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John T. Scopes

John Thomas Scopes (August 3, 1900 – October 21, 1970) was a teacher in Dayton, Tennessee, who was charged on May 5, 1925, with violating Tennessee's Butler Act, which prohibited the teaching of human evolution in Tennessee schools. He was tried in a case known as the Scopes Trial, and was found guilty and fined $100.

Early life
Scopes was born in 1900 to Thomas Scopes and Mary Alva Brown, who lived on a farm in Paducah, Kentucky. John was their fifth child and only son. The family relocated to Danville, Illinois when he was a teenager. In 1917, he relocated to Salem, Illinois, where he was a member of the class of 1919 at Salem Community High School.

He attended the University of Illinois briefly, then quit for health reasons. He earned a degree at the University of Kentucky in 1924, with a major in law and a minor in geology.

Scopes relocated to Dayton, Tennessee where he became the Rhea County High School football coach, and occasionally served as a substitute teacher.

Trial
Scopes' involvement with the Scopes Trial occurred after the American Civil Liberties Union (ACLU) announced that it would finance a test case challenging the constitutionality of the Butler Act if it could find a Tennessee teacher who was willing to act as a defendant.

A group of businessmen in Dayton, Tennessee, especially engineer and geologist George Rappleyea, considered this an opportunity to get publicity for their town, and Rappleyea spoke with Scopes, stating that while the Butler Act prohibited the teaching of human evolution, the state required teachers to use the assigned textbook, George William Hunter's Civic Biology (1914), which included a chapter concerning evolution. Rappleyea argued that teachers were thus essentially required to violate the law. When asked about a test case, Scopes was initially reluctant to get involved. After some discussion he told the group gathered in Robinson's Drugstore, "If you can prove that I've taught evolution and that I can qualify as a defendant, then I'll be willing to stand trial".

By the time the trial had begun, the defense team included Clarence Darrow, Dudley Field Malone, John Neal, Arthur Garfield Hays and Frank McElwee. The prosecution team, directed by politician Tom Stewart, included brothers Herbert Hicks and Sue K. Hicks, Wallace Haggard, father and son pairings Ben and J. Gordon McKenzie, and William Jennings Bryan and William Jennings Bryan Jr. The elder Bryan had spoken at Scopes' high school commencement, and remembered the defendant was laughing while he was giving the address to the graduating class six years earlier.

The case ended on July 21, 1925, with a verdict of guilty, and Scopes was fined $100. The case was appealed to the Tennessee Supreme Court. In a 3–1 decision written by Chief Justice Grafton Green, the Butler Act was held to be constitutional, but the court overturned Scopes's conviction because the judge had set the fine instead of the jury. The Butler Act remained in effect until May 18, 1967, when it was repealed by the Tennessee legislature.

Scopes may have been innocent of the crime with which his name is associated. After the trial, he admitted to reporter William Kinsey Hutchinson "I didn't violate the law," explaining that he had skipped the evolution lesson and that his lawyers had coached his students to testify; the Dayton businessmen had assumed that he had violated the law. Hutchinson did not file his story until after the Scopes appeal was decided in 1927.

In 1955, the trial was fictionalized as a play titled Inherit The Wind featuring Paul Muni as a character based on Clarence Darrow and Ed Begley as a character based on William Jennings Bryan. In 1960, a movie version of the play featured Spencer Tracy as the Darrow character and Fredric March as the Bryan character.

Both the play and the movie change the facts substantially. For example, the character of Bertram Cates is shown being arrested in class, put in jail, burned in effigy by frenzied, mean-spirited, and ignorant townspeople, and taunted by a preacher. The character of Matthew Harrison Brady, an almost comical fanatic, dramatically dies of a "busted belly" while attempting to deliver his summation in a chaotic courtroom. None of these incidents happened in Dayton, Tennessee during the trial.

Life after the trial
The results of the Scopes Trial affected Scopes professionally and personally. His public image was mocked by animation, cartoons and other media during the succeeding years. Scopes himself largely shunned publicity.

During September 1925, he enrolled in the graduate school of the University of Chicago to finish his studies of geology. Evidence of harassment by the press was mentioned by Frank Thorne: "You may be interested to know that Mr. John T. Scopes of anti-evolution trial fame expects to take up the study of geology as a graduate student of Chicago this fall…Please do what you can to protect him from the importunities of Chicago reporters….He is a modest and unassuming young chap, and has been subjected to a great deal more limelight than he likes." A year later, the Tennessee Supreme Court decision of 1926 prompted the press to pursue Scopes again. During this time, he wrote to Thorne, "I am tired of fooling with them". It is evident that the media's attention was affecting Scopes emotionally.

Even worse, the Great Depression affected his career. After his graduation, he was "barred" from career opportunities in Tennessee, forcing him and his wife to relocate to his childhood home in Kentucky in about 1930.

Having failed in education, Scopes attempted to build a political career and he began an unsuccessful bid as a candidate of the Socialist Party for the U.S. House of Representatives for Kentucky's only at-large congressional campaign, during 1932. Eventually Scopes worked as an oil expert for the United Production Corporation, later known as the United Gas Corporation. There, he first worked in Beeville, Texas, then, he worked in the company's Houston office until 1940, and later, he worked in Shreveport, Louisiana, where he stayed until his death. United Gas merged into what was Pennzoil during 1968.

Scopes attended the 1960 premiere of Inherit The Wind and he also participated in the celebration of John T. Scopes Day.

Scopes and the story of his trial were featured in an episode of the television game show To Tell The Truth on October 10, 1960.

In June 1967, Scopes wrote Center of the Storm: Memoirs of John T. Scopes. The Butler Act was repealed that same year.

Personal life and death
Scopes married Mildred Elizabeth Scopes (née Walker) (1905–1990). Together they had two sons: John Thomas Jr. and William Clement "Bill".

He died of cancer on October 21, 1970, in Shreveport, Louisiana at the age of 70.

title: John T. Scopes


text:
Cecil Adams

Cecil Adams is the pseudonymous author of The Straight Dope, a popular question and answer column published in The Chicago Reader from 2 February 1973 to 2018. The true identity of Adams, whether a single individual or a group of authors, has remained secret. The Chicago Reader's 1986 trademark filing for the name "Cecil Adams" states that "Cecil Adams does not identify any particular individual but was devised as a fanciful name." As of 2008, Ed Zotti was the editor of the column. Cecil Adams is affectionately known to readers and fans (and sometimes refers to himself) as Uncle Cecil or Uncle Cece.

The column was syndicated in 31 newspapers in the United States and Canada and has been continued as a website.

The aim of the column, and now the website, is to spread general knowledge and everyday rational thinking, using a very strong and characteristically quirky sense of humor - some of it self-deprecating.

Billed as the "World's Smartest Human", Adams responded to often unusual inquiries with a high degree of humor (often directed against the questioner, sometimes sardonically), and at times carried out exhaustive research into obscure and arcane issues, urban legends, and the like. On more than one occasion, Adams was forced to retract or modify an answer when confronted by "the Teeming Millions" (Adams' term for his readers), often claiming overwork and staff shortages. On rare occasions, Adams made appearances on the Straight Dope's Message Board.

On June 27, 2018, Adams announced that the "Straight Dope" column would be ending after 45 years and over 3,400 columns. On January 13, 2023, it was announced that Cecil Adams would again be writing a column on The Straight Dope Message Board. The first column, which appeared on the same day, was titled, "Is longtermism the world’s most dangerous belief system?"

Personal details
Adams states that he has "never been photographed", and while there is at least one photo captioned with his name, the image is of Ed Zotti, who fulfilled Adams's publicity engagements. Previous editors include Mike Lenehan and Dave Kehr.

In his columns, Adams has revealed a few details of his purported personal life, including the existence of a Mrs. Adams (the FAQ section on his website states that chance references to "Mrs. Adams" may refer to his mother), that he has a brother-in-law, and that he has either children or dwarves as helpers. He has a brother. He is an accomplished traveler, and currently resides in Chicago's 47th Ward. He is also left-handed and may be balding and colorblind. He mentions having taken a class with Northwestern University English professor Bergen Evans, mentions once working as an electrician's apprentice, and a railroad machinist's helper. He also mentions attending a Catholic school. He is of Irish descent, and relaxes with Pink Floyd and Baileys.

Published works
Adams has published five collections of his The Straight Dope columns:

 * The Straight Dope (1984)
 * More of the Straight Dope (1988)
 * Return of the Straight Dope (1994)
 * Triumph of the Straight Dope (1994)
 * The Straight Dope Tells All (1998)

Zotti has also published a children's collection in The Straight Dope style entitled Know It All. Adams' columns are archived at the Straight Dope website. In 1996, the A&E Network briefly aired a show hosted by comedian Mike Lukas based on the column, also called The Straight Dope.

Over 600 articles have been posted to the site's online archive; some of these contain multiple questions and answers. Also included with the columns are quirky illustrations. Slug Signorino was the regular illustrator for The Straight Dope for forty-two years. In his illustrations, Cecil Adams is often depicted as a large turkey wearing a mortar board or, occasionally, as a man in underwear with a paper bag over his head.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Cecil Adams


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Hacker culture

The hacker culture is a subculture of individuals who enjoy—often in collective effort—the intellectual challenge of creatively overcoming the limitations of software systems or electronic hardware (mostly digital electronics), to achieve novel and clever outcomes. The act of engaging in activities (such as programming or other media ) in a spirit of playfulness and exploration is termed hacking. However, the defining characteristic of a hacker is not the activities performed themselves (e.g. programming), but how it is done and whether it is exciting and meaningful. Activities of playful cleverness can be said to have "hack value" and therefore the term "hacks" came about, with early examples including pranks at MIT done by students to demonstrate their technical aptitude and cleverness. The hacker culture originally emerged in academia in the 1960s around the Massachusetts Institute of Technology (MIT)'s Tech Model Railroad Club (TMRC) and MIT Artificial Intelligence Laboratory. Hacking originally involved entering restricted areas in a clever way without causing any major damage. Some famous hacks at the Massachusetts Institute of Technology were placing of a campus police cruiser on the roof of the Great Dome and converting the Great Dome into R2-D2.

Richard Stallman explains about hackers who program:

"What they had in common was mainly love of excellence and programming. They wanted to make their programs that they used be as good as they could. They also wanted to make them do neat things. They wanted to be able to do something in a more exciting way than anyone believed possible and show "Look how wonderful this is. I bet you didn't believe this could be done.""

Hackers from this subculture tend to emphatically differentiate themselves from whom they pejoratively call "crackers"; those who are generally referred to by media and members of the general public using the term "hacker", and whose primary focus—be it to malign or for malevolent purposes—lies in exploiting weaknesses in computer security.

Definition
The Jargon File, an influential but not universally accepted compendium of hacker slang, defines hacker as "A person who enjoys exploring the details of programmable systems and stretching their capabilities, as opposed to most users, who prefer to learn only the minimum necessary." The Request for Comments (RFC) 1392, the Internet Users' Glossary, amplifies this meaning as "A person who delights in having an intimate understanding of the internal workings of a system, computers and computer networks in particular."

As documented in the Jargon File, these hackers are disappointed by the mass media and general public's usage of the word hacker to refer to security breakers, calling them "crackers" instead. This includes both "good" crackers ("white hat hackers"), who use their computer security-related skills and knowledge to learn more about how systems and networks work and to help to discover and fix security holes, as well as those more "evil" crackers ("black hat hackers"), who use the same skills to author harmful software (such as viruses or trojans) and illegally infiltrate secure systems with the intention of doing harm to the system. The programmer subculture of hackers, in contrast to the cracker community, generally sees computer security-related activities as contrary to the ideals of the original and true meaning of the hacker term, that instead related to playful cleverness.

History
The word "hacker" derives from the Late Middle English words hackere, hakker, or hakkere - one who cuts wood, woodchopper, or woodcutter.

Although the idea of "hacking", in the modern sense, existed long before the modern term "hacker"—with the most notable example of Lightning Ellsworth, it was not a word that the first programmers used to describe themselves. In fact, many of the first programmers were from engineering or physics backgrounds.

There was a growing awareness of a style of programming different from the cut and dried methods employed at first, but it was not until the 1960s that the term "hackers" began to be used to describe proficient computer programmers. Therefore, the fundamental characteristic that links all who identify themselves as hackers is that each is someone who enjoys "…the intellectual challenge of creatively overcoming and circumventing limitations of programming systems and who tries to extend their capabilities" (47). With this definition in mind, it can be clear where the negative implications of the word "hacker" and the subculture of "hackers" came from.

Some common nicknames among this culture include "crackers", who are considered to be unskilled thieves who mainly rely on luck, and "phreaks", which refers to skilled crackers and "warez d00dz" (crackers who acquire reproductions of copyrighted software). Hackers who are hired to test security are called "pentesters" or "tiger teams".

Before communications between computers and computer users were as networked as they are now, there were multiple independent and parallel hacker subcultures, often unaware or only partially aware of each other's existence. All of these had certain important traits in common:

 * Creating software and sharing it with each other
 * Placing a high value on freedom of inquiry
 * Hostility to secrecy
 * Information-sharing as both an ideal and a practical strategy
 * Upholding the right to fork
 * Emphasis on rationality
 * Distaste for authority
 * Playful cleverness, taking the serious humorously and humor seriously

These sorts of subcultures were commonly found at academic settings such as college campuses. The MIT Artificial Intelligence Laboratory, the University of California, Berkeley and Carnegie Mellon University were particularly well-known hotbeds of early hacker culture. They evolved in parallel, and largely unconsciously, until the Internet, where a legendary PDP-10 machine at MIT, called AI, that was running ITS, provided an early meeting point of the hacker community. This and other developments such as the rise of the free software movement and community drew together a critically large population and encouraged the spread of a conscious, common, and systematic ethos. Symptomatic of this evolution were an increasing adoption of common slang and a shared view of history, similar to the way in which other occupational groups have professionalized themselves, but without the formal credentialing process characteristic of most professional groups.

Over time, the academic hacker subculture has tended to become more conscious, more cohesive, and better organized. The most important consciousness-raising moments have included the composition of the first Jargon File in 1973, the promulgation of the GNU Manifesto in 1985, and the publication of Eric Raymond's The Cathedral and the Bazaar in 1997. Correlated with this has been the gradual recognition of a set of shared culture heroes, including: Bill Joy, Donald Knuth, Dennis Ritchie, Alan Kay, Ken Thompson, Richard M. Stallman, Linus Torvalds, Larry Wall, and Guido van Rossum.

The concentration of academic hacker subculture has paralleled and partly been driven by the commoditization of computer and networking technology, and has, in turn, accelerated that process. In 1975, hackerdom was scattered across several different families of operating systems and disparate networks; today it is largely a Unix and TCP/IP phenomenon, and is concentrated around various operating systems based on free software and open-source software development.

Ethics and principles
Many of the values and tenets of the free and open source software movement stem from the hacker ethics that originated at MIT and at the Homebrew Computer Club. The hacker ethics were chronicled by Steven Levy in Hackers: Heroes of the Computer Revolution and in other texts in which Levy formulates and summarizes general hacker attitudes:
 * Access to computers-and anything that might teach you something about the way the world works-should be unlimited and total.
 * All information should be free.
 * Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race, or position.
 * You can create art and beauty on a computer.
 * Computers can change your life for the better.

Hacker ethics are concerned primarily with sharing, openness, collaboration, and engaging in the hands-on imperative.

Linus Torvalds, one of the leaders of the open source movement (known primarily for developing the Linux kernel), has noted in the book The Hacker Ethic that these principles have evolved from the known Protestant ethics and incorporates the spirits of capitalism, as introduced in the early 20th century by Max Weber.

Hack value is the notion used by hackers to express that something is worth doing or is interesting. This is something that hackers often feel intuitively about a problem or solution.

An aspect of hack value is performing feats for the sake of showing that they can be done, even if others think it is difficult. Using things in a unique way outside their intended purpose is often perceived as having hack value. Examples are using a dot matrix impact printer to produce musical notes, using a flatbed scanner to take ultra-high-resolution photographs or using an optical mouse as barcode reader.

A solution or feat has "hack value" if it is done in a way that has finesse, cleverness or brilliance, which makes creativity an essential part of the meaning. For example, picking a difficult lock has hack value; smashing it does not. As another example, proving Fermat's Last Theorem by linking together most of modern mathematics has hack value; solving a combinatorial problem by exhaustively trying all possibilities does not. Hacking is not using process of elimination to find a solution; it's the process of finding a clever solution to a problem.

Uses
While using hacker to refer to someone who enjoys playful cleverness is most often applied to computer programmers, it is sometimes used for people who apply the same attitude to other fields. For example, Richard Stallman describes the silent composition 4′33″ by John Cage and the 14th-century palindromic three-part piece "Ma Fin Est Mon Commencement" by Guillaume de Machaut as hacks. According to the Jargon File, the word hacker was used in a similar sense among radio amateurs in the 1950s, predating the software hacking community.

Programming
The Boston Globe in 1984 defined "hackers" as "computer nuts". In their programmer subculture, a hacker is a person who follows a spirit of playful cleverness and loves programming. It is found in an originally academic movement unrelated to computer security and most visibly associated with free software, open source and demoscene. It also has a hacker ethic, based on the idea that writing software and sharing the result on a voluntary basis is a good idea, and that information should be free, but that it's not up to the hacker to make it free by breaking into private computer systems. This hacker ethic was publicized and perhaps originated in Steven Levy's Hackers: Heroes of the Computer Revolution (1984). It contains a codification of its principles.

The programmer subculture of hackers disassociates from the mass media's pejorative use of the word 'hacker' referring to computer security, and usually prefer the term 'cracker' for that meaning. Complaints about supposed mainstream misuse started as early as 1983, when media used "hacker" to refer to the computer criminals involved in The 414s case.

In the programmer subculture of hackers, a computer hacker is a person who enjoys designing software and building programs with a sense for aesthetics and playful cleverness. The term hack in this sense can be traced back to "describe the elaborate college pranks that...students would regularly devise" (Levy, 1984 p. 10). To be considered a 'hack' was an honor among like-minded peers as "to qualify as a hack, the feat must be imbued with innovation, style and technical virtuosity" (Levy, 1984 p. 10) The MIT Tech Model Railroad Club Dictionary defined hack in 1959 (not yet in a computer context) as "1) an article or project without constructive end; 2) a project undertaken on bad self-advice; 3) an entropy booster; 4) to produce, or attempt to produce, a hack(3)", and "hacker" was defined as "one who hacks, or makes them". Much of TMRC's jargon was later imported into early computing culture, because the club started using a DEC PDP-1 and applied its local model railroad slang in this computing context. Initially incomprehensible to outsiders, the slang also became popular in MIT's computing environments beyond the club. Other examples of jargon imported from the club are 'losing' ("when a piece of equipment is not working") and 'munged' ("when a piece of equipment is ruined").

Others did not always view hackers with approval. MIT living groups in 1989 avoided advertising their sophisticated Project Athena workstations to prospective members because they wanted residents who were interested in people, not computers, with one fraternity member stating that "We were worried about the hacker subculture".

According to Eric S. Raymond, the Open Source and Free Software hacker subculture developed in the 1960s among 'academic hackers' working on early minicomputers in computer science environments in the United States.

Hackers were influenced by and absorbed many ideas of key technological developments and the people associated with them. Most notable is the technical culture of the pioneers of the ARPANET, starting in 1969. The PDP-10 AI machine at MIT, running the ITS operating system and connected to the ARPANET, provided an early hacker meeting point. After 1980 the subculture coalesced with the culture of Unix. Since the mid-1990s, it has been largely coincident with what is now called the free software and open source movement.

Many programmers have been labeled "great hackers", but the specifics of who that label applies to is a matter of opinion. Certainly major contributors to computer science such as Edsger Dijkstra and Donald Knuth, as well as the inventors of popular software such as Linus Torvalds (Linux), and Ken Thompson and Dennis Ritchie (Unix and C programming language) are likely to be included in any such list; see also List of programmers. People primarily known for their contributions to the consciousness of the programmer subculture of hackers include Richard Stallman, the founder of the free software movement and the GNU project, president of the Free Software Foundation and author of the famous Emacs text editor as well as the GNU Compiler Collection (GCC), and Eric S. Raymond, one of the founders of the Open Source Initiative and writer of the famous text The Cathedral and the Bazaar and many other essays, maintainer of the Jargon File (which was previously maintained by Guy L. Steele, Jr.).

Within the computer programmer subculture of hackers, the term hacker is also used for a programmer who reaches a goal by employing a series of modifications to extend existing code or resources. In this sense, it can have a negative connotation of using inelegant kludges to accomplish programming tasks that are quick, but ugly, inelegant, difficult to extend, hard to maintain and inefficient. This derogatory form of the noun "hack" derives from the everyday English sense "to cut or shape by or as if by crude or ruthless strokes" [Merriam-Webster] and is even used among users of the positive sense of "hacker" who produces "cool" or "neat" hacks. In other words, to "hack" at an original creation, as if with an axe, is to force-fit it into being usable for a task not intended by the original creator, and a "hacker" would be someone who does this habitually. (The original creator and the hacker may be the same person.) This usage is common in both programming, engineering and building. In programming, hacking in this sense appears to be tolerated and seen as a necessary compromise in many situations. Some argue that it should not be, due to this negative meaning; others argue that some kludges can, for all their ugliness and imperfection, still have "hack value".

In non-software engineering, the culture is less tolerant of unmaintainable solutions, even when intended to be temporary, and describing someone as a "hacker" might imply that they lack professionalism. In this sense, the term has no real positive connotations, except for the idea that the hacker is capable of doing modifications that allow a system to work in the short term, and so has some sort of marketable skills. However, there is always the understanding that a more skillful or technical logician could have produced successful modifications that would not be considered a "hack-job". The definition is similar to other, non-computer based uses of the term "hack-job". For instance, a professional modification of a production sports car into a racing machine would not be considered a hack-job, but a cobbled together backyard mechanic's result could be. Even though the outcome of a race of the two machines could not be assumed, a quick inspection would instantly reveal the difference in the level of professionalism of the designers. The adjective associated with hacker is "hackish" (see the Jargon file).

In a very universal sense, hacker also means someone who makes things work beyond perceived limits in a clever way in general, without necessarily referring to computers, especially at MIT. That is, people who apply the creative attitude of software hackers in fields other than computing. This includes even activities that predate computer hacking, for example reality hackers or urban spelunkers (exploring undocumented or unauthorized areas in buildings). One specific example is clever pranks traditionally perpetrated by MIT students, with the perpetrator being called hacker. For example, when MIT students surreptitiously put a fake police car atop the dome on MIT's Building 10, that was a hack in this sense, and the students involved were therefore hackers. Other types of hacking are reality hackers, wetware hackers ("hack your brain"), and media hackers ("hack your reputation"). In a similar vein, a "hack" may refer to a math hack, that is, a clever solution to a mathematical problem. All of these uses have spread beyond MIT.

Ethical Hacking
CSO Online defined ethical hacking as going into devices and computer systems belonging to an organization, with its explicit permissions, to assess and test the efficacy of the organization's cybersecurity defenses. Generally, organizations engage the services of ethical hackers either through third-party cybersecurity firms or under contract. Their main job is to identify and fix security gaps before threat-actors find them and exploit them. This proactive approach to cybersecurity testing leads to significant cost savings for organizations.

Ethical hacking is the process of software engines running real-world cyber threats to assess the survivability of a company's digital structure. Ethical hackers play the role of cyber attackers by executing assessments, penetration tests, and modeling tactics, techniques, and procedures used by threat-actors. This careful examination provides an organization with the identification of weaknesses in its security systems, enabling the organization to employ necessary measures towards fortifying its defense.

Cyber-attacks can have significant financial implications for a company. On average, a successful cyber-attack may cost a large organization as much as $8,640,000. In such cases, the organizations could have been saved from these gigantic financial losses by identifying and fixing the vulnerabilities discovered by an ethical hacker. Moreover, for smaller organizations, the impact can be even more dramatic as it can potentially save the business's very existence.

Furthermore, the act of ethical hacking also molds the larger hacker culture. Hacking skills, traditionally associated with breaking the law, have changed dramatically with the emergence of ethical hacking. Ethical hacking helped legitimize hacking skills which can now be talked about publicly. This shift challenges the stereotypical perception of hackers as criminals, allowing for greater emphasis on their positive contributions to cybersecurity. Ethical hacking has drastically changed the public perception of hackers. Rather than viewing persons with hacker skills as perpetrators of cybercrime, they can be viewed as part of the solution in fighting against cybercrime. The ethical hacker with knowledge and expertise stands as guardian to the digital assets, working beforehand alongside organizations to build up a more secure online landscape.

Ethical hacking is not only a proactive defense for organizations but also brings about the desired cultural revolution within the realm of the hacking fraternity. Ethical hacking, on its part through focusing on the constructive application of hacking skills, has become an integral activity in the collective effort towards fortification of cybersecurity and redefining hackers' image in the public eye.

Home computing enthusiasts
In yet another context, a hacker is a computer hobbyist who pushes the limits of software or hardware. The home computer hacking subculture relates to the hobbyist home computing of the late 1970s, beginning with the availability of MITS Altair. An influential organization was the Homebrew Computer Club. However, its roots go back further to amateur radio enthusiasts. The amateur radio slang referred to creatively tinkering to improve performance as "hacking" already in the 1950s.

A large overlaps between hobbyist hackers and the programmer subculture hackers existed during the Homebrew Club's days, but the interests and values of both communities somewhat diverged. Today, the hobbyists focus on commercial computer and video games, software cracking and exceptional computer programming (demo scene). Also of interest to some members of this group is the modification of computer hardware and other electronic devices, see modding.

Electronics hobbyists working on machines other than computers also fall into this category. This includes people who do simple modifications to graphing calculators, video game consoles, electronic musical keyboards or other device (see CueCat for a notorious example) to expose or add functionality to a device that was unintended for use by end users by the company who created it. A number of techno musicians have modified 1980s-era Casio SK-1 sampling keyboards to create unusual sounds by doing circuit bending: connecting wires to different leads of the integrated circuit chips. The results of these DIY experiments range from opening up previously inaccessible features that were part of the chip design to producing the strange, dis-harmonic digital tones that became part of the techno music style. Companies take different attitudes towards such practices, ranging from open acceptance (such as Texas Instruments for its graphing calculators and Lego for its Lego Mindstorms robotics gear) to outright hostility (such as Microsoft's attempts to lock out Xbox hackers or the DRM routines on Blu-ray Disc players designed to sabotage compromised players.)

In this context, a "hack" refers to a program that (sometimes illegally) modifies another program, often a video game, giving the user access to features otherwise inaccessible to them. As an example of this use, for Palm OS users (until the 4th iteration of this operating system), a "hack" refers to an extension of the operating system which provides additional functionality. Term also refers to those people who cheat on video games using special software. This can also refer to the jailbreaking of iPhones.

Hacker artists
Hacker artists create art by hacking on technology as an artistic medium. This has extended the definition of the term and what it means to be a hacker. Such artists may work with graphics, computer hardware, sculpture, music and other audio, animation, video, software, simulations, mathematics, reactive sensory systems, text, poetry, literature, or any combination thereof.

Dartmouth College musician Larry Polansky states: "Technology and art are inextricably related. Many musicians, video artists, graphic artists, and even poets who work with technology—whether designing it or using it—consider themselves to be part of the 'hacker community.' Computer artists, like non-art hackers, often find themselves on society's fringes, developing strange, innovative uses of existing technology. There is an empathetic relationship between those, for example, who design experimental music software and hackers who write communications freeware."

Another description is offered by Jenny Marketou: "Hacker artists operate as culture hackers who manipulate existing techno-semiotic structures towards a different end, to get inside cultural systems on the net and make them do things they were never intended to do."

A successful software and hardware hacker artist is Mark Lottor (mkl), who has created the 3-D light art projects entitled the Cubatron, and the Big Round Cubatron. This art is made using custom computer technology, with specially designed circuit boards and programming for microprocessor chips to manipulate the LED lights.

Don Hopkins is a software hacker artist well known for his artistic cellular automata. This art, created by a cellular automata computer program, generates objects which randomly bump into each other and in turn create more objects and designs, similar to a lava lamp, except that the parts change color and form through interaction. Hopkins Says: "Cellular automata are simple rules that are applied to a grid of cells, or the pixel values of an image. The same rule is applied to every cell, to determine its next state, based on the previous state of that cell and its neighboring cells. There are many interesting cellular automata rules, and they all look very different, with amazing animated dynamic effects. 'Life' is a widely known cellular automata rule, but many other lesser known rules are much more interesting."

Some hacker artists create art by writing computer code, and others, by developing hardware. Some create with existing software tools such as Adobe Photoshop or GIMP.

The creative process of hacker artists can be more abstract than artists using non-technological media. For example, mathematicians have produced visually stunning graphic presentations of fractals, which hackers have further enhanced, often producing detailed and intricate graphics and animations from simple mathematical formulas.

Art

 * Burning Man Festival
 * Computer art
 * Computer music
 * Digital art
 * Demoscene
 * Electronic art
 * Electronic art music
 * Electronica
 * Experiments in Art and Technology
 * Generative art
 * Internet art
 * Maker movement
 * Media art
 * Robotic art
 * Software art

Hacker art mentions

 * "Vector in Open Space" by Gerfried Stocker 1996.
 * Switch|Journal Jun 14 1998.
 * Eye Weekly "Tag – who's it?" by Ingrid Hein, July 16, 1998.
 * Linux Today "Playing the Open Source Game" by Shawn Hargreaves, Jul 5, 1999.
 * Canterbury Christ Church University Library Resources by Subject – Art & Design, 2001.
 * SuperCollider Workshop / Seminar Joel Ryan describes collaboration with hacker artists of Silicon Valley. 21 March 2002
 * Anthony Barker's Weblog on Linux, Technology and the Economy "Why Geeks Love Linux", Sept 2003.
 * Live Art Research Gesture and Response in Field-Based Performance by Sha Xin Wei & Satinder Gill, 2005.
 * Hackers, Who Are They "The Hackers Identity", October 2014.

title: Hacker culture


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Talk:Marillion

Possibly useful ref re crowdfunding?
This article was published today (I have no connection, just a long-standing Marillion fan!)

 * http://www.virgin.com/music/how-marillion-pioneered-crowdfunding-in-music

The article not only hints that Marillion effectively invented crowdfunding, but that this will be one of their greatest legacies.

With that in mind, perhaps there should be a section of the article highlighting this important aspect of the band?

EdJogg (talk) 14:34, 20 October 2014 (UTC) Not watching, but contactable via email.

Rachel Cooke
Does she really deserve the attention in this article? What's the point in including a sentence about a writer insulting a band's fans?

Also, I looked at the archives and it's funny to see somebody being torn down for comparing latter-day Marillion to Radiohead and Muse... Jules TH 16 (talk) 21:57, 23 March 2021 (UTC) 21:57, 23 March 2021 (UTC)

Orphaned references in Marillion
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Marillion's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "UKchart": From Genesis (band):  From The Dream of the Blue Turtles:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 08:38, 9 January 2023 (UTC)

Original lead singer
Fish was not the original lead singer, Doug Irvine was. LeapUK (talk) 17:36, 15 April 2023 (UTC)

title: Talk:Marillion


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Pierre Monteux

Pierre Benjamin Monteux (4 April 1875 – 1 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907. He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, The Nightingale, Ravel's Daphnis et Chloé, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century.

From 1917 to 1919 Monteux was the principal conductor of the French repertoire at the Metropolitan Opera in New York. He conducted the Boston Symphony Orchestra (1919–24), Amsterdam Concertgebouw Orchestra (1924–34), Orchestre Symphonique de Paris (1929–38) and San Francisco Symphony (1936–52). In 1961, aged eighty-six, he accepted the chief conductorship of the London Symphony Orchestra, a post which he held until his death three years later. Although he was known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms. He disliked recording, finding it incompatible with spontaneity, but he nevertheless made a substantial number of records.

Monteux was well known as a teacher. In 1932 he began a conducting class in Paris, which he developed into a summer school that was later moved to his summer home in Les Baux in the south of France. After moving permanently to the US in 1942 and taking American citizenship, he founded a school for conductors and orchestral musicians in Hancock, Maine. Among his students in France and America who went on to international fame were Lorin Maazel, Igor Markevitch, Neville Marriner, Seiji Ozawa, André Previn and David Zinman. The school in Hancock has continued since Monteux's death.

Early years
Pierre Monteux was born in Paris, the third son and the fifth of six children of Gustave Élie Monteux, a shoe salesman, and his wife, Clémence Rebecca née Brisac. The Monteux family was descended from Sephardic Jews who settled in the south of France. The Monteux ancestors included at least one rabbi, but Gustave Monteux and his family were not religious. Among Monteux's brothers were Henri, who became an actor, and Paul (1862-1928), who became a conductor of light music under the name Paul Monteux-Brisac. Gustave Monteux was not musical, but his wife was a graduate of the Conservatoire de Musique de Marseille and gave piano lessons. Pierre took violin lessons from the age of six.

When he was nine years old Monteux was admitted to the Conservatoire de Paris. He studied the violin with Jules Garcin and Henri Berthelier, composition with Charles Lenepveu, and harmony and theory with Albert Lavignac. His fellow violin students included George Enescu, Carl Flesch, Fritz Kreisler and Jacques Thibaud. Among the piano students at the Conservatoire was Alfred Cortot, with whom he developed a lifelong friendship. At the age of twelve, Monteux organised and conducted a small orchestra of Conservatoire students to accompany Cortot in performances of concertos in and around Paris. He attended the world premiere of César Franck's Symphony in February 1889. From 1889 to 1892, while still a student, he played in the orchestra of the Folies Bergère; he later said to George Gershwin that his rhythmic sense was formed during the experience of playing popular dance music there.

At the age of fifteen, while continuing his violin studies, Monteux took up the viola. He studied privately with Benjamin Godard, with whom he performed in the premiere of Saint-Saëns's Septet, with the composer at the keyboard. Monteux joined the Geloso Quartet as violist; he played many concerts with them, including a performance of Fauré's Second Piano Quartet with the composer at the piano. On another occasion he was the violist in a private performance of a Brahms quartet given before the composer in Vienna. Monteux recalled Brahms's remark, "It takes the French to play my music properly. The Germans all play it much too heavily." Monteux remained a member of the Geloso Quartet until 1911. With Johannes Wolff and Joseph Hollman he also played chamber music for Grieg. Years later, in his seventies, Monteux deputised with the Budapest Quartet without rehearsal or score; asked by Erik Smith if he could write out the parts of the seventeen Beethoven quartets, he replied, "You know, I cannot forget them."

In 1893, when he was eighteen, Monteux married a fellow student, the pianist Victoria Barrière. With her he played the complete Beethoven violin sonatas in public. Neither family approved of the marriage; although the Monteux family were not religious, both they and the Roman Catholic Barrières were doubtful about an inter-religious marriage; furthermore, both families thought the couple too young to marry. There were a son and a daughter from the union.

During his formative years Monteux belonged to a group which toured with the Casadesus family of musicians and the pianist Alfredo Casella. The combination played supposed "ancient pieces", allegedly discovered in libraries by one or other of the Casadesus family; Marius Casadesus later revealed that he or his brother Henri had written the music. While still a student, in 1893 Monteux was successful in the competition for the chair of first viola of the Concerts Colonne, of which he became assistant conductor and choirmaster the following year. This gave him a link via the orchestra's founder, Édouard Colonne, to Berlioz. Colonne had known Berlioz, and through the older conductor Monteux was able to mark his scores with notes based on the composer's intentions. He was also employed on a freelance basis at the Opéra-Comique, where he continued to play from time to time for several years; he led the viola section at the 1902 premiere of Pelléas et Mélisande under the baton of André Messager. In 1896 he graduated from the Conservatoire, sharing first prize for violin with Thibaud.

First conducting posts
Monteux's first high-profile conducting experience came in 1895, when he was barely 20 years old. He was a member of the orchestra engaged for a performance of Saint-Saëns's oratorio La lyre et la harpe, to be conducted by the composer. At the last minute Saint-Saëns judged the player engaged for the important and difficult organ part to be inadequate and, as a celebrated virtuoso organist, decided to play it himself. He asked the orchestra if any of them could take over as conductor; there was a chorus of "Oui – Monteux!". With great trepidation, Monteux conducted the orchestra and soloists including the composer, sight-reading the score, and was judged a success.

Monteux's musical career was interrupted in 1896, when he was called up for military service. As a graduate of the Conservatoire, one of France's grandes écoles, he was required to serve only ten months rather than the three years generally required. He later described himself as "the most pitifully inadequate soldier that the 132nd Infantry had ever seen". He had inherited from his mother not only her musical talent but her short and portly build and was physically unsuited to soldiering.

Returning to Paris after discharge, Monteux resumed his career as a violist. Hans Richter invited him to lead the violas in the Bayreuth Festival orchestra, but Monteux could not afford to leave his regular work in Paris. In December 1900 Monteux played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl. In 1902 he secured a junior conducting post at the Dieppe casino, a seasonal appointment for the summer months which brought him into contact with leading musicians from the Paris orchestras and well-known soloists on vacation. By 1907 he was the principal conductor at Dieppe, in charge of operas and orchestral concerts. As an orchestral conductor he modelled his technique on that of Arthur Nikisch, under whose baton he had played, and who was his ideal conductor.

Ballets Russes
For some time, Monteux's marriage had been under strain, exacerbated by his wife's frequent absences on concert tours. The couple were divorced in 1909; Monteux married one of her former pupils, Germaine Benedictus, the following year.

Monteux continued to play in the Concerts Colonne through the first decade of the century. In 1910 Colonne died and was succeeded as principal conductor by Gabriel Pierné. As well as leading the violas, Monteux was assistant conductor, taking charge of early rehearsals and acting as chorus master for choral works. In 1910 the orchestra was engaged to play for a Paris season given by Sergei Diaghilev's ballet company, the Ballets Russes. Monteux played under Pierné in the world premiere of Stravinsky's The Firebird. In 1911 Diaghilev engaged Nikolai Tcherepnin to conduct the premiere of Stravinsky's Petrushka. Monteux conducted the preliminary rehearsals before Tcherepnin arrived; Stravinsky was so impressed that he insisted that Monteux conduct the premiere.

Petrushka was part of a triple bill, all conducted by Monteux. The other two pieces were Le Spectre de la Rose and Scheherazade, a balletic adaptation of Rimsky-Korsakov's symphonic suite of the same name. The three works were choreographed by Fokine. In later years Monteux disapproved of the appropriation of symphonic music for ballets, but he made an exception for Scheherazade, and, as his biographer John Canarina observes, at that stage in his career his views on the matter carried little weight. Petrushka was a success with the public and with all but the most diehard conservative critics.

Following the Paris season Diaghilev appointed Monteux principal conductor for a tour of Europe in late 1911 and early 1912. It began with a five-week season at the Royal Opera House in London. The press notices concentrated on the dancers, who included Anna Pavlova as well as the regular stars of the Ballets Russes, but Monteux received some words of praise. The Times commented on the excellent unanimity he secured from the players, apart from "occasional uncertainty in the changes of tempo."

After its season in London the company performed in Vienna, Budapest, Prague and Berlin. The tour was successful, artistically and financially, but was not without untoward incident. A planned visit to St Petersburg had to be cancelled because the Narodny Dom theatre burned down, and in Vienna the Philharmonic was unequal to the difficulties of the score of Petrushka. The illustrious orchestra revolted at the rehearsal for the first performance, refusing to play for Monteux; only an intervention by Diaghilev restored the rehearsal, by the end of which Monteux was applauded and Stravinsky given an ovation. In the middle of the tour Monteux was briefly summoned back to Paris by the Concerts Colonne, which had the contractual right to recall him, to deputise for Pierné; his own deputy, Désiré-Émile Inghelbrecht, took temporary musical charge of the Ballets Russes.

In May 1912 Diaghilev's company returned to Paris. Monteux was the conductor for the two outstanding works of the season, Vaslav Nijinsky's ballet version of Debussy's Prélude à l'après-midi d'un faune, made with the composer's approval, and Fokine's Daphnis et Chloé to a score commissioned from Ravel. Monteux later recalled "Debussy was behind me when we played L'après midi d'un faune because he did not want anything in his score to be changed on account of the dancing. And when we came to a forte, he said 'Monteux, that is a forte, play forte'. He did not want anything shimmering. And he wanted everything exactly in time".

In February and March 1913 the Ballets Russes presented another London season. As in 1911, the local orchestra engaged was the Beecham Symphony Orchestra. The orchestra's founder, Thomas Beecham, shared the conducting with Monteux. At the end of February Beecham had to take over Petrushka when Monteux suddenly hastened to Paris for four days to be with his wife on the birth of their daughter, Denise.

The Rite of Spring
During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano: "I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did."

Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Théâtre des Champs-Élysées to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". The dress rehearsal, with Debussy, Ravel, other musicians and critics among those present, passed without incident. However, the following evening the premiere provoked something approaching a riot, with loud verbal abuse of the work, counter-shouts from supporters, and fisticuffs breaking out. Monteux pressed on, continuing to conduct the orchestra regardless of the turmoil behind him. Stravinsky wrote "The image of Monteux's back is more vivid in my mind today than the picture of the stage. He stood there apparently impervious and as nerveless as a crocodile. It is still incredible to me that he actually brought the orchestra through to the end." The extensive press coverage of the incident made Monteux "at age thirty-eight, truly a famous conductor". The company presented the Rite during its London season a few weeks later. The Times reported that although there was "something like a hostile reception" at the first London performance, the final performance in the season "was received with scarcely a sign of opposition". Before the 1913 London performances, Monteux challenged Diaghilev's authority by declaring that he, not the impresario, was the composer's representative in matters related to The Rite of Spring.

Monteux believed that most of the anger aroused by the work was due not to the music but to Nijinsky's choreography, described by Stravinsky as "knock-kneed and long-haired Lolitas jumping up and down". With the composer's agreement Monteux presented a concert performance in Paris in April 1914. Saint-Saëns, who was present, declared Stravinsky mad and left in a rage, but he was almost alone in his dislike. At the end Stravinsky was carried shoulder-high from the theatre after what he described as "the most beautiful performance that I have had of the Sacre du printemps". That performance was part of a series of "Concerts Monteux", presented between February and April 1914, in which Monteux conducted the orchestra of the Théâtre des Champs-Élysées in a wide range of symphonic and concertante works, including the concert premiere of the orchestral version of Ravel's Valses nobles et sentimentales. His last notable engagement before the outbreak of war was as conductor of the premiere of Stravinsky's opera The Nightingale at the Palais Garnier.

The Met and Boston
After the outbreak of the First World War Monteux was again conscripted into the army, serving as a private in the 35th Territorial Regiment, with which he saw action in the trenches at Verdun, Soissons and the Argonne. He later described much of this period as one of "filth and boredom", although he formed a scratch band to divert his fellow soldiers. After just over two years on active service he was released from military duties after Diaghilev prevailed on the French government to second Monteux to conduct the Ballets Russes on a North American tour. The tour took in fifty-four cities in the US and Canada. In New York in 1916 Monteux refused to conduct Nijinsky's new ballet Till Eulenspiegel as the music was by a German – Richard Strauss – so a conductor had to be engaged for those performances. At the end of the tour Monteux was offered a three-year contract to conduct the French repertoire at the Metropolitan Opera in New York, and received the permission of the French government to remain in the US.

At the Met (as the Metropolitan Opera is generally called), Monteux conducted familiar French works such as Faust, Carmen and Samson and Delilah, with singers including Enrico Caruso, Geraldine Farrar, Louise Homer and Giovanni Martinelli. Of his first appearance, The New York Times said, "Mr. Monteux conducted with skill and authority. He made it evident that he had ample knowledge of the score and control of the orchestra – an unmistakably rhythmic beat, a sense of dramatic values." Monteux conducted the American premieres of Rimsky-Korsakov's The Golden Cockerel, and Henri Rabaud's Mârouf, savetier du Caire. The American premiere of Petrushka, in a new production by, and starring, Adolph Bolm, was in an unusual opera-ballet double bill with La traviata. Monteux's performances were well received, but, though he later returned to the Met as a guest, opera did not loom large in his career. He said, "I love conducting opera. The only trouble is that I hate the atmosphere of the opera house, where only too often music is the least of many considerations, from staging to the temperaments of the principal singers." Nor was he drawn to further engagements as a ballet conductor: "it offers special problems of fitting in with the dances and the dancers, most of whom, I'm sorry to say, seem to have musical appreciation confined to an ability to count beats." Nonetheless he occasionally conducted ballet performances, and even in his concert performances of the ballet scores he had conducted for Diaghilev he said he always had the dancers in his mind's eye. In 1919 Monteux was appointed chief conductor of the Boston Symphony Orchestra. The orchestra was going through difficult times; its conductor, Karl Muck, had been forced by anti-German agitation to step down in 1917. Sir Henry Wood turned down the post, and despite press speculation neither Sergei Rachmaninoff nor Arturo Toscanini was appointed. At least twenty-four players of German heritage had been forced out with Muck, and orchestral morale was low. Shortly before Monteux took up the conductorship the autocratic founder and proprietor of the orchestra, Henry Lee Higginson, died. He had steadfastly resisted unionisation, and after his death a substantial minority of the players resumed the struggle for union recognition. More than thirty players, including two important principals, resigned over the matter. Monteux set about rebuilding the orchestra, auditioning players from all kinds of musical background, some of whom had not played symphonic music before. By the end of his first season he had restored the orchestra to something approaching its normal complement. He trained the orchestra to a high standard; according to the critic Neville Cardus, Monteux's musicianship "made the Boston Symphony Orchestra the most refined and musical in the world."

Monteux regularly introduced new compositions in Boston, often works by American, English and French composers. He was proud of the number of novelties presented in his years at Boston, and expressed pleasure that his successors continued the practice. He was dismayed when it was announced that his contract would not be renewed after 1924. The official explanation was that the orchestra's policy had always been to appoint conductors for no more than five years. It is unclear whether that was genuinely the reason. One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with greater box-office appeal. Another is that the primmer members of Boston society disapproved of Monteux's morals: he and his second wife had gradually drifted apart and by 1924 he was living with Doris Hodgkins, an American divorcée, and her two children. They were unable to marry until 1928, when Germaine Monteux finally agreed to a divorce.

Amsterdam and Paris
In 1924, Monteux began a ten-year association with the Concertgebouw Orchestra of Amsterdam, serving as "first conductor" ("eerste dirigent") alongside Willem Mengelberg, its long-serving chief conductor. The two musicians liked and respected one another, despite the difference in their approach to music-making: Monteux was scrupulous in his adherence to a composer's score and straightforward in his performances, while Mengelberg was well known for his virtuoso, sometimes wilful, interpretations and his cavalier attitude to the score ("Ve vill make some changements", as an English player quoted him). Their preferred repertoire overlapped in some of the classics, but Mengelberg had his own favourites from Bach's St. Matthew Passion to Mahler symphonies, and was happy to leave Debussy and Stravinsky to Monteux. Where their choices coincided, as in Beethoven, Brahms and Richard Strauss, Mengelberg was generous in giving Monteux at least his fair share of them.

While in Amsterdam Monteux conducted a number of operas, including Pelléas et Mélisande (its Dutch premiere), Carmen, Les Contes d'Hoffmann, a Lully and Ravel double bill of Acis et Galatée and L'Heure espagnole, Gluck's Iphigénie en Tauride (also brought to the Paris Opéra) and Verdi's Falstaff. Toscanini had been invited to conduct the last of these, but he told the promoters that Monteux was his dearest colleague and the best conductor for Falstaff.

During the first eight years of his association with the Concertgebouw, Monteux conducted between fifty and sixty concerts each season. In his final two years with the orchestra other conductors, notably the rising young Dutchman Eduard van Beinum, were allocated concerts that would previously have been given to Monteux, who amicably withdrew from his position in Amsterdam in 1934. He returned many times as a guest conductor.

In addition to his work with the Concertgebouw Orchestra, from 1929 Monteux conducted the Orchestre Symphonique de Paris (OSP), founded the previous year. The orchestral scene in Paris in the 1920s had been adversely affected by the "deputy" system, whereby any contracted orchestral player was at liberty, if a better engagement became available, to send a deputy to a rehearsal or even to a concert. In most other major cities in Europe and America this practice either had never existed or had been eradicated. Alongside the opera orchestras, four other Paris orchestras were competing for players. In 1928 the arts patron the Princesse de Polignac combined with the fashion designer Coco Chanel to propose a new orchestra, well enough paid to keep its players from taking conflicting engagements. With financial backing assured, they appointed a triumvirate of musicians – Cortot, Ernest Ansermet and Louis Fourestier – to assemble the OSP. The following year Cortot invited Monteux to become the orchestra's artistic director and principal conductor. Ansermet, its initial musical director, was not pleased at being supplanted by a conductor of whom he was reportedly "ragingly jealous", but the composer Darius Milhaud commented on how much better the orchestra played for Monteux "since Ansermet has been sent back to his Swiss pastures".

Monteux considered the OSP one of the finest with which he worked. He conducted it until 1938, premiering many pieces, including Prokofiev's Third Symphony in 1929. The orchestra's generous funding in the first years allowed for ample rehearsals and adventurous programming, presenting contemporary music and the lesser-known works of earlier composers as well as the classic repertoire. In his first season Monteux conducted an all-Stravinsky concert, consisting of the suite from The Firebird and complete performances of Petrushka and The Rite of Spring. The orchestra made European tours in 1930 and 1931, receiving enthusiastic receptions in the Netherlands and Germany. In Berlin the audience could not contain its applause until the end of the Symphonie fantastique, and in Monteux's words "went wild" after the slow movement, the "Scène aux champs". He approved of spontaneous applause, unlike Artur Schnabel, Sir Henry Wood and Leopold Stokowski, who did all they could to stamp out the practice of clapping between movements.

After 1931 the OSP suffered the effects of the Great Depression; much of its funding ceased, and the orchestra reformed itself into a co-operative, pooling such meagre profits as it made. To give the players some extra work Monteux started a series of conducting classes in 1932. From 1936 he held the classes at his summer home in Les Baux in Provence, the forerunner of the school he later set up in the US.

San Francisco and the Monteux School
Monteux first conducted the San Francisco Symphony Orchestra (SFSO) in 1931, and in 1935 at the age of 60 he was offered the chief conductorship. He was doubtful about accepting, both on personal and on professional grounds. He did not want to leave the OSP, his wife did not want to live on the west coast of America, and the orchestra was so low in funds that it had been forced to cancel an entire season in 1934. Like most orchestras the SFSO had been badly hit financially by the Depression, and it suffered the further difficulty that many of its former players had left for better-paid jobs in Hollywood studios. That problem was exacerbated by the insistence of the Musicians' Union that only local players could be recruited. Monteux nevertheless accepted the appointment. The SFSO concert season was never longer than five months a year, which enabled him to continue working with the OSP, and allowed him to conduct the inaugural concert of the NBC Symphony Orchestra on 13 November 1937. In The New York Times Olin Downes wrote that the new orchestra was "of very high rank" and that the broadcast concert had displayed Monteux "at the height of his powers."

The Times said of Monteux's time in San Francisco that it had "incalculable effect on American musical culture", and gave him "the opportunity to expand his already substantial repertory, and by gradual, natural processes to deepen his understanding of his art." Monteux consistently programmed new or recent music. He generally avoided, as he did throughout his career, atonal or serial works, but his choice of modern works nevertheless drew occasional complaints from conservative-minded members of the San Francisco audience. Among guest conductors with the SFSO during Monteux's years were John Barbirolli, Beecham, Otto Klemperer, Stokowski and Stravinsky. Soloists included the pianists George Gershwin, Rachmaninoff, Arthur Rubinstein and Schnabel, the violinists Jascha Heifetz, Yehudi Menuhin and the young Isaac Stern, and singers such as Kirsten Flagstad and Alexander Kipnis. Almost all his seventeen San Francisco seasons concluded with Beethoven's Ninth Symphony. Monteux's SFSO studio recordings were mainly made in the cavernous acoustics of War Memorial Opera House (without an audience) with the music transmitted over telephone wires to a Los Angeles studio and recorded on film there. Confined to the US for the years of the Second World War, in 1942 Monteux took American citizenship.

Monteux wished to continue his work in helping young conductors: "Conducting is not enough. I must create something. I am not a composer, so I will create fine young musicians." In addition to his classes in Paris and Les Baux in the 1930s he had given private lessons to Igor Markevitch; later private students included André Previn, Seiji Ozawa, José Serebrier and Robert Shaw. Previn called him "the kindest, wisest man I can remember, and there was nothing about conducting he didn't know." After a performance conducted by Previn, Monteux said to him, "Did you think the orchestra was playing well? ... So did I. Next time don't interfere with them." Previn said that he never forgot this advice. Monteux's best-known undertaking as a teacher was the Pierre Monteux School for conductors and orchestral musicians, held each summer at his home in Hancock, Maine from 1943 onwards. Internationally known alumni of the school include Leon Fleisher, Erich Kunzel, Lorin Maazel, Neville Marriner, Hugh Wolff and David Zinman. Other Monteux students included John Canarina, whose 2003 biography was the first full-length study of the conductor in English, Charles Bruck, one of Monteux's first pupils in Paris, who became music director of the school in Hancock after Monteux's death, and Emanuel Leplin.

Monteux appeared as guest conductor with many orchestras; he commented in 1955, "I regret they don't have symphony orchestras all over the world so I could see Burma and Samarkand". His successor with the Boston Symphony Orchestra, Serge Koussevitzky, invited many guest conductors during his twenty-five years in charge; Monteux was never among them, probably, in Canarina's view, because of Koussevitzky's jealousy. In 1949 Koussevitzky was succeeded by Charles Munch, whose early career had been boosted by an invitation from Monteux to conduct the Orchestre Symphonique de Paris in 1933. Munch invited Monteux to Boston as a guest conductor in the 1951 season. The engagement was greeted with enthusiasm by the critics and the public, and Munch invited Monteux to join him the following year in heading the orchestra's first European tour. The high point of the tour was a performance under Monteux of The Rite of Spring at the Théâtre des Champs-Elysées, in the presence of the composer. Monteux returned annually to Boston every year until his death. For some time Monteux had felt that he should leave the SFSO. He had two main reasons: he believed that a conductor should not remain in one post for too long, and he wished to be free to accept more invitations to appear with other orchestras. He resigned from the SFSO at the end of the 1952 season. He briefly reappeared on the podium at the War Memorial Opera House within a year, as co-conductor of the Boston Symphony Orchestra's coast-to-coast American tour, at Munch's invitation. Almost all the members of the SFSO were in the audience, and joined in the ovation given to their former chief.

After an absence of thirty-four years, Monteux was invited to conduct at the Metropolitan Opera in New York in 1953. The opera chosen was Faust, which he had conducted at his debut at the house in 1917. The production had what Canarina calls "a stellar cast" headed by Jussi Björling, Victoria de los Ángeles, Nicola Rossi-Lemeni and Robert Merrill, but the critics, including Virgil Thomson and Irving Kolodin, reserved their highest praise for Monteux's conducting. Between 1953 and 1956 Monteux returned to the Met for Pelléas et Mélisande, Carmen, Manon, Orfeo ed Euridice, The Tales of Hoffmann and Samson et Dalila. The Met at that time typecast conductors according to their nationality, and, as a Frenchman, Monteux was not offered any Italian operas. When his request to be engaged for La traviata in the 1956–57 season was refused he severed his ties with the house.

London
Since his first visit to London with the Ballets Russes in 1911, Monteux had had a "love affair with London and with British musicians". He had conducted for the fledgling BBC in an orchestral concert at Covent Garden in 1924, where he conducted the first public performance of the BBC Wireless Orchestra, and for the Royal Philharmonic Society at the Queen's Hall in the 1920s and 1930s. In 1932 he was one of four conductors who took charge of the Hallé Orchestra in Manchester in the absence of its principal conductor; the other three substitutes were Sir Edward Elgar, Beecham and the young Barbirolli. The Hallé players were immensely impressed with Monteux, and said that his orchestral technique and knowledge easily beat those of most other conductors. In 1951 he conducted the BBC Symphony Orchestra in a concert of Mozart, Beethoven and Bartók in the new Royal Festival Hall, and made further appearances with London orchestras during the rest of the 1950s. He would have made more but for Britain's strict quarantine laws, which prevented the Monteuxs from bringing their pet French poodle with them; Doris Monteux would not travel without the poodle, and Monteux would not travel without his wife.

In June 1958 Monteux conducted the London Symphony Orchestra (LSO) in three concerts, described by the orchestra's historian Richard Morrison as "a sensation with players, press and public alike." The first concert included Elgar's Enigma Variations, in which Cardus judged Monteux to be more faithful to Elgar's conception than English conductors generally were. Cardus added, "After the performance of the 'Enigma' Variations, the large audience cheered and clapped Monteux for several minutes. This applause, moreover, broke out just before the interval. English audiences are not as a rule inclined to waste time applauding at or during an interval: they usually have other things to do." Monteux considered British concertgoers "the most attentive in the world", and British music critics "the most intelligent". However, a disadvantage of conducting a London orchestra was having to perform at the Festival Hall, of which he shared with Beecham and other conductors an intense dislike: "from the conductor's rostrum it is impossible to hear the violins".

Monteux's later London performances were not only with the LSO. In 1960 he conducted Beecham's Royal Philharmonic Orchestra performing "feats of wizardry" in works by Beethoven, Debussy and Hindemith. The LSO offered him the post of principal conductor in 1961, when he was eighty-six; he accepted, on condition that he had a contract for twenty-five years, with an option of renewal. His large and varied repertoire was displayed in his LSO concerts. In addition to the French repertoire with which, to his occasional irritation, he was generally associated, he programmed Mozart, Beethoven, Brahms and Wagner, as well as later composers including Granados, Schoenberg, Scriabin, Shostakovich, Sibelius, Richard Strauss and Vaughan Williams. With the LSO, Monteux gave a fiftieth anniversary performance of The Rite of Spring at the Royal Albert Hall in the presence of the composer. Although the recording of the occasion reveals some lapses of ensemble and slack rhythms, it was an intense and emotional concert, and Monteux climbed up to Stravinsky's box to embrace him at the end. Players believed that in his few years in charge he transformed the LSO; Neville Marriner felt that he "made them feel like an international orchestra ... He gave them extended horizons and some of his achievements with the orchestra, both at home and abroad, gave them quite a different constitution."

Last years
Although Monteux retained his vitality to the end of his life, in his last years he suffered occasional collapses. In 1962 he fainted during a performance of Beethoven's Fifth Symphony. In 1963 he collapsed again after being presented with the Gold Medal of the Royal Philharmonic Society, Britain's highest musical honour. The presentation was made by Sir Adrian Boult, who recalled that as they left the platform, "Monteux gave two little groans as we walked down the passage, and I suddenly found my arms full of violins and bows. The orchestra had recognized the signs. Their beloved chief was fainting." Monteux suffered another collapse the following year, and David Zinman and Lorin Maazel deputised for him at the Festival Hall.

In April 1964 Monteux conducted his last concert, which was in Milan with the orchestra of Radiotelevisione italiana. The programme consisted of the overture to The Flying Dutchman, Brahms's Double Concerto and Berlioz's Symphonie fantastique. Unrealised plans included his debut at The Proms, and his 90th birthday concert, at which he intended to announce his retirement. In June 1964 Monteux suffered three strokes and a cerebral thrombosis at his home in Maine, where he died on 1 July at the age of 89.

Personal life
Monteux had six children, two of them adopted. From his first marriage there were a son, Jean-Paul, and a daughter, Suzanne. Jean-Paul became a jazz musician, performing with artists such as Josephine Baker and Mistinguett. His second marriage produced a daughter, Denise, later known as a sculptress, and a son, Claude, a flautist. After Monteux married Doris Hodgkins he legally adopted her two children, Donald, later a restaurateur, and Nancie, who after a career as a dancer became administrator of the Pierre Monteux School in Hancock.

Among Monteux's numerous honours, he was a Commandeur of the Légion d'honneur and a Knight of the Order of Oranje-Nassau. A political and social moderate, in the politics of his adopted homeland he supported the Democratic Party and was a strong opponent of racial discrimination. He ignored taboos on employing black artists; reportedly, during the days of segregation in the US, when told he could not be served in a restaurant "for colored folk" he insisted that he was coloured – pink.

Reputation and repertoire
The record producer John Culshaw described Monteux as "that rarest of beings – a conductor who was loved by his orchestras ... to call him a legend would be to understate the case." Toscanini observed that Monteux had the best baton technique he had ever seen. Like Toscanini, Monteux insisted on the traditional orchestral layout with first and second violins to the conductor's left and right, believing that this gave a better representation of string detail than grouping all the violins together on the left. On fidelity to composers' scores, Monteux's biographer John Canarina ranks him with Klemperer and above even Toscanini, whose reputation for strict adherence to the score was, in Canarina's view, less justified than Monteux's.

According to the biographical sketch in Grove Dictionary of Music and Musicians, Monteux "was never an ostentatious conductor ... [he prepared] his orchestra in often arduous rehearsals and then [used] small but decisive gestures to obtain playing of fine texture, careful detail and powerful rhythmic energy, retaining to the last his extraordinary grasp of musical structure and a faultless ear for sound quality." Monteux was extremely economical with words and gestures and expected a response from his smallest movement. The record producer Erik Smith recalled of Monteux's rehearsals with the Vienna Philharmonic for Beethoven's Pastoral Symphony and Brahms's Second, "although he could not speak to the orchestra in German, he transformed their playing from one take to the next".

The importance of rehearsal to Monteux was shown when, in 1923, Diaghilev asked him to conduct Stravinsky's new Les noces with no rehearsal, as the composer would already have conducted the first performance, Monteux following on from there. Monteux told the impresario "Stravinsky, 'e can do what 'e like, but I have to do what ze composer 'as written." Monteux's self-effacing approach to scores led to occasional adverse comment; the music critic of The Nation, B. H. Haggin, while admitting that Monteux was generally regarded as one of the giants of conducting, wrote of his "repeatedly demonstrated musical mediocrity". Other American writers have taken a different view. In 1957 Carleton Smith wrote, "His approach to all music is that of the master-craftsman. ... Seeing him at work, modest and quiet, it is difficult to realize that he is a bigger box office attraction at the Metropolitan Opera House than any prima donna ... that he is the only conductor regularly invited to take charge of America's 'big three' – the Boston, Philadelphia and New York Philharmonic orchestras." In his 1967 book The Great Conductors, Harold C. Schonberg wrote of Monteux, "[A] conductor of international stature, a conductor admired and loved all over the world. The word 'loved' is used advisedly." Elsewhere, Schonberg wrote of Monteux's "passion and charisma". When asked in a radio interview to describe himself (as a conductor) in one word, Monteux replied, "Damned professional".

Throughout his career Monteux suffered from being thought of as a specialist in French music. The music that meant most to him was that of German composers, particularly Brahms, but this was often overlooked by concert promoters and recording companies. Of the four Brahms symphonies, he was invited by the recording companies to record only one, the Second. Recordings of his live performances of the First and Third have been released on CD, but the discography in Canarina's biography lists no recording, live or from the studio, of the Fourth. The critic William Mann, along with many others, regarded him as a "supremely authoritative" conductor of Brahms, though Cardus disagreed: "In German music Monteux, naturally enough, missed harmonic weight and the right heavily lunged tempo. His rhythm, for example, was a little too pointed for, say, Brahms or Schumann." Gramophone's reviewer Jonathan Swain contends that no conductor knew more than Monteux about expressive possibilities in the strings, claiming that "the conductor who doesn't play a stringed instrument simply doesn't know how to get the different sounds; and the bow has such importance in string playing that there are maybe 50 different ways of producing the same note"; In his 2003 biography, John Canarina lists nineteen "significant world premieres" conducted by Monteux. In addition to Petrushka and The Rite of Spring is a further Stravinsky work, The Nightingale. Monteux's other premieres for Diaghilev included Ravel's Daphnis et Chloé and Debussy's Jeux. In the concert hall he premiered works by, among others, Milhaud, Poulenc and Prokofiev. In a letter of April 1914 Stravinsky wrote "everyone can appreciate your zeal and your probity in regard to the contemporary works of various tendencies that you have had occasion to defend."

Monteux's biographer Jean-Philippe Mousnier analysed a representative sample of Monteux's programmes for more than 300 concerts. The symphonies played most frequently were César Franck's D minor Symphony, the Symphonie fantastique, Beethoven's Seventh, Tchaikovsky's Fifth and Sixth, and the first two symphonies of Brahms. Works by Richard Strauss featured almost as often as those of Debussy, and Wagner's Prelude and "Liebestod" from Tristan und Isolde as often as The Rite of Spring.

Recordings
Monteux made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathé with the tenor Albert Vaguet. It is possible that Monteux played in the Colonne Orchestra's 20 early cylinders recorded around 1906–07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929, with the OSP, judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive. Stravinsky, who also recorded The Rite in 1929, was furious that Monteux had made a rival recording; he made vitriolic comments privately, and for some time his relations with Monteux remained cool.

Monteux's final studio recordings were with the London Symphony Orchestra in works by Ravel at the end of February 1964. In the course of his career he recorded works by more than fifty composers. In Monteux's lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of Monteux conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line."

Many of Monteux's recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras; Decca recordings with the Vienna Philharmonic; and Decca and Philips recordings with the LSO. Of Manon, one of his few opera recordings, Alan Blyth in Opera on Record states "Monteux had the music in his blood and here dispenses it with authority and spirit". He can be heard rehearsing in the original LP issues of Beethoven's Eroica Symphony with the Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with the London Symphony (Westminster, WST 234).

Video recordings of Monteux are scarcer. He is seen conducting Berlioz's Roman Carnival Overture and Beethoven's 8th symphony with the Chicago Symphony Orchestra, and Dukas' L'Apprenti sorcier with the London Symphony Orchestra in an "unshowy, deeply satisfying humane way".

Notes and references
Notes

References

title: Pierre Monteux


text:
Talk:DR-DOS

Legality
"In the fall of 1991 Microsoft announced Windows 3.1 and made it clear that it would not run on DR-DOS. They also refused to give copies of the beta of 3.1 to Novell, who now owned DR-DOS. At the same time they changed their licensing on DOS to charge for it on every machine companies sold, whether or not it was installed. "
 * Quite right, JulianD The above (which I have struck out) is nonsense. Tannin 07:25, 17 Jun 2004 (UTC)

I'd have to check this, but I am pretty sure that the every-machine licencing scheme came a long time earlier than this, in fact I think it was there right from the start. Anyone have confirmation handy?

 * see eg http://www.kegel.com/remedy/archive/fullstory/ca_sues_ms.html (caldera vs MS)  The arrangements were per-processor licencing at a lesser rate (which meant that a licence was paid for every installed processor, whether or not the system shipped with MS-DOS, and selling Windows alone at a higher or equal rate to the MS-DOS + Windows arrangement. --Wendy.krieger (talk) 09:29, 17 December 2009 (UTC)

''In 2002, DR-DOS was sold to a little company called DeviceLogics... DR-DOS was eventually sold to Lineo...''

So which is it... I looked at drdos.com and it's a DeviceLogics page. -- JulianD 2004-06-17 1:09 am

In what ways was QDOS "legally questionable"? 213.84.239.37 17:46, 25 October 2005 (UTC)

RE: QDOS - I think the article is a little misleading here. From what I have been able to gather, SCP had a license from DRI for QDOS, which meant that QDOS itself was legal. What was NOT legal was that Bill Gates bought QDOS from SCP. Having entered into a contract with IBM, with no disk operating system at all, Microsoft had to do something very quickly. They bought QDOS, spent a hectic few days rewriting the code, and renamed it MS-DOS. I have heard it said that if one digs deep enough into the original MS-DOS code, there are still Digital Research copyright messages that Microsoft missed.

The fact is that there is very little difference between CP/M and MS-DOS 1. Microsoft basically stole the disk operating system that made them the world leader. Gary Kildall refused to sue MS for this, but reportedly was devastated over it and carried the bitterness the rest of his life.

As for the article being non neutral, I am quite familiar with the subject, and I didn't see anything in it that is incorrect or biased toward DRI. The only thing giving this impression is the author's usage of terms like "very," ie: "very advanced memory management," et al. However, the author is also frank about the later failure of DRI products. Elaich 16:40, 21 December 2005 (UTC)

What was illegal about Microsoft's actions wrt buying QDOS? You may call it "dodgey" that they didn't tell SCP they were going to license it to IBM, I call it good business. Sophistifunk

Years ago I had access to the early MS-DOS code and certainly do not recall ever seeing any DR copyright messages in there.Chenab 11:10, 20 March 2007 (UTC)

...often pronounced "Doctor DOS" by its users...
I do not think that the DR-DOS users themselves ever used the name "Doctor DOS" for DR-DOS since they know that it means Digital Research Disk Operating System. AFAIK the name "Doctor DOS" was used derisively by Microsoft, perhaps later also by users of MS-DOS.

 * I'm a DR-DOS user and I've always called it that, basically because it's less cumbersome that spelling it out. 130.101.100.104 (talk) 15:51, 26 November 2007 (UTC)

GEMDOS
A paragraph on GEMDOS (which appears to be the M86K port for DR-DOS, used for the Atari ST) might be of use. (I wouldn't know what to write, though.) --StuartBrady (Talk) 01:27, 3 August 2006 (UTC)

Confusing statement.
I really can't understand the next statement:

"So much, in fact, that some programs would fail to load as they started "impossibly" low in memory – inside the first 64KB."

Anyone have a clue ? —The preceding unsigned comment was added by Muttley.meen (talk • contribs) 13:56, 17 January 2007 (UTC).

I'm having to think back now as it is years since I wrote code in that kind of environment. It is to do with memory addressing and the way you could do it with a 8086 and related processors. You could use a short address which could access 64k or a longer form which went across page boundaries (e.g. multiples of 64k). So either a program is finding itself split across a page boundary and so can't access half of its data or, for some reason someone had assumed they would never be loaded below 64k and did something wrong but can't think why or what. The 64k situation also impacted on program extensions. COM files were executables less than 64k if bigger then they had to be EXEs.

There was at least one way in which DRDOS was not totally compatible with MSDOS and that was in memory allocation. DRDOS returned the memory block as was rather than clearing the contents to zeroes as it should have done to be totally correct. Chenab 11:08, 20 March 2007 (UTC)

 * Loadfix is the MS-DOS fix for this same problem. The problem is caused by the A20 handler, and that some old progs did not expect that FFFF:0010 and 0000:0000 point to the same addy. --Wendy.krieger (talk) 08:28, 19 December 2009 (UTC)

Couple of benifical links related to dr dos
and Mathmo Talk 23:51, 2 July 2007 (UTC)

DR Dobbs Article and Windows 3.1 and 3.11 warning
I remember reading the linked article in Dr. Dobbs magazine, and re-read it. MS did NOT remove the warning in Windows 3.1 "The message first appeared in build 61, a late-stage beta, and seemed to disappear in the final retail release of Windows 3.1. However, the code that generates the message is present in the retail release, albeit in quiescent form, and executes every time you run Windows 3.1." http://www.ddj.com/windows/184409070;jsessionid=XIJBFL244QGY0QSNDLRSKHSCJUNN2JVN?pgno=4 Page 4 is actual article text, previous pages are screenshots.

I believe the warning was back fully in Windows 3.11 and was the only detectable difference I ever found between versions 3.1 and 3.11 Cuvtixo 18:15, 21 August 2007 (UTC)

The code is present, but it does not run, that's what the article means. Only the beta testers have ever seen this message.--24.37.141.122 01:19, 15 September 2007 (UTC)

 * The article says that the code does indeed run every time that Windows 3.x runs. What doesn't run is that an error-message and response screen is created.  The AARD code is still in Windows 3.11, but i don't know about Wfw.  The main difference between 3.10 and 3.11 is that the former was aimed at OS/2 as the server while the latter was based at Windows NT.  One should note that at the release of 3.11, there was some cry among the "OS/2 for windows", which used MS-Windows for Win-OS/2.  You could undo the fix by WWW0981.EXE, with an obscure patch.  --Wendy.krieger (talk) 10:26, 17 December 2009 (UTC)

???
Why after very long time this DR DOS page isn't in Wikipedia?

http://treasure.reset00.com/

Read the One Page Scroll (184kb) and enjoy! —Preceding unsigned comment added by 217.31.112.67 (talk) 08:21, 5 September 2007 (UTC)

Merge
OpenDOS appears to be a fork or re-branding of questionable notability. I wonder if someone would care to merge it to DR-DOS. Ham Pastrami (talk) 06:50, 20 June 2008 (UTC)
 * That would make good sense; both articles contain the same information (and it doesn't look like OpenDOS has the citations). JeremyMcCracken (talk) (contribs) 18:25, 20 June 2008 (UTC)
 * Well, it took nearly a year, but they've been merged.oknazevad (talk) 19:29, 29 April 2009 (UTC)

 * When Caldera bought DR-DOS from Novell, they released the source for it. This is what OpenDOS is based on.  The latest owners have discontinued the open source, but can not annul OpenDOS's licence.--Wendy.krieger (talk) 08:59, 31 December 2009 (UTC)

Official Link
The official link appears to be broken. 75.142.145.54 (talk) 15:22, 4 August 2008 (UTC)

 * Yes, their site is down, and has been for a couple of days. (The PDF command reference link doesn't work either.) Not sure what happened. JeremyMcCracken (talk) (contribs) 02:12, 5 August 2008 (UTC)

Split to Novell DOS
You are invited to join the discussion at Talk:Novell DOS. -- Trevj (talk) 06:58, 5 March 2012 (UTC)

Wing Commander 2
I very distinctly remember Wing Commander 2 crawling on DR DOS, running much slower than on MS DOS on the same machine. I always attributed this to a deliberate brake inserted to hamper DR DOS. Looking around the web, I find mentions of people having hard times installing Wing Commander 2 on DR DOS, but I couldn't find any source verifying this. If we can find a source for this, I think it belongs either here or in the Wing Commander 2 article. 85.181.18.183 (talk) 11:56, 20 May 2012 (UTC)

Coordinate error
The following coordinate fixes are needed for

—95.97.85.228 (talk) 09:39, 26 April 2013 (UTC) grf
 * Hi, can you please be more specific? Which coordidates are wrong? It is sometimes difficult to extract the exact coordinates, if you can't give the correct ones, please describe the location (street names, house numbers, specific signs) as detailed as possible, and I may be able to help. --Matthiaspaul (talk) 10:04, 26 April 2013 (UTC)
 * Removing this tag. The article subject has no geographical coordinates to be fixed. I suspect the tag was used in error. —me_and 12:51, 26 April 2013 (UTC)

Tagged Since 2007?
And is still tagged. This is so typical of Wikipedia. Wikipedia is a joke. An arrogant child constantly attempting to be an adult, but unlike a child, it will never grow up. Shall never reach the level it erroneously attempts to attain. Purely pathetic. The whole of Wikipedia should be deleted. Arrogance and pedantry are only justified when the overall quality is high enough to warrant it. Wikipedia falls WAY WAY short of that quality and has no chance of ever attaining it. LOL.86.139.2.156 (talk) 23:42, 16 August 2013 (UTC)

 * That's a bit melodramatic. But the "After Novell" section is a wall of text, huge chunks of the article are basically unreadable. 80.229.124.3 (talk) 21:06, 18 October 2013 (UTC)

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 * Checked and fixed the mess created by this bot. --Matthiaspaul (talk) 15:20, 5 August 2018 (UTC)

Official Link
The official link points to a half-dead Wordpress website full of spam. I suppose that site has been abandoned.

Should it still be linked to? SopaXorzTaker (talk) 15:04, 25 November 2018 (UTC)

"D70F01.EXE" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect D70F01.EXE. Please participate in the redirect discussion if you wish to do so. 1234qwer1234qwer4 (talk) 19:57, 15 March 2020 (UTC)

Date format
I have (again) restored the original "dmy" format, and firmly ask to stop changing it per WP:DATERET. The "dmy" format was established in this article on 2004-03-30 and more firmly established in 2011 when I provided many additional references. The first time a user used the "mdy" format at all was in 2012, but such usage was always changed to "dmy" after some while. Also, the "mdy" format does not make any sense in this article, as DR-DOS has no strong ties to the US: It was a product for an international market developed in Europe, so if there is a "natural" date format associated with it, it is "dmy" as well. --Matthiaspaul (talk) 11:30, 2 August 2020 (UTC)

title: Talk:DR-DOS


text:
User:Qwitchibo

Qwitchibo is a legend...

title: User:Qwitchibo