Color film

The invention:Aphotographic medium used to take full-color pictures. The people behind the invention: Rudolf Fischer (1881-1957), a German chemist H. Siegrist (1885-1959), a German chemist and Fischer’s collaborator Benno Homolka (1877-1949), a German chemist The Process Begins Around the turn of the twentieth century, Arthur-Louis Ducos du Hauron, a French chemist and physicist, proposed a tripack (threelayer) process of film development in which three color negatives would be taken by means of superimposed films. This was a subtractive process. (In the “additive method” of making color pictures, the three colors are added in projection—that is, the colors are formed by the mixture of colored light of the three primary hues. In the “subtractive method,” the colors are produced by the superposition of prints.) In Ducos du Hauron’s process, the blue-light negative would be taken on the top film of the pack; a yellow filter below it would transmit the yellow light, which would reach a green-sensitive film and then fall upon the bottom of the pack, which would be sensitive to red light. Tripacks of this type were unsatisfactory, however, because the light became diffused in passing through the emulsion layers, so the green and red negatives were not sharp. To obtain the real advantage of a tripack, the three layers must be coated one over the other so that the distance between the bluesensitive and red-sensitive layers is a small fraction of a thousandth of an inch. Tripacks of this type were suggested by the early pioneers of color photography, who had the idea that the packs would be separated into three layers for development and printing. The manipulation of such systems proved to be very difficult in practice. It was also suggested, however, that it might be possible to develop such tripacks as a unit and then, by chemical treatment, convert the silver images into dye images.Fischer’s Theory One of the earliest subtractive tripack methods that seemed to hold great promise was that suggested by Rudolf Fischer in 1912. He proposed a tripack that would be made by coating three emulsions on top of one another; the lowest one would be red-sensitive, the middle one would be green-sensitive, and the top one would be bluesensitive. Chemical substances called “couplers,” which would produce dyes in the development process, would be incorporated into the layers. In this method, the molecules of the developing agent, after becoming oxidized by developing the silver image, would react with the unoxidized form (the coupler) to produce the dye image. The two types of developing agents described by Fischer are paraminophenol and paraphenylenediamine (or their derivatives). The five types of dye that Fischer discovered are formed when silver images are developed by these two developing agents in the presence of suitable couplers. The five classes of dye he used (indophenols, indoanilines, indamines, indothiophenols, and azomethines) were already known when Fischer did his work, but it was he who discovered that the photographic latent image could be used to promote their formulation from “coupler” and “developing agent.” The indoaniline and azomethine types have been found to possess the necessary properties, but the other three suffer from serious defects. Because only p-phenylenediamine and its derivatives can be used to form the indoaniline and azomethine dyes, it has become the most widely used color developing agent.Impact In the early 1920’s, Leopold Mannes and Leopold Godowsky made a great advance beyond the Fischer process. Working on a new process of color photography, they adopted coupler development, but instead of putting couplers into the emulsion as Fischer had, they introduced them during processing. Finally, in 1935, the film was placed on the market under the name “Kodachrome,” a name that had been used for an early two-color process. The first use of the new Kodachrome process in 1935 was for 16- millimeter film. Color motion pictures could be made by the Kodachrome process as easily as black-and-white pictures, because the complex work involved (the color development of the film) was done under precise technical control. The definition (quality of the image) given by the process was soon sufficient to make it practical for 8-millimeter pictures, and in 1936, Kodachrome film was introduced in a 35-millimeter size for use in popular miniature cameras. Soon thereafter, color processes were developed on a larger scale and new color materials were rapidly introduced. In 1940, the Kodak Research Laboratories worked out a modification of the Fischer process in which the couplers were put into the emulsion layers. These couplers are not dissolved in the gelatin layer itself, as the Fischer couplers are, but are carried in small particles of an oily material that dissolves the couplers, protects them from the gelatin, and protects the silver bromide from any interaction with the couplers. When development takes place, the oxidation product of the developing agent penetrates into the organic particles and reacts with the couplers so that the dyes are formed in small particles that are dispersed throughout the layers. In one form of this material, Ektachrome (originally intended for use in aerial photography), the film is reversed to produce a color positive. It is first developed with a black-and-white developer, then reexposed and developed with a color developer that recombines with the couplers in each layer to produce the appropriate dyes, all three of which are produced simultaneously in one development. In summary, although Fischer did not succeed in putting his theory into practice, his work still forms the basis of most modern color photographic systems. Not only did he demonstrate the general principle of dye-coupling development, but the art is still mainly confined to one of the two types of developing agent, and two of the five types of dye, described by him.

COBOL computer language

The invention: The first user-friendly computer programming language, COBOL was originally designed to solve ballistics problems. The people behind the invention: Grace Murray Hopper (1906-1992), an American mathematician Howard Hathaway Aiken (1900-1973), an American mathematician Plain Speaking Grace Murray Hopper, a mathematician, was a faculty member at Vassar College when World War II (1939-1945) began. She enlisted in the Navy and in 1943 was assigned to the Bureau of Ordnance Computation Project, where she worked on ballistics problems. In 1944, the Navy began using one of the first electronic computers, the Automatic Sequence Controlled Calculator (ASCC), designed by an International Business Machines (IBM) Corporation team of engineers headed by Howard Hathaway Aiken, to solve ballistics problems. Hopper became the third programmer of the ASCC. Hopper’s interest in computer programming continued after the war ended. By the early 1950’s, Hopper’s work with programming languages had led to her development of FLOW-MATIC, the first English-language data processing compiler. Hopper’s work on FLOW-MATIC paved the way for her later work with COBOL (Common Business Oriented Language). Until Hopper developed FLOW-MATIC, digital computer programming was all machine-specific and was written in machine code. A program designed for one computer could not be used on another. Every program was both machine-specific and problemspecific in that the programmer would be told what problem the machine was going to be asked and then would write a completely new program for that specific problem in the machine code.Machine code was based on the programmer’s knowledge of the physical characteristics of the computer as well as the requirements of the problem to be solved; that is, the programmer had to know what was happening within the machine as it worked through a series of calculations, which relays tripped when and in what order, and what mathematical operations were necessary to solve the problem. Programming was therefore a highly specialized skill requiring a unique combination of linguistic, reasoning, engineering, and mathematical abilities that not even all the mathematicians and electrical engineers who designed and built the early computers possessed. While every computer still operates in response to the programming, or instructions, built into it, which are formatted in machine code, modern computers can accept programs written in nonmachine code—that is, in various automatic programming languages. They are able to accept nonmachine code programs because specialized programs now exist to translate those programs into the appropriate machine code. These translating programs are known as “compilers,” or “assemblers,” andFLOW-MATIC was the first such program. Hopper developed FLOW-MATIC after realizing that it would be necessary to eliminate unnecessary steps in programming to make computers more efficient. FLOW-MATIC was based, in part, on Hopper’s recognition that certain elements, or commands, were common to many different programming applications. Hopper theorized that it would not be necessary to write a lengthy series of instructions in machine code to instruct a computer to begin a series of operations; instead, she believed that it would be possible to develop commands in an assembly language in such a way that a programmer could write one command, such as the word add, that would translate into a sequence of several commands in machine code. Hopper’s successful development of a compiler to translate programming languages into machine code thus meant that programming became faster and easier. From assembly languages such asFLOW-MATIC, it was a logical progression to the development of high-level computer languages, such as FORTRAN (Formula Translation) and COBOL.The Language of Business Between 1955 (when FLOW-MATIC was introduced) and 1959, a number of attempts at developing a specific business-oriented language were made. IBM and Remington Rand believed that the only way to market computers to the business community was through the development of a language that business people would be comfortable using. Remington Rand officials were especially committed to providing a language that resembled English. None of the attempts to develop a business-oriented language succeeded, however, and by 1959 Hopper and other members of the U.S. Department of Defense had persuaded representatives of various companies of the need to cooperate. On May 28 and 29, 1959, a conference sponsored by the Department of Defense was held at the Pentagon to discuss the problem of establishing a common language for the adaptation of electronic computers for data processing. As a result, the first distribution of COBOL was accomplished on December 17, 1959. Although many people were involved in the development of COBOL, Hopper played a particularly important role. She not only found solutions to technical problems but also succeeded in selling the concept of a common language from an administrative and managerial point of view. Hopper recognized that while the companies involved in the commercial development of computers were in competition with one another, the use of a common, business-oriented language would contribute to the growth of the computer industry as a whole, as well as simplify the training of computer programmers and operators. Consequences COBOL was the first compiler developed for business data processing operations. Its development simplified the training required for computer users in business applications and demonstrated that computers could be practical tools in government and industry as well as in science. Prior to the development of COBOL, electronic computers had been characterized as expensive, oversized adding machines that were adequate for performing time-consuming mathematics but lacked the flexibility that business people required. In addition, the development of COBOL freed programmers not only from the need to know machine code but also from the need to understand the physical functioning of the computers they were using. Programming languages could be written that were both machine- independent and almost universally convertible from one computer to another.Finally, because Hopper and the other committee members worked under the auspices of the Department of Defense, the software was not copyrighted, and in a short period of time COBOL became widely available to anyone who wanted to use it. It diffused rapidly throughout the industry and contributed to the widespread adaptation of computers for use in countless settings.

Cloud seeding

The invention: Technique for inducing rainfall by distributing dry ice or silver nitrate into reluctant rainclouds. The people behind the invention: Vincent Joseph Schaefer (1906-1993), an American chemist and meteorologist Irving Langmuir (1881-1957), an American physicist and chemist who won the 1932 Nobel Prize in Chemistry Bernard Vonnegut (1914-1997), an American physical chemist and meteorologist Praying for Rain Beginning in 1943, an intense interest in the study of clouds developed into the practice of weather “modification.” Working for the General Electric Research Laboratory, Nobel laureate Irving Langmuir and his assistant researcher and technician, Vincent Joseph Schaefer, began an intensive study of precipitation and its causes. Past research and study had indicated two possible ways that clouds produce rain. The first possibility is called “coalescing,” a process by which tiny droplets of water vapor in a cloud merge after bumping into one another and become heavier and fatter until they drop to earth. The second possibility is the “Bergeron process” of droplet growth, named after the Swedish meteorologist Tor Bergeron. Bergeron’s process relates to supercooled clouds, or clouds that are at or below freezing temperatures and yet still contain both ice crystals and liquid water droplets. The size of the water droplets allows the droplets to remain liquid despite freezing temperatures; while small droplets can remain liquid only down to 4 degrees Celsius, larger droplets may not freeze until reaching -15 degrees Celsius. Precipitation occurs when the ice crystals become heavy enough to fall. If the temperature at some point below the cloud is warm enough, it will melt the ice crystals before they reach the earth, producing rain. If the temperature remains at the freezing point, the ice crystals retain their form and fall as snow. Schaefer used a deep-freezing unit in order to observe water droplets in pure cloud form. In order to observe the droplets better, Schaefer lined the chest with black velvet and concentrated a beam of light inside. The first agent he introduced inside the supercooled freezer was his own breath. When that failed to form the desired ice crystals, he proceeded to try other agents. His hope was to form ice crystals that would then cause the moisture in the surrounding air to condense into more ice crystals, which would produce a miniature snowfall. He eventually achieved success when he tossed a handful of dry ice inside and was rewarded with the long-awaited snow. The freezer was set at the freezing point of water, 0 degrees Celsius, but not all the particles were ice crystals, so when the dry ice was introduced all the stray water droplets froze instantly, producing ice crystals, or snowflakes. Planting the First Seeds On November 13, 1946, Schaefer took to the air over Mount Greylock with several pounds of dry ice in order to repeat the experiment in nature. After he had finished sprinkling, or seeding, a supercooled cloud, he instructed the pilot to fly underneath the cloud he had just seeded. Schaefer was greeted by the sight of snow. By the time it reached the ground, it had melted into the first-ever human-made rainfall. Independently of Schaefer and Langmuir, another General Electric scientist, Bernard Vonnegut, was also seeking a way to cause rain. He found that silver iodide crystals, which have the same size and shape as ice crystals, could “fool” water droplets into condensing on them. When a certain chemical mixture containing silver iodide is heated on a special burner called a “generator,” silver iodide crystals appear in the smoke of the mixture. Vonnegut’s discovery allowed seeding to occur in a way very different from seeding with dry ice, but with the same result. Using Vonnegut’s process, the seeding is done from the ground. The generators are placed outside and the chemicals are mixed. As the smoke wafts upward, it carries the newly formed silver iodide crystals with it into the clouds. The results of the scientific experiments by Langmuir, Vonnegut, and Schaefer were alternately hailed and rejected as legitimate. Critics argue that the process of seeding is too complex and would have to require more than just the addition of dry ice or silver nitrate in order to produce rain. One of the major problems surrounding the question of weather modification by cloud seeding is the scarcity of knowledge about the earth’s atmosphere. Ajourney begun about fifty years ago is still a long way from being completed. Impact Although the actual statistical and other proofs needed to support cloud seeding are lacking, the discovery in 1946 by the General Electric employees set off a wave of interest and demand for information that far surpassed the interest generated by the discovery of nuclear fission shortly before. The possibility of ending drought and, in the process, hunger excited many people. The discovery also prompted both legitimate and false “rainmakers” who used the information gathered by Schaefer, Langmuir, and Vonnegut to set up cloud-seeding businesses.Weather modification, in its current stage of development, cannot be used to end worldwide drought. It does, however, have beneficial results in some cases on the crops of smaller farms that have been affected by drought. In order to understand the advances made in weather modification, new instruments are needed to record accurately the results of further experimentation. The storm of interest—both favorable and nonfavorable—generated by the discoveries of Schaefer, Langmuir, and Vonnegut has had and will continue to have far-reaching effects on many aspects of society.

Cloning

The invention: Experimental technique for creating exact duplicates of living organisms by recreating their DNA. The people behind the invention: Ian Wilmut, an embryologist with the Roslin Institute Keith H. S. Campbell, an experiment supervisor with the Roslin Institute J. McWhir, a researcher with the Roslin Institute W. A. Ritchie, a researcher with the Roslin Institute Making Copies On February 22, 1997, officials of the Roslin Institute, a biological research institution near Edinburgh, Scotland, held a press conference to announce startling news: They had succeeded in creating a clone—a biologically identical copy—from cells taken from an adult sheep. Although cloning had been performed previously with simpler organisms, the Roslin Institute experiment marked the first time that a large, complex mammal had been successfully cloned. Cloning, or the production of genetically identical individuals, has long been a staple of science fiction and other popular literature. Clones do exist naturally, as in the example of identical twins. Scientists have long understood the process by which identical twins are created, and agricultural researchers have often dreamed of a method by which cheap identical copies of superior livestock could be created. The discovery of the double helix structure of deoxyribonucleic acid (DNA), or the genetic code, by JamesWatson and Francis Crick in the 1950’s led to extensive research into cloning and genetic engineering. Using the discoveries ofWatson and Crick, scientists were soon able to develop techniques to clone laboratory mice; however, the cloning of complex, valuable animals such as livestock proved to be hard going. Early versions of livestock cloning were technical attempts at duplicating the natural process of fertilized egg splitting that leads to the birth of identical twins. Artificially inseminated eggs were removed, split, and then reinserted into surrogate mothers. This method proved to be overly costly for commercial purposes, a situation aggravated by a low success rate. Nuclear Transfer Researchers at the Roslin Institute found these earlier attempts to be fundamentally flawed. Even if the success rate could be improved, the number of clones created (of sheep, in this case) would still be limited. The Scots, led by embryologist Ian Wilmut and experiment supervisor Keith Campbell, decided to take an entirely different approach. The result was the first live birth of a mammal produced through a process known as “nuclear transfer.” Nuclear transfer involves the replacement of the nucleus of an immature egg with a nucleus taken from another cell. Previous attempts at nuclear transfer had cells from a single embryo divided up and implanted into an egg. Because a sheep embryo has only about forty usable cells, this method also proved limiting. The Roslin team therefore decided to grow their own cells in a laboratory culture. They took more mature embryonic cells than those previously used, and they experimented with the use of a nutrient mixture. One of their breakthroughs occurred when they discovered that these “cell lines” grew much more quickly when certain nutrients were absent.Using this technique, the Scots were able to produce a theoretically unlimited number of genetically identical cell lines. The next step was to transfer the cell lines of the sheep into the nucleus of unfertilized sheep eggs. First, 277 nuclei with a full set of chromosomes were transferred to the unfertilized eggs. An electric shock was then used to cause the eggs to begin development, the shock performing the duty of fertilization. Of these eggs, twenty-nine developed enough to be inserted into surrogate mothers. All the embryos died before birth except one: a ewe the scientists named “Dolly.” Her birth on July 5, 1996, was witnessed by only a veterinarian and a few researchers. Not until the clone had survived the critical earliest stages of life was the success of the experiment disclosed; Dolly was more than seven months old by the time her birth was announced to a startled world.Impact The news that the cloning of sophisticated organisms had left the realm of science fiction and become a matter of accomplished scientific fact set off an immediate uproar. Ethicists and media commentators quickly began to debate the moral consequences of the use— and potential misuse—of the technology. Politicians in numerous countries responded to the news by calling for legal restrictions on cloning research. Scientists, meanwhile, speculated about the possible benefits and practical limitations of the process. The issue that stirred the imagination of the broader public and sparked the most spirited debate was the possibility that similar experiments might soon be performed using human embryos. Although most commentators seemed to agree that such efforts would be profoundly immoral, many experts observed that they would be virtually impossible to prevent. “Could someone do this tomorrow morning on a human embryo?” Arthur L. Caplan, the director of the University of Pennsylvania’s bioethics center, asked reporters. “Yes. It would not even take too much science. The embryos are out there.” Such observations conjured visions of a future that seemed marvelous to some, nightmarish to others. Optimists suggested that the best and brightest of humanity could be forever perpetuated, creating an endless supply of Albert Einsteins and Wolfgang Amadeus Mozarts. Pessimists warned of a world overrun by clones of selfserving narcissists and petty despots, or of the creation of a secondary class of humans to serve as organ donors for their progenitors. The Roslin Institute’s researchers steadfastly proclaimed their own opposition to human experimentation. Moreover, most scientists were quick to point out that such scenarios were far from realization, noting the extremely high failure rate involved in the creation of even a single sheep. In addition, most experts emphasized more practical possible uses of the technology: improving agricultural stock by cloning productive and disease-resistant animals, for example, or regenerating endangered or even extinct species. Even such apparently benign schemes had their detractors, however, as other observers remarked on the potential dangers of thus narrowing a species’ genetic pool. Even prior to the Roslin Institute’s announcement, most European nations had adopted a bioethics code that flatly prohibited genetic experiments on human subjects. Ten days after the announcement, U.S. president Bill Clinton issued an executive order that banned the use of federal money for human cloning research, and he called on researchers in the private sector to refrain from such experiments voluntarily. Nevertheless, few observers doubted that Dolly’s birth marked only the beginning of an intriguing—and possibly frightening—new chapter in the history of science.

Cell phone

The invention: 

Mobile telephone system controlled by computers
to use a region’s radio frequencies, or channels, repeatedly,
thereby accommodating large numbers of users.

The people behind the invention:

William Oliver Baker (1915- ), the president of Bell
Laboratories
Richard H. Fefrenkiel, the head of the mobile systems
engineering department at Bell

CAT scanner

The invention:

 A technique that collects X-ray data from solid,
opaque masses such as human bodies and uses a computer to
construct a three-dimensional image.


The people behind the invention:

Godfrey Newbold Hounsfield (1919- ), an English
electronics engineer who shared the 1979 Nobel Prize in
Physiology or Medicine
Allan M. Cormack (1924-1998), a South African-born American
physicist who shared the 1979 Nobel Prize in Physiology or
Medicine
James Ambrose, an English radiologist

Cassette recording

The invention: Self-contained system making it possible to record and repeatedly play back sound without having to thread tape through a machine. The person behind the invention: Fritz Pfleumer, a German engineer whose work on audiotapes paved the way for audiocassette production Smaller Is Better The introduction of magnetic audio recording tape in 1929 was met with great enthusiasm, particularly in the entertainment industry, and specifically among radio broadcasters. Although somewhat practical methods for recording and storing sound for later playback had been around for some time, audiotape was much easier to use, store, and edit, and much less expensive to produce. It was Fritz Pfleumer, a German engineer, who in 1929 filed the first audiotape patent. His detailed specifications indicated that tape could be made by bonding a thin coating of oxide to strips of either paper or film. Pfleumer also suggested that audiotape could be attached to filmstrips to provide higher-quality sound than was available with the film sound technologies in use at that time. In 1935, the German electronics firm AEG produced a reliable prototype of a record-playback machine based on Pfleumer’s idea. By 1947, the American company 3M had refined the concept to the point where it was able to produce a high-quality tape using a plastic- based backing and red oxide. The tape recorded and reproduced sound with a high degree of clarity and dynamic range and would soon become the standard in the industry. Still, the tape was sold and used in a somewhat inconvenient open-reel format. The user had to thread it through a machine and onto a take-up reel. This process was somewhat cumbersome and complicated for the layperson. For many years, sound-recording technology remained a tool mostly for professionals. In 1963, the first audiocassette was introduced by the Netherlands-based PhilipsNVcompany. This device could be inserted into a machine without threading. Rewind and fast-forward were faster, and it made no difference where the tape was stopped prior to the ejection of the cassette. By contrast, open-reel audiotape required that the tape be wound fully onto one or the other of the two reels before it could be taken off the machine. Technical advances allowed the cassette tape to be much narrower than the tape used in open reels and also allowed the tape speed to be reduced without sacrificing sound quality. Thus, the cassette was easier to carry around, and more sound could be recorded on a cassette tape. In addition, the enclosed cassette decreased wear and tear on the tape and protected it from contamination. Creating a Market One of the most popular uses for audiocassettes was to record music from radios and other audio sources for later playback. During the 1970’s, many radio stations developed “all music” formats in which entire albums were often played without interruption. That gave listeners an opportunity to record the music for later playback. At first, the music recording industry complained about this practice, charging that unauthorized recording of music from the radio was a violation of copyright laws. Eventually, the issue died down as the same companies began to recognize this new, untapped market for recorded music on cassette. Audiocassettes, all based on the original Philips design, were being manufactured by more than sixty companies within only a few years of their introduction. In addition, spin-offs of that design were being used in many specialized applications, including dictation, storage of computer information, and surveillance. The emergence of videotape resulted in a number of formats for recording and playing back video based on the same principle. Although each is characterized by different widths of tape, each uses the same technique for tape storage and transport. The cassette has remained a popular means of storing and retrieving information on magnetic tape for more than a quarter of a century. During the early 1990’s, digital technologies such as audio CDs (compact discs) and the more advanced CD-ROM (compact discs that reproduce sound, text, and images via computer) were beginning to store information in revolutionary new ways. With the development of this increasingly sophisticated technology, need for the audiocassette, once the most versatile, reliable, portable, and economical means of recording, storing, and playing-back sound, became more limited. Consequences The cassette represented a new level of convenience for the audiophile, resulting in a significant increase in the use of recording technology in all walks of life. Even small children could operate cassette recorders and players, which led to their use in schools for a variety of instructional tasks and in the home for entertainment. The recording industry realized that audiotape cassettes would allow consumers to listen to recorded music in places where record players were impractical: in automobiles, at the beach, even while camping. The industry also saw the need for widespread availability of music and information on cassette tape. It soon began distributing albums on audiocassette in addition to the long-play vinyl discs, and recording sales increased substantially. This new technology put recorded music into automobiles for the first time, again resulting in a surge in sales for recorded music. Eventually, information, including language instruction and books-on-tape, became popular commuter fare. With the invention of the microchip, audiotape players became available in smaller and smaller sizes, making them truly portable. Audiocassettes underwent another explosion in popularity during the early 1980’s, when the Sony Corporation introduced the Walkman, an extremely compact, almost weightless cassette player that could be attached to clothing and used with lightweight earphones virtually anywhere. At the same time, cassettes were suddenly being used with microcomputers for backing up magnetic data files. Home video soon exploded onto the scene, bringing with it new applications for cassettes. As had happened with audiotape, video camera-recorder units, called “camcorders,” were miniaturized to the point where 8-millimeter videocassettes capable of recording up to 90 minutes of live action and sound were widely available. These cassettes closely resembled the audiocassette first introduced in 1963.

Carbon dating

The invention: Atechnique that measures the radioactive decay of carbon 14 in organic substances to determine the ages of artifacts as old as ten thousand years. The people behind the invention: Willard Frank Libby (1908-1980), an American chemist who won the 1960 Nobel Prize in Chemistry Charles Wesley Ferguson (1922-1986), a scientist who demonstrated that carbon 14 dates before 1500 b.c. needed to be corrected One in a Trillion Carbon dioxide in the earth’s atmosphere contains a mixture of three carbon isotopes (isotopes are atoms of the same element that contain different numbers of neutrons), which occur in the following percentages: about 99 percent carbon 12, about 1 percent carbon 13, and approximately one atom in a trillion of radioactive carbon 14. Plants absorb carbon dioxide from the atmosphere during photosynthesis, and then animals eat the plants, so all living plants and animals contain a small amount of radioactive carbon. When a plant or animal dies, its radioactivity slowly decreases as the radioactive carbon 14 decays. The time it takes for half of any radioactive substance to decay is known as its “half-life.” The half-life for carbon 14 is known to be about fifty-seven hundred years. The carbon 14 activity will drop to one-half after one half-life, onefourth after two half-lives, one-eighth after three half-lives, and so forth. After ten or twenty half-lives, the activity becomes too low to be measurable. Coal and oil, which were formed from organic matter millions of years ago, have long since lost any carbon 14 activity. Wood samples from an Egyptian tomb or charcoal from a prehistoric fireplace a few thousand years ago, however, can be dated with good reliability from the leftover radioactivity. In the 1940’s, the properties of radioactive elements were still being discovered and were just beginning to be used to solve problems. Scientists still did not know the half-life of carbon 14, and archaeologists still depended mainly on historical evidence to determine the ages of ancient objects. In early 1947,Willard Frank Libby started a crucial experiment in testing for radioactive carbon. He decided to test samples of methane gas from two different sources. One group of samples came from the sewage disposal plant at Baltimore, Maryland, which was rich in fresh organic matter. The other sample of methane came from an oil refinery, which should have contained only ancient carbon from fossils whose radioactivity should have completely decayed. The experimental results confirmed Libby’s suspicions: The methane from fresh sewage was radioactive, but the methane from oil was not. Evidently, radioactive carbon was present in fresh organic material, but it decays away eventually. Tree-Ring Dating In order to establish the validity of radiocarbon dating, Libby analyzed known samples of varying ages. These included tree-ring samples from the years 575 and 1075 and one redwood from 979 b.c.e., as well as artifacts from Egyptian tombs going back to about 3000 b.c.e. In 1949, he published an article in the journal Science that contained a graph comparing the historical ages and the measured radiocarbon ages of eleven objects. The results were accurate within 10 percent, which meant that the general method was sound. The first archaeological object analyzed by carbon dating, obtained from the Metropolitan Museum of Art in New York, was a piece of cypress wood from the tomb of King Djoser of Egypt. Based on historical evidence, the age of this piece of wood was about fortysix hundred years. A small sample of carbon obtained from this wood was deposited on the inside of Libby’s radiation counter, giving a count rate that was about 40 percent lower than that of modern organic carbon. The resulting age of the wood calculated from its residual radioactivity was about thirty-eight hundred years, a difference of eight hundred years. Considering that this was the first object to be analyzed, even such a rough agreement with the historic age was considered to be encouraging. The validity of radiocarbon dating depends on an important assumption— namely, that the abundance of carbon 14 in nature has been constant for many thousands of years. If carbon 14 was less abundant at some point in history, organic samples from that era would have started with less radioactivity. When analyzed today, their reduced activity would make them appear to be older than they really are.Charles Wesley Ferguson from the Tree-Ring Research Laboratory at the University of Arizona tackled this problem. He measured the age of bristlecone pine trees both by counting the rings and by using carbon 14 methods. He found that carbon 14 dates before 1500 b.c.e. needed to be corrected. The results show that radiocarbon dates are older than tree-ring counting dates by as much as several hundred years for the oldest samples. He knew that the number of tree rings had given him the correct age of the pines, because trees accumulate one ring of growth for every year of life. Apparently, the carbon 14 content in the atmosphere has not been constant. Fortunately, tree-ring counting gives reliable dates that can be used to correct radiocarbon measurements back to about 6000 b.c.e. Impact Some interesting samples were dated by Libby’s group. The Dead Sea Scrolls had been found in a cave by an Arab shepherd in 1947, but some Bible scholars at first questioned whether they were genuine. The linen wrapping from the Book of Isaiah was tested for carbon 14, giving a date of 100 b.c.e., which helped to establish its authenticity. Human hair from an Egyptian tomb was determined to be nearly five thousand years old.Well-preserved sandals from a cave in eastern Oregon were determined to be ninety-three hundred years old. A charcoal sample from a prehistoric site in western South Dakota was found to be about seven thousand years old. The Shroud of Turin, located in Turin, Italy, has been a controversial object for many years. It is a linen cloth, more than four meters long, which shows the image of a man’s body, both front and back. Some people think it may have been the burial shroud of Jesus Christ after his crucifixion. Ateam of scientists in 1978 was permitted to study the shroud, using infrared photography, analysis of possible blood stains, microscopic examination of the linen fibers, and other methods. The results were ambiguous. A carbon 14 test was not permitted because it would have required cutting a piece about the size of a handkerchief from the shroud. Anew method of measuring carbon 14 was developed in the late 1980’s. It is called “accelerator mass spectrometry,” or AMS. Unlike Libby’s method, it does not count the radioactivity of carbon. Instead, a mass spectrometer directly measures the ratio of carbon 14 to ordinary carbon. The main advantage of this method is that the sample size needed for analysis is about a thousand times smaller than before. The archbishop of Turin permitted three laboratories with the appropriate AMS apparatus to test the shroud material. The results agreed that the material was from the fourteenth century, not from the time of Christ. The figure on the shroud may be a watercolor painting on linen. Since Libby’s pioneering experiments in the late 1940’s, carbon 14 dating has established itself as a reliable dating technique for archaeologists and cultural historians. Further improvements are expected to increase precision, to make it possible to use smaller samples, and to extend the effective time range of the method back to fifty thousand years or earlier.

CAD/CAM

The invention: Computer-Aided Design (CAD) and Computer- Aided Manufacturing (CAM) enhanced flexibility in engineering design, leading to higher quality and reduced time for manufacturing The people behind the invention: Patrick Hanratty, a General Motors Research Laboratory worker who developed graphics programs Jack St. Clair Kilby (1923- ), a Texas Instruments employee who first conceived of the idea of the integrated circuit Robert Noyce (1927-1990), an Intel Corporation employee who developed an improved process of manufacturing integrated circuits on microchips Don Halliday, an early user of CAD/CAM who created the Made-in-America car in only four months by using CAD and project management software Fred Borsini, an early user of CAD/CAM who demonstrated its power Summary of Event Computer-Aided Design (CAD) is a technique whereby geometrical descriptions of two-dimensional (2-D) or three-dimensional (3- D) objects can be created and stored, in the form of mathematical models, in a computer system. Points, lines, and curves are represented as graphical coordinates. When a drawing is requested from the computer, transformations are performed on the stored data, and the geometry of a part or a full view from either a two- or a three-dimensional perspective is shown. CAD systems replace the tedious process of manual drafting, and computer-aided drawing and redrawing that can be retrieved when needed has improved drafting efficiency. A CAD system is a combination of computer hardware and software that facilitates the construction of geometric models and, in many cases, their analysis. It allows a wide variety of visual representations of those models to be displayed.Computer-Aided Manufacturing (CAM) refers to the use of computers to control, wholly or partly, manufacturing processes. In practice, the term is most often applied to computer-based developments of numerical control technology; robots and flexible manufacturing systems (FMS) are included in the broader use of CAM systems. A CAD/CAM interface is envisioned as a computerized database that can be accessed and enriched by either design or manufacturing professionals during various stages of the product development and production cycle. In CAD systems of the early 1990’s, the ability to model solid objects became widely available. The use of graphic elements such as lines and arcs and the ability to create a model by adding and subtracting solids such as cubes and cylinders are the basic principles of CADand of simulating objects within a computer.CADsystems enable computers to simulate both taking things apart (sectioning) and putting things together for assembly. In addition to being able to construct prototypes and store images of different models, CAD systems can be used for simulating the behavior of machines, parts, and components. These abilities enable CAD to construct models that can be subjected to nondestructive testing; that is, even before engineers build a physical prototype, the CAD model can be subjected to testing and the results can be analyzed. As another example, designers of printed circuit boards have the ability to test their circuits on a CAD system by simulating the electrical properties of components. During the 1950’s, the U.S. Air Force recognized the need for reducing the development time for special aircraft equipment. As a result, the Air Force commissioned the Massachusetts Institute of Technology to develop numerically controlled (NC) machines that were programmable. A workable demonstration of NC machines was made in 1952; this began a new era for manufacturing. As the speed of an aircraft increased, the cost of manufacturing also increased because of stricter technical requirements. This higher cost provided a stimulus for the further development of NC technology, which promised to reduce errors in design before the prototype stage. The early 1960’s saw the development of mainframe computers. Many industries valued computing technology for its speed and for its accuracy in lengthy and tedious numerical operations in design, manufacturing, and other business functional areas. Patrick Hanratty, working for General Motors Research Laboratory, saw other potential applications and developed graphics programs for use on mainframe computers. The use of graphics in software aided the development of CAD/CAM, allowing visual representations of models to be presented on computer screens and printers. The 1970’s saw an important development in computer hardware, namely the development and growth of personal computers (PCs). Personal computers became smaller as a result of the development of integrated circuits. Jack St. Clair Kilby, working for Texas Instruments, first conceived of the integrated circuit; later, Robert Noyce, working for Intel Corporation, developed an improved process of manufacturing integrated circuits on microchips. Personal computers using these microchips offered both speed and accuracy at costs much lower than those of mainframe computers. Five companies offered integrated commercial computer-aided design and computer-aided manufacturing systems by the first half of 1973. Integration meant that both design and manufacturing were contained in one system. Of these five companies—Applicon, Computervision, Gerber Scientific, Manufacturing and Consulting Services (MCS), and United Computing—four offered turnkey systems exclusively. Turnkey systems provide design, development, training, and implementation for each customer (company) based on the contractual agreement; they are meant to be used as delivered, with no need for the purchaser to make significant adjustments or perform programming. The 1980’s saw a proliferation of mini- and microcomputers with a variety of platforms (processors) with increased speed and better graphical resolution. This made the widespread development of computer-aided design and computer-aided manufacturing possible and practical. Major corporations spent large research and development budgets developing CAD/CAM systems that would automate manual drafting and machine tool movements. Don Halliday, working for Truesports Inc., provided an early example of the benefits of CAD/CAM. He created the Made-in-America car in only four months by using CAD and project management software. In the late 1980’s, Fred Borsini, the president of Leap Technologies in Michigan, brought various products to market in record time through the use of CAD/CAM. In the early 1980’s, much of theCAD/CAMindustry consisted of software companies. The cost for a relatively slow interactive system in 1980 was close to $100,000. The late 1980’s saw the demise of minicomputer-based systems in favor of Unix work stations and PCs based on 386 and 486 microchips produced by Intel. By the time of the International Manufacturing Technology show in September, 1992, the industry could show numerous CAD/CAM innovations including tools, CAD/CAM models to evaluate manufacturability in early design phases, and systems that allowed use of the same data for a full range of manufacturing functions. Impact In 1990, CAD/CAM hardware sales by U.S. vendors reached $2.68 billion. In software alone, $1.42 billion worth of CAD/CAM products and systems were sold worldwide by U.S. vendors, according to International Data Corporation figures for 1990. CAD/ CAM systems were in widespread use throughout the industrial world. Development lagged in advanced software applications, particularly in image processing, and in the communications software and hardware that ties processes together. A reevaluation of CAD/CAM systems was being driven by the industry trend toward increased functionality of computer-driven numerically controlled machines. Numerical control (NC) software enables users to graphically define the geometry of the parts in a product, develop paths that machine tools will follow, and exchange data among machines on the shop floor. In 1991, NC configuration software represented 86 percent of total CAM sales. In 1992, the market shares of the five largest companies in the CAD/CAM market were 29 percent for International Business Machines, 17 percent for Intergraph, 11 percent for Computervision, 9 percent for Hewlett-Packard, and 6 percent for Mentor Graphics. General Motors formed a joint venture with Ford and Chrysler to develop a common computer language in order to make the next generation of CAD/CAM systems easier to use. The venture was aimed particularly at problems that posed barriers to speeding up the design of new automobiles. The three car companies all had sophisticated computer systems that allowed engineers to design parts on computers and then electronically transmit specifications to tools that make parts or dies. CAD/CAM technology was expected to advance on many fronts. As of the early 1990’s, different CAD/CAM vendors had developed systems that were often incompatible with one another, making it difficult to transfer data from one system to another. Large corporations, such as the major automakers, developed their own interfaces and network capabilities to allow different systems to communicate. Major users of CAD/CAM saw consolidation in the industry through the establishment of standards as being in their interests. Resellers of CAD/CAM products also attempted to redefine their markets. These vendors provide technical support and service to users. The sale of CAD/CAM products and systems offered substantial opportunities, since demand remained strong. Resellers worked most effectively with small and medium-sized companies, which often were neglected by the primary sellers of CAD/CAM equipment because they did not generate a large volume of business. Some projections held that by 1995 half of all CAD/CAM systems would be sold through resellers, at a cost of $10,000 or less for each system. The CAD/CAM market thus was in the process of dividing into two markets: large customers (such as aerospace firms and automobile manufacturers) that would be served by primary vendors, and small and medium-sized customers that would be serviced by resellers. CAD will find future applications in marketing, the construction industry, production planning, and large-scale projects such as shipbuilding and aerospace. Other likely CAD markets include hospitals, the apparel industry, colleges and universities, food product manufacturers, and equipment manufacturers. As the linkage between CAD and CAM is enhanced, systems will become more productive. The geometrical data from CAD will be put to greater use by CAM systems. CAD/CAM already had proved that it could make a big difference in productivity and quality. Customer orders could be changed much faster and more accurately than in the past, when a change could require a manual redrafting of a design. Computers could do automatically in minutes what once took hours manually. CAD/ CAM saved time by reducing, and in some cases eliminating, human error. Many flexible manufacturing systems (FMS) had machining centers equipped with sensing probes to check the accuracy of the machining process. These self-checks can be made part of numerical control (NC) programs. With the technology of the early 1990’s, some experts estimated that CAD/CAM systems were in many cases twice as productive as the systems they replaced; in the long run, productivity is likely to improve even more, perhaps up to three times that of older systems or even higher. As costs for CAD/ CAM systems concurrently fall, the investment in a system will be recovered more quickly. Some analysts estimated that by the mid- 1990’s, the recovery time for an average system would be about three years. Another frontier in the development of CAD/CAM systems is expert (or knowledge-based) systems, which combine data with a human expert’s knowledge, expressed in the form of rules that the computer follows. Such a system will analyze data in a manner mimicking intelligence. For example, a 3-D model might be created from standard 2-D drawings. Expert systems will likely play a pivotal role in CAM applications. For example, an expert system could determine the best sequence of machining operations to produce a component. Continuing improvements in hardware, especially increased speed, will benefit CAD/CAM systems. Software developments, however, may produce greater benefits. Wider use of CAD/CAM systems will depend on the cost savings from improvements in hardware and software as well as on the productivity of the systems and the quality of their product. The construction, apparel, automobile, and aerospace industries have already experienced increases in productivity, quality, and profitability through the use of CAD/CAM. A case in point is Boeing, which used CAD from start to finish in the design of the 757.

Buna rubber

The invention: The first practical synthetic rubber product developed, Buna inspired the creation of other other synthetic substances that eventually replaced natural rubber in industrial applications. The people behind the invention: Charles de la Condamine (1701-1774), a French naturalist Charles Goodyear (1800-1860), an American inventor Joseph Priestley (1733-1804), an English chemist Charles Greville Williams (1829-1910), an English chemist A New Synthetic Rubber The discovery of natural rubber is often credited to the French scientist Charles de la Condamine, who, in 1736, sent the French Academy of Science samples of an elastic material used by Peruvian Indians to make balls that bounced. The material was primarily a curiosity until 1770, when Joseph Priestley, an English chemist, discovered that it rubbed out pencil marks, after which he called it “rubber.” Natural rubber, made from the sap of the rubber tree (Hevea brasiliensis), became important after Charles Goodyear discovered in 1830 that heating rubber with sulfur (a process called “vulcanization”) made it more elastic and easier to use. Vulcanized natural rubber came to be used to make raincoats, rubber bands, and motor vehicle tires. Natural rubber is difficult to obtain (making one tire requires the amount of rubber produced by one tree in two years), and wars have often cut off supplies of this material to various countries. Therefore, efforts to manufacture synthetic rubber began in the late eighteenth century. Those efforts followed the discovery by English chemist Charles GrevilleWilliams and others in the 1860’s that natural rubber was composed of thousands of molecules of a chemical called isoprene that had been joined to form giant, necklace- like molecules. The first successful synthetic rubber, Buna, was patented by Germany’s I. G. Farben Industrie in 1926. The success of this rubber led to the development of many other synthetic rubbers, which are now used in place of natural rubber in many applications.From Erasers to Gas Pumps Natural rubber belongs to the group of chemicals called “polymers.” Apolymer is a giant molecule that is made up of many simpler chemical units (“monomers”) that are attached chemically to form long strings. In natural rubber, the monomer is isoprene (dimethylbutadiene). The first efforts to make a synthetic rubber used the discovery that isoprene could be made and converted into an elastic polymer. The synthetic rubber that was created from isoprene was, however, inferior to natural rubber. The first Buna rubber, which was patented by I. G. Farben in 1926, was better, but it was still less than ideal. Buna rubber was made by polymerizing the monomer butadiene in the presence of sodium. The name Buna comes from the first two letters of the words “butadiene” and “natrium” (German for sodium). Natural and Buna rubbers are called homopolymers because they contain only one kind of monomer. The ability of chemists to make Buna rubber, along with its successful use, led to experimentation with the addition of other monomers to isoprene-like chemicals used to make synthetic rubber. Among the first great successes were materials that contained two alternating monomers; such materials are called “copolymers.” If the two monomers are designated Aand B, part of a polymer molecule can be represented as (ABABABABABABABABAB). Numerous synthetic copolymers, which are often called “elastomers,” now replace natural rubber in applications where they have superior properties. All elastomers are rubbers, since objects made from them both stretch greatly when pulled and return quickly to their original shape when the tension is released. Two other well-known rubbers developed by I. G. Farben are the copolymers called Buna-N and Buna-S. These materials combine butadiene and the monomers acrylonitrile and styrene, respectively. Many modern motor vehicle tires are made of synthetic rubber that differs little from Buna-S rubber. This rubber was developed after the United States was cut off in the 1940’s, during World War II, from its Asian source of natural rubber. The solution to this problem was the development of a synthetic rubber industry based on GR-S rubber (government rubber plus styrene), which was essentially Buna-S rubber. This rubber is still widely used.Buna-S rubber is often made by mixing butadiene and styrene in huge tanks of soapy water, stirring vigorously, and heating the mixture. The polymer contains equal amounts of butadiene and styrene (BSBSBSBSBSBSBSBS). When the molecules of the Buna-S polymer reach the desired size, the polymerization is stopped and the rubber is coagulated (solidified) chemically. Then, water and all the unused starting materials are removed, after which the rubber is dried and shipped to various plants for use in tires and other products. The major difference between Buna-S and GR-S rubber is that the method of making GR-S rubber involves the use of low temperatures. Buna-N rubber is made in a fashion similar to that used for Buna- S, using butadiene and acrylonitrile. Both Buna-N and the related neoprene rubber, invented by Du Pont, are very resistant to gasoline and other liquid vehicle fuels. For this reason, they can be used in gas-pump hoses. All synthetic rubbers are vulcanized before they are used in industry. Impact Buna rubber became the basis for the development of the other modern synthetic rubbers. These rubbers have special properties that make them suitable for specific applications. One developmental approach involved the use of chemically modified butadiene in homopolymers such as neoprene. Made of chloroprene (chlorobutadiene), neoprene is extremely resistant to sun, air, and chemicals. It is so widely used in machine parts, shoe soles, and hoses that more than 400 million pounds are produced annually. Another developmental approach involved copolymers that alternated butadiene with other monomers. For example, the successful Buna-N rubber (butadiene and acrylonitrile) has properties similar to those of neoprene. It differs sufficiently from neoprene, however, to be used to make items such as printing press rollers. About 200 million pounds of Buna-N are produced annually. Some 4 billion pounds of the even more widely used polymer Buna-S/ GR-S are produced annually, most of which is used to make tires. Several other synthetic rubbers have significant industrial applications, and efforts to make copolymers for still other purposes continue.

Bullet train

The invention: An ultrafast passenger railroad system capable of moving passengers at speeds double or triple those of ordinary trains. The people behind the invention: Ikeda Hayato (1899-1965), Japanese prime minister from 1960 to 1964, who pushed for the expansion of public expenditures Shinji Sogo (1901-1971), the president of the Japanese National Railways, the “father of the bullet train” Building a Faster Train By 1900, Japan had a world-class railway system, a logical result of the country’s dense population and the needs of its modernizing economy. After 1907, the government controlled the system through the Japanese National Railways (JNR). In 1938, JNR engineers first suggested the idea of a train that would travel 125 miles per hour from Tokyo to the southern city of Shimonoseki. Construction of a rapid train began in 1940 but was soon stopped because of World War II. The 311-mile railway between Tokyo and Osaka, the Tokaido Line, has always been the major line in Japan. By 1957, a business express along the line operated at an average speed of 57 miles per hour, but the double-track line was rapidly reaching its transport capacity. The JNR established two investigative committees to explore alternative solutions. In 1958, the second committee recommended the construction of a high-speed railroad on a separate double track, to be completed in time for the Tokyo Olympics of 1964. The Railway Technical Institute of the JNR concluded that it was feasible to design a line that would operate at an average speed of about 130 miles per hour, cutting time for travel between Tokyo and Osaka from six hours to three hours. By 1962, about 17 miles of the proposed line were completed for test purposes. During the next two years, prototype trains were tested to correct flaws and make improvements in the design. The entire project was completed on schedule in July, 1964, with total construction costs of more than $1 billion, double the original estimates. The Speeding Bullet Service on the Shinkansen, or New Trunk Line, began on October 1, 1964, ten days before the opening of the Olympic Games. Commonly called the “bullet train” because of its shape and speed, the Shinkansen was an instant success with the public, both in Japan and abroad. As promised, the time required to travel between Tokyo and Osaka was cut in half. Initially, the system provided daily services of sixty trains consisting of twelve cars each, but the number of scheduled trains was almost doubled by the end of the year. The Shinkansen was able to operate at its unprecedented speed because it was designed and operated as an integrated system, making use of countless technological and scientific developments. Tracks followed the standard gauge of 56.5 inches, rather than the more narrow gauge common in Japan. For extra strength, heavy welded rails were attached directly onto reinforced concrete slabs. The minimum radius of a curve was 8,200 feet, except where sharper curves were mandated by topography. In many ways similar to modern airplanes, the railway cars were made airtight in order to prevent ear discomfort caused by changes in pressure when trains enter tunnels. The Shinkansen trains were powered by electric traction motors, with four 185-kilowatt motors on each car—one motor attached to each axle. This design had several advantages: It provided an even distribution of axle load for reducing strain on the tracks; it allowed the application of dynamic brakes (where the motor was used for braking) on all axles; and it prevented the failure of one or two units from interrupting operation of the entire train. The 25,000-volt electrical current was carried by trolley wire to the cars, where it was rectified into a pulsating current to drive the motors. The Shinkansen system established a casualty-free record because of its maintenance policies combined with its computerized Centralized Traffic Control system. The control room at Tokyo Station was designed to maintain timely information about the location of all trains and the condition of all routes. Although train operators had some discretion in determining speed, automatic brakes also operated to ensure a safe distance between trains. At least once each month, cars were thoroughly inspected; every ten days, an inspection train examined the conditions of tracks, communication equipment, and electrical systems. Impact Public usage of the Tokyo-Osaka bullet train increased steadily because of the system’s high speed, comfort, punctuality, and superb safety record. Businesspeople were especially happy that the rapid service allowed them to make the round-trip without the necessity of an overnight stay, and continuing modernization soon allowed nonstop trains to make a one-way trip in two and one-half hours, requiring speeds of 160 miles per hour in some stretches. By the early 1970’s, the line was transporting a daily average of 339,000 passengers in 240 trains, meaning that a train departed from Tokyo about every ten minutes The popularity of the Shinkansen system quickly resulted in demands for its extension into other densely populated regions. In 1972, a 100-mile stretch between Osaka and Okayama was opened for service. By 1975, the line was further extended to Hakata on the island of Kyushu, passing through the Kammon undersea tunnel. The cost of this 244-mile stretch was almost $2.5 billion. In 1982, lines were completed from Tokyo to Niigata and from Tokyo to Morioka. By 1993, the system had grown to 1,134 miles of track. Since high usage made the system extremely profitable, the sale of the JNR to private companies in 1987 did not appear to produce adverse consequences. The economic success of the Shinkansen had a revolutionary effect on thinking about the possibilities of modern rail transportation, leading one authority to conclude that the line acted as “a savior of the declining railroad industry.” Several other industrial countries were stimulated to undertake large-scale railway projects; France, especially, followed Japan’s example by constructing highspeed electric railroads from Paris to Nice and to Lyon. By the mid- 1980’s, there were experiments with high-speed trains based on magnetic levitation and other radical innovations, but it was not clear whether such designs would be able to compete with the Shinkansen model.

Bubble memory

The invention: An early nonvolatile medium for storing information on computers. The person behind the invention: Andrew H. Bobeck (1926- ), a Bell Telephone Laboratories scientist Magnetic Technology The fanfare over the commercial prospects of magnetic bubbles was begun on August 8, 1969, by a report appearing in both The New York Times and TheWall Street Journal. The early 1970’s would see the anticipation mount (at least in the computer world) with each prediction of the benefits of this revolution in information storage technology. Although it was not disclosed to the public until August of 1969, magnetic bubble technology had held the interest of a small group of researchers around the world for many years. The organization that probably can claim the greatest research advances with respect to computer applications of magnetic bubbles is Bell Telephone Laboratories (later part of American Telephone and Telegraph). Basic research into the properties of certain ferrimagnetic materials started at Bell Laboratories shortly after the end of World War II (1939-1945). Ferrimagnetic substances are typically magnetic iron oxides. Research into the properties of these and related compounds accelerated after the discovery of ferrimagnetic garnets in 1956 (these are a class of ferrimagnetic oxide materials that have the crystal structure of garnet). Ferrimagnetism is similar to ferromagnetism, the phenomenon that accounts for the strong attraction of one magnetized body for another. The ferromagnetic materials most suited for bubble memories contain, in addition to iron, the element yttrium or a metal from the rare earth series. It was a fruitful collaboration between scientist and engineer, between pure and applied science, that produced this promising breakthrough in data storage technology. In 1966, Bell Laboratories scientist Andrew H. Bobeck and his coworkers were the first to realize the data storage potential offered by the strange behavior of thin slices of magnetic iron oxides under an applied magnetic field. The first U.S. patent for a memory device using magnetic bubbles was filed by Bobeck in the fall of 1966 and issued on August 5, 1969. Bubbles Full of Memories The three basic functional elements of a computer are the central processing unit, the input/output unit, and memory. Most implementations of semiconductor memory require a constant power source to retain the stored data. If the power is turned off, all stored data are lost. Memory with this characteristic is called “volatile.” Disks and tapes, which are typically used for secondary memory, are “nonvolatile.” Nonvolatile memory relies on the orientation of magnetic domains, rather than on electrical currents, to sustain its existence. One can visualize by analogy how this will work by taking a group of permanent bar magnets that are labeled withNfor north at one end and S for south at the other. If an arrow is painted starting from the north end with the tip at the south end on each magnet, an orientation can then be assigned to a magnetic domain (here one whole bar magnet). Data are “stored” with these bar magnets by arranging them in rows, some pointing up, some pointing down. Different arrangements translate to different data. In the binary world of the computer, all information is represented by two states. A stored data item (known as a “bit,” or binary digit) is either on or off, up or down, true or false, depending on the physical representation. The “on” state is commonly labeled with the number 1 and the “off” state with the number 0. This is the principle behind magnetic disk and tape data storage. Now imagine a thin slice of a certain type of magnetic material in the shape of a 3-by-5-inch index card. Under a microscope, using a special source of light, one can see through this thin slice in many regions of the surface. Darker, snakelike regions can also be seen, representing domains of an opposite orientation (polarity) to the transparent regions. If a weak external magnetic field is then applied by placing a permanent magnet of the same shape as the card on the underside of the slice, a strange thing happens to the dark serpentine pattern—the long domains shrink and eventually contract into “bubbles,” tiny magnetized spots. Viewed from the side of the slice, the bubbles are cylindrically shaped domains having a polarity opposite to that of the material on which they rest. The presence or absence of a bubble indicates either a 0 or a 1 bit. Data bits are stored by moving the bubbles in the thin film. As long as the field is applied by the permanent magnet substrate, the data will be retained. The bubble is thus a nonvolatile medium for data storage.Consequences Magnetic bubble memory created quite a stir in 1969 with its splashy public introduction. Most of the manufacturers of computer chips immediately instituted bubble memory development projects. Texas Instruments, Philips, Hitachi, Motorola, Fujitsu, and International Business Machines (IBM) joined the race with Bell Laboratories to mass-produce bubble memory chips. Texas Instruments became the first major chip manufacturer to mass-produce bubble memories in the mid-to-late 1970’s. By 1990, however, almost all the research into magnetic bubble technology had shifted to Japan. Hitachi and Fujitsu began to invest heavily in this area. Mass production proved to be the most difficult task. Although the materials it uses are different, the process of producing magnetic bubble memory chips is similar to the process applied in producing semiconductor-based chips such as those used for random access memory (RAM). It is for this reason that major semiconductor manufacturers and computer companies initially invested in this technology. Lower fabrication yields and reliability issues plagued early production runs, however, and, although these problems have mostly been solved, gains in the performance characteristics of competing conventional memories have limited the impact that magnetic bubble technology has had on the marketplace. The materials used for magnetic bubble memories are costlier and possess more complicated structures than those used for semiconductor or disk memory. Speed and cost of materials are not the only bases for comparison. It is possible to perform some elementary logic with magnetic bubbles. Conventional semiconductor-based memory offers storage only. The capability of performing logic with magnetic bubbles puts bubble technology far ahead of other magnetic technologies with respect to functional versatility. Asmall niche market for bubble memory developed in the 1980’s. Magnetic bubble memory can be found in intelligent terminals, desktop computers, embedded systems, test equipment, and similar microcomputer- based systems.

Brownie camera

The invention: The first inexpensive and easy-to-use camera available to the general public, the Brownie revolutionized photography by making it possible for every person to become a photographer. The people behind the invention: George Eastman (1854-1932), founder of the Eastman Kodak Company Frank A. Brownell, a camera maker for the Kodak Company who designed the Brownie Henry M. Reichenbach, a chemist who worked with Eastman to develop flexible film William H. Walker, a Rochester camera manufacturer who collaborated with Eastman A New Way to Take Pictures In early February of 1900, the first shipments of a new small box camera called the Brownie reached Kodak dealers in the United States and England. George Eastman, eager to put photography within the reach of everyone, had directed Frank Brownell to design a small camera that could be manufactured inexpensively but that would still take good photographs. Advertisements for the Brownie proclaimed that everyone— even children—could take good pictures with the camera. The Brownie was aimed directly at the children’s market, a fact indicated by its box, which was decorated with drawings of imaginary elves called “Brownies” created by the Canadian illustrator Palmer Cox. Moreover, the camera cost only one dollar. The Brownie was made of jute board and wood, with a hinged back fastened by a sliding catch. It had an inexpensive two-piece glass lens and a simple rotary shutter that allowed both timed and instantaneous exposures to be made. With a lens aperture of approximately f14 and a shutter speed of approximately 1/50 of a second, the Brownie was certainly capable of taking acceptable snapshots. It had no viewfinder; however, an optional clip-on reflecting viewfinder was available. The camera came loaded with a six-exposure roll of Kodak film that produced square negatives 2.5 inches on a side. This film could be developed, printed, and mounted for forty cents, and a new roll could be purchased for fifteen cents. George Eastman’s first career choice had been banking, but when he failed to receive a promotion he thought he deserved, he decided to devote himself to his hobby, photography. Having worked with a rigorous wet-plate process, he knew why there were few amateur photographers at the time—the whole process, from plate preparation to printing, was too expensive and too much trouble. Even so, he had already begun to think about the commercial possibilities of photography; after reading of British experiments with dry-plate technology, he set up a small chemical laboratory and came up with a process of his own. The Eastman Dry Plate Company became one of the most successful producers of gelatin dry plates. Dry-plate photography had attracted more amateurs, but it was still a complicated and expensive hobby. Eastman realized that the number of photographers would have to increase considerably if the market for cameras and supplies were to have any potential. In the early 1880’s, Eastman first formulated the policies that would make the Eastman Kodak Company so successful in years to come: mass production, low prices, foreign and domestic distribution, and selling through extensive advertising and by demonstration. In his efforts to expand the amateur market, Eastman first tackled the problem of the glass-plate negative, which was heavy, fragile, and expensive to make. By 1884, his experiments with paper negatives had been successful enough that he changed the name of his company to The Eastman Dry Plate and Film Company. Since flexible roll film needed some sort of device to hold it steady in the camera’s focal plane, Eastman collaborated with William Walker to develop the Eastman-Walker roll-holder. Eastman’s pioneering manufacture and use of roll films led to the appearance on the market in the 1880’s of a wide array of hand cameras from a number of different companies. Such cameras were called “detective cameras” because they were small and could be used surreptitiously. The most famous of these, introduced by Eastman in 1888, was named the “Kodak”—a word he coined to be terse, distinctive, and easily pronounced in any language. This camera’s simplicity of operation was appealing to the general public and stimulated the growth of amateur photography. The Camera The Kodak was a box about seven inches long and four inches wide, with a one-speed shutter and a fixed-focus lens that produced reasonably sharp pictures. It came loaded with enough roll film to make one hundred exposures. The camera’s initial price of twentyfive dollars included the cost of processing the first roll of film; the camera also came with a leather case and strap. After the film was exposed, the camera was mailed, unopened, to the company’s plant in Rochester, New York, where the developing and printing were done. For an additional ten dollars, the camera was reloaded and sent back to the customer. The Kodak was advertised in mass-market publications, rather than in specialized photographic journals, with the slogan: “You press the button, we do the rest.”With his introduction of a camera that was easy to use and a service that eliminated the need to know anything about processing negatives, Eastman revolutionized the photographic market. Thousands of people no longer depended upon professional photographers for their portraits but instead learned to make their own. In 1892, the Eastman Dry Plate and Film Company became the Eastman Kodak Company, and by the mid- 1890’s, one hundred thousand Kodak cameras had been manufactured and sold, half of them in Europe by Kodak Limited. Having popularized photography with the first Kodak, in 1900 Eastman turned his attention to the children’s market with the introduction of the Brownie. The first five thousand cameras sent to dealers were sold immediately; by the end of the following year, almost a quarter of a million had been sold. The Kodak Company organized Brownie camera clubs and held competitions specifically for young photographers. The Brownie came with an instruction booklet that gave children simple directions for taking successful pictures, and “The Brownie Boy,” an appealing youngster who loved photography, became a standard feature of Kodak’s advertisements. Impact Eastman followed the success of the first Brownie by introducing several additional models between 1901 and 1917. Each was a more elaborate version of the original. These Brownie box cameras were on the market until the early 1930’s, and their success inspired other companies to manufacture box cameras of their own. In 1906, the Ansco company produced the Buster Brown camera in three sizes that corresponded to Kodak’s Brownie camera range; in 1910 and 1914, Ansco made three more versions. The Seneca company’s Scout box camera, in three sizes, appeared in 1913, and Sears Roebuck’s Kewpie cameras, in five sizes, were sold beginning in 1916. In England, the Houghtons company introduced its first Scout camera in 1901, followed by another series of four box cameras in 1910 sold under the Ensign trademark. Other English manufacturers of box cameras included the James Sinclair company, with its Traveller Una of 1909, and the Thornton-Pickard company, with a Filma camera marketed in four sizes in 1912. After World War I ended, several series of box cameras were manufactured in Germany by companies that had formerly concentrated on more advanced and expensive cameras. The success of box cameras in other countries, led by Kodak’s Brownie, undoubtedly prompted this trend in the German photographic industry. The Ernemann Film K series of cameras in three sizes, introduced in 1919, and the all-metal Trapp LittleWonder of 1922 are examples of popular German box cameras. In the early 1920’s, camera manufacturers began making boxcamera bodies from metal rather than from wood and cardboard. Machine-formed metal was less expensive than the traditional handworked materials. In 1924, Kodak’s two most popular Brownie sizes appeared with aluminum bodies. In 1928, Kodak Limited of England added two important new features to the Brownie—a built-in portrait lens, which could be brought in front of the taking lens by pressing a lever, and camera bodies in a range of seven different fashion colors. The Beau Brownie cameras, made in 1930, were the most popular of all the colored box cameras. The work ofWalter Dorwin Teague, a leading American designer, these cameras had an Art Deco geometric pattern on the front panel, which was enameled in a color matching the leatherette covering of the camera body. Several other companies, including Ansco, again followed Kodak’s lead and introduced their own lines of colored cameras. In the 1930’s, several new box cameras with interesting features appeared, many manufactured by leading film companies. In France, the Lumiere Company advertised a series of box cameras—the Luxbox, Scoutbox, and Lumibox—that ranged from a basic camera to one with an adjustable lens and shutter. In 1933, the German Agfa company restyled its entire range of box cameras, and in 1939, the Italian Ferrania company entered the market with box cameras in two sizes. In 1932, Kodak redesigned its Brownie series to take the new 620 roll film, which it had just introduced. This film and the new Six-20 Brownies inspired other companies to experiment with variations of their own; some box cameras, such as the Certo Double-box, the Coronet Every Distance, and the Ensign E-20 cameras, offered a choice of two picture formats. Another new trend was a move toward smaller-format cameras using standard 127 roll film. In 1934, Kodak marketed the small Baby Brownie. Designed by Teague and made from molded black plastic, this little camera with a folding viewfinder sold for only one dollar—the price of the original Brownie in 1900. The Baby Brownie, the first Kodak camera made of molded plastic, heralded the move to the use of plastic in camera manufacture. Soon many others, such as the Altissa series of box cameras and the Voigtlander Brilliant V/6 camera, were being made from this new material. Later Trends By the late 1930’s, flashbulbs had replaced flash powder for taking pictures in low light; again, the Eastman Kodak Company led the way in introducing this new technology as a feature on the inexpensive box camera. The Falcon Press-Flash, marketed in 1939, was the first mass-produced camera to have flash synchronization and was followed the next year by the Six-20 Flash Brownie, which had a detachable flash gun. In the early 1940’s, other companies, such as Agfa-Ansco, introduced this feature on their own box cameras.In the years after World War II, the box camera evolved into an eye-level camera, making it more convenient to carry and use. Many amateur photographers, however, still had trouble handling paper-backed roll film and were taking their cameras back to dealers to be unloaded and reloaded. Kodak therefore developed a new system of film loading, using the Kodapak cartridge, which could be mass-produced with a high degree of accuracy by precision plastic- molding techniques. To load the camera, the user simply opened the camera back and inserted the cartridge. This new film was introduced in 1963, along with a series of Instamatic cameras designed for its use. Both were immediately successful. The popularity of the film cartridge ended the long history of the simple and inexpensive roll film camera. The last English Brownie was made in 1967, and the series of Brownies made in the United States was discontinued in 1970. Eastman’s original marketing strategy of simplifying photography in order to increase the demand for cameras and film continued, however, with the public’s acceptance of cartridge-loading cameras such as the Instamatic. From the beginning, Eastman had recognized that there were two kinds of photographers other than professionals. The first, he declared, were the true amateurs who devoted time enough to acquire skill in the complex processing procedures of the day. The second were those who merely wanted personal pictures or memorabilia of their everyday lives, families, and travels. The second class, he observed, outnumbered the first by almost ten to one. Thus, it was to this second kind of amateur photographer that Eastman had appealed, both with his first cameras and with his advertising slogan, “You press the button, we do the rest.” Eastman had done much more than simply invent cameras and films; he had invented a system and then developed the means for supporting that system. This is essentially what the Eastman Kodak Company continued to accomplish with the series of Instamatics and other descendants of the original Brownie. In the decade between 1963 and 1973, for example, approximately sixty million Instamatics were sold throughout the world. The research, manufacturing, and marketing activities of the Eastman Kodak Company have been so complex and varied that no one would suggest that the company’s prosperity rests solely on the success of its line of inexpensive cameras and cartridge films, although these have continued to be important to the company. Like Kodak, however, most large companies in the photographic industry have expanded their research to satisfy the ever-growing demand from amateurs. The amateurism that George Eastman recognized and encouraged at the beginning of the twentieth century thus still flourished at its end.

Broadcaster guitar

The invention: The first commercially manufactured solid-body electric guitar, the Broadcaster revolutionized the guitar industry and changed the face of popular music The people behind the invention: Leo Fender (1909-1991), designer of affordable and easily massproduced solid-body electric guitars Les Paul (Lester William Polfuss, 1915- ), a legendary guitarist and designer of solid-body electric guitars Charlie Christian (1919-1942), an influential electric jazz guitarist of the 1930’s Early Electric Guitars It has been estimated that between 1931 and 1937, approximately twenty-seven hundred electric guitars and amplifiers were sold in the United States. The Electro String Instrument Company, run by Adolph Rickenbacker and his designer partners, George Beauchamp and Paul Barth, produced two of the first commercially manufactured electric guitars—the Rickenbacker A-22 and A-25—in 1931. The Rickenbacker models were what are known as “lap steel” or Hawaiian guitars. A Hawaiian guitar is played with the instrument lying flat across a guitarist’s knees. By the mid-1930’s, the Gibson company had introduced an electric Spanish guitar, the ES-150. Legendary jazz guitarist Charlie Christian made this model famous while playing for Benny Goodman’s orchestra. Christian was the first electric guitarist to be heard by a large American audience. He became an inspiration for future electric guitarists, because he proved that the electric guitar could have its own unique solo sound. Along with Christian, the other electric guitar figures who put the instrument on the musical map were blues guitarist T-Bone Walker, guitarist and inventor Les Paul, and engineer and inventor Leo Fender. Early electric guitars were really no more than acoustic guitars, with the addition of one or more pickups, which convert string vibrations to electrical signals that can be played through a speaker. Amplification of a guitar made it a more assertive musical instrument. The electrification of the guitar ultimately would make it more flexible, giving it a more prominent role in popular music. Les Paul, always a compulsive inventor, began experimenting with ways of producing an electric solid-body guitar in the late 1930’s. In 1929, at the age of thirteen, he had amplified his first acoustic guitar. Another influential inventor of the 1940’s was Paul Bigsby. He built a prototype solid-body guitar for country music star Merle Travis in 1947. It was Leo Fender who revolutionized the electric guitar industry by producing the first commercially viable solid-body electric guitar, the Broadcaster, in 1948.Leo Fender Leo Fender was born in the Anaheim, California, area in 1909. As a teenager, he began to build and repair guitars. By the 1930’s, Fender was building and renting out public address systems for group gatherings. In 1937, after short tenures of employment with the Division of Highways and the U.S. Tire Company, he opened a radio repair company in Fullerton, California. Always looking to expand and invent new and exciting electrical gadgets, Fender and Clayton Orr “Doc” Kauffman started the K & F Company in 1944. Kauffman was a musician and a former employee of the Electro String Instrument Company. The K & F Company lasted until 1946 and produced steel guitars and amplifiers. After that partnership ended, Fender founded the Fender Electric Instruments Company. With the help of George Fullerton, who joined the company in 1948, Fender developed the Fender Broadcaster. The body of the Broadcaster was made of a solid plank of ash wood. The corners of the ash body were rounded. There was a cutaway located under the joint with the solid maple neck, making it easier for the guitarist to access the higher frets. The maple neck was bolted to the body of the guitar, which was unusual, since most guitar necks prior to the Broadcaster had been glued to the body. Frets were positioned directly into designed cuts made in the maple of the neck. The guitar had two pickups. The Fender Electric Instruments Company made fewer than one thousand Broadcasters. In 1950, the name of the guitar was changed from the Broadcaster to the Telecaster, as the Gretsch company had already registered the name Broadcaster for some of its drums and banjos. Fender decided not to fight in court over use of the name. Leo Fender has been called the Henry Ford of the solid-body electric guitar, and the Telecaster became known as the Model T of the industry. The early Telecasters sold for $189.50. Besides being inexpensive, the Telecaster was a very durable instrument. Basically, the Telecaster was a continuation of the Broadcaster. Fender did not file for a patent on its unique bridge pickup until January 13, 1950, and he did not file for a patent on the Telecaster’s unique body shape until April 3, 1951. In the music industry during the late 1940’s, it was important for a company to unveil new instruments at trade shows. At this time, there was only one important trade show, sponsored by the National Association of Music Merchants. The Broadcaster was first sprung on the industry at the 1948 trade show in Chicago. The industry had seen nothing like this guitar ever before. This new guitar existed only to be amplified; it was not merely an acoustic guitar that had been converted. Impact The Telecaster, as it would be called after 1950, remained in continuous production for more years than any other guitar of its type and was one of the industry’s best sellers. From the beginning, it looked and sounded unique. The electrified acoustic guitars had a mellow woody tone, whereas the Telecaster had a clean twangy tone. This tone made it popular with country and blues guitarists. The Telecaster could also be played at higher volume than previous electric guitars. Because Leo Fender attempted something revolutionary by introducing an electric solid-body guitar, there was no guarantee that his business venture would succeed. Fender Electric Instruments Company had fifteen employees in 1947. At times, during the early years of the company, it looked as though Fender’s dreams would not come to fruition, but the company persevered and grew. Between 1948 and 1955 with an increase of employees, the company was able to produce ten thousand Broadcaster/Telecaster guitars. Fender had taken a big risk, but it paid off enormously. Between 1958 and the mid-1970’s, Fender produced more than 250,000 Telecasters. Other guitar manufacturers were placed in a position of having to catch up. Fender had succeeded in developing a process by which electric solid-body guitars could be manufactured profitably on a large scale. Early Guitar Pickups The first pickups used on a guitar can be traced back to the 1920’s and the efforts of Lloyd Loar, but there was not strong interest on the part of the American public for the guitar to be amplified. The public did not become intrigued until the 1930’s. Charlie Christian’s electric guitar performances with Benny Goodman woke up the public to the potential of this new and exciting sound. It was not until the 1950’s, though, that the electric guitar became firmly established. Leo Fender was the right man in the right place. He could not have known that his Fender guitars would help to usher in a whole new musical landscape. Since the electric guitar was the newest member of the family of guitars, it took some time for musical audiences to fully appreciate what it could do. The electric solid-body guitar has been called a dangerous, uncivilized instrument. The youth culture of the 1950’s found in this new guitar a voice for their rebellion. Fender unleashed a revolution not only in the construction of a guitar but also in the way popular music would be approached henceforth. Because of the ever-increasing demand for the Fender product, Fender Sales was established as a separate distribution company in 1953 by Don Randall. Fender Electric Instruments Company had fifteen employees in 1947, but by 1955, the company employed fifty people. By 1960, the number of employees had risen to more than one hundred. Before Leo Fender sold the company to CBS on January 4, 1965, for $13 million, the company occupied twenty-seven buildings and employed more than five hundred workers. Always interested in finding new ways of designing a more nearly perfect guitar, Leo Fender again came up with a remarkable guitar in 1954, with the Stratocaster. There was talk in the guitar industry that Fender had gone too far with the introduction of the Stratocaster, but it became a huge success because of its versatility. It was the first commercial solid-body electric guitar to have three pickups and a vibrato bar. It was also easier to play than the Telecaster because of its double cutaway, contoured body, and scooped back. The Stratocaster sold for $249.50. Since its introduction, the Stratocaster has undergone some minor changes, but Fender and his staff basically got it right the first time. The Gibson company entered the solid-body market in 1952 with the unveiling of the “Les Paul” model. After the Telecaster, the Les Paul guitar was the next significant solid-body to be introduced. Les Paul was a legendary guitarist who also had been experimenting with electric guitar designs for many years. The Gibson designers came up with a striking model that produced a thick rounded tone. Over the years, the Les Paul model has won a loyal following. The Precision Bass In 1951, Leo Fender introduced another revolutionary guitar, the Precision bass. At a cost of $195.50, the first electric bass would go on to dominate the market. The Fender company has manufactured numerous guitar models over the years, but the three that stand above all others in the field are the Telecaster, the Precision bass, and the Stratocaster. The Telecaster is considered to be more of a workhorse, whereas the Stratocaster is thought of as the thoroughbred of electric guitars. The Precision bass was in its own right a revolutionary guitar. With a styling that had been copied from the Telecaster, the Precision freed musicians from bulky oversized acoustic basses, which were prone to feedback. The name Precision had meaning. Fender’s electric bass made it possible, with its frets, for the precise playing of notes; many acoustic basses were fretless. The original Precision bass model was manufactured from 1951 to 1954. The next version lasted from 1954 until June of 1957. The Precision bass that went into production in June, 1957, with its split humbucking pickup, continued to be the standard electric bass on the market into the 1990’s. By 1964, the Fender Electric Instruments Company had grown enormously. In addition to Leo Fender, a number of crucial people worked for the organization, including George Fullerton and Don Randall. Fred Tavares joined the company’s research and development team in 1953. In May, 1954, Forrest White became Fender’s plant manager. All these individuals played vital roles in the success of Fender, but the driving force behind the scene was always Leo Fender. As Fender’s health deteriorated, Randall commenced negotiations with CBS to sell the Fender company. In January, 1965, CBS bought Fender for $13 million. Eventually, Leo Fender regained his health, and he was hired as a technical adviser by CBS/Fender. He continued in this capacity until 1970. He remained determined to create more guitar designs of note. Although he never again produced anything that could equal his previous success, he never stopped trying to attain a new perfection of guitar design. Fender died on March 21, 1991, in Fullerton, California. He had suffered for years from Parkinson’s disease, and he died of complications from the disease. He is remembered for his Broadcaster/ Telecaster, Precision bass, and Stratocaster, which revolutionized popular music. Because the Fender company was able to mass produce these and other solid-body electric guitars, new styles of music that relied on the sound made by an electric guitar exploded onto the scene. The electric guitar manufacturing business grew rapidly after Fender introduced mass production. Besides American companies, there are guitar companies that have flourished in Europe and Japan. The marriage between rock music and solid-body electric guitars was initiated by the Fender guitars. The Telecaster, Precision bass, and Stratocaster become synonymous with the explosive character of rock and roll music. The multi-billion-dollar music business can point to Fender as the pragmatic visionary who put the solid-body electric guitar into the forefront of the musical scene. His innovative guitars have been used by some of the most important guitarists of the rock era, including Jimi Hendrix, Eric Clapton, and Jeff Beck. More important, Fender guitars have remained bestsellers with the public worldwide. Amateur musicians purchased them by the thousands for their own entertainment. Owning and playing a Fender guitar, or one of the other electric guitars that followed, allowed these amateurs to feel closer to their musician idols. A large market for sheet music from popular artists also developed. In 1992, Fender was inducted into the Rock and Roll Hall of Fame. He is one of the few non-musicians ever to be inducted. The sound of an electric guitar is the sound of exuberance, and since the Broadcaster was first unveiled in 1948, that sound has grown to be pervasive and enormously profitable.