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Minton's Playhouse

Minton's Playhouse is a jazz club and bar located on the first floor of the Cecil Hotel at 210 West 118th Street in Harlem, Manhattan, New York City. It is a registered trademark of Housing and Services, Inc. a New York City nonprofit provider of supportive housing. The door to the actual club itself is at 206 West 118th Street where there is a small plaque. Minton's was founded by tenor saxophonist Henry Minton in 1938. Minton's is known for its role in the development of modern jazz, also known as bebop, where in its jam sessions in the early 1940s, Thelonious Monk, Bud Powell, Kenny Clarke, Charlie Christian, Charlie Parker and Dizzy Gillespie pioneered the new music. Minton's thrived for three decades until its decline near the end of the 1960s, and its eventual closure in 1974. After being closed for more than 30 years, the newly remodeled club reopened on May 19, 2006, under the name Uptown Lounge at Minton's Playhouse, which operated until 2010, before re-opening as Minton's Playhouse in 2013.

Beginnings
Minton's original owner, Henry Minton, was known in Harlem for being the first ever black delegate to the American Federation of Musicians Local 802. In addition, he had been the manager of the Rhythm Club, in Harlem, in the early part of the 1930s, a venue which Louis Armstrong, Fats Waller, James P. Johnson, and Earl Hines frequented. The novelist Ralph Ellison later wrote that because of his union background and music business experience, Minton was aware of the economic and artistic needs of jazz musicians in New York in the late 1930s. Minton's popularity and his penchant for generosity with food and loans made his club a favorite hang-out for musicians.

Minton developed a policy of holding regular jam sessions at his club, which would later prove to be a significant factor in the development of bebop. Because of his union ties, Minton was able to ensure that musicians would not be fined for their participation in jam sessions, an activity that was prohibited by the union. Dizzy Gillespie recalled that there were "walking" delegates from the union that would follow musicians around and fine them "a hundred to five hundred dollars" for participating in jam sessions, but that they were "somewhat immune from this at Minton's because of Henry Minton". According to Ralph Ellison, Minton's Playhouse provided "a retreat, a homogeneous community where a collectivity of common experience could find continuity and meaningful expression".

1940s
In late 1940, Minton hired Teddy Hill, a former bandleader, to manage the club. Building in the same direction that Minton had started, Hill used his connections from the Savoy Ballroom (where his band used to play), and the Apollo Theater to increase the interest in the club. Hill put together the house band which included Thelonious Monk on piano, Joe Guy on trumpet, Nick Fenton on bass, and Kenny Clarke on drums. Both Clarke and Guy were in Teddy Hill's band before it disbanded in 1939. According to Clarke, Teddy Hill wanted to "do something for the guys that had worked with him" by giving them work during difficult times. The house band at Minton's in 1941, with the addition of frequent guests, Dizzy Gillespie and Charlie Christian, was at the center of the emergence of bebop in the early 1940s. Later, the band was led by tenor saxophonist Kermit Scott.

Monday celebrity nights
A feature of Minton's Playhouse during Teddy Hill's tenure as manager was the Monday Celebrity Nights sponsored by the Schiffmans who owned the nearby Apollo Theater. The Schiffmans treated their performers to free dinner and drinks after the conclusion of a long week of work. The food at Minton's became almost as popular as the music as noted by many present at that time. In an interview with Al Fraser (1979), Dizzy Gillespie told his recollection of Monday nights at Minton's: On Monday nights, we used to have a ball. Everybody from the Apollo, on Monday nights, was a guest at Minton's, the whole band. We had a big jam session. Monday night was the big night, the musician's night off. There was always some food there for you. Oh, that part was beautiful. Teddy Hill treated the guys well.

Cutting sessions and duels
During the Monday Celebrity Nights, many guest musicians such as Roy Eldridge, Hot Lips Page, Ben Webster, Don Byas, and Lester Young would sit in. The trumpet duels between Roy Eldridge and Dizzy Gillespie became legendary, with Gillespie eventually surpassing his mentor. Speaking to Al Fraser, Gillespie recalled how Thelonious Monk one night teased Eldridge after being out-played by Gillespie saying, "Look, you're supposed to be the greatest trumpet player in the world ... but that's the best." Eldridge was an established musician in the older swing style, but he was an active figure at Minton's and contributed through his encouragement of Gillespie and Clarke to further their explorations.

Eldridge and the other swing musicians who participated in the early cutting sessions at Minton's played an important role in the evolution of swing toward bebop by inspiring the next generation of musicians. A young Sonny Stitt witnessed the great battles between the master saxophonists of the day in the early 1940s: Can you imagine Lester Young, Coleman Hawkins, Chu Berry, Don Byas, and Ben Webster on the same little jam session? They had a place called Minton's Playhouse in New York. It's kaput now. And these guys, man, nothing like it. And guess who won the fight? ... Don Byas walked off with everything. Byas was one of the first tenor saxophonists to assimilate bebop into his style, in contrast to Young, Hawkins, and Webster, who stayed close to their swing roots through the development of bebop.

Herman Pritchard, who tended bar at Minton's "in the old days", would watch as Ben Webster and Lester Young would "fight on those saxophones ... like dogs in the road". Ralph Ellison believes that what was occurring at Minton's from 1941 to 1942 was a "continuing symposium of jazz, a summation of all the styles, personal and traditional, of jazz".

Charlie Christian and the house band
One of the pioneers of the new style, which would eventually become known as bebop, was the young electric guitarist from Benny Goodman's band, Charlie Christian. He played nightly at Minton's and was one of its stars. Christian was in his mid-twenties in 1941; his time at Minton's was significant, but brief; he would die the following March suffering from tuberculosis in a sanatorium. As evidenced by recordings made by Columbia University student Jerry Newman in 1941, Christian's playing was breaking new ground. Gunther Schuller's assessment of Christian's playing on those recordings is as follows: His work here seems to me relentlessly creative, endlessly fertile, and is so in a way that marks a new stylistic departure. Indeed, it signals the birth of a new language in jazz, which even [Charlie] Parker did not have as clearly in focus at that time. Kenny Clarke and the band at Minton's would look forward with anticipation to Christian's arrival after finishing his set with Goodman. Christian was admired by his peers at Minton's, including Thelonious Monk who "loved listening to Charlie play solos with fluid lines and interesting harmonies". Hill bought Christian an amplifier to use so he would not have to bring his along. Hill retained it up until his death in 1978.

Bird and Dizzy
Soon after Charlie Christian's death, alto saxophonist Charlie Parker emerged as a new leader of the bebop movement. Parker's collaboration with Dizzy Gillespie, Thelonious Monk and Kenny Clarke, at sessions at Minton's, would build on the earlier experiments of Christian. Before 1942, Parker was known to have spent more time at Clark Monroe's Uptown House, another Harlem club where jam sessions extended into the early morning than he spent playing at Minton's. After leaving Jay McShann's band at the end of 1941, Parker joined Earl Hines's band in 1942 and was reunited with Dizzy Gillespie, whom he had met sometime earlier. It was during this period of time starting in 1942 that Parker, nicknamed 'Bird', could be found sitting-in at Minton's on Monday nights as recalled by Miles Davis: On Monday nights at Minton's, Bird and Dizzy would come in to jam, so you'd have a thousand [players] up there trying to get in so they could listen to and play with Bird and Dizzy. But most of the musicians in the know didn't even think about playing when Bird and Dizzy came to jam. We would just sit out in the audience, to listen and learn. Parker never was officially a member of the house band at Minton's during that period. However, sensing his importance to the bebop movement, Clarke and Monk approached Teddy Hill about hiring Parker into the band. Hill refused so Clarke and Monk decided to pay Parker out of their salaries.

After Parker's arrival on the scene in Harlem, other new players followed. Miles Davis, Fats Navarro, Dexter Gordon, Art Blakey, Max Roach and many others were drawn to Minton's. Miles Davis's search for Charlie Parker brought him to Minton's where he "cut his teeth" at the jam sessions. Davis remembered: The way [it] went down up at Minton's was you brought your horn and hoped that Bird and Dizzy would invite you to play with them up on stage. And when this happened you better not blow it ... People would watch for clues from Bird and Dizzy, and if they smiled when you finished playing, then that meant your playing was good.

Sitting-in
The house band at Minton's Playhouse developed ways of weeding out less skilled musicians who wanted to sit in. According to bassist Milt Hinton, Gillespie prompted the band to play standards, such as Gershwin's "I Got Rhythm", in difficult keys in order to discourage beginners from sitting in. Bassist Charles Mingus remembered being required to audition to get up on stage: To play at Minton's you couldn't just walk in and grab a bass. They made you go in a back room or a kitchen and call a few tunes. They did it to me too. They said, "Can you play 'Perdido'? Can you play 'Body and Soul'?" Practices such as these challenged up-and-coming jazz musicians to get their acts together in order to participate in the jam sessions, which kept the music at a high level.

End of an era
Minton's changed its open jam policy in favor of big-name acts in the 1950s. By the late 1960s, bands were no longer at the cutting edge. Harlem writer, Amiri Baraka (LeRoi Jones) wrote in Black Music (1967): "The groups that come into Minton's are stand-up replicas of what was a highly experimental twenty-five years ago." Although the club was open for a little more than three decades, Minton's Playhouse will always be associated with the 1940s and the jam sessions that gave birth to bebop. Minton's thrived for three decades until its decline near the end of the 1960s, and its eventual closure in 1974.

Revival
After being closed for more than 30 years, the newly remodeled club reopened on May 19, 2006, under the name Uptown Lounge at Minton's Playhouse. However, the reopened club was closed again in 2010.

In 2013, Richard Parsons revived Minton's as an upscale Jazz club and restaurant. The restaurant's cuisine was entrusted to restaurant owner Alexander Smalls. The new club was designed by architect Sarah Garcia of Estudio Sarah Garcia and a new brand identity designed by New York designer John Simoudis.

The New York City Landmarks Preservation Commission designated the Hotel Cecil and Minton's Playhouse as a city landmark on June 27, 2023.

title: Minton's Playhouse


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

title: Template:MEP lists UK


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Category:Cardiac anatomy

Cardiac anatomy refers to the structure of the heart, one of the organs of the body.

title: Category:Cardiac anatomy


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James Campbell, 1st Baron Glenavy

James Henry Mussen Campbell, 1st Baron Glenavy (4 April 1851 – 22 March 1931) was an Irish lawyer, politician in the British Parliament and later in the Oireachtas of the Irish Free State. He was also Lord Chancellor of Ireland.

Barrister and judge
He was born in Dublin and educated at Dr. Stacpoole's School in Kingstown (now Dún Laoghaire) and Trinity College Dublin, graduating BA in 1874. After being called to the Irish bar in 1878, Campbell was made an Irish Queen's Counsel in 1892 and six years later was elected Irish Unionist MP for the Dublin seat of St. Stephen's Green. The following year he was called to the English bar, and in February 1902 was elected a Bencher of Gray's Inn. Campbell became Solicitor-General for Ireland in 1901, and in 1903 he was elected to the House of Commons as representative for Dublin University. He was made the country's Attorney General in 1905, being appointed an Irish Privy Counsellor, and in 1916 became Lord Chief Justice of Ireland.

Considerable controversy surrounded the efforts to appoint him a judge: the initial proposal to appoint him Lord Chancellor of Ireland met with fierce resistance from Irish Nationalists, and great efforts were made to find another position for him. It appears that Baron Atkinson was asked to retire from the House of Lords but refused. Pressure was then put on the Lord Chief Justice of Ireland, Richard Cherry, who was seriously ill, to step down. Cherry despite his failing health was initially reluctant to do so, but eventually agreed to retire in December 1916. Maurice Healy in his memoirs remarks that Campbell was considered the finest Irish barrister of his time, with the possible exception of Edward Carson, but as a judge, he was somewhat fretful and impatient, with a tendency (admittedly not uncommon in judges) to interrupt counsel.

Irish War of Independence
Campbell was created a baronet in 1917, and the following year was appointed Lord Chancellor of Ireland. During the Irish War of Independence, his position was somewhat ambiguous. As head of the Irish judiciary, he was naturally expected by the British Government to do all in his power to uphold British rule; but as his later career showed he was not opposed to the existence of the Irish Free State and was quite willing to play a role in the new Government. This pragmatic attitude naturally infuriated the British administration, some of whom regarded it as a betrayal. Mark Sturgis, the Dublin Castle official whose diaries give a vivid picture of the last years of British rule, condemned Campbell bitterly as a coward who "does nothing and apparently thinks of nothing but the best way to show Sinn Féin that he is neutral and passive". Campbell's successor as Lord Chancellor, Sir John Ross, made similar criticism. Irish historian R. B. McDowell comments that neither Sturgis nor Ross intended to stay in Southern Ireland when their Castle appointments ended, respectively returning to England and relocating to Tyrone via London.

On relinquishing office in 1921 Campbell was ennobled as Baron Glenavy, of Milltown in the County of Dublin.

First chairman of Free State Seanad
In 1922 he was nominated to the new Free State Seanad by W. T. Cosgrave, and was elected by almost all of his fellow senators as its first Cathaoirleach (chairperson) on 12 December 1922. This was in the midst of the Irish Civil War and shortly after his appointment his family home in Kimmage, Dublin was burnt by the anti-Treaty IRA, as part of their campaign against the representatives of the new state.

After the 1925 Seanad election he was again elected as chairman on 9 December 1925 by a vote of 40–12. He did not seek re-election when his term in the Seanad expired in 1928.

Courts of Justice Act 1924
In January 1923, Glenavy chaired the Judicial Committee appointed to advise the Executive Council of the Irish Free State on the creation of a new courts system for the Irish Free State. His recommendations were implemented in the Courts of Justice Act 1924 which largely created the Irish courts system as it currently exists. This replaced, and indeed replicated the existing court system as established by the Government of Ireland Act 1920. The Dáil Courts were declared to have been illegal, but their outstanding 'judgements' were conferred with legal standing by a separate Act of the Oireachtas. Glenavy clashed with another member of the committee, Hugh Kennedy, soon to become the first Chief Justice of Ireland, who was in favour of far more radical changes than those recommended by Glenavy and a majority of the committee. Political differences were compounded by the  fact that the two men disliked each other personally.

Lord Glenavy died in Dublin in 1931 and was buried in the city's Mount Jerome Cemetery.

Family
His parents were Colonel William Mussen Campbell and Delia Poole Graham, the daughter of Henry Francis Graham of Newtown Abbey, County Kildare. William and Delia lived at Prospect House, Terenure, County Dublin. His paternal grandfather's family was from Glenavy and Magheragall in County Antrim.

In 1884, he married Emily McCullough and they had three sons and one daughter, including Charles and Cecil. His son Charles married the Irish artist Beatrice Elvery, whose family founded Elverys Sports.

His grandson, under the name Patrick Campbell, was a noted satirist in the early years of television. He was a longtime captain of one of the panels in the BBC gameshow Call My Bluff against British comedy writer Frank Muir. Another grandson, Michael Campbell, later the 4th and last Lord Glenavy was the author of the work of gay literature, Lord Dismiss Us.

title: James Campbell, 1st Baron Glenavy


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Optical flow

Optical flow or optic flow is the pattern of apparent motion of objects, surfaces, and edges in a visual scene caused by the relative motion between an observer and a scene. Optical flow can also be defined as the distribution of apparent velocities of movement of brightness pattern in an image.

The concept of optical flow was introduced by the American psychologist James J. Gibson in the 1940s to describe the visual stimulus provided to animals moving through the world. Gibson stressed the importance of optic flow for affordance perception, the ability to discern possibilities for action within the environment. Followers of Gibson and his ecological approach to psychology have further demonstrated the role of the optical flow stimulus for the perception of movement by the observer in the world; perception of the shape, distance and movement of objects in the world; and the control of locomotion.

The term optical flow is also used by roboticists, encompassing related techniques from image processing and control of navigation including motion detection, object segmentation, time-to-contact information, focus of expansion calculations, luminance, motion compensated encoding, and stereo disparity measurement.

Estimation
Sequences of ordered images allow the estimation of motion as either instantaneous image velocities or discrete image displacements. Fleet and Weiss provide a tutorial introduction to gradient based optical flow. John L. Barron, David J. Fleet, and Steven Beauchemin provide a performance analysis of a number of optical flow techniques. It emphasizes the accuracy and density of measurements.

The optical flow methods try to calculate the motion between two image frames which are taken at times $$t$$ and $$t+\Delta t$$ at every voxel position. These methods are called differential since they are based on local Taylor series approximations of the image signal; that is, they use partial derivatives with respect to the spatial and temporal coordinates.

For a (2D + t)-dimensional case (3D or n-D cases are similar) a voxel at location $$(x,y,t)$$ with intensity $$I(x,y,t)$$ will have moved by $$\Delta x$$, $$\Delta y$$ and $$\Delta t$$ between the two image frames, and the following brightness constancy constraint can be given:
 * $$I(x,y,t) = I(x+\Delta x, y + \Delta y, t + \Delta t)$$

Assuming the movement to be small, the image constraint at $$I(x,y,t)$$ with Taylor series can be developed to get:
 * $$I(x+\Delta x,y+\Delta y,t+\Delta t) = I(x,y,t) + \frac{\partial I}{\partial x}\,\Delta x+\frac{\partial I}{\partial y}\,\Delta y+\frac{\partial I}{\partial t} \, \Delta t+{}$$higher-order terms

By truncating the higher order terms (which performs a linearization) it follows that:
 * $$\frac{\partial I}{\partial x}\Delta x+\frac{\partial I}{\partial y}\Delta y+\frac{\partial I}{\partial t}\Delta t = 0$$

or, dividing by $$\Delta t$$,
 * $$\frac{\partial I}{\partial x}\frac{\Delta x}{\Delta t} + \frac{\partial I}{\partial y}\frac{\Delta y}{\Delta t} + \frac{\partial I}{\partial t} \frac{\Delta t}{\Delta t} = 0$$

which results in
 * $$\frac{\partial I}{\partial x}V_x+\frac{\partial I}{\partial y}V_y+\frac{\partial I}{\partial t} = 0$$

where $$V_x,V_y$$ are the $$x$$ and $$y$$ components of the velocity or optical flow of $$I(x,y,t)$$ and $$\tfrac{\partial I}{\partial x}$$, $$\tfrac{\partial I}{\partial y}$$ and $$\tfrac{\partial I}{\partial t}$$ are the derivatives of the image at $$(x,y,t)$$ in the corresponding directions. $$I_x$$,$$ I_y$$ and $$ I_t$$ can be written for the derivatives in the following.

Thus:
 * $$I_xV_x+I_yV_y=-I_t$$

or
 * $$\nabla I\cdot\vec{V} = -I_t$$

This is an equation in two unknowns and cannot be solved as such. This is known as the aperture problem of the optical flow algorithms. To find the optical flow another set of equations is needed, given by some additional constraint. All optical flow methods introduce additional conditions for estimating the actual flow.

Methods for determination
Many of these, in addition to the current state-of-the-art algorithms are evaluated on the Middlebury Benchmark Dataset. Other popular benchmark datasets are KITTI and Sintel.
 * Phase correlation – inverse of normalized cross-power spectrum
 * Block-based methods – minimizing sum of squared differences or sum of absolute differences, or maximizing normalized cross-correlation
 * Differential methods of estimating optical flow, based on partial derivatives of the image signal and/or the sought flow field and higher-order partial derivatives, such as:
 * Lucas–Kanade method – regarding image patches and an affine model for the flow field
 * Horn–Schunck method – optimizing a functional based on residuals from the brightness constancy constraint, and a particular regularization term expressing the expected smoothness of the flow field
 * Buxton–Buxton method – based on a model of the motion of edges in image sequences
 * Black–Jepson method – coarse optical flow via correlation
 * General variational methods – a range of modifications/extensions of Horn–Schunck, using other data terms and other smoothness terms.
 * Discrete optimization methods – the search space is quantized, and then image matching is addressed through label assignment at every pixel, such that the corresponding deformation minimizes the distance between the source and the target image. The optimal solution is often recovered through Max-flow min-cut theorem algorithms, linear programming or belief propagation methods.

Uses
Motion estimation and video compression have developed as a major aspect of optical flow research. While the optical flow field is superficially similar to a dense motion field derived from the techniques of motion estimation, optical flow is the study of not only the determination of the optical flow field itself, but also of its use in estimating the three-dimensional nature and structure of the scene, as well as the 3D motion of objects and the observer relative to the scene, most of them using the image Jacobian.

Optical flow was used by robotics researchers in many areas such as: object detection and tracking, image dominant plane extraction, movement detection, robot navigation and visual odometry. Optical flow information has been recognized as being useful for controlling micro air vehicles.

The application of optical flow includes the problem of inferring not only the motion of the observer and objects in the scene, but also the structure of objects and the environment. Since awareness of motion and the generation of mental maps of the structure of our environment are critical components of animal (and human) vision, the conversion of this innate ability to a computer capability is similarly crucial in the field of machine vision.

Consider a five-frame clip of a ball moving from the bottom left of a field of vision, to the top right. Motion estimation techniques can determine that on a two dimensional plane the ball is moving up and to the right and vectors describing this motion can be extracted from the sequence of frames. For the purposes of video compression (e.g., MPEG), the sequence is now described as well as it needs to be. However, in the field of machine vision, the question of whether the ball is moving to the right or if the observer is moving to the left is unknowable yet critical information. Not even if a static, patterned background were present in the five frames, could we confidently state that the ball was moving to the right, because the pattern might have an infinite distance to the observer.

Optical flow sensor
Various configurations of optical flow sensors exist. One configuration is an image sensor chip connected to a processor programmed to run an optical flow algorithm. Another configuration uses a vision chip, which is an integrated circuit having both the image sensor and the processor on the same die, allowing for a compact implementation. An example of this is a generic optical mouse sensor used in an optical mouse. In some cases the processing circuitry may be implemented using analog or mixed-signal circuits to enable fast optical flow computation using minimal current consumption.

One area of contemporary research is the use of neuromorphic engineering techniques to implement circuits that respond to optical flow, and thus may be appropriate for use in an optical flow sensor. Such circuits may draw inspiration from biological neural circuitry that similarly responds to optical flow.

Optical flow sensors are used extensively in computer optical mice, as the main sensing component for measuring the motion of the mouse across a surface.

Optical flow sensors are also being used in robotics applications, primarily where there is a need to measure visual motion or relative motion between the robot and other objects in the vicinity of the robot. The use of optical flow sensors in unmanned aerial vehicles (UAVs), for stability and obstacle avoidance, is also an area of current research.

title: Optical flow


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Moseley Bog

Moseley Bog and Joy's Wood Local Nature Reserve, formerly The Dell, is a Local Nature Reserve in the Moseley area of Birmingham, England, with an area of about 12 ha (29 acres). Along with the nearby Sarehole Mill, and a number of other sites, it forms part of the Shire Country Park.

History
Evidence of human activity at Moseley Bog dates back some three thousand years, to the Bronze Age, in the form of burnt mounds on the banks of Coldbath Brook, which runs through the bog. Comprising piles of cracked stones and burnt wood, archaeologists believe them to be the remains of sweat lodges – huts, or bender tents, in which water was poured over heated stones to create a sauna, often for the purpose of spiritual purification, followed by a cold bath. The mounds and their surrounding area are Scheduled Ancient Monuments.

The forested area of the bog is a surviving fragment of primeval wildwood, much of the surrounding parts of which had been cleared by the time of the Domesday Book in 1086, replaced with meadowland and common land, used for grazing livestock and strip farming. The boggy area was once a secondary reservoir to feed the millpond at Sarehole Mill. Although now drained, the embankment on its eastern side remains. Coldbath Brook flows from Coldbath Pool, in what is now Moseley Golf Course, through a culvert, then through Moseley Bog as an open stream, and is then culverted to the millpond, from whence it flows to its confluence with the River Cole.

The western half of the current nature reserve, adjoining the bog, had been used by Birmingham City Council as a landfill site from 1960 to 1973, when it was levelled off and converted into a playing field for Moseley School.

In 1980 the city council announced its intention to build a housing estate on the bog. This led to the successful Save Our Bog campaign, organised by the urban conservation activist Joy Fifer, which saved the site from development and helped inspire the Urban Wildlife movement. Fifer's campaign also popularised the name Moseley Bog for the site, which had hitherto been known as The Dell. Starting with a major tree planting initiative in 1987, the school playing field adjoining the bog, which had proven to be damp and unsuitable, has been allowed to revert to natural woodland, to create what is now known as Joy's Wood, named after Joy Fifer.

In 1984 Moseley Bog hosted the first ever International Dawn Chorus Day, organised by the Urban Wildlife Trust, founded in Birmingham in 1980 and now the Wildlife Trust for Birmingham and the Black Country. The whole site was declared a Local Nature Reserve (LNR) by Birmingham City Council on 17 July 1991. Much of the area comprising Moseley Bog had been declared a Site of Special Scientific Interest (SSSI) in 1980. However, following its LNR declaration and re-evaluation by English Nature the site was denotified as an SSSI on 21 July 1992, but remains a locally designated Site of Importance for Nature Conservation (SINC). In 2000 it was formally renamed Moseley Bog and Joy's Wood Local Nature Reserve.

In August 2006 a public consultation on proposals to conserve the site, enhance access and encourage a wider audience was launched. In March 2010, a lottery grant of £376,500 was awarded for improvements and restoration while management of the site was leased to the Wildlife Trust for Birmingham and the Black Country by the city council. On 26 June 2011, a formal reopening was conducted by the Lord Mayor of Birmingham, Councillor Anita Ward.

The firepit in Joy's Wood, where bonfires are allowed, is a popular meeting place for local Pagan groups, including the Daughters of Frya – Oera Linda Order of Priestesses and Dinas Canolog – The Grove of the Central City. Since 2011 it has also been the venue for the In Memory of a Free Festival event at the summer solstice.

Culture
J. R. R. Tolkien lived nearby, as a child, and acknowledged the site as inspiration for the ancient forests in his books The Lord of the Rings and The Hobbit. Nearby Sarehole Mill and the surrounding area on the River Cole are said to have been inspiration for Tolkien's writings.

In 1966, in an interview for The Guardian, Tolkien said (emphasis added):

"It was a kind of lost paradise … There was an old mill that really did grind corn with two millers, a great big pond with swans on it, a sandpit, a wonderful dell with flowers, a few old-fashioned village houses and, further away, a stream with another mill. I always knew it would go — and it did."

A house adjacent to the reserve (since demolished) was used by reggae band UB40 as a studio for their earliest recordings.

title: Moseley Bog


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Massive particle

The physics technical term massive particle refers to a massful particle which has real non-zero rest mass (such as baryonic matter), the counter-part to the term massless particle. According to special relativity, the velocity of a massive particle is always less than the speed of light. When highlighting relativistic speeds, the synonyms bradyon (from βραδύς, bradys, “slow”), tardyon or ittyon are sometimes used to contrast with luxon (which moves at light speed) and hypothetical tachyon (which moves faster than light).

Dark matter
Types of massive particles include weakly interacting and stable massive particles, which are hypothesized to constitute dark matter.

title: Massive particle


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KCAL-TV

KCAL-TV (channel 9) is an independent television station in Los Angeles, California, United States. It is owned by the CBS News and Stations group alongside CBS West Coast flagship KCBS-TV (channel 2). The two stations share studios at the Radford Studio Center on Radford Avenue in the Studio City section of Los Angeles; KCAL-TV's transmitter is located atop Mount Wilson.

KFI-TV (1948–1951)
Channel 9 signed on the air as commercial station KFI-TV on August 25, 1948, owned by Earle C. Anthony alongside KFI radio (640 AM). However, the station was originally licensed as experimental W6XEA about 1940, and in 1944 applied for the call letters KSEE (which are now used by the NBC affiliate in Fresno, California). It is unknown whether any transmissions occurred under either call sign.

The station initially broadcast a limited schedule with six hours weekly, and formally began operations on October 6, 1948, with $3 1/2$ hours that day. Though KFI had long been affiliated with NBC Radio, KFI-TV did not affiliate with the then-upstart NBC Television Network as NBC was building its own station, KNBH (channel 4, now KNBC), which went on the air in January 1949. KFI general manager William B. Ryan indicated a willingness to affiliate with a network other than NBC or start a mutual regional network. Channel 9 has been an independent station for virtually its entire history, though it carried DuMont programming from 1954 up until that network's 1956 demise.

At the 3rd Emmy Awards in January 1951, the station won in the best educational show category for KFI-TV University.

KHJ-TV (1951–1989)
Channel 9's engineers threatened to go on strike in 1951, leading Anthony to sell the station to the General Tire and Rubber Company in August of that year. A few months earlier, General Tire had purchased the Don Lee Broadcasting System, a regional West Coast radio network (the original Don Lee television station, KTSL (channel 2), was sold separately to CBS; it evolved into future sister KCBS-TV). Don Lee's flagship station was KHJ radio (930 AM), and General Tire changed its new television station's call letters to KHJ-TV in September 1951. One former employee referred to the call letters as standing for "kindness, happiness and joy", although the call sign was likely randomly assigned. The Don Lee name was so well respected in California broadcasting that KHJ-TV called itself "Don Lee Television" for a few years in the early 1950s, even though it had never been affiliated with KHJ radio until the 1951 deal.

In 1955, General Tire purchased RKO Radio Pictures to give the company's television station group access to RKO's film library. In 1959, General Tire's broadcasting and film divisions were merged as RKO General.

By the mid-1960s, channel 9 offered a standard independent schedule of movies, off-network reruns, children's shows like The Pancake Man hosted by Hal Smith (who showed educational shorts like The Space Explorers), first-run syndicated programs, and locally produced programs including local newscasts, sports events and public affairs programs. In the late 1960s, KHJ embarked on a novel, groundbreaking (and inexpensive) experiment, called Tempo, which heavily borrowed from the talk radio craze on local radio stations. Daytime programming was divided into three blocks running three hours in length, called Tempo I, Tempo II and Tempo III. The second of the three programs, Tempo II was perhaps the most active, controversial and innovative. For the first couple of years the hosts were Stan Bohrman and Maria Cole (the wife of Nat King Cole). Guests ranged from William F. Buckley to Sammy Davis, Jr. and the political movers and shakers in Southern California. At one point, Stan even quit the program after what he called censorship on the topic of Eldridge Cleaver. Bohrman came back to the program and was joined by a new co-host, Regis Philbin. They became a very popular fixture in Los Angeles television. In fact, in his book about those days, Philbin credits the chemistry with Bohrman and the format of the program as forerunners of much of what would become the cable news format 20 years later.

In the early 1970s, KHJ-TV sought a similar programming strategy to that of crosstown competitor KTLA (channel 5), which focused more on talk shows, game shows, sports, feature films and off-network drama series. The cartoons were phased out (some of them moving to KTTV and KCOP-TV), and the station ran fewer off-network sitcoms. It did continue to have a weekday children's show called Froozles, which ran until the late 1980s. It also produced many half-hour public affairs programs, as well as a local talk show called Mid-Morning L.A. The first hosts were Kathy McKee and Sandy Baron on the Mid Day and Good Morning L.A. talk shows. Both were hired by KHJ's then-station manager Lional Schaen. Bob Hilton, Meredith MacRae, Geoff Edwards and Regis Philbin also hosted programs on the station well into the 1980s. Edwards and MacRae won Emmy Awards for their hosting duties during the early 1980s. Some other locally produced public affairs programs included the investigative show Camera 9 and The Changing Family, a program about family and social issues during the 1980s. Despite this, KHJ-TV was perceived as an also ran while KTLA was the leading independent station, even though it had a similar format.

Meanwhile, a behind-the-scenes battle was underway with serious implications on the station's future—and that of its owner. In 1965, RKO General faced a threat to its license for KHJ-TV from a group called Fidelity Television. At first, Fidelity's claim focused on channel 9's programming quality. Later, Fidelity levied a more serious claim that KHJ-TV was involved in reciprocal trade practices. Fidelity alleged that RKO's parent company, General Tire, forced its retailers to purchase advertising on KHJ-TV and other RKO-owned stations as a condition of their contracts with General Tire. An administrative law judge found in favor of Fidelity, but RKO appealed. In 1972, the FCC allowed RKO to keep the license for KHJ-TV, but two years later conditioned future renewals on the renewal of sister station WNAC-TV in Boston.

Six years later, the FCC stripped WNAC-TV of its license for numerous reasons, but largely because RKO had misled the commission about corporate misconduct at General Tire. The decision was affirmed after the Supreme Court declined to hear an appeal in April 1982. The FCC awarded a replacement license for channel 7 in Boston to New England Television, a merger of two competing groups for a new channel 7. RKO General sold off WNAC-TV's non-license assets to New England Television, who used them to launch WNEV-TV (now WHDH) in place of WNAC-TV that May 21. The WNAC-TV decision also meant KHJ-TV and sister station WOR-TV in New York City had lost their licenses, but an appeals court ruled that the FCC erred when it tied channel 9's renewal to that of WNAC-TV and ordered new hearings for KHJ-TV and WOR-TV.

The hearings dragged on for five years; as a result of this, the station was forced to air an unusually large amount of public-affairs programming; a combination of this and the station's cash reserves being drained by RKO's legal battles led to decreased ratings (and the station's perception as an "also-ran"). For a time, KHJ-TV's large slate of sports programming was virtually the only thing keeping the station afloat.

On August 11, 1987, FCC administrative law judge Edward Kuhlmann found RKO General unfit to be a broadcast licensee due to numerous cases of dishonesty on both its part and that of parent company GenCorp (the renamed General Tire), including fraudulent billing and lying about its ratings. Kuhlman ordered that all of RKO General's broadcast licenses be revoked. This ruling notably excluded WOR-TV, which had already been divested to MCA Inc. nine months prior, and was renamed WWOR-TV. GenCorp initially filed an appeal, only to withdraw it after the FCC warned that any appeal would almost certainly be denied outright. The FCC strongly advised GenCorp to divest its remaining properties in order to avoid the indignity of additional license stripping without any compensation.

Disney ownership (1989–1996)
In the midst of RKO's corporate issues, the company reached terms to sell KHJ-TV to Westinghouse Broadcasting in November 1985. However, the protracted legal issues delayed FCC action on the transfer and Westinghouse ultimately withdrew its offer. A short time later, RKO General agreed to sell the station to The Walt Disney Company; however, this transfer was also held up for over a year for the same reasons. Fidelity Television, the group that originally challenged the license in 1965, also argued against the sale. In July 1988, the FCC allowed Disney to acquire channel 9 for $324 million in a complicated settlement. RKO dropped its bid to renew the station's license, handing it to Fidelity Television. Disney then bought the channel 9 license from Fidelity for $105.4 million and KHJ-TV's non-license assets (intellectual property, studios, etc.) from RKO for $218.6 million. According to FCC general counsel Diane Killory, the settlement had the same effect as finding RKO unfit to be a broadcast licensee, and RKO thus had no choice but to "get out of the business of broadcasting" (though it would take another three years for RKO to unwind its broadcasting interests).

Soon after taking over, Disney fired KHJ-TV's entire management team, including longtime general manager Charles Velona. In the following months, several of the station's newscasters were pushed out as well. During the RKO/Fidelity/Disney transition, KHJ-TV's city of license was changed to the Los Angeles suburb of Norwalk, also as part of the FCC settlement. For all intents and purposes, though, it remained a Los Angeles station; the license was moved back to Los Angeles proper on October 28, 1991.

On December 2, 1989, Disney changed the station's callsign to KCAL-TV, and relaunched the station as "California 9", selected from a shortlist of three possible monikers. Channel 9's longtime radio sisters had changed their calls to KRTH some years before, so Disney was theoretically free to continue trading on the KHJ call letters' 66-year legacy in Southern California. However, newly hired station manager Blake Byrne said that market research revealed the station was seen as a "non-entity" in the market, leading Disney to conclude that it needed a fresh start. Disney did, however, keep a fresco mural of RKO stars in the station lobby. The station also continued to overhaul its format in the wake of its ownership change, adding a three-hour prime time newscast on March 5, 1990, featuring veteran newscasters Jerry Dunphy, Pat Harvey, Larry Carroll and Jane Velez-Mitchell. KCAL also added many more children's programs, including cartoons from the Walt Disney animation library (including the syndicated series DuckTales and Chip 'n Dale Rescue Rangers, and later The Disney Afternoon). The station also added a few more family-oriented off-network sitcoms and syndicated programs and then broadcast the popular anime series Dragon Ball Z, that lasted well into 1997. In the early 1990s, family sitcoms were gradually phased out and KCAL added more first-run syndicated talk, reality and court shows, as well as newsmagazine series.

On March 30, 1992, Disney agreed to sell KCAL-TV's license to Pinelands, Inc., then the parent company of channel 9's former New York City sister station, now called WWOR-TV. Disney would have received a 45% ownership stake in Pinelands, allowing for increased original programming to be shared between the two reunited stations. The planned merger never materialized; Pineland would agree to sell WWOR-TV to Chris-Craft Industries, then-parent of KCOP (channel 13). In 1995, the station adopted the "K-CAL 9" branding.

Young Broadcasting ownership (1996–2002)
In 1996, The Walt Disney Company purchased Capital Cities/ABC, owners of ABC West Coast flagship KABC-TV (channel 7). Due to FCC regulations at the time that barred the ownership of two television stations in the same media market, Disney chose to retain KABC-TV and divest KCAL, which was purchased by Young Broadcasting (which Disney owned a stake in at the time) on May 14, 1996, for $385 million. The afternoon children's program block would remain until 1999, when KCOP began airing a block of animated series that UPN contracted Disney to produce. By 2000, children's programs that aired during the morning hours were dropped as well under the ownership of Young Broadcasting.

CBS ownership (2002–present)
As a result of massive debt the company accrued from its 2000 purchase of its San Francisco station, KRON-TV (which lost its NBC affiliation in January 2002 due to a dispute between Young and the network), Young Broadcasting put KCAL up for sale in 2002. The station was purchased by CBS, then a subsidiary of Viacom, on February 14, 2002; the deal was finalized on June 1, 2002. KCAL's operations were merged with those of KCBS-TV, and channel 9 moved from its longtime headquarters at the Viacom-owned Paramount Studios on Melrose Avenue in Hollywood to CBS Columbia Square, located 1 mi north of the studio lot; the Melrose Avenue facility was subsequently occupied by then-sister station KRTH (which had previously been based out of the Columbia Square facility), and is currently used by the Paramount studio tour. The sale reunited the station with fellow former RKO General property KRTH-FM, which CBS acquired in 1997. The properties were split again when CBS spun off its radio division to Entercom (now Audacy, Inc.) in 2017.

When CBS/Viacom bought KCAL-TV, broadcasting industry observers speculated that UPN's programming would move to KCAL from KCOP-TV. KCOP's previous owners, Chris-Craft Industries, had co-founded UPN with Viacom in 1995, and owned 50% of the network before selling its stake in UPN to Viacom in 2000. Fox Television Stations purchased KCOP and most of Chris-Craft's UPN stations in 2001. However, CBS continued to operate channel 9 as an independent station, as Fox renewed its affiliation agreement for its UPN affiliates; it is widely believed that Fox used KCOP as leverage to keep UPN on Fox-owned stations in New York City (WWOR-TV, KCAL's former sister station) and Chicago (WPWR-TV), threatening to drop the network in those markets should Viacom move the UPN affiliation in Los Angeles to KCAL. This issue became moot with the January 2006 announcement of the merger of UPN and The WB into The CW Television Network. The new network launched on September 18, 2006, with former WB affiliate KTLA as its Los Angeles outlet, due to an affiliation agreement with owner Tribune Broadcasting that resulted in 16 of Tribune's WB affiliates joining the network. KCAL-TV remains an independent station, and is currently one of thirteen such stations owned by CBS as a result of the CBS-owned CW stations reverting to independent status in 2023.

On April 21, 2007, KCBS-TV and KCAL-TV moved from Columbia Square to an all-digital facility at the CBS Studio Center in Studio City. The move allowed both stations to begin broadcasting all locally produced programs in high definition, and in addition, the two stations operate in a completely tapeless newsroom. This newsroom is named in honor newscaster Jerry Dunphy, who worked at both stations during his career. With the move to Studio City and KCET's later move to Burbank, KTLA is currently the only remaining station in Los Angeles (either in radio or television) whose studios are operated out of Hollywood.

KCAL-TV shut down its analog signal, over VHF channel 9, at 1:10 p.m. on June 12, 2009, and converted its broadcasts exclusively to digital television as part of the federally mandated transition from analog to digital television. The station's digital signal relocated from its pre-transition UHF channel 43 to VHF channel 9. Sister station KCBS-TV took over the channel 43 allocation as it moved its digital signal from channel 60 as a result of the phaseout of channels 52–69.

On December 4, 2019, CBS Corporation and Viacom remerged into ViacomCBS (now Paramount Global).

On January 5, 2023, as part of a general rebranding of its news department coinciding with the launch of new morning news blocks, KCAL changed its branding to KCAL News, which was adopted across KCBS-TV's newscasts on the same day.

Programming
Although KCAL-TV is an independent station, it will occasionally air CBS programming due to extended breaking news coverage or special events that may result in programs being unable to air on KCBS-TV.

For E/I programming, KCAL has the Go Time syndicated block.

KCAL was the Southern California home of the annual MDA Labor Day Telethon between 1997 and 2011.

In June 1979, KHJ-TV aired "Thames on 9", a week-long prime time programming stunt that featured programs from Thames Television, then a member of the British ITV network. Shows that aired during that week included Man About the House (on which the American sitcom Three's Company was based) and The Benny Hill Show; a similar stunt had aired on KHJ-TV's former New York City sister station WOR-TV two years earlier.

From 1981 to 1985, KHJ-TV was home to Elvira's Movie Macabre. KHJ-TV was home to the live broadcast of the Strawberry Festival Parade in Garden Grove, California, from 1986 until 1989.

Sports programming
For much of its history overall, sports have been a part of channel 9's identity. Indeed, during the station's two-decade licensing dispute, its large slate of sports programming was essentially the only thing that kept it as part of the Southern California television landscape.

As of 2023, KCAL has the rights to six games a season from the NHL's Los Angeles Kings, produced by Bally Sports West. KCAL was also home to the Kings in the early 1980s and during the mid-to-late 1990s. Since 2024, KCAL has the rights to select matches featuring Orange County SC of the USL Championship.

KCAL-TV previously held the broadcast television rights to the Los Angeles Dodgers baseball team, carrying a slate of games from 2006 to 2013, televising at least 50 games each year, with all telecasts being broadcast in high definition. In 2014, KCAL lost rights to the Dodger telecasts to the cable-exclusive regional sports network SportsNet LA, which is co-owned by the team and Charter Communications.

Channel 9 is best known as the longtime broadcast home of the NBA's Los Angeles Lakers. The station carried Lakers games from 1961 to 1964 (as KHJ-TV), and again from 1977 to 2012. The latter 35 years were the NBA's longest consecutive station-team broadcast partnership, and coincided with the Lakers' golden eras of the 1980s and early 2000s. For most of channel 9's second stint with the Lakers, it aired road games only. In 2012, KCAL lost rights to the Lakers telecasts to the cable-exclusive regional sports network Spectrum SportsNet and Spectrum Deportes which was renamed in 2016 after the merger of Time Warner Cable and Charter Communications.

From 1961 to 1963, KHJ-TV was the first television home of the Los Angeles Angels; the baseball team's telecasts moved to KTLA in 1964, when then-Angels owner Gene Autry's Golden West Broadcasters purchased that station. The television rights to Angels games returned to KCAL-TV in 1996 (The Walt Disney Company's ownership interest in the Angels briefly overlapped its stewardship of the station), and added more basketball coverage that same year with the Los Angeles Clippers, in addition to its Lakers telecasts. The station and the Clippers parted ways in 2001 as they eventually moved their over-the-air telecasts to KTLA, while the Angels left KCAL after the 2005 season, moving to KCOP the following year. In addition, KCAL had broadcast select weekend Mighty Ducks of Anaheim games from the NHL team's inaugural season in 1993 (both the team and KCAL were Disney properties until 1996) until 2006, when the Ducks moved their over-the-air broadcasts to Anaheim-based independent station KDOC-TV. Also, at the end of the 2013 season, the Dodgers would part ways with KCAL-TV (becoming cable-exclusive on SportsNet LA, although a few games per season have been seen on KTLA since 2016), thus ending the station's 36-year run of local sports coverage.

KCAL also carried select Los Angeles Galaxy Major League Soccer games until 2005, when the games became cable-exclusive to Fox Sports West. In 1997, KCAL premiered the first fifteen-minute weekday sports report Final Quarter, the show was an expansion of the typical five-minute sports report seen towards the end of a newscast. Several years later, the show was renamed KCAL 9 Sports News and with the purchase by CBS and the formation of the duopoly between KCAL and KCBS-TV, was renamed Sports Central; the show has since expanded to a half-hour broadcast on Friday through Sunday evenings.

Channel 9 has aired preseason coverage of the NFL's Chargers (then based in San Diego) from 2005 to 2016, and aired games from the Chargers' AFC West Division rival, the Raiders (then based in Oakland) in 2006 (whose preseason games also aired on the station during the mid-1990s). Although Los Angeles returned to the NFL in the 2016 season via the Rams' return after two decades in St. Louis, sister station KCBS is the Rams' preseason partner. After 2016, the Chargers relocated back to Los Angeles after 56 years in San Diego and KABC-TV picked up the Chargers preseason coverage starting in the 2017 season. KCAL broadcast two NFL on CBS games during the 2017 regular season as part of an arrangement with the NFL that saw CBS get both a Rams and Chargers game on weeks when Fox had the doubleheader.

Since its founding in 1994 until 2008, KCAL was the originating station of the annual John R. Wooden Classic college basketball game.

Newscasts
KCAL-TV presently broadcasts a total of $72 3/4$ hours of locally produced newscasts each week (with $12 3/4$ hours each weekday and $4 1/2$ hours each on Saturdays and Sundays); in regards to the number of hours devoted to news programming, it is the second-highest local newscast output of any television station in the Los Angeles market (behind KTLA, which runs 94 hours, 20 minutes of newscasts each week).

Because of the amount of news programming on the station, channel 9 is known for showing the most police chases among the Los Angeles market's news-producing stations. Often regular news programming on KCAL is suspended to cover a police chase, and programs that follow the newscast are sometimes preempted to show the chase's conclusion. In 2003, KCAL reported a quadrupling of ratings every time a police chase was shown, with up to 1.6 million viewers watching at a given time during such events. Between 2012 and 2020 (when he moved to KTTV), chases were often shown with the voice and in-air helicopter camera work of Stu Mundel;  since 2021, former KNX pilot Desmond Shaw took over Mundel's role as the duopoly's chief helicopter reporter.

In the 1970s, KHJ-TV aired a prime time newscast at 10 p.m., which was moved to 9 p.m. during the 1980s; the station subsequently added a half-hour 8 p.m. newscast during the late 1980s, and also carried afternoon newscasts throughout this time. Some of its most notable personalities included anchors George Putnam, Chris Harris, Stan Bohrman, Tom Lawrence, Nathan Roberts, Lonnie Lardner, Linda Edwards and weather personality Andrew Amador.

Shortly after taking over, Disney invested $30 million on upgrading the station's news department, tripling the number of staff and investing on electronic news equipment, including expanding the stations' studio facility at Paramount Studios to house a new newsroom and studio; the station also hired veteran newscasters Jerry Dunphy, Pat Harvey, Larry Carroll and Jane Velez-Mitchell. After retaining, in the interim, the existing 8 p.m. and 9 p.m. newcasts, and a delay on its launch from January 15, in March 5, 1990, Disney implemented the concept of a prime time news block, with the three-hour long Prime 9 News airing from 8 to 11 p.m. A few years later in the early 1990s, KCAL added a short-lived half-hour newscast at 6:30 p.m. called First 9 News, which focused primarily on local news and competed against the national network newscasts aired on KCBS-TV, KNBC and KABC-TV (KCBS also aired a 6:30 p.m. newscast during the mid to late 1990s, while the CBS Evening News aired at 5:30 p.m.). Under Disney ownership, more daytime newscasts were added to channel 9 weekdays at 2 and 3 p.m., and the 6:30 p.m. newscast was discontinued (a local newscast returned to that timeslot in the market in January 2009, when KTLA launched its own 6:30 p.m. newscast).

KCAL is notable for airing newscasts during unconventional time periods; the station maintains the large amount of local newscasts that it presently does (which is far more than what is typical of most stations involved in a duopoly with a major network station) simply due to the fact that KCAL and KCBS-TV's newscasts air in timeslots that do not compete against one another, as a result, the station's newscast schedule remained unchanged after KCAL merged its operations with KCBS. Along with newscasts at noon (where it competes against KTLA), 4 p.m. (where it competes against KABC, KTLA and KNBC) and 10 p.m. (where it competes against KTLA and KTTV), and seven nights a week at 8 and 9 p.m.

KCAL's newscasts are variable in tone, depending on the timeslot. Its 8 p.m. newscast is generally an update on the day's news, which largely features stories focusing on California and the Los Angeles area (and was previously branded as the California Report during the Prime 9 News era). Its 9 p.m. newscast is generally the most serious in format (and was branded in previous years as the Prime 9 News World Report), that newscast prominently features political, business and international news. The noon newscast, on the other hand, features lighter stories, including features on food, health and the entertainment industry. The 4 p.m. newscast was essentially a repurposed KCBS-TV newscast and was presented by former channel 2 anchors Harold Greene and Ann Martin, who did not appear recently elsewhere on KCAL. The 4 p.m. newscast moved to KCAL from KCBS-TV in 2002 to make room for Dr. Phil, which by contractual stipulations was not allowed to air opposite The Oprah Winfrey Show (which aired in Los Angeles on KABC-TV at 3 p.m., until its syndication run ended in September 2011). Its 10 p.m. newscast is simply more of an update of the 8 p.m. news (and during the Prime 9 News era, was simply branded as the 10 O'Clock Report), as it competes with KTTV and KTLA (and in the past, KCOP), though in recent years, it has been shortened to 30 minutes, in order to make way for the local sports news program Sports Central.

On April 1, 2008, CBS Television Stations ordered widespread budget cuts and staff layoffs from its stations. As a result of the budget cuts, roughly 10 to 15 staffers were released from KCBS-TV and KCAL-TV, including reporters Jennifer Sabih, Greg Phillips and Jennifer Davis. 4 p.m. co-anchors Greene and Martin, who were then also the 6 p.m. anchors on KCBS-TV, were also said to have been on the layoff list, but both decided to retire from television upon the June 2009 expiration of their contracts. On April 23, 2009, former KTTV anchor Rick Garcia joined KCAL, and was paired with Pat Harvey as co-anchor of the station's weeknight 8 and 10 p.m. newscasts (Garcia is now paired with Sharon Tay, as Harvey moved to sister station KCBS-TV to co-anchor that station's 5 and 11 p.m. newscasts).

NewsCentral era
On September 19, 2009, KCBS and KCAL rebranded the newscasts on both stations to the unified NewsCentral branding (unrelated to Sinclair Broadcast Group's now-defunct national news division of the same name; CBS coincidentally owns former Sinclair station KOVR in Sacramento). The newscasts were refocused to cover more community news, including stories from outlying communities. Local news headlines from the Los Angeles Newspaper Group and MediaNews Group newspapers were displayed on a ticker, "street team" submissions of video and photos from viewers were featured, reporters ended stories with NewsCentral rather than the individual station brands, and microphone flags and news vehicles were branded to show both stations' logos at once (previously, the KCBS and KCAL logos were displayed on alternating sides). Under the NewsCentral format, the two stations claimed that they covered more local news than any other television station in the country (with reporters in Ventura County, the Inland Empire and Orange County), and the only Los Angeles television station with two helicopters (subcontracted to Angel City Air, owned by reporter Larry Welk). Ed Asner was used to introduce the new newscast. CBS denies this move was made in response to other stations pooling newsgathering resources.

On December 10, 2009, CBS Television Stations hired Steve Mauldin to replace Patrick McClenahan as president and general manager of the KCBS-KCAL duopoly. That week, the duopoly ultimately rescinded the NewsCentral branding, reverting to the "CBS2" and "KCAL9" news identities. The NewsCentral graphics, mic flags and logos remained in use during the interim, though on-air staff no longer used the NewsCentral identity.

Recent history
On January 14, 2012, KCAL debuted two-hour-long weekend morning newscasts (airing at 7 a.m. on Saturdays and on Sundays, which follow one-hour newscasts on KCBS); the programs are KCAL's first morning newscasts—ironically though, channel 9 was the only news-producing station in the market that did not have a news program on weekday mornings.

On December 10, 2014, KCAL announced it would be dropping its hour long 2 p.m. and half hour 3 p.m. newscasts before the end of the year to be replaced by Judge Mathis and The People's Court. As a result, the 4 p.m. newscast was truncated from an hour to 30 minutes, and Inside Edition moved from 3:30 p.m. to the 4:30 p.m. slot previously occupied by the other half of the 4 p.m. newscast.

As of September 11, 2017, KCAL has reinstated the second half-hour of the 4 p.m. newscast and making the news a full hour.

On July 12, 2022, KCAL announced that it would launch a seven-hour morning newscast from 4 to 11 a.m., replacing that of KCBS and marking the first-ever weekday morning newscast in the station's history; the new KCAL News Mornings launched on January 5, 2023. At this time, KCBS replaced its existing morning newscast with a broadcast of the live Eastern edition of the network's national morning show CBS Mornings, followed by a simulcast of the 6 a.m. hour of KCAL News Mornings. In addition, to emphasize the station's history and reputation for local news programming, all newscasts across the KCBS-KCAL duopoly were rebranded as KCAL News, and the station changed its on-air branding from "KCAL 9" to "KCAL Los Angeles".

Notable alumni

 * Andrew Amador
 * Jerry Dunphy (died 2002)
 * Mike Emanuel
 * Carter Evans (now Los Angeles correspondent for CBS News)
 * Rich Fields
 * Hal Fishman (died 2007)
 * Harold Greene (retired)
 * Pat Harvey
 * Jim Hill (now with KCBS-TV)
 * Sharon Ito
 * Lisa Joyner
 * Kristine Leahy
 * Tawny Little
 * Dave Malkoff (now with The Weather Channel)
 * Ann Martin (retired)
 * Byron Miranda (now with WPIX)
 * Leyna Nguyen
 * Charles Perez (now at WLOS in Asheville, North Carolina)
 * Cassandra Peterson (host of Elvira's Movie Macabre, retained full rights to the Elvira character after departing KHJ-TV)
 * Hank Plante (retired from KPIX-TV in San Francisco)
 * George Putnam (died 2008)
 * Bill Ritter – Reporter (Now at WABC)
 * Tracie Savage
 * David Sheehan (died 2020)
 * Kent Shocknek (retired)
 * Don Steele (host of The Real Don Steele Show; died 1997)
 * Mark Steines (later co-host of Entertainment Tonight)
 * Jane Velez-Mitchell (later host of Jane Velez-Mitchell on HLN)

Subchannels
The station's signal is multiplexed:

Translators

 *  Daggett
 *  Lucerne Valley
 *  Lucerne Valley
 *  Morongo Valley
 *  Ridgecrest
 *  Twentynine Palms
 *  Yucca Valley

title: KCAL-TV


text:
Baron Glenavy

Baron Glenavy, of Milltown in the County of Dublin, was a title in the Peerage of the United Kingdom. It was created on 26 July 1921 for the noted Irish lawyer and Unionist politician Sir James Campbell, 1st Baronet. He served as Lord Chief Justice of Ireland from 1916 to 1918 and as Lord Chancellor of Ireland from 1918 to 1921. Campbell had already been created a baronet in the Baronetage of the United Kingdom in 1917. He was succeeded by his son, the second Baron. On his death the titles passed to his eldest son, the third Baron. Better known simply as Patrick Campbell, he was a well-known journalist, humorist and television personality. He died without male issue and was succeeded by his younger brother, the fourth Baron. He never married and on his death in 1984 the baronetcy and barony became extinct.

Barons Glenavy (1921)

 * James Henry Mussen Campbell, 1st Baron Glenavy (1851–1931)
 * Charles Henry Gordon Campbell, 2nd Baron Glenavy (1885–1963)
 * Patrick Gordon Campbell, 3rd Baron Glenavy (1913–1980)
 * Michael Mussen Campbell, 4th Baron Glenavy (1924–1984)

title: Baron Glenavy


text:
Little White House

The Little White House was the personal retreat of Franklin D. Roosevelt, the 32nd president of the United States, located in the Historic District of Warm Springs, Georgia. He first came to Warm Springs (formerly known as Bullochville) in 1924 for polio treatment, and liked the area so much that, as Governor of New York, he had a home built on nearby Pine Mountain. The house was finished in 1932. Roosevelt kept the house after he became President, using it as a presidential retreat. He died there on April 12, 1945, three months into his fourth term.

The house was opened to the public as a museum in 1948. A major attraction of the museum is the portrait that the artist Elizabeth Shoumatoff was painting of him when he died, now known as the "Unfinished Portrait." It hangs near a finished portrait that Shoumatoff completed later from sketches and memory.

The house is operated by the State of Georgia as the Little White House Historic Site, also known as Roosevelt's Little White House Historic Site.

History
Residents of Georgia, particularly Savannah, began spending vacations at Bullochville in the late 18th century as a way to escape yellow fever, attracted by the number of warm springs in the vicinity. In the late 19th century, traveling to the warm springs was a desirable way to escape from Atlanta. Traveling by railroad to Durand, people would then go to Bullochville. One of the places benefiting from this was the Meriwether Inn. Once the automobile became popular in the early 20th century, tourists began going elsewhere, starting the decline of the inn.

In 1921, Roosevelt, aged 39, was diagnosed with poliomyelitis. The few things that seemed to ease his pain were immersion in warm water, bathing and engaging in physical exercise. His first time in Warm Springs was October 1924. He went to a resort in the town that had a permanent 88 F natural spring, but whose main house was described as "ramshackle." Roosevelt bought the resort and the 1700 acre farm surrounding it in 1927 (the resort became known as the Roosevelt Warm Springs Institute for Rehabilitation). Five years later, in 1932, after winning the presidency for the first time, he ordered a six-room Georgia pine house to be built on the property. This house was his retreat throughout his presidency and became known as the Little White House. In total, he made 16 trips there during his presidency, usually spending two to three weeks at a time, as it took a day to reach Warm Springs from Washington, D.C. by train.

The Little White House is a six-room Colonial Revival structure made of Georgia pine. Three of the rooms were bedrooms: one for Roosevelt, one for his wife Eleanor, and one for his personal secretary. The other rooms were an entrance hall, a living room and a kitchen. Access to the Little White House was from an unpaved road that now only exists in parts. The garage-servant's quarters was built in 1932, followed by the single-story frame cottage that served as a guesthouse in 1933, and finally a cottage for Georgia Wilkins in 1934. Wilkins' family were the original owners of the property.

Roosevelt used the Little White House as a base to replace Georgia politicians who refused to follow his policies. This was most notable in 1938 when Roosevelt tried and failed to have United States Senator Walter George replaced with a Roosevelt loyalist, even though both were Democrats.

World War II affected Roosevelt's time at the Little White House. The only year he did not go to the Little White House was 1942, as he was preoccupied by the beginnings of US involvement in the war. It is believed that he vacationed as much as he did in 1943–45 at the Little White House because his real love for vacations, sailing on the Atlantic, was too dangerous during wartime, even if it was just on inland waterways like the Chesapeake Bay or the Potomac River. One major change was that soldiers from Fort Benning were stationed at the Little White House to patrol the woods surrounding the farm.

His last trip to the Little White House was on March 30, 1945. He felt he did not achieve enough rest at his Hyde Park home. According to some observers at Warm Springs, Roosevelt looked "ghastly" and his usual cordial waves to the residents were weak. Unlike his previous visits, he avoided the swimming pool he used to comfort himself in previous trips. On April 12, 1945, he was sitting for a portrait at the Little White House when he suffered a stroke. Roosevelt died two hours later of cerebral hemorrhage.

Most of Roosevelt's property was willed to Georgia Warm Springs Foundation, which gained control of all the properties in 1948 except for the Georgia Wilkins Cottage, which Wilkins lived in until her 1959 death. Both John F. Kennedy in 1960 and Jimmy Carter in 1976 used the property for their campaigns to become president; Carter even launched his campaign there.

Current status
Today, the Little White House is part of Georgia's state park system and is open to visitors. It has been preserved and is as it was the day Roosevelt died. All buildings and furnishings are original to the house and property. Items on display, besides the Unfinished Portrait, include his customized 1938 Ford convertible and his stagecoach.

On August 9, 2011, the McCarthy Cottage and the E.T. Curtis Cottage on the Roosevelt Institute Hospital grounds that date back to Roosevelt's time at Warm Springs were destroyed in a fire which investigators believed had been started by lightning and thunderstorms that were in the area at the time.

title: Little White House


text:
St. Peter Sandstone

The St. Peter Sandstone is an Ordovician geological formation. It belongs to the Chazyan stage of the Champlainian series in North American regional stratigraphy, equivalent to the late Darriwilian global stage. This sandstone originated as a sheet of sand in clear, shallow water near the shore of a Paleozoic sea and consists of fine-to-medium-size, well-rounded quartz grains with frosted surfaces. The extent of the formation spans north-south from Minnesota to Arkansas and east-west from Illinois into Nebraska and South Dakota. The formation was named by Owen (1847) after the Minnesota River, then known as the St. Peter River. The type locality is at the confluence of the Mississippi and Minnesota Rivers near Fort Snelling, Minnesota. In eastern Missouri, the stone consists of quartz sand that is 99.44% silica.

Outcrop
In Minnesota, the soft St. Peter Sandstone can be observed at the bluffs of the Mississippi River valley beneath a very thin layer of Glenwood Shale and a much thicker layer of Platteville limestone. Examples can be seen in the Mississippi River Gorge and at Minnehaha Falls in Minneapolis, the bluffs from downtown to Mounds Park in Saint Paul, and Minneopa Falls near Mankato. In Illinois, Castle Rock is a large bluff of St. Peter Sandstone, and Starved Rock State Park and Matthiessen State Park feature numerous outcroppings and canyons.

Commercial use
St. Peter sandstone, also called "Ottawa Sand" in commercial applications, has a relatively uniform size and shape for each grain. It is used for the manufacture of glass, for filter and molding sand, and for abrasives. Its purity is especially important to glassmakers. It is also important, as "frac sand" in oil and gas drilling – loose sand pumped in a liquid mix under high pressure into a well where the sand grains wedge into and hold open any fractures in the rock, enhancing the extraction of hydrocarbons. The uniform particle size also makes the sand useful for laboratory experiments.

Mining locations
St. Peter sandstone is or has been mined

 * Arkansas: Guion, Arkansas
 * Illinois: Ottawa, Illinois, Sheridan, Illinois, Wedron, Illinois, Oregon, Illinois, and Naplate, Illinois
 * Minnesota: Kasota, Minnesota and Ottawa Township, Minnesota
 * Missouri: Pacific, Festus, Crystal City, Augusta, and Pevely

The Unimin Corporation is a large producer of commercial sand and operates surface mines in many of these locations.

title: St. Peter Sandstone


text:
NIB

NIB, nib or NiB may refer to:

 * Nib (pen), the writing tip of a pen
 * The Nib, an online comic
 * Nib, partially processed cocoa bean
 * Twizzlers Nibs, a candy
 * Neodymium magnet or NIB (neodymium, iron, boron)
 * N.I.B., a song by Black Sabbath
 * .nib, Apple Interface Builder file format
 * Net insurance benefit
 * NiB, nickel boron, an electroless nickel alloy

In companies and organizations:

 * National Irish Bank
 * National Intercollegiate Band
 * Nordic Investment Bank
 * nib Health Funds, Australasia
 * New Iberia (Amtrak station), Louisiana, US, station code
 * National Internet Backbone NIB-II, the BSNL internet backbone
 * Nagasaki International Television, Japan

title: NIB


text:
Category:Monarchs of the Netherlands

This category is meant for ruling kings of queens of the Netherlands.

title: Category:Monarchs of the Netherlands


text:
Solomons cockatoo

The Solomons cockatoo (Cacatua ducorpsii), also known as the Ducorps's cockatoo, Solomons corella or broad-crested corella, is a species of cockatoo endemic to the Solomon Islands archipelago. This small white cockatoo is larger than the Tanimbar corella yet smaller than the umbrella cockatoo. The species is common across most of the Solomons, absent only from Makira in the south. It inhabits lowland rainforests, secondary forests, cleared areas and gardens.

Description
The Solomons cockatoo is about 30 cm long. They are predominantly white. They have a blue eye ring and a recumbent crest which resembles a sail in its raised state. As other members of the subgenus Licmetis, it has a pale bill.

Distribution & population
The Solomons cockatoo is abundant on all islands in the archipelago except Makira and surrounding islands. Ornithologists estimate that the bird has a population of around 100,000 individual birds. It has been listed as Least Concern by the International Union for Conservation of Nature.

Breeding
The Solomons cockatoo nests in tree cavities. The eggs are white and there are usually two in a clutch. The eggs are incubated for about 25 days and the chicks leave the nest about 62 days after hatching. Wild birds typically breed from July–September.

title: Solomons cockatoo


text:
Category:Dragonlance

Articles relating to the Dragonlance campaign setting.

title: Category:Dragonlance


text:
Princess Mafalda

Princess Mafalda may refer to:

 * Mafalda of Portugal (born 1153) (1153–1162)
 * Mafalda of Castile (1191–1204)
 * Mafalda of Portugal (1195–1256)
 * Princess Mafalda of Savoy (1902–1944)
 * Mafalda von Hessen (born 1965), also known as Princess Mafalda of Hesse
 * Ona Mafalda (born 1994), also known as Princess Mafalda of Bulgaria

title: Princess Mafalda


text:
Talk:Direct-sequence spread spectrum

Features
"the sequence of chips produced by the transmitter is known a priori by the receiver"

Gold star for obfuscating the meaning. How about replacing the Latin 'a priori' with the more common English phrase 'in advance', pipe to the 'a priori' article, or simply omit it from the sentence altogether. — Preceding unsigned comment added by 124.170.69.189 (talk) 08:39, 20 February 2012 (UTC)

 * That section was so bad. I successively removed the incorrect wording, the wrong claims, the confusion between bits and symbols, such that I ended up with nothing worth keeping (because it's been said already at that point, and at least as concisively so). I hence ended up removing the whole section, see the edit history. Marcusmueller ettus (talk) 14:31, 30 July 2023 (UTC)

DSSS features
"DSSS has the following features:

 * 1) for generating spread-spectrum transmissions by [...]"

Is this supposed to make any sense? I cannot guess what the original poster wanted to mean. It would be nice if anyone with better knowledge on the subject corrected the statement. @SIG@

Bitrate raise vs. energy spreading
I am wondering why raising the bitrate "spreads the energy" on a wider frequency band. Does anyone have an idea?

Shannon's law gives us the maximum possible bit rate given a frequency band and a Signal to Noise ratio: MaxBitRate = Bandwidth * log2 (1 + SignalPower/NoisePower)

But I don't see that as an explanation since it allow us to calculate the MAX bitrate, not the bitrate itself.

Then there's Nyquist's law : the sampling rate must be at least twice the signal's max frequency. I don't see this as an explanation either.

One explanation I can imagine is that switching abruptly a signal from one frequency to another generates harmonics. If you switch very often, a greater part of the energy is used up by those harmonics. Does this even make sense? ;-)

Anyway, does anyone have any good explanation for this rule?

If you assume that you always use close to maximum bitrate at a given bandwidth (which makes sense, since otherwise you'd be wasting spectrum), you see that it's only by increasing bandwidth that you can increase the bitrate (or baud rate, really). Have a look at modem, Quadrature amplitude modulation and some of their linked pages for more info.

europrobe 08:50, 2004 Aug 1 (UTC)

Thank you for your answer, I appreciate your help. But IMHO, I feel that this does not really answer the question. True, Shannon's law tells us that with a wider bandwidth, you can get a higher channel capacity. So I agree with you that in order to get a higher bitrate, you need to use a larger bandwidth (or raise the S/N ratio exponentially). But what I do not understand is why raising the bitrate spreads the signal energy on a wider frequency band (as the DSSS article says). What is the physicle explanation for this? Let me summarize this:
 * A wider band allows for a greater bitrate.
 * But why does a greater bitrate cause a wider band?

Thanks again for you help.

--Ageron 10:32, 1 Aug 2004 (UTC)

Seems like this is more an issue of semantics. A wider band allows for a higher bitrate, but is not (to my knowledge), actually caused by it. –radiojon 00:39, 2004 Aug 2 (UTC)

Well, this is a chicken-and-egg problem. To send at a higher bitrate you need to allow the signal to use more bandwidth. A wider bandwidth does not "create" a higher bitrate. (Digital) frequency modulation, for example, uses two or more frequencies to send information. The more frequencies, the wider the band. Also, rapidly changing between the frequencies creates harmonics, which widen the band. Amplitude modulation uses changes in amplitude (as you no doubt are aware of), and rapid changes in amplitude also creates harmonics. Other modulations are just variations of these, so the same limitations apply. In other words, a high bitrate actually cause the signal to spead out due to harmonics and multiple frequencies being used.

europrobe 19:14, 2004 Aug 2 (UTC)

So the bottom line is that higher bitrates generate more harmonics, which spread the spectrum.

Thank you for your very clear answer!

--Ageron 09:15, 16 Aug 2004 (UTC)

How closely is this related to DS-CDMA? If it is similar could there be a mention of it, or even better a whole article for DS-CDMA.

Thanks

--Sparky132

The above explaination about why the signal spreads is incorrect. The spreading is an intentional operation, prior to transmission. Later, the receiver despreads the wideband transmitted signal and low pass filters to recovers the orignal narrowband information, with some residual noise.

The idea is that with the spread signal, it is very difficult to intercept the orignal narrowband without the transmitter's pseudorandom code, and it is extremely difficult to jam a wideband tranmission with narrowband noise because the despreading operation nearly eliminates the noise. Hence, a spread spectrum system has excellent antijam capability.

P

You haven't written anything that contradict what I wrote above. The method of spreading the signal in DSSS is by multiplying the bitstream with a higher-bitrate pseudorandom stream, thus increasing the bitrate of the transmission. The psudorandom operation is reversed in the receiver, which cause the noise to average out and the S/N to increase. europrobe 20:35, 30 November 2005 (UTC)

This is very important, but not explained well in the article. Only in the introductory section does it even mention bandwidth. Furthermore, why does a higher bit rate give a greater bandwidth. I'm only 7 years late :) 188.58.21.168 (talk) 22:36, 14 March 2012 (UTC)

Introduction / layout
I feel that the introduction to this article is not separated with the actual explanation of the DSSS. I think there should be a short introduction and then the explanation, separated with propoer headers. --153.109.5.120 14:35, 29 August 2006 (UTC)

Uses
I added Automatic meter reading (radio equipped water, electric, gas meters) as one of the common uses of DSSS. The entry was removed by User:Oli Filth. AMR is just as valid a "use" as cordless phones and CDMA cellular phones in my opinion... but I'll let other editors decide if it has noting to do with the uses of this RF technology and whether it should be included. Utilitysupplies 15:27, 26 April 2007 (UTC)

 * My apologies; I originally misread, and thought that you had added this link under "See also", in which case it would have been inappropriate. But under "Uses", it makes much more sense, so I've re-added the link. Oli Filth 21:39, 26 April 2007 (UTC)

Thank you. it is a common and fast growing use of the technology. Utilitysupplies 14:05, 27 April 2007 (UTC)

How does this allow multiple transmitters to operate on exact same frequency?
The article does mention, that this allows multiple transmitters to operate on the same frequency in the exact same time moment, but does not explain how this is possible. —Preceding unsigned comment added by 195.148.99.241 (talk) 09:43, 9 October 2007 (UTC)
 * The article does a fine job of describing this complex process. The editor placed a link to the Code division multiple access at just the right place. Reading that may enhance your understanding of the technology. It helped me. E_dog95'   Hi ' 07:17, 15 October 2007 (UTC)
 * I have every confidence the explanation is clear to engineers, who are people who needn't look up DSSS in the encyclopedia. For those who do have that need, I dimly recall seeing in Scientific American Decades ago a description of despreading using a multiply tapped delay line that made it clear to relatively ordinary people.  DSSS having become ever more impotant in subsequent decades, it would be a very good thing if a similarly simple explanation could be put in the encyclopedia.  Jim.henderson (talk) 06:58, 22 January 2008 (UTC)

Article renamed
I've renamed this article from "Direct-Sequence Spread Spectrum" back to its orginal name of "Direct-sequence spread spectrum". The reason given for the previous rename on 1 January 2008 was "Title is an acronym and should be capitalized WP:MOS". In fact, the Manual of Style says "Initial capitals are not used in the full name of an item just because capitals are used in the abbreviation." (MOS) --Dr Greg (talk) 17:44, 29 February 2008 (UTC)

Chipping codes
How does one select the chipping code? I'm trying to determine how a common 802.11g wireless router picks one so I can understand how one might fail to connect due to mismatched codes. Is it from the SSID, or the encryption keys, or the channel number? I didn't see any mention of this at Wi-Fi or Spread spectrum. SpareSimian (talk) 20:06, 2 May 2008 (UTC)

 * The chipping codes are preselected by whomever writes the transmission standard. They are chosen so that demodulating with any of the codes will cancel out all the others from the signal.  Finally the standard will say which bits are modulated with which chip code.  In other words, there is a fixed, published, list of chip codes and what each of them is used for.

 * Encryption (if any) is done at a completely different level, on the bits that are sent, not on the chip codes. WiFi SSIDs are just pretty names for the MAC address of the router/access point.  Each packet sent over the air is marked with that MAC address and the other networks are supposed to politely ignore it (even if it is not encrypted).

 * An easier example is GPS: All 31 GPS satellites and all the Russian GLONASS, EU Galileo etc. satellites send on the exact same frequency, but with different chip codes (called PRN numbers). The GPS receivers listen on that one frequency, and then demodulate it with the PRN codes of each satellite it is tracking, thus getting all the signals from just one reception at one time.  The satellite numbers on your GPS display are the numbers of the PRN codes in the book, it is not really a specific satellite, since they keep replacing those when they crash and burn.  Actually, there is a second and a third frequency, just like the first, but only expensive receivers listen to those. Jbohmdk (talk) 04:10, 5 February 2014 (UTC)

Uses
I added 900 MHZ in the phones section. I own a 900 MHZ that is indeed using DSSS. Further, I could not monitor it on scanner. A full sweep on a frequency counter was done as well. Nothing. [http://www.radioshack.com/graphics/uc/rsk/Support/ProductManuals/4305518_PM_EN.pdf Sprint cat. no. 43-5518] —Preceding unsigned comment added by 64.55.144.50 (talk) 00:42, 26 September 2008 (UTC)

Spread spectrum, HOW?
My professor drew smth like this: |http://i.imgur.com/7t5Cj.png

And said: "We have our data in a narrow band. But instead of just sending that narrow band, we make the band wider by multiplying with a bit string. The volume under the graph is the same in the two because the amount of energy is the same.".

This article does not explain this. Have I misunderstood this?

And then: What is it being multiplied by the PN? Is it a series of bits (discrete) or is it a wave form (sort of analog)? It is easy to understand if it is a series of bits. But if so, then how can that affect the bandwidth? And if it is a series of bits, then how can my professor even talk about the initial narrow band? (bit strings don't have a bandwidth).

188.58.21.168 (talk) 17:04, 14 March 2012 (UTC)

 * See. The problem is that many people that teach spread spectrum miss out various important and significant things, which leaves the student very confused. Direct sequence spread spectrum is usually the sending of modified digital bits. For example, 1 digital bit might represent a binary '1' or a binary '0'. Applying DSSS to 1 single message bit will involve constructing some OTHER pseudo-random sequence of bits, having a bit-rate that is usually much higher than the message bit rate. And the pseudorandom bit-rate is an integer multiple of the message bit-rate. For example, four pseudorandom bits may fully fit within one single message bit period (time). So when you XOR four pseudorandom bits with one single message bit, you will end up with four bits. And what those four resulting bits are will depend on whether the message bit is a binary 1 or a binary 0. Eg. pseudorandom bit pattern might be 1010, and message bit might be a '1'. So the resulting XOR (over 1 message bit time) will be 1010 XOR 1111, which results in 0101. The next four pseudorandom bits will be different, since it's all pseudorandom. So the next pseudorandom pattern could be 1001, and the next message bit could be a binary 0. So the XOR of the pseudorandom bits and the message bit (over one bit time) is 1001 XOR 0000, which gives 1001. So the first 8 bits for the pseudorandom sequence to be transmitted is 0101 1001. If the receiving side has the same pseudorandom bit pattern, and if it is properly synchronised, then it could decode it by taking these incoming 8 bits 0101 1001 and XOR with the pseudorandom sequence 1010 1001, to give 1111 0000. Since the transmitted (and received) data rate for this example happens to be four times faster than the message bit rate, then the '1111' will represent a message bit representing binary '1'. And the '0000' represents binary '0'. We received '1' and then '0', as expected. The transmitted DSSS bandwidth is obviously higher than the message bandwidth --- because the transmit bit-rate is higher than the message bit-rate. And the pseudorandom pattern means wider bandwidth than what we would get if we didn't have pseudorandom pattern. Further, for practical transmission (broadcasting) of these spread-spectrum waveforms, binary sequences are converted from uni-polar form to bi-polar form. And bipolar signals can conveniently be used to multiply with a sinusoidal "carrier" for wireless transmission. And one thing that is rarely explained (or never explained) is how a broadcasted DSSS signal is recovered (demodulated) at the receiving end. The phase of the incoming carrier (embedded within the spread spectrum signal) will usually not be the same phase as the local oscillator signal at the receiver. People always talk about using techniques to adjust the phase of the pseudorandom sequence (at the receiving end) in order to recover the message or carrier - such as "sliding correlator" techniques. But this is usually under some kind of assumption that they can measure the incoming pseudorandom sequence waveform in order to do this sliding correlator comparison. This would involve perhaps using a Costas Loop technique to extract some information from the incoming DSSS signal (to begin with). KorgBoy (talk) 23:28, 1 December 2017 (UTC)

Possible misleading history?
The history section mentioned here seems to have been taken from this paper: The Origins of Spread-Spectrum Communication](download it here) as has been mentioned in the references section.

However the content (see it here) seems to have been picked out of a section of the paper without heed to any context or background, this is making the history section particularly misleading and quite hard to comprehend. In addition, by the looks of the paper, the history appears to be much richer and much more convoluted than that mentioned here.

Due to those reasons I've deleted the content of the history section to avoid misleading people until it can be expanded upon in more accurate manner.

What are your thoughts on this? MSheshera (talk) 04:53, 12 April 2015 (UTC)

Hedy LaMarr and George Antheil invented DSSS? What was their spreading ratio?
This information needs to be corrected. LaMarr and Antheil used frequency-hopping spread spectrum in their patent. If you try to stretch the truth about this, then what was the spreading ratio of their technique? The other article in wikipedia clearly states their technique was based on frequency-hopping, which had already been invented and used decades before. — Preceding unsigned comment added by Linfc (talk • contribs) 02:23, 8 June 2023 (UTC)

title: Talk:Direct-sequence spread spectrum


text:
Bayram

Bayram or Bairam or Beyram may refer to:

 * Bayram (Turkey), the Turkish word for a festival or celebration
 * Bayrami (Bayramilik and Bayramiye), a Sufi order
 * Public holidays in Azerbaijan

People

 * Bayram (name)

Places

 * Bayram, Baghlan, Afghanistan
 * Beyram, Iran, a city in Fars Province, Iran
 * Bairam, East Azerbaijan, a village in East Azerbaijan Province, Iran
 * Bayram, East Azerbaijan, a village in East Azerbaijan Province, Iran
 * Beyram, Kerman, a village in Kerman Province, Iran
 * Beyram, West Azerbaijan, a village in West Azerbaijan Province, Iran
 * Beyram District, an administrative subdivision of Fars Province
 * Beyram Rural District, an administrative subdivision of Fars Province

title: Bayram