgers Award for Musical Theater, a Special Citation from the OBIE awards, and five Drama Desk nominations.[45][46][47]
Selected alumni[edit]
Alex Timbers
Amber Gray
Amy Herzog
Annie Baker
Samuel D. Hunter
Beau Willimon[1][2]
Bess Wohl
Billy Eichner
Bridget Everett
Carly Mensch
César Chavez
Dave Malloy
Jack McBrayer
Jesse Eisenberg
Jesse Tyler Ferguson
Joe Iconis
John Gallagher Jr.
Lin-Manuel Miranda
Liz Flahive
Liz Meriwether
Michael Patrick King
Phillipa Soo
Rachel Chavkin
Reggie Watts
Robin Lord Taylor
Semi Precious Weapons
Stephen Karam
References[edit]
Jump up ^ "Ars Nova's Brilliant Career". The New Yorker. 2017-03-28. Retrieved 2017-04-25.
Jump up ^ http://www.americantheatre.org/2015/09/22/hamilton-creators-return-to-celebrate-ars-nova-roots/
Jump up ^ "Ars Nova's Brilliant Career". The New Yorker. 2017-03-28. Retrieved 2017-04-25.
Jump up ^ Green, Jesse (February 25, 2007). "Care and Feeding of Plays and Playwrights". The New York Times.
Jump up ^ https://www.nytimes.com/2015/12/14/theater/josh-groban-takes-aim-at-his-broadway-dream.html?ref=arts&_r=1
Jump up ^ http://www.nbcnewyork.com/entertainment/the-scene/Josh-Groban-Will-Lead-Broadway-Production-of-Natasha-Pierre--the-Great-Comet-of-1812--361754701.html
Jump up ^ "Ars Nova's Brilliant Career". The New Yorker. 2017-03-28. Retrieved 2017-04-25.
Jump up ^ Brantley, Ben (2017-03-14). "Review: Songs Say What a Family Can't in 'Sundown, Yellow Moon'". The New York Times. ISSN 0362-4331. Retrieved 2017-04-25.
Jump up ^ "Sundown, Yellow Moon". The New Yorker. Retrieved 2017-04-25.
Jump up ^ "KPOP". Woodshed Collective. Retrieved 2017-04-25.
Jump up ^ "2017 | Obie Awards". Obie Awards. Retrieved 2017-10-03.
Jump up ^ "Ars Nova To Take Underground Railroad Game On Tour This Summer". BroadwayBlack.com. 2017-03-20. Retrieved 2017-04-14.
Jump up ^ https://www.nytimes.com/2015/03/24/theater/review-small-mouth-sounds-silence-at-a-spiritual-spa.html?_r=0
Jump up ^ http://nypost.com/2015/03/23/silence-speaks-louder-than-words-in-evocative-small-mouth-sounds/
Jump up ^ http://www.timeout.com/newyork/theater/small-mouth-sounds
Jump up ^ http://sohorep.org/
Jump up ^ https://www.nytimes.com/2015/10/21/theater/review-futurity-in-a-civil-war-setting-wishes-for-todays-technology.html
Jump up ^ http://www.americantheatre.org/2015/10/13/cesar-alvarez-is-changing-the-american-musical-form-and-the-world/
Jump up ^ http://www.playbill.com/news/article/ars-nova-will-feature-world-premieres-of-charlatan-and-jacuzzi-in-2014-seas-213977
Jump up ^ http://www.playbill.com/news/article/mtc-and-ars-nova-join-forces-for-by-the-water-new-play-about-hurricane-sand-324352
Jump up ^ https://www.nytimes.com/theater/show/191965/Game-Play/overview
Jump up ^ https://www.nytimes.com/2013/10/26/theater/reviews/eager-to-lose-burlesque-at-ars-nova.html
Jump up ^ http://www.theatermania.com/new-york-city-theater/reviews/05-2013/core-values_65085.html
Jump up ^ http://www.timeout.com/newyork/theater/the-netflix-plays
Jump up ^ "Vodka, Uniforms, Tolstoy, Songs and Vodka". New York Times. Retrieved November 20, 2012.
Jump up ^ "Ars Nova Presents The Urban Dictionary Plays". broadwayworld.com. Retrieved October 9, 2012.
Jump up ^ "ARS NOVA: About Us; History". Arsnovanyc.com. Retrieved September 19, 2012.
Jump up ^ Suskin, Steven (2016). Natasha, Pierre and the Great Comet of 1812 The Journey of a New Musical to Broadway. Toronto, Ontario, Canada: Sterling Publishing Company. pp. 19–22. ISBN 978-1-4549-2328-2.
Jump up ^ http://arsnovanyc.com/antfest/
Jump up ^ Scheck, Frank (October 16, 2011). "Upper Fest Side: talent shows are a steal". New York Post. Retrieved October 2, 2012.
Jump up ^ "Inaugural Ars Nova Theatre Festival Takes Its First Step Oct. 16". Playbill. October 16, 2008. Retrieved September 19, 2012.
Jump up ^ Firestone, Lonnie (May 31, 2012). "Ars Nova's ANT Fest Fosters New Talent". Backstage.com. Retrieved September 19, 2012.
^ Jump up to: a b c "ARS NOVA: Programs On-Stage". Arsnovanyc.com. Retrieved September 19, 2012.
Jump up ^ "Play Group". Ars Nova NYC.
Jump up ^ Gioia, Michael (September 12, 2012). "Jeremy Kushnier, Kevin Massey, Ryah Nixon, Alexandra Socha Sing Matthew Robinson Tunes Sept. 12 at Ars Nova". Playbill. Retrieved September 19, 2012.
• "Hairspray's Michael Longoria Plays Ars Nova April 11, 2005". Broadwayworld.com. Wisdom Digital Media. Retrieved September 19, 2012.
• "Bob Stillman Performs Uncharted Songs at Ars Nova, Oct. 18". Boadwayworld.com. Wisdom Digital Media. October 11, 2005. Retrieved October 3, 2012.
• "Uncharted: David Clement And Daniel Cartier". SmartTix. SmartTix Entertainment Services, Inc. May 25, 2005. Retrieved October 3, 2012.
• "Uncharted: GrooveLily". Theatermania.com. TheaterMania.com, Inc. Retrieved October 3, 2012.
• "Uncharted: Janice Lowe". Theatermania.com. TheaterMania.com, Inc. Retrieved October 3, 2012.
• "Uncharted: Johnny Hancock". SmartTix. SmartTix Entertainment Services, Inc. May 11, 2005. Retrieved October 3, 2012.
• "Hairspray's Michael Longoria Plays Ars Nova April 11". Boadwayworld.com. Wisdom Digital Media. March 28, 2005. Retrieved October 3, 2012.
• "Uncharted: Pale Horse And Rider, Lori Michaels, The Davenports". SmartTix. SmartTix Entertainment Services, Inc. October 11, 2005. Retrieved October 3, 2012.
• "Uncharted: Ben Birney And Rob Seitelman". SmartTix. SmartTix Entertainment Services, Inc. June 6, 2006. Retrieved October 3, 2012.
• "Let It Sing – The Songs of Alan Zachary and Michael Weiner". Theatermania.com. TheaterMania.com, Inc. Retrieved October 3, 2012.
• Pincus-Roth, Zachary (November 10, 2006). "Evening of Songs by Miller and Tysen— with McElroy and Caplan—Plays Ars Nova Nov. 12". Playbill. Retrieved October 3, 2012.
• Gans, Andrew (June 26, 2006). "Wicked's Espinosa to Be Part of Pasek and Paul Evening". Playbill. Retrieved October 3, 2012.
Jump up ^ "Showgasm at Ars Nova". Mapcidy.com. January 25, 2010. Retrieved September 19, 2012.
Jump up ^ "harunalee is Ars Nova's 2017 Resident Artist - Makers Lab!". harunalee. Retrieved 2017-04-25.
Jump up ^ "MTC Announces The Studio at Stage II, The Writer's Room in Partnership with Ars Nova, and Two Productions". Boneaubryanbrown.com. June 27, 2012. Retrieved September 19, 2012.
Jump up ^ http://arsnovanyc.com/the-writers-room
Jump up ^ "Ars Nova Announces 2012 Programming Page 2". Offoffbroadwayworld.com. February 1, 2012. p. 1. Retrieved September 19, 2012.
Jump up ^ http://arsnovanyc.com/programs-off-stage/artists-in-residence
Jump up ^ http://www.obieawards.com/2015/05/2015-obie-award-winners-announced/
Jump up ^ http://www.dramacritics.org/dc_thisyears.html
Jump up ^ "Best Theater Concessions in New York: Ars Nova Theater". Village Voice. Retrieved October 4, 2012.
Jump up ^ "2013 Winners - Drama Desk Awards". Drama Desk Awards. Archived from the original on August 26, 2013. Retrieved June 2, 2013.
Jump up ^ "Obie Awards Honor 'Detroit' and 'Grimly Handsome'". NY Times. Retrieved June 2, 2013.
Jump up ^ "Natasha and Kid Who Would Be Pope win Prestigious Musical Theater Prizes". NY Times. Retrieved June 2, 2013.
External links[edit]
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He's So Fine
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"He's So Fine"
Single by The Chiffons
from the album He's So Fine
B-side
"Oh My Lover"
Released
December 1962
Format
45 rpm record
Recorded
December 1962
Genre
Pop, doo-wop
Length
1:53
Label
Laurie Records
Songwriter(s)
Ronald Mack[1]
Producer(s)
Phil Margo, Mitch Margo, Jay Siegal, and Hank Medress
The Chiffons singles chronology
"He's So Fine"
(1962) "Lucky Me"
(1963)
"He's So Fine"
(1962) "Lucky Me"
(1963)
"He's So Fine" is a song written by Ronald Mack. It was recorded by The Chiffons who topped the Billboard Hot 100 for four weeks in the spring of 1963. One of the most instantly recognizable Golden Oldies with its doo-lang doo-lang doo-lang background vocal, "He's So Fine" is also renowned as the plaintiff song in the now-infamous plagiarism case against George Harrison's "My Sweet Lord".
Country music singer Jody Miller scored a Top Ten hit of her own in 1971 with her cover of "He's So Fine".
Contents
[hide]
1 The Chiffons version
1.1 Background
1.2 Reception
1.3 "My Sweet Lord" lawsuit
2 Jody Miller version
2.1 Background
2.2 Reception
3 1978: Jane Olivor/ Kristy McNichol remakes
4 Other versions
5 References
6 External links
The Chiffons version[edit]
Background[edit]
"He's So Fine" was written by Ronald Mack, an acquaintance of the Chiffons' members who set himself up as their manager after overhearing them harmonise in their high school's lunch room. Mack elicited the interest of Bright Tunes Corporation, a production company run by the Tokens, who produced the Chiffons singing "He's So Fine", and two other Mack compositions at Capitol Recording Studios.
The Tokens themselves – who had never previously played on a recording session – provided the instrumentation, with the services of drummer Gary Chester.[2]
Originally, "Oh, My Lover", one of the two other songs, was considered the potential hit. But the completed track for "He's So Fine" with its now-classic 'Doo-lang doo-lang doo-lang' background vocal – the suggestion of the session's sound engineer Johnny Cue – seemed an obvious smash. However, Capitol Records (for whom the Tokens were house producers) rejected the track: Jay Siegal of the Tokens recalled Capitol's president Voyle Gilmore dismissing the track as "too trite...too simple". The Tokens shopped "He's So Fine" to ten labels before placing it with Laurie Records. According to Siegal, "We played it, and they locked the doors and said, 'You're not getting out of here. We want that record.' . . . Of course, we'd already been turned down by ten companies. Give us eighty cents and we'd have given you the record."[3][4]
The Chiffons' two later Top 10 hits both contain echoes of "He's So Fine", although neither song was written by Ronald Mack, who died soon after the Chiffons had recorded his song. "One Fine Day" was written by Carole King and Gerry Goffin, and "Sweet Talking Guy" – in which the background vocalists sing "he's so fine" – was co-written by the co-founder of Laurie Records, Eliot Greenberg.
"He's So Fine" by The Chiffons is also featured on the soundtrack album to the 1979 film Quadrophenia by the English band The Who.
Reception[edit]
Released in December 1962, "He's So Fine" entered the national charts in February 1963 attaining the #1 position on March 30 and remaining #1 for a four-week period and also made it to number one on the soul singles chart.[5] Billboard ranked the record as the No. 5 song of 1963. "He's So Fine" was also a #16 hit in the UK. Billboard named the song #73 on their list of 100 Greatest Girl Group Songs of All Time.[6]
"My Sweet Lord" lawsuit[edit]
On February 10, 1971, Bright Tunes Music Corporation filed suit alleging the then current George Harrison hit, "My Sweet Lord", was a plagiarism of "He's So Fine". The case did not go to trial until February 1976 when the judge ruled on the liability portion of the suit in favor of Bright Tunes, determining that Harrison had committed "subconscious" plagiarism.[7] The suit to determine damages was scheduled for November 1976 but delayed until February 1981, by which time Allen Klein, Harrison's onetime manager who had been his legal adviser in the first phase of the suit, had become the plaintiff by virtue of purchasing Bright Tunes. The final decision was that Harrison himself would purchase Bright Tunes from Klein for $587,000—the amount Klein had paid for the corporation—and although litigation continued for at least ten more years that decision was upheld.[8] In 1975 the Chiffons would record a version of "My Sweet Lord", attempting to capitalize on the publicity generated by the lawsuit. Harrison's "This Song" was written in reaction to the plagiarism suit.
Preceded by
"Our Day Will Come" by Ruby and the Romantics Billboard Hot 100 number one single
March 30, 1963 – April 20, 1963 Succeeded by
"I Will Follow Him" by Little Peggy March
Preceded by
"Our Day Will Come" by Ruby and the Romantics 'Billboard' Hot R&B Sides number-one single
April 6, 1963 – April 30, 1963 (four weeks) Succeeded by
"Baby Workout" by Jackie Wilson
Jody Miller version[edit]
"He's So Fine"
Single by Jody Miller
from the album He's So Fine
B-side
"Your Number Two"
Released
May 12, 1971
Format
45 rpm record
Recorded
February 17, 1971
Genre
Countrypolitan
Length
2:35
Label
Epic Records
Songwriter(s)
Ronald Mack
Producer(s)
Billy Sherrill
Jody Miller singles chronology
"If You Think I Love You Now (I've Just Started)"
(1970) "He's So Fine"
(1971) "Baby I'm Yours"
(1971)
"If You Think I Love You Now (I've Just Started)"
(1970) "He's So Fine"
(1971) "Baby I'm Yours"
(1971)
Background[edit]
Jody Miller had a Top Ten C&W hit with her remake of "He's So Fine" recorded in a February 17, 1971 session at the Columbia studio in Nashville and issued May 12, 1971 as the advance single from Miller's He's So Fine album, that album — released August 1971 — being Miller's second full-length collaboration with producer Billy Sherrill. Miller's remake omits the original's 'doo lang' background vocal. Besides the title cut, the He's So Fine album featured Miller's remake of the 1965 Barbara Lewis hit "Baby I'm Yours": Miller's third Sherrill-produced album There's a Party Going On afforded Miller C&W hit remakes of the Ronettes' "Be My Baby" and the Teddy Bears' "To Know Him is to Love Him".
Impressed by the 1968 Tammy Wynette hit "Stand By Your Man", Miller had contacted that track's producer Billy Sherrill in the hopes of reviving her own flagging recording career and after Look at Mine, Miller's first album in Sherrill's charge, generated two Top Twenty C&W hits in 1970, Sherrill opted for a new musical direction for Miller who recalls: "He said I didn't phrase my words like a country singer, so we took some old, sexy pop songs and put in a little boppy steel guitar".[9]
Reception[edit]
Miller's cover version of "He's So Fine" peaked at #5 C&W in July 1971, and crossed over to the Pop charts and also Easy Listening charts with July 1971 peaks of #53 Pop and #2 Easy Listening, the latter stat representing Miller's alltime best chart showing. "He's So Fine" also afforded Miller a Top Ten C&W hit in Canada with a #3 peak, with the track reaching #1 on the Adult Contemporary chart for Canada and crossing over to #46 on the Canadian Pop chart. In Australia Miller's "He's So Fine" charted with a #31 peak.
1978: Jane Olivor/ Kristy McNichol remakes[edit]
In the spring of 1978 two disparate remakes of "He's So Fine" were released as singles with both singles eventually ranking on the Billboard Hot 100. Jane Olivor recorded the song as a ballad for her album Stay the Night, producer Jason Darrow having wanted a "lighter song" for the album: Olivor had been initially unmoved by Darrow's endorsement of a slow version of "He's So Fine" – whose lyrics Olivor found vapid – but the singer saw the validity of her producer's suggestion after Darrow played Olivor the Chiffons' 45 rpm single at 331⁄3 rpm.[10] Released as a single in April 1978, "He's So Fine" debuted on the Hot 100 dated 20 May 1978 becoming the second of Olivor's two Hot 100 entries and with its eventual peak of #77 becoming the more successful as Olivor's precedent Hot 100 single "Some Enchanted Evening" had peaked at #91 in 1976. (Olivor would "bubble under the Hot 100" chart in 1980 when her single "Don't Let Go of Me" peaked at #108.) "He's So Fine" would also afford Olivor her sole ranking on the Billboard Easy Listening chart where its peak would be #21, also ranking in the Canadian singles chart with a #71 peak and rising as high as #3 on the Canadian Easy Listening chart.[11]
May 1978 saw the release of an attempted replication of the original "He's So Fine" credited to Kristy and Jimmy McNichol although the track only featured the former, being credited to the duo to reflect its parent Kristy and Jimmy McNichol album which was produced by Philip Margo and Mitch Margo who – as members of the Tokens – had produced the Chiffons' original: three members of the Chiffons: Patricia Bennett, Barbara Lee, and Sylvia Peterson, sang back-up on the McNichol remake of "He's So Fine." Both the McNichol version of "He's So Fine" and that by Jane Olivor appeared in the Record World ranking of the singles at positions #101 to #150 as early as the chart dated 20 May 1978 although the McNichol take would not debut on the Record World ranking of the top 100 singles until that dated 5 August 1978 two weeks subsequent to the track's debut on the Billboard Hot 100 dated 22 July 1978 (one week after the final Hot 100 appearance of the Jane Olivor take whose Hot 100 tenure ended as of the chart dated 15 July 1978): on the Cash Box Top 100 the McNichol "He's So Fine" made its debut on the chart dated 30 July 1978. The McNichol "He's So Fine" would peak at #70 on the Hot 100. (The chart fortunes of both the Olivor and McNichol takes on "He's So Fine" varies widely according to which of the three music trade periodicals is cited: Record World affords a peak of #87 to both the Oliver and McNichol versions while according to Cash Box the Olivor take peaked at #67, McNicol's at #83.)[12]
Other versions[edit]
Dana Valery made her recording debut with a local cover version of "He's So Fine" for the South African market, with Valery's version reaching the South African Top Ten in June 1963.
In 1987 Jonathan King put his 1971 version of "He's So Fine" as the B-side of his remake of the Cat Stevens song, "Wild World". King remade "Wild World" to corroborate his contention that the Pet Shop Boys plagiarized it with their hit "It's a Sin": he chose "He's So Fine" as the B-side to stress his position due to the songs' involvement in the plagiarism suit described in the Chiffons' section. His version was played in the court room by the Chiffons' legal team.
"He's So Fine" has also been recorded by the Angels (album My Boyfriend's Back/ 1963), Dionne Bromfield (album "Introducing Dionne Bromfield"/ 2009), the Clifters (fi) (as "Ou lenita" Finnish/ album Sexi on in/ 1989), Allison Durbin (album Born a Woman/ 1976), Birthe Kjær (as "Han er min" Danish/ album Birthe Kjær træffere/ 1971), Daliah Lavi (album Let the Love Grow/ 1973), Sandy Posey, Reparata and the Delrons (album 1970 Rock & Roll Revolution/ 1970), and Dee Dee Sharp (album All the Golden Hits/ 1963).
"She's So Fine" has also been recorded by The Brittles, a Beatles-pastiche band, due its history of being the source of the melody for "My Sweet Lord."
References[edit]
Jump up ^ "HE S SO FINE". ACE Title Search. American Society of Composers, Authors and Publishers. Retrieved 2011-06-03. [permanent dead link]
Jump up ^ "The Official Gary Chester Website – Discography". Angelfire.com. Retrieved 2016-09-27.
Jump up ^ [1] Archived August 11, 2007, at the Wayback Machine.
Jump up ^ Artie Wayne. "Hangin' in: Spectropop presents Hank Medress," Spectropop.com, 2006. Retrieved 2012-01-20.
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942–2004. Record Research. p. 116.
Jump up ^ "100 Greatest Girl Group Songs of All Time: Critics' Picks". Billboard. Retrieved July 11, 2017.
Jump up ^ "Bright Tunes Music v. Harrisongs Music". Columbia Law School Arthur W. Diamond Law Library Music Plagiarism Project. 2002. Retrieved 2007-09-05.
Jump up ^ "Archived copy". Archived from the original on 2008-12-21. Retrieved 2008-11-23.
Jump up ^ "Blanchard's Jody Miller Prepares to Hit the Road With Daughter". News.OK.com. Retrieved April 29, 2015.
Jump up ^ http://www.janeolivortribute.com/documents/Latest%20Jason%20Darrow%20interview.pdf
Jump up ^ http://www.bac-lac.gc.ca/eng/discover/films-videos-sound-recordings/rpm/Pages/list.aspx?OCRText=jane+olivor&
Jump up ^ americanradiohistory.com/
External links[edit]
Bob Shannon's Behind The Hits: Stories: He's So Fine
Lyrics of this song at MetroLyrics
[hide]
v
t
e
The Chiffons
Judy Craig
Patricia Bennett
Barbara Lee
Sylvia Peterson
Connie Harvey
Singles
"He's So Fine"
"One Fine Day"
Songs
"Will You Love Me Tomorrow"
"Why Do Fools Fall in Love"
"See You in September"
"It's My Party"
"The Loco-Motion"
"Da Doo Ron Ron"
"I Wonder Why"
"My Boyfriend's Back"
Related topics
"My Sweet Lord"
Book:The Chiffons
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text:
Electric charge
From Wikipedia, the free encyclopedia
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Electric field of a positive and a negative point charge.
Electromagnetism
Electricity
Magnetism
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Electric charge
Static electricity
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Electric charge is the physical property of matter that causes it to experience a force when placed in an electromagnetic field. There are two types of electric charges: positive and negative (commonly carried by protons and electrons respectively). Like charges repel and unlike attract. An absence of net charge is referred to as neutral. An object is negatively charged if it has an excess of electrons, and is otherwise positively charged or uncharged. The SI derived unit of electric charge is the coulomb (C). In electrical engineering, it is also common to use the ampere-hour (Ah), and, in chemistry, it is common to use the elementary charge (e) as a unit. The symbol Q often denotes charge. Early knowledge of how charged substances interact is now called classical electrodynamics, and is still accurate for problems that don't require consideration of quantum effects.
The electric charge is a fundamental conserved property of some subatomic particles, which determines their electromagnetic interaction. Electrically charged matter is influenced by, and produces, electromagnetic fields. The interaction between a moving charge and an electromagnetic field is the source of the electromagnetic force, which is one of the four fundamental forces (See also: magnetic field).
Twentieth-century experiments demonstrated that electric charge is quantized; that is, it comes in integer multiples of individual small units called the elementary charge, e, approximately equal to 6981160200000000000♠1.602×10−19 coulombs (except for particles called quarks, which have charges that are integer multiples of 1/3e). The proton has a charge of +e, and the electron has a charge of −e. The study of charged particles, and how their interactions are mediated by photons, is called quantum electrodynamics.
Contents
[hide]
1 Overview
2 Units
3 History
4 Static electricity and electric current
4.1 Electrification by friction
5 Conservation of electric charge
6 Relativistic invariance
7 See also
8 References
9 External links
Overview[edit]
Diagram showing field lines and equipotentials around an electron, a negatively charged particle. In an electrically neutral atom, the number of electrons is equal to the number of protons (which are positively charged), resulting in a net zero overall charge
Charge is the fundamental property of forms of matter that exhibit electrostatic attraction or repulsion in the presence of other matter. Electric charge is a characteristic property of many subatomic particles. The charges of free-standing particles are integer multiples of the elementary charge e; we say that electric charge is quantized. Michael Faraday, in his electrolysis experiments, was the first to note the discrete nature of electric charge. Robert Millikan's oil drop experiment demonstrated this fact directly, and measured the elementary charge.
By convention, the charge of an electron is −1, while that of a proton is +1. Charged particles whose charges have the same sign repel one another, and particles whose charges have different signs attract. Coulomb's law quantifies the electrostatic force between two particles by asserting that the force is proportional to the product of their charges, and inversely proportional to the square of the distance between them.
The charge of an antiparticle equals that of the corresponding particle, but with opposite sign. Quarks have fractional charges of either −1/3 or +2/3, but free-standing quarks have never been observed (the theoretical reason for this fact is asymptotic freedom).
The electric charge of a macroscopic object is the sum of the electric charges of the particles that make it up. This charge is often small, because matter is made of atoms, and atoms typically have equal numbers of protons and electrons, in which case their charges cancel out, yielding a net charge of zero, thus making the atom neutral.
An ion is an atom (or group of atoms) that has lost one or more electrons, giving it a net positive charge (cation), or that has gained one or more electrons, giving it a net negative charge (anion). Monatomic ions are formed from single atoms, while polyatomic ions are formed from two or more atoms that have been bonded together, in each case yielding an ion with a positive or negative net charge.
Electric field induced by a positive electric charge (left) and a field induced by a negative electric charge (right).
During formation of macroscopic objects, constituent atoms and ions usually combine to form structures composed of neutral ionic compounds electrically bound to neutral atoms. Thus macroscopic objects tend toward being neutral overall, but macroscopic objects are rarely perfectly net neutral.
Sometimes macroscopic objects contain ions distributed throughout the material, rigidly bound in place, giving an overall net positive or negative charge to the object. Also, macroscopic objects made of conductive elements, can more or less easily (depending on the element) take on or give off electrons, and then maintain a net negative or positive charge indefinitely. When the net electric charge of an object is non-zero and motionless, the phenomenon is known as static electricity. This can easily be produced by rubbing two dissimilar materials together, such as rubbing amber with fur or glass with silk. In this way non-conductive materials can be charged to a significant degree, either positively or negatively. Charge taken from one material is moved to the other material, leaving an opposite charge of the same magnitude behind. The law of conservation of charge always applies, giving the object from which a negative charge is taken a positive charge of the same magnitude, and vice versa.
Even when an object's net charge is zero, charge can be distributed non-uniformly in the object (e.g., due to an external electromagnetic field, or bound polar molecules). In such cases the object is said to be polarized. The charge due to polarization is known as bound charge, while charge on an object produced by electrons gained or lost from outside the object is called free charge. The motion of electrons in conductive metals in a specific direction is known as electric current.
Units[edit]
The SI unit of quantity of electric charge is the coulomb, which is equivalent to about 7018624200000000000♠6.242×1018 e (e is the charge of a proton). Hence, the charge of an electron is approximately 3018839800000000000♠−1.602×10−19 C. The coulomb is defined as the quantity of charge that has passed through the cross section of an electrical conductor carrying one ampere within one second. The symbol Q is often used to denote a quantity of electricity or charge. The quantity of electric charge can be directly measured with an electrometer, or indirectly measured with a ballistic galvanometer.
After finding the quantized character of charge, in 1891 George Stoney proposed the unit 'electron' for this fundamental unit of electrical charge. This was before the discovery of the particle by J.J. Thomson in 1897. The unit is today treated as nameless, referred to as "elementary charge", "fundamental unit of charge", or simply as "e". A measure of charge should be a multiple of the elementary charge e, even if at large scales charge seems to behave as a real quantity. In some contexts it is meaningful to speak of fractions of a charge; for example in the charging of a capacitor, or in the fractional quantum Hall effect.
The unit faraday is sometimes used in electrochemistry. One faraday of charge is the magnitude of the charge of one mole of electrons, i.e. 96485.33289(59) C.
In systems of units other than SI such as cgs, electric charge is expressed as combination of only three fundamental quantities (length, mass, and time), and not four, as in SI, where electric charge is a combination of length, mass, time, and electric current.[citation needed]
History[edit]
Coulomb's torsion balance
As reported by the ancient Greek mathematician Thales of Miletus around 600 BC, charge (or electricity) could be accumulated by rubbing fur on various substances, such as amber. The Greeks noted that the charged amber buttons could attract light objects such as hair. They also noted that if they rubbed the amber for long enough, they could even get an electric spark to jump. This property derives from the triboelectric effect.
In 1600, the English scientist William Gilbert returned to the subject in De Magnete, and coined the New Latin word electricus from ἤλεκτρον (ēlektron), the Greek word for amber, which soon gave rise to the English words "electric" and "electricity". He was followed in 1660 by Otto von Guericke, who invented what was probably the first electrostatic generator. Other European pioneers were Robert Boyle, who in 1675 stated that electric attraction and repulsion can act across a vacuum; Stephen Gray, who in 1729 classified materials as conductors and insulators; and C. F. du Fay, who proposed in 1733[1] that electricity comes in two varieties that cancel each other, and expressed this in terms of a two-fluid theory. When glass was rubbed with silk, du Fay said that the glass was charged with vitreous electricity, and, when amber was rubbed with fur, the amber was charged with resinous electricity. In 1839, Michael Faraday showed that the apparent division between static electricity, current electricity, and bioelectricity was incorrect, and all were a consequence of the behavior of a single kind of electricity appearing in opposite polarities. It is arbitrary which polarity is called positive and which is called negative. Positive charge can be defined as the charge left on a glass rod after being rubbed with silk.[2]
One of the foremost experts on electricity in the 18th century was Benjamin Franklin, who argued in favour of a one-fluid theory of electricity. Franklin imagined electricity as being a type of invisible fluid present in all matter; for example, he believed that it was the glass in a Leyden jar that held the accumulated charge. He posited that rubbing insulating surfaces together caused this fluid to change location, and that a flow of this fluid constitutes an electric current. He also posited that when matter contained too little of the fluid it was "negatively" charged, and when it had an excess it was "positively" charged. For a reason that was not recorded, he identified the term "positive" with vitreous electricity and "negative" with resinous electricity. William Watson independently arrived at the same explanation at about the same time (1746).
Static electricity and electric current[edit]
Static electricity and electric current are two separate phenomena. They both involve electric charge, and may occur simultaneously in the same object. Static electricity refers to the electric charge of an object and the related electrostatic discharge when two objects are brought together that are not at equilibrium. An electrostatic discharge creates a change in the charge of each of the two objects. In contrast, electric current is the flow of electric charge through an object, which produces no net loss or gain of electric charge.
Electrification by friction[edit]
Further information: Triboelectric effect
This section contains close paraphrasing of an external source, https://archive.org/details/ATreatiseOnElectricityMagnetism-Volume1. Ideas in this article should be expressed in an original manner. More details may be available on the talk page. (November 2014) (Learn how and when to remove this template message)
When a piece of glass and a piece of resin—neither of which exhibit any electrical properties—are rubbed together and left with the rubbed surfaces in contact, they still exhibit no electrical properties. When separated, they attract each other.
A second piece of glass rubbed with a second piece of resin, then separated and suspended near the former pieces of glass and resin causes these phenomena:
The two pieces of glass repel each other.
Each piece of glass attracts each piece of resin.
The two pieces of resin repel each other.
This attraction and repulsion is an electrical phenomena, and the bodies that exhibit them are said to be electrified, or electrically charged. Bodies may be electrified in many other ways, as well as by friction. The electrical properties of the two pieces of glass are similar to each other but opposite to those of the two pieces of resin: The glass attracts what the resin repels and repels what the resin attracts.
If a body electrified in any manner whatsoever behaves as the glass does, that is, if it repels the glass and attracts the resin, the body is said to be vitreously electrified, and if it attracts the glass and repels the resin it is said to be resinously electrified. All electrified bodies are either vitreously or resinously electrified.
An established convention in the scientific community defines vitreous electrification as positive, and resinous electrification as negative. The exactly opposite properties of the two kinds of electrification justify our indicating them by opposite signs, but the application of the positive sign to one rather than to the other kind must be considered as a matter of arbitrary convention—just as it is a matter of convention in mathematical diagram to reckon positive distances towards the right hand.
No force, either of attraction or of repulsion, can be observed between an electrified body and a body not electrified.[3]
Actually, all bodies are electrified, but may appear not electrified because of the relatively similar charge of neighboring objects in the environment. An object further electrified + or – creates an equivalent or opposite charge by default in neighboring objects, until those charges can equalize. The effects of attraction can be observed in high-voltage experiments, while lower voltage effects are merely weaker and therefore less obvious. The attraction and repulsion forces are codified by Coulomb's law (attraction falls off at the square of the distance, which has a corollary for acceleration in a gravitational field, suggesting that gravitation may be merely electrostatic phenomenon between relatively weak charges in terms of scale). See also Casimir effect.
It is now known that the Franklin-Watson model was fundamentally correct. There is only one kind of electrical charge, and only one variable is required to keep track of the amount of charge.[4] On the other hand, just knowing the charge is not a complete description of the situation. Matter is composed of several kinds of electrically charged particles, and these particles have many properties, not just charge.
The most common charge carriers are the positively charged proton and the negatively charged electron. The movement of any of these charged particles constitutes an electric current. In many situations, it suffices to speak of the conventional current without regard to whether it is carried by positive charges moving in the direction of the conventional current or by negative charges moving in the opposite direction. This macroscopic viewpoint is an approximation that simplifies electromagnetic concepts and calculations.
At the opposite extreme, if one looks at the microscopic situation, one sees there are many ways of carrying an electric current, including: a flow of electrons; a flow of electron "holes" that act like positive particles; and both negative and positive particles (ions or other charged particles) flowing in opposite directions in an electrolytic solution or a plasma.
Beware that, in the common and important case of metallic wires, the direction of the conventional current is opposite to the drift velocity of the actual charge carriers; i.e., the electrons. This is a source of confusion for beginners.
Flavour in
particle physics
Flavour quantum numbers
Isospin: I or I3
Charm: C
Strangeness: S
Topness: T
Bottomness: B′
Related quantum numbers
Baryon number: B
Lepton number: L
Weak isospin: T or T3
Electric charge: Q
X-charge: X
Combinations
Hypercharge: Y
Y = (B + S + C + B′ + T)
Y = 2 (Q − I3)
Weak hypercharge: YW
YW = 2 (Q − T3)
X + 2YW = 5 (B − L)
Flavour mixing
CKM matrix
PMNS matrix
Flavour complementarity
v
t
e
Conservation of electric charge[edit]
Main article: Charge conservation
The total electric charge of an isolated system remains constant regardless of changes within the system itself. This law is inherent to all processes known to physics and can be derived in a local form from gauge invariance of the wave function. The conservation of charge results in the charge-current continuity equation. More generally, the net change in charge density ρ within a volume of integration V is equal to the area integral over the current density J through the closed surface S = ∂V, which is in turn equal to the net current I:
− d d t ∫ V ρ d V = {\displaystyle -{\frac {d}{dt}}\int _{V}\rho \,\mathrm {d} V=} ∂ V {\displaystyle \scriptstyle \partial V} J ⋅ d S = ∫ J d S cos  θ = I . {\displaystyle \mathbf {J} \cdot \mathrm {d} \mathbf {S} =\int J\mathrm {d} S\cos \theta =I.}
Thus, the conservation of electric charge, as expressed by the continuity equation, gives the result:
I = − d Q d t . {\displaystyle I=-{\frac {\mathrm {d} Q}{\mathrm {d} t}}.}
The charge transferred between times t i {\displaystyle t_{\mathrm {i} }} and t f {\displaystyle t_{\mathrm {f} }} is obtained by integrating both sides:
Q = ∫ t i t f I d t {\displaystyle Q=\int _{t_{\mathrm {i} }}^{t_{\mathrm {f} }}I\,\mathrm {d} t}
where I is the net outward current through a closed surface and Q is the electric charge contained within the volume defined by the surface.
Relativistic invariance[edit]
Aside from the properties described in articles about electromagnetism, charge is a relativistic invariant. This means that any particle that has charge Q, no matter how fast it goes, always has charge Q. This property has been experimentally verified by showing that the charge of one helium nucleus (two protons and two neutrons bound together in a nucleus and moving around at high speeds) is the same as two deuterium nuclei (one proton and one neutron bound together, but moving much more slowly than they would if they were in a helium nucleus).[citation needed]
See also[edit]
Quantity of electricity
SI electromagnetism units
Color charge
Partial charge
References[edit]
Jump up ^ Two Kinds of Electrical Fluid: Vitreous and Resinous – 1733. Charles François de Cisternay DuFay (1698–1739). sparkmuseum.com
Jump up ^ Roald K. Wangsness (1986) Electromagnetic Fields (2nd Ed.). Wiley. ISBN 0-471-81186-6.
Jump up ^ James Clerk Maxwell (1891) A Treatise on Electricity and Magnetism, pp. 32–33, Dover Publications Inc.
Jump up ^ One Kind of Charge. av8n.com
External links[edit]
How fast does a charge decay?
Science Aid: Electrostatic charge Easy-to-understand page on electrostatic charge.
History of the electrical units.
Authority control
GND: 4151721-0
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