text:
Juvenile (rapper)

Terius Gray (born March 26, 1975), better known by his stage name Juvenile, is an American rapper best known for his work with Birdman's Cash Money Records in the late 1990s and early 2000s, both solo and as a member of the label's then-flagship group, Hot Boys.

Juvenile's career began in the early 1990s as a teenager with bounce music recordings that earned him local recognition. After releasing his debut studio album—Being Myself (1995)—to regional success, he signed with Cash Money and made his mainstream breakthrough with his second and third albums, Solja Rags (1997) and 400 Degreez (1998). The latter peaked at number nine on the Billboard 200, received quadruple platinum certification by the Recording Industry Association of America (RIAA), and was supported by the singles "Ha" and "Back That Azz Up" (featuring Mannie Fresh and Lil Wayne)—his first entries on the Billboard Hot 100. He released three subsequent albums—Tha G-Code (1999), Project English (2001) and Juve the Great (2003)—for the label to continued success, the latter of which spawned the 2004 single "Slow Motion" (featuring Soulja Slim), which peaked atop the Billboard Hot 100 and became his only song to do so.

After leaving Cash Money, Juvenile briefly signed with Atlantic Records. His seventh album, Reality Check (2006) debuted atop the Billboard 200, and was followed by Cocky & Confident (2009). He then independently released the albums Beast Mode (2010), Rejuvenation (2012), and The Fundamentals (2014). During his solo work, he formed the hip hop group UTP in 2002, with whom he has released two albums; the former of which spawned the 2004 single "Nolia Clap." He returned to Cash Money in 2014.

Early life
Born Terius Gray in 1975, Juvenile was raised in the Magnolia Projects of Uptown New Orleans, Louisiana's 3rd Ward and attended Our Lady of Grace Catholic School. He began rapping around age 11. But because his mother disapproved of that, Gray usually sneaked out of home to perform raps. Neighbors would taunt Gray as ignorant and call him a "little juvenile", so Gray began using the rap name Juvenile as a teenager.

1991–1997: Beginnings, Being Myself and Solja Rags
After being noticed at local talent shows, Juvenile made his recording debut in tracks by bounce music artist DJ Jimi, "It's Jimi" in 1991 and "Bounce (For the Juvenile)" in 1993. Juvenile's debut album, Being Myself, was released in 1994 by Warlock Records. The album did not gain much national attention and did not chart, but did fairly well on a local level.

After Being Myself, Juvenile left Warlock due to creative differences, where he disagreed with the label wanting him to record bounce music. Juvenile then got a job at a gas processing plant. After work one day, he encountered Cash Money Records CEO Bryan "Baby" Williams at a bus stop. They had a brief conversation, before Juvenile improvised a freestyle rap for Baby. Juvenile later visited Baby and producer Mannie Fresh at Cash Money Records, performing raps for about a half hour. In 1997, Juvenile released his second album Solja Rags through Cash Money. It became popular among local rap audiences, and also saw some national success as it charted on the Billboard Hot R&B/Hip-Hop Songs chart. It was the first time he worked with Cash Money in-house producer Mannie Fresh, who would go on to produce all of Juvenile's albums on Cash Money in their entirety except Juve the Great. Also in 1997, Juvenile joined the Hot Boys with fellow Cash Money rappers B.G., Turk, and Lil Wayne. They released their debut album as a group, Get It How U Live! that same year.

1998–2002: 400 Degreez, Tha G-Code and Project English
Juvenile's third album, 400 Degreez, was released in November 1998. The Cash Money label entered a distribution deal from Universal Records during the same time, which gave the label further national promotion. Its first single, "Ha" was released the month prior and became his first to enter the Billboard Hot 100. The album spawned the follow up single, "Back That Azz Up" (featuring Lil Wayne and Mannie Fresh) which was released commercially in June 1999 and peaked at number 19 on the chart, and number five on the Hot R&B/Hip-Hop Songs chart. This, along with wider critical praise and it becoming his best-selling album, made Juvenile a prominent figure in hip hop. Disputes arose over who owned the rights to the title of "Back That Azz Up", as another New Orleans performer DJ Jubilee claimed that Juvenile's song sounded very similar to a song of his. In January 2005, the United States Court of Appeals for the Fifth Circuit in New Orleans denied the case. Capitalizing off the album's success, Warlock released a remixed version of his debut Being Myself, and commercial reissue of his second, Solja Rags that same year. In July 1999, he released his second album with Hot Boys, Guerrilla Warfare, which also received platinum certification.

Juvenile released two further solo albums for Cash Money: Tha G-Code in 1999 and Project English in 2001, which received double platinum and platinum certifications respectively by the RIAA. Moreover, the albums reached numbers ten and two respectively on the Billboard 200, but failed to match the success of 400 Degreez. UTP Records announced an album titled 600 Degreez during this time, which was never released.

2003–2006: Juve the Great and Reality Check
In March 2003, the Hot Boys released their album, Let 'Em Burn. Juvenile's manager Aubrey Francis and Birdman met and negotiated a deal for Juvenile and CMR to release one further solo album for the latter's label. His sixth album, Juve the Great was released by Cash Money and UTP Records in December 2003. It received platinum certification and spawned the Billboard Hot 100 number-one single "Slow Motion" featuring Soulja Slim. It was the Juvenile and label's first, and Slim's only number one song prior to his death in November 2003.

In 2005, Juvenile signed with Atlantic Records as a both a solo act and for his UTP Records imprint, which was co-founded by his longtime manager Aubrey "Pied Piper" Francis and older brother Corey. The namesake group UTP (Juve, Skip, and Wacko) released the 2004 hit song "Nolia Clap" as part of the group's first album Beginning of the End (2004). The song was produced by Juvenile along with producer Donald "XL" Robertson. Juvenile has also performed the song "Booty Language" for the soundtrack for the of the 2005 film Hustle & Flow. Juvenile's Slidell, Louisiana home was damaged during Hurricane Katrina; him, fellow New Orleans rapper Master P, and other hip hop artists raised funds and supplies for affected victims following the storm. He briefly moved to Atlanta afterwards, and in the following year, he returned to New Orleans.

Reality Check, Juvenile's 2006 album, debuted at number one on the Billboard 200 chart and remains his only release to do so. It received gold certification by the RIAA. Production began in May 2005, most of which was done at a Holiday Inn hotel room in New Orleans. Its first single was "Animal", followed by "Rodeo", "Get Ya Hustle On", "What's Happenin'", and "Way I Be Leanin'" featuring Mike Jones, Paul Wall, Skip, and Wacko. A portion of the album was recorded with engineer, Stewart Cararas at his studio Paradigm Park Studios in New Orleans. Within one month, the studio suffered the wrath of Hurricane Katrina. On signing to Atlantic, Juvenile criticized his former label Cash Money for not giving him enough creative freedoms as well as Federal Emergency Management Agency over his perceptions over their handling of Hurricane Katrina. Shaheem Reid noted "Get Ya Hustle On" as a criticism of Ray Nagin's and the George W. Bush administration's handling of the storm.

2007–2013: Cocky & Confident, Beast Mode and Rejuvenation
In a 2009 interview with Allhiphop.com, Juvenile stated that his album Cocky & Confident "would take a totally different direction from his last project, which was made when he was still 'mourning Katrina.'" He also revealed that he decided to work only with fresh, young producers on the album and discussed his respect for younger artists like Soulja Boy.

Cocky & Confident was released in December 2009. It peaked at number 49 on the Billboard 200 and contained one charting single, "Gotta Get It", which peaked at number 53 on the Billboard R&B/Hip-Hop Singles chart. After the album, he parted ways with Atlantic. His ninth album Beast Mode was released independently in July 2010. It was preceded by the single, "Drop That Thang" in May of that year.

Juvenile released his tenth studio album, Rejuvenation on June 19, 2012 through Rap-A-Lot Records.

The first single from the album is "Power" featuring Rick Ross. Juvenile collaborated with Lil Wayne, DJ Khaled, and Drake for the album.

2014–present: The Fundamentals and Cash Money Reunion
On February 18, 2014, Juvenile released his eleventh studio album The Fundamentals. On October 28, 2014, Juvenile announced and confirmed that he re-signed to Cash Money. On March 28, 2019, both Juvenile and Birdman released a joint album called Just Another Gangsta.

In April 2021, Juvenile was awarded a key to the city of New Orleans by mayor LaToya Cantrell.

On June 30, 2023, Juvenile performed on NPR's Tiny Desk Concert series to very positive reviews. The performance was a result of Twitter user @theylovemyke's request that Juvenile play a Tiny Desk concert in April 2023, to which Juvenile initially replied, "WTF is a Tiny Desk and no!". He subsequently changed his mind, as a result of enthusiastic fan requests to perform on the show. As of July 19, 2023, the video has 4 million views. The performance featured guests including producer Mannie Fresh, Jon Batiste, Trombone Shorty, Alvin Ford, the singing duo The Amours, and the Louisiana Philharmonic.

Personal life
Juvenile had a daughter, Jelani, with Joy Deleston. On February 29, 2008, 4-year-old Jelani was shot and killed in her home, along with mother Deleston and older half sister. It was reported that Deleston's oldest child, 17-year-old son Anthony Tyrone Terrell Jr., returned to the home after police arrived and implicated himself in the murder of his mother and siblings. Terrell was charged with three counts of murder and three counts of aggravated assault. He remains in the DeKalb County jail. Though Juvenile received some criticism for not attending the funeral for his daughter and her mother, several statements were released that the rapper was "shocked and devastated" by the event. The rapper stated that he made the decision not to appear at the funeral to prevent subsequent media attention, and was concerned that it would divert attention away from the ceremony. Terrell was given two consecutive life sentences after pleading guilty to killing Joy Deleston, 39, and her daughters, Micaiah, 11, and Jelani. Due to his age, he could not be sentenced to death in Georgia.

Juvenile endorsed Tom Steyer in the 2020 United States presidential election. A video of him dancing with Steyer to his hit song "Back That Azz Up" went viral on the internet shortly before the 2020 South Carolina Democratic primary was held.

Legal troubles
In the summer of 2002, Juvenile was arrested for assaulting his barber over charges that the barber was bootlegging his music.

In January 2003, Juvenile was arrested in New Orleans on drug charges. The next month, he was sentenced to 75 hours of community service for a fight outside a nightclub in Miami, Florida in 2001.

Juvenile was involved in a legal dispute over failure to pay child support for his daughter Jelani with Joy Deleston, a deputy sheriff in Gwinnett County, Georgia. A paternity lawsuit was issued by Deleston in 2004, resulting in a DNA test and both parties agreeing that Juvenile was Jelani's father. His attorney stated that the case was resolved peacefully by consent order in 2006.

On February 25, 2010, Juvenile was arrested in Arabi, Louisiana. While Juvenile was recording music at a house there, a neighbor called police to report smelling marijuana. He was cited on a misdemeanor charge of marijuana possession and later released on bond. He pleaded guilty in August 2010 and received a suspended three-month jail sentence and six months of probation and paid a $250 fine and court costs.

In 2017, Juvenile was arrested for failing to pay $170,000 in child support.

Business ventures
In 2020, Juvenile started up a furniture company called "Made by Juvie". In 2023, Juvenile teamed up with Urban South Brewery for a new flavored drink called "Juvie Juice".

Discography
Studio albums
 * Being Myself (1995)
 * Solja Rags (1997)
 * 400 Degreez (1998)
 * Tha G-Code (1999)
 * Project English (2001)
 * Juve the Great (2003)
 * Reality Check (2006)
 * Cocky & Confident (2009)
 * Beast Mode (2010)
 * Rejuvenation (2012)
 * The Fundamentals (2014)

Collaborative albums
 * Get It How U Live! (with Hot Boys) (1997)
 * Guerrilla Warfare (with Hot Boys) (1999)
 * Baller Blockin' (with Cash Money Millionaires) (2000)
 * Gotta Get It (with JT the Bigga Figga) (2002)
 * Let 'Em Burn (with Hot Boys) (2003)
 * The Beginning of the End (with UTP) (2004)
 * Just Another Gangsta (with Birdman) (2019)

Filmography

 * Baller Blockin (2000)
 * Juvenile: Uncovered (2001)
 * UTP Live In St. Louis (2002)
 * Hood Angels (2003)
 * Juvenile: Street Heat (2005)
 * New Orleans Exposed
 * Treme (2011)
 * The Power of Few (2013)
 * House Party (2023)

title: Juvenile (rapper)


text:
Kings County, New Brunswick

Kings County is located in southern New Brunswick, Canada. Its historical shire town is Hampton and it was named as an expression of loyalty to the British Crown. Both the Saint John and Kennebecasis rivers pass through the county.

Approximately half of the Kings County population of 68,941 (as of 2016) lives in suburbs of the nearby city of Saint John.

Communities
There are seven municipalities within Kings County (listed by 2016 population):

Parishes
The county is subdivided into fifteen parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Kings County had a population of $71,184$ living in $28,464$ of its $30,283$ total private dwellings, a change of NaN% from its 2016 population of $68,941$. With a land area of 3482.35 km2, it had a population density of in 2021.

Population trend

Mother tongue (2016)

Notable people
Although not everyone in this list was born in Kings County, they all live or have lived in Kings County and have had significant connections to the communities.

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

title: Kings County, New Brunswick


text:
Talk:AM broadcasting

Short wave
i thought short wave went up to 29,999 kHz? tahstw hat it does on my sw radio. -fonzy

You could be right. My Sony only goes up to 26100 kHz, though, which is where I got the figure from. Feel free. GrahamN 19:52 Jan 23, 2003 (UTC)

I have a digital one(not DAB, digital dial) i think the MW one is wrng too. as it goes up to 17,010 khz on mine, then sw starts on 17,011 starts. - i dont really know enough about radio btu i am shore that sw goes up to 30 Mhz. -fonzy

The current American AM band extends from 540 to 1700KHz wheras the official European MW band is from 531 to 1602 KHz also in both cases there are stations operating "just" outside the official band so the defacto band goes from 520 to around 1720 KHz (confusingly some older European radios mark dial position in metres instead) Officially "Shortwave" (HF) covers the range 3 to 30 Megahertz however there is no (legal) shortwave BROADCASTING above 26.1 MHz (remember the radio spectrum is used for many other things besides broadcasting) also Most people consider the bands between the top end of the meduimwave band and 3 MHz to be "shortwave" even if they are not officially classed as such. Most "Shortwave" radios only cover the most popular broadcast bands (some only cover the "49 Metre"/6 MHz broadcast band) Some treat Shortwave as a single "band" while some (particualrly analouge tuned) radios split it up into smaller ranges (often marked "SW1" "SW2)" etc to make tuning easier.

Does this help? It's a bit surprising that the definitions seem so vague. GrahamN 20:16 Jan 23, 2003 (UTC)

All thsi conflicting data hurts my head :-s, we need someone who really is an expert on this. -fonzy

How about if we round the numbers off and qualify them with "approximately"? GrahamN

Yes do taht for now might be good to put an HTML comment on the paeg saying if you deffently know what it should be please say. -fonzy

The trad. modulation used for telegraphy (carrier either on or off) is called CW. Although the amplitude is modulated per se (0 or 100%), the term AM is never used for this. I have thus removed the following sentence:
 * ... for radio telegraph communication early in the 20th century ...

 * Okay. I think we really could use an article on radio telegraphy, are you up to it? I had thought that it was on AM frequencies; I remember hearing lots of Morse Code on medium and shortwave as late as the mid 1970s, was that something different from what is ususally called radio telegraph?  -- Infrogmation
 * The point is it is not "AM" (as in amplitude modulation), so it is not "AM radio". Even though it happened to occur in bands also used for AM. My suggestion is that the term "AM radio" should mean "public broadcasting using amplitude modulation", while "AM" should mean "amplitude modulation" in the more technical meaning. Morse using CW is neither. Sorry, I don't know too much about radio telegraphy history and such, so all I can contribute would be a silly stub. -- Egil 18:14 Feb 4, 2003 (UTC)

Not all morse telegraphy is "CW" Some is "MCW" "FSK" etc Actually even "CW" is a bit of a misnomor. It should really be termed "ICW" (interrupted continous wave)

frequencies
The term "commercial radio broadcasting" in this context is rather confusing (Long wave is used for commercial radio broadcasting in Europe, Africa, Asia,.....) Since the majority of Longwave and Shortwave (as well as much Mediumwave) broadcasting is infact NON-commercial. Also Long wave is NOT used for broadcasting in "Australasia". In the 1930's when the ABC was being established in Australia t was originally proposed that LW should be used but a for various reasons mix of MW and SW (and later FM etc) was decided upon instead.

Globalize
Tagged with globalize/north america for these reasons: Virtually every paragraph discusses the USA and/or Canada in depth, but only in a few places in the article are other countries mentioned by name. The article needs a substantial overhaul if it is to be more representative of the global audience of Wikipedia, per MOS. -- B.D.Mills  (T, C) 01:00, 13 November 2008 (UTC)
 * The first licensed commercial radio services began on AM in the 1920s. XWA of Montreal, Quebec (later CFCF) was the first commercial broadcaster in the world, with regular broadcasts commencing on May 20, 1920. The first licensed American radio station was started by Frank Conrad, KDKA in Pittsburgh, Pennsylvania. -- No mention of any other countries.
 * In North American broadcasting practice, transmitter power input to the antenna for commercial AM stations ranges from about 250 watts to 50,000 watts. (rest of paragraph omitted to save space). -- No mention of the broadcasting practices for any other region.
 * As a result, many broadcast stations are required as a condition of license to reduce their broadcasting power significantly (or use directional antennas) after sunset, or even to suspend broadcasting entirely during nighttime hours. -- Not clear from the article if this is specifically North American practice or is found everywhere.
 * In the United States and Canada, some AM radio stations are granted clear channel status... -- No mention of the practices in any other country.
 * The hobby of listening to long distance signals is known as DX or DX'ing, from an old telegraph abbreviation for "distance". Several non-profit hobbyist clubs are devoted exclusively to DXing the AM broadcast band, including the National Radio Club and International Radio Club of America. -- No mention of this hobby in other regions, but is instead stated as if this is the terminology everywhere.
 * AM radio is broadcast on several frequency bands. The allocation of these bands is governed by the ITU's Radio Regulations and, on the national level, by each country's telecommunications administration (the FCC in the U.S., for example) subject to international agreements. -- Example is USA only. No other examples for any other country given.
 * However, in the late 1960s and 1970s, top 40 rock and roll stations in the US and Canada such as WABC and CHUM transmitted highly processed and extended audio to 11 kHz, successfully attracting huge audiences. In the UK during the 1980s, BBC Radio 4 (a largely speech channel) had an FM location, whereas BBC Radio 1, a music channel, was confined to AM broadcasts over much of the UK. Frequency response is typically 40 Hz–5 kHz with a 50 dB S/N ratio. -- North American perspective again. Also notable for one of the very few places in the whole article that even mentions any broadcasting practice outside of North America.
 * The limitation on AM fidelity comes from current receiver design. Moreover, to fit more transmitters on the AM broadcast band, in the United States maximum transmitted audio bandwidth is limited to 10 kHz by an NRSC standard adopted by the FCC, resulting in a channel occupied bandwidth of 20 kHz. -- USA perspective, other viewpoints absent.
 * In the United States, iBiquity's proprietary HD Radio has been adopted and approved by the FCC for medium wave transmissions, while Digital Radio Mondiale is a more open effort often used on the shortwave bands, and can be used alongside many AM broadcasts. -- No mention of the practices elsewhere, yet again.
 * While FM radio can also be received by cable, AM radio generally cannot, although an AM station can be converted into an FM cable signal. In Canada, cable operators that offer FM cable services are required by the CRTC to distribute all locally available AM stations in this manner. In Switzerland a system known as "wire broadcasting" transmits AM signals over telephone lines in the longwave band. North american perspective. Also notable as one of the few places that mentions a country outside North America.
 * Some microbroadcasters and pirate radio broadcasters, especially those in the United States under the FCC's Part 15 rules, broadcast on AM to achieve greater range than is possible on the FM band. No mention of the practice elsewhere.

LONG WAVE USA
I live in the USA. Right now I hear radio stations broadcasting on long wave AM, for example 180 KHZ. Surely part of this article is in error. (EnochBethany (talk) 18:52, 11 September 2012 (UTC))
 * What stations do you hear? Have you been able to hear their names? CodeCat (talk) 21:46, 11 September 2012 (UTC)

 * Usual broadcast AM in the US is from 520kHz to 1600kHz. (or maybe 530kHz to 1700kHz.)  There are other bands allocated for other uses, some for amateur (HAM) radio. Gah4 (talk) 18:00, 14 February 2017 (UTC)

Stereo
An encyclopedia would certainly mention the kind of stereo already specified and in current enforcement by the U.S. Government. This is "AM Analog Stereo", which has no connection to the AM digital stereo already covered in the article. And to address the international nature of Wikipedia articles, most countries have implemented "AM Analog Stereo" in a small minority of their stations as well. What should be noted in the article is that the kind of AM Stereo on the books is virtually the same for both the U.S. and practically all other countries. That kind of AM Analog Stereo is "C-QUAM". Another easily sourced information on the difference between "AM Analog Stereo" and "AM Digital Stereo", is that the "C-QUAM" flavor of "AM Analog Stereo", besides being the only flavor of AM Analog Stereo authorized by governments around the world, also has no licensing fees, unlike the popular AM Digital Stereo. Ohgddfp (talk) 11:55, 15 August 2013 (UTC)
 * The article does say: "Stereo transmissions are possible (see AM stereo), ...". And the link points to an article about analog stereo systems. CodeCat (talk) 12:01, 15 August 2013 (UTC)
 * Yes, I see that. The problem is that the article mentions "Stereo" and has that link.  But in the same sentence, "digital" is visible BEFORE following the link, but "analog" is discoverable only AFTER following the link.  Most readers will not follow the link, and therefore get the false idea that stereo is a digital technology and not an analog technology.  Especially since readers are conditioned to believe that all digital audio is stereo.  Yes, it's the reader's "fault" for not following the link.  But a balanced report on "stereo" should not require the reader to follow a link for one kind of stereo but not have to follow a link for the other kind of stereo.  This is what false ideas in readers heads are made of.  So in the "stereo" section, mentioning neither analog nor digital would be an improvement, with the link giving the details.  An alternative to prevent that kind of confusion would be to mention both analog and digital in the main article. Ohgddfp (talk) 12:58, 15 August 2013 (UTC)
 * I've made some changes. Is this better? CodeCat (talk) 13:58, 15 August 2013 (UTC)
 * It's indeed better. Now I'm wondering if this is even better, "While uncommon, AM stereo transmissions are possible using a variety of means, both digital and analog."  I guess it's not strictly needed.  Are those extra words worth it?  I dunno.  I would add them myself, but the paragraph now as you have it is also logical without them. Ohgddfp (talk) 15:59, 29 November 2013 (UTC)
 * I vote for the extra wording. While the government may allow for it, I have never seen an AM stereo receiver.  You are lucky to get one that is even high-fidelity, even in an otherwise high-fidelity system.  Without demand of listeners, there is no reason for broadcasters to transmit it.  I could be wrong, maybe many are.  Gah4 (talk) 18:03, 14 February 2017 (UTC)

heterodyning: "the principle on which AM modulation is based"
Are there any radio engineers reading this who think that this statement is misleading? In my view "heterodyning", and the selected sources, are being misused in this context. Sum and difference frequencies (sidebands) are generated when a signal is amplitude modulated, but that is more of a consequential effect of the amplitude modulation than a principle by which to amplitude modulate, as this statement would suggest. Wildbear (talk) 00:15, 22 September 2013 (UTC)
 * Heterodyning, the mixing of two frequencies f1 and f2 in a nonlinear device to get sum and difference frequencies, which Fessenden discovered, is the principle behind AM modulation, demodulation, frequency conversion, superheterodyne reception, frequency multiplication, and a number of other things. A good deal of telecommunication theory is based on it.  The formula is:
 * $$\cos (2 \pi f_1 t)\cos (2 \pi f_2 t) = \frac{1}{2}\cos [2 \pi (f_1 + f_2) t] + \frac{1}{2}\cos [2 \pi (f_1 - f_2) t] \,$$
 * If f1 is a radio carrier and f2 is a baseband modulation frequency, you get amplitude modulation
 * If f1 is a sideband of a modulated signal and f2 is the carrier, and you filter out the difference f2 - f1, you get demodulation.
 * If f1 is a received radio signal, f2 is a local oscillator signal, and you filter out the difference f2 - f1, you get an intermediate frequency (IF) for superheterodyne reception.
 * Etc. -- Chetvorno TALK 01:39, 22 September 2013 (UTC)

 * Mathematically, the same formula applies to the various forms of signal processing. Differing semantics have been in use since Fessenden's time, to distinguish the type of processing being applied by the circuitry.  Quoting a previous discussion on the matter:
 * If you were to change the text to read: "He also discovered the principle on which AM modulation is based, bilinear mixing a baseband signal with a carrier oscillator signal", I would find it more agreeable (since this is proper terminology for the amplitude modulation process) than to state that the amplitude modulation process is based on "heterodyning" (which in common usage in the radio frequency realm, and likely in Fessenden's usage as well, implies mixing two RF signals). Ultimately, it's an issue of semantics, not mathematics.  Wildbear (talk) 05:46, 22 September 2013 (UTC)
 * If you were to change the text to read: "He also discovered the principle on which AM modulation is based, bilinear mixing a baseband signal with a carrier oscillator signal", I would find it more agreeable (since this is proper terminology for the amplitude modulation process) than to state that the amplitude modulation process is based on "heterodyning" (which in common usage in the radio frequency realm, and likely in Fessenden's usage as well, implies mixing two RF signals). Ultimately, it's an issue of semantics, not mathematics.  Wildbear (talk) 05:46, 22 September 2013 (UTC)

 * In theory, you can generate AM by directly modulating an RF signal. As the article suggests, in the early days this was done with full power RF through a carbon microphone, limited by its power handling capability.  But practically, the way it is done is to take the audio signal and mix (heterodyne) it with the RF carrier (or an IF carrier).  So, while I agree that it is misleading in the direct carbon microphone case, it isn't in the way transmitters have been made for many decades now, pretty much since the invention of the vacuum tube triode. Gah4 (talk) 18:10, 14 February 2017 (UTC)

"Crystal Gayle" effect
Recently an editor added this unsourced paragraph on a quirk in vacuum tubes discovered when Crystal Gayle records were played in the 1980s to the "Vacuum tubes" section. While this is interesting and entertaining, I feel in addition to not being notable enough, it is off topic for this section and this article. The "Vacuum tubes" section is about the historical introduction of vacuum tubes to radio around 1920, so a minor quirk in modern tubes does not belong here. In addition I am not sure it belongs in this article; perhaps it would be more appropriate in Vacuum tube, Triode, or Radio broadcasting -- Chetvorno TALK 23:00, 19 April 2015 (UTC)

 * Seems like a specific case of microphonics, which has been known for years. I would suggest that it go into that article. Microphonics is the general unintentional connection between sound waves and electronics. It isn't obvious if this is an unlucky resonance that happened to be right for Ms. Gayle. Gah4 (talk) 18:15, 14 February 2017 (UTC)

MWLIST quick and easy: Europe, Africa and Middle East
See also http://www.mwlist.org/mwlist_quick_and_easy.php 84.80.54.162 (talk) 17:32, 7 July 2016 (UTC)

AM vs. FM dominance, the time line and reasons for it.
There is a statement, with citation needed: Finally, the 10 kilohertz minimum separation between stations in the United States limits fidelity to sounds much lower than the upper limit of human hearing, and the advent of high-fidelity recording equipment has created a demand for high-fidelity radio. First, it doesn't say which part of the statement needs a citation, but the statement itself is questionable. While 20Hz to 20kHz is the common frequency range for describing audio equipment, most people's hearing drops of closer to 15kHz. The highest note on the usual piano, from Piano_key_frequencies, is 4186Hz. There isn't much music up there, though the harmonics of some notes make it sound a little nicer. The problem is more that both transmitters and receivers aren't well designed, to save on costs, to get the most out of the available bandwidth. Gah4 (talk) 18:29, 14 February 2017 (UTC)

The next paragraph seems to suggest that the FM broadcast band shift in 1946 is responsible for the delay until the 1970's of FM's dominance. That seems hard to believe. Car radios were AM only for many years, and many home and portable radios also were for many years. But for people who wanted to listen to high fidelity audio, FM broadcasting was the first choice much earlier. Some people in 1946 had useless radios, though. Gah4 (talk) 18:29, 14 February 2017 (UTC)

title: Talk:AM broadcasting


text:
Pollock v. Farmers' Loan & Trust Co.

Pollock v. Farmers' Loan & Trust Company, 157 U.S. 429 (1895), affirmed on rehearing, 158 U.S. 601 (1895), was a landmark case of the Supreme Court of the United States. In a 5-4 decision, the Supreme Court struck down the income tax imposed by the Wilson–Gorman Tariff Act for being an unapportioned direct tax. The decision was superseded in 1913 by the Sixteenth Amendment to the United States Constitution, which allows Congress to levy income taxes without apportioning them among the states.

The US Congress had introduced an income tax during the American Civil War, but the tax was repealed in 1872. In 1894, Congress passed the Wilson-Gorman Tariff Act, which lowered tariff rates and made up for some of the lost revenue by introducing taxes on income, corporate profits, gifts, and inheritances. Chief Justice Melville Fuller's majority opinion in Pollock held that a federal tax on income derived from property was unconstitutional when it was not apportioned among the states according to representation in the House of Representatives. Fuller also held that federal taxation of interest earned on certain state bonds violated the doctrine of intergovernmental tax immunity. In one dissent, Associate Justice Henry Billings Brown wrote that the majority opinion "involves nothing less than the surrender of the taxing power to the moneyed class."

The Court's decision in Pollock was unpopular but effectively prevented Congress from implementing another income tax over the next two decades since the apportionment requirements were widely regarded as unworkable. The ratification of the Sixteenth Amendment essentially overturned the key holding in Pollock, and Congress established a new federal income tax in the Revenue Act of 1913. The Court's holding regarding the taxation of interest income on certain bonds was later overruled in the 1988 case of South Carolina v. Baker.

Early income tax
In order to help pay for its war effort in the American Civil War, Congress imposed the first federal income tax in U.S. history through passage of the Revenue Act of 1861. The act created a flat tax of three percent on incomes above $800 ($0 in current dollar terms). The taxation of income reflected the increasing amount of wealth held in stocks and bonds, rather than property, which the federal government had taxed in the past. Congress later further raised taxes, and by the end of the war, the income tax constituted about one fifth of the revenue of the federal government. The federal income tax remained in effect until its repeal in 1872. The constitutionality of the federal income tax was later upheld by the Supreme Court in the 1881 case of Springer v. United States.

The Socialist Labor Party advocated a graduated income tax in 1887. The Populist Party "demanded a graduated income tax" in its 1892 platform.

Wilson-Gorman Tariff Act
After winning control of Congress and the presidency in the 1892 elections, the Democratic Party made tariff reduction a key priority. President Grover Cleveland and his congressional allies proposed a bill that affected moderate downward revisions in the tariff, especially on raw materials. The shortfall in revenue was to be made up by an income tax of two percent on income above $4,000, equivalent to $ today. Corporate profits, gifts, and inheritances would also be taxed at a two percent rate. The bill would restore the federal income tax for the first time since the 1870s; supporters of the income tax believed that it would help reduce income inequality and shift the burden of taxation to the wealthy.

The Cleveland administration was ambivalent about the income tax but included it in the proposed bill in large part because of the efforts of Congressmen William Jennings Bryan and Benton McMillin. Despite strong conservative opposition to the income tax in the US Senate, it remained a component of the final tariff bill, partly because many members of Congress believed that the US Supreme Court would eventually declare the tax to be unconstitutional. In August 1894, the bill became law as the Wilson–Gorman Tariff Act.

Plaintiff
In compliance with the Act, the New York-based Farmers' Loan & Trust Company announced to its shareholders that it would not only pay the tax but also provide, to the collector of internal revenue in the Department of the Treasury, the names of all people for whom the company was acting and thus were liable for being taxed under the Act.

Charles Pollock was a Massachusetts citizen who owned only ten shares of stock in the Farmers' Loan & Trust Company. He sued the company to prevent the company from paying the tax. He lost in the lower courts but finally appealed to the United States Supreme Court, which agreed to hear the case.

Arguing for Pollock was Joseph Hodges Choate, one of the most eminent Wall Street lawyers of his day.

Decision
The Court handed down its decision on April 8, 1895, with Chief Justice Melville Fuller delivering the opinion of the Court. He ruled in Pollock's favor by stating that the taxes levied by the Wilson-Gorman Act on income from property were unconstitutional. The Court treated the tax on income from property as a direct tax. The Constitution of the United States then said that such direct taxes were required to be imposed in proportion to the states' population. The tax in question had not been apportioned and so was invalid. As Chief Justice Fuller stated:

First. We adhere to the opinion already announced—that, taxes on real estate being indisputably direct taxes, taxes on the rents or income of real estate are equally direct taxes.

Second. We are of opinion that taxes on personal property, or on the income of personal property, are likewise direct taxes.

Third. The tax imposed by sections 27 to 37, inclusive, of the act of 1894, so far as it falls on the income of real estate, and of personal property, being a direct tax, within the meaning of the constitution, and therefore unconstitutional and void, because not apportioned according to representation, all those sections, constituting one entire scheme of taxation, are necessarily invalid.

The decrees hereinbefore entered in this court will be vacated. The decrees below will be reversed, and the cases remanded, with instructions to grant the relief prayed.

The Supreme Court did not rule that all income taxes were direct taxes. Instead, the Court held that although generally income taxes are indirect taxes (excises) authorized by the United States Constitution in Article 1, Section 8, Clause 1, taxes on interest, dividends, and rents in the 1894 Act had a profound effect on the underlying assets. The Court ruled that the tax on dividends, interest, and rent should be viewed as a direct tax, as they fell on the property itself, rather than as an indirect tax. Direct taxes were required to follow the rule of apportionment found in Article 1, Section 2, Clause 3. The rule of apportionment requires the amount of a direct tax collected to be divided by the number of members in the United States House of Representatives, with the quotient then multiplied by the number of representatives each state has to determine each state's share of the tax that it then needs to lay and collect, through its own taxing authority.

A separate holding by the Court in Pollock, that federal taxation of interest earned on certain state bonds violated the doctrine of intergovernmental tax immunity, was declared by the U.S. Supreme Court in 1988 to have been "effectively overruled by subsequent case law" (see South Carolina v. Baker).

Dissent
Justices John Marshall Harlan, Howell Edmunds Jackson, Edward Douglass White, and Henry Billings Brown dissented from the majority opinion. Justice White argued:

"It is, I submit, greatly to be deplored that after more than 100 years of our national existence, after the government has withstood the strain of foreign wars and the dread ordeal of civil strife, and its people have become united and powerful, this court should consider itself compelled to go back to a long repudiated and rejected theory of the constitution, by which the government is deprived of an inherent attribute of its being—a necessary power of taxation."

In his dissent, Justice Brown wrote:

"The decision involves nothing less than the surrender of the taxing power to the moneyed class. By resuscitating an argument that was exploded in the Hylton Case, and has lain practically dormant for a hundred years, it is made to do duty in nullifying, not this law alone, but every similar law that is not based upon an impossible theory of apportionment. Even the spectre of socialism is conjured up to frighten Congress from laying taxes upon the people in proportion to their ability to pay them."

Subsequent history
In a nation in which the federal government was beginning its battle against monopolies and trusts, and the great bulk of wealth was concentrated in the hands of a few, the decision in Pollock was unpopular, much like the decision in United States v. E. C. Knight Co., of the same year. The following year, the Democratic Party, which had grabbed hold of the Populist movement, included an income tax plank in its election platform. Nonetheless, in the years after Pollock, Congress did not implement another federal income tax, partly because many Congressmen feared that any tax would be struck down by the Supreme Court. Few considered attempting to impose an apportioned income tax since such a tax was widely regarded as unworkable. Justice Harlan had predicted that in his dissent in Pollock:

"When, therefore, this court adjudges, as it does now adjudge, that Congress cannot impose a duty or tax upon personal property, or upon income arising either from rents of real estate or from personal property, including invested personal property, bonds, stocks, and investments of all kinds, except by apportioning the sum to be so raised among the States according to population, it practically decides that, without an amendment of the Constitution—two-thirds of both Houses of Congress and three-fourths of the States concurring—such property and incomes can never be made to contribute to the support of the national government."

Subsequent court treatments of Pollock and the Sixteenth Amendment
Nebraska Republican Senator Norris Brown publicly decried the Court's decision in Pollock and proposed a constitutional amendment to remove the requirement that certain income taxes to be apportioned among the states by population. Brown's proposal would be ratified in 1913 as the Sixteenth Amendment. The Sixteenth Amendment removed the requirement for those income taxes deemed to be direct in substance (such as taxes on income from property) to be apportioned among the states according to population. Thus, the effect of Pollock has indeed been overturned by the Sixteenth Amendment. The Revenue Act of 1913, which greatly lowered tariffs and implemented a federal income tax, was enacted shortly after the Sixteenth Amendment was ratified.

Three years after ratification of the Sixteenth Amendment, the United States Supreme Court rendered its decision in the case of Brushaber v. Union Pacific Railroad. In Brushaber, the Court reviewed the history of the dichotomy between excises (indirect taxes) and direct taxes. The Court noted that the 1913 Income Tax Act was written as an indirect tax and did not violate the rule of uniformity. Thus, it was not written as a direct tax and was not subject to the rule of apportionment. The Court summarized what it had decided in Pollock and then went on to state the effect of the Sixteenth Amendment with respect to income taxes:

"[T]he command of the amendment that all income taxes shall not be subject to the rule of apportionment by a consideration of the source from which the taxed income may be derived forbids the application to such taxes of the rule applied in the Pollock case by which alone such taxes were removed from the great class of excises, duties, and imposts subject to the rule of uniformity and were placed under the other or direct class."

The Court in Brushaber also noted that before Pollock, taxes on income from professions, trades, employments, or vocations were excises. They were indirect in both form and substance and therefore had never been apportioned and thus they were entitled to be so enforced afterwards.

In contrast, with respect to taxes on income from property, the Pollock decision had disregarded form and considered substance alone. Justice White's decision in Brushaber shows how the Sixteenth Amendment was written to prevent consideration of the direct effects of any income tax laid by Congress.

The Supreme Court in Stanton v. Baltic Mining Co. added that the "Sixteenth Amendment conferred no new power of taxation but simply prohibited the previous complete and plenary power of income taxation possessed by Congress from the beginning from being taken out of the category of indirect taxation to which it inherently belonged." 240 U.S. 112 (1916).

That effect was reaffirmed in Bowers v. Kerbaugh-Empire Co.,, in which the Supreme Court reviewed Pollock, the Corporation Excise Tax Act of 1909, and the Sixteenth Amendment. The Court concluded, "It was not the purpose or effect of that amendment to bring any new subject within the taxing power. Congress already had power to tax all incomes."

title: Pollock v. Farmers' Loan & Trust Co.


text:
Fletcher Henderson

James Fletcher Hamilton Henderson (December 18, 1897 – December 29, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musical arrangers and, along with Duke Ellington, is considered one of the most influential arrangers and bandleaders in jazz history. Henderson's influence was vast. He helped bridge the gap between the Dixieland and the swing eras. He was often known as "Smack" Henderson (because of smacking sounds he made with his lips).

Early life, family and education
James Fletcher Hamilton Henderson was born in Cuthbert, Georgia. He was raised in a middle-class African-American family. His father, Fletcher Hamilton Henderson (1857–1943), was the principal of the nearby Howard Normal Randolph School from 1880 until 1942. Their home is a historic site. Henderson's mother, a teacher, taught him and his brother Horace to play the piano. He began lessons by age six. His father would occasionally lock Fletcher in his room to practice for hours. By age 13, Henderson possessed a keen ability to read music and sense pitch. He pursued the studies with his mother and further engaged himself in lessons on European art.

Although a talented musician, Henderson initially dedicated himself to mathematics and science. At age 18, he moved to Atlanta, Georgia, and changed his name to Fletcher Henderson, giving up James, his grandfather's name. He attended Atlanta University (where he was a member of the fraternity Alpha Phi Alpha) and graduated in 1920 with a bachelor's degree in chemistry and mathematics.

Career
After graduation, Henderson moved to New York City with the intention of attending Columbia University for a master's degree in chemistry. However, there is no evidence that he actually enrolled. He did land a part-time job as a lab assistant in a downtown Manhattan chemistry firm, but this only lasted a year.

In New York City, Henderson shared an apartment with a pianist who worked as a musician in a riverboat orchestra. When his roommate was too sick to perform, Henderson substituted, and this soon led to a job as a full-time replacement. In late 1920, he found work as a song demonstrator with the Pace and Handy Music Co. Henderson now found that music would be more profitable than chemistry and left his job as a laboratory chemist to begin a life in music. When Harry Pace left the company to start Black Swan Records, he took Henderson with him to be musical director, a job which lasted from 1921 until 1923. From 1920 to 1923, he primarily played piano accompaniment for blues singers. Henderson toured with the Black Swan Troubadours featuring Ethel Waters from October 1921 to July 1922. After hearing cornetist Louis Armstrong (then around 20 years old) in New Orleans while on tour in April 1922, Henderson sent him an offer, but Armstrong refused because Henderson would not hire Zutty Singleton as well.

Henderson's activities up to the end of 1923 were mainly recording dates for Black Swan and other labels. His band at this point was only a pick-up unit for recordings, not a regular working band. In January 1924, the recording band became the house band at the Club Alabam at 216 W. 44th St. Despite many erroneous publications indicating otherwise, this 1924 band was Henderson's first working band.

In July 1924, the band began a brief engagement at the Roseland Ballroom. Although only meant to stay for a few months, the band was brought back for the autumn season. Henderson called on Armstrong for a second time to join the band. On October 13, 1924, history was made when Henderson's band began their re-engagement at Roseland, with Armstrong now in the orchestra. The band quickly became known as the best African American band in New York. By late 1924, the arrangements by Don Redman were featuring more solo work.

Redman arranged Armstrong's repertoire with the King Oliver's Creole Jazz Band, such as turning "Dippermouth Blues" into "Sugar Foot Stomp". Armstrong played in the band for only a year, because he could not grow accustomed to the arrangements and to the "pretension" of the other band members.

Henderson's band boasted the formidable arranging talents of Don Redman. After Redman's departure from the band in 1927, Henderson took on some of the arranging, but Benny Carter was Redman's replacement as saxophone player and arranger from 1930 to 1931, and Henderson also bought scores from freelance musicians (including John Nesbitt from McKinney's Cotton Pickers). Henderson developed his arranging skills from 1931 to the mid-1930s.

His band around 1925 included Armstrong, Howard Scott, Coleman Hawkins (who started with Henderson in 1923, playing the tuba parts on a bass saxophone, and quickly moving to tenor saxophone and a leading solo role), Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, and Ralph Escudero. In 1925, with Henry Troy, he wrote "Gin House Blues", recorded by Bessie Smith and Nina Simone, among others. His other compositions include "Soft Winds". Henderson recorded extensively in the 1920s for nearly every label, including Vocalion, Paramount, Columbia, Ajax, Pathé, Perfect, Edison, Emerson, Brunswick, and the dime-store labels Banner, Oriole, Regal, Cameo, and Romeo. From 1925 to 1930, he recorded primarily for Columbia and Brunswick/Vocalion under his own name and a series of acoustic recordings as the Dixie Stompers for Harmony Records and associated dime-store labels (Diva and Velvet Tone). Besides playing at the Roseland, Henderson played at the Savoy Ballroom in Harlem, playing until 3:30 in the morning.

During the 1930s, he recorded for Columbia, Crown (as "Connie's Inn Orchestra"), ARC (Melotone, Perfect, Oriole, Vocalion), Bluebird, Victor, and Decca. Starting in the early 1920s, he recorded popular hits and jazz tunes. In 1924, he and his band recorded 80 sides. His version of the pop tune "I Can't Get the One I Want", recorded about June 19, 1924, was issued on at least 23 labels.

In addition to Armstrong, lead trumpeters included Henry "Red" Allen, Joe Smith, Rex Stewart, Tommy Ladnier, Doc Cheatham and Roy Eldridge. Lead saxophonists included Coleman Hawkins, Buster Bailey, Benny Carter and Chu Berry. Sun Ra also worked as an arranger during the 1940s, during Henderson's engagement at the Club DeLisa in Chicago. Other jazz musicians who also played with Henderson included trumpeter Cootie Williams and trombonist Benny Morton.

Although Henderson's band was popular, he had little success in managing it and was still little-known outside of New York. His lack of recognition outside of Harlem had to do more with the times in which he lived, apparently lackluster management, and the hard times that resulted after the 1929 stock market crash. Henderson had a knack for finding talent, but he did not have much luck keeping it. On many occasions he lost talented members to other bandleaders. He also had trouble with finances. When the band split up in 1934, he was forced to sell some of his popular arrangements to Benny Goodman to keep them together.

After about 1931, his own arrangements became influential. In addition to arrangements for his band, he wrote arrangements for Teddy Hill, Isham Jones and Benny Goodman. His shoulder was injured in an auto accident in 1928. His wife, Leora, blamed the accident for his diminishing success. She said that John Hammond and Goodman bought Henderson's arrangements to support him, that Goodman always gave Henderson credit for the arrangements and said that he played them better than his own. In addition, Goodman and Hammond organized broadcasts and recordings to help Henderson when he was ill.

Benny Goodman
In 1935, Goodman's Orchestra was selected as a house band for the NBC radio program Let's Dance. Since Goodman needed new charts every week for the show, his brother-in-law John Hammond suggested that he purchase some from Henderson. Many of Goodman's hits from the swing era were played by Henderson and his own band in the late 1920s and early 1930s, usually as head arrangements, which he transcribed from his own records and then sold to Goodman. However, his brother Horace Henderson recounted that the clarinetist made heavy demands on Henderson for fresh charts when his band was engaged for the Let's Dance show in 1934–1935, and that he himself helped his brother complete some of them. The singer Helen Ward also stated that Henderson was delighted to hear the Goodman Orchestra realize his creations with such impeccable musicianship.

In 1939, Henderson disbanded his band and joined Goodman's, first as pianist and arranger and then working full-time as staff arranger. Henderson re-formed bands of his own several times in the 1940s and toured with Ethel Waters again in 1948 and 1949.

Henderson suffered a stroke in 1950, resulting in partial paralysis that ended his career as a pianist. He died in New York City in 1952, 11 days after his 55th birthday.

Contributions
Henderson, along with Don Redman, established the formula for swing music. The two broke the band into sections (sax section, trumpet section, etc.). These sections worked together to create a unique sound. Sometimes, the sections would play in call-and-response style, and at other times one section would play supporting riffs behind the other.

Henderson was also responsible for bringing Louis Armstrong from Chicago to New York City in October 1924, thus flipping the focal point of jazz in the history of the United States (although Armstrong left the band in November 1925 and returned to Chicago). He also played a key role in bringing improvisatory jazz styles from New Orleans and other areas of the country to New York, where they merged with a dance-band tradition that relied heavily on arrangements written out in musical notation.

Henderson created a band that was capable of playing dance music and complex arrangements. Louis Metcalf said: "The sight of Fletcher Henderson's men playing behind music stands brought on a learning-to-read-music kick in Harlem which hadn't cared before it. There were two years of real concentration. Everybody greeted you with 'How's studying?

A museum was established in Henderson's memory in his native Cuthbert, Georgia.

Mastered by John R. T. Davies

 * 1924–1925 The Complete Louis Armstrong With Fletcher Henderson 1924–1925 (Forte F 38001/2/3)
 * 1925–1929 Fletcher Henderson 1925–29 (JSP Records 311) [Columbia singles]
 * 1925–1926 The Harmony & Vocalion Sessions Volume 1 1925–1926 (Timeless Records CBC 1-064)
 * 1927–1928 The Harmony & Vocalion Sessions Volume 1 1927–1928 (Timeless Records CBC 1-069)
 * 1931–1933 Yeah Man! (Hep Records CD 1016)
 * 1934 Wild Party! (Hep Records CD 1009)
 * 1924–1937 Wrappin' It Up (Marshall Cavendish, Jazz Greats CD 031)

Mosaic Records Box Sets

 * 1923–1934 Classic Coleman Hawkins Sessions 1922-1947 (MD8-251) [Contains 59 performances by Fletcher Henderson and His Orchestra under various pseudonyms]
 * 1936–7 Classic Chu Berry Columbia And Victor Sessions (MD7-236) [Contains 24 performances by Fletcher Henderson and His Orchestra]

Chronological Classics Series

 * 1921–23 - The Chronological F H & His Orchestra (Classics #794)
 * 1923–00 - The Chronological F H & His Orchestra (Classics #697)
 * 1923–24 - The Chronological F H & His Orchestra (Classics #683)
 * 1924–01 - The Chronological F H & His Orchestra (Classics #673)
 * 1924–02 - The Chronological F H & His Orchestra (Classics #657)
 * 1924–03 - The Chronological F H & His Orchestra (Classics #647)
 * 1924–25 - The Chronological F H & His Orchestra (Classics #633)
 * 1925–26 - The Chronological F H & His Orchestra (Classics #610)
 * 1926–27 - The Chronological F H & His Orchestra (Classics #597)
 * 1927–00 - The Chronological F H & His Orchestra (Classics #580)
 * 1927–31 - The Chronological F H & His Orchestra (Classics #572)
 * 1931–00 - The Chronological F H & His Orchestra (Classics #555)
 * 1931–32 - The Chronological F H & His Orchestra (Classics #546)
 * 1932–34 - The Chronological F H & His Orchestra (Classics #535)
 * 1934–37 - The Chronological F H & His Orchestra (Classics #527)
 * 1937–38 - The Chronological F H & His Orchestra (Classics #519)
 * 1941 - The Chronological Horace Henderson 1940/F H & His Orchestra 1941 (Classics #648)

Other

 * 1924–1925 Do That Thing (Frog, DGF87) [pre-electric recordings for Vocalion and Pathé]
 * 1927–1936 The Indispensable Fletcher Henderson (RCA, Jazz Tribune – N° 30) [Victor recordings]
 * 1931–1934 Tidal Wave (The Original Decca Recordings), GRP, 1994
 * Ken Burns Jazz: Fletcher Henderson, Columbia/Legacy, 2000

LP Compilations

 * A Study in Frustration, Columbia, 1961 [4-LP box set]
 * Hocus Pocus, Bluebird Records, 1992
 * First Impressions 1924–1931 Vol. 1, Decca Jazz Heritage Series, DL 9227
 * Swing's the Thing 1931–1934 Vol. 2, Decca Jazz Heritage Series, DL 79228

As arranger for Benny Goodman Orchestra

 * Sing, Sing, Sing (1992) (Bluebird/RCA)
 * The Harry James Years, Vol. 1 (1993) (Bluebird/RCA)
 * The Best of the Big Bands [under Goodman's name] (1933–1946/1989) (Columbia)
 * Genius of the Electric Guitar (Recorded under Goodman sextet's name, released under Charlie Christian's name) (1939–1941/1990) (Columbia)

title: Fletcher Henderson


text:
Madawaska County, New Brunswick

Madawaska County (2016 population 32,741 ), also known as the "New Brunswick Panhandle", is located in northwestern New Brunswick, Canada. Over 90% of the county's population speaks French. Its Francophone population are known as "Brayons." Forestry is the major industry in the county.

History
The first inhabitants of what is now called Madawaska County were the Maliseet or Wolastoqiyik, who occupied and used the land along the Saint John River Valley north to the St. Lawrence River and south to the Penobscot River. There is debate concerning the true origin of the word "Madawaska". The earliest settlers were from Quebec. The area was the focus of the bloodless Aroostook War, a border dispute led by businessman and political activist John Baker.

The earliest settlers of the Upper Saint John River Valley have been clearly verified, with census results of the Madawaska region taken in 1820 showing where most families had originated from Quebec.

Communities
There are ten municipalities within Madawaska County (listed by 2016 population):

First Nations
There is one First Nations reserve in Madawaska County (listed by 2016 population):

Parishes
The county is subdivided into fourteen parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Madawaska County had a population of $32,603$ living in $14,905$ of its $15,851$ total private dwellings, a change of NaN% from its 2016 population of $32,741$. With a land area of 3454.97 km2, it had a population density of in 2021.

Access routes
Highways and numbered routes that run through the county, including external routes that start or finish at the county limits:

 * Highways

 * Principal Routes

 * Secondary Routes:

 * External Routes:
 * US 1.svg U.S. Route 1
 * Quebec Autoroute 85.svgTrans-Canada Highway Quebec.svg Quebec Autoroute 85 (TCH)
 * Qc289.svg Quebec Route 289

title: Madawaska County, New Brunswick


text:
Vala

Vala or VALA may refer to:

Religion and mythology

 * Vala (Vedic), a demon or a stone cavern in the Hindu scriptures
 * Völva, also spelled Vala, a priestess in Norse mythology and Norse paganism

Fiction

 * Vala (Middle-earth), an angelic being in J. R. R. Tolkien's fiction
 * Vala Mal Doran, a fictional character in the Canadian-American television series Stargate SG-1
 * Vala (Blake), a character in the mythological writings of William Blake
 * Vala, or The Four Zoas, a poem by Blake

People

 * Vala (clan), a Rajput clan found in Gujarat in India

Surname

 * Aleš Vála (born 1973), a Czech ice hockey player
 * Asad Vala (born 1987), a Papua New Guinean cricketer
 * Jessie Rose Vala (born 1977), an American artist
 * Jorge Vala (born 1984), a Portuguese academic
 * Katri Vala (1901–1944), a Finnish poet
 * Lobat Vala (born 1930), an Iranian poet and activist
 * Numonius Vala, a Roman family name, or any of the men of that name
 * Vajubhai Vala, an Indian politician

Given name

 * Vala Flosadóttir (born 1978), an Icelandic former pole vaulter
 * Vala Chakradhar Rao (1928–1991), an Indian doctor and politician

Places

 * Vala State, a former Indian princely state during the British Raj
 * Våla Hundred, see List of hundreds of Sweden
 * 131 Vala, an asteroid discovered in 1873 named after Völva

Other uses

 * Vala (programming language), a programming language targeting GNOME's object system
 * VALA, Libraries, Technology and the Future Inc., an Australian not-for-profit organisation
 * Vala GSM, a mobile operator in Kosovo
 * Vala halt, a closed railway station in the municipality of Silves, Portugal

title: Vala


text:
Ethel Waters

Ethel Waters (October 31, 1896 – September 1, 1977) was an American singer and actress. Waters frequently performed jazz, swing, and pop music on the Broadway stage and in concerts. She began her career in the 1920s singing blues. Her notable recordings include "Dinah", "Stormy Weather", "Taking a Chance on Love", "Heat Wave", "Supper Time", "Am I Blue?", "Cabin in the Sky", "I'm Coming Virginia", and her version of "His Eye Is on the Sparrow". Waters was the second African American to be nominated for an Academy Award, the first African American to star on her own television show, and the first African-American woman to be nominated for a Primetime Emmy Award.

Early life
Waters was born in Chester, Pennsylvania, on October 31, 1896 (some sources incorrectly state her birth year as 1900 ) as a result of the rape of her teenaged African-American mother, Louise Anderson (1881–1962), by 17-year-old John Wesley (or Wesley John) Waters (1878–1901), a pianist and family acquaintance from a middle-class African-American background. Waters' family was very fair-skinned, his mother in particular. Many sources, including Ethel herself, reported for years that her mother was 12 or 13 years old at the time of the rape, 13 when Ethel was born. Stephen Bourne opens his 2007 biography, Ethel Waters: Stormy Weather, with the statement that genealogical research has shown that Louise Anderson may have been 15 or 16 years old.

Waters played no role in raising his daughter. Soon after she was born, her mother married Norman Howard, a railroad worker, with whom she had a daughter, Juanita Howard, Ethel's half-sister. Ethel used the surname Howard as a child and then reverted to using the surname Waters. She was raised in poverty by Sally Anderson, her grandmother, who worked as a housemaid, and with two of her aunts and an uncle. Waters never lived in the same place for more than 15 months. Of her difficult childhood, she said "I never was a child. I never was cuddled, liked, or understood by my family."

Waters grew tall, standing 5 ft in her teens. According to jazz historian and archivist Rosetta Reitz, Waters's birth in the North and her peripatetic (or nomadic) life exposed her to many cultures. Waters first married in 1910 at the age of 13, but her husband was abusive, and she soon left the marriage and became a maid in a Philadelphia hotel, working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore. The job singing and dancing in Baltimore netted her $9 a week, with two of her friends weekly skimming $16 for getting her the job.

Singing
After her start in Baltimore, Waters toured on the black vaudeville circuit, in her words "from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival traveling in freight cars headed for Chicago. She enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." But she did not last long with them and soon headed south to Atlanta, where she worked in the same club as Bessie Smith. Smith demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Around 1919, Waters moved to Harlem and became a performer in the Harlem Renaissance of the 1920s.

Her first Harlem job was at Edmond's Cellar, a club with a black patronage that specialized in popular ballads. She acted in a blackface comedy, Hello 1919. Jazz historian Rosetta Reitz pointed out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, for tiny Cardinal Records. She later joined Black Swan, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she preferred, often lacking "the damn-it-to-hell bass."

She recorded for Black Swan from 1921 through 1923. Her contract with Harry Pace made her the highest paid black recording artist at the time. In early 1924, Paramount bought Black Swan, and she stayed with Paramount through the year.

Around that time, Waters was approached by Maury Greenwald for the London run of Plantation Days, although she later joined the company on its return to Chicago in August 1923, as an "extra added attraction" to "save the fast-flopping revue".

She started working with Pearl Wright, and they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters.

She first recorded for Columbia in 1925, achieving a hit with "Dinah".

With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a vaudeville circuit performing for white audiences and combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard-of salary of US$1,250 in 1928. In September 1926, Waters recorded "I'm Coming Virginia", composed by Donald Heywood with lyrics by Will Marion Cook. She is often wrongly attributed as the author. The following year, Waters sang it in a production of Africana at Broadway's Daly's Sixty-Third Street Theatre. In 1929, Waters and Wright arranged the unreleased Harry Akst song "Am I Blue?", which was used in the movie On with the Show and became a hit and her signature song.

Film, theater and television
In 1933, Waters appeared in a satirical all-black film, Rufus Jones for President, which featured the child performer Sammy Davis Jr. as Rufus Jones.

She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." In 1933, she had a featured role in the successful Irving Berlin Broadway musical revue As Thousands Cheer with Clifton Webb, Marilyn Miller, and Helen Broderick.

She became the first black woman to integrate Broadway's theater district more than a decade after actor Charles Gilpin's critically acclaimed performances in the plays of Eugene O'Neill beginning with The Emperor Jones in 1920.

Waters held three jobs: in As Thousands Cheer, as a singer for Jack Denny & His Orchestra on a national radio program, and in nightclubs. She became the highest-paid performer on Broadway. Despite this status, she had difficulty finding work. She moved to Los Angeles to appear in the 1942 film Cairo. During the same year, she reprised her starring stage role as Petunia in the all-black film musical Cabin in the Sky directed by Vincente Minnelli, and starring Lena Horne as the ingénue. Conflicts arose when Minnelli swapped songs from the original script between Waters and Horne: Waters wanted to perform "Honey in the Honeycomb" as a ballad, but Horne wanted to dance to it. Horne broke her ankle and the songs were reversed. She got the ballad and Waters the dance. Waters sang the Academy Award-nominated "Happiness is Just a Thing Called Joe". In 1939, Waters became the first African American to star in her own television show.

The Ethel Waters Show, a variety special, appeared on NBC on June 14, 1939. It included a dramatic performance of the Broadway play Mamba's Daughters, based on the Gullah community of South Carolina and produced with her in mind. The play was based on the novel by DuBose Heyward.

Waters was nominated for an Academy Award for Best Supporting Actress for the film Pinky (1949) under the direction of Elia Kazan after the first director, John Ford, quit over disagreements with Waters. According to producer Darryl F. Zanuck, Ford "hated that old...woman (Waters)." Ford, Kazan stated, "didn't know how to reach Ethel Waters." Kazan later referred to Waters's "truly odd combination of old-time religiosity and free-flowing hatred."

In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris repeated their roles in the 1952 film version.

In 1950, Waters was the first African-American actress to star in a television series, Beulah, which aired on ABC television from 1950 through 1952.

It was the first nationally broadcast weekly television series starring an African American in the leading role. She starred as Beulah for the first year of the TV series before quitting in 1951, complaining that the portrayal of blacks was "degrading." She was replaced by Louise Beavers in the second and third season. She guest-starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In a 1957 segment, she sang "Cabin in the Sky".

Personal life
Her first autobiography, His Eye Is on the Sparrow, (1951), written with Charles Samuels, was adapted for the stage by Larry Parr and premiered on October 7, 2005.

In 1953, she appeared in a Broadway show, At Home With Ethel Waters that opened on September 22, 1953, and closed October 10 after 23 performances.

Waters married three times and had no children. When she was 13, she married Merritt "Buddy" Purnsley in 1909; they divorced in 1913. She married Clyde Edwards Matthews in 1929, and they divorced in 1933. She married Edward Mallory in 1938; they divorced in 1945. Waters was the great-aunt of the singer-songwriter Crystal Waters. Waters may have also been married briefly to Earl Dancer in 1927.

In 1938, Waters met artist Luigi Lucioni through their mutual friend, Carl Van Vechten. Lucioni asked Waters if he could paint her portrait, and a sitting was arranged at his studio at 64 Washington Square South. Waters bought the finished portrait from Lucioni in 1939 for $500. She was at the height of her career and the first African American to have a starring role on Broadway. In her portrait, she wore a tailored red dress with a mink coat draped over the back of her chair. Lucioni positioned Waters with her arms tightly wrapped around her waist, a gesture that conveyed vulnerability, as if she were trying to protect herself. The painting was considered lost because it had not been seen in public since 1942. Huntsville (Alabama) Museum of Art Executive Director Christopher J. Madkour and historian Stuart Embury traced it to a private residence. The owner considered Waters to be "an adopted grandmother" but she allowed the Huntsville Museum of Art to display Portrait of Ethel Waters in the 2016 exhibition American Romantic: The Art of Luigi Lucioni where it was viewed by the public for the first time in more than 70 years. The museum acquired Portrait of Ethel Waters in 2017, and it was shown in an exhibition in February 2018.

A turning point came in 1957 when she attended the Billy Graham Crusade in Madison Square Garden. Years later, she gave this testimony of that night: "In 1957, I, Ethel Waters, a 380-pound decrepit old lady, rededicated my life to Jesus Christ, and boy, because He lives, just look at me now. I tell you because He lives; and because my precious child, Billy, gave me the opportunity to stand there, I can thank God for the chance to tell you His eye is on all of us sparrows." In her later years, Waters often toured with the preacher Billy Graham on his crusades. She was a baptized Catholic and considered herself a member of that religion throughout her life.

Waters died on September 1, 1977, aged 80, from uterine cancer, kidney failure, and other ailments, in Chatsworth, California. She is buried at Forest Lawn Memorial Park (Glendale).

Ethel was written and performed by Terry Burrell as a one-woman tribute to Waters. It ran as a limited engagement in February and March 2012.

Awards and honors

 * Her recording of "Stormy Weather" (1933) was listed in the National Recording Registry by the National Recording Preservation Board of the Library of Congress in 2003.
 * Gospel Music Hall of Fame, 1983
 * Christian Music Hall of Fame, 2007
 * Waters was approved for a star on the Hollywood Walk of Fame in 2004; however, the star was never funded or installed.
 * In 2015, a historical marker memorializing Waters was unveiled along Route 291 in Chester, Pennsylvania to recognize her life and talents in the city of her birth.
 * Commemorative stamp, U.S. Post Office, 1994
 * Nomination, Best Supporting Actress, Academy Awards, Pinky 1949
 * Nomination, Outstanding Single Performance by an Actress in a Series, Primetime Emmy Awards, for Route 66 "Goodnight Sweet Blues", 1962
 * Three recordings by Waters were inducted into the Grammy Hall of Fame, a special Grammy Award established in 1973 to honor recordings that are at least twenty-five years old and have "qualitative or historical significance."

Short subjects

 * Rufus Jones for President (1933) as Mother of Rufus Jones
 * Bubbling Over (1934) as Ethel Peabody
 * Let My People Live (1939)

Television

 * First African American, male or female, to star in own TV show, The Ethel Waters Show, which was broadcast on NBC on June 14, 1939.
 * Starred in title role of Beulah on ABC-TV from 1950 to 1951.
 * TV guest appearances from 1950 to 1952 on The Jackie Gleason Show, Texaco Star Theater, This Is Show Business, What's My Line?, and The Chesterfield Supper Club
 * Person to Person (1954)
 * Whirlybirds, episode "The Big Lie" (1959)
 * Route 66, episode "Good Night, Sweet Blues" (1961)
 * The Hollywood Palace, hosted by Diana Ross and the Supremes (1969)
 * Daniel Boone, episode "Mamma Cooper" (1970)

Stage appearances

 * Hello 1919! (1919)
 * Jump Steady (1922)
 * Plantation Days (1923 re-run of 1922 production)
 * Plantation Revue (1925)
 * Black Bottom (1926)
 * Miss Calico (1926–27)
 * Paris Bound (1927)
 * Africana (1927)
 * The Ethel Waters Broadway Revue (1928)
 * Lew Leslie's Blackbirds (1930)
 * Rhapsody in Black (1931)
 * Broadway to Harlem (1932)
 * As Thousands Cheer (1933–34)
 * At Home Abroad (1935–36)
 * Mamba's Daughters (1939; 1940)
 * Cabin in the Sky (1940–41)
 * Laugh Time (1943)
 * Blue Holiday (1945)
 * The Member of the Wedding (1950–51; 1964; 1970)
 * At Home with Ethel Waters (1953)
 * The Voice of Strangers (1956)

title: Ethel Waters


text:
Goodie Mob

Goodie Mob is an American hip hop group based in Atlanta, Georgia, consisting of CeeLo Green, Khujo, T-Mo, and Big Gipp.

History
The group was formed in 1991 by Cameron "Big Gipp" Gipp, Willie "Khujo" Knighton Jr., CeeLo Green (born Thomas Callaway), and Robert "T-Mo" Barnett in Atlanta, Georgia. In 1995, Goodie Mob released their debut album, Soul Food, which was critically acclaimed and certified Gold. The album aired social and political issues such as racism, discrimination, geopolitics, and gentrification. Their debut single "Cell Therapy" reached number 39 on the Billboard Hot 100 and also topped the Billboard Hot Rap Singles chart. Goodie Mob is part of the hip hop/R&B musical collective, Dungeon Family, also based in Atlanta. Like numerous musicians in Atlanta's hip hop scene, their career would in fact emerge from the so-called "Dungeon," the name given to the recording studio which was located in the basement Rico Wade's mother.

In 1998, Goodie Mob released their second album, Still Standing. The album continued the group's style of social commentary, and CeeLo's singing talents were used more frequently. The group's third album, World Party, veered away from their gritty style and instead incorporated lighter beats and party related subject matter. During its production, CeeLo left the group to pursue a solo career when he was unhappy with the project's direction. Goodie Mob's fourth album, One Monkey Don't Stop No Show, was released in 2004 and suffered a poor reception, resulting in Big Gipp also leaving the group. T-Mo and Khujo formed the duo Lumberjacks, which they released the album Livin' Life as Lumberjacks in 2005. Big Gipp, as part of the duo Ali & Gipp, released their album Kinfolk in 2006.

Also in 2006, all four members of Goodie Mob performed together following a Gnarls Barkley concert, marking the group's reunion. In 2011, Goodie Mob signed with Elektra Records and worked on a new album, which would eventually become Age Against the Machine, released in 2013.

After a seven years gap, they released a new album Survival Kit in November 2020.

Recent history
On August 19, 2008, Goodie Mob performed on stage together unannounced at the Tabernacle in Atlanta during a free Nelly concert.

On September 19, 2009, Goodie Mob performed for the first official reunion concert at the Masquerade in Atlanta, Georgia. The group also performed with all the original members at the Smoke Out festival in San Bernardino, California, on October 23, 2009.

As of 2011, Goodie Mob is signed with Elektra Records.

On March 12, 2010, Goodie Mob performed "Get Rich to This" in Las Vegas, Nevada, for part of the Red Bull Soundclash concert that featured CeeLo.

On April 28, 2011, CeeLo brought out Goodie Mob during his performance at Sunfest in West Palm Beach, Florida. The group performed four songs together, including "Black Ice (Sky High)", "Cell Therapy", and "Soul Food".

On July 25, 2011, CeeLo announced via his Twitter that Goodie Mob's reunion album would be titled We Sell Drugs Too. However, in February 2012 CeeLo tweeted that the name has been changed to Age Against the Machine.

After Survival Kit was released on November 13, 2020, the group planned to start touring in December 2020.

Films

 * Mystery Men (1999)

Music videos

 * Git Up, Git Out (1994)
 * Give It 2 You (1995)
 * What It Ain't (2000)
 * So Fresh, So Clean (2001)
 * Dungeon Family - Trans DF Express (2001)
 * Special Education (2013)

Television

 * The 10th Annual Soul Train Music Awards (1996)
 * Red Hot & Rap (1996)
 * Teen Summit (1998)
 * Sister, Sister (1998)
 * The 1999 Source Hip-Hop Music Awards (1999)
 * Soul Train (1996-2000), 3 episodes
 * 14th Annual Soul Train Music Awards (2000)
 * Showtime at the Apollo (2000)
 * The 2012 Billboard Music Awards (2012)
 * Unsung (2020)

Discography

 * Studio albums
 * Soul Food (1995)
 * Still Standing (1998)
 * World Party (1999)
 * One Monkey Don't Stop No Show (2004)
 * Age Against the Machine (2013)
 * Survival Kit (2020)

title: Goodie Mob


text:
User talk:Rosey

Hi Rosey! Welcome to the Wikipedia. Nice work you've done on felting and carding. If you have any questions about the project, check out the FAQ pages; there's also the Village pump. Stop by and add yourself to the list of Wikipedians too. Cheers. -- Tarquin 18:58 Jan 19, 2003 (UTC)

title: User talk:Rosey


text:
Tad Morose

Tad Morose is a Swedish power metal band. Formed in Bollnäs in 1991, they are led by guitarist Christer "Krunt" Andersson. Their style has been described as "a power/classic heavy metal hybrid with slight progressive tendencies".

History
Tad Morose's original lineup consisted of Christer Andersson, Per-Ola Olsson, and Dan-Erik Eriksson. Their full-length debut was Leaving the Past Behind, released in 1993. In the subsequent decade the band went through numerous lineup changes, with Andersson as the only consistent member, and released a total of seven albums. A relative success came to the band with the arrival of lead singer Urban Breed, who appears on four albums, including highlights Undead (2000) and Matters of the Dark (2002). The band released Modus Vivendi in 2004, signaling a shift away from symphonic and progressive metal toward a more traditional metal sound. In late 2004 Urban Breed departed. The band toured for several years after the release of Modus Vivendi, with several more lineup changes including a stint by singer Joe Comeau, but they were unable to return to the recording studio.

Tad Morose reformed in 2013 with a new lineup featuring singer Ronny Hemlin, formerly of Steel Attack. The reformed band released the albums Revenant in 2013 and St. Demonius in 2015, which renewed the band's European power metal sound. Tad Morose then signed with GMR Music. Their ninth album, Chapter X, was released in June 2018. Their tenth album, March of the Obsequious, was released on August 26, 2022.

Current

 * Christer Andersson – guitar, keyboards, arrangements (1991–present)
 * Ronny Hemlin – vocals, vocoder (2008–present)
 * Tommi Karppanen – bass (2008–2018, 2022–present)
 * Markus Albertson – guitar (2008–2011, 2022–present)
 * Peter Morén – drums (1994–present)

Former

 * Anton Pärlenskog – guitar (2019–2020)
 * Kenneth Jonsson – guitar (2012–2019)
 * Joe Comeau – vocals (2005–2008)
 * Anders Modd – bass (1995–2008)
 * Daniel Olsson – guitar, bass, Keyboards (1998–2007)
 * Urban Breed – vocals (1996–2005)
 * Fredrik 'Frippe' Eriksson – keyboards (1993–1998)
 * Kristian 'Krille' Andrén – vocals (1993–1996)
 * Per-Ola 'Rossi' Olsson – bass (1991–1995)
 * Dan-Erik 'Danne' Eriksson – drums (1991–1994)
 * Anders 'Wispen' Westlund – vocals (1991–1992)
 * Andreas Silén – guitar (2020–2022)
 * Johan Lofgren – bass (2018–2022)

Discography

 * Leaving the Past Behind (1993)
 * Sender of Thoughts (1995)
 * Paradigma (EP) (1996)
 * A Mended Rhyme (1997)
 * Reflections (2000, compilation album)
 * Undead (2000)
 * Matters of the Dark (2002)
 * Modus Vivendi (2003)
 * Revenant (2013)
 * St. Demonius (2015)
 * Chapter X (2018)
 * March of the Obsequious (2022)

title: Tad Morose


text:
1990 in film

The year 1990 in film involved many significant events as shown below. Universal Pictures celebrated its 75th anniversary in 1990, despite its actual 75th anniversary taking place in 1987.

Highest-grossing films
The top 10 films released in 1990 by worldwide gross are as follows:

Events

 * March 2 - The Hunt for Red October is released. It is the first film in Tom Clancy's Jack Ryan franchise and is met with critical and blockbuster commercial success.
 * March 23 – Pretty Woman is released and grosses $463 million, making Julia Roberts a worldwide star.
 * March 30 – Teenage Mutant Ninja Turtles is released to massive box office success. At the time, it is the highest-grossing independent film in history.
 * May 25 – Universal Pictures unveils a new opening logo with music composed by James Horner, which debuts on Back to the Future Part III. It is the first change to the Universal opening logo in 27 years.
 * June 1 – CGI technique is expanded with motion capture for CGI characters, used in Total Recall.
 * June 15 – Following a massive media and marketing blitz, Dick Tracy is released. Walt Disney Studios chairman Jeffrey Katzenberg expressed disappointment in a studio memo that noted that the film had cost about $100 million in total to produce, market and promote and with its disappointing performance claimed "We made demands on our time, talent and treasury that, upon reflection, may not have been worth it".
 * June 22 – The use of real-time computer graphics or "digital puppetry" to create a character in a motion picture is performed, in RoboCop 2.
 * July 4 – The first digitally-manipulated matte painting is used, in Die Hard 2.
 * July 13 - Ghost, starring Patrick Swayze, Demi Moore and Whoopi Goldberg, is released and grosses $506 million, making it the third highest-grossing movie at the time.
 * November 9 – Kevin Costner's directorial debut, Dances with Wolves, is released. It later earns twelve Academy Award nominations and wins seven, including Best Picture and Best Director for Costner.
 * November 16
 * Home Alone is released. It spends twelve consecutive weeks at number one on the United States box office, becoming both the highest-grossing film of the year and the highest-grossing comedy of all-time.
 * The Rescuers Down Under is considered as the first fully digital film ever made.
 * December 24 – Tom Cruise and Nicole Kidman marry.
 * Buchwald v. Paramount decided, a leading case on the financial rewards due to writers of film treatments.

By country/region

 * List of American films of 1990
 * List of Argentine films of 1990
 * List of Australian films of 1990
 * List of Bangladeshi films of 1990
 * List of British films of 1990
 * List of Canadian films of 1990
 * List of French films of 1990
 * List of Hong Kong films of 1990
 * List of Indian films of 1990
 * List of Hindi films of 1990
 * List of Kannada films of 1990
 * List of Malayalam films of 1990
 * List of Marathi films of 1990
 * List of Tamil films of 1990
 * List of Telugu films of 1990
 * List of Japanese films of 1990
 * List of Mexican films of 1990
 * List of Pakistani films of 1990
 * List of Soviet films of 1990
 * List of South Korean films of 1990
 * List of Spanish films of 1990

By genre/medium

 * List of action films of 1990
 * List of animated feature films of 1990
 * List of avant-garde films of 1990
 * List of crime films of 1990
 * List of comedy films of 1990
 * List of drama films of 1990
 * List of horror films of 1990
 * List of science fiction films of 1990
 * List of thriller films of 1990
 * List of western films of 1990

Births

 * January 1 - Tom Ackerley, British producer and former assistant director
 * January 7 – Liam Aiken, American actor
 * January 13 – Liam Hemsworth, Australian actor
 * January 14 - Grant Gustin, American actor and singer
 * January 15 - Chris Warren, American actor
 * January 18 - Zeeko Zaki, Egyptian-born American actor
 * January 19 - Shaunette Renée Wilson, Guyanese-born American actress
 * January 21 - Jacob Smith, American actor
 * January 23 - Joel Basman, Swiss actor
 * January 25 - Dustin Ingram, American actor and musician
 * January 26 – Christopher Massey, American actor, comedian and rapper
 * January 29 – François Civil, French actor
 * January 30
 * Eiza González, Mexican actress and singer
 * Jake Thomas, American actor and voice actor
 * February 1 - Toby Onwumere, Nigerian-American actor
 * February 2 - Julia Fox, Italian-American actress
 * February 4 - Will Denton, American actor
 * February 5
 * Charlbi Dean, South African actress and model (died 2022)
 * Anthony Ingruber, Dutch-Australian actor and impressionist
 * February 8 - Christian Madsen, American actor
 * February 9 - Tyson Houseman, Canadian actor
 * February 15 - Callum Turner, British actor and model
 * February 16 - The Weeknd, Canadian singer-songwriter
 * February 21 – Flavio Aquilone, Italian voice actor
 * February 28 - Georgina Leonidas, British actress
 * March 1 – Harry Eden, British actor
 * March 2 - Tiger Shroff, Indian actor
 * March 11 - Reiley McClendon, American actor
 * March 12 – Jörgen Liik, Estonian actor
 * March 24 – Keisha Castle-Hughes, Australian-New Zealand actress
 * March 25 - Kiowa Gordon, American actor of Hualapai descent
 * March 26 - Choi Woo-shik, Korean-Canadian actor
 * March 28 – Laura Harrier, American actress
 * March 29 - Josh Blaylock, American actor
 * March 30 - Chelsea Harris, American actress
 * April 5 - Haruma Miura, Japanese actor (died 2020)
 * April 9 – Kristen Stewart, American actress
 * April 10 – Alex Pettyfer, English actor, model
 * April 15 – Emma Watson, English actress
 * April 16 – Lorraine Nicholson, American actress
 * April 17 – Gia Mantegna, American actress
 * April 18 - Britt Robertson, American actress
 * April 23 – Dev Patel, British actor
 * April 25 - Meghann Fahy, American actress
 * May 1 - Caitlin Stasey, Australian actress and singer
 * May 2 - Kay Panabaker, American retired actress
 * May 3 - Harvey Guillén, American actor
 * May 6 - Moses Storm, American writer, actor and comedian
 * May 14
 * Rea Lest-Liik, Estonia actress
 * Sasha Spielberg, American actress, daughter of producer/director Steven Spielberg and actress Kate Capshaw
 * May 15 - Sophie Cookson, English actress
 * May 16
 * Deniz Akdeniz, Australian actor
 * Thomas Brodie-Sangster, British actor
 * Marc John Jefferies, American actor
 * May 17
 * Ross Butler, American actor
 * Leven Rambin, American actress
 * May 18 - Luke Kleintank, American actor
 * May 20 - Josh O'Connor, British actor
 * May 27 - Chris Colfer, American actor and singer
 * May 30
 * Im Yoon-ah, South Korean actress
 * Mason Lee, Taiwanese-American actor
 * May 31 - Phillipa Soo, American actress and singer
 * June 2 – Jack Lowden, British actor
 * June 13 - Aaron Taylor-Johnson, British actor
 * June 15 - Denzel Whitaker, American actor
 * June 17 - Monica Barbaro, American actress
 * June 18 - Jeremy Irvine, English actor
 * June 20 - Jacob Wysocki, American actor and comedian
 * July 2 – Margot Robbie, Australian actress
 * July 4
 * Melissa Barrera, Mexican actress and singer
 * David Kross, German actor
 * July 6 – Jeremy Suarez, American actor
 * July 12 – Rachel Brosnahan, American-British actress
 * July 15 - Olly Alexander, British musician, actor and screenwriter
 * July 16
 * Eddie Hassell, American actor (died 2020)
 * James Maslow, American actor
 * July 19 - Steven Anthony Lawrence, American actor
 * July 24 – Daveigh Chase, American actress
 * July 27 – Indiana Evans, Australian actress and singer-songwriter
 * July 29 – Matt Prokop, American actor
 * July 31 - Ruby Modine, American actress, model and singer
 * August 1 - Jack O'Connell, English actor
 * August 4 - Chet Hanks, American actor and musician
 * August 9
 * Bill Skarsgård, Swedish actor
 * Emily Tennant, Canadian actress
 * August 10 – Lucas Till, American actor
 * August 15 – Jennifer Lawrence, American actress
 * August 17 – Rachel Hurd-Wood, British actress
 * August 20 - Win Morisaki, Burmese singer and actor
 * August 23 – Wesley Singerman, American record producer, songwriter and guitarist, and voice actor
 * August 24 – Elizabeth Debicki, Australian actress
 * August 29
 * Nicole Gale Anderson, American actress
 * Erika Harlacher, American voice actress
 * September 1 - Aisling Loftus, English actress
 * September 3 - Bianca Bin, Brazilian actress
 * September 9 – Klaudia Tiitsmaa, Estonian actress
 * September 11 - Georgina Terry, British actress
 * September 15 – Matt Shively, American actor
 * September 20 – Saara Pius, Estonian actress
 * September 21
 * Christian Serratos, American actress
 * Allison Scagliotti, American actress and director
 * September 28 - Kirsten Prout, Canadian actress
 * October 5
 * Wesley Morgan, Canadian actor and model
 * Taylour Paige, American actress and dancer
 * October 6 - Scarlett Byrne, English actress and model
 * October 8 - Tom Rhys Harries, Welsh actor
 * October 13
 * Florian Munteanu, German-Romanian actor and model
 * Himesh Patel, British actor
 * October 18 - Carly Schroeder, American actress
 * October 22 – Jonathan Lipnicki, American actor
 * October 31 - Patti Harrison, American actress and comedian
 * November 2 – Kendall Schmidt, American actor
 * November 4 – Jean-Luc Bilodeau, Canadian actor
 * November 6 - Bowen Yang, Australian-born American actor, comedian and writer
 * November 9 – Chris Di Staulo, Canadian filmmaker
 * November 14 - Jessica Jacobs, Australian actress and singer (died 2008)
 * November 16 - Milo Gibson, American actor
 * November 24 - Sarah Hyland, American actress
 * November 26 - Rita Ora, British actress, singer and songwriter
 * November 28 - Carla Diaz, Brazilian actress
 * November 29 - Diego Boneta, Mexican actor, producer and singer
 * December 20 – JoJo, American singer-songwriter and actress
 * December 23
 * Moses J. Moseley, American actor, writer and model (died 2022)
 * Anna Maria Perez de Tagle, American actress and singer

title: 1990 in film


text:
Talk:Psilotales

Sorry "kingdom" mistaked me. --ericd

 * No problem. :) I had to read it over a couple of times to see what it was talking about.  In the end, this should probably live at whisk fern.  DanKeshet

I cannot find any reference officially placing Psilotaceae in Ophioglossopsida. Where does this information come from? MrDarwin 19:21, 28 December 2006 (UTC)

title: Talk:Psilotales