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Grahame N's Web Pages
THE UPS & DOWNS OF 17.5mm
by Christel Taillibert
translated by Martyn Stevens - January 2003
(This is a free translation and not definitive. If it matters, check the original.)
At the beginning of the 1920s, use of the cinematograph for educational purposes began to develop significantly in France, thanks to the activities of certain political figures particularly interested in this issue. Schools, colleges and various companies took advantage of council cinema facilities or even bought their own equipment to enable them to integrate film into their teaching material.
Apart from the inevitable psychological hesitation of educationalists, the development of the use of film in education ran into practical problems; in particular, only councils in larger towns could afford cine equipment at this time. Too, at the beginning of the 1920s, France remained predominantly rural: in 1924, 97.3% of communities had less than 5000 inhabitants. In areas where the population was widely dispersed, the financial returns from a cinema were far too uncertain to justify the investment. The cinema-going public was therefore only 6% of the population.
The Ministry of Agriculture adopted various measures to tackle these problems and encourage cinema in the countryside. The Government had a clear understanding of the potential of cinema as an educational tool for the rural population, which was largely unaffected by changes in society. The Minister of Agriculture, Henry Cheron, expressed it in the following terms:-
Cinema today is one of the most powerful tools for education and the spread of agricultural knowledge. It can bring home, in a particularly lively and persuasive way, to farmers and to their children at school, progress in science and, more generally, facts and discoveries about nature to help them in their work and encourage them to increase production.
Entertainment films were not excluded, since by offering healthy entertainment at rural level to match that provided in towns, the introduction of the cinema was seen as a way of slowing the mass exodus from the countryside. Cinema is fun. In taking it into the countryside, a bit of the town was brought to the village.
These considerations led to the passing of a law on 5th April 1923 establishing an annual levy of 500,000 francs on the Pari mutuel (Tote). These monies were intended to provide grants to help rural councils acquire standard gauge projection equipment. A central Agricultural Cinematheque and various regional equivalents were set up at the same time to distribute films.
The measures put in hand by the Agriculture Ministry obviously involved 35mm projectors, the only gauge in use at the beginning of the 1920s. To take cinema to the countryside, another approach was put forward, this time by industrialists, which envisaged limiting the expense of investment in cinema by reducing the size of the film.
This wasnt a new idea. As early as 1900, at the great Paris Exhibition, Gaumont had put forward two such projectors, the Mirographe and the pocket Chrono, of 20mm and 15mm gauge respectively. It was in 1912 that the first narrow gauge apparatus had been launched by Pathé: the KOK 28mm projector.
It was also Pathé who launched the Pathé Baby, at the end of 1922; this 9.5mm machine was primarily intended for the amateur market. It might have been an alternative to the standard gauge for introduction in the countryside, but the poor quality of the projected image didnt really meet the needs of such an application.
At this time, the Pathé-Cinema Company was seeking to negotiate film rights from Pathé-Consortium-Cinema covering commercial exploitation in villages with fewer than 5000 inhabitants. It was with this audience in mind that Pathé Cinema began work in the summer of 1924 on a narrow gauge project designed to preserve as much as possible of the image quality of the standard gauge.
Pathé chose to adopt a film size of 17.5mm, exactly half standard gauge. The planned projector was initially known as the Pathe-Junior. In 1926 the commercial launch of 17.5 was finally announced under the name Pathé Rural. It was intended for use in small villages and the countryside. The aims declared by Pathé were wholly altruistic:-
Film is only a tool in the service of an idea; soon, workers on the land, their working day completed, will have their eyes fixed on the screen to be at the same time educated, instructed and entertained.
Charles Pathé then embarked on a crusade to explain to the world of cinema just how the technical characteristics of his narrow gauge format justified such pretensions.
Pathe Rural material and equipment was naturally determined by the chosen gauge of 17.5mm. This gauge was not just plucked out of the air by Pathe-Cinema; in choosing a width exactly half that of standard film, the costs of film production were reduced. In fact, 17.5 film was obtained simply by slitting fresh 35mm stock.
In this way, existing machinery could easily be adapted for the new gauge; perforation, printing and development all took place with 35mm stock, with slitting into two identical bands of 17.5 film coming only at the end of the process.
The image size of Pathe Rural film was 9.5mm x13.5mm, giving an area of 126 square millimetres. This was frequently quoted against the 16mm gauge adopted by the Americans, which measured 7.5mm x10.5mm, an area of only 78 square millimetres. For a film barely any wider, Pathé Rural image size was 60% greater than that of 16mm. On projection, this allowed an image of up to 2.5 metres wide, ample for the intended use.
The point of the reduced image size lay in the commensurate reduction in the cost of film production; each copy printed was 75% cheaper than a 35mm print.
According to Pathe-Cinema, the number, shape and size of the perforations had been the subject of much research. The pitch was equal to the picture height, exactly twice the pitch of 35mm perforations; once again, the aim was to simplify the adaptation of existing equipment. There were four square perforations per frame, one at each corner, each half on the film margin and half within the actual image area. During projection, the overlap into the frame was covered by a gate mask with rounded corners, giving the projected image its characteristic shape.
Pathé Rural film had 105 frames per metre. Spools were designed to hold 150 metres of film, projection time being the same as for 300m of 35mm. The saving obtained was far from negligible as exploitation was essentially on a rental basis; transport costs could be proportionately reduced. The weight of the spools themselves had to be taken into account too; an empty 17.5mm spool weighed about 500 grams, whilst the weight of a 35mm spool could rise to over 2kg.
Thanks to its small size, Pathé Rural film was subject to forces four times less than those acting on 35mm film. The film base, cellulose acetate, could therefore be made thinner, reducing on weight and bulk, while being confident of projecting films as many times as 35mm prints without excess wear and tear. Pathe-Cinema claimed films could be shown around a thousand times without damage.
Finally, Pathé Rural films were only produced on non-inflammable stock; all fire risk during a show was thus eliminated not a matter of indifference to businesses and users, often wary of the latent menace of fire that was then inherent to film projection.
17.5mm Pathé Rural
The Pathe Rural Projector ran from either AC or DC current. Any necessary transformer was in the base of the machine. Film transport involved two sprockets and a claw, powered by a one 25th HP motor. This also drove a fan intended to protect the film from the heat of the lamp. A fixed 200 watt incandescent lamp, which allowed shows to 200-300 people, was installed in a lamphouse specially designed to promote the flow of air from the fan.
To make transport easier, feed and take-up spool arms were detachable, reducing overall size to 40cm high by 30cm wide, for a weight no more than 15kgs.
The general design of the projector was intended to suit it for rural use. It was heavily and robustly constructed to survive a life of intensive usage. Operation was very simple, so as to be usable by non-professionals; the public purse was rarely able to pay a projectionists wages; it was therefore important for operators and teachers working in the countryside to be able to do the job themselves.
The Pathe Rural Projector is designed for use by people with no cine or engineering knowledge; apart from the threading of the film, a very simple operation, a single switch is all that is needed to operate the machine, the fan and the lamp.
Finally, notwithstanding its simplicity and small size, the Pathe Rural could deliver shows of high technical quality. As witness a show organised on 23rd March 1929 by Emile Roux-Parassac for students at the Photography and Film Technical College; 17.5mm and 35mm films were shown and despite being warned in advance, none of the spectators could tell the difference.
Once the equipment was ready, there remained the task of making a place for 17.5mm in the market. Pathe Cinema publicly announced their new invention at the beginning of 1926.The projector was shown at various events involving people from the world of cinema, and notices were sent to the Press giving details of this new innovation.
The first demonstration was on 10th February 1926 to the Cinematography section of the French Photographic Society. The International Cinematographic Conference from 27th September to 3rd October 1926 at the Palais Royal, in the premises of the International Institute for Intellectual Cooperation was an important occasion for promoting 17.5mm; a paper was presented to the Cine Education and the Country Cinema Committees, then at the plenary session of the Conference. This last was followed by a practical demonstration in the Grand Chamber of the Ministry of Fine Arts; several educational films were shown.
At the time of these demonstrations, 17.5mm was not unanimously welcomed by the organisers and educationalists who would be chiefly concerned. . There was considerable debate and many objections were raised to the very idea of a format different from 35mm. The arguments against a reduced format were; it was contrary to international standards hitherto universally adopted; the standard gauge gave a bigger and brighter picture, indispensable to proper educational work; it would cause confusion because many different reduced formats would be created; it would lead to chaos in existing film libraries; it would prevent the rapid development of the regional organisation.
The regional offices of educational cinema referred to in the last of these arguments were populist lay educational movements operating throughout France. They set themselves up as defenders of the standard gauge and rejected out of hand even the idea of a reduced format and maintained this stance right up to the war.
Others, however, were immediately convinced of the benefits of narrow gauge cinema. G. Michel Coissac, one of the leading figures in documentary and educational cinema of the inter-war period, vigorously defended 17.5mm, saying in 1926:-
How can one not bow to the evidence? Should we forget that all progress is one more step towards an ideal? Pathe Rural uses a reduced film size ( ) it therefore allows considerable economies, thanks to which the cinematograph may, in future, no longer be a privilege restricted to wealthy schools but be extended into small village schools; it would be ill-advised for anyone, for partisan reasons, to declare war on this development. Time will tell.
Some educationalists moreover had a much broader view of the possibilities offered by 17.5mm; far from restricting its use to rural areas, they saw this cheaper equipment as a way to broaden the use of cinema in education at all levels; they saw each classroom equipped with its own projector. At the annual meeting of the Committee on Cinema in Professional Education on 17th May 1927, Mr. Rebillon expressed himself on the subject in these terms:-
We consider each classroom should have a projector. But we know that the cost of 35mm equipment is prohibitive; no school, no educational society has been able hitherto regularly to use film, because they did not have the financial resources.. Anyone can work out the reduction on costs from the use of a reduced format, whether in terms of projectors or films.
Despite various announcements about Pathe Rural, the actual launch took some time to happen. The delay was due to the need to produce equipment and purchase film rights for the 17.5mm catalogue. Pathe-Cinema also had to sort out with Pathe-Consortium-Cinema and Pathe-Baby some demarcation issues relating to exploitation of the new format.
In the end, it was not until the end of 1927, 15th November to be precise, that the commercial launch of 17.5mm took place. Jacques Pathe nephew of Charles - was appointed Director of Pathe Rural; publicity in France and abroad was entrusted to Mr. Marette, the engineer responsible for developing the equipment, to Mr. Marin, Marettes son-in-law and lastly Theophile Pathe. After some time spent setting up the organisation, actual trading began in January 1928.
Intended solely for non-commercial use, Pathe Rural material was available for purchase or rental. In the latter case, a deposit of 1,250 francs was required, with a weekly rental of 12.5 francs. This covered a projector, a rewinder with splicer, an empty spool, a three-metre mains lead and a special case for transporting the projector.
Each projector rental contract involved a commitment to a minimum of 12 complete film programmes. Each of these cost 100 francs and comprised 9 reels, with a total running time of 2.5 hours. The programmes comprised a feature, newsreels, a documentary, a comedy short and finally advertising footage. 17.5mm didnt rely entirely on the Pathé catalogue for its material; rights were purchased from various other French and foreign producers. With each programme, a free illustrated poster was provided detailing the contents.
In France, the success of the new projector was immediate, and it rapidly gained a not insignificant place in the market. Nevertheless, the criticisms raised at the launch of 17.5mm continued to hold sway with certain educationalists and politicians. Charles Pathe himself did not hesitate to defend his invention, as witness his open letter of 13th November 1927 to Mr Brenier, Senator for Isere, in response to one of the latters speeches in which he had condemned narrow gauge cinema.
In parallel, promotion of 17.5mm equipment continued. For example, it was presented and attracted considerable attention by all accounts at the second Educational Film Convention in La Haye, in May 1928.
Within ten months of the launch, some one thousand projectors had already been sold. The one thousandth Pathe Rural rental contract was formally celebrated on 29th October 1928; a demonstration was held for the benefit of the cinema press. Charles Pathe spoke in these terms on the occasion:-
Believe me, it took considerable industrial and financial effort to get to the figure of 1000 installations, which we see as payback for our work and sacrifices.
In fact 17.5mm had not brought a single franc of profit to the company at this stage; on the contrary, the operation was still well in the red, the company having lost about 200% on each rental contract signed so far for 17.5. But they werent about to give up, and built their hopes on the 10,000 projectors then under construction.
By October 1928, 60 weeks of complete programmes had been rolled out and a choice of 200 such programmes was available to users. The distribution network now comprised some 400 outlets across the country. Figures showed that in November 1928, 1200 small 17.5mm cinemas were operating in communities with less than 5000 inhabitants.
Promotion of 17.5mm was maintained by regular publicity campaigns in the cinema trade press. Advertising emphasised the value of the advantages of the new format as well as the extraordinary speed with which it was spreading.
Aside from publicity, Pathe decided to drop prices to encourage sales; projector rental cost was unchanged but the deposit was reduced to 1000 francs (from 1200), and the cost of film programmes was fixed by reference to the population of the community in question; 50 francs for less than 500 inhabitants, 70 francs between 500 and 1200 and 80 francs for populations over 1200..
At the end of three years of commercial exploitation, 3000 17.5mm installations were reckoned to be in operation. This figure rose to 4000 in 1930. It was only from 1931 that 17.5mm began to deliver profits; according to Charles Pathe, 17.5mm operations brought in more than 15 million francs in net profits.
During these years, various publications were prepared for 17.5mm users. So from July 1928, a manual covering the operation and maintenance of the projection equipment could be had; it was entitled To Pathe Rural Users, some practical advice. This booklet of some 50 pages contained little in the way of text, to allow space for numerous illustrations designed to explain as clearly as possible the handling of the apparatus. Also to be found was advice on the care of films and how to repair them.
A catalogue of films available on 17.5mm was issued regularly to help users in the choice of programmes. This initially comprised Pathé productions, either educational films from the Pathé Educational Library or fiction films intended for general release. The catalogue was however enriched by some well-known feature films from other French companies. (?)
Pathé also negotiated rights with American film companies and UFA in Berlin. In a 1991 article, Claude Baylie reported on a special showing of Pathé Rural material with a number of 17.5mm films. Among the foreign films, he reported a Disney cartoon and The Sea Beast (Jim le harponneur was the French title) by Millard Webb, produced by Warner Bros.
In 1931, a monthly magazine was launched for Pathe Rural users, called Cinema Everywhere for Everyone. (Le Cinéma Partout et Pour Tous). It contained advertising for various Pathe products, details of new 17.5mm programmes as they were launched, but also advice to projector users. This might be advice on the use and maintenance of the projector, the organisation of shows or perhaps on completion of returns to the tax authorities.
17.5mm Pathé cine camera
This magazine was used to support advertising of the 17.5mm camera introduced by Pathé. Up to that time, users had not been able to film on 17.5mm themselves; amateur cinema remained the province of Pathé-Baby. The Motocamera was intended for the professional user rather than the general public; it was promoted as a means of making local news films for incorporation into rented film programmes.
The Pathé Rural launch had focussed on what were called minor sites; that is to say shows run at irregular intervals, either in a special room or perhaps in the largest café in the village or even a room in the Town Hall. Increasingly, some cinema proprietors had also set themselves up as promoters of such minor sites; by doing this themselves in the villages close to their established cinema, they hoped to avert the risk of competition from others doing it instead. The proprietor of the cinema in Coulommiers wrote in French Cinematography at the end of 1928, encouraging his fellow proprietors to follow his example:-
In the face of this threat, I myself set up the Pathé Rural unit in the village, preferring to be my own competitor. Since then, I have set up a 17.5mm unit in each village within a 15 kilometre radius. ( ) I want to warn you of the risk you run if you dont follow my example and set up Pathé Rural units in centres of population surrounding your main site. At some time or another, and much sooner than you think, you will see an upsurge of such units which will become your direct competitors and will easily attract audiences who would otherwise have to travel 8-10 kilometres to get to your cinema.
Numerous contemporary accounts by rural 17.5mm operators and audience members help us to understand today how shows were organised and how they were received in the countryside. Here by way of example are some extracts from a statement by a cinema proprietor from a small village, reported in the magazine Le Cineopse in June 1929:-
I have had one point in my favour, I have dared to do what many around me thought mad. As you know, in the countryside, new initiatives are always regarded with suspicion. The cinema, I was told, is fine in towns but it wont catch on where you are and youll end up out of pocket. ( ) I put on two shows a week, Saturday evening and Sunday afternoon. ( ) You should have seen those good people and how grateful they were. ( ) In any event, one thing is for sure, now they have had a taste of the cinema thanks to 17.5mm, people round here wont be able to do without it. Theyd feel too cut off and bored.
17.5 and Religion
Always eager to increase their market, Pathé made an early bid for the religious (Catholic) film market. They undertook the preparation of expurgated versions of the films in their catalogue, from which all elements likely to offend Catholic morality would be eliminated. This exercise was in response to the strict requirements of the Catholic hierarchy. Here by way of example is the response of Abbé Leclerc to proposals from Pathé:-
Your films may be shown in our halls (with the exception of those which are contrary to religious doctrine) on one condition. You must remove, so far as the picture is concerned, all nudity, all low-cut dresses and all bold gestures; so far as the sound is concerned, all swear words, expressions and conversations that are saucy, immoral or overly impassioned.
Pathé therefore set up teams of priests to carry out systematic censorship of all the films likely to be viewed by Catholic groups. Canon Reymond, Director of the Catholic Cinema Committee was associated with this operation, in which he was a prime mover. The committee undertook the publication, in Cinema Files, of lists of film programmes approved by the censors.
Altough Pathé Rural experienced considerable growth, 17.5mm met some significant problems. The economic crisis, which affected France from 1931, hit hardest precisely those small enterprises that constituted the Pathé Rural client base; those which, even at the start, had had very limited resources to develop their cinema activities. During the thirties, therefore, Pathe faced numerous bad debts.
Moreover, by the end of the twenties, Pathé Rural had to face the arrival of the Talkies; the public were agog to see this new dimension to the spectacle of the cinema, and the silent film rapidly came to seem out-moded. To keep any sort of market for narrow gauge cinema, companies would have to find a way to introduce sound.
The arrival of a 17.5mm talkie projector was announced in January 1931 in the pages of Cineopse. A little premature because, despite the optimism expressed in this report was running ahead of actual technical achievement. It was not until mid-1932 that a prototype 17.5mm talkie projector was finalised, but still before the Yanks had got there with 16mm.
In this machine, a sound reader was added after the film gate and the amplifier formed the base. A single 12 volt lamp served as both projection and exciter lamp. The projector sat on a stand 88cm high. Total weight was about 36 kgs.
As to the film itself, the biggest problem, apart from the limited space available for a sound track, was the slow linear speed of the film past the sound head, risking the loss of the higher frequencies. The solution adopted was to keep the sound track the same width as the standard 35mm track. The quality of sound would thus be the same as with 35mm. (?) The sound track replaced one row of perforations, which involved a slight reduction in picture width to 11.3mm (from 13.5mm is not that slight translator). To prevent the unequal pull on the film causing rapid deterioration of prints, an appropriate film transport mechanism was added to the projector. (???) The machine could be used for either sound or silent film.
The Pathé Natan company engaged in large scale production of projectors and sound programmes. Educationalists once more expressed their hopes for the new possibilities now offered by 17.5mm:-
Thanks to the sound films which Pathé Rural will henceforth to a standard equal to the most expensive equipment, people in the countryside and pupils in our rural schools will be able to benefit from the full spectacle of picture united with sound. Let us give thanks to Mr Natan for having brought to the countryside the gift of such an instrument of social renewal.
The new projector was displayed at an exhibition organised on the occasion of the Educational Film Congress in Berlin, in October 1932 and made a great impression on all who saw it.
The success of this machine, which is well known to our readers, was so considerable that the distinguished representative of Pathé Natan, Mr. Alberg, was asked to mount a special demonstration for UFA in the presence of Mr Klitsch, Director general, and Directors Maydam, Lehman etc.
At the beginning of 1933, by which time some 5000 17.5mm units were operating in France, the new machine was launched onto the market. It was dubbed the Pathe Junior, and sold at 12000 francs. Publicity blurbs called it the cheapest, simplest lightest, and least cumbersome sound equipment available.
The 17.5mm sound library grew only slowly. Some 50 films were issued annually. By October 1934, 1500 sound machines had been installed in France, and some 100 talkie programmes were available. Georges Rouvier was in charge of film distribution and projector sales.
Meanwhile, back in 1933 and in parallel with the launch of the Pathé Junior, the Natan company had sought to enlarge the 17.5mm market by moving into amateur cine, something not originally envisaged. Hence the launch of the Pathé Natan 175 sound projector. The predominant format in the amateur sector was 9.5mm, which had yet to introduce sound. It was therefore in response to demand from amateurs no longer satisfied with silent film that this new projector was launched.
The apparatus comprised two small cases, one containing the speaker and the other the amplifier and projector. Total weight was a mere 18 kgs and the price was 6000 francs. At the same time, a 17.5mm camera was offered at 650 francs to amateurs wanting to make their own films.
The low price was tailored to the target market; those who could not, for financial reasons, contemplate the acquisition of a sound projector; not just amateurs but also the very small operators or educational establishments who likewise had very limited means. The Pathe Junior was aimed at audiences of 250 to 500, the Natan 175 was more suited to audiences under 200.
A publicity campaign accompanied the launch of the Natan 175, both in the specialist press and in the programmes sold and rented by Pathé Rural. Pathes major film star, Renee Saint-Cyr, was featured in the campaign; pictures showed her using the projector and singing its praises.
17.5mm Pathé Natan 175 talkie projector
In January 1934, there were already more than 1100 Pathé Junior or Natan 175 machines operating in metropolitan France. There were moreover some 50 in Belgium and 60 in Algeria.
If Pathé had responded successfully to the challenge of sound, Pathé Rural had greater difficulty in facing up to the increasing competition from 16mm, which was being vigorously promoted by American companies. In launching their new format, Pathé had hoped that the bulk of the market would fall in with the standard they were putting forward.
The promoters of this new film gauge are not seeking a monopoly, but rather hope that its adoption by competitors will greatly increase production and market penetration, to the profit of the whole film industry; they therefore hope that 17.5mm will soon be adopted as a standard.
Despite these hopes, 16mm was increasingly asserting its presence in the market. The two formats were not content to co-exist, but embarked on a veritable economic war for the conquest of international markets. The world found itself divided into two opposing camps, those who had adopted 16mm and those who preferred 17.5mm. In 1933, the German company Agfa fell into line with the Americans and took their side in the battle against the rival format.
Beyond the fight between these two formats, it should be made clear that other formats did appear on the market from time to time, such as 22mm or 28.5mm. However, the need to introduce some standardisation of film formats had long been pressed by those active in education and training; they considered it essential to the proper development of educational cinema and to better film distribution. In 1928, Mr. Barrier, a Government Inspector, issued a report on this topic:-
It will be necessary, for the same reasons that led to the adoption of the 35mm film standard, for narrow gauge films to be standardised too.
Moreover, at the beginning of the Thirties, many countries with no film industry of their own were waiting for international standards to be agreed before instituting their own national programme s to introduce cinema into schools. But the economic damage any decision would cause to one or other of the two rival camps caused delay in the adoption of any international standard.
Already, in May 1931, the issue of standardisation of narrow gauge formats had been aired at the third International Instructional Film Congress in Vienna. The great majority of the delegates wanted an immediate decision in favour of 16mm. It was only the impassioned intervention of the French delegation that finally convinced the Congress to defer a decision; The French argued that such a conference should not use its moral authority to support sectional interests. Following the Congress, efforts were mobilised in France to defend 17.5mm and Pathé Rural, not hesitating to call on the support of nationalist sentiment:-
Every effort must be bent to the adoption of 17.5mm, the French format and, let us not forget, the first in the world to appear, by means of splitting 35mm in half.
It was during the International Conference of Educational and Instructional Cinema, hosted in Rome in April 1934 by the International Institute of Educational Cinema, that the first steps towards speeding up the standardisation process were taken. The conference adopted the following Resolution:-
The Fifth Technical Committee formally adopts the view that a standard for narrow gauge film should be adopted as soon as possible. In consideration of the fact that this standardisation will have very serious economic consequences, the Committee proposes that, by whatever means seem to it most appropriate, the International Institute of Educational Cinema should take the lead in ensuring a definitive decision is taken by 1st August 1934. The Committee recommends the convening of a sub-Committee specifically to deal with this issue, comprising representatives of users, technical experts and producers. In order to avoid complicating the current situation yet further, the Committee calls on governments and educational administrators to avoid any measures tending to favour one format or the other before 1st August 1934.
The necessary meeting was arranged for 28th May 1934 at Baden-Baden. This brought together ten delegates (two representing each of the five countries directly affected, Germany, the UK, The USA, France and Italy). Bernard Natan himself represented his companys interests. At the end of the discussions, he agreed to abandon his former position and to accept the change of format, subject to compensation from the American and German industries. An agreement in principle was therefore reached by which 16mm was recognised as the international substandard gauge format.
The Conference is pleased to record a unanimous decision to adopt a single format. The implementation of this agreement will be subject to further negotiations.
According to Luciano de Feo, Director of the International Institute for Educational Cinema, who had himself chaired the discussions at Baden-Baden, the victory of 16mm over 17.5mm was won purely on technical grounds; at the beginning, indeed, Pathés legitimacy in the vast field of educational cinema had seemed to him almost natural:-
This development was guided by a great company, Pathé, which has unquestionably secured considerable standing in the world of education and training and has, indeed, been a pioneer in this field. It can justifiably be said that, if the importance of the technical considerations put forward by Pathé had not been recognised by all concerned, the issue of standardisation of the narrow gauge format would not have presented itself so acutely, nor would it have required an international solution; it would have resolved itself.
The technical superiority of 16mm was never recognised by the French. They considered moreover that 16mm had carried the day by the incessant publicity it received, having been systematically promoted at every exhibition and cinema event throughout the world. Mr. Blemmec wrote about this in the following terms, in January 1933:-
Commercially speaking, 16mm has advantages; launched with relentless publicity, enjoying a monopoly in America and having conquered most of Europe, it has become deeply entrenched despite its manifest inferiority as a format by comparison with 17.5mm.
After the defeat of 17.5mm, some bitterness was expressed by some of the gauges defenders, for instance G. Michel Coissac; No doubt the German Press are crowing over their victory and make no bones about writing that France and her 17.5 gauge has been defeated.
Despite the absence after the 1934 discussions of an official document formally declaring 16mm the narrow gauge standard format, Agfa and Kodak continued to gain ground on 17.5mm. In France, too, some groups lined up on the 16mm side. For example, in a statement which drew vigorous protests from the defenders of 17.5, The French Training League made public its intentions on the format issue at the beginning of 1935:-
1.We are not prepared to accept the status quo, that is to say, the current anarchy that paralyses all progress in the field of educational and training cinema. ( ) 2.We are not in favour of 17.5mm ( ) because it is the sole province of a single company which aims at establishing a veritable monopoly in schools and the post school arena. ( ) 3. We recommend the adoption of a single, standardised 16mm format, because while delivering equal quality and performance, it leaves the field open to all competitors.
Subsequently, the Education Ministry finally settled the issue; a Circular of 8th October 1935 announced that grants would thereafter be available only for the acquisition of 16mm or 35mm equipment.
But Pathé Natan didnt give up. At the beginning of 1936, the company launched a publicity campaign with the following message: Before buying a cine projector, ask yourself these questions...How many similar models are already in use? How many film programmes are already available or in preparation for your chosen format? and went on to boast of the widespread use of 17.5mm in French territory But despite their efforts, 1936 was a year of resounding defeat for the company. This was underlined by the agreement now official and final signed at the Congress of Budapest in October of that year; all the countries represented undertook to no longer recognise or produce films other than on 16mm.
Accepting that the 16mm tide was becoming irreversible, Pathé Natan announced a 16mm projector in 1937, the Super-Pathé. They also took the decision to reduce to 16mm format the more interesting films from the Pathé Rural library.
Anyone who knows the range and diversity of the Pathé-Cinema catalogue will welcome the generosity of spirit shown by our great company, always concerned to serve French cinema.
17.5mm Pathé Super Rural talkie projector
Despite everything, a new 17.5 mm projector was launched at the end of 1937, the Super Rural. This was an improved machine designed to be suitable for audiences of up to 1000. And in succeeding years, the 5000 Pathé Rural machines already in use continued to operate with the existing stock of 17.5mm films.
In the end, it was the German Occupation that brought the final disappearance of 17.5mm; on 21st June 1941, the Germans decreed that only 16mm was allowed; 17.5mm projectors had to be disposed of or converted. At the Liberation, film education took up 16mm, then universally adopted.
Translation ©Martyn Stevens, UK - December 2002
Last updated 26 Mar 2017 ..................... 175frtrans.htm ................................. ©MM2 Martyn Stevens


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Polish Vodka for Krakow Stag Night
Polish apples became recently very popular. It's absolutely understandable. They taste good and you can be sure that you won't find anything unwanted in them. Just pure nature. Polish people make many different dishes and drinks from apples. Today we'll focus on apple alcohol, and it won't be cider.
Have you ever tried okowita?

subset: commoncrawl


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The coastline meats the Clement.
The view from our room.
Monterey coastline.
Cannery Row
Video of the Monterey coast.
High density parking garage at the hotel.
Bubba Gumps restaurant.
Matt as Forest Gump.
Beer and Ruth.
Monterey Bay Aquarium
The giant kelp forest tank.
Whale sculpture.
Orca sculpture.
Feeding time in the kelp forest tank.
School of fish.
Ruth touching a starfish and manta ray.
Puffer fish.
Sea anemone.
Video of the endlessly circling fish.
Video of the jellyfish.
Tide pools at the aquarium.
This seahorse looks like seaweed.
A very tiny seahorse.
Video of some of the seahorses.
This is a shark egg with the embryo visible inside.


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It's interesting that "Douche" now has a pretty specific definition whereas the definition of "Hipster" is as broad as people's hatred. I can no longer agree to hate hipsters because I have no idea what that person is talking about. When they say hipster they could mean someone with ironic facial hair and women's pants, or they could mean someone in sarcastically corporate shirt and a sense of entitlement. Or they could simply mean that person that looked at them funny on the subway and made them feel self-conscious. "Douche" or "Douchebag" on the other hand has transformed from being a blanket term for people found dislikable to being a very specific group of human scum. I like to look at scum. Here is part one of things that were written on receipts in my wallet while I was waiting for my plane watching these "Douchebags."
He spent 25 minutes picking out the perfect shudder shades from the corner kiosk. This trip had been a week in the making and he finally had gained the courage to buy them by himself. He tried each pair on by placing the dark glass and plastic in front of his eyes eve though he knew that once they were his they would habitate the back of his head. Even though he was comfortable wearing them backwards in public, he was scared the kiosk attendant who wasn't paying attention to him would judge him unfairly.
He picked cream green. A color he would tell his friends he picked because it reminded him of radioactivity. This would supplement the identity he had created within that group as the guy who still liked ninja turtles and always played as the alien in Halo 3. Really he picked cream green because it reminded him of the lime creamsicles his mother used to give him when he came in upset because all the other kids had picked on him during the squirt gun fight.
His mom knew that he liked lime best so she used to make him eat orange or cherry after dinner so that there was an excess of lime for when he most needed comfort.
When asked why he wore his glasses on the opposite side of his cranium than was the norm as opposed to simply perching them on top of his head when not in use he told people that it was because he didn't wan the plastic frames to fuck up his perfectly gelled hair that nearly acted as plastic itself. This wasn't true. When his closest friends asked him the same question, knowing that he never wore the frames correctly, he said it was because he liked the idea of having eyes in the back of his head. This wasn't true. He didn't know why he did it.
He wore them backwards because he saw someone do it once and thought they looked happy – in a way that he wanted to be happy. So he copied all the traits he saw in an attempt to be that happy. This resulted in him thinking he was happy because he had done all he could do to be so. He was happy.


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AP Theory - 9/14
Reminder that Test over Chapters 3 & 4 will be Thursday. There will be no questions involving pentachords and tetrachords. Go over the modes that we talked about in class today. Remember to think that each key signature represents 7 different modes.
Homework - Due Thursday
Write 2 sight reading exercises using the following guidelines
1. Must be in the key of a minor or d minor
2. Must start and end with tonic
3. Must use only stepwise motion and skips within the arpeggio only
4. Must use the harmonic form, which means raising the 7th scale degree
5. Must be in 4/4 or 3/4 time.
6. Must only use quarter and half notes
7. Must be 8 measures long.
8. Must not go higher than a D5


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06 Feb Am I Called? Knowing Your Place in God's Plan
Do you ever find yourself asking, "Am I Called?" You have a place in God's plan, and it's important to act, even when it may be confusing. Even before we understand how we'll get to where He wants us to be, Jesus calls us to walk on the water. And if we stay focused, if we ignore distractions, if we keep our eyes on Him, our circumstances won't be any match for what we can do IN HIM.
Have you ever followed God into something you felt He wanted you to do, and then looked around you and felt that your circumstances were completely out of control? All of a sudden you're feeling overwhelmed, confused, maybe even a little fearful.
Peter understood that feeling BIG TIME.
In Matthew 14, we see the story of Jesus feeding five thousand people with only 5 loaves and 2 fish. Could you imagine having a front row seat to that miracle? Can you imagine passing out food and reaching the bottom of the basket only to discover that it was still filled!
That's where Peter was! He was front and center to the miracles of Jesus!
After everyone ate and was filled, Peter was there, gathering up all the leftover pieces (12 basketfuls in fact)!
The Bible says that immediately after that, Jesus made His disciples get into a boat and go ahead of Him to the other side. Jesus stayed behind to dismiss the crowd and pray by Himself.
Something out on the water
Later that night, the boat was being tossed by the waves because the wind was against it, and so Jesus went out to His disciples walking on the water. When the disciples saw Him, they were afraid. But Jesus said, "Take courage! It is I. Don't be afraid."
Peter stepped out, and said, "Lord, if it's you, tell me to come to you on the water."
And Jesus said, "Come."
Come to Me
Could you imagine? Jesus calling to you and saying, "Come, defy the wind and the waves. Defy the laws of this world and come to me."
So Peter did. Matthew 14:29 says, He got out of the boat, walked on the water and came toward Jesus.
Have you ever found yourself in a similar place?
You've seen the miracles that Jesus has preformed in your life and in the lives of others.
You follow His leading.
When He tells you to get in the boat, you get in the boat.
When He tells you to come, you walk to Him.
It feels like you're doing everything you're supposed to do. Your following Him!
When there's still wind and waves around you
Sometimes that wind and those waves can make us doubt our place in God's plan. That's where Peter was.
He was doing great! He had stepped out and followed Jesus.
But he started looking at the circumstances that were surrounding him.
He got distracted by the wind and the waves.
In other words, he took his eyes off of Jesus.
We are usually quick to judge Peter. We think, "What a sissy. He was right there! He was walking on the water. And he got scared."
How often do we do the same?
We feel confident enough to get out of the boat. We know we're called and we're walking in that calling. But we get distracted.
We start to see others who are "more qualified" than we are.
Things start to get difficult.
Someone says something that hurts our heart.
We don't have any help.
The list could go on and on.
The the result in the same. We start to sink.
Thankfully the story doesn't end there. Matthew 14:31 says, "Immediately Jesus reached out his hand and caught him."
And Jesus does the same thing for us!
That's why we can be secure in our calling no matter what our circumstance.
I think this story stayed fresh in Peter's mind for the rest of his life.
A New Peter
In Acts 2, we see a completely different side of Peter. It was the day of Pentecost and many believers were staying in an upper room in Jerusalem. All of a sudden, they were filled with the Holy Spirit.
The people who were around them started asking questions and some even made fun of them and said they were drunk.
Peter could have shrunk back and not said anything, but he was a different person. He had his eyes fixed squarely on Jesus.
He stood up, addressed and crowd, and gave a sermon that resulted in 3000 people being added to the Kingdom of God that day.
Peter knew that he had a place in God's plan, and when he stepped out in faith, he was able to live it out.
How can we live our lives that way? All we have to do is be confident in our calling. We can CHOOSE to look past our circumstances and look straight into the eyes of Jesus.
Do you want to grow your Kingdom impact? Then check out Lead with Heart, my program for Christian women who want to use their passion for God's purpose!


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Battlestar Galactica cake.
My boyfriend Corey's birthday was last month and he is a big fan of Battlestar Galactica (the new version, not the old version). He even got me hooked on it too. Which I guess didn't take much effort since I'm an overall fan of anything sci-fi. But trust me, the BSG is really awesome.
As you know, I'm a huge fan of geek cakes. So I really wanted to try making one myself.
So here's the cake I made for Corey:
And so all the non-fans of BSG realize that it's a pretty accurate job, here's the real BSG logo that I modelled the cake after:
Here it is again in non-yellowish-lighting and taken with a better camera:
Just so you know, I have never baked anything in my life before this. (But I swear it tasted as yummy as it looked.) So I think I did pretty damn good considering I have no experience whatsoever.
Yeah, I know I didn't write in "battlestar galactica" around the top of the logo, but I was running out of white frosting and I didn't think I could space it well enough without screwing up the cake (as you can see, even the "BSG 75" I wrote on there is spaced a little funky.)
Despite its flaws, I'm pretty proud of myself! :D


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Tennessee Visit
3 comments:
Thanks for posting about them! I miss them SO much, especially Jordan as she is my Best friend! Now I have an idea of what their house looks like! Lol the funny thing is that I called the day you got there! I said, Is that Lacy barking? And she says, "yeah, the bontragers just got here and the boys are walking in!" so I'm glad you got to see my awesome cousins!!!;)ReplyDelete
Looks like you all had a good time!ReplyDelete
Have a wonderful weekend!
I bet you ahd a great time. I think it is great to ahve large familes. I have 8 brothers aznd sisters.ReplyDelete
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Manual Heat Sealer
DRM's hand operated, portable heat press is perfect for applying heat seals, transfers and labels to a wide variety of laundry bags and hampers. Our heat sealer has an adjustable, spring loaded base which ensures an even spread of pressure across the item for a smooth application. The machine's digital timer and temperature controller are easily adjusted to ensure the right conditions for your fabric.
Product Specification
- 500W metal clad heating element
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- 4 x 3" (120 x 90mm) silicone pad fusing area
- CE & PAT (Portable Appliance Test) Certified
We also manufacture bags and hampers with heat transfers already applied on customer request.


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Please select a second date to complete the range.
December 2019 : Wednesday & Saturday at 8:35am
January to February 2020 : Wednesday & Saturday at 8:35am
March to December 2020 : Wednesday and Saturday at 8:10am
9 hoursStart time
From selected centrally located Krakow hotels as listed under "Itinerary". (Please advise your hotel at the time of booking. If you do not have this information now, please contact the local activity operator 24 hours prior to the start of the tour with these details).
Alternatively, make your way to Central stop – the bus park at 7 Powisle Street, situated on the opposite side of the Sheraton Grand Hotel
Selected centrally located Krakow hotels
You will be picked up from centrally located hotels in Krakow in a coach.
Proceed towards Zakopane, a mountain resort nestled at the foot of the Tatra Mountains. Enjoy breathtaking views of Poland's countryside.
Explore the area by taking the funicular railway to the top of Mount Gubalówka for views over the granite and limestone peaks of the Tatra Mountains.
Walk through the oldest part of Zakopane where the old cottages of the mountaineers still stand, surrounded by ash trees and blackened by the sun.
Visit the enormous regional market and enjoy lunch (payable direct) in a regional restaurant serving local specialities.
The last stop in Zakopane is either the Tatra Museum or, on the way back to Krakow, a visit to the lovely old wooden village of Chocholów.
You will be dropped back at your original point of pick-up.
Note: Pick up schedule from various locations in the city centre. Please advise your hotel at the time of booking. If your hotel is not mentioned in attachment we will advise you on the most convenient pick up point when your tour is confirmed.
Please call the activity operator at least 24 hours prior to start of the tour for reconfirming departure details.
Auschwitz & Salt Mines seem to be the main tours. Auschwitz rightly so, but this tour was brilliant and I would imagine it is a lot better than Salt Mines. We were picked up...Scott Elston, United Kingdom, 27/Apr/2015
fantastic day out, but you need to be fairly mobile...MR WILLIAM PUGH, United Kingdom, 12/Feb/2014
our vist to the mountains of zakopane was very good only because we had such a great guide andrew he was so knowledgeable about everything and explained alot of the mountains and...mr john weatherley, United Kingdom, 29/Jul/2013


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I'm still in relief mode that Hillary Clinton lost. I may not shift to worry mode that Trump won until the new year when his swearing in nears.
Don't get me wrong, Trump was the only alternative to Clinton and Clinton was (is, and will be) unacceptably corrupt. What choice was there?
But on foreign policy, I'm not isolationist. Trump seems to lean that way. But as in many areas, I don't know how committed he is to that sentiment.
Nor do I trust Putin's Russia one bit. Although I hardly think the Russians truly welcome Trump as president. If they did welcome Trump, they'd hardly try to taint Trump by saying they had been in contact.
Trump has indicated he'd bolster our military. Which is good.
And if he can revive our economy to the benefit of those left out of our weak recovery without harming trade (which is beneficial to us, even as it creates winners and losers--the latter should be helped to go in new directions), that will bolster the base of our power.
But I'm not sure what Trump will want to do in foreign policy. So we'll see. General Keane (US Army, retired) offers some thoughts.
The Brookings Institution--with a fair amount of analysts who should have their shoe laces and belts taken away for a few weeks just in case--offers thoughts on foreign policy directions.
Tom Rogan offers national security staffing suggestions.
On Secretary of Defense, Robert Gates or Ash Carter are fine choices. I would keep Carter in place to provide continuity in defense leadership during the transition.
On the domestic side, let me add that I want Speaker Ryan to continue leading the House.
We have a lot of work to do after losing ground in a lot of places around the world over the last 8 years. It's kind of funny that people are worrying about how Trump will screw up our foreign relations, all things considered.


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"Opens with a brief overview of the history of acupuncture . . . [and] an explanation of factors that have repeatedly hindered past efforts to develop a standard international nomenclature. . . . [The] proposed nomenclature is set out in 18 pages of tables and figures. Each of the 14 main meridians used in classical acupuncture is identified by its name in the Chinese phonetic alphabet (Pinyin), its Han character name, a proposed name in English, and a two-letter alphabetic code derived from the English name . . . The book concludes with a series of recommendations for the standardization of other areas of acupuncture nomenclature . . ."
A Proposed Standard International Acupuncture Nomenclature: Report of a WHO Scientific Group. Ann Intern Med. 1991;115:335. doi: https://doi.org/10.7326/0003-4819-115-4-335_2
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News Roundup
First time I have ever had to compile this many news topics into one post. So lets get started there is a lot to get through.
Korra Book Premiere Ratings
K301 and K302 together got 1.505 Million viewers while K303 got 1.298 million viewers. This is around a million down from the Book 2 premiere.
It is of course disappointing, but really this is what happens when you only give 1 weeks notice before airing a show. I would assume that the ratings will improve a bit as the Book progresses just because more and more people will discover that Korra has returned. I do also think that many are overplaying how big of a deal these ratings are, tv ratings simply do not mean as much as they used to, to show this simply asky yourself "Do I watch tv that much?" for most of you I assume your answer will be no followed by "I watch a lot of stuff online now". Which I think shows the real problem here, the episodes from the premiere are not up on Nick.com, not up on iTunes, not on Amazon and so on. Basically there is no way to watch Book 3 legally if you missed the premiere, something has gone wrong with Nick in relation to Book 3, I hope for their sake that they improve. Book 4 will air regardless of how Book 3 does, keep in mind how international our fanbase is and that ratings are only got from those in america who have a nielsen box and even then it is basically estimated.
Korra 3DS game titled "A New Era Begins"
Amazon have posted a preorder page for the upcoming Korra 3ds game. They reveal it is called "A New Era Begins" and it confirms that the 3ds version will be a full retail release as it is a different game to the console version being a Strategy Role Playing game as opposed to the 3rd person fighter ┬Āthat the console version is. They give a release date of 31st December this year, and a cover, but I assume both are placeholders.
Korra Book 2 Spirits DVD and Blu Ray out today
Today July 1st sees the release of Book 2 Spirits on Blu Ray and Dvd. So make sure you support the show and buy the show on disk.
The Rift Part 1 for 1 dollar out tomorrow
The Rift Part 1 will be rereleased tomorrow July 2nd in comic stores for the bargain price of just 1 dollar. Make sure you pick up the book if you have not already.
Nick.com Book 3 Character Bios
Nick.com have updated their website to include bios for a few characters. Not much new info is revealed, but we get a few things. More characters will go up on July 11th, I expect P'Li to be one of them.
-Zuko lives on Ember Island
-Ghazan has the rare ability of Lavabending, nice to get a name for it.
-Zaheer is a warrior-poet and is a master of mind, body and spirit.
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Comments - 11 Posts
Avatar Yangchen Said:
I was waiting for something like this. ¤Öé When I woke up this morning I was freaking out because it's July and there's so much ATLA/LOK stuff
Avatar Yangchen Said:
also, @airspeed is the rerelease only for comic book stores or will it be on amazon too?
Airspeed Prime Reply:July 1st, 2014 at 1:28 pm
I would be pretty confident in saying comic stores only.
Avatar Yangchen Reply:July 1st, 2014 at 3:11 pm
…darn, there aren't any comic stores around here ¤Öü
Jadely Reply:July 1st, 2014 at 5:56 pm
I feel your pain ¤Öü
Airspeed Prime Reply:July 2nd, 2014 at 1:24 am
At least the book's first release is still fairly cheap on Amazon. I don't think my local store is getting in the rerelease.
ThePreciseClimber Said:
I assumed that merging Book3&4 into "Season 2" in production was meant to guarantee the production of the last book no matter what.
Still not a fan of the brown colour scheme for the 2nd DVD but oh well. I mean – come on! Purple! Use purple! The finale was oozing with purple! ¤śĆ
Too bad. In the end the contents matter, right?
Lavabending? Didn't Roku use that when the volcano erupted?
Airspeed Prime Reply:July 1st, 2014 at 3:51 pm
Not quite I am pretty sure he used airbending to cool down lava and make solid platforms. He also used earthbending to control the flow of lava by creating a new path, but not controlling the lava itself. Sozin used a heatbending technique in the same scene where he just chaneled the heat through his body into the air to cool some lava down.
The closest we have gotten is Avatar Jafar in a few of the Avatar montages shown to be making a volcano erupt using the Avatar State.
Pabu0920 Reply:July 1st, 2014 at 6:29 pm
Wait that guy has a name now?
Airspeed Prime Reply:July 2nd, 2014 at 1:20 am
It is just a fan-made up name we use for him as he looks strikingly familiar to Jafar from Aladdin.
Troy Said:
Korra not nominated for any Emmy's, this makes me angry.


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It can be very tough to build muscle. And because it is not something that can be done quickly, you may not see results for a while. It's important to use the right procedures and apply these techniques for the best results. Building muscle takes time so these markers may help you stay motivated.
Obtaining a workout partner can drastically improve your muscle-building results. Your partner can be a valuable source of motivation for sticking to your workout session, and pushing you to maximize your efforts while you work out. Having a reliable partner to work out with can also help keep you safe because you will always have a spotter.
Make sure to eat plenty of vegetables. Proteins and carbohydrates are important in weight training, but vegetables should not be forgotten. Vegetables contain valuable nutrients that are not present in foods that are generally high in protein or carbohydrates. Of course, vegetables contain a ton of fiber, as well. Fiber is like a catalyst that helps your body make better use of the protein.
Remember that muscles grow during periods of rest, if you are trying to build muscle. So, try limiting your weight training to 2 or 3 days per week with a day of rest in between. On the off days, you could concentrate on doing cardio exercises to give the muscles a break.
Genetics are going to play a role in the amount of muscle building success that you see. If your family has not provided you with the right genetics to have the body that you dream of, you may have to work doubly as hard to see any results. That does not mean it is impossible, it just means more hard work.
It can be difficult to build muscle. Yet, when you are certain that you are doing your body right and completing your challenges on time, you know that results are soon to come. Implement the tips from this article into your workout agenda to get the results you desire with your body.


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Unique Projects to Sew from Today's Modern Designers
Bags for Your Life On the Go
Fab and functional bags to sew … that perfectly fit your life on the go! Favorite bag designers and top bloggers share 15 unique organizers, all tailored to a specific purpose. From a laptop folio or a gym bag to an airport sling or a trunk organizer, every tote has just the right features to keep your essentials within easy reach. Practical, stylish, and versatile by design, each carryall has multiple uses. Projects are organized by skill level, from confident beginner to more advanced, so you can grow as you sew!• Just the bag for the job! 15 unique organizers for everyday life• Stylish storage solutions from top modern designers and bloggers, with loads of ideas for using each one• Handy pockets, unique shaping, and smart design features to keep the essentials at arm's reach• Projects organized by skill level, ranging from confident beginner to more advanced, with an overview of basic techniques
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Ativo Highlights Diversity Support and ESG at Industry Conferences
Thursday, June 18, 2015
POSTED BY D. N. Aust
Senior Portfolio Manager and Head Trader Adan Galvan is back in the office after his presentation at NASP's Annual Pension and Financial Services Conference. Speaking on the topic of "Trends and Hard Truths about MWBE Brokerage," Adan shared Ativo's track record in using minority brokers, described the importance of rigorous due diligence and best execution, and stressed Ativo's commitment to supporting minority brokers, which reflects our own diversity in ownership and staffing. Ativo, an equity sponsor of this year conference, was well-represented with Mike Brooks and new Relationship Manager Kelly O'Malley also attending. Ativo has been particularly active at…Read More


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Having lived in Melbourne for 5 years, I have had my fair share of Brunch and its no secret that it is my favourite meal of the day. We are lucky in Christchurch that we have such amazing cafes to satisfy those Brunch cravings so it was hard to pick just 5 so here are 6 I am currently loving (I would love to have done more!).
Westend Stories
Located next to the Bridge of Remembrance this café is everything you could ask for, stunning interiors with lush greenery, beautiful plates with well presented food which is great for the gram but also tastes divine! I love trying new things but when I find a dish that I love I find it hard to stray. The Pumpkin Spiced Doughnuts are insanely good and it would be a crime not to get a side of polenta fries!
Cambridge Terrace, Christchurch
Hello Sunday
Awarded Café of the Year and People's Choice Café of the year 3 year's running at the Chevrons, Hello Sunday is a renovated and restored Sunday School which has a cosy vibe and a delicious menu. The menu is constantly changing so if you try something and love it I suggest you don't wait too long to go back to get it again as it may be gone! A classic is the Beef Cheek Hash (pictured). They do a beautiful house made chai latte and great coffee.
6 Elgin Street, Sydenham, Christchurch
The Origin
The Origin specialise in plant based foods and specialty teas and hot drinks. The menu is a unique plant based menu with an Asian twist. Think Dumplings and Noodle Soup. Pictured are the Pancakes which are a healthy version, taking the guilt out of a brunch favourite.
The interior has a Scandi vibe with a beautiful calm environment. I have spent some time here hot spotting on the wi-fi and feel right at home. Tip: Order their house made chai latte with coconut milk.
95 Westminster Street, St Albans, Christchurch
Town Tonic
Open from breakfast until late, Town Tonic serve great food and drink all day. They have an extensive menu that covers all dietary requirements (including gluten free, vegetarian, and vegan - check out the Best Vegan Eats for more). Located in Addington, Town Tonic have a real focus on supporting local growers and the menu is innovative and changes with the seasons using the local produce. Tip: Try the fried chicken (pictured).
335 Lincoln Road, Addington, Christchurch
Park Ranger
Park Ranger has great vibes, awesome coffee and an extensive cabinet of rustic deli style items and a dine in menu. As the name suggests, it has a park/outdoors vibe and it is a great setting with fresh produce, greenery, wooden surrounds and cute little courtyard. The retail display has gorgeous products from local producers and almost looks too good to touch! They food changes based on the seasons but the one item that has stolen my heart is the Acai Bowl with house made granola and fresh fruit - available to eat in or takeaway (pictured).
114 Riccarton Road, Riccarton, Christchurch
Little Pom's
Filling a gap on the east side of the city is Little Pom's. You can't go wrong with the Pom's Bene. A south American take on a classic: Smoked bacon, cheddar buttermilk biscuits, avocado, charred corn, coriander, poached eggs, smoked jalapeño lime hollandaise. Eggs Bene not your thing? Then try another options from their great menu like the Zany Zeus halloumi, smashed peas, avocado, broccolini, sugar snaps, smoked almonds, poached eggs on toast. There is bound to be something for everyone. Tip: get a cheese scone takeaway.
94 Kilmore Street, Christchurch
Want to find out my other favourite eateries in Christchurch? Follow me on Christchurch Insider.


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Steve Romeo grew up in Connecticut and moved to Jackson Wyoming in
1993. He began skiing at age four and was member of the 2006 and 2008
US Ski Mountaineering Team and competed in the 2006 and 2008 World Ski
Mountaineering Championships. He is also a competitive trail/mountain
Having worked in the outdoor industry for over 15 years he is
a confessed gear geek. His experiences and adventures can be followed
on his popular website/blog, TetonAT.com.
This is not a place for amateurs but the big goal for many people getting into ski mountaineering. It's a test piece, a flagship descent, dangerous you-fall-you-die type skiing in some of the most fantastic scenery imaginable. Grand Teton has multiple …"
This is the remote road less travelled. Wind River is a spectacular wilderness area laid over a granite mountain range known for its big, steep walls loved by rock climbers. In winter the climbing crowd stays away and the roads aren't ploughed so it be…"
This is an amazing peak for high altitude ski mountaineers and it feels like a proper adventure. You're skiing in a exotic, challenging to get to, location and the descent isn't too challenging. The summit - the goal - is distinct and sticks out like a…"


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Allison has packed up her troubles and heads off into the sunset in her poptop caravan! She's making music all over the country this year with her partner. Already doing shows with Brad Butcher and Aleyce Simmonds, Jess Holland, Kelly Cork, a tour with the wonderful Montgomery Church, a huge Hats Off to Country Festival in Tamworth and earlier 2018, she even took the famous Medicine Show Sessions on the road to Brisbane! In August she will head North to play at Barkly Homestead in the NT and then in October will join the Aussie Road Crew with Beccy Cole and Libby O'Donovan and special guests such as Shane Nicholson and Luke O'Shea. You never know where she might pop-up! Let the songs flow for an upcoming project.....stay tuned.
What a TCMF for Allison in 2014! As well as headlining her own shows, she performed alongside the likes of Brad Butcher, Kasey Chambers, 8 Ball Aitken, Matt Henry, Jess Holland, Harry Hookey and so many more. She took out the TSA/APRA New Songwriter Award and was invited by Shane Nicholson to perform at his SOLD OUT show at The Family Hotel!
Photo by Di Stacey
The Ladies of Country Show, Mildura Photo by Greg Sylvia
Stepping way out of her comfort zone, Allison kicked up her heels for a cause by competing in Tamworth's answer to Dancing With The Stars. It is held annually and all proceeds go to the Cancer Council. She tap-danced her way around the stage to the smash hit from the musical 'Singing in the Rain'!
Allison and her Toyota ECHO have been all around the country side in the last few months and will bring home the red-headed rebel just in time for the festive season and for the Tamworth Country Music Festival 2017. Also tagging along for the ride will be the "Best EP" award from the Nimbin Roots festival !! Tamworth 2017 is looking to be another cracker for Allison so stay tuned for all the dates!! In the meantime, check out some of the moments captured.....
2019 has been a MASSIVE year for Allison. She spent time in the studio with Shane Nicholson recording her debut album 'BONEDIGGER' for release a little later this year. The lead single "Hell Freezes Over" is OUT NOW on all your favourite platforms!!!!
Fresh from her very first appearance at The Gympie Music Muster, Allison continues to take the year by storm being announced as a finalist for two Southern Star Awards at Mildura, an Australian Roots Music Award at Nimbin and also in the Musicoz - Australian Independent Music Awards!!!! She also won the Tamworth faction of the Passport to Airlie Beach band competition which won her spots to perform later this year.
Photo by Captains Eye Photography
Photo by Bec Peters
Wednesday April 6th 2016 marked the release of the long-awaited second EP from Allison Forbes, 'Augustine'. With ARIA-winning producer Shane Nicholson back in the drivers seat, Allison will secure her spot in alt-country in Australia. Thought provoking lyrics and addictive melodies will having tapping your toes and tugging your heart strings
In February 2014 and March 2015, Allison was thrilled to be announced as a semi-finalist in the WORLD FAMOUS International Songwriting Competition. Her songs "What'll Happen To Me Now?" and "Devil May Care" was heard by a judging panel including some of the most famous country artists and producers in the world such as Martina McBride and Old Crow Medicine Show
Allison's TCMF2016 was a stellar year and one of her career highlights. It involved a string of huge gigs with an incredible band at nearly all of the venues in Tamworth and of course not only competing as a Top Ten Finalist in the prestigious Toyota Star Maker competition but being announced in the Top Three and spending the whole week as a Grand Finalist with the lovely Missy Lancaster and Karin Page who would go on to take the title. It was filled with amazing moments such as supporting The McClymonts, meeting Guy Sebastian and of course performing at Toyota Park at the Concert For Rural Australia with Lee Kernaghan and Beccy Cole.
2017 may forever be known as the year that Allison rejoined the Tamworth Musical Society. She jumped back on stage over the last few months for their production of 'Rock of Ages', the fun-filled musical of 80's metal bands and crimped hair.
Musicoz - Australian Independent Music Awards
Artwork by Danielle Lewis
Airlie Beach Music Festival with James Van Cooper and Bill Chambers
Set for a big weekend, Allison is all over the 2017 Hats Off to Country Festival in Tamworth this year. Sharing the stage with two of Tamworth favourite performers Jared Scott and Ryan Sampson on Sat 8th July, she's kicking off the show for Matt Scullion at The Albert Hotel then on Sunday is her Big Birthday Bash Bonanza at The Albert Hotel featuring some amazing performers from all over the country!! Stay tuned for details......
Southern Stars - Mildura Photo by Greg Sylvia
with Kerrie Garside and Lola Brinton
August 30th 2013 saw Allison release her long-awaited debut E.P. "What'll Happen To Me Now?".
The E.P. reached number 12 in the iTunes Country Chart with the likes of Alan Jackson, George Strait and Keith Urban.
Accompanied by a top notch band including Michael Muchow, Cameron Lesley and Beau Baker, the EP was officially kicked off by an explosive night of entertainment, great music and fun. With special guest appearances by Lou Bradley, Ashleigh Dallas, Jodie Crosby, Deanna Rose, Melody Feder and Ethan Crosby-Wolfe before many industry professionals the record has been well received by fans and peers.


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I've Moved
Dear Readers, While WordPress.com is an awesome platform and tool, I need more control over my site. Therefore, I've obtained my own domain and am now using a self-hosted version of WordPress. Don't worry! If you have links to posts on this site, they will automatically redirect to the posts located on the new site. … Continue reading


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