text:
The Soft Parade

The Soft Parade is the fourth studio album by American rock band the Doors, released on July 18, 1969, by Elektra Records. Most of the album was recorded following a grueling tour during which the band was left with little time to compose new material. Record producer Paul A. Rothchild recommended a total departure from the Doors' first three albums: develop a fuller sound by incorporating brass and string arrangements provided by Paul Harris. Lead singer Jim Morrison, who was dealing with personal issues and focusing more on his poetry, was less involved in the songwriting process, allowing guitarist Robby Krieger to increase his own creative output.

The album peaked at number six on the Billboard 200, but it failed to retain audiences in the UK and other European countries that their previous album, Waiting for the Sun, had succeeded in engaging. Three preceding singles, "Touch Me", "Wishful Sinful", and "Tell All the People", were included on The Soft Parade, with the former becoming another Top 10 hit for the Doors. Another single, "Runnin' Blue", also followed the album's distribution. Upon release, The Soft Parade was denounced by both music critics and the band's underground music scene followers, who viewed the album as the Doors' trending into popular music. Over time, historians have reassessed the album and its critical standing has slightly improved, but it is still widely considered to be the group's weakest effort with Morrison.

Background
By mid-1968, the Doors had established themselves as one of the most popular groups in the US. The band's third studio album, Waiting for the Sun, released in July of the same year, became the Doors' only number one hit on the Billboard 200, while also spawning their second single to peak at number one with "Hello, I Love You". The album was the first commercial breakthrough for the band in the UK, reaching number 16 on the UK Albums Chart. After the release of Waiting for the Sun, the Doors commanded substantial performance fees and played before large crowds in arenas such as the L.A. Forum, the Hollywood Bowl, and Madison Square Garden. Additionally, local Los Angeles Top 40 radio stations, KHJ Radio in particular, which had previously refused to play the band's records, began sponsoring the Doors' live performances. Initial sessions for the album occurred on July 26, 1968 when the band recorded "Wild Child" and "Wishful Sinful" ("Easy Ride" was a Waiting for the Sun leftover, captured on March 3, 1968). In September 1968, the group played dates in Europe, along with Jefferson Airplane, before ending their long, grueling touring schedule with nine concerts back in the US. While the 1968 tours managed to capitalize on the chart success of Waiting for the Sun, it also left little time for the Doors to compose new songs for The Soft Parade, having already exhausted all the material from Morrison's songbooks.

Throughout 1968, Morrison's behavior became increasingly erratic: he began drinking heavily and distanced himself from studio work to focus on his more immediate passions, poetry and film making. At the time, Morrison was also struggling with anxiety, and felt like he was on the brink of a nervous breakdown. He considered quitting the Doors, but was persuaded by keyboardist Ray Manzarek to finish recording The Soft Parade before making such a decision.

In November 1968, the band entered the newly established studio Elektra Sound West on La Cienega Boulevard to continue work on The Soft Parade, a process that was not completed until May 1969. Without any album-ready material to work with, record producer Paul A. Rothchild took control of the recording sessions and insisted on numerous retakes of songs, much to the group's indignation. "It was like pulling teeth to get Jim into it", sound engineer Bruce Botnick recalled. "It was bizarre ... the hardest I ever worked as a producer." Rothchild, who by this time was addicted to cocaine and incredibly strict in his leadership, caused severe strife in the studio, especially with his advisor Jac Holzman, who argued that the drive for perfection was "grinding them [The Doors] into the ground". The album was by far the most expensive by the group, costing US$80,000 to create in contrast to the US$10,000 required for their debut.

Music
The Doors wanted to redefine what could be accomplished within the rock medium. Looking for a new, creative sound, Rothchild hired Paul Harris to arrange string and orchestral arrangements for the Los Angeles Philharmonic and local jazz horn players. Session musicians Doug Lubahn and Harvey Brooks also served as additional bass guitarists. The music on The Soft Parade incorporated psychedelic rock, blues rock, art rock, jazz rock, pop rock and experimental styles. Drummer John Densmore and Manzarek, who both had jazz backgrounds, asserted they were receptive to Rothchild's jazz concept: "We'd [Densmore and Manzarek] always talk about using some jazz musicians – let's put some horns and strings on, man, let's see what it would be like to record with a string section and a big horn section," recalled Manzarek.

Although Morrison was less involved in the Doors' studio sessions at this point, he demanded the band receive individual writing credits after initially refusing to sing Krieger's lyric, "Can't you see me growing, get your guns" on the track "Tell All the People". As a result, The Soft Parade was the first Doors album to list band members separately rather than collectively as "Songs by the Doors." Krieger continued to hone his songwriting skills to fill the void left by Morrison's absence. He wrote half of the album's tracks, while Morrison is credited with the other half (they share co-credits on "Do It"), ultimately creating an album that lacks the unified musical stance found in the Doors' early works.

Krieger's songs, written almost independently from the rest of the band, most noticeably incorporated the jazz influences. Only his tracks, "Tell All the People", "Touch Me", "Runnin' Blue", and "Wishful Sinful", were written to include string and horn arrangements; Morrison, though not totally opposed to the concept, declined to go in the direction Densmore and Manzarek championed. "Touch Me" (penned under the working titles "Hit Me" and "I'm Gonna Love You") was chosen as the first single taken from The Soft Parade, becoming one of the Doors' biggest hits. The band brought in the saxophone player Curtis Amy to perform a solo instrumental on the song, which was influenced by the works of John Coltrane.

Journalists Nathan Brackett and Christian Hoard found "Wild Child" as "Morrison parodying himself." "Shaman's Blues" and the title track were both examples of the singer's penchant for using symbolism and autobiographical insights. The latter song, a stylistic return to a lengthy track closing a Doors album, was penned with the help of Rothchild, who organized pieces of Morrison's poetry with him to align rhythmically and conceptually. Introduced with a mock-fiery sermon by Morrison, "The Soft Parade" displays his Southern roots through his portrayal as a preacher. The song's ambiance is heightened by the striking imagery which outlines a need for sanctuary, escape, and pleasure. Critic Doug Sundling noted that "The Soft Parade", with its display of funk, jazz, acid rock and psychedelic pop influences, is more diverse than any other composition of the group.

Release and reception
The Soft Parade was released on July 18, 1969. It peaked at number six on the Billboard 200, during a chart stay of 28 weeks, but fared poorly in the UK where the album failed to reach the charts. The album's front cover photograph was taken by Joel Brodsky, who had also been responsible for the cover of the Doors' debut album and Strange Days. Three singles had already been released prior to the album's distribution, much more than usual for a Doors album. The "Touch Me" single was released in December 1968 and became one of the band's biggest hits, reaching number three on the Billboard Hot 100. Two additional singles, "Wishful Sinful" and "Tell All the People", were also distributed but fared less favorably, peaking at numbers 44 and 57 respectively. Following the release of The Soft Parade, the Doors earned another minor hit with the "Runnin' Blue" single, charting at number 64 upon its release in August 1969.

The album was rejected by the group's original audience and the underground scene, particularly for the use of horns and strings. The underground press was less than complimentary, with David Walkey, writing in New York's East Village Other, stating the album was "badly messed up by the syrupy arrangement of Paul Rothchild and could be renamed, 'The Rothchild Strings Play the Doors'." Another scathing review by Miller Francis Jr. of The Great Speckled Bird expressed disdain for the Doors' attempt at art rock, feeling The Soft Parade "comes on so pretentious, like something written rather than something sung." Rob Cline of Northwest Passage questioned why a band like the Doors needed to record with violins and trombones when the group was "best when getting it on straight and hard as witness to their first two albums". In Rolling Stone, Alec Dubro found much of the songs to be "pale shadows of their earlier works". Jazz and Pop magazine analyst Patricia Keneally, on the other hand, praised the band's experimentation, claiming, "most of it is very superior music and some is absolutely glorious". Reviewing for The Village Voice in January 1970, Robert Christgau wrote: "This is an acceptable record, with predictable pretensions and two or three first-rate songs ('Touch Me,' 'Wild Child'). Nothing to get excited about, either way."

Writer Richard Riegel evaluated the immediate impact of The Soft Parade on the Doors' reputation in the magazine Creem in 1981: "If Waiting for the Sun set a lot of older hippies to questioning their former perceptions of the Doors as Avatars of the avant-garde, then The Soft Parade finished off their interest in the group." In a review for AllMusic, Richie Unterberger was slightly more positive, writing that "about half the record is quite good, especially the huge hit 'Touch Me' (their most successful integration of orchestration)". However, Unterberger felt it is the "weakest studio album recorded with Jim Morrison", as well as "their weakest set of material, low lights including filler like 'Do It' and 'Runnin' Blue'." Writer James Riordan opined that, compared to prior albums, Morrison's contributions to The Soft Parade were lackluster, putting his credibility as a serious poet and songwriter on the line. Author Danny Sugerman in No One Here Gets Out Alive wrote "overall the lyric impact was less than it had been on previous albums... horns by some of the top local studio jazz musicians further blurred the once-lucid Doors sound". MusicHound Rock editors Gary Graff and Daniel Durcholz described the album as "uneven", but also expressed that it "tends toward the great and includes some of the band's most ambitious, original material."

Reissues
In 1988, The Soft Parade was digitally remastered by Bruce Botnick and Paul A. Rothchild at Digital Magnetics, using the original master tapes. It was remastered again in 1999 for The Complete Studio Recordings box set by Bernie Grundman and Botnick at Bernie Grundman Mastering, using 96khz/24bit technology; it was also released as a standalone CD release. In 2006, the album was reissued on a CD/DVD set featuring the 2006 stereo and 5.1 remixes done by Botnick for the Perception box set, and it includes a clip of the Doors performing the title track live. The 2006 stereo remix was also released on a standalone CD release in 2007 with six bonus tracks including the rarities "Whisky, Mystics, and Men" and "Push Push"; this edition was mastered by Botnick at Uniteye. In 2009, it was reissued on 180g vinyl featuring the original mix, which was cut by Grundman. The same year, Audio Fidelity reissued the album on 24kt gold CD, remastered by Steve Hoffman.

Analogue Productions reissued the album on hybrid SACD (2013) and double 45 RPM vinyl (2012); both editions were mastered by Doug Sax and Sangwook Nam at The Mastering Lab. The CD layer of the Super Audio CD contains the original stereo mix while the SACD layer contains Botnick's 2006 5.1 surround mix. In 2019, Rhino Records released a 1-LP/3-CD deluxe edition to commemorate the album's 50th anniversary release, which was remastered by Botnick, utilizing the Plangent Process. The CDs are encoded with MQA technology. It included the namely "Doors only" versions of "Tell All the People", "Touch Me", "Runnin' Blue" and "Wishful Sinful", where the orchestral arrangements are removed and features some new overdubbed guitar parts by Krieger.

Track listing
The 40th Anniversary edition includes a longer version of "The Soft Parade", running to over 9:41 length. However, the liner notes of the original US Elektra Records album released on July 18, 1969, show the details as listed below:

Personnel
Details are taken from the 2019 Rhino Records CD 50th Anniversary Edition liner notes with accompanying essays by Bruce Botnick and David Fricke and may differ from other sources.

The Doors
 * Jim Morrison – vocals
 * Ray Manzarek – keyboards, celesta on "Touch Me", harpsichord on "Shaman's Blues" and "The Soft Parade"
 * Robby Krieger – guitar, chorus lead vocals on "Runnin' Blue"
 * John Densmore – drums

Additional musicians
 * Harvey Brooks – bass guitar on "Tell All the People", "Touch Me", "Shaman's Blues", "Do It", "Runnin' Blue" and "The Soft Parade"
 * Doug Lubahn – bass guitar on "Easy Ride", "Wild Child" and "Wishful Sinful"
 * Paul Harris – orchestral arrangements
 * Curtis Amy – saxophone solos
 * George Bohanon – trombone solo
 * Champ Webb – English horn solo
 * Jesse McReynolds – mandolin on "Runnin' Blue"
 * Reinol Andino – congas

Technical
 * Paul A. Rothchild – production
 * Bruce Botnick – engineering
 * Joel Brodsky – photography
 * Peter Schaumann – inside illustration
 * William S. Harvey – art direction and design

title: The Soft Parade


text:
Amalie of Solms-Braunfels

Amalia of Solms-Braunfels (31 August 1602 – 8 September 1675) was Princess of Orange by marriage to Frederick Henry, Prince of Orange. She acted as the political adviser of her spouse during his reign, and acted as his de facto deputy and regent during his infirmity from 1640 to 1647. She also served as chair of the regency council during the minority of her grandson William III, Prince of Orange from 1650 until 1672.

Early life
Amalia was born in Braunfels as a daughter of Count Johann Albrecht I of Solms-Braunfels (1563-1623) and his wife, Countess Agnes of Sayn-Wittgenstein (1568-1617). She was a member of the House of Solms, a ruling family with Imperial immediacy, and spent her childhood at the parental Braunfels castle.

She became part of the court of Elizabeth, wife of Frederick V, Elector Palatine, the "Winter King" of Bohemia. After imperial forces defeated Frederick V, she fled from Prague with the pregnant queen to the west. Shelter was denied to them along the way because the emperor forbade it as Frederick had been placed under an Imperial ban. Elizabeth went into labour during their flight and Amalia helped her with her delivery of Prince Maurice at Küstrin castle.

The end of their journey was The Hague, where stadtholder Maurice of Nassau, uncle of the elector gave them asylum in 1621. They often appeared at his court, where Maurice's younger half-brother Frederick Henry became infatuated with Amalia in 1622. She refused to become his lover and held out for marriage. They were first cousins, once removed.

When Maurice of Nassau died, he made his half-brother Frederick Henry promise to wed. Frederick married Amalia on 4 April 1625.

Wife to the Stadtholder

When Frederick Henry became stadtholder after the death of his half-brother Prince Maurice, his influence grew substantially, as did Amalia's. Together Frederick Henry and Amalia succeeded in expanding court life in The Hague. They had several palaces built, including Huis ten Bosch. Amalia was a great collector of art and amassed many jewels, which were inherited by her four surviving daughters. She was described as intelligent, arrogant and ambitious, not beautiful but with a fresh and appealing appearance.

Amalia was the prime mover of several royal marriages, including that of her son William III to Mary, Princess Royal of England and Scotland (daughter of King Charles I of England) and of their daughters with several German princes.

The relationship between Amalia and Frederik Hendrik was described as happy, and Amalia is acknowledged to have acted as his political adviser. From 1640 until his death in 1647, Frederik Hendrik's health (he suffered from gout and probably also from a form of Alzheimer's) made it increasingly difficult for him to participate in politics, and during these seven years, Amalia therefore effectively functioned as regent and stadtholder, maintaining diplomatic contacts and making political decisions on his behalf. Her de facto political position was acknowledged and diplomats, aware of this, tried to influence her decisions by costly presents. It was reportedly Amalia who was behind Frederik Hendrik's participation in the negotiations which was eventually to result in the Peace of Münster of 1648. As a recognition, King Philip IV of Spain granted her the seigniory and castle of Turnhout in 1649.

In 1647, her spouse died and was succeeded as stadtholder and Prince of Orange by their son William II, Prince of Orange.

Regency
After the death of her son William II in 1650, her grandson William III (Prince William III of Orange and later also King William III of England) became prince of Orange. A regency council was appointed during his minority, and Amalia and her former daughter-in-law Mary Stuart fought over guardianship and thereby chairmanship of the regency council; the High Court of Holland and Zeeland finally granted both Mary and Amalia shared guardianship, and thereby shared part in the regency council of Orange.

Amalia was supported against Mary by her son-in-law, the Elector of Brandenburg, and she was on good terms with the Grand Pensionary Johan de Witt, a relationship which did not change with the Act of Exclusion of 1654, barring the prince from all ancestral offices. When Mary died in 1660, Amalia in practice took sole control of the regency of her grandson. She maintained good relations to De Witt even by the passing of the 1667 Eternal Edict, which abolished the office of stadholder entirely. During this time she lived in the Oude Hof on the Noordeinde, maintaining her court and diplomatic contacts with royalty.

In 1672, her grandson was declared an adult and his regency council thereby dismissed. Amalia retired and witnessed him becoming stadholder of Holland, Zeeland, Utrecht, Gelderland and Overijssel and captain-general of the Union. She died at her home in The Hague, aged 73.

Tributes
A wine from wine estate Solms-Delta in Franschhoek (South Africa) is named after Amalia of Solms-Braunfels. The wine honours the role played by her in Dutch political life. Her grandson, William III, King of England, provided refuge and support to thousands of French Huguenots after the revocation of the Edict of Nantes in 1685. Some 180 of these refugees, fleeing religious persecution, were relocated to the Cape and granted farms in Franschhoek. Here they laid the foundations of the modern South African wine industry.

Issue

 * Stadtholder William II (1626–1650), married Mary of England
 * Luise Henriette of Nassau (1627–1667), married Frederick William, Elector of Brandenburg
 * Henriette Amalia of Nassau (1628), died in infancy
 * Elisabeth of Nassau (1630), died shortly after birth
 * Isabella Charlotte of Nassau (1632–1642), died in childhood
 * Albertine Agnes of Nassau (1634–1696), married William Frederick, Count of Nassau-Dietz
 * Henriette Catherine of Nassau (1637–1708), married John George II, Prince of Anhalt-Dessau
 * Henry Louis of Nassau (1639), died in infancy
 * Maria of Nassau (1642–1688), married Louis Henry Maurice, son of Louis Philip of Palatine-Simmern-Kaiserslautern

Amalia also suffered many miscarriages:
 * A miscarried daughter (1629)
 * A miscarried daughter (1631)
 * A miscarried son (1633)
 * A miscarried son (1635)
 * A miscarried daughter (1636)
 * A miscarried son (1638)
 * A miscarried daughter (1640)
 * A miscarried daughter (1641)
 * A miscarried son (1643)
 * A miscarried daughter (1645)
 * A miscarried daughter (1646)
 * A miscarried son (1647)

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

title: Amalie of Solms-Braunfels


text:
Talk:Cape Canaveral Space Force Station

What?
"It depends of" What is that supposed to mean? How does this relate to Kennedy Space Center? Rmhermen 20:02, Nov 25, 2003 (UTC)

Shorter names in Spaceport template

 * Regarding the template Spaceport used on this page, please join the discussion at Template talk:Spaceport.
 * (sdsds - talk) 23:20, 22 November 2007 (UTC)

Current uses and limitations
According to the 1983, there have been only 33 launch complexes have been built on the Cape with 7 remaining active. This reference can be found on page 2 of the pdf file.I'd be more than happy to edit the article myself, but being a newbie, I'd rather watch and learn first. Kentholke (talk) 18:45, 4 February 2009 (UTC)

Original research, synthesis
has come back with yet another dynamically allocated IPV6 address, continuing his nonsense that supposedly Cape Canaveral fit the requirements for NASA's Manned Spacecraft Center, which he tried to put into the Lyndon B. Johnson Space Center page. This topic has been exhaustively dealt with at that article's talk page. He insists on trying to make sources say what they do not in fact say. JustinTime55 (talk) 19:45, 16 September 2015 (UTC)

Need online citation for siting
A section reads "The capabilities of the Mercury Control Center were inadequate for the flight control needs of Gemini and Apollo, so NASA built an improved Mission Control Center in 1963, which it decided to locate at the Manned Spacecraft Center in Houston, Texas, rather than at Canaveral or at the Goddard Space Flight Center in Maryland."

While it was true that KSC didn't have the facilities to monitor the flight control needs of an expanded program, the main reason for breaking up the system was hardly space, which KSC had plenty of, but rather of political support. Goodard had long been in the loop and stayed, for no particularly good technical reason. The political reason was two senatorial votes from Maryland, two from Florida for the launch center, two from Texas for JSC, and two from Louisiana for Michaud. This was well-known at the time but can only find post-moon landing stuff online. They needed to "spread the wealth" so no one state would be holding the bag when improvements were needed or the program went south (as it finally has). Lyndon Johnson's support in the Senate was essential; ergo, Houston. Student7 (talk) 15:04, 27 October 2015 (UTC)

 * That sentence is already well-cited with an online reference (Suddenly Tomorrow Came; I had the wrong chapter title but just corrected it.) Political reasons for the Mission Control move aren't specified, as are not the specific technical reasons; the source (Chapter 5) makes it sound like the emerging technology to communicate with other ground stations and satellite links made the specific location irrelevant.

 * But it sounds to me like you may be conflating the decision to build the Manned Spacecraft Center in Houston with the decision to locate Mission Control there; is this true? Chapter 3 of the source goes into detail about the site selection process for MSC (from several other locations including President Kennedy's native Massachusetts, besides the four you list.) You can also read this in the JSC article (Site selection and Mission Control Center sections). NASA needed Congressional approval to build a new center in Houston, but the source makes it sound like this was not true for moving Mission Control (NASA's own discretion). You'll notice Mission Control isn't even mentioned until Chapter 5, making it sound like it was an afterthought rather than a major driver of where to locate the MSC. Therefore, according to the source, we may reasonably conclude that rebuilding Mission Control had nothing to do with the decision of where to build MSC.
 * Also, I don't understand your sentence, "Lyndon Johnson's support in the Senate was essential; ergo, Houston" in the context of history. When these decisions were made (1961), Johnson was no longer in the Senate; he had gone from Majority Leader (most politically powerful position in Congress) to Vice President (an office with the political power of a codfish, much to his chagrin.) JustinTime55 (talk) 14:20, 28 October 2015 (UTC)
 * I don't remember the exact sequence, but things started to move minus the moon landing part, before Kennedy-Johnson took office. And Johnson was still influential, for Texas, anyway, after becoming VP. Wallops Island was used for some launches, for example. It never occurred to me that MSC & MC could be in two different places. I suppose they could. A redundancy they seem to have overlooked. Like Goddard in the middle, for no particular reason. The MC center was used for testing (both hardware and software) long prior to launch. I suppose they could have routed the data through Goddard! Student7 (talk) 19:00, 3 November 2015 (UTC)

External links modified
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List of Launch Complexes
As discussed on Talk: Project Spaceflight, I will be creating a main page for list of launch complexes at Cape Canaveral. This is due to some of the individual pages about launch complexes having very little information beyond name, location, and number of launches. This isn't intended to replace the pages of the well-documented launch complexes, but rather to consolidate it into a table. I will be linking it as the "Main article" under the "Facilities" header. Balon Greyjoy (talk) 22:16, 1 December 2017 (UTC)

 * Don't we have that already: List of Cape Canaveral and Merritt Island launch sites? Bubba73 You talkin' to me? 03:05, 2 December 2017 (UTC)

Space force
With the creation of the Space force these articles will have to be edited and renamed. Hektor (talk) 13:19, 8 February 2020 (UTC)

Requested move 30 April 2020
Cape Canaveral Space Force Station → Cape Canaveral Air Force Station – The initial RM appears to have been in error, as there are no major indications that Cape Canaveral has been renamed at this time. Special:Permalink/953778893. There has been no change of the name or indication of any renaming on the 45th Space Wing's website (Patrick.af.mil). The most recent news about the renaming that the 45th Space Wing has commented on is that it was delayed due to COVID-19 (https://www.floridatoday.com/story/tech/science/space/2020/03/24/coronavirus-space-force-name-change-hold-space-coast/2906937001/). To add to this, there has been no renaming of Patrick AFB (held by the same wing). It seems that the source initially provided for the first RM incorrectly referred to it as a SFS, when it has not officially been renamed. Pinging users who discussed in the first RM:, , , ,. Also posting notifiaction at WP:SPACEFLIGHT and WP:MILHIST. Garuda28 (talk) 03:43, 30 April 2020 (UTC)
 * I think you should WP:BOLDly move it back to CCAFS for the time being if that's so. We'll just move it to CCFSFS once that's official. – Jadebenn (talk · contribs · subpages) 03:52, 30 April 2020 (UTC)
 * That was actually my first inclination (and believe me, I tried), but I had no idea the policy implications it would have since it was initiated as a request move. After going down that rabbit hole I'd feel a lot more comfortable doing a RM. That being said, I'm not going to stand in anyone's way if they feel that is appropriate. Garuda28 (talk) 03:56, 30 April 2020 (UTC)
 * I'm going to seriously stick my neck out and do it. I don't think anyone's going to object. – Jadebenn (talk · contribs · subpages) 03:58, 30 April 2020 (UTC)
 * Since you were the one who initiated the first RM, I don't think it will cause the same issues as when I did. Garuda28 (talk) 04:00, 30 April 2020 (UTC)
 * You should go ahead and remove this move request now. – Jadebenn (talk · contribs · subpages) 04:12, 30 April 2020 (UTC)

UTC)
 * Yeah, I’m pretty sure this has been resolved. Garuda28 (talk) 04:18, 30 April 2020 (UTC)

title: Talk:Cape Canaveral Space Force Station


text:
The Lost Princess of Oz

The Lost Princess of Oz is the eleventh book in the Oz series written by L. Frank Baum. Published on June 5, 1917, it begins with the disappearance of Princess Ozma, the ruler of Oz and covers Dorothy and the Wizard's efforts to find her. The introduction to the novel states that its inspiration was a letter a young girl had written to Baum: "I suppose if Ozma ever got hurt or losted, everybody would be sorry." It was followed by The Tin Woodman of Oz (1918).

The Frogman and Cayke's dishpan re-appear in Jeff Freedman's 1994 novel The Magic Dishpan of Oz.

Plot
Dorothy has risen from bed for the day and is seeing to her friends in the Emerald City and notices that Ozma has not awakened yet. Dorothy goes into Ozma's chambers only to find she is not there.

Glinda awakens in her palace in the Quadling Country and finds her Great Book of Records and magic tools are missing. She dispatches a messenger to the Emerald City to relay news of the theft. Receiving the news, the Wizard hastily offers his magic tools to assist Glinda, however, these are missing as well. Glinda, Dorothy, and the Wizard organize search parties to find Ozma and the missing magic. Accompanying them are Button-Bright, Trot, and Betsy Bobbin. Dorothy and the Wizard's party begins to search the Winkie Country to the west of the Emerald City.

Meanwhile, in the southwestern corner of the Winkie Country on a plateau belonging to the Yips, Cayke the cookie cook has had her magic gold dishpan stolen. The self-proclaimed adviser to the Yips, a human-sized dandy of a frog called the Frogman, hears Cayke's story and offers to help her find the dishpan.

Dorothy, the Wizard, and their party enter the previously unknown communities of Thi and Herku. In the Great Orchard between Thi and Herku, Button-Bright eats from the one peach tree in the orchard, and discovers that the peach pit is made of gold.

In the city of Herku, Dorothy and the Wizard's party are greeted by the emaciated but jovial Czarover of Herku, who has invented a pure energy compound called zosozo that can make his people strong enough to keep giants as slaves. The Czarover gives them a clue that Ugu the Shoemaker might be behind all the recent thefts of magic and the ruler of Oz. They proceed from Herku toward the castle and meet with Cayke and her companions.

When the combined party arrives at Ugu's castle, they overcome Ugu's magical defenses and confront the thief. Dorothy uses the magic belt to turn Ugu into a dove, but he modifies the enchantment so he retains human size and aggressive nature. Fighting his way past Dorothy and her companions, Ugu the dove uses Cayke's diamond-studded dishpan to flee to the Quadling Country.

Once the magic tools are recovered, the conquering search party turns their attention to finding Ozma. The Little Pink Bear reveals that Ozma is being carried in Button-Bright's jacket pocket, imprisoned in the golden peach pit. The Wizard opens it with a knife, and Ozma is released. She was kidnapped by Ugu when she came upon him stealing her and the Wizard's magic instruments. The people of the Emerald City and Ozma's friends all celebrate her return.

title: The Lost Princess of Oz


text:
User talk:JeffByrne

Hey there! Welcome to Wikipedia! I hope you like this place--I sure do--and want to stay. If you need help on how to title new articles check out Naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and The FAQ, plus if you can't find your answer there, check The Village pump or The Reference Desk! Happy wiki-ing! Alexandros

title: User talk:JeffByrne


text:
User talk:Silonh02

Hey there! Welcome to Wikipedia! I hope you will want to stay. If you need help on how to title new articles check out Naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and The FAQ, plus if you can't find your answer there, check The Village pump or The Reference Desk! Best of luck! Alexandros

title: User talk:Silonh02


text:
Talk:Metal Gear

No Solidus Snake Wiki Page?!?
This is outrageous. He also needs to have a link in the "Metal Gear Franchise" box at the bottom of all Metal Gear pages. Did anyone notice this or is it just me?

Revengence is before MGS4
Pretty self explanatory. — Preceding unsigned comment added by 65.36.75.134 (talk) 15:24, 19 June 2012 (UTC)

 * That was Solid Rising. Revengeance takes place nine years after MGS4 with Raiden mentioning the E3 trailer that the Patriots are gone.Tintor2 (talk) 15:31, 19 June 2012 (UTC)

Source
1up has a full week's worth of articles on Metal Gear 25th anniversary. Probably some stuff worth including here. Axem Titanium (talk) 19:13, 10 July 2012 (UTC)

Themes
In the themes section, it mentions Gene, meme, scene, sense, and peace as the themes for most of the Solid games. Yet it does not mention the theme of Portable Ops. Why is this not included? 134340Goat (talk) 22:05, 17 October 2012 (UTC)
 * You know I kinda notice a pattern here. In the characters article, you whine about the lack of an MPO section. And in here, you make another question that has an MPO element added in? Are you really that desperate to have anything about that game included in anywhere Metal Gear? --Eaglestorm (talk) 13:52, 18 October 2012 (UTC)
 * The list seems incomplete without it. If you'd seen my other "whining", you'd have read that before.I'm not whining, I'm simply asking why it is not included. I'm not demanding anybody do anything. The article just seems to be lacking. 134340Goat (talk) 20:08, 18 October 2012 (UTC)
 * Also, I do not understand why my addition needed to be removed. 134340Goat (talk) 04:47, 30 November 2012 (UTC)

Wonder what will happen if I try to improve this article again... 134340Goat (talk) 07:10, 26 January 2013 (UTC)
 * Don't try it. The game has no theme, and I will revert it. Provide at least two primary references with a theme, otherwise it will not be valid. --Anddo (talk) 17:06, 26 January 2013 (UTC)
 * It is documented nicely here. You asked for two examples in game:

1.) Early on, two soldiers are talking about their dissatisfaction with Gene as their leader due to his brutal methods.

2.) When Gene explains his goal for his Army's Heaven, Snake calims that he is nothing but a dictator, and what soldiers are really looking for is outside his "heaven".

Need any more? 134340Goat (talk) 18:40, 26 January 2013 (UTC)

 * Uh, yeah actually, much more. Not a one of those references refer to a single word or phrase as an overarching theme. Give me something like Gene, Meme, Scene, Sense, Peace or Revenge to write around. All the themes in the series revolve around a single word, otherwise it's just a detail the developer wanted to convey, not a general moral. Find me something like that, anywhere. --Anddo (talk) 19:08, 26 January 2013 (UTC)

 * No need to be so rude about it. Judging by your history, you do that a lot, though. Just tell me why the theme shoud not be documented here. The article would benefit from at least a brief mention somewhere. Did you read this? Also, now that I re-read it again, it mentions the themes of Metal Gear and Metal Gear 2:Solid Snake. Those are unable to be expressed in a single word, yet they are still mentioned. 134340Goat (talk) 19:12, 26 January 2013 (UTC)

 * The bottom paragraph deals with Metal Gear Solid titles in one-word conventions, while the above explains MG1 and 2's theme without a one-word convention. If an MGS title really has a theme, it's one word, so the MGS paragraph is branched. MPO does not. The MGS series splits off from MG1 and 2 anyway. If you really want to lay out the theme for MPO, why don't you do it in an entirely separate paragraph since it has no word of its own? --Anddo (talk) 20:13, 26 January 2013 (UTC)

 * You make a fair point about the MG/MGS split. Problem is, if I wrote anything there, a troublesome user called Eaglestorm would remove it without explanation, even when asked. Oh well, there's always the sandbox to go to... 134340Goat (talk) 21:01, 26 January 2013 (UTC)

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

Reference named "Gamespot": From The Phantom Pain (video game):  From Electronic Entertainment Expo 2010:  From Metal Gear Solid: Ground Zeroes:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 03:43, 14 December 2012 (UTC)

MGS5
By the looks of it, a 5 is in the works. http://metalgear.wikia.com/wiki/Metal_Gear_Solid_5 - 88.104.86.135 (talk) 21:18, 12 January 2013 (UTC)

Meryl Silverburgh's up
You guise can help with it. Also, The Boss (totally) and EVA (maybe) also need their own articles. --Niemti (talk) 19:14, 2 April 2013 (UTC)

Canon/Non-Canon v.s. Main Series/ Spin-off (again)
Alright. To some this might be tiresome. This is mainly about how Metal Gear Solid: Portable Ops and Metal Gear Rising: Revengeance should be treated within the various articles concerning Metal Gear Games. This is an official site by Konami for the 25th anniversary last year: http://translate.google.de/translate?hl=de&sl=ja&tl=en&u=http%3A%2F%2Fwww.konami.jp%2Fmg25th%2Ftruth%2F Now, this is only one of myriad sources, that skips over MPO as if it isn't canon or at least not important. Similarly, Rising has constantly been referred to a spin-off or a "new standard", something that stands apart from the main series, especially by Kojima himself, THE ultimate source regarding Metal Gear. Actually he himself said about MPO "It happened, but it is not a main chapter." What I am getting at: A Main Series does NOT equal whether something is Canon or Non-canon. Star Wars: The Clone Wars is a spin-off of the Star Wars films, even though it is canon, it has its focus on a side story (namely, the titular Clone Wars which are skipped over in the main cinematic saga). Even though Metal Gear Rising's events did happen in the larger Metal Gear Universe, it still is not part of Hideo Kojima's Main storyline. Even though Portable Ops did show events that happened within the main universe, Big Boss first taking on a command and becoming a leader, they are apparently not an important part of the core series. (In one main game, MGS3, Big Boss goes solo, in the next, MGSPW, he is already a commander years later. How that came to happen is not important to the main series, but if you are interested, there is a side story about how became a commander in MPO.) All things said: currently the myriad articles concerning Metal Gear tread MPO and MGR as part of the main series, when they are clearly not. The articles should reflect the official stance on the matter, more precisely, the CURRENT official stance in the matter. MPO may have been a main chapter once, but it has since been superceeded by Peace Walker. And Rising was never more than a spin-off game in the first place, albeit a canonical one. Suggestion: 1. the main series currently consists of seven titles: Metal Gear, Metal Gear 2: Solid Snake, Metal Gear Solid, Metal Gear Solid 2, Metal Gear Solid 3, Metal Gear Solid 4 and Metal Gear Solid: Peace Walker. Metal Gear Solid: Ground Zeroes and Metal Gear Solid V: The Phantom Pain are two upcoming title which will continue the Main Series. The articles should reflect that stance. 2. Metal Gear Solid: Portable Ops and Metal Gear Rising: Revengeance are unique among the various spin-offs in that they present canonical storylines, meaning storylines, that did happen within the main Metal Gear universe and not outside the regular continuity in some alternate reality or something. This should be clearly mentioned as well as the debate arround MPO, which originally was announced as a main chapter but has since been shoved under the carpet by Kojima Productions, especially following Peace Walker. Thoughts anyone?141.35.40.137 (talk) 10:33, 16 April 2013 (UTC)
 * Not this again... Look, the official Metal Gear timeline application on the official site still lists MPO, and considering how the site still receives updates and the timeline is interactive, that means it is still canonical.
 * As far as that "Truth" timeline for the MG25, that timeline had more than a few errors on its part. For instance, it claimed Big Boss fell into sulphuric acid, despite it not only contradicting MG2's account of how he was "killed," but also his appearance in MGS4. Some of the events also weren't even updated to reflect current information. For example, it reused the MGSaga's dating (20XX) for MGS4, even though its long been made clear that the year the game took place in was 2014. Besides, its not the first time an official timeline left out games: The timeline posted by Konami during Peace Walker's development also omitted the MSX2 games as well. And BTW, if we really want to get technical, the MSX2 games aren't even main titles, especially seeing how they don't exactly encompass the Solid series (lack of "Solid" in the title. That, plus the heavy amount of retcons to that game since MGS).
 * Lastly, I'm pretty sure MPO would not have been referenced in MGS4 as a main title if it weren't one, especially in rereleases. Weedle McHairybug (talk) 11:58, 16 April 2013 (UTC)

 * What's the point of this? Making such weird statements will such confuse the readers who will wonder what's the difference between "main game" and "game" and what's the difference from canonical.Tintor2 (talk) 12:57, 16 April 2013 (UTC)

 * Actually, we would be clarifying. Fact is, Rising is currently not considered a Main Game and never was (meaning being part of the main series - which is a weird term, I agree, however, one that is used by Kojima and Kojima Productions). Currently, both terms are thrown arround interchangably without really explaining. Wikipedia is supposed to represent official facts, in't it? As for the occasional omission of the original MSX2 games: I was thinking of mentioning that, but didn't want to be bold. The original MSX2 games could be seen as standing apart from the later Metal Gear Solid series (actually, the list of media has done this for years!). However, currently the myriad articles represent false facts: Metal Gear Rising is not the 9th Main Game in the series, it is a spin-off. Nor is MGS4 for instance the 7th, as MPO, the supposed 6th main game, has since been removed from the main series, thus making MGS4 the 6th so called main game. 141.35.40.137 (talk) 18:42, 16 April 2013 (UTC)

Ground Zeroes and The Phantom Pain are NOT the same game
Read this article: http://www.siliconera.com/2013/03/27/the-phantom-pain-and-metal-gear-solid-ground-zeroes-are-two-separate-games/

I saw another article, though I can't seem to retrieve it now. In it, Hideo Kojima confirmed that Metal Gear Solid 5 is not a game. It's a project composed of two games - MGS:Ground Zeroes and MGSV:The Phantom Pain. He did later say he was unsure of HOW they will be released, but he did also clarify that they're still two games. In addition, the official Metal Gear website still lists MGS:GZ and MGSV:TPP as two separate products.

Also remember that trailer confirming Metal Gear Solid V is NOT pronounced as Roman numeral 5, rather, the V is literally pronounced as letter V (the trailer flashed across words like "vapor, victory, V has come to", etc.

So with all this confirmed info, why is so much in this article inaccurate? 134340Goat (talk) 21:51, 2 September 2013 (UTC)

Metal Gear Solid: Sub-series
Does anyone else feel like we can make a splinter page for Metal Gear Solid as a sub:series? In the same way that persona has its own article as sub series of megami tensei? Osh33m (talk) 16:40, 22 September 2015 (UTC)
 * A bit late, but not really. Mostly because the original Metal Gear series didn't continue after Metal Gear Solid, so Metal Gear Solid is basically the continuation of Metal Gear series. The only sub-series worth noting are Acid, Online and Rising. However, Online is the miltiplayer component of Solid and not really a seperate thing, while Acid and Rising aren't big enough to warrant their own sections/articles. Acid had two games in 2004 and 2005 and Rising was one game in 2013. In contrast, Persona has become a fully fledged series of its own with multiple installments and even spin-offs, while Megami Tensei also continued on its own with multiple installments.141.35.40.31 (talk) 11:36, 27 June 2017 (UTC)

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Series chronology template discussion
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Mon nom est Legion Etrangere
I am ⛎ Snake....I am there.... 109.245.38.210 (talk) 03:32, 10 July 2022 (UTC)

title: Talk:Metal Gear


text:
Wynn

Wynn or wyn (Ƿ ƿ; also spelled wen, win, ƿynn, ƿen, and ƿin) is a letter of the Old English alphabet, where it is used to represent the sound.

The letter "W"
While the earliest Old English texts represent this phoneme with the digraph $\langleuu\rangle$, scribes soon borrowed the rune wynn for this purpose. It remained a standard letter throughout the Anglo-Saxon era, eventually falling out of use during the Middle English period, circa 1300. In post-wynn texts, it was sometimes replaced with $\langleu\rangle$ but often replaced with a ligature form of $\langleuu\rangle$, which the modern letter $\langlew\rangle$ developed from.

Meaning
The denotation of the rune is "joy, bliss", known from the Anglo-Saxon rune poems:

"Ƿenne brūceþ, þe can ƿēana lẏt sāres and sorge and him sẏlfa hæf blǣd and blẏsse and eac bẏrga geniht."

"Who uses it knows no pain, sorrow nor anxiety, and he himself has prosperity and bliss, and also enough shelter."

Miscellaneous
It is not continued in the Younger Futhark, but in the Gothic alphabet, the letter w is called winja, allowing a Proto-Germanic reconstruction of the rune's name as *wunjô "joy".

It is one of the two runes (along with thorn, þ) to have been borrowed into the English alphabet (or any extension of the Latin alphabet). A modified version of the letter wynn called vend was used briefly in Old Norse for the sounds, , and.

The rune may have been an original innovation, or it may have been adapted from the classical Latin alphabet's P, or Q, or from the Rhaetic's alphabet's W. As with þ, the letter wynn was revived in modern times for the printing of Old English texts, but since the early 20th century, the usual practice has been to substitute the modern $\langlew\rangle$.

Unicode
The following wynn and wynn-related characters are in Unicode:

title: Wynn


text:
Talk:Ottorino Respighi

Classification of the Roman Trilogy
This article calls them symphonic poems. I would have called them orchestral suites, seeing as they are multi-movement works arranged around a common theme and it's a form he would have known well from his baroque study... I am surprised to see that the liner notes of the one Respighi CD in my collection also call them "3 symphonic poems." Anyone else care to chime in with an opinion? Are there any other examples that are so called? Ma Vlast, for instance, consists of 6 symphonic poems but I can't imagine calling the whole cycle "a symphonic poem." 216.67.33.87 05:56, 30 March 2007 (UTC)

 * Unlike Ma Vlast, the movements of the three Respighi works are fairly short, not independent, and lead directly to the next. They do not stand alone. — Preceding unsigned comment added by 99.158.131.87 (talk) 01:59, 27 November 2013 (UTC)

Missing sections
There is relatively little description of the composer’s musical style and critical responses to it, or his musical legacy (students, influence, etc.). Reify-tech (talk) 00:08, 14 February 2018 (UTC)
 * There is unfortunately very few WP:RS on the subject matter, but I'll see what I can do in the future. Newspapers.com has thousands of newspapers on Respighi. Wretchskull (alt) (talk) 11:27, 29 November 2021 (UTC)

Interesting info
If anyone is keen on adding a bit more about Respighi, here is a ref about him meeting Einstein and talking about the theory of relativity, his relationship with his wife, as well as his class. Wretchskull (alt) (talk) 11:37, 29 November 2021 (UTC)

Signature
Are we supposed to assume that the signature posted is his? There's nothing to indicate the source of the signature; i.e. from what document it was scanned. Anybody could "forge" a signature, post it to a biographical site, and coast on the notion that it would just be assumed that the signature was said person's. I could easily scrawl "Tutankhamun" and post it to the Tutankhamun page without citation where it would be assumed to be his signature? — Preceding unsigned comment added by 2600:1700:5d50:cfd0:58d5:5f37:1b0e:8bf2 (talk) 06:23, 12 February 2022 (UTC)

title: Talk:Ottorino Respighi


text:
Gastrovascular cavity

The gastrovascular cavity is the primary organ of digestion and circulation in two major animal phyla: the Coelenterates or cnidarians (including jellyfish and corals) and Platyhelminthes (flatworms). The cavity may be extensively branched into a system of canals. In cnidarians, the gastrovascular system is also known as the coelenteron, and is commonly known as a "blind gut" or "blind sac", since food enters and waste exits through the same orifice.

The radially symmetrical cnidarians have a sac-like body in two distinct layers, the epidermis and gastrodermis, with a jellylike layer called the mesoglea between. Extracellular digestion takes place within the central cavity of the sac-like body. This cavity has only one opening to the outside which, in most cnidarians, is surrounded by tentacles for capturing prey.

title: Gastrovascular cavity


text:
User talk:Ooterness

Hey there! Welcome to Wikipedia! I hope you will want to stay. If you need help on how to title new articles check out Naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and The FAQ, plus if you can't find your answer there, check The Village pump or The Reference Desk! Best of luck! Alexandros

-

Hah, I got you to join Wikipedia! It's too late for you now! :P Ashera

title: User talk:Ooterness


text:
Elkton, Ohio

Elkton is an unincorporated community located in central Elkrun Township, Columbiana County, Ohio, United States. It lies along State Route 154 at the confluence of Elk Run and the Little Beaver Creek and has the ZIP code 44415. It is home to the Federal Correctional Institution, Elkton, a male low-security federal prison. Additionally, Elkton is home to one of the shortest covered bridges in the United States, the Church Hill Road Covered Bridge.

History
Elkton was platted in 1835. The community derives its name from nearby Elk Run creek. A post office called Elkton has been in operation since 1838. The community thrived due to its location on the Sandy and Beaver Canal, but was in decline by the late 1840s when the canal became unprofitable and was suspended.

title: Elkton, Ohio


text:
Saue

Saue is a town in north-western Estonia. It's the administrative centre of Saue Parish in Harju County.

The territory of Saue is 3.50 km2 and population about 5,800. Closest centres are Tallinn (18 km), Keila (7 km), Saku (7 km) and Laagri (7 km).

Geography
Saue is located at a very favourable position near Tallinn, the capital of Estonia. It lures a lot of moderately wealthy people who like the balance between the small town and big city atmosphere. While Saue is close to nature, it still provides the kinds of entertainment, jobs, and other big city amenities that Tallinn has to offer.

History

 * 1620s – Saue manor (Klein-Sauß) was established
 * 1792 - The current manor house was built
 * 1870 - The Saint Petersburg–Tallinn–Paldiski railway passing Saue was completed
 * 1920s – Garden settlement started to arise
 * 1960s – Saue was united with Tallinn
 * 1973 – Saue, still part of Tallinn, gained a borough (alev) status
 * 1993 – Saue was granted the town rights
 * 1994 – Saue was separated from Tallinn and given a separate urban municipality status
 * 2017 – Saue town, Saue Parish, Kernu Parish and Nissi Parish were united and a new Saue Parish was formed

Demographics
93% of the people living in Saue are ethnic Estonians. The average age of people is 35. Over the years, the census of the population has shown that the population is slowly growing. In 1959 there were 1,088 people living in Saue, by 1970 it had increased to 1,979. In 1979 it was 3,293, in 1989 the population was 4,395, in 1995 it was 4,492 and finally, by 2000, the population was 4,996.

Economy
In Saue there is 1.30 km2 of private plots (average size of a plot is about 700 m2) – 1015 plots, about 0.35 km2 of communal buildings, garages etc., 0.25 km2 of industrial areas, Streets and roads about 0.30 km2 (there are 62 streets in Saue – about 21 km), about 1.12 km2 of forests, parks etc. and about 0.15 km2 of fields.

Transport
Saue is served by Saue railway station on the Tallinn-Keila railway line (serviced by Elron), as well as bus connections and fixed-route taxis.

Saue Manor
Saue Manor (Friedrichshof) traces its origins to at least the 17th century. The current building was erected when the estate was owned by Friedrich Hermann von Fersen. The architect was very probably Johann Schultz, who was also the architect behind the baroque extension of Toompea Castle, Tallinn. The manor house complex is one of the finest examples of baroque manor house architecture in Estonia.

The exterior of the main house is characterised by a ground storey with rustications and a pilastered main floor. Wings (a stable-coach house and a granary) are linked to the main building via arched walls. The remains of a baroque park surrounds the manor, with noteworthy details such as sculptures of Heracles and Hera, and baroque sculptured reliefs.

The interior is noteworthy for its very rich display of stucco decorations of high quality in late baroque-early neoclassicist style. Stucco decorations adorn all the main rooms of the manor. Additionally, there are fine baroque cocklestoves in the manor.

Notable people

 * Ingemar Teever (born 1983), football player

title: Saue


text:
User talk:Su-Jung

Hello new user and welcome to Wikipedia. A few tips for you:

 * Peruse Welcome, newcomers and associated pages
 * Sign talk page entries with ~, which is automatically converted to a name and date
 * Ask questions on Village pump
 * Have fun.

-- Alexandros 20:21, 25 Nov 2003 (UTC)

title: User talk:Su-Jung


text:
Nerve net

A nerve net consists of interconnected neurons lacking a brain or any form of cephalization. While organisms with bilateral body symmetry are normally associated with a condensation of neurons or, in more advanced forms, a central nervous system, organisms with radial symmetry are associated with nerve nets, and are found in members of the Ctenophora, Cnidaria, and Echinodermata phyla, all of which are found in marine environments. In the Xenacoelomorpha, a phylum of bilaterally symmetrical animals, members of the subphylum Xenoturbellida also possess a nerve net. Nerve nets can provide animals with the ability to sense objects through the use of the sensory neurons within the nerve net.

It also exists in several other phyla, like chordates, annelids and flatworms, but then always alongside longitudinal nerve(s) and/or a brain.

The nerve net is the simplest form of a nervous system found in multicellular organisms. Unlike central nervous systems, where neurons are typically grouped together, neurons found in nerve nets are spread apart. This nervous system allows cnidarians to respond to physical contact. They can detect food and other chemicals in a rudimentary way. While a nerve net allows an organism to respond to its environment, it does not enable the organism to detect the source of the stimulus. For this reason, simple animals with nerve nets, such as Hydra, will typically produce the same motor output in response to contact with a stimulus, regardless of the point of contact.

The anatomy and positioning of nerve nets can vary from organism to organism. Hydra, which are cnidarians, have a nerve net throughout their body. On the other hand, sea stars, which are echinoderms, have a nerve net in each arm, connected by a central radial nerve ring at the center. This is better suited to controlling more complex movements than a diffuse nerve net.

Evolution
The emergence of true nervous tissue was once thought to have followed the divergence of last common ancestor of Porifera (sponges) and Cnidaria and Ctenophora. Recent taxonomic divisions, however, suggest that Ctenophora is sister to the other extant Metazoa. Porifera is an extant phylum within the animal kingdom, and species belonging to this phylum do not have nervous systems. The placement of Ctenophora implies that either nervous systems were lost in the ancestor of Porifera, or they evolved independently in the ancestors of Ctenophora and ParaHoxozoa. Although Porifera do not form synapses and myofibrils which allow for neuromuscular transmission, they do differentiate a proto-neuronal system and contain homologs of several genes found in Cnidaria which are important in nerve formation. Sponge cells have the ability to communicate with each other via calcium signaling or by other means. Sponge larvae differentiate sensory cells which respond to stimuli including light, gravity, and water movement, all of which increase the fitness of the organism. In addition to sensory cells differentiated during development, adult Porifera display contractile activity.

The emergence of nervous systems has been linked to the evolution of voltage-gated sodium (Nav) channels. The Nav channels allow for communication between cells over long distances through the propagation of action potentials, whereas voltage-gated (Cav) calcium channels allow for unmodulated intercellular signaling. It has been hypothesized that Nav channels differentiated from Cav channels either at the emergence of nervous systems or before the emergence of multicellular organisms, although the origin of Nav channels in history remains unknown. Porifera either came about as a result of the divergence with Cnidaria and Ctenophora or they lost the function of the gene encoding Nav channels. As a result, Porifera contain Cav channels which allows for intercellular signaling, but they lack Nav channels which provide for the conductance of action potentials in nerve nets.

Nerve nets are found in species in the phyla Cnidaria (e.g. scyphozoa, box jellyfish, and sea anemones), Ctenophora, and Echinodermata. Cnidaria and Ctenophora both exhibit radial symmetry and are collectively known as coelenterates. Coelenterates diverged 570 million years ago, prior to the Cambrian explosion, and they are the first two phyla to possess nervous systems which differentiate during development and communicate by synaptic conduction. Most research on the evolution of nervous tissue concerning nerve nets has been conducted using cnidarians. The nervous systems of coelenterates allow for sensation, contraction, locomotion, and hunting/feeding behaviors. Coelenterates and bilaterians share common neurophysiological mechanisms; as such, coelenterates provide a model system for tracing the origins of neurogenesis. This is due to the first appearance of neurogenesis having occurred in eumetazoa, which was a common ancestor of coelenterates and bilaterians. A second wave of neurogenesis occurred after the divergence of coelenterata in the common ancestor of bilateria. Although animals with nerve nets lack a true brain, they have the ability to display complex movements and behaviors. The presence of a nerve net allows an organism belonging to the aforementioned phyla of Cnidaria, Ctenophora, and Echinodermata to have increased fitness as a result of being able to respond to their environment.

Developmental neurogenesis
Developmental neurogenesis of nerve nets is conserved between phyla and has been mainly studied in cnidaria, especially in the model organism Hydra. The following discusses the development of the nerve net in Cnidaria, but the same mechanism for the differentiation of nervous tissue is seen in Ctenophora and Echinodermata.

Cnidaria develop from two layers of tissue, the ectoderm and the endoderm, and are thus termed diploblasts. The ectoderm and the endoderm are separated by an extra-cellular matrix layer called the mesoglea. Cnidaria begin to differentiate their nervous systems in the late gastrula. In Hydrozoa and Anthozoa, interstitial stem cells from the endoderm generate neuroblasts and nematoblasts which migrate to the ectoderm and provide for the formation of the nervous system along the anterior-posterior axis. Non-hydrozoa lack interstitial stem cells, and the neurons arise from epithelial cells, which are most likely differentiated from the ectoderm as occurs in vertebrates. Differentiation occurs near the aboral pore and this is where most neurons remain.

In Cnidaria larvae, neurons are not distributed homogenously along the anterior-posterior axis; Cnidaria demonstrate anatomical polarities during the differentiation of a nervous system. There are two main hypotheses that attempt to explain neuronal cell differentiation. The zootype hypothesis says that regulatory genes define an anterior-posterior axis and the urbilateria hypothesis says that genes specify a dorsal-ventral axis. Experiments suggest that developmental neurogenesis is controlled along the anterior-posterior axis. The mechanism by which this occurs is similar to that concerning the anterior to posterior patterning of the central nervous systems in bilaterians. The conservation of the development of neuronal tissue along the anterior-posterior axis provides insight into the evolutionary divergence of coelenterates and bilaterians.

Neurogenesis occurs in Cnidaria not only during developmental stages, but also in adults. Hydra, a genus belonging to Cnidaria, is used as a model organism to study nerve nets. In the body column of Hydra, there is continuous division of epithelial cells occurring while the size of the Hydra remains constant. The movement of individual neurons is coupled to the movement of epithelial cells. Experiments have provided evidence that once neurons are differentiated, epithelial cell division drives their insertion into the nerve net. As neurogenesis occurs, a density gradient of neuronal cells appears in the body. The nerve net of each cnidarian species has a unique composition and the distribution of neurons throughout the body occurs by a density gradient along the proximal-distal axis. The density gradient goes from high to low from the proximal to the distal end of the Hydra. The highest concentration of neurons is in the basal disk and the lowest (if neurons are even present) is in the tentacles. During development of Hydra, the amount of neurons gradually increases to a certain level, and this density is maintained for the duration of the organism's life-span, even following an amputation event. After amputation, regeneration occurs and the neuron density gradient is reestablished along the Hydra.

Anatomy
A nerve net is a diffuse network of cells that can congregate to form ganglia in some organisms, but does not constitute a brain. In terms of studying nerve nets, Hydra are an ideal class of Cnidaria to research and on which to run tests. Reasons why they are popular model organisms include the following: their nerve nets have a simple pattern to follow, they have a high rate of regeneration, and they are easy to manipulate in experimental procedures.

There are two categories of nerve cells that are found in the nerve nets of Hydra: ganglion and sensory. While ganglion cells are normally found near the basal ends of the epithelial cells, sensory cells generally extend in an apical direction from the muscle processes of the basal ends. While Ganglia generally provide intermediary connections between different neurological structures within a nervous system, sensory cells serve in detecting different stimuli which could include light, sound, touch or temperature.

There are many subsets of neurons within a nerve net and their placement is highly position specific. Every subset of a nerve net has a constant and regional distribution. In a Hydra, cell bodies of epidermal sensory cells are usually found around the mouth at the hypostome's apical tip, neurites are usually directed down the sides of the hypostome in a radial direction, and ganglion cells are found in the hypostome's basal region (in between tentacles and just below the head). Nerve nets contain intermediate neurons which allow for modulation of neural activity which occurs between the sensation of the stimulus and motor output.

Physiology
Each sensory neuron within a nerve net responds to each stimulus, like odors or tactile stimuli. The motor neurons communicate with cells via chemical synapse to produce a certain reaction to a given stimulus, therefore a stronger stimulus produces a stronger reaction from the organism. If a particular stimulus is larger than another, then more receptors of the sensory cells (which detect stimuli) will be stimulated which will ultimately trigger a larger response. In a typical unmyelinated axon, the action potential is conducted at a rate of about 5 meters per second, compared to a myelinated human neural fiber which conducts at around 120 meters per second.

While nerve nets use hormones, the total physiology is not very well understood. Hormones normally found in vertebrates have been identified in nerve net tissues. Whether they serve the same function as those found in vertebrates is not known and little research has been performed to solve the question. Hormones such as steroids, neuropeptides, indolamines, and other iodinated organic compounds have been seen in tissues of cnidarians. These hormones play a role in multiple pathways in vertebrae neurophysiology and endocrine system including reward and complex biochemical stimulation pathways for regulation of lipid synthesis or similar sex steroids.

Since cnidarian cells are not organized into organ systems it is difficult to assume the role of the endocrine-nerve net system employed by these types of species. A nerve net is considered to be a separate structure in the cnidarians and is associated with signal molecules; it is primarily considered a neurochemical pathway. Potential signal molecules have been noted in certain nerve net anatomy. How the signal molecules work is not known. It has been shown, however, that the nematocyst (stinging) response is not related to nerve activity.

title: Nerve net


text:
Phase Space (story collection)

Phase Space (subtitled Stories from the Manifold and Elsewhere) is a 2003 science fiction collection by British writer Stephen Baxter, containing twenty-three thematically linked stories, in which the human relationship with the universe is explored: whether humanity is truly alone in the universe, if there are other intelligent species, if these have turned their backs on us, or if expansion itself is destined to fail.

Written in the same style as most of Stephen Baxter's work, Phase Space is a collection of more or less scientifically based stories in the tradition of Arthur C. Clarke. The stories are mostly set in the same Multiverse as the books in his Manifold series, with a few stories related to his separate NASA Trilogy.

The book contains the following short stories:

 * Dreams (I)
 * "Moon-Calf" (1998) – A retired astronaut finds hints of an ancient space voyage while on holiday in England.
 * Earths
 * "Open Loops" (2000) – An astronaut explores, and later becomes a colonist on an asteroid, observing the expansion and evolution of humanity over the millennia.
 * "Glass Earth, Inc." (1997) – A policeman must sort through the memories of a murder to find out who the killer is, and in the process, learns more about himself than he ever knew.
 * "Poyekhali 3201" (1997) – The experiences of a Russian cosmonaut are no more than the ultimate re-enactment. (An earlier version of this story appeared in Decalog 5: Wonders (1997).)
 * "Dante Dreams" (1998) – A police woman from San Francisco travels to the Vatican to investigate the suicide of a Jesuit priest and an illegally created sentient hologram based on the late priest.
 * "War Birds" (1997) – When Apollo 11 explodes on the Moon, the US blames the Russians, then fast-tracks its Space Shuttle program for military applications and becomes a fascist state.
 * Worlds
 * "Sun-Drenched" (1998) – When two Apollo astronauts are stranded on the Moon, they decide to expose themselves to the elements in the hope of colonising the Moon with bacteria and viruses from their own bodies.
 * "Martian Autumn" (2002) – Too much environmental stress and life on Earth might undergo an evolutionary "reboot", like what happened on Mars.
 * "Sun God" (1997) – A pendant to Titan, in which a Titanian beetle finds an abandoned Saturn rocket and studies the strange creatures (humans) who made it.
 * "Sun-Cloud" (2001) – A sentient multi-corpuscular being travels to the distant future to fulfill her dying sister's dream: to witness the emergence of stars.
 * Manifold
 * "Sheena 5" – The sentient squid plotline of Manifold: Time as a separate short story, with a different ending.
 * "The Fubar Suit" (1997) – An astronaut is stranded in space wearing a suit guaranteed to re-create her when her corpse is discovered. Meanwhile, a microscopic world evolves inside the suit, threatening her existence.
 * "Grey Earth" (2001) – The end of Manifold: Origin from the viewpoint of Mary, the Neanderthal friend of Nemoto, set on the axis-tilted Earth of the Neanderthals.
 * "Huddle" (1999) – Madeleine Meacher from Manifold: Space returns to an Earth where the descendants of humans occupy the ecological niche of seals or penguins, a hundred thousand years after the events of the novel.
 * Paradox
 * "Refugium" (2002) – Two men, an enthusiast and a cynic, set out in an alien spacecraft to discover an answer to the Fermi paradox: where have all the extraterrestrial civilisations gone?
 * "Lost Continent" (2001) – Two friends discuss the possibility that Atlantis may have been more than a myth, and may have been more recent than anyone ever dreamed.
 * "Tracks" (2001) – Two astronauts are on the Moon in 1973 collecting rock samples; things go wrong and the mission is aborted. But what the astronauts remember is much stranger than what the video tapes show.
 * "Lines of Longitude" (1997) – A physicist teaching a community college course must cope with reality when one of her students dies after having disappeared for several days. The aftermath of his death have graver consequences than she can imagine.
 * "The Barrier" (1998) – Two old men travel through space in a malfunctioning ship toward the edge of all; an exploration of the Zoo Hypothesis.
 * "Marginalia" (1999) – Baxter's novel Voyage as conspiracy theory- the idea that NASA really did go to Mars in the 1970s is explored.
 * "The We Who Sing" (2002) – Intelligence exists in a universe of shining gas clouds, before space became transparent.
 * "The Gravity Mine" (2000) – Posthuman beings in the deep future of Manifold: Time struggle in a dying universe.
 * "Spindrift" (1999) – Will human endeavours (e.g. colonisation of the Moon) have any ultimate consequence? Or will humanity arise then vanish unobserved, like spindrift?
 * "Touching Centauri" (2003) – Scientists attempting to use a laser to contact another world inadvertently cause the end of their universe, while everyone struggles with the ultimate nature of their existence. (While snippets of the story are touched upon between each previous story, the full explanation is given here.)
 * Dreams (II)
 * "The Twelfth Album" (1998) – Two friends mourning their departed shipmate find a strange Beatles record, leading them to believe that their friend's drunken ravings might have been true.

title: Phase Space (story collection)


text:
Brad Garton

Brad Garton (born 1957) is an American composer and computer musician who is professor of music at Columbia University.

He has written, or helped to write, a number of computer music applications, including Real-Time Cmix, music synthesis and signal processing language for real time composition. He received his doctorate in composition from Princeton University. Garton is director-emeritus of the Computer Music Center, Columbia University, formerly the Columbia-Princeton Electronic Music Center.

Garton grew up in Columbus, Indiana. His father, Robert, has served more than 30 years as a Republican in the Indiana state Senate, including a long term as Senate President Pro Tem. Garton majored in pharmacy as a Purdue University student, but spent much of his time on music. Billing himself as "Mr. Science", Garton provided sound effects and keyboards for the band Dow Jones and the Industrials in the late 1970s and early 1980s. He also produced many acts, making a heavy contribution to the Indiana music scene, and with Richard K. Thomas founded Zounds Studios, which continues to produce music and sound for theater. He talked about his life and his formation as a musician in an interview with Peter Shea in February 2007.

title: Brad Garton