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Talk:Playdium

Untitled
I'm not even sure if this page belongs here at all. It seems to commercial too me. However, since it was there and empty I did a Google search and all the relevant references seemed to point to this park in Mississauga. If we have entries for Disneyland and Disneyworld it seems fair enough to have one for [Playdium], too.

So rather than leave it empty or delete it (and leave some other link dangling) I've added the info that I was able to glean. User:JimD

 * It was empty because I deleted it; a previous anonymous user had simply copy/pasted the entire contents of West Edmonton Mall under this title (seems there's a Playdium there too). It's locally significant to have at least a stub on it, I suppose. Thanks for your effort! -- Hadal 03:51, 6 Mar 2004 (UTC)

This article is incredibly sparse...there's no mention even of SEGA??? Scott 110 03:18, 18 April 2006 (UTC)

Bankrupt? Profits stolen?
When I was doing a search on Playdium Burnaby to see why it was closed down, there were a few articles relating to an ex-manager or ex-owner of one of the locations stealing most of the profits for himself. It's a blur right now. I'll see if I can dig it up. Anyone else heard something like this? HighEnergyProtons 12:45, 29 May 2006 (UTC)

 * This article could be useful if it weren't filled with so much speculation. I especially like the line that says that the Burnaby Playdium closed down due to a "failure to update the arcade machines." Thanks, Peanut Gallery -- what's the real, independently verifiable business reason? Rhombus 21:25, 10 July 2006 (UTC)

 * But that much is true. I used to work at the Edmonton location before it died, and we got a ton of requests and complaints over the lack of new games. Seems like the only machines that had regular players were the DDR cabs. Business dwindled but administration didn't give a rip. I hope a few of them got laid off for it. 68.149.27.46 02:39, 27 February 2007 (UTC)

 * I used to work at Playdium Burnaby but left before the joint shut down. I can confirm 3 reasons why the place shut down: 1)One of the managers siphoned quite a bit of money. Just before I left he was in the middle of his trial, I think he settled finally out of court. 2)A drop in guests. Basically people stopped coming because the games were old. Management was dumb enough to buy the machines instead of leasing. 3)Metrotown Metropolis increased the rent for the space Playdium Burnaby occupied. The third factor was the final straw. (Tree swinging philosopher 08:42, 22 March 2007 (UTC))

Fair use rationale for Image:Playdium.gif
Image:Playdium.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 08:43, 6 June 2007 (UTC)

Requested move 8 September 2017

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Page not moved. No consensus was formed. --  Dane talk  01:59, 1 October 2017 (UTC)

Player One Amusement Group → Playdium – page name was incorrectly changed from Playdium to Player One Amusement Group. Playdium is an arcade centre in Mississauga www.playdium.com, whereas Player One Amusement Group is a corporate entity that supplies amusement equipment to businesses and also operates Family Entertainment Centres and arcades like Playdium. All references to Player One Amusement Group should be removed and a separate new page should be created for Player One Amusement Group Mcdl14 (talk) 19:54, 8 September 2017 (UTC) --Relisting. No such user (talk) 08:30, 22 September 2017 (UTC)
 * Oppose because Playdium, with only one location, is not notable enough to warrant its own article page. The store for new games, as well as the hundreds of locations it operates, are now under Player One Amusement Group. Having multiple articles is too much at this moment. If The Rec Room or Xscape become notable enough, these may earn their own individual articles. This is why I added new content and moved the article to Player One. --LABcrabs (talk) 19:23, 9 September 2017 (UTC)
 * It is causing confusion in web search as Playdium info is showcased when searching for Player One Amusement Group, and when someone is searching for Playdium, it comes up as Player One Amusement Group as the name but the info is correct. One is a corporation, the other is an entertainment centre. From a notability standpoint, the two topics have gained significant independent coverage or recognition, not a short-term interest, and there were multiple locations of Playdium previously. Mcdl14 (talk) 16:29, 13 September 2017 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Neutrality questioned
I am questioning the neutrality of the Playdium article. For one, it was reinstated without consensus. Yes, Cineplex plans to open more than one Playdium, but for now, it would make more sense to write an article on Xscape or The Rec Room, which already have multiple locations. There are already four The Rec Room, with at least two of them replacing former Playdium locations. As for Xscape, there are 28 locations. The Playdium article seems overly positive when in fact, there are concerns such as Burnaby's management (see above) and Mississauga's game maintenance. If notability cannot be established, Playdium will be merged back as a Player One Amusement Group section. It's as simple as that. Wikipedia is not a place to advertise. --LABcrabs (talk) 03:08, 8 December 2017 (UTC)
 * Do you have reliable secondary sources? ViperSnake151   Talk  23:54, 26 January 2018 (UTC)

Name and it's origin
How did this super fun arcade, Playdium, get it's name? Like, where does it derive from?--Cartoondude135 (talk) 19:14, 14 February 2021 (UTC)

title: Talk:Playdium


text:
Brigg Town F.C.

Brigg Town Football Club CIC is a football club based in Brigg, Lincolnshire, England. They are currently members of the and play at the Hawthorns. Established in 1864, they are one of the oldest football clubs in the world.

History
The club were established in 1864. In 1881–82 they entered the inaugural Lincolnshire Senior Cup, reaching the final where they lost to Spilsby. They reached the final again the following season, again losing to Spilsby. They joined the Lindsey League and in 1948 became founder members of the Lincolnshire League. They won the league in 1949–50, 1953–54, 1968–69, 1969–70, 1970–71, 1971–72, 1973–74 and 1975–76 and were runners-up in 1950–51, 1961–62, 1963–64, 1965–66, 1974–75.

After their eighth title in 1976, Brigg moved up to the Midland League and were placed in the Premier Division. After finishing third in their first season in the league, they were champions in 1977–78. When the league merged with the Yorkshire League to form the Northern Counties East League in 1982, Brigg were placed in Division One South. They were relegated to Division Two South at the end of the league's first season, but finished as runners-up the following season, earning promotion to Division One Central. League reorganisation in 1985 saw them placed in Division One, and they were promoted to the Premier Division at the end of the 1985–86 season despite only finishing twelfth.

In 1995–96 Brigg reached the final of the FA Vase, beating Clitheroe 3–0 at Wembley Stadium to lift the trophy. After finishing as Premier Division runners-up in 1999–2000, Brigg were champions in 2000–01, but were unable to take promotion due to the Hawthorns not being up to the required standard. They were runners-up again for the next two seasons, and in 2001–02 they reached the first round of the FA Cup for the first time, losing 4–1 at Tranmere Rovers. In 2002–03 they reached the FA Vase final again and won the trophy for a second time with a 2–1 win against AFC Sudbury in a match played at Upton Park. A third-place finish in 2003–04 saw them promoted to Division One of the Northern Premier League. When the league was reorganised in 2007 they were placed in Division One South

Brigg were relegated back to the Premier Division of the Northern Counties East League at the end of the 2014–15 season after finishing bottom of Division One South. The 2015–16 season saw them relegated again, this time to Division One of the Northern Counties East League. In 2017–18 they finished second-from-bottom of Division One and were relegated to the Lincolnshire League. In 2018–19 the club won the Lincolnshire Junior Cup, defeating Horncastle Town 3–1 in the final, and were runners-up in the Lincolnshire League, resulting in promotion back to Division One of the Northern Counties East League. The 2021–22 season saw them win the Lincolnshire Senior Trophy with a 1–0 win over Winterton Rangers.

Ground
The club played at the Old Manor House Convent playing fields on Station Road until 1939. They then moved to Brocklesby Ox, where the club's record attendance of 2,000 against Boston United was set in 1953. In 1959 they moved to the Hawthorns.

Honours

 * Northern Counties East League
 * Premier Division champions 2000–01
 * Midland League
 * Champions 1977–78
 * Lincolnshire League
 * Champions 1949–50, 1953–54, 1968–69, 1969–70, 1970–71, 1971–72, 1973–74, 1975–76
 * FA Vase
 * Winners 1995–96, 2002–03
 * Lincolnshire Senior Trophy
 * Winners 2021–22
 * Lincolnshire Junior Cup
 * Winners 2018–19
 * Barton Cup
 * Winners 2016–17
 * Ian "Chalkie" Whyte Memorial Cup
 * Winners 2020–21

Records

 * Best FA Cup performance: First round, 2001–02
 * Best FA Trophy performance: Second qualifying round, 1972–73, 2009–10, 2013–14
 * Record attendance: 2,000 vs Boston United, 1953

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

title: Brigg Town F.C.


text:
Fantasia 2000

Fantasia 2000 is a 1999 American animated musical anthology film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. Produced by Roy E. Disney and Donald W. Ernst, it is the sequel to Disney's 1940 animated feature film Fantasia. Like its predecessor, Fantasia 2000 consists of animated segments set to pieces of classical music. Segments are introduced by celebrities including Steve Martin, Itzhak Perlman, Quincy Jones, Bette Midler, James Earl Jones, Penn & Teller, James Levine, and Angela Lansbury in live action scenes directed by Don Hahn.

After numerous unsuccessful attempts to develop a Fantasia sequel, The Walt Disney Company revived the idea shortly after Michael Eisner became chief executive officer in 1984. Development paused until the commercial success of the 1991 home video release of Fantasia convinced Eisner that there was enough public interest and funds for a sequel, to which he assigned Disney as executive producer. The music for six of the film's eight segments is performed by the Chicago Symphony Orchestra conducted by James Levine. The film includes The Sorcerer's Apprentice from the 1940 original. Each new segment was produced by combining traditional animation with computer-generated imagery. Fantasia 2000 is also generally linked to the Disney Renaissance, as it commemorates Walt Disney's third animated feature film.

Fantasia 2000 premiered on December 17, 1999, at Carnegie Hall in New York City as part of a concert tour that also visited London, Paris, Tokyo, and Pasadena, California. The film was then released in 75 IMAX theaters worldwide from January 1 to April 30, 2000, marking the first major Hollywood motion picture to be released in IMAX and also the first feature-length animated film to be released in the format. Its general release in regular theaters followed on June 16, 2000. The film received mostly positive reviews from critics, who praised several of its sequences, while also deeming its overall quality uneven in comparison to its predecessor. However, budgeted at about $80–$85 million, the film only grossed $90.9 million worldwide, making it a box office bomb.

Program

 * 1) Symphony No. 5 by Ludwig van Beethoven. The film begins with the sound of an orchestra tuning and Deems Taylor's introduction from Fantasia. Panels showing various segments from Fantasia fly in outer space and form the set and stage for an orchestra. Musicians take their seats and tune up as animators and artists draw at their desks before James Levine approaches the conductor's podium and signals the beginning of the piece. In the segment proper, abstract patterns and shapes that resemble hundreds of colorful triangle-shaped butterflies in dozens of magentas, reds, oranges, yellows, greens, cyans, turquoises, blues, indigos, violets, purples, pinks, grays, whites, and browns in various shades, tints, tones, and hues explore a world of light and darkness whilst being pursued by a swarm of dark black pentagon or hexagon-shaped bats. The world is ultimately conquered by light and color.
 * 2) Pines of Rome by Ottorino Respighi. A family of humpback whales are able to fly. The calf is separated from his parents, and becomes trapped in an iceberg. Eventually, he finds his way out with his mother's help. The family join a larger pod of whales, who fly and frolic through the clouds to emerge into outer space. Introduced by Steve Martin, who gives a brief history on Fantasia's original purpose, after which Itzhak Perlman introduces the segment proper.
 * 3) Rhapsody in Blue by George Gershwin. Set in New York City in the 1930s, and designed in the style of Al Hirschfeld's known caricatures of the time, the story follows four individuals who wish for a better life. Duke is a construction worker who dreams of becoming a jazz drummer; Joe is a down-on-his-luck unemployed man who wishes he could get a job; Rachel is a little girl who wants to spend time with her busy parents instead of being shuttled around by her governess; and John is a harried rich husband who longs for a simpler, more fun life. The segment ends with all four getting their wish, though their stories interact with each other's without any of them knowing. Introduced by Quincy Jones with pianist Ralph Grierson.
 * 4) Piano Concerto No. 2, Allegro, Opus 102 by Dmitri Shostakovich. Based on the fairy tale "The Steadfast Tin Soldier" by Hans Christian Andersen, a broken toy soldier with one leg falls in love with a toy ballerina and protects her from an evil jack-in-the-box. Unlike the original story, this version has a happy ending. Introduced by Bette Midler featuring pianist Yefim Bronfman.
 * 5) The Carnival of the Animals (Le Carnival des Animaux), Finale by Camille Saint-Saëns. A flock of flamingoes tries to force a slapstick member, who enjoys playing with a yo-yo, to engage in the flock's "dull" routines. Introduced by James Earl Jones with animator Eric Goldberg.
 * 6) The Sorcerer's Apprentice (Reprise) by Paul Dukas. Based on the 1797 poem "Der Zauberlehrling" by Goethe, the segment is the only one featured in both Fantasia and Fantasia 2000. It tells the story of Mickey Mouse, an apprentice of sorcerer Yen Sid who attempts some of his master's magic tricks before knowing how to control them. Introduced by Penn & Teller rather than using an archived recording of Deems Taylor introducing the segment as in the original film. The scene where Mickey shakes hands with Levine's predecessor Leopold Stokowski is like that in the original film but Mickey is now voiced by Wayne Allwine instead of Walt Disney. This outro leads directly to the intro for Pomp and Circumstance, with Donald Duck and Daisy Duck voiced by Tony Anselmo and Russi Taylor, respectively.
 * 7) Pomp and Circumstance – Marches 1, 2, 3 and 4 (also known as Land of Hope and Glory) by Sir Edward Elgar. Based on the story of Noah's Ark from the Book of Genesis, Donald Duck is Noah's assistant and Daisy Duck is Donald's girlfriend. Donald is given the task of gathering the animals to the Ark, and misses, loses, and reunites with Daisy in the process. Introduced by James Levine.
 * 8) Firebird Suite—1919 Version by Igor Stravinsky. A Sprite is awoken by her companion, an elk, and accidentally wakes a fiery spirit of destruction in a nearby volcano who destroys the forest and seemingly the Sprite. The Sprite survives and the elk encourages her to restore the forest to its normal state. Introduced by Angela Lansbury.

Development
In 1940, Walt Disney released Fantasia, his third animated feature film, consisting of eight animated segments set to pieces of classical music. Initially he planned to have the film on continual release with new segments replacing older ones so audiences would never see the same film twice. The idea was dropped following the film's initial low box office receipts and a mixed response from critics. Following preliminary work on new segments, the idea was shelved by 1942 and was not revisited for the remainder of Disney's life. In 1980, animators Wolfgang Reitherman and Mel Shaw started preliminary work on Musicana, a feature film "mixing jazz, classical music, myths, modern art ... following the old Fantasia format" that was to present "ethnic tales from around the world with the music of the various countries". The project was cancelled in favor of Mickey's Christmas Carol (1983).

The idea of a Fantasia sequel was revived shortly after Michael Eisner became chief executive officer of The Walt Disney Company in 1984, when Walt's nephew, vice chairman Roy E. Disney, suggested it to him at a lunch. The idea had first entered Disney's mind ten years earlier, and he recalled Eisner's reaction: "It was as if a big light bulb went on over his head. The idea was enticing, but we didn't have the resources to carry it out". However, Walt Disney Studios chairman Jeffrey Katzenberg showed a lack of interest in the film. He had once asked André Previn to work on a Fantasia film but Previn declined after he learned it was to feature songs by the Beatles rather than classical music. Eisner approached Leonard Bernstein with the same idea, but while he seemed enthusiastic, Bernstein died before production began. It took a further seven years before the film was reconsidered, after the 1990 reissue of Fantasia grossed $25 million domestically and the announcement of its limited availability on home video in 1991 prompted 9.25 million pre-orders. Disney saw its commercial success as a sign that there was enough public interest in the Fantasia franchise to make a sequel. Eisner finally gave the green-light to the film in 1991, and had Disney serve as executive producer on the basis that its production was funded by the proceeds from the video sales. Disney assigned Donald W. Ernst as producer and Hendel Butoy as supervisory director, having liked his work on The Rescuers Down Under (1990).

During the search for a suitable conductor, Disney and Walt Disney Feature Animation president Thomas Schumacher invited Metropolitan Opera conductor James Levine and manager Peter Gelb to a meeting in September 1991. Disney recalled: "I asked James what his thought was on a three minute version of Beethoven's fifth symphony. He paused and went 'I think the right three minutes would be beautiful'". In November 1992, Disney, Schumacher, Levine, Gelb, and Butoy met in Vienna to discuss a collection of story reels developed, one of them being Pines of Rome, which Levine took an immediate liking to. Butoy described Levine's enthusiasm toward the film as "like a kid in a candy store". Because Katzenberg continued to express some hostility towards the film, Disney held development meetings without him and reported directly to Eisner instead, something that author James B. Stewart wrote "would have been unthinkable on any other future animation project."

Production began under the working title of Fantasia Continued with a release in 1997. The title was changed to Fantasia 1999, followed by Fantasia 2000 to coincide with its theatrical release in 2000. Disney formed its initial running order with half of the Fantasia program and only "three or four new numbers" with the aim of releasing a "semi-new movie". Realizing the idea would not work, he kept three Fantasia segments—The Sorcerer's Apprentice, The Nutcracker Suite, and Dance of the Hours—in the program for "quite a while". Night on Bald Mountain was the most difficult segment for him to remove from his original running order because it was one of his favorites. He had placed it in the middle of the film without Ave Maria, but felt it did not work and scrapped the idea. Later on, Dance of the Hours was dropped and The Nutcracker Suite was replaced by Rhapsody in Blue during the last few months of production following the response from numerous test screenings. Disney kept The Sorcerer's Apprentice in the final program as a homage to Fantasia. The segment underwent digital restoration by Cinesite in Los Angeles. Disney considered using Clair de Lune, a piece originally made for Fantasia that followed two Great white herons flying through the Everglades at night, but thought it was "pretty boring". An idea to have "a nightmare and a dream struggling for a sleeping child's soul" to Rhapsody on a Theme of Paganini by Sergei Rachmaninoff was fully storyboarded, but fell through.

Symphony No. 5
Symphony No. 5 is an abstract segment created by Pixote Hunt with story development by Kelvin Yasuda. In December 1997, after rejecting pitches from four other animators, Disney and Ernst asked Hunt for his ideas. Hunt first thought of the story on a morning walk in Pasadena, California, one depicting a battle of "good" against "evil" and how the conflict resolves itself. It took Hunt approximately two years, from start to finish, to complete the segment. Disney and Ernst decided to go with Hunt's idea; Hunt avoided producing an entirely abstract work because "you can get something abstract on every computer screen" with ease. Hunt divided the segment into 31 mini-scenes, noting down points in which he would employ vivid color when the music was bright and fluid, and then switch to darker hues when the music felt darker and denser. To gain inspiration in how the shapes would move, Hunt and his associates visited San Diego Zoo, a butterfly farm, and observed slow motion footage of bats. The segment combines hand drawn backgrounds using pastels and paint that were scanned into the Computer Animation Production System (CAPS), and computer-generated imagery (CGI) of abstract shapes and effects, which were layered on top. Hunt explained that scanning each drawing "was a one-shot deal" as the platen that pressed onto it would alter the pastel once it had been scanned. At one point during production, Hunt and Yasuda completed 68 pastel drawings in eight days. The segment was produced using Houdini animation software.

Pines of Rome
Pines of Rome was the first piece Disney suggested for the film, as well as the first to be animated; designs appeared in the studio's dailies as early as October 1993. Butoy served as director with James Fujii handling the story. The opening to the piece gave Disney the idea of "something flying". Butoy sketched the sequence on yellow Post-it notes. The story originally involved the whales flying around from the perspective of a group of penguins, but the idea was scrapped to make the baby whale a central character. The whales were also set to return to Earth but Butoy said it "never felt quite right", leading to the decision to have them break through a cloud ceiling and enter a different world by the supernova. Butoy created a "musical intensity chart" for the animators to follow which "tracked the ups and downs of the music ... as the music brightens so does the color", and vice versa. He explained that because CGI was in its infancy during development, the first third of the segment was hand drawn using pencil to get a feel of how the whales would move. When the drawings were scanned into the CAPS system, Butoy found the whales were either moving too fast or had less weight to them. The drawings were altered to make the whales slow down and "more believable". The eyes of the whales were drawn by hand, as the desired looks and glances were not fully achievable using CGI. Butoy recalled the challenge of having the water appear and move as naturally as possible; the team decided to write computer code from scratch as traditional animation would have been too time-consuming and would have produced undesired results. The code handling the pod of whales was written so the whales would move away if they were to collide and not bump into, overlap, or go through each other. The same technique was used for the stampede scene in The Lion King (1994), which was produced at the same time.

Rhapsody in Blue
Rhapsody in Blue is the first Fantasia segment with music from the American composer. It originated in 1995 when director and animator Eric Goldberg approached Al Hirschfeld about the idea of an animated short set to Gershwin's composition in the style of Hirschfeld's illustrations. In December 1998, the Goldbergs pitched Rhapsody in Blue to Thomas Schumacher and received the green-light to produce it, and Hirschfeld agreed to serve as artistic consultant and allowed the animators to adapt his works. Duke is named after jazz musician Duke Ellington. The bottom of his toothpaste tube reads "NINA", an Easter egg referencing Hirschfeld's daughter Nina, whose name Hirschfeld inscribed in several of his drawings since her birth in 1945. Another easter egg references artist Emily Jiuliano, whose name is shown as "E. Jiuliano". Rachel was designed after the Goldbergs' daughter; John, or "Flying John", is based on animation historian and author John Culhane and Hirschfeld's caricature of Alexander Woollcott. Goldberg took Hirschfeld's original illustration of Gershwin and animated it to make him play part of the "rhapsody" on the piano. The most difficult part of this particular scene to animate was the turning of Gershwin's head, as the original drawing depicted one angle of his head. The illustration also featured Ira Gershwin alongside his brother George, but Ira is not shown in the scene nor anywhere else in the film. Featured in the crowd emerging from the hotel are depictions of Brooks Atkinson and Hirschfeld, along with his wife Dolly Haas. The sequence was so chromatically complex that the rendering process using the CAPS system delayed work on Tarzan.

Piano Concerto No. 2
Piano Concerto No. 2 was directed by Butoy with art director Michael Humphries. It originated in the 1930s when Walt Disney wished to adapt a collection of Hans Christian Andersen fairy tales into an animated film. The artists completed a series of preliminary designs based on the stories, including ones for "The Steadfast Tin Soldier" from 1938 by Bianca Majolie that were stored in the studio's animation research library and used for a 1991 Disney book that retold the story accompanied with the storyboard sketches. When Disney suggested using the Shostakovich piece, Butoy flipped through the book and found the story's structure fit to the music. When Humphries saw the sketches he designed the segment with works by Caravaggio and Rembrandt in mind to give the segment a "timeless" feel, while keeping the colors "as romantic as possible" during the scenes when the soldier and ballerina are first getting acquainted. Live action footage of a real ballerina was used as a guide for the toy ballerina's movements. Butoy found the Jack-in-a-box a difficult character to design and animate with its spring base and how he moved with the box. His appearance went through numerous changes, partly due to the lack of reference material available to the team.

The segment marked the first time the Disney studio created a film's main characters entirely from CGI; only backgrounds, secondary, or tertiary characters had been produced using CGI beforehand. Initially Butoy asked Pixar Animation Studios to handle the computer graphics, but CGI artist Steve Goldberg convinced him to let Disney's own team produce it. The backgrounds were completed by hand. Originally the drain sequence included friendly rats who performed comical gags, but the team found it did not fit the mood of the rest of the segment. The drains became a more scary environment, something that Butoy said was "what the music was telling us to do". Rain animation from Bambi (1942) was scanned into the CAPS system and digitally altered to fit into the segment. The ending was to feature the original ending with the soldier and ballerina melting in the fire, but the music was too upbeat to animate it and was changed. An excerpt of the segment was shown at the 1998 SIGGRAPH conference.

The Carnival of the Animals, Finale
The Carnival of the Animals, Finale was directed and animated by Goldberg; his wife Susan was its art director. The idea originated from animator Joe Grant, one of the two story directors on Fantasia who loved the ostriches in Dance of the Hours. When development for Fantasia 2000 began, Grant suggested the idea of having one of the ostriches play with a yo-yo to the last movement of The Carnival of the Animals. The ostriches were later changed to flamingos as Disney wished to avoid reintroducing characters from the original film and thought flamingos would look more colorful on the screen. Goldberg was partly inspired by co-director Mike Gabriel, who would play with a yo-yo as he took a break from working on Pocahontas (1995); Gabriel is given a credit for "yo-yo tricks" in the end credits. The segment was produced with CGI and 6,000 watercolor paintings on heavy bond paper. Susan chose a distinct colour palette for the segment which she compared to the style of a Hawaiian shirt. The Goldbergs and their team visited the zoo in Los Angeles and San Diego to study the anatomy and movement of flamingos.

Pomp and Circumstance (Land of Hope and Glory)
Mostly known as Britain's most loved patriotic song (thanks its choral counterpart Land of Hope and Glory) the original march was created for royal and solemn events, but Eisner suggested his use as a stand-alone piece after he attended a graduation and thought its familiarity would be suitable for a Fantasia segment. His idea involved a selection of Disney princesses and heroes in a wedding procession carrying their future children who would then be presented in a ceremony. The animators' preliminary designs depicted a Greco-Roman setting; one of the staff members described the artwork as "an appalling abuse" of the characters. Eisner agreed to drop the story, but insisted that the music be used. After numerous ideas were scrapped due to the difficulty in writing a clear plot, animator and director Francis Glebas came up with the Noah's Ark idea that he titled Donald's Last Roundup!, later retitled as Noah's Duck, and pitched it thinking it was "laden with comic possibilities".

The Firebird
To close the film, Disney wanted a piece that was "emotionally equivalent" to the Night on Bald Mountain and Ave Maria segments that closed Fantasia. Disney chose The Firebird as the piece to use after "half a dozen" others were scrapped, including Symphony No. 9 by Beethoven and the "Hallelujah Chorus" from Messiah by Handel. Disney thought of the idea of the Earth's destruction and renewal after passing Mount St. Helens following its eruption in 1980. French twins Paul and Gaëtan Brizzi from Disney's Paris studio were hired to direct the segment. The Sprite is a Dryad-like creature from Greek mythology. Her form changes six times; she is introduced as a Water Sprite who plants flowers as a Flower Sprite. She becomes a Neutral Sprite where her growth trail stops and an Ash Sprite when the forest has been destroyed. The segment ends with her as a Rain-Wave Sprite, followed by the Grass Sprite. The segment originally ended with the Sprite in the form of a flowing river that rises up into the sky and transforms into a Sun Sprite, but this was abandoned. The elk's antlers were produced by CGI and placed on top of its body that was drawn traditionally. The segment was produced using Houdini animation software.

Music
The music to The Sorcerer's Apprentice was already recorded on January 9, 1938 for the first film at Culver Studios, California with Leopold Stokowski conducting a group of session musicians. The recording of Rhapsody in Blue used in the film is an edited version of Ferde Grofé's orchestration of the piece performed by the Philharmonia Orchestra with conductor Bruce Broughton. The shortened version was made by cutting 125 bars of piano solo in three different places. A recording of James Levine conducting both pieces with the Philharmonia appears on the film's soundtrack.

The remaining six pieces were recorded at the Medinah Temple in Chicago, performed by the Chicago Symphony Orchestra conducted by Levine. Pines of Rome was re-arranged in 1993 by Bruce Coughlin, who reduced the four-movement piece by cutting the second movement and trimming sections of the third and fourth movements. The piece was recorded on March 28, 1994. The second recording involved Symphony No. 5, Carnival of the Animals, and Pomp and Circumstance, on April 25, 1994. Carnival of the Animals, Finale uses two pianos played by Gail Niwa and Philip Sabransky. Pomp and Circumstance was arranged by Peter Schickele and features the Chicago Symphony Chorus and soprano soloist Kathleen Battle. The next recording took place on April 24, 1995 for Piano Concerto No. 2 with pianist Yefim Bronfman. On September 28, 1996, The Firebird was the final piece to be recorded; its session lasted for three hours. The piece was arranged using four sections from Stravinsky's 1919 revision of the score.

Interstitials
Disney felt the need to keep interstitials (bridges) as used in Fantasia in order to give audiences a chance to "cleanse their emotional palate" from the previous segment while also providing some information about the next one. Don Hahn directed the live action scenes which were designed by Pixote Hunt. Hahn came up with the set and backgrounds while eating lunch; he proceeded to sketch a rough idea of what he imagined on a napkin. He "wanted to show images on shapes like big sails of a clipper ship. They fly in on the wind and form a sort of Stonehenge concert hall in the middle of a vast, empty, imaginary plain".

Hahn recalled some difficulty in finding someone to host the film, so the studio decided to use a group of artists and musicians from various fields of entertainment. The interstitials were filmed in various locations; the orchestra, Jones, Lansbury, and Bronfman were shot in Los Angeles, Perlman and Midler in New York City, and others in Boston, Massachusetts. Each scene was filmed in front of a green screen to allow shots of the orchestra or the set to be placed behind them. The shots of Levine, the artists, and the orchestra were filmed on October 31, 1998. The piano Grierson plays in his scene with Jones is the same one on which he played Rhapsody in Blue for the soundtrack.

Release
Fantasia 2000 was officially announced on February 9, 1999 during a Disney presentation at the New Amsterdam Theater in New York City which featured a screening of The Carnival of the Animals. The film premiered at Carnegie Hall in New York City on December 17, 1999 for three nights as part of a five-city concert tour. The animation was presented on a screen above the stage while Levine conducted the Philharmonia Orchestra with a video auto-cue to time the music to the images. Performances followed at the Royal Albert Hall in London on December 21; the Théâtre des Champs-Élysées in Paris on December 22; the Orchard Hall in Tokyo on December 27; and the Pasadena Civic Auditorium in Pasadena, California on December 31, where Derrick Inouye conducted as part of a black tie $2,000-per-head New Year's Eve event. Each of the seven performances cost over $1 million.

Home media
Fantasia 2000 was first released on VHS and DVD on November 14, 2000, with both featuring a specially made introduction in which Roy gives a history of key innovations brought by various Disney productions (specifically Steamboat Willie, Flowers and Trees, Snow White and the Seven Dwarfs, Fantasia, The Great Mouse Detective, Beauty and the Beast, Toy Story 2 and Dinosaur). While it was available as a single-disc DVD, a three-disc set titled The Fantasia Anthology was released, including a digital copy of the film, a restored print of Fantasia to commemorate its 60th anniversary, and a third disc containing bonus features.

On November 30, 2010, the film was issued for DVD and Blu-ray in a single and two-disc set with Fantasia and a four-disc DVD and Blu-ray combo pack. The Blu-ray transfer presents the film in 1080p high-definition video with DTS-HD Master Audio 7.1 surround sound. The film was withdrawn from release after its return to the "Disney Vault" moratorium on April 30, 2011.

The film, along with Fantasia and the 2018 compilation Celebrating Mickey (containing 13 Mickey Mouse shorts from Steamboat Willie to Get a Horse!), was reissued in 2021 as part of the U.S. Disney Movie Club exclusive The Best of Mickey Collection (Blu-ray/DVD/Digital). Both films were also broadly released for the first time in 2021 on multiple U.S. purchased streaming platforms, including Movies Anywhere and its retailers.

Soundtrack
Walt Disney Records released 60,000 copies of a limited edition of the film's soundtrack on November 30, 1999 in the United States and internationally under the Sony Classical label. With a running time of 60 minutes, the album features Levine conducting the Philharmonia Orchestra on Rhapsody in Blue and The Sorcerer's Apprentice at AIR Studios in London, and the Chicago Symphony Orchestra for the remaining six tracks using the recordings from the Medinah Temple. The soundtrack went on to reach the number one spot on the Billboard Top Classical Albums chart in July 2000. A Fantasia 2000 Deluxe Read-Along cassette and CD followed which contains two tracks telling the stories of Pomp and Circumstance and The Sorcerer's Apprentice, with narration by Pat Carroll. Included in the set is a 44-page book containing some of the film's artwork.

Box office
Fantasia 2000 first opened in IMAX theatres for a four-month run from January 1 to April 30, 2000, becoming the first animated feature-length film shown in the format. The idea to release it in IMAX first originated from Dick Cook during meetings the studio had about the best way to create "a sense of event" for the film. Roy Disney believed its uniqueness from typical feature films gave it a psychological advantage. A temporary 622-seat theatre costing almost $4 million was built in four weeks for its Los Angeles run as Disney was unable to reach an agreement to only have the film shown during the four months at the city's sole IMAX theater at the time at the California Science Center. Disney enforced the exclusive screening rule on the other IMAX cinemas that showed the film which limited its release. Each theater was decorated with a museum-like exhibit with educational material and large displays.

After opening at 75 theaters worldwide, the film grossed over $2.2 million in 54 cinemas in North America in its opening weekend, averaging $41,481 per theater, and $842,000 from 21 screens in 14 markets. It set new records for the highest gross for any IMAX engagement and surpassed the highest weekly total for any previously released IMAX film. Its three-day worldwide gross surpassed $3.8 million, setting further records at 18 venues worldwide. Fantasia 2000 grossed a worldwide total of $21.1 million in 30 days, and $64.5 million at the end of its IMAX run.

Following its release in 1,313 regular theatres in the United States on June 16, 2000, the film grossed an additional $2.8 million in its opening weekend that ranked eleventh at the box office. This followed nearly half a year of release in the IMAX format, possibly blunting the amount earned in the weekends of wide release. Fantasia 2000 has earned a total worldwide gross of over $90.8 million since its release, with $60.7 million of that total from the U.S. market, and the rest through foreign box office sales. The film had cost around $90 million and was viewed by Eisner as Roy Disney's "folly".

Critical response
On Rotten Tomatoes, Fantasia 2000 holds an approval rating of based on  reviews, with an average rating of. Its consensus reads: "It provides an entertaining experience for adults and children alike." On Metacritic, the film has a weighted average score of 59 out of 100 based on 27 critics, indicating "mixed or average reviews".

Entertainment Weekly gave a "B−" rating; its reviewer, Bruce Fretts, called Symphony No. 5 "maddeningly abstract", Piano Concerto No. 2 "charmingly traditional" and thought Rhapsody in Blue fit well to the music, but Pomp and Circumstance "inexplicably inspires biblical kitsch". The review ends with a criticism of the inadequate quality of The Sorcerer's Apprentice on the IMAX screen. Todd McCarthy of Variety pointed out that while the original Fantasia felt too long and formal, its "enjoyable follow-up is, at 75 minutes, simply too breezy and lightweight". He summarized the film "like a light buffet of tasty morsels rather than a full and satisfying meal".

In his December 1999 review for the Chicago Sun-Times, Roger Ebert gave the film a rating of three stars out of four. He described some of the animation (such as Firebird Suite, his favorite segment) as "powerful", though he thought others, like the dance of the abstract triangles in Symphony No. 5, to be "a little pedestrian". He admired Rhapsody in Blue and its interlocking stories, pointing out its style was reminiscent of the Madeline picture books by Ludwig Bemelmans. He thought Pines of Rome presented itself well in the IMAX format and found the Piano Concerto No. 2 played "wonderfully as a self-contained film", while he found The Sorcerer's Apprentice to be "not as visually sharp as the rest of the film". He nonetheless described the film overall as "splendid entertainment". Film critic Stephen Holden of The New York Times wrote that the film "often has the feel of a giant corporate promotion whose stars are there simply to hawk the company's wares" while noting the film "is not especially innovative in its look or subject matter." Firebird Suite was his favorite segment which left "a lasting impression of the beauty, terror, and unpredictability of the natural world". He found The Sorcerer's Apprentice fit well with the rest of the film and the battle in Symphony No. 5 too abbreviated to amount to much. He found the segment with the whales failed in that the images "quickly become redundant". He found Rhapsody in Blue to be the second-best in the film with its witty, hyper-kinetic evocation of the melting pot with sharply defined characters. He found the segment with the flamingos cute and the one with the tin soldier to be romantic. James Berardinelli found the film to be of uneven quality. He felt Symphony No. 5 was "dull and uninspired", the yo-yoing flamingos "wasteful", and the New York City-based story of Rhapsody in Blue interesting but out of place in this particular movie. He found the story of the tin soldier to successfully mix its music with "top-notch animation" and "an emotionally rewarding story". He felt the Firebird section was "visually ingenious", and Pomp and Circumstance the most light-hearted episode and the one with the most appeal to children, in an otherwise adult-oriented film. To him The Sorcerer's Apprentice was an enduring classic.

David Parkinson of British film magazine Empire rates the film three stars out of five, calling it a "curate's egg, with moments of hilarity and beauty alternating with the pompous and the banal". Moments of Symphony No. 5 and The Firebird he thought lacked the "abstract grace" from Toccata and Fugue from the original, and Pines of Rome was "even less successful" due to the computer imagery which affected its quality. He claims Rhapsody in Blue is "guilty of some dubious racial and sexual caricaturing", but hailed the film's IMAX presentation as "a breathtaking spectacle". He summarized the film as "slightly more successful" than the original Fantasia, more child-friendly and a "mixed bag of delights". Richard Corliss of Time magazine wrote a positive review of the film, citing Pines of Rome as "a superb, uplifting flight of the spirit" and Piano Concerto No. 2 "a gorgeous blend of traditional and computer animation". He drew a comparison to The Firebird with the 1997 Japanese animated film Princess Mononoke. Brian Sibley wrote a mostly negative review in Sight & Sound, a monthly magazine published by the British Film Institute, in June 2000. He pointed out that though the film includes moments of comedy and pastoral, "the themes running through the old 'Fantasia' – the struggle between light and dark, the war between chaos and order, the ultimate triumph of goodness – find only a pale equivalent in this new version". He compared the film's orchestra set to scenes from A Matter of Life and Death (1946) and thought the CGI in Symphony No. 5 lacked the technical qualities of Toy Story. Sibley argued the film lacked an even quality, highlighting Pines of Rome with its "breathtaking" opening before "its magic has been overtaken by chronic boredom" when the baby whale reunites with his parents. Pomp and Circumstance, he thought, contained "shamefully sloppy animation" but is saved by Donald's comical gags, but pointed out Rhapsody in Blue, with its "strong lines and vivid, flat colours that are fashionably retro", and the "classic Disneyesque ... exquisite beauty and raw natural violence" in Firebird Suite, as the film's most successful segments as they "ironically, hark back to older times".

Credits
Note: All segments performed by the Chicago Symphony Orchestra with conductor James Levine, except where noted.

Short films and cancelled sequel
Development on a third film began in 2002 under the working title Fantasia 2006. Plans were made to include One by One by Pixote Hunt and The Little Matchgirl by Roger Allers in the film before the project was cancelled in 2004 for unknown reasons, with the proposed segments instead being released as standalone short films.

Destino is an animated short film released in 2003 by The Walt Disney Company. Destino is unique in that its production began in 1945, 58 years before its eventual completion. The project was originally a collaboration between Walt Disney and Spanish surrealist painter Salvador Dalí, and features music written by Mexican songwriter Armando Domínguez and performed by Dora Luz. In 1999, Walt Disney's nephew, Roy E. Disney, while working on Fantasia 2000, unearthed the dormant project and decided to bring it back to life. It was later released as a bonus short on the special edition DVD and Blu-ray of Fantasia 2000.

Lorenzo is a 2004 American animated short film produced by Walt Disney Feature Animation about a cat named Lorenzo who is "dismayed to discover that his tail has developed a personality of its own". The short was directed by Mike Gabriel and produced by Baker Bloodworth. It premiered at the Florida Film Festival on March 6, 2004 and later appeared as a feature before the film Raising Helen; however, it did not appear on the DVD release of the film. Work on the film began in 1943, but was shelved. It was later found along with Destino.

One by One is a traditionally animated short film directed by Pixote Hunt and released by Walt Disney Pictures on August 31, 2004, as an extra feature on the DVD release of The Lion King II: Simba's Pride Special Edition.

The Little Matchgirl is a 2006 animated short film directed by Roger Allers and produced by Don Hahn. It is based on an original story by Hans Christian Andersen entitled The Little Girl with the Matches or The Little Match Girl, published in 1845.

title: Fantasia 2000


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Golden Gate Yacht Club

The Golden Gate Yacht Club (GGYC) is a San Francisco, California, U.S. based yacht club founded in 1939.

History
In 1939 the first members built a clubhouse on a barge in the San Francisco Marina. After the 1989 Loma Prieta earthquake severely damaged the club, members pulled together and rebuilt it.

GGYC is a popular cruise and regatta venue on the San Francisco waterfront. The club is located on the jetty directly east of the St. Francis Yacht Club and north of the Marina Green, at the end of Yacht Road in San Francisco. The most well-known of current members is Oracle Corporation founder Larry Ellison.

The Club entered the 2007 Louis Vuitton Cup, the America's Cup challenger selection series, represented by the BMW Oracle Racing team. BMW Oracle Racing were eliminated in the semi-finals. They challenged for the America's Cup in 2010 represented by the BMW Oracle Racing team and won a Deed of Gift match 2–0 against the Alinghi team representing Société Nautique de Genève becoming the first American yacht club to hold the cup since 1995.

America's Cup Management announced on July 5, 2007, that the protocol for the 33rd America's Cup had been agreed between the Defending yacht club, the Société Nautique de Genève (SNG) of Switzerland and its Challenger of Record, the Club Náutico Español de Vela of Spain. Golden Gate Yacht Club sued, successfully arguing that Club Náutico Español de Vela was not a valid challenger. The challenge was upheld, and Golden Gate Yacht Club's team, BMW Oracle Racing, sailed against SNG, represented by the Alinghi team, in February 2010 in Valencia, Spain. The competing boats, Alinghi 5 and USA 17 were both 90-foot multihulls. The rigid wing sail of USA 17 provided a decisive advantage and Golden Gate Yacht Club won the 2010 America's Cup by a considerable margin.

They successfully defended the America's Cup at the 34th America's Cup in San Francisco in 2013, but finally lost the trophy in the 35th edition against the Royal New Zealand Yacht Squadron.

Commodores
To date there have been 65 commodores of the Golden Gate Yacht Club.

title: Golden Gate Yacht Club


text:
Talk:Next (Journey album)

Untitled
Should we have an disambiguation page to link to NeXT, to near end cross talk (NEXT), and to the musical album by Journey? — Preceding unsigned comment added by JimD (talk • contribs) 03:55, 6 March 2004 (UTC)

yes, but I don't know how to do it :P — Preceding unsigned comment added by Blashyrk (talk • contribs) 15:16, 17 March 2004 (UTC)

Dead external links to Allmusic website – January 2011
Since Allmusic have changed the syntax of their URLs, 1 link(s) used in the article do not work anymore and can't be migrated automatically. Please use the search option on http://www.allmusic.com to find the new location of the linked Allmusic article(s) and fix the link(s) accordingly, prefereably by using the Allmusic template. If a new location cannot be found, the link(s) should be removed. This applies to the following external links: --CactusBot (talk) 10:15, 2 January 2011 (UTC)
 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=Ale1ibkg96akc

Did Steve Perry sing on the title track?
This might sound like a really strange question. I mean, everyone knows that Perry was brought in for the Infinity album. I’ve known this album since it was released, but lately I’ve become convinced that both he and Greg Rolie are singing on the track 'Next'. There’s a YouTube post of the band (with Perry) performing the track live, in 1978, and the vocals sound very similar to the recorded work. https://m.youtube.com/watch?v=LruCzETf0mk If anyone knows the answer or has a link…(I’ve spent a long time searching) Boscaswell   talk  05:00, 25 January 2023 (UTC)

title: Talk:Next (Journey album)


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Surrey Senior League

The Surrey Senior League was an English regional football league for teams based in Surrey although teams from outside the county were often admitted as well. The league existed from 1922 until 1978, when it was rebranded as the Home Counties League in an attempt to attract teams from a wider catchment area. After one season the league changed its name once again to the Combined Counties League, under which name it continues to operate. For three seasons between 1968 and 1971 the league had two divisions. The top division was called the Premier Division, the lower division was Division One.

Champions
The champions of the league were as follows:

 * 1922–23 Egham
 * 1923–24 Farnham United Breweries
 * 1924–25 Farnham United Breweries
 * 1925–26 Epsom Town
 * 1926–27 Epsom Town
 * 1927–28 Aldershot Traction Company
 * 1928–29 Dorking
 * 1929–30 Dorking
 * 1930–31 Camberley & Yorktown
 * 1931–32 Camberley & Yorktown
 * 1932–33 Camberley & Yorktown
 * 1933–34 Banstead Mental Hospital
 * 1934–35 Wills Sports
 * 1935–36 Hersham
 * 1936–37 Walton-on-Thames
 * 1937–38 Metropolitan Police
 * 1938–39 Hersham
 * 1939–46 No competition due to Second World War
 * 1946–47 Leatherhead
 * 1947–48 Leatherhead
 * 1948–49 Leatherhead
 * 1949–50 Leatherhead
 * 1950–51 Banstead Athletic
 * 1951–52 Banstead Athletic
 * 1952–53 Banstead Athletic

 * 1953–54 Banstead Athletic
 * 1954–55 Dorking
 * 1955–56 Dorking
 * 1956–57 Banstead Athletic
 * 1957–58 Molesey
 * 1958–59 Malden Town
 * 1959–60 Chertsey Town
 * 1960–61 Addlestone
 * 1961–62 Chertsey Town
 * 1962–63 Chertsey Town
 * 1963–64 Hampton
 * 1964–65 Banstead Athletic
 * 1965–66 Farnham Town
 * 1966–67 Farnham Town
 * 1967–68 Farnham Town
 * 1968–69 Premier Division – Whyteleafe, Division One – Ashtead
 * 1969–70 Premier Division – Bracknell Town, Division One – Colliers Wood United
 * 1970–71 Premier Division –  Malden Town, Division One – Chessington & Hook United
 * 1971–72 Merstham
 * 1972–73 Westfield
 * 1973–74 Westfield
 * 1974–75 Epsom & Ewell
 * 1975–76 Wandsworth
 * 1976–77 Horley Town
 * 1977–78 Malden Vale

title: Surrey Senior League


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Musket Wars

The Musket Wars were a series of as many as 3,000 battles and raids fought throughout New Zealand (including the Chatham Islands) among Māori between 1806 and 1845, after Māori first obtained muskets and then engaged in an intertribal arms race in order to gain territory or seek revenge for past defeats. The battles resulted in the deaths of between 20,000 and 40,000 people and the enslavement of tens of thousands of Māori and significantly altered the rohe, or tribal territorial boundaries, before the signing of the Treaty of Waitangi in 1840. The Musket Wars reached their peak in the 1830s, with smaller conflicts between iwi continuing until the mid 1840s; some historians argue the New Zealand Wars were (commencing with the Wairau Affray in 1843 and Flagstaff War in 1845) a continuation of the Musket Wars. The increased use of muskets in intertribal warfare led to changes in the design of pā fortifications, which later benefited Māori when engaged in battles with colonial forces during the New Zealand Wars.

Ngāpuhi chief Hongi Hika in 1818 used newly acquired muskets to launch devastating raids from his Northland base into the Bay of Plenty, where local Māori were still relying on traditional weapons of wood and stone. In the following years he launched equally successful raids on iwi in Auckland, Thames, Waikato and Lake Rotorua, taking large numbers of his enemies as slaves, who were put to work cultivating and dressing flax to trade with Europeans for more muskets. His success prompted other iwi to procure firearms in order to mount effective methods of defence and deterrence and the spiral of violence peaked in 1832 and 1833, by which time it had spread to all parts of the country except the inland area of the North Island later known as the King Country and remote bays and valleys of Fiordland in the South Island. In 1835, the fighting went offshore as members of Ngāti Mutunga and Ngāti Tama invaded and murdered the Moriori of Rēkohu in a genocide.

With as many as 40,000 killed over a 40-year period, the death toll of the Musket Wars was absolutely unprecedented. Historian Michael King suggested the term "holocaust" could be applied to the period; another historian, Angela Ballara, has questioned the validity of the term "musket wars", suggesting the conflict was no more than a continuation of Māori tikanga (custom), but more destructive because of the widespread use of firearms. The wars have been described as an example of the "fatal impact" of indigenous contact with Europeans.

Origin and escalation of warfare
Māori began acquiring European muskets in the early 19th century from Sydney-based flax and timber merchants. Because they had never had projectile weapons, they initially sought guns for hunting. Their first known use in intertribal fighting was in the 1807 battle of Moremonui between Ngāpuhi and Ngāti Whātua in Northland near present-day Dargaville. Although they had some muskets, Ngāpuhi warriors struggled to load and reload them and were defeated by an enemy armed only with traditional weapons—the clubs and blades known as patu and taiaha. However, soon after, members of the Ngāti Korokoro hapū of Ngāpuhi suffered severe losses in a raid on the Kai Tutae hapu despite outnumbering their foe ten to one, because the Kai Tutae were equipped with muskets.

Under Hongi Hika's command, Ngāpuhi began amassing muskets and from about 1818 began launching effective raids on hapu throughout the North Island against whom they had grievances. Rather than occupy territory in areas they defeated their enemy, they seized taonga (treasures) and slaves, whom they put to work to grow and prepare more crops—chiefly flax and potatoes—as well as pigs to trade for even more weapons. A flourishing trade in the smoked heads of slain enemies and slaves also developed. The custom of utu, or reciprocation, led to a growing series of reprisals as other iwi realised the benefits of muskets for warfare, prompting an arms race among warring groups. In 1821 Hongi Hika travelled to England with missionary Thomas Kendall and in Sydney on his return voyage traded the gifts which he had obtained in England for between 300 and 500 muskets, which he then used to launch even more devastating raids, with even bigger armies, against iwi from the Auckland region to Rotorua.

Use of the musket by Māori
The last of the non-musket wars, the 1807 Battle of Hingakaka, was fought between two opposing Māori alliances near modern Te Awamutu, with an estimated 16,000 warriors involved, although as late as about 1815 some conflicts were still being fought with traditional weapons. The musket slowly put an end to the traditional combat of Māori warfare using mainly hand weapons and increased the importance of coordinated group manoeuvre. One-on-one fights such as Potatau Te Wherowhero's at the battle of Okoki in 1821 became rare.

Initially, the musket was used as a shock weapon, enabling traditional and iron weapons to be used to great effect against a demoralised foe. But by the 1830s equally well-armed taua engaged each other with varying degrees of success. Māori learnt most of their musket technology from the various Pākehā Māori who lived in the Bay of Islands and Hokianga area. Some of these men were skilled sailors well experienced in the use of muskets in battles at sea. Māori customised their muskets; for example, some enlarged the touch holes which, while reducing muzzle velocity, increased rate of fire.

Quality of muskets
Most muskets sold were low quality, short barrel trade muskets, made cheaply in Birmingham with inferior steel and less precision in the action. Māori often favoured the tupara (two barrel), shotguns loaded with musket balls, as they could fire twice before reloading. In some battles, women were used to reload muskets while the men kept on fighting. Later this presented a problem for the British and colonial forces during the New Zealand Wars when iwi would keep women in the pā.

Māori found it very hard to obtain muskets as the missionaries refused to trade them or sell powder or shot. The Ngāpuhi put missionaries under intense pressure to repair muskets even at times threatening them with violence. Most muskets were initially obtained while in Australia. Pākehā Māori such as Jacky Marmon were instrumental in obtaining muskets from trading ships in return for flax, timber and smoked heads.

Conflicts and consequences
The violence brought devastation for many tribes, with some wiped out as the vanquished were killed or enslaved, and tribal boundaries were completely redrawn as large swathes of territory were conquered and evacuated. Those changes greatly complicated later dealings with European settlers wishing to gain land.

Between 1821 and 1823 Hongi Hika attacked Ngāti Pāoa in Auckland, Ngāti Maru in Thames, Waikato tribes at Matakitaki, and Te Arawa at Lake Rotorua, heavily defeating them all. In 1825 he gained a major military victory over Ngāti Whātua at Kaipara north of Auckland, then pursued survivors into Waikato territory to gain revenge for Ngāpuhi's 1807 defeat. Ngāpuhi chiefs Pōmare and Te Wera Hauraki also led attacks on the East Coast, and in Hawke's Bay and the Bay of Plenty. Ngāpuhi's involvement in the musket wars began to recede in the early 1830s.

Waikato tribes expelled Ngāti Toa chief Te Rauparaha from Kāwhia in 1821, defeated Ngāti Kahungunu at Napier in 1824 and invaded Taranaki in 1826, forcing a number of tribal groups to migrate south. Waikato launched another major incursion into Taranaki in 1831–32.

Te Rauparaha, meanwhile, had moved first to Taranaki and then to the Kāpiti coast and Kapiti Island, which Ngāti Toa chief Te Pēhi Kupe captured from the Muaupoko people. About 1827 Te Rauparaha began leading raids into the north of the South Island; by 1830 he had expanded his territory to include Kaikōura and Akaroa and much of the rest of the South Island.

The final South Island battles took place in Southland in 1836–37 between forces of Ngāi Tahu leader Tūhawaiki and those of Ngāti Tama chief Te Puoho, who had followed a route from Golden Bay down the West Coast and across the Southern Alps.

Chatham Islands
In 1835 Ngāti Mutunga, Ngāti Tama and Ngāti Toa warriors hijacked a ship to take them to the Chatham Islands where they slaughtered about 10 per cent of the Moriori people and enslaved the survivors, before sparking war among themselves.

Te Ihupuku Pā
The final conflict of the Musket Wars occurred in 1845. A Ngāti Tūwharetoa war party was stopped en route to an attack on the Ngā Rauru Te Ihupuku Pā in South Taranaki by British and church officials. The Anglican Bishop of New Zealand and a Major managed to talk both sides out of fighting. Ngāti Tūwharetoa fired the final shots of the Musket Wars symbolically into the air before returning to Taupō.

Historiography
Historian James Belich has suggested "Potato Wars" as a more accurate name for these battles, due to the revolution the potato brought to the Māori economy. Historian Angela Ballara says that new foods made some aspects of the wars different. Potatoes were introduced in New Zealand in 1769 and they became a key staple with better food-value for weight than kūmara (sweet-potato), and easier cultivation and storage. Unlike the kūmara with their associated ritual requirements, potatoes were tillable by slaves and women and this freed up men to go to war.

Belich saw this as a logistical revolution, with potatoes effectively fueling the long-range taua that made the musket wars different from any fighting that had come before. Slaves captured in the raids were put to work tending potato patches, freeing up labour to create even larger taua. The duration of the raids was also longer by the 1820s; it became common for warriors to be away for up to a year because it was easier to grow a series of potato crops.

In popular culture
The music video of "Kai Tangata" from New Zealand thrash metal band Alien Weaponry dramatically portrays part of the conflict that ensued with introduction of the muskets.

The Convert is a film set amid the conflict.

title: Musket Wars


text:
PC speaker

A PC speaker is a loudspeaker built into some IBM PC compatible computers. The first IBM Personal Computer, model 5150, employed a standard 2.25 inch magnetic driven (dynamic) speaker. More recent computers use a tiny moving-iron or piezo speaker instead. The speaker allows software and firmware to provide auditory feedback to a user, such as to report a hardware fault. A PC speaker generates waveforms using the programmable interval timer, an Intel 8253 or 8254 chip.

BIOS/UEFI error codes
The PC speaker is used during the power-on self-test (POST) sequence to indicate errors during the boot process. Since it is active before the graphics card, it can be used to communicate "beep codes" related to problems that prevent the much more complex initialization of the graphics card to take place. For example, the Video BIOS usually cannot activate a graphics card unless working RAM is present in the system while beeping the speaker is possible with just ROM and the CPU registers. Usually, different error codes will be signalled by specific beeping patterns, such as e.g. "one beep; pause; three beeps; pause; repeat". These patterns are specific to the BIOS/UEFI manufacturer and are usually documented in the technical manual of the motherboard.

Software
Several programs, including music software, operating systems or games, could play pulse-code modulation (PCM) sound through the PC speaker using special Pulse-width Modulation techniques explained later in this article.

Games
The PC speaker was often used in very innovative ways to create the impression of polyphonic music or sound effects within computer games of its era, such as the LucasArts series of adventure games from the mid-1980s, using swift arpeggios. Several games such as Space Hulk and Pinball Fantasies were noted for their elaborate sound effects; Space Hulk, in particular, even had full speech.

However, because the method used to reproduce PCM was very sensitive to timing issues, these effects either caused noticeable sluggishness on slower PCs or sometimes failed on faster PCs (that is, significantly faster than the program was originally developed for). Also, it was difficult for programs to do much else, even update the display, during the playing of such sounds. Thus, when sound cards (which can output complex sounds independent from the CPU once initiated) became mainstream in the PC market after 1990, they quickly replaced the PC speaker as the preferred output device for sound effects. Most newly-released PC games stopped supporting the speaker during the second half of the 1990s.

Other programs
Several programs, including MP (Module Player, 1989), Scream Tracker, Fast Tracker, Impulse Tracker, and even device drivers for Linux and Microsoft Windows, could play PCM sound through the PC speaker.

Modern Microsoft Windows systems have PC speaker support as a separate device with special capabilities – that is, it cannot be configured as a normal audio output device. Some software uses this special sound channel to produce sounds. For example, Skype can use it as a reserve calling signal device for the case where the primary audio output device cannot be heard (for example because the volume is set to the minimum level, the amplifier is turned off or headphones are plugged in).

In the 1990s, a computer virus for Microsoft DOS named "Techno" appeared, playing a melody through the PC speaker while printing the word "TECHNO" on the screen until filled.

Pinouts
In some applications, the PC speaker is affixed directly to the computer's motherboard; in others, including the first IBM Personal Computer, the speaker is attached by wire to a connector on the motherboard. Some PC cases come with a PC speaker preinstalled. A wired PC speaker connector may have a two-, three-, or four-pin configuration, and either two or three wires. The female connector of the speaker connects to pin headers on the motherboard, which are sometimes labeled or.

Pulse-width modulation
The PC speaker is normally meant to reproduce a square wave via only 2 levels of output (two voltage levels, typically 0 V and 5 V), driven by channel 2 of the Intel 8253 (PC, XT) or 8254 (AT and later) Programmable Interval Timer operating in mode three (square wave signal). The speaker hardware itself is directly accessible via PC I/O port 61H (61 hexadecimal) via bit 1 and can be physically manipulated for 2 levels of output (i.e. 1-bit sound). However, by carefully timing a short pulse (i.e. going from one output level to the other and then back to the first), and by relying on the speaker's physical filtering properties (limited frequency response, self-inductance, etc.), it is possible to drive the speaker to various intermediate output levels, functioning as a crude digital-to-analog converter. This technique is called pulse-width modulation (PWM) and allows approximate playback of PCM audio. (A more refined version of this technique is used in class D audio amplifiers.)

With the PC speaker this method achieves limited quality playback, but a commercial solution named RealSound used it to provide improved sound on several games.

Obtaining a high fidelity sound output using this technique requires a switching frequency much higher than the audio frequencies meant to be reproduced (typically with a ratio of 10:1 or more), and the output voltage to be bipolar, in order to make better use of the output devices' dynamic range and power. On the PC speaker, however, the output voltage is either zero or at a Transistor-Transistor Logic (TTL) level (unipolar).

The quality depends on a trade-off between the PWM carrier frequency (effective sample rate) and the number of output levels (effective bit depth). The clock rate of the PC's programmable interval timer which drives the speaker is fixed at 1,193,180 Hz, and the product of the audio sample rate times the maximum DAC value must equal this. Typically, a 6-bit DAC with a maximum value of 63 is used at a sample rate of 18,939.4 Hz, producing poor but recognizable audio.

The audio fidelity of this technique is further decreased by the lack of a properly sized dynamic loudspeaker, specially in modern machines and particularly laptops that use a tiny moving-iron speaker (often confused with piezoelectric). The reason for this is that PWM-produced audio requires a low-pass filter before the final output in order to suppress switching noise and high harmonics. A normal dynamic loudspeaker does this naturally, but the tiny metal diaphragm of the moving-iron speaker will let much switching noise pass, as will many direct couplings (though there are exceptions to this, e.g. filtered "speaker in" ports on some motherboards and sound cards).

This use of the PC speaker for complex audio output became less common with the introduction of Sound Blaster and other sound cards.

title: PC speaker


text:
Minute Waltz

The Waltz in D-flat major, Op. 64, No. 1, sometimes known as "Valse du petit chien" (French for "Waltz of the puppy"), and popularly known in English as the Minute Waltz, is a piano waltz by Polish composer and virtuoso Frédéric Chopin. It is dedicated to the Countess Delfina Potocka.

History
Chopin composed the waltz in 1847 and had it published by Breitkopf & Härtel in Leipzig the same year, as the first of the Trois Valses, Op. 64. The second waltz is in the enharmonic parallel minor key of C-sharp minor.

A fast version of the waltz, played by Arthur Rubinstein, has served as the theme music for the BBC Radio 4 show Just a Minute since the programme’s inception.

Structure
The waltz is in the key of D-flat major and has a tempo marking of molto vivace (very lively). Chopin indicates that the waltz is to be played with the sustain pedal used, and makes frequent use of crescendi and diminuendi. It is in a simple ternary form, as are many of Chopin's compositions. The A section is marked leggero, and the B section sostenuto. The A section itself can be divided into two themes, separated by a double barline. The first consists of the familiar opening melody over standard waltz accompaniment, frequently rising an octave only to drop back down. The second theme is similar, but not identical, and features several broken scales over several octaves between a repeated quarter note and triplet motive. The B section is somewhat calmer, using alternating half and quarter notes over waltz accompaniment. Following a lengthy trill, the A section is repeated, modified only in the ending, which features a three-octave descent instead of a two-octave one.

Tempo
The piece is given the tempo marking Molto vivace. Although it has long been known as the "Minute" Waltz, its nickname was intended to mean "small" in the sense of a "miniature" waltz, given by its publisher. Chopin did not intend for this waltz to be played in one minute. A typical performance of the work will last between $1 1/2$ and $2 1/2$ minutes. The waltz is 140 measures long with one fifteen-measure repeat included, and thus it would have to be played at almost 420 quarter notes per minute in order to play it completely within a single minute. Playing the piece as fast as possible is still a feat some pianists attempt. Camille Bourniquel, one of Chopin's biographers, reminds the reader that Chopin got the inspiration for this waltz as he was watching a small dog chase its tail, which prompted the composer to name the piece Valse du petit chien, meaning "The Little Dog Waltz".

Derivative works
A vocal version of the piece, with lyrics by screenwriter Lan O'Kun, has been performed by multiple artists, including Barbra Streisand on her 1966 album Color Me Barbra, her version peaked at #23 in the Billboard's Easy Listening chart. O'Kun's lyrics perpetuate the notion that the tune should be performed in one minute, although Streisand's performance clocks in at just under two minutes. Because the lower notes were hard to reach, Streisand finished up the ending phrases in a spoken voice. This version was also performed by a female Muppet on the 1969–70 premiere season of Sesame Street. That same version was also used for a skit on Captain Kangaroo in the 1970s.

New Orleans rhythm and blues pianist James Booker included an instrumental version on his album Junco Partner (1976).

The composers Kaikhosru Shapurji Sorabji, Rafael Joseffy, Max Reger, Leopold Godowsky, Jeannot Heinen, Moriz Rosenthal, Giuseppe Ferrata, Sam Raphling, Marc-André Hamelin, and Bertold Hummel created paraphrases of the "Minute Waltz".

title: Minute Waltz


text:
Talk:Nikephoros I of Constantinople

"After vain theological disputes..."
NPOV modification perhapse? Justin 17:06, 27 December 2005 (UTC)

(Saint) Nicephorus I
I have changed the name at the beginning of the article from Saint Nicephorus to Nicephorus I as per Naming conventions (Western clergy).--File Éireann 15:38, 20 November 2005 (UTC)

Romanization of Greek titles
I am not sure of the correct convention in Wikipedia, but shouldn't Greek titles be given in Greek characters, followed by the romanized version? E.G. Του Αγαθου (Tou Agathou)--APRCooper 09:27, 13 March 2006 (UTC)

Date of death?
The article on St. Nicephorus in the Catholic Encyclopedia gives his date of death as June 2, 829. What is the source for the date given in this article, April 5, 828? Caeruleancentaur (talk) 08:34, 13 March 2009 (UTC)

 * Since the Greeks also commemorate him on June 2, I should think this is the correct date of his death. Caeruleancentaur (talk) 08:39, 13 March 2009 (UTC)

 * It could be that the Greeks used the Julian calendar while the Catholics use the Gregorian Calender. If you have the source, then go ahead and put in the Catholic Encyclopedia as a source since it's the Common Era calender thats in use.  Take Care... Dinkytown 17:11, 13 March 2009 (UTC)

reference
Bibliotheca Hagiographica Graeca 1335-7. https://archive.org/details/bibliothecahagi00boll/page/186/mode/2up sub Nicephorus. p. 186.--142.163.195.18 (talk) 12:52, 13 March 2021 (UTC)

Nicephorus vs Nikephoros
Is there any reason why his named is given as "Nikephoros" instead of "Nicephorus"? All other Patriarchs are called by their Latinized names. Tintero21 (talk) 23:17, 11 May 2023 (UTC)

title: Talk:Nikephoros I of Constantinople