text:
CDG

CDG may refer to:

Transport

 * Charles de Gaulle Airport (IATA code), Paris, France
 * Chandigarh railway station
 * ComfortDelGro, a Singaporean multinational land transport company
 * Shandong Airlines (ICAO code), based in Shandong, China
 * French aircraft carrier Charles de Gaulle (R91)
 * Carriage of Dangerous Goods, associated with ADR (treaty)

People

 * Charles de Gaulle, French general and President

Organization

 * Caisse de dépôt et de gestion, Moroccan pension fund
 * Gulf Cartel or Cartel del Golfo, a criminal syndicate and drug trafficking organization in Mexico
 * Congenital disorder of glycosylation also known as CDG Syndrome
 * Costume Designers Guild
 * Cave Diving Group
 * Comme des Garçons, a Japanese fashion company

Compound

 * Calcium diglutamate

Computers

 * CD+G or CD+Graphics, a format of Compact Disc including both audio and video graphics
 * Card-driven game, a type of wargaming
 * CAIA Delay-Gradient, in computer networking, a congestion control algorithm

Medicine

 * Congenital disorder of glycosylation, an inborn error of metabolism

title: CDG


text:
NRT

NRT may refer to:

Businesses and organizations

 * NRT (company), formerly National Realty Trust, an American real-estate brokerage
 * New Road Team, Nepalese sports club
 * NRT News, Iraqi broadcaster

Medicine

 * Neuroreflexotherapy, alternative treatment for back pain
 * Nicotine replacement therapy, to stop smoking
 * Thalamic reticular nucleus in vertebrates' brains

Places

 * Narita International Airport, Chiba prefecture, Japan (by IATA code)
 * Nethertown railway station, Cumbria, England (by station code)

Science and technology

 * Near real-time in telecommunications
 * Net register tonnage, the volume of cargo a ship can carry
 * Non-Real-Time Content Delivery of digital TV

Other uses

 * National Recreation Trail, US designation
 * Niagara Region Transit, a public transit system in Canada
 * Norm-referenced test, test scored relative to the performance of other participants

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

title: NRT


text:
EWR (disambiguation)

EWR is the IATA airport code for Newark Liberty International Airport.

EWR may also refer to:
 * Early-warning radar, a radar detection system
 * Entwicklungsring Süd, a German aircraft manufacturer
 * Europäischer Wirtschaftsraum, the German term for the European Economic Area and its citizens (such as in airport passport control guidance signs)
 * Extreme Warfare Revenge, a computer game

Rail

 * East West Rail, a proposed rail line in England
 * Elkhart and Western Railroad, a railroad in Indiana, United States
 * East Worthing railway station, Sussex, England

title: EWR (disambiguation)


text:
Mirror (dinghy)

The Mirror is a type of popular sailing dinghy with more than 70,000 built.

The Mirror was named after the Daily Mirror, a UK newspaper with a largely working-class distribution. The Mirror was from the start promoted as an affordable boat, and as a design it has done a great deal to make dinghy sailing accessible to a wide audience. Although most popular in the UK, Mirrors are also sailed in other countries, notably Australia, Ireland, Sweden, Canada, the Netherlands, South Africa, New Zealand, the Philippines and the United States.

Design
The Mirror was designed by Jack Holt and TV do-it-yourself expert Barry Bucknell in 1962. It employed a novel construction method where sheets of marine plywood are held together with copper stitching and fibreglass tape. This is called tack and tape or stitch and glue construction. Buoyancy is provided by four independent integral chambers rather than by bags. It was originally designed to be built with simple tools and little experience, and this meant that the design was quite simple. For example, the characteristic 'pram' front reduces the need for the more complicated curved wooden panels and joinery needed for a pointed bow, and a daggerboard is used instead of a hinged centreboard. The result is a robust, versatile and fairly light boat that can be easily maintained and repaired, and can also be launched into the water very quickly from storage or transport. Although most experienced sailors would carry a paddle rather than oars, if necessary it rows well. If the transom is strengthened, an outboard motor can be used for propulsion.

The original rig was a Gunter rig, but in 2006 the class rules were changed to allow a single mast and an alloy boom. Although a Bermudan sloop rig has now been introduced for the Mirror, the original Gunter rig (with a gaff that effectively doubles the height of the mast) meant that all the spars could be packed inside the hull for easy storage or transportation. This same space saving is still available with the Bermudan rig by using an optional two-piece aluminium mast. Mirrors can be sailed without a jib by moving the mast into an optional forward step and moving the shroud attachment points forward. However, in this configuration it can be difficult to tack, so it would mainly be used to de-power the boat for beginners. Most single handers retain the mast in the standard position and handle the jib as well: because of the Mirror's small size, this is quite manageable.

Mirror class rules permit the use of a spinnaker. This may also be used by single handers as well - although flying a main, jib and spinnaker single-handed sounds complex, it is quite manageable with a bit of practice.

Mainsail controls permitted by the class are downhaul (Cunningham), outhaul and kicking strap (Vang). The Jib tack fixing may also be adjustable while sailing allowing changes in jib luff tension and tack height.

The Mirror is light and stable enough to be sailed safely by two young teenagers or two adults. It is an excellent boat for children or teenagers learning sailing for the first time.

Richard Creagh-Osborne commented in the Dinghy Yearbook 1964 (pub. Adlard Coles) that the Mirror 'was one of the two best one design dinghies drawn by Jack Holt - the other being the Heron'. Initially the design met with a considerable degree of scepticism from the established boating fraternity due to its unconventional design and construction (actually pioneered by Ken Littledyke for canoe construction) but Creagh-Osbourn and Beecher Moore were two of the highly respected pundits of the dinghy scene who were far sighted enough to see the value of the design, and immediately supported it. Within a few years its dramatically lower cost (only just over half the cost of the Heron or Gull) and massive promotion by the Daily Mirror (under the guidance of a dedicated team headed by Victor Shaw) transformed the boat into the most popular two man dinghy in terms of sales per annum worldwide. This was sadly relatively short lived, and the imposition of 25% VAT in the late 1970s on boats, killed the dinghy market and the sales of the Mirror - it never really recovered, and by the time the economy improved, its franchise of practical post war kit builders had been replaced by kids who had little understanding of the most basic woodworking skills and even less interest - it remains popular but not to the extent and enthusiasm that fostered the book 'Mirrormania' in 1976.

Racing
Despite not being a particularly fast dinghy, the Mirror is popular for one-design racing. Because of the very large number that have been made, it is fairly easy to find other Mirror sailors to race against - at least in the countries where the Mirror is popular. The large fleet of similar boats coupled with the Mirror's stability and relative complexity (for a boat of this size) make it the ideal boat to learn racing skills. It is a recommended UK Olympic pathway boat and many top sailors learned their trade in Mirrors. Mirrors are raced competitively worldwide.

The Mirror World Championship is contested biennially by the nations of Ireland, the UK, the Republic of South Africa, Canada, New Zealand, Sweden, Netherlands and Australia. Ireland has dominated the event over the past decade, winning the championship in 1999 (Marty Moloney and Revelin Minihane), 2001 (Peter Bayly and William Atkinson), 2003 (Chris Clayton and Craig Martin) and 2005 (Ross Kearney and Adam Mc Cullough) although the last two world championships have been won by British pairings. Anna Mackenzie and Holly Scott from team GBR were the first all-female team to win the title in 2007 which was contested in Port Elizabeth, South Africa. Andy and Tom Smith also from Great Britain won the event in 2009 in Pwllheli, Wales.

Former world champion Ross Kearney won both the 2010 Mirror European championships at Sligo Yacht Club, and the 2011 Mirror World Championship held in Albany, Western Australia, with current crew Max Odell.

The 2013 World Championships were hosted at Lough Derg Yacht Club in Ireland.

The biggest event in the UK each year is Abersoch Mirror week, held in North Wales at S.C.Y.C.(www.scyc.co.uk). Abersoch Mirror week is an event for all sailors, from the very young and first time sailors to the mega keen adult, with boats from the 60s to brand new. In 2013 there were more Mirrors than the Nationals. In 2015 the 2015 Nationals were held alongside Abersoch Mirror week.

The UK Portsmouth Yardstick number for single handed racing is 1369, for racing with two crew the UK Portsmouth Yardstick number is 1383.

Cruising
Although in the racing world Mirrors are associated with youths and beginners, as a cruising/pleasure boat they are very practical for adults, even experienced and veteran sailors where modern racing dinghies are not practical. Compared to racing dinghies which tend to have low gunwales, are a wet ride, capsize easily, and cannot be rowed or motored; the Mirror is more like a traditional boat with relative comfort inside the cockpit, plenty of room for stowage, and both the crew and gear remain dry in light winds. In heavy winds, the hull form is very stable and this makes them very reliable for the more adventurous cruiser, knowing that capsize is less likely than racing boats of comparable size. Their small size and light weight means they are easy to handle, launch and recover, transport, tow, and store on land. They can be launched and recovered by hand from inhospitable places where cars and tractors are unable to go (eg deep mud estuaries, large beaches with gentle gradients, etc), which gives them an advantage over bigger dinghies. Their ability to take oars and an engine means that the cruising dinghy sailor can be self sufficient without relying on rescue boats in case of problems with the sails or rigging. With the right knowledge and equipment, Mirrors are suitable for cruising on rivers, lakes, and coastal waters; solo or in groups. Mainly used for day sailing but sometimes for multi-day passages, with boom tents allowing camping on the boat, or camping gear stowed to be used for camping ashore.

One has even been sailed and rowed singlehanded from Ellesmere to the Black Sea. Because there are so many of them around, it is fairly easy to find others to sail with. In bad weather, Mirrors remain well behaved and have inspired confidence in their owners. Their seaworthiness is excellent for their size.

The Mirror with the sail No 1 (i.e. the first ever mirror) may be seen at the National Maritime Museum Cornwall.

Other designs
Three other dinghy designs are also associated with the 'Mirror' name: the (Mirror) Miracle of 12 ft 8ins length, the Marauder (Mirror 14) (14 ft 6ins), and the Mirror 16 (16 ft 1ins). Of these, the Marauder was designed by Peter Milne, while the other two were Jack Holt designs. The Miracle also sports a squared-off 'transom bow' (albeit smaller than that of the smaller Mirror), while the two larger designs enjoy a more traditional bow treatment. All of them were conceived as potential home-build projects, though the Marauder is a less obviously hard-chine design.

The rather larger GRP 'Mirror Offshore' (a van de Stadt design), possibly in a similar spirit, was intended to enable an introduction to larger boats within a limited budget.

title: Mirror (dinghy)


text:
Talk:Easy listening

Lounge etc.
To say that lounge music is something else than easy listening is to split hairs, in my opinion. Lounge music is usually just what EL sounds like live, with a smaller orchestra. Vintermann 06:44, 19 October 2005 (UTC)

 * Speaking of spilt hairs: the list of easy listening is now chock-full of opinions and un-encyclopedic comments like "if this list seems suprising, then". Bear in mind that easy listening is for the most part a term few musicians describe themselves with.

We need to do something with that list! Vintermann 09:00, 20 October 2005 (UTC)

Okay, I'm sorry to do such a big change, but I revert the list of artists. You who made it have had a chance to clean it up. It's just not good enough with a page that lists Galway as an easy listening artist (He's absolutely not. He's light classical. New age if you want to be perjorative) and I just haven't the time to reseach every artist in this humonguous list. Vintermann 07:54, 28 October 2005 (UTC)

Adjectives
I'm not quite satisfied with that rewrite. That Easy Listening is "pleasant" and "undemanding on the ear" - pleasant is disputable, "undemanding on the ear" is definitively subjective, and it's a slur. We already describe the music objectively with "It features simple, catchy melodies, cool, laid-back harmonics and rhythms suitable for dancing".
 * That the melodies are not very long or hard to remember is easy to verify, thus "simple".
 * "cool and laid-back harmonics" - I use "cool" in the jazz sense here. If someone has a better description of EL harmonics, which is tonal and based on seventh- and extended chords, feel free to use it.
 * Most E.L. is dance music, so the point about rhythm is also not just subjective.

Vintermann 11:51, Apr 18, 2005 (UTC)

Stub?
This entry should perhaps be marked as a stub? It's not very big, and not entirely correct: for instance, EL is actually a form of very, very smooth jazz which tried very hard to capture the mood of the age (consider the use of buzzwords like "non-stop", the sudden rash for mexican imagery, etc.) It's musical predecessor is swing-style jazz, and it developed further into disco, not new age, which is largely a product of Enya's feminine synth-pop. The only thing it has in common with new age is that it's considered "light", and the terms (new age and easy listening) are more often used by detractors of the style than adherents.

How about we add a list of well known easy-listening hits that people have actually heard and perhaps not thought of as such, such as The girl from Ipanema, Raindrops keep falling on my head, etc (more ideas wanted :-) Vintermann

Rewrite
Dysprosia, I think your rewrite of the intro made it quite clumsy. If you don't like the original then how about:
 * Easy listening describes a musical style which emerged in the mid 20th century, emphasising relaxation and lack of emotional challenge, but sometimes possessing hidden depths.
 * Also, at least of the bands listed as 1960s, Mantovani, was alive and kicking in the 50s. Moriori 02:44, Nov 30, 2003 (UTC)

Yes I thought my intro was rather sucky. How about
 * Easy listening describes a musical style which emerged in the mid 20th century. It was seen to emphasise relaxation and some music stressed a lack of emotional challenge, but other easy listening music possessed hidden depths.

? Dysprosia 02:48, 30 Nov 2003 (UTC)

I really don't see why you need to pad it out with unecessary words like "It was seen to" and "and some music stressed" and "but other easy listening ". My suggestion implies all of that, is much shorter, flows nicely, informs, and...... Well, whatever. Moriori 03:17, Nov 30, 2003 (UTC)
 * Saying stuff like "it was seen to" is NPOV. Some may think that easy listening didn't emphasize relaxation but emphasized romantic ideals, or whatever. For example Doug Ashdown's Winter in America wasn't really emphasizing relaxation, but was more a introspective kind of work. I'll go add the paragraph. Dysprosia 06:57, 30 Nov 2003 (UTC)

 * Are you serious? Since when has Easy Listening "was seen to emphasise relaxation" equated to Easy Listening "didn't emphasise relaxation"? You are contradicting yourself. Please prove to me any inaccuracies in my intro. Where is the error in me saying Easy Listening describes a musical style, that it was introduced in the mid 20th century, that it emphasises relaxation and lack of emotional challenge, and that it sometimes possesses hidden depths. Please explain how any of those facts are POV. What the hell is "stuff"? Please explain how padding anything with unecessary verbosity helps to present clarity to Wikipedia readers.. Sheesh. Moriori 08:51, Nov 30, 2003 (UTC)

Influences/Origins of Easy Listening
I've read the opinions that Easy Listening derived from swing bands or jazz. Perhaps that is partially true, since the tonal language of Easy Listening arrangements utilized some jazz harmonic concepts with an orchestral instrumentation.

But there are some other primary influences which need to be mentioned in terms of repertoire and melodic aspects of the genre:

 * (1) Broadway show tunes comprise a certain large segment of it -- tunes by Richard Rodgers, Jerome Kern, Cole Porter, etc.

 * (2) Motion Picture and Television Themes -- tunes by Victor Young, John Green, Alfred & Lionel Newman, Henry Mancini and others.

 * (3) the semi-symphonic "Pops Concert" music of arranger/composers like Leroy Anderson ("Fiddle Faddle", "Plink Plank Plunk", "The Pennywhistle Song") and Richard Hayman ("No Strings Attached").

 * (4) the earlier British tradition called "Light Music", which evolved from the lighter pieces of serious publishers (what U.S. orchestra concert programs might have referred to as "Light Classical" music.) British "Light Music" composers included Richard Addinsell (of "Warsaw Concerto" fame), Eric Coates ("A Sleepy Lagoon"), Robert Busby ("Orchid Room") and Robert Farnon ("Portrait of a Flirt" and "Journey Into Melody".)

There was also one influence that had more to do with the recording business than art of music:

 * (5) U.S. record companies all had on staff arrangers like Percy Faith, Hugo Winterhalter, and Paul Weston to write and conduct arrangements for vocal crooners. When technologies like "Hi Fidelity" and the "Microgroove LP" arrived, it was a natural business decision to have their staff arranger and studio orchestra make records to demonstrate the sonic possibilities of the medium.

 * And when "Stereophonic" recordings emerged, the same thing happened at the record companies, and this provided the material for "Easy Listening" or "Beautiful Music" (flavors of "Middle-of-the-Road", or "MOR") that was known by those terms on radio.

So there were both musical and non-musical origins and influences.

--Digital Dave (former Program Director of the Easy Listening/Beautiful Music format "Music Just for The Two Of Us" on over 100 radio stations)

 * I'd agree with Digital Dave and broaden the scope somewhat to also include the fact this is one amazing genre of music that became one of the only ones I know that forced the larger format distributors to custom-record a lot of the cover music that went out on the format tapes to radio stations. Bonneville, which I've had the most experience with, hired Lex DeAzevedo, among others, to produce quick covers of songs of the day just for this format.  One of the major driving forces of this format was that it would attract then-lucrative older demographics, generally with more disposable income, making it a great sell for higher end car dealers and other such advertisers.  Listeners wouldn't tolerate the "rock" music of the 1960s and 1970s, but were quite happy to listen to Ronnie Aldrich or the Romantic Strings (or Lex) rearrange the piece into a gentler instrumental cover.  A huge part of the core library of the easy listening format was cover recordings of pop tunes of the 1960s and 1970s.  I can't think of too many Beatles tunes that weren't rearranged for this format!

 * Since a lot of the covers were custom-made or licensed from BBC orchestras rechristened as something else for radio's purposes, it wasn't surprising that so many songs covered were also popular in the United Kingdom.

 * I added a sentence to make mention of the cover recordings. Ironically, it was probably this practice that helped earn the format the "elevator music" label.  For the fans of the original artists, it was unsettling to hear them rearranged into something their parents would enjoy, and music critics used to savage the format quite often for this reason.  Unfortunately, the real "muzak" type background music distribution services also did some covers themselves and were far less choosy, custom-making less-thought-out covers of pop songs that just turned out sounding silly (and cheesy when a lot of synths were employed).  That would explain some bad covers of Prince tunes we would hear in places like Wendy's in the 1980s.

 * The one thing I do agree with is that the genre is completely misunderstood by a lot of folks who weren't around during the easy listening radio format's peak. Today, all sorts of lounge, jazz, big band, pop vocalists, and new age stuff get dumped into this genre.  I've even seen a few classic country artists dumped into the easy listening category.

 * Wny 21:32, 2 October 2007 (UTC)

Odd article
This makes it sound like easy listening is only a term old people know, but I don't think I'm old yet. (Granted I'm old by Wikipedia standards as I'm 29) Easy listening is a category at Amazon.com and a Sirius Radio station.--T. Anthony 11:09, 18 September 2006 (UTC)

 * I feel the same way, and I'm only 16. 24.226.77.23 (talk) 17:08, 29 June 2008 (UTC)

Artists list
I suggest the Notable Artists section, which is rather long, be moved to a new list, e.g. List of Easy Listening artists. 79.73.200.251 (talk) 11:05, 7 January 2008 (UTC)
 * Or create a category? --Northernhenge (talk) 13:28, 28 April 2008 (UTC)
 * Either way, something's gotta be done. I added Frank Mills btw. 24.226.77.23 (talk) 17:09, 29 June 2008 (UTC)

Globalization
I've added a Globalize request to this article. If I knew anything about the subject, I'd add some non-USA examples but the only one I can think of is The Mike Flowers Pops. I've also deleted the radio station subheading as (a) it was empty and (b) if it was filled it would become enormously long. Wouldn't it be better to use a category? --Northernhenge (talk) 13:27, 28 April 2008 (UTC)

I suggest to include Bebu Silvetti as a non-USA composer.--Vmsa (talk) 22:42, 19 November 2008 (UTC)

Guy Lombardo?
Would you consider Guy Lombardo to be easy listening? I ask because in the Guy article it says he made "easy listening" music famous, but that seems to be contradicted by the claim in this article that easy listening came along later, in the mid 20th century. Also if Guy made it famous, why isn't he mentioned here?

I'm not sure of the answer myself. I always thought of Guy as a 1930s musician who was still playing pre-swing pop after the rise of the swing bands. Sort of a nostalgia act, although his main fans seem to have been college kids. Rees11 (talk) 16:02, 6 May 2009 (UTC)

An Objective Discussion of Easy Listening is Difficult
Most of the articles here concerning easy listening, lounge music, or whatever term is used to describe the orchestral performance of popular songs, show a lack of knowledge of the origins of the genre. There is a decided point of view and bias towards the music. The writings are apparantly written by those with a post-Beatles attitude towards western popular music. That being that all pop music prior to The Beatles is simplistic and insignificant. This philosophy has been informally dictated through the culture and media for several generations. At this point, the philosophy is considered doctrine for those educated through Rolling Stone Magazine, MTV, or whatever else formed their musical taste.

When one reads that easy listening is characterized by "simple melodies", it's obvious the writer has little formal education in music nor the appreciation of it. The songs performed in any set or playlist of this genre, are written by Kern, Ellington, Mercer, Mancini, Bacharach, and others that are considered to be the great songwriters of the 20th century. And yes, I will include Lennon/McCartney, James Taylor, and Carol King, and others from the rock genre as well.

Instrumental music, including something more than a guitar, bass, and drums, was a staple of popular music for decades. There are many reasons why it experienced a decline in popularity, which are beyond the scope of this topic. It must be said however, that the decline has nothing to do with the quality of the music, nor the indication that rock music is any way superior.

Eelb53 (talk) 09:17, 16 March 2010 (UTC)

I see that the article has been improved. I still don't agree with the post-Beetles POV, but at least the "simple melodies" sentence has been removed.Eelb53 (talk) 03:22, 15 July 2015 (UTC)

Classical and jazz is easy listening?
Some record stores I've been to seem to classify all classical music as "easy listening". The Newgrounds audio portal classifies all "classical" and "jazz" music under the "easy listening" category. How widespread is this? Esn (talk) 20:54, 7 April 2010 (UTC)

Many people under the age of about 50 (maybe older), consider any non-vocal performance involving brass and woodwind instruments, to be easy listening. Invariably, some of them run record stores.

Eelb53 (talk) 05:44, 16 May 2010 (UTC)

Boney M., disco group(?)
Under "Easy listening vocal groups," the first group listed is "Boney M., disco group." I read the Wikipedia article on "Boney M.," and no where in the article is it mentioned they did any type of Easy Listening Music. Could one of you please confirm this, and then delete "Boney M." Thank You!

Orchestral pop split
I just don't see how "orchestral pop" could be considered part of easy listening. Exotica, lounge, library music, yeah... But really, not orchestral pop, especially the kind that Harpers Bizarre and similar artists were making. I think that orchestral pop should be a separate article redirecting to baroque pop. Is there anybody who disagrees?--Ilovetopaint (talk) 20:34, 28 July 2013 (UTC)

 * What are you basing your proposal on, other than personal opinion? The sources that I used to add that section to this article relate it to "easy listening" (the first sentence says orchestral pop is "a more challenging form of easy listening.") Otherwise, I would not have added it in this article. Secondly, are you suggesting we remove it altogether from this article and make "orchestral pop" serve as a redirect to "baroque pop", because it doesn't sound similar enough to you? Dan56 (talk) 01:52, 29 July 2013 (UTC)

 * Isn't the phrase "challenging form of easy listening" an oxymoron? None of the other sources listed refer to orchestral pop as easy-listening -- except for Allmusic -- and Allmusic is not the end-all be-all source of genre info. The name doesn't even make sense. It's a loose term meant to describe pop music with orchestration, not the umbrella term/genre "easy listening" that started as a radio format. Anybody else should see that the "orchestral pop" section bears absolutely no continuity to the rest of the article.--Ilovetopaint (talk) 05:51, 1 August 2013 (UTC)

 * You're incorrect; the book by Lanza that is cited in that section does, but you obviously didn't bother to check . You have no basis for removing this information from this article, other than disagreeing with cited sources (the section happens to be the only appropriately sourced in this article) and POV-based claims about what "easy listening" is and isn't, which is evident in both your last remark and your edit history. And you have offered nothing to contradict what the sources cited say or to support anything regarding "baroque pop". Dan56 (talk) 06:08, 1 August 2013 (UTC)

The problem with all these discussions and debates, is that each contributor brings their own compartmentalized knowledge of music to the table. You can't properly define "Easy Listening" music, because you have no knowledge of the history of the actual music. You tend to get caught up in your own perceptions, which or drawn from pop culture, rather than a proper education in music appreciation. It's like allowing an 8 year old with an erector set, write an article on civil engineering. It's always a dead give away, when analogies are given involving Rock groups with cutesy names, and the names of the great composers who wrote the music that is now referred to as "Easy Listening" are never mentioned.Eelb53 (talk) 03:42, 15 July 2015 (UTC)

How come this article starts by saying "easy-listening (also known as orchestral pop)", and later on say that "orchestral pop is a form [among others] of easy listening"? Blatant contradition. Savig (talk) 00:56, 25 December 2013 (UTC)

Performers
Incredibly, for a genre mainly with instrumentals just singers were listed. I added a list of instrumental performers.Dogru144 (talk) 15:43, 4 October 2016 (UTC)

Emphasis on one radio station's genre format
The article has heavy attention to WPIX-FM's music formats in the latter half of the 20th century. It is questionable that one radio station's formats should be so central. Dogru144 (talk) 01:16, 13 October 2016 (UTC)Dogru144 (talk) 01:17, 13 October 2016 (UTC)

External links modified
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Vaporwave?
I have just removed vaporwave from the infobox, where it was listed as a "derivative form" of easy listening. Please revert if this is inappropriate.

My reason: Come on. In no way, shape, or form is vaporwave a derivative of easy listening. While I admit I'm not an expert on the genre, I read some of the sources linked on its article and about the only connection I can see to easy listening is the occasional sampling of 80's soft pop (which itself is not really easy listening; easy listening peaked in the 60's and 70's). If the standard for a "derivative form" is the use of samples, then just about all dance and hip-hop music of the last 40 years is a derivative form of just about every other form of music there is. Put another way: to suggest that vaporwave is a form of easy listening is either OR in the extreme, or requires a citation of a reliable source. WeirdNAnnoyed (talk) 14:55, 3 August 2020 (UTC)

title: Talk:Easy listening


text:
Talk:Archaeopteryx

Birn-Jeffery et al. (2012)
Birn-Jeffery, A. V., Miller, C. E., Naish, D., Rayfield, E. J., Hone, D. W. E. (2012) Pedal claw curvature in birds, lizards and Mesozoic dinosaurs – complicated categories and compensating for mass-specific and phylogenetic control. PLoS ONE 7(12): e50555.

http://blogs.scientificamerican.com/tetrapod-zoology/2012/12/17/claws-climbing-in-birds-other-dinosaurs/

Greek name
Archaios in Greek means ‘original’ or ‘from the beginning’; arche being the beginning/origin. It is nothing literally to do with ancient, that’s just a deduction. It is the winged creature that was there first. The ‘original-winged’ if you will. 2A01:C22:B8C8:2F00:FDF1:55C:EE00:A394 (talk) 07:32, 8 July 2022 (UTC)

Spelling Variation
It seems all of the -ise/-ize words in this article are spelt -ize, since this isn't usually normal British spelling (except oxford spelling) should all of these be changed to -ise or left as -ize? If left as -ize I think there should be a tag saying to use Oxford spelling instead of British english to be clearer. Ertoe (talk) 04:34, 4 August 2022 (UTC)
 * Ize is consistent with UK English (Oxford is within the sphere of UK English), both versions can be used. Of course, if "ize" is the version used, it is just important that it's internally consistent, which it seems to be. But I see both "colour" and "color", "center" instead of "centre", etc. FunkMonk (talk) 10:21, 4 August 2022 (UTC)

Digits on birds' forewings are rather common on extinct birds
The article states, "Archaeopteryx had three separate digits on each fore-leg each ending with a "claw". Few birds have such features," and then mentions a few contemporary birds that have a more noticeable vestigial claw underneath their wings. Perhaps it's worth adding that this ancestral wing configuration with actual separate digits and claws (no need for quotes on claws, by the way, suggests they're not quite claws) was retained in many uncontested birds that are extinct now, perhaps all enantiornithes. ("All known enantiornithines were good fliers. The early Cretaceous enantiornithines had toothed jaws, and late Cretaceous ones did not. All enantiornithines had wing digits with claws." -- quote from the article I linked). Wikipedia's own article on the group states they're "the most abundant and diverse group known from the Mesozoic era." 45.234.133.177 (talk) 08:07, 17 October 2023 (UTC)

The secondary flightlessness hypothesis may be relevant to mention here
The article mentions that some researchers have found A. to be nested within Deinonychosaurs "and therefore not a bird," but not that long ago other researchers had sort of found the "opposite," Deinonychosaurs nested as a sister group to Archaeopteryx, and therefore possibly/arguably flightless birds. Some have also posited that perhaps juvenile Deinonychosaurs could fly. So, perhaps that's suggestive of something somewhat blurrier. A more recent study (2019) mentioned in the Origin of Birds article, "secondary flightlessness section," also puts Archaeopteryx closer to birds than to Deinonychosaurs. 45.234.133.177 (talk) 08:33, 17 October 2023 (UTC)

title: Talk:Archaeopteryx


text:
Stephen Dedalus

Stephen Dedalus is James Joyce's literary alter ego, appearing as the protagonist and antihero of his first, semi-autobiographic novel of artistic existence, A Portrait of the Artist as a Young Man (1916), and as a major character in his 1922 novel Ulysses. Stephen mirrors many facets of Joyce's own life and personality. Joyce was a talented singer, for example, and in Ulysses Leopold Bloom notes the excellence of Stephen's tenor voice after hearing him sing Johannes Jeep's song "Von der Sirenen Listigkeit".

In Stephen Hero, an early version of A Portrait, Stephen's surname is spelled "Daedalus," a more obvious allusion to the mythological figure Daedalus, a brilliant artificer who constructed a pair of wings for himself and his son Icarus as a means of escaping the island of Crete, where they had been imprisoned by King Minos. Buck Mulligan makes reference to Stephen's mythic namesake in Ulysses, telling him, "Your absurd name, an ancient Greek!" His surname also suggests his desire to "fly" above the constraints of religion, nationality, and politics in his development as an artist. Daedalus had been contracted by King Minos to build the Labyrinth in which he would imprison his wife's son the Minotaur. Stephen's surname may also reflect the labyrinthine quality of his developmental journey in A Portrait of the Artist as a Young Man. Stephen's first name recalls the first Christian martyr. The theme of martyrdom runs throughout the novel.

Fictional biography
"Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ...

His father told him that story: his father looked at him through a glass: he had a hairy face.

He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt."

The childhood of Stephen Dedalus is recounted using vocabulary that changes as he grows, in a voice not his own but sensitive to his feelings. The reader experiences Stephen's fears and bewilderment as he comes to terms with the world in a series of disjointed episodes. Stephen attends the Jesuit-run Clongowes Wood College, where the apprehensive, intellectually gifted boy suffers the ridicule of his classmates while he learns the schoolboy codes of behaviour. While he cannot yet grasp their significance, at a Christmas dinner he is witness to the social, political and religious tensions in Ireland involving Charles Stewart Parnell, which drive wedges between members of his family, leaving Stephen with doubts over which social institutions he can place his faith in. Back at Clongowes, word spreads that a number of older boys have been caught "smugging" (the term refers to the secret homosexual horseplay that five students were caught at); discipline is tightened, and the Jesuits increase use of corporal punishment. Stephen is strapped when one of his instructors believes he has broken his glasses to avoid studying. Prodded by his classmates, Stephen works up the courage to complain to the rector, Father Conmee, who assures him there will be no such recurrence, leaving Stephen with a sense of triumph.

Stephen's father gets into debt and the family leaves its pleasant suburban home to live in Dublin. Stephen realises that he will not return to Clongowes. However, thanks to a scholarship obtained for him by Father Conmee, Stephen is able to attend Belvedere College, where he excels academically and becomes a class leader. Stephen squanders a large cash prize from school, and begins to see prostitutes, as distance grows between him and his drunken father.

As Stephen abandons himself to sensual pleasures, his class is taken on a religious retreat, where the boys sit through sermons. Stephen pays special attention to those on pride, guilt, punishment and the Four Last Things (death, judgement, Hell, and Heaven). He feels that the words of the sermon, describing horrific eternal punishment in hell, are directed at him and, overwhelmed, comes to desire forgiveness. Overjoyed at his return to the Church, he devotes himself to acts of ascetic repentance, though they soon devolve to mere acts of routine, as his thoughts turn elsewhere. His devotion comes to the attention of the Jesuits, and they encourage him to consider entering the priesthood. Stephen takes time to consider, but has a crisis of faith because of the conflict between his spiritual beliefs and his aesthetic ambitions. Along Dollymount Strand he spots a girl wading, and has an epiphany in which he is overcome with the desire to find a way to express her beauty in his writing.

As a student at University College, Dublin, Stephen grows increasingly wary of the institutions around him: Church, school, politics and family. In the midst of the disintegration of his family's fortunes, his father berates him and his mother urges him to return to the Church. An increasingly dry, humourless Stephen explains his alienation from the Church and the aesthetic theory he has developed to his friends, who find that they cannot accept either of them. Stephen concludes that Ireland is too restrictive to allow him to express himself fully as an artist, so he decides that he will have to leave. He sets his mind on self-imposed exile, but not without declaring in his diary his ties to his homeland:

"... I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race."

In Ulysses, Stephen is back in Dublin, having returned because his mother was dying. He refused to kneel at her deathbed, a memory that will haunt him throughout the day. He is the character who corresponds to Telemachus; less overtly, he embodies aspects of Hamlet. He is the protagonist of the first three episodes. Subsequently, Leopold Bloom is introduced. The two will miss each other, not meeting until late in the novel.

Ovid described Daedalus in the Metamorphoses (VIII:183–235) as being shut up in a tower to prevent his knowledge of the Labyrinth from spreading to the public. Stephen is introduced taking breakfast in the Sandycove Martello tower in Dublin on the morning of 16 June 1904. Stephen shares his opinions about religion, especially as they relate to the recent death of his mother, with his quasi-friend Buck Mulligan, who manages to offend Stephen before making plans as they part ways to go drinking later that evening. In the second episode Stephen teaches a class of boys a history lesson on ancient Rome. In the "Proteus" episode (in Greek myth Proteus was the old man of the sea and the shepherd of sea animals who knew all things past, present, and future but disliked telling what he knew), Stephen ambles along the strand as his thoughts are related in the form of an internal monologue.

Following several episodes centering on Bloom, Stephen returns to the fore of the novel in the library episode, in which he expounds at length to some acquaintances his theory of the obscurely autobiographical nature of Shakespeare's works and questions the institution of fatherhood, deeming it to be a fiction. He discredits his own ideas afterward, suggesting a lack of self-confidence.

Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who has been drinking with his medical student friends and is awaiting the promised arrival of Buck Mulligan. The young men become boisterous, and start discussing such topics as fertility, contraception and abortion. They continue on to a pub to continue drinking, following the successful birth of a son to Mina Purefoy.

The episode is written as a play script, complete with stage directions. The action is frequently interrupted by "hallucinations" experienced by Stephen and Bloom—fantastic manifestations of the fears and passions of the two characters. Stephen and his friend Lynch walk into Nighttown, Dublin's red-light district. Bloom pursues them and eventually finds them at Bella Cohen's brothel. Bloom sees Stephen overpay at the brothel, and decides to hold onto the rest of his money for safekeeping. Stephen hallucinates that his mother's rotting cadaver has risen up from the floor to confront him. He cries "Non serviam!," uses his walking stick to smash a chandelier, and flees the room. Bloom quickly pays Bella for the damage, then runs after Stephen. He finds Stephen engaged in an argument with an English soldier, Private Carr, who, after a perceived insult to the King, punches Stephen. The police arrive and the crowd disperses. As Bloom tends to Stephen, he has a hallucination of his deceased son, Rudy, as an 11-year-old.

Bloom takes Stephen to a cabman's shelter near Butt Bridge to restore him to his senses. There, they encounter a drunken sailor, D. B. Murphy (W. B. Murphy in the 1922 text). The episode is dominated by the motif of confusion and mistaken identity, with Bloom, Stephen and Murphy's identities being repeatedly called into question. Bloom returns home with Stephen, makes him a cup of cocoa, discusses cultural and linguistic differences between them, considers the possibility of publishing Stephen's parable stories, and offers him a place to stay for the night. Stephen refuses Bloom's offer and is ambiguous in response to Bloom's proposal of future meetings. The two men urinate in the backyard, Stephen departs and wanders off into the night, and Bloom goes to bed, where Molly is sleeping.

Hugh Kenner, writing in 1948, was critical of Stephen Dedalus, the protagonist of A Portrait, arguing that he “does not become an artist at all. . . but an aesthete” and “to take him seriously is very hard indeed.” Kenner lamented, “It is painful to be invited to close the book with an indigestibly Byronic hero stuck in our throats.”

A later version of Kenner’s 1948 essay appeared in his first book on Joyce published in 1955.

Writing in 1959, William York Tindall was also critical of Stephen Dedalus, saying “he never sees himself entirely.” Tindall regretted Stephen’s “failure to realize himself,” adding that “this is attended to in Ulysses, which makes A Portrait seem preliminary sketch.”

In 1963 S. L. Goldberg took issue with Kenner’s negative appraisal of Stephen, conceding that “Mr. Kenner is certainly right in pointing to the irony with which Joyce views him in both the Portrait and Ulysses,” but faulting him for concluding that in doing so Joyce is rejecting Stephen himself. For Goldberg, Joyce’s “irony is a qualifying criticism, which does not imply a total rejection.”

It has been argued that Joyce used the doctrines of the Incarnation cited early in Ulysses to characterize his relation to both Stephen Dedalus and Leopold Bloom and their relation to each other. Two of the doctrines have been linked to signify that Stephen, though a separate person, shares Joyce’s nature and that Joyce speaks through him. His Hamlet theory is a continuation of his aesthetic theory in A Portrait of the Artist as a Young Man.

Quotations
When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets.

 * —A Portrait of the Artist as a Young Man, Chapter 5

A man of genius makes no mistakes. His errors are volitional and are the portals of discovery.

 * —Ulysses, Episode 9

Welcome, O life, I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. Old father, old artificer, stand me now and ever in good stead.

 * —A Portrait of the Artist as a Young Man

History is a nightmare from which I am trying to awake.

 * —Ulysses, Episode 2

I fear those big words that make us so unhappy.

 * —Ulysses, Episode 2

Touch me. Soft eyes. Soft soft soft hand. I am lonely here. O, touch me soon, now. What is that word known to all men? I am quiet here alone. Sad too. Touch, touch me.

 * —Ulysses, Episode 3

title: Stephen Dedalus


text:
Rikki (Japanese singer)

Ritsuki Nakano (中野 律紀), professionally known as Rikki (りっき), is a Japanese folk singer.

Born in Amami Ōshima, Japan, she began to sing traditional Japanese music when she was four years old. Later, at the age of 15, Rikki was the youngest winner ever to win the "Grand Prix" of the Japanese traditional folk music awards (known as All Japan Minyo awards). She first performed in Tokyo, Japan, at the prestigious Festival Konda Lota in 1992. She released her first single "Maten no Hoshi" (which means 'Sky Full of Stars') in December 1993, originally released in the Kyūshū region of Japan. Shortly thereafter, she produced her debut album, Kaze no Koe.

In 1998, Rikki was chosen to participate at the opening ceremony of the 1998 Winter Paralympics in Nagano, Japan, to sing the Paralympics theme song "Tabidachi no Toki".

Rikki sang the Final Fantasy X main theme, "Suteki da ne", released as a single on July 18, 2001. The single also included an instrumental version of "Suteki Da Ne", "Pure Heart" (a vocal arrangement of Aeris' Theme from Final Fantasy VII), and a new song entitled "Tsukisama" (which means 'The Moon').

In 2001, she produced an image album alongside Joe Hisaishi for the motion picture Spirited Away (directed by Hayao Miyazaki).

In 2006, Rikki joined the band Sound Horizon for the release of 5th Story CD: Roman. She was involved in Sound Horizon's releases until 2008, when she gave birth to twins and returned to Amami Ōshima, as she said in her blog. She returned to Sound Horizon in 2009 for their Triumph III live tour. She also returned to Sound Horizon in 2015 for the album 9th Story Nein.

Albums

 * Mucha Kana (21 May 1993) – re-released on 21 August 2002
 * Kaze no Koe (16 December 1993)
 * Taiyō no Shita de (24 August 1994)
 * Rikki (16 December 1995)
 * Miss You Amami (15 November 1998) – re-released in the UK on 15 June 2004
 * Kanaria (3 October 2001)
 * Mitsu (21 August 2002)
 * Shimauta TRICKLES (25 September 2002)
 * Musunu Shima He (19 January 2005)

Singles

 * "Manten no Sora" (1 December 1993)
 * "Tsubasa o Hiroge" (1 May 1994)
 * "Suteki da ne" – featured in Final Fantasy X (18 July 2001), re-released by Square Enix on 22 July 2004
 * "Karatachi Nomichi/Toki" (19 March 2003)

title: Rikki (Japanese singer)


text:
Treaty of London (1359)

The Treaty of London (Traités de Londres; also known as the Second Treaty of London) was proposed by England, accepted by France, and signed in 1359. After Edward the Black Prince soundly defeated the French at Poitiers (during the Hundred Years' War), where they captured John II of France, the French king was forced to accept the terms of the English. Based on the terms of the accord, England was permitted to annex much of western France, including Normandy, Anjou, Maine, Aquitaine within its ancient limits, Calais and Ponthieu, as well as suzerainty over the Duchy of Brittany. This would restore the ancient territories of Henry II, and in full sovereignty rather than as a fief. In addition, France would pay a ransom of four million écus for the king.

However, the treaty was later repudiated on 25 May by the French Estates-General, which felt that too much territory was being relinquished. This resulted in a fresh English invasion by Edward III, marching from Calais in November 1359. While the French were unwilling to meet Edward in battle, his sieges of Reims and Paris were unsuccessful, and the weak situation of his army led him to reopen negotiations. The English were forced to accept revised terms more favourable to the French and ultimately received Aquitaine and Calais, without Normandy or Brittany, and a reduced ransom in the Treaty of Brétigny.

title: Treaty of London (1359)


text:
Talk:Elbrus (computer)

Superscalar OoO
Elbrus-1 was not the first. CDC6600 and IBM 360/91 are attributed to be OoO. Elbrus-1 could not even decode more than one instruction/cycle https://people.cs.clemson.edu/~mark/stretch_superscalar.html — Preceding unsigned comment added by 109.241.247.189 (talk) 18:07, 9 January 2022 (UTC)

Untitled
If somebody makes an article about Soviet computing, this article form Creative Computing could help. -- Error 03:07, 30 Nov 2003 (UTC) How about the Strela computer - a 43 bit machine = 35 bit mantissa, 6 bit exponent 1953-1956 169.207.90.122 03:16, 30 Nov 2003 (UTC)

The Strela led me to the parent URL which lists some unusual architectures, including machines with base-3 logic. Clearly, like the Strela, many of these architectures were original and creative, and not carbon copies of the US machines. 169.207.90.122 03:49, 30 Nov 2003 (UTC)

Cyrillic Name
"(ЭЛЬБРУС)" is all caps, and probably not true to the Soviet & Russian usage. --Jerzy 02:57, 2003 Dec 7 (UTC)

Incorrect statement
E2K should not be mentioned as vaporware because it's already become real, look at http://ru.wikipedia.org/wiki/%D0%AD%D0%BB%D1%8C%D0%B1%D1%80%D1%83%D1%81_2000_(%D0%BC%D0%B8%D0%BA%D1%80%D0%BE%D0%BF%D1%80%D0%BE%D1%86%D0%B5%D1%81%D1%81%D0%BE%D1%80)

Grossly wrong!
The E2K was not vaporware, the design was tape-ready. They simply did not have the 100mio dollars to pay for prototyping as only a western fab could manufacture it, not any domestic russian chip plant. You can read here that Intel bought the E2K design IP rights in 2004, that's what happened to this innovative design: www.xbitlabs.com/news/cpu/display/20040525031730.html

The article shoud thus be corrected!

(Also, I shall mention the rumour over IRC, that a massively parallel E2K-like architecture machine was built in the late 1990s or early 2000s and is being used for crypto cracking. Elcomsoft recently cracked the RSA-512 protecting Intuit Quicken fiscal databases, which may well be interpreted as an attack on the financial aspects of US economy and national security. A year ago Moscow's Kaspersky Lab anti-virus firm somehow cracked the 660-bit strong encryption of an Office file encasing blackmail computer worm to let users get their documents black. People on IRC claim both feats were done with a massive multi-E2K-ish domestic russkie system. 82.131.210.162 12:19, 29 June 2007 (UTC)

No, Intel did not bought rights for E2K
Because it is Russian state property. Intel "bought" Babayan team, they left the company. MCST continued to work with new managment and new team. 147.91.1.41 19:13, 12 November 2007 (UTC)

Концепция операционной системы-1 - Ориентация на SuperCISC
re: http://realurix.livejournal.com/2007/10/16/

c.f. "По тому, что я читал о проекте "Эльбрус" и по общению с некоторыми людьми, работавшими в этом проекте, у меня сложилось мнение, что внутренним языком "железяки" должна была быть аппаратная реализация подмножества языка Алгол-68."
 * Can someone confirm the SuperCISC is VLIW?
 * Is is the Elbrus 3 that is "hardware implementation of a subset of ALGOL-68"

NevilleDNZ (talk)

 * Seems, he is not from project team "читал о проекте "Эльбрус" и по общению с некоторыми людьми". Also, where can I find the SuperCISC term definition? About Algol = "у меня сложилось мнение", it is not a RS. `a5b (talk) 12:28, 26 November 2010 (UTC)

SPARC compatible systems vs own designs
The article needs clearer distinction what were the SPARC compatible chips and group the rest by compatibility and similarity. Richiez (talk) 10:05, 25 November 2010 (UTC)

 * When you title this section "vs own design", what do you mean? Both classes are designed in MCST/ ITMiVT. Also, there are no SPARCs listed in the article. `a5b (talk) 03:00, 26 November 2010 (UTC)

 * The article lead says that some models were SPARC compatible. The Elbrus 1-3 obviously were not but the information given on E2K is conflicting: one line says it is "a project to implement Elbrus 3 architecture as a microprocessor" while the next line implies (probably wrongly) that it has something to do with SPARC. After reading it once again it seems that the Elbrus-90micro is the only SPARCy CPU mentioned in the article? Richiez (talk) 09:45, 26 November 2010 (UTC)

 * 'Elbrus-90micro' is a series of sparc-compatible computers, which use SPARC chips named MCST R-150, MCST R-500, MCST R-500S (in russian: МЦСТ R-150, МЦСТ R-500, МЦСТ R-500S). These chips are designed by MCST. Also, SPARC is not a EPIC/VLIW. `a5b (talk) 12:25, 26 November 2010 (UTC)

 * Thanks, looks much better now. Richiez (talk) 13:44, 26 November 2010 (UTC)

Nickname
Due to the design similarities of Elbrus 1,2 with a Burroughs system, it was nicknamed El-Burroughs. I kid you not. — Preceding unsigned comment added by 193.205.81.5 (talk) 14:05, 4 July 2012 (UTC)

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title: Talk:Elbrus (computer)


text:
Treaty of London (1604)

The Treaty of London (Tratado de Londres), signed on 18 August O.S. (28 August N.S.) 1604,  concluded the nineteen-year Anglo-Spanish War. The treaty restored the status quo between the two nations. The negotiations probably took place at Somerset House in Westminster and are sometimes known as the Somerset House Conference.

Background
The Anglo-Spanish War had been a complex and fluctuating conflict that also had connections with the Dutch Revolt, the French Wars of Religion, and the Nine Years' War in Ireland. The war by 1600 had been going on for nearly fifteen years with neither side gaining an overall benefit or a decisive advantage. The exhaustion of Spain, the rebellious opposition to the King's request for money, the mutinies of the troops in the Netherlands, and the fear of a renewal of a new war with France over the Duchy of Saluzzo all combined to emphasise the hopelessness of inflicting a vital blow on England.

Early peace proposals
In April 1600, Archduke Albert, the governor of the Spanish Netherlands, opened secret negotiations with England for a settlement but did not inform Madrid. The following month, negotiations culminated in a meeting of a conference at Boulogne between representatives of Spain, England and Burgundy. Spain demanded the cession of the Cautionary Towns. England demanded free trade with Spain and her empire, freedom of English subjects from the inquisition and the exclusive right of having warships in the channel. The talks got nowhere, Spain contended that it was absurd to expect the sovereign of a worldwide empire to give the pas to a queen of a few islands. By August the talks were off – mutual distrust and United Provinces pressure made any agreement impossible. Despite this however diplomatic routes were open between England, Albert, and his wife, Isabella Clara Eugenia (Philip's sister). Letters from representatives showed that Albert, Isabella Clara Eugenia, and Philip were still anxious for peace despite their difference in policies. Philip wanted to preserve the hegemony of the Spanish empire, whilst the Archduke and Isabella sought peace and friendly relations.

After the death of Queen Elizabeth I in 1603, her successor, James I, quickly sought to end the long and draining conflict. By this time Spanish hopes of a decisive military victory in the Netherlands, or a successful invasion of England, were relatively remote. James was an idealistic practitioner of Christian peace and unity and also the son and successor to Mary, Queen of Scots, whose execution had been a proximate cause of the conflict. Philip III of Spain had also inherited the war from his predecessor, Philip II, and his treasuries had also been drained and so he warmly welcomed the offer and ordered the commencement of the difficult negotiations that followed.

The concern of the government in Madrid was to improve their dire military situation in the Netherlands by reducing or stopping English help to the Dutch rebels. Meanwhile, Johan van Oldenbarnevelt, heading the delegation of the States of Holland, tried to attract the complicity of the new English monarch in the conflict in Flanders, of which the focus was the Siege of Ostend. The siege had become a struggle of bloody attrition after just over two years.

The first moves towards peace were taken in June 1603, when Juan de Tassis headed a Spanish–Flemish Commission which visited London, seeking truces and mutual good faith. Tassis was despatched to England by Philip III of Spain to explore the possibilities for a settlement following Elizabeth's death.

Archduke Albert had already sent his envoy Charles de Ligne, prince-count of Arenberg, to London and was joined by Juan de Tassis, in September 1603. Although De Tassis lacked full negotiating powers he was active behind the scene the following month in preparation for a settlement.

Treaty
At the end of 1603, the constable of Castile arrived in Brussels with the authorisation to conclude the treaty if one could be negotiated. On 19 May 1604, with the constable still waiting in the wings, the rest of the Habsburg delegation arrived in London and the English negotiating team was appointed.

English delegation

 * Robert Cecil, 1st Earl of Salisbury (1563–1612), Secretary of State, James I's leading minister
 * Charles Blount, 1st Earl of Devonshire (1563–1606), soldier
 * Thomas Sackville, 1st Earl of Dorset (1536–1608), Lord Treasurer
 * Henry Howard, 1st Earl of Northampton (1540–1614), Lord Warden of the Cinque Ports
 * Charles Howard, 1st Earl of Nottingham (1536–1624), Lord High Admiral

Spanish delegations
The Spanish negotiated with two delegations, one representing the King of Spain, the other the Archdukes Albert and Isabella, rulers of the Spanish Netherlands.

Spanish delegation:
 * Juan Fernández de Velasco, 5th Duke of Frías, Constable of Castile
 * Juan de Tassis, 1st Count of Villamediana
 * Alessandro Robida, Senator of Milan

Delegation of the Spanish Netherlands:
 * Charles de Ligne, 2nd Prince of Arenberg
 * Jean Richardot, President of the Brussels Privy Council
 * Louis Verreyken, Audiencier of Brussels

Terms

 * Spain recognizes the Protestant monarchy of England and renounces intentions to restore the Church of Rome in the country.
 * An end to Spanish military intervention in Ireland.
 * An end to English disruption to Spanish trans-Atlantic shipping and colonial expansion (article 6).
 * The English Channel opened to Spanish shipping.
 * An end to English intervention in the Dutch Revolt (articles 4,5,7); England withdraws military and financial support to the Dutch rebels.
 * Ships of both countries, merchants or warships, could use the mainland seaports of the other party for refit, shelter or buy provisions (article 10). Fleets of less than eight ships did not even have to ask for permission, which provided an extensive network of naval bases for the Spaniards in England to help their war against the Protestant Dutch.

The treaty restored the status quo ante bellum. It amounted to an acknowledgement by Spain that its hopes of restoring Roman Catholicism in England were at an end and it had to recognise the Protestant monarchy in England. In return, England ended its financial and military support for the Dutch rebellion, ongoing since the Treaty of Nonsuch (1585), and had to end its wartime disruption of Spanish trans-Atlantic shipping and colonial expansion.

Aftermath
With England out of the way, the Spanish hoped for a knock-out blow that would force the Dutch into a peace by launching a huge campaign led by Ambrogio Spinola in 1606. James still allowed the Dutch army to recruit English volunteer soldiers in their service – 8,000 having served in the Netherlands in 1605. In addition, English corsairs were now finding their needs in the service of the Dutch, who preyed on Spanish shipping. Conversely, Spanish warships and privateers were allowed to use English ports as naval bases to attack Dutch shipping or to transport reinforcements to Flanders. In November 1607, the costs of the recent wars with France, the Protestant Dutch as well as England resulted in Spain's bankruptcy. The Twelve Years' Truce was thus signed, which formally recognized the independence of the Dutch Republic.

To the English public, the treaty was highly unpopular, viewing it as a "humiliating peace". They felt that the King had deserted their ally the Netherlands in order to appease the Spanish, and it made James I "monumentally unpopular". Noel Caron, ambassador of the United Provinces to London, wrote that "no promulgation was ever received in London with more coolness, yes—with more sadness." As such no public celebrations were held in England after the conclusion of the agreement. The rift between James I's foreign policy and public opinion would widen some years later as a result of the "Spanish Match", when the Protestant House of Commons would confront the King over his marriage arrangement between Maria Anna of Spain (the daughter of Philip III of Spain) and James's son, Charles, the Prince of Wales. The English delegation, however, considered the treaty with Spain a diplomatic victory which gave the English "peace with honour". Gold and silver medals designed by Nicholas Hilliard were struck to commemorate the peace.

The peace agreement was well received in Spain. There were big public celebrations in the Spanish capital Valladolid from April to June 1605 in honour of the treaty and of the birth of Philip's son Philip IV of Spain. Also present were the English ambassadorial delegation (which numbered 500) led by Lord Admiral Charles Howard. He had been sent by James I in return for Don Juan de Velasco having been sent to England to negotiate the peace the previous year. The English delegation were welcomed with a warm reception and honours on 26 May which included Howard being received at the English college. The treaty was then ratified in the Royal Palace of Valladolid in the presence of Howard the following month. Some voices from the Catholic Church, however, expressed its concern to Philip III over his settlement with a "heretical power", especially Juan de Ribera, then bishop of Valencia who protested. Once the agreement was concluded, Philip III appointed Don Pedro de Zuñiga as first Spanish resident ambassador to England.

For the Spanish crown, there was hope after the peace treaty that England would eventually secure tolerance for Catholics. The Gunpowder Plot in 1605, however, destroyed any possibility of this. Protestant fears that a peace with Spain would ultimately mean an invasion by Jesuits and Catholic sympathisers over the coming years also failed to materialise as the Elizabethan Recusancy laws were rigidly enforced by Parliament.

Following the signing of the treaty, England and Spain remained at peace until 1625.

title: Treaty of London (1604)


text:
Talk:Captain Future

First header

 * For the benefit of whomever writes this article....

The Captain Future stories were developed into a French-language animated TV series called Capitaine Flam (perhaps misspelled), which appeared on French-Canadian TV in the mid-1980s (but was probably produced during the 1970s). I remember seeing this on TVA's afternoon cartoon hour, and seeing that it was credited to an English-language author I remember tracking the source down to find the books.
 * 18.24.0.120 03:10, 30 Nov 2003 (UTC)

You can make this change. Be bold in editing. RickK 03:14, 30 Nov 2003 (UTC)

I would if I remembered anything more about it!
 * 18.24.0.120 03:46, 30 Nov 2003 (UTC)

WikiProject template
The anime template above is for those that want to expand on the anime about this character. As it does not have its own article, the template is here. --Geopgeop 09:19, 13 June 2006 (UTC)

Plot
Error: The series is *not* "set in 1990". According to the first story, "The Space Emperor", it is set in 2015. In chapter 2 there is a flashback -- "Twenty-five years before..." -- to 1990 in order to relate Captain Future's origin story, but at the end of it the reader is returned to the present, i.e., 2015. Likewise, the opening chapter of the written series does not begin with Roger Newton (as the second paragraph in this article states), but with CF being summoned to Earth due to a crisis on Jupiter. He and his "unruly shock of red hair" appear for the first time towards the end of chapter 1. — Preceding unsigned comment added by Poluistor~enwiki (talk • contribs) 02:08, 3 May 2017 (UTC)

List of Stories
The list of stories obviously wants to go up to 27; at present, it restarts at 1 with #18. I don't immediately see how this would be fixed except to remove the intermediate label Startling Stories. Octavo 04:53, 2 July 2006 (UTC)
 * Naw, I think it would be better to change the text under the list. The stories form the Captain Future magazine are much longer and have a different atmossphere and, well, are in a different publication. Not to mention, that many of the stories from the CF magazine got turned into anime episodes (and quite frankly, for a German or French person, the anime is a lot more notable than the books). --84.184.96.89 17:51, 9 July 2006 (UTC)

Anime - Full english version
The Article says: "While only eight episodes in total were dubbed into English..." - But is this really true?

I just found in a german Captain Future FAQ : According to an information from Taurus Film the original series exists in english, because it was produced for the overseas. The japanese version is just a dub. (This was my translation attempt into english). The same source states that animated films had only one track for both speech and music and so all dubbed versions had to add new music and sounds.

To me it looks like 8 episodes were dubbed back to english. Could it be that Taurus Film has some full english version of the Captain Future animated series stored in its archives?

 * I seriously question the statement that they only had one track for both speech and music, at least the Italian and the French version are running with the original soundtrack. It works as a nice excuse when one has severely hacked up the series (German version is almost 1/4 shorter than the original) and therefore can't fit the original soundtrack on it. Otherwise it's really suspicious that the uncut Italian and French versions do have the original soundtrack and just cut their theme song over the Japanese one (from time to time one can here the original theme suddenly setting in when the local ones aren't running long enough).
 * All in all I find that FAQ rather questionable, unfortunately it's propagated really wide. --89.246.217.221 (talk) 19:47, 1 June 2010 (UTC)

title: Talk:Captain Future


text:
Ethel Barrymore

Ethel Barrymore (born Ethel Mae Blythe; August 15, 1879 – June 18, 1959) was an American actress and a member of the Barrymore family of actors. Barrymore was a stage, screen and radio actress whose career spanned six decades, and was regarded as "The First Lady of the American Theatre". She received four nominations for the Academy Award for Best Supporting Actress, winning for None but the Lonely Heart (1944).

Early life
Barrymore was born Ethel Mae Blythe in Philadelphia, the second child of the actors Maurice Barrymore (whose real name was Herbert Blythe) and Georgiana Drew. She was named for her father's favorite character in William Makepeace Thackeray's The Newcomes.

She was the sister of actors John and Lionel Barrymore, the aunt of actor John Drew Barrymore and great-aunt of actress Drew Barrymore. She was a granddaughter of actress and theater manager Louisa Lane Drew and niece of Broadway matinée idol John Drew, Jr. and Vitagraph Studios stage and screen star Sidney Drew.

She spent her childhood in Philadelphia and attended Roman Catholic schools there.

In 1884, the family moved to England for two years. Barrymore's father exhibited a play and starred on stage plays at London's Haymarket Theatre. Returning to the U.S. in 1886, her father took her to her first baseball game which established her lifelong love of baseball.

Career
In the summer of 1893, Barrymore was in the company of her mother Georgie, who had been ailing from tuberculosis and took a curative sabbatical to Santa Barbara, California, not far from where family friend Helena Modjeska had a retreat. Georgie did not recover and died in July 1893 at age 36. Essentially Ethel's and Lionel's childhood ended when Georgie died; they were forced to go to work in their teens with neither finishing high school. John, a few years younger, stayed with their grandmother and other relatives. Barrymore's first appearance on Broadway was in 1895, in a play called The Imprudent Young Couple which starred her uncle John Drew Jr. and Maude Adams. She appeared with Drew and Adams again in 1896 in Rosemary.

In 1897 Ethel went with William Gillette to London to play Miss Kittridge in Gillette's Secret Service. She was about to return to the States with Gillette's troupe when Henry Irving and Ellen Terry offered her the role of Annette in The Bells. A full London tour was on and, before it was over, Ethel created, on New Year's Day 1898, Euphrosine in Peter the Great at the Lyceum, the play having been written by Irving's son, Laurence. Men everywhere were smitten with Ethel, most notably Winston Churchill, who asked her to marry him. Not wishing to be a politician's wife, she refused. Winston, years later, married Clementine Hozier, who looked very much like Ethel. Winston and Ethel remained friends until the end of her life.

After her season in London, Ethel returned to the U.S. Charles Frohman cast her first in Catherine and then as Stella de Grex in His Excellency the Governor. After that, Frohman finally gave Ethel the role that would make her a star: Madame Trentoni in Captain Jinks of the Horse Marines, which opened at the Garrick Theatre in London's West End on February 4, 1901. Unbeknownst to Ethel, her father Maurice had witnessed the performance as an audience member and walked up to his daughter, congratulated her and gave her a big hug. It was the first and only time he saw her on stage professionally. When the tour concluded in Boston in June, she had out-drawn two of the most prominent actresses of her day, Mrs. Patrick Campbell and Minnie Maddern Fiske.

Following her triumph in Captain Jinks, Ethel gave sterling performances in many top-rate productions and it was in Thomas Raceward's Sunday that she uttered what would be her most famous line, "That's all there is, there isn't any more."

She portrayed Nora in A Doll's House by Ibsen (1905), and Juliet in Romeo and Juliet by Shakespeare (1922).

Actors' Equity strike
Barrymore, along with friend Marie Dressler, was a strong supporter of the Actors' Equity Association and had a high-profile role in the 1919 strike. During the strike, Ethel and Lionel Barrymore starred in a benefit show staged by AEA at the Lexington Avenue Opera House. AEA came into being primarily to allow performers to have a bigger share in the profits of stage productions and to provide benefit to elderly or infirm actors. Barrymore's involvement in AEA may have been motivated by the fate of both of her parents, both long standing actors, her mother who had needed proper medical care and her father who required years of institutionalized care. Her support for the strike angered many producers and cost Barrymore her friendship with George M. Cohan, an actor, songwriter and producer.

1920–1930s
In 1926, she scored one of her greatest successes as the sophisticated spouse of a philandering husband in W. Somerset Maugham's comedy, The Constant Wife (Maugham counted himself among her admirers, saying that during rehearsals for the play he had "fallen madly in love with her.") She starred in Rasputin and the Empress (1932), playing the czarina married to Czar Nicholas. In July 1934, she starred in the play Laura Garnett, by Leslie and Sewell Stokes, at Dobbs Ferry, New York.

After she became a stage star, she would often dismiss adoring audiences who kept demanding curtain calls by saying "That's all there is—there isn't any more!" This became a popular catch phrase in the 1920s and 1930s. Many references to it can be found in the media of the period, including the Laurel and Hardy 1933 film Sons of the Desert, and Arthur Train's 1930 Wall Street Crash novel Paper Profits. It is sometimes recalled on modern day radio stations annually every August 15 when Ethel's birthday is mentioned.

Barrymore was a baseball and boxing fan. Her admiration for boxing ended when she witnessed the brutality of the July 4, 1919, Dempsey/Willard fight in which Dempsey broke Willard's jaw and knocked out several of his teeth. Ethel vowed never to attend another boxing match, though she would later watch boxing on television.

In 1928, the Shuberts opened the Ethel Barrymore Theatre, which operates under that name to the present day.

In 1938, Ethel became the first Artistic Director of the Olney Theatre Center in Olney, Maryland.

Film
Barrymore appeared in her first feature motion picture, The Nightingale, in 1914. Members of her family were already in pictures; uncle Sidney Drew, his wife Gladys Rankin, and Lionel had entered films in 1911 and John made his first feature in 1913 after having debuted in Lubin short films in 1912. She made 15 silent pictures between 1914 and 1919, most of them for the Metro Pictures studio. Most of these pictures were made on the East Coast, as her Broadway career and children came first. A few of her silent films have survived: for example, one reel from The Awakening of Helena Richie (1916) which survives at the Library of Congress, and The Call of Her People (1917) held at the George Eastman House.

The only two films that featured all three siblings—Ethel, John, and Lionel—were National Red Cross Pageant (1917) and Rasputin and the Empress (1932). The former film is now considered a lost film.

Barrymore won the Academy Award for Best Supporting Actress for her role in the film None but the Lonely Heart (1944) opposite Cary Grant, but made plain that she was not overly impressed by it.

She appeared in The Spiral Staircase (1946) directed by Robert Siodmak, The Paradine Case (1947) directed by Alfred Hitchcock, in which she was nominated for an Academy Award for Best Supporting Actress for both as well for the 1949 film Pinky. She played the repressed wife of Charles Laughton's character. Another important role of hers was in Portrait of Jennie (1948), and "The Red Danube" (1949), among others. Her last film appearance was in Johnny Trouble (1957).

Radio
Barrymore starred in Miss Hattie, described as "a short-lived situation comedy," on ABC in 1944–1945. In one episode, Barrymore's character was "asked by Rob Thompson to direct a play which the workers of his war plant are presenting in order to raise money for war bonds." Barrymore starred, along with Gene Kelly, in the June 1, 1949, episode of Suspense, entitled "To Find Help".

Television
Barrymore also made a number of television appearances in the 1950s, including one memorable encounter with comedian Jimmy Durante on NBC's All Star Revue on December 1, 1951, which is preserved on a kinescope. In 1956, she hosted 14 episodes of the TV series Ethel Barrymore Theatre, produced by the DuMont Television Network and presented on the DuMont flagship station WABD just as the network was folding. Unfortunately none of the episodes were preserved on kinescope. A 1952 appearance on What's My Line? survives, however, in addition to several radio broadcasts.

Popular culture
In the romantic time travel film Somewhere in Time (1980), a photo of Barrymore wearing nun's habit from her 1928 play The Kingdom of God can be seen. Christopher Reeve plays a journalist rummaging through old theater albums at a large Michigan hotel. He uncovers the photos of Barrymore in the play and childhood photos of actresses Blanche Ring and Rose Stahl. In the musical film Singin' in the Rain (1952), Barrymore is held up as an example of a lofty actress when Gene Kelly mocks Debbie Reynolds in a squabble about what makes a serious actor. He repeats the humorous taunt when Reynolds jumps out of a giant cake as a show girl.

Personal life

Winston Churchill was among Barrymore's many new friends in England. Churchill proposed to her in 1900, and while Barrymore mentioned no such proposal in her autobiography, she included a photograph of herself and Churchill on the lawn at Blenheim Palace in 1899. While touring in England at age 19, she was rumored to be engaged to the Duke of Manchester, actor Gerald du Maurier, writer Richard Harding Davis and Churchill. She was engaged to Laurence Irving, son of Sir Henry Irving, but the couple did not marry.

Barrymore married Russell Griswold Colt (1882–1960) on March 14, 1909. The couple had three children: Samuel Colt (1909–1986), actress and singer Ethel Barrymore Colt (1912–1977), and John Drew Colt (1913–1975).

Barrymore campaigned for the reelection of President Herbert Hoover in 1932.

Death

Ethel Barrymore died of cardiovascular disease on June 18, 1959, at her home in Hollywood, after having lived for many years with a heart condition. She was less than two months shy of her 80th birthday. She was entombed at Calvary Cemetery. The Ethel Barrymore Theatre in New York City is named for her.

Honors
In 1960, Barrymore was posthumously inducted into the Hollywood Walk of Fame with a motion pictures star for her contributions to the film industry. Her star is located at 7001 Hollywood Boulevard. Barrymore was a member of the American Theater Hall of Fame, along with her brothers, John and Lionel.

A crater on the planet Venus is named for Barrymore. Craters on Venus are named after famous women. It's a permanent and distinctive honor.

title: Ethel Barrymore


text:
User talk:Baojie

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Disambiguation
Thank you for the attempt on creating a disambiguation page. However, it isn't that disambiguous, and the other page was an external link (it must be a wikipedia article). Thank you,  Zoo Fari  20:20, 5 August 2009 (UTC)

Disney's Animal Kingdom
Hi. I wanted to let you know that your recent edit to Disney's Animal Kingdom has been undone. While it was made in good faith, and while (in general) it was correct, consensus on these articles (due to earlier edit warring) is to discuss the city/state location of the overall resort in the main article, and then list the parks as being part of that resort. So, in this case, the article for Animal Kingdom should mention that it is part of the Walt Disney World Resort, which itself is located near (officially, not in) Orlando. If you have any questions, please feel free to leave them on my talk page, or here, as well. Don't worry, you didn't do anything wrong, so don't consider this a warning or anything like that. Thanks, and happy editing! --McDoobAU93 (talk) 03:26, 6 August 2009 (UTC)

Proposed deletion of International Workshop on Modular Ontologies

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Xu Shiyou
Hi. Would you please provide a citation for your comments about General Xu's marriages? Thanks. DOR (HK) (talk) 20:09, 27 December 2009 (UTC)

Battle of Tong Pass (211)
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Chinese history
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"RIF_DIALECTS_VENN.jpg" license?
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title: User talk:Baojie


text:
Treaty of London (1827)

The Treaty of London (Traités de Londres, Лондонская конвенция) was signed in London on 6 July, 1827 by the United Kingdom of Great Britain and Ireland, Bourbon Restoration France and the Russian Empire. The three main European powers had called upon Greece and the Ottoman Empire to cease hostilities that had been going on since the Greeks revolted against the Ottoman rule on 17 March 1821. After years of negotiation, the European allied powers had finally decided to intervene in the war on the side of the Greeks. The Allied powers wanted the treaty mainly to cause the Ottoman Empire to create an independent Greek state. It stated that while the Ottoman Empire would recognise the independence of Greece, the Ottoman Sultan would be the supreme ruler of Greece. The treaty declared the intention of the three allies to mediate between the Greeks and the Ottomans. The base arrangement was that Greece would become an Ottoman dependency and pay tribute as such. Additional articles were added to detail the response if the Sultan refused the offer of mediation and continued hostilities in Greece. The articles detailed that the Turks had one month to accept the mediation or the Allied powers forming a partnership with the Greeks through commercial relations. Measures were also adopted that if the Sultan refused the armistice, the Allies would use the appropriate force to ensure the adoption of the armistice.

However, the Ottoman Empire, basing its decision upon its supposedly-superior naval force, declined to accept the treaty. The Treaty of London allowed the three European powers to intervene on behalf of the Greeks. At the naval Battle of Navarino, on 20 October 1827, the Allies crushed the combined Ottoman–Egyptian fleet in an overwhelming victory that forcefully and effectively created an independent Greek state.

The Treaty of London also bound Russia to a promise not to attempt any territorial aggrandisement at the expense of Turkey or secure any exclusive commercial advantage from Turkey as the result of any subsequent Russian war with Turkey. The war between Russia and Turkey, anticipated by the treaty, actually broke out in June 1828 when Russian troops crossed the Danube into the Ottoman controlled province of Dobruja. The war became the Russo-Turkish War of 1828–1829. The Treaty of Adrianople, signed by Russia and Turkey on 14 September 1829, ended the Russo-Turkish War. Besides recognising the independence of Greece, Turkey was forced by the treaty to give the Danube Delta and its islands and a considerable portion of the Black Sea south of the Kuban estuary to Russia. Because of the new territorial arrangements and the other articles contained in the treaty, Britain and the other European powers came to regard the Treaty of Adrianople as infringing on the promises that Russia had made in the Treaty of 1827.

title: Treaty of London (1827)


text:
User talk:Scotts624

Hello, welcome to Wikipedia. Here are some useful links in case you haven't already found them;

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If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!

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snoyes 03:17, 30 Nov 2003 (UTC)

title: User talk:Scotts624