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Back to the Egg

Back to the Egg is the seventh and final (until 2024's One Hand Clapping) studio album by the British–American rock band Wings, released in June 1979 on Parlophone in the UK and Columbia Records in North America (their first for the label). Co-produced by Chris Thomas, the album reflects band leader Paul McCartney's embracing of contemporary musical trends such as new wave and punk, and marked the arrival of new Wings members Laurence Juber and Steve Holley. Back to the Egg adopts a loose conceptual theme around the idea of a working band, and its creation coincided with a period of considerable activity for the group, which included making a return to touring and work on several television and film projects.

Recording for the album began in June 1978 and lasted for almost a year. The sessions took place at Spirit of Ranachan Studios in Campbeltown, Scotland; Lympne Castle in Kent, London's Abbey Road Studios, and Replica Studio – the last of which McCartney built as an exact replica of Abbey Road's Studio Two when the latter became unavailable. Wings returned to Abbey Road in March 1979 to complete the album, before filming a series of promotional videos in Lympne and elsewhere, for what became the Back to the Egg TV special.

Back to the Egg received unfavourable reviews from the majority of critics, with Rolling Stone magazine deriding it as "the sorriest grab bag of dreck in recent memory". Although the album charted in the top ten around the world and was certified platinum in the United States, it was viewed as a commercial failure relative to previous Wings releases, particularly in light of the generous financial terms under which McCartney had signed with CBS-owned Columbia Records. Of its singles – "Old Siam, Sir", "Getting Closer" and "Arrow Through Me" – only "Getting Closer" made the top 20 in Britain or America. The song "Rockestra Theme", recorded with a cast of guest musicians from bands such as the Who, Led Zeppelin and Pink Floyd, won a Grammy Award for Best Rock Instrumental Performance in 1980.

Wings toured the UK in support of the album, but the planned world tour ended in January 1980, when McCartney was arrested in Japan for possession of marijuana, spending nine days in jail. The group disbanded early the following year after the departure of Laine. Back to the Egg was reissued in 1993, with bonus tracks, and in 2007 for iTunes, with the addition of Wings' 1979 non-album single "Goodnight Tonight", in its extended form.

Background
After the release of the album London Town (1978), Wings band leader Paul McCartney hired two session musicians, drummer Steve Holley and lead guitarist Laurence Juber, to replace former members Joe English and Jimmy McCulloch. With the new line-up – Wings' sixth since its formation in 1971 – McCartney intended to record a raw rock and roll album and return to touring, for the band's first concerts since their successful Wings Over the World tour of 1975–76. McCartney also hoped to realise his longstanding plan of making a film adaptation of the Rupert the Bear cartoon series, for which he owned the commercial rights, and commissioned English playwright Willy Russell to write a feature film starring Wings.

Holley and Juber were recruited by Wings co-founder and guitarist Denny Laine, who had appeared as a guest on The David Essex Show in 1977 when Juber was working as a guitarist in the house band. Holley, a neighbour of Laine's, joined Wings in time to appear in the promotional video for London Town's lead single, "With a Little Luck", having turned down a position with Elton John's band. According to Wings biographer Garry McGee, Juber and Holley were each paid a weekly sum less than one-fifth of that paid to McCartney, his wife Linda (the band's keyboard player) and Laine.

For the new album, Back to the Egg, McCartney collaborated in the studio with producer Chris Thomas, with whom he had begun working on the audio for two films documenting Wings' last world tour: Wings Over the World, a television documentary, and the cinema release Rockshow (1980). This was the first time Wings recorded with an outside producer since their 1973 single "Live and Let Die", which George Martin had produced. After working with the Pretenders and the Sex Pistols, Thomas brought a punk rock and new wave influence to Wings' sound, matching McCartney's desire to reflect contemporary musical trends.

Songs
Although London Town had featured a significant level of contribution from Laine as a songwriter, all but one of the songs on Back to the Egg are credited to McCartney alone. The album was originally planned around a loose conceptual theme, about which authors Chip Madinger and Mark Easter write in their book Eight Arms to Hold You: "The idea was to have a theme of a working band, getting back on the road ... or 'back to the egg' (or protective shell) of touring." In the original LP format, the two album sides were labelled with the egg-related titles "Sunny Side Up" and "Over Easy".

"Sunny Side Up"
The album's opening song is "Reception", an instrumental, in which McCartney attempted to capture the effect of turning a radio dial and finding "about four stations at once". The track features a guitar-controlled synthesizer (played by Juber) over a funk-inspired bassline, and spoken voices, including a reading of part of "The Poodle and the Pug", from Vivian Ellis's opera Big Ben (1946). A brief segment from the track "The Broadcast", which appears later on Back to the Egg, is previewed in this opening piece. The next three songs – "Getting Closer", "We're Open Tonight" and "Spin It On" – adhere to the proposed album-wide concept. Writing in Melody Maker in June 1979, Mark Williams interpreted "Reception" as representing a radio being tuned in a car, whereby "the occupant is on his way to a gig, hence 'Getting Closer' [to the venue] and, upon arrival, 'We're Open Tonight'". The notion of live performance is then reflected in the sequencing of what Madinger and Easter term "heavier rock tracks such as 'Spin It On'".

McCartney had recorded a piano demo for "Getting Closer" in 1974, at which point the song had a slower tempo. Author and Mojo contributor Tom Doyle describes Wings' version as "power-popping" and reminiscent of the English band Squeeze. The mellow "We're Open Tonight" was written at the McCartneys' farm in Campbeltown, Scotland, and was the album's title track until Linda suggested Back to the Egg.

Another song composed in Scotland, the fast-tempo "Spin It On" was an obvious acknowledgment of punk and new wave; author Vincent Benitez terms it "McCartney-esque whimsy on punk steroids". Laine's composition "Again and Again and Again" similarly has "echoes of the Clash", according to McCartney biographer Howard Sounes. This song was originally two separate pieces, which Laine combined on McCartney's recommendation.

Although credited to McCartney alone, "Old Siam, Sir" marked "the most collective band involvement" as regards songwriting, Madinger and Easter suggest. Similar in style to "Spin It On", the song features a keyboard riff written by Linda and a Holley-composed middle eight; in addition, Laine helped McCartney complete the composition, an early version of which the previous incarnation of Wings had demoed in July 1976. "Arrow Through Me", a track more in keeping with McCartney's melodic pop style, is a song written from the perspective of a rejected lover. With a musical arrangement that eschews guitar backing for synthesizer, Fender Rhodes piano and horns, Benitez views it as "reminiscent of the techno-pop style of Stevie Wonder".

"Over Easy"
Opening side two, "Rockestra Theme" was a composition that McCartney had first recorded in 1974, on the same piano demo tape as "Getting Closer". "Rockestra Theme" is an instrumental – except for the shouted line "Why haven't I had any dinner?", which author Robert Rodriguez describes as a "deliberate evocation" of Glenn Miller's 1940 single "Pennsylvania 6-5000". Another rock track, "To You" includes a lyric aimed at a lover who has wronged the singer. The guitar solo on the recording provides an unusual aspect for a Wings song, in that Juber played the part through an Eventide harmonizer while McCartney simultaneously altered the harmonizer's settings from the studio's control room.

McCartney deemed the two gospel-influenced pieces making up "After the Ball/Million Miles" as being of insufficient quality to merit inclusion as separate tracks; "After the Ball" ends with a guitar solo, edited from parts played by McCartney, Laine and Juber, after which "Million Miles" consists of a performance by McCartney alone, on concertina. This is followed by another medley, "Winter Rose/Love Awake", both portions of which McCartney had demoed at Rude Studio, his home studio at Campbeltown, in 1977.

"The Broadcast" is another instrumental, designed to give the impression of several radio signals interlaced, and bringing full-circle the concept established in the album's opening track, "Reception". Over a musical backing of piano, mellotron and gizmotron, it features readings taken from the plays The Sport of Kings by Ian Hay and The Little Man by John Galsworthy. As a return to the proposed working-band concept, "So Glad to See You Here", Rodriguez writes, "[evokes] the anticipation of a live act guaranteed to 'knock 'em dead'" and so recalls Wings' 1975–76 show-opening medley "Venus and Mars/Rock Show". During the outro, the band reprise a line from "We're Open Tonight". The album ends with a jazz-inflected ballad, "Baby's Request", which McCartney wrote for American vocal group the Mills Brothers, after seeing them perform in the South of France during the summer of 1978.

Production
The band first rehearsed material for Back to the Egg in London, at the offices of McCartney's company MPL Communications in Soho Square, before carrying out further rehearsals in Scotland, in June 1978. As on his other Wings recordings over 1978–79, Thomas worked with Phil McDonald as his recording engineer, at McCartney's insistence, rather than Bill Price, who was the producer's preferred engineer.

June–July 1978: Spirit of Ranachan Studios
The recording sessions for Back to the Egg began on 29 June 1978 at Spirit of Ranachan Studios – another, larger recording facility on the McCartneys' Campbeltown farm – using equipment loaned from Mickie Most's RAK Studio in London. The basic tracks were recorded with a spontaneity that had been absent in Wings' past work, employing an approach that Juber has described as a "back-to-basics, garage band kind of feel".

Sessions at Spirit of Ranachan lasted until 27 July, during which the band taped and added overdubs to "Arrow Through Me", "Again and Again and Again", "To You", "Winter Rose", "Old Siam, Sir" and "Spin It On". Basic tracks were also completed for "Cage", a song that remained in the proposed running order for the album until early in 1979, "Crawl of the Wild", "Weep for Love", "Ballroom Dancing" and "Maisie". These last three compositions would all appear on solo albums by members of Wings between 1980 and 1982.

In addition, the band filmed a promotional video for the London Town single "I've Had Enough" while in Scotland and, in early July, recorded demos of twelve pieces intended for the Rupert the Bear film soundtrack. In the case of the latter activity, none of these compositions were revisited for what became Rupert and the Frog Song (1984).

September 1978: Lympne Castle
After a break to allow for school summer holidays, recording recommenced on 11 September at Lympne Castle in Kent, using the RAK mobile recording equipment, as before. The choice of location was partly due to the castle's proximity to the McCartneys' property "Waterfall", in Peasmarsh, East Sussex. During sessions lasting through to 29 September, the band recorded "We're Open Tonight", "Love Awake", "After the Ball", "Million Miles", "Reception" and "The Broadcast".

Recording took place mainly in the castle's great hall, with Holly's drum kit positioned in the fireplace. McCartney and Juber taped their acoustic guitar parts for "We're Open Tonight" in a stairwell. Excerpted from books found in the library, the readings for "Reception" and "The Broadcast" were overdubbed in the kitchen and performed by the owners of Lympne Castle, Harold and Dierdre Margary.

October–December 1978: Abbey Road Studios
Sessions moved to Abbey Road Studios in London on 3 October. That day, Wings joined with a supergroup of guest musicians, collectively known as "Rockestra", to record the tracks "Rockestra Theme" and "So Glad to See You Here". A camera crew led by Barry Chattington filmed the proceedings, and a 40-minute documentary, titled Rockestra, was later compiled from the footage. Equipment used for this session included 60 microphones, a pair of mixing consoles and a 16-track recording desk. James Honeyman-Scott of the Pretenders, Hank Marvin of the Shadows, the Who's Pete Townshend, Pink Floyd's David Gilmour, Led Zeppelin's John Paul Jones and John Bonham, and the Attractions' Bruce Thomas all took part. Also among the line-up was the horn section from Wings' 1975–76 world tour, consisting of Howie Casey, Tony Dorsey, Thaddeus Richard and Steve Howard. Keith Moon was meant to participate, but he had died shortly before the session; Jeff Beck and Eric Clapton were also scheduled to appear.

On 10 October, Wings taped "Getting Closer" at Abbey Road, along with a demo of "Baby's Request". McCartney had intended this recording of "Baby's Request" for the Mills Brothers to use as a guide, but after they asked to be paid for recording the song, he instead included the demo on Back to the Egg. The band then continued with overdubs on these and other songs intermittently through October and November, finishing at Abbey Road on 1 December.

December 1978–February 1979: Replica Studio
Towards the end of the year, Wings also carried out overdubs at the newly built Replica Studio, located at MPL's Soho Square offices. Frustrated at the impending unavailability of Abbey Road's Studio Two – which studio owner and record company EMI needed for its other acts, besides Wings – McCartney had constructed an exact replica of Studio Two in the basement at MPL. Among the work done on Back to the Egg at Replica, the band replaced the final twenty seconds of "So Glad to See You Here" with what Madinger and Easter describe as "a reggae-styled coda", containing the "We're Open Tonight" reprise.

Sessions continued there in January and February 1979. During that time, the band recorded a non-album single – the disco-styled "Goodnight Tonight", backed with "Daytime Nighttime Suffering" – as a release to coincide with the airing of the long-delayed Wings Over the World special. While noting that McCartney and Laine's relationship was beginning to unravel at this point, Sounes compares the freshness of these new recordings with the drawn-out sessions for Back to the Egg and writes that the album "was now so overworked it might more aptly have been titled Over-Egged". Impatient at the amount of time being spent in the recording studio, Laine publicly admitted that he was "desperate" to go out on tour.

Final overdubbing and mixing
In March, Wings moved back to Abbey Road Studios to complete the album. Vocal overdubs were then added to "Winter Rose/Love Awake" and an orchestral-sounding mellotron part to the end of "Getting Closer". Having worked with the Black Dyke Mills Band in the 1960s, when he produced their 1968 single "Thingumybob" for Apple Records, McCartney invited the band down from Yorkshire to overdub brass accompaniment on "Winter Rose/Love Awake".

While mixing the album during March, Wings finally discarded the song "Cage", which had been sequenced as the second track, following "Reception". The same alternative running order paired the Rockestra recordings at the end of side two, so that the album closed with the "We're Open Tonight" coda. Holly later recalled that whereas beforehand the band had been confident that Back to the Egg would be a strong album, during the final mixing process "[it] dawned on us there might be problems". At the last minute, "Baby's Request" replaced "Cage" and the running order was revised, with the result that the working-band concept became less pronounced.

Artwork and promotional videos
The design for the album's artwork was by Hipgnosis, the company responsible for previous Wings album covers such as Venus and Mars (1975) and the recent Wings Greatest compilation (1978). The front cover depicts the five members of Wings in a room, looking down through space at Planet Earth through an open hatchway in the floor; the statuette above the mantlepiece behind them is the same that appears in the Wings Greatest artwork. The picture was taken by photographer John Shaw at his London studio. Photos of the individual band members appeared on the back cover, credited to Linda and Paul McCartney.

Working with film company Keef & Co., Wings filmed seven promotional videos for the album, which would later be compiled into the Back to the Egg TV special. Filming took place between 4 and 13 June, at locations including Lympne Castle's main hall, a private airfield at Lympne, Camber Sands in East Sussex, and Keef & Co.'s London studios. "Old Siam, Sir", "Getting Closer", "Spin It On" and "Arrow Through Me" were among the tracks for which videos were made.

Release
"Goodnight Tonight" had been issued on Columbia Records in America, marking McCartney's break from EMI-affiliated Capitol Records, although he and Wings remained with EMI's Parlophone label in the UK. McCartney's contract with Columbia made him the highest-paid recording artist in the world. As an incentive for McCartney, Columbia's parent company, CBS, had added to his publishing portfolio by giving him the highly profitable Frank Music catalogue – making McCartney the copyright holder to Guys and Dolls and other popular musicals by Frank Loesser.

Back to the Egg was released on 24 May 1979 in the US (as Columbia FC-36057), and on 8 June in the UK (as Parlophone PCTC 257). In Britain, "Old Siam, Sir" was the album's first single, whereas "Getting Closer" was the choice in America; in both cases, "Spin It On" was the B-side. On 11 June, an album launch party took place inside Abbey Road's Studio Two, which had been blacked-out like a large frying pan, while tables carrying yellow parasols represented fried eggs sitting in the pan. Part of Chattington's Rockestra documentary was screened during the event, the only public airing the film received.

The follow-up singles, issued in August, were "Arrow Through Me" in the US and "Getting Closer" in the UK, the latter release a double A-side with "Baby's Request". In some European countries, "Rockestra Theme" was released as a single.

Compared to the major commercial success of previous Wings albums, sales of Back to the Egg were disappointing, and none of its singles became significant hits. In the UK, "Old Siam, Sir" and "Getting Closer" climbed to number 35 and number 60, respectively. On America's Billboard Hot 100 chart, "Getting Closer" peaked at number 20, and "Arrow Through Me" at number 29. Back to the Egg reached number 6 in the UK and number 8 on the Billboard 200, although US chart compilers Cashbox and Record World both listed it at number 7. With heavy promotion from Columbia, the album sold over 1 million copies in America; in Britain, retail outlets soon slashed its price in an attempt to dispense with their surplus of stock.

McCartney later reflected that for an act other than Wings, sales such as those for Back to the Egg would have been considered "very healthy". Given CBS's substantial investment in their new signing, Madinger and Easter write, the album's apparent failure led to a period of "mutual finger-pointing between Paul and Columbia Records", lasting until his contract expired in 1985.

Reception
Back to the Egg received predominantly negative reviews on release; author Alan Clayson writes of the album receiving "a critical mauling as vicious as that for London Town". In an especially unfavourable critique for Rolling Stone magazine, Timothy White described it as "the sorriest grab bag of dreck in recent memory" and lamented that none of the songs were "the least bit fleshed out", with the listener instead given "an irritating display of disjointed images and unfocused musical snapshots". After opining that, since 1970, "this ex-Beatle has been lending his truly prodigious talents ... to some of the laziest records in the history of rock & roll", White wrote: "Who, one felt compelled to ask, is in charge here? Back to the Egg provides the final, obvious answer: no one."

Village Voice critic Robert Christgau said of McCartney and the new Wings album: "When he's on, Paulie's abundant tunefulness passes for generosity. Here he's just hoping something will stick." In Melody Maker, Ray Coleman wrote that McCartney "seems to be on a treadmill of banality". Coleman described "Rockestra Theme" and "So Glad to See You Here" as "creditable, rolling, raunchy and at least efficient, with Paul's voice at its rocking best on the last named track", but concluded: "This album gets Wings nowhere ..." Billboard's reviewer gave Back to the Egg "Spotlight" status (meaning "the most outstanding new product of the week's releases and that with the greatest potential for top of the chart placement") and commented: "The music features typical McCartney fare of late with nothing here that will distinguish it as one of his classics. The arrangements, though, are interesting, encompassing a variety of styles."

In a more positive assessment, for Creem magazine, Mitchell Cohen highlighted the album's second side as "a collection of McCartney performances that string together like abbey roadwork", and praised McCartney's vocals relative to his past work, writing: "all of the current tracks are terser, sung better, have less of what I suppose would be called the recording artist's equivalent of camera consciousness." To NME critic Bob Woffinden, the attempt at an album-wide concept was "a pretty half-baked one" and Hipgnosis' cover photo was "easily the album's strongest point". While identifying the songs as "particularly weak lyrically", Woffinden concluded: "It was the familiar McCartney problem. He had every essential creative requirement, except the discipline required to knead the parts into a perfect whole."

AllMusic critic Stephen Thomas Erlewine views Back to the Egg as "a set of [McCartney's] most undistinguished songs" that "have no spark whatsoever", and bemoans "the weak sound of the record and Wings' faceless performances". Among McCartney biographers, Vincent Benitez writes that the songs are "uneven in quality", and Howard Sounes describes the album as "a curate's egg, good in parts, with token attempts at sounding contemporary". Tom Doyle views "the new wave-ish rockers" like "Spin It On" as "too smoothed out to be truly edgy" and the two spoken-word tracks as "weird – and not in a good way". Doyle considers that while Back to the Egg has its "moments of inspiration", "There was too much material [recorded during the sessions], and yet not enough of it to gel into a cohesive album."

Aftermath and reissues
With the album falling well short of Columbia's and McCartney's expectations commercially, McCartney spent the remainder of summer 1979 recording in Peasmarsh and Campbeltown, without Wings, creating his solo album McCartney II (1980). During November and December 1979, US TV stations aired the 31-minute Back to the Egg special, as Wings undertook a nineteen-show UK tour, the first leg of the proposed world tour. Among the songs in the setlist, they performed several tracks from Back to the Egg: "Getting Closer", "Again and Again and Again", "Old Siam, Sir", "Spin It On" and "Arrow Through Me".

The band were scheduled to tour Japan during January and February 1980, but the concerts, together with their tour dates elsewhere in the world, were cancelled after McCartney was arrested for possession of drugs when entering the country. Around this time, "Rockestra Theme" won the Grammy Award for Best Rock Instrumental Performance. Wings regrouped in October 1980 to finish off songs for the planned Cold Cuts album, a compilation that McCartney had suggested when CBS sought to recover part of its financial losses from Back to the Egg. The reunion with Wings was short-lived and the band discontinued upon Laine's departure in April 1981.

On 20 June 1989, by which time McCartney had returned to Capitol Records, Back to the Egg was released on CD in America with three bonus tracks: "Daytime Nighttime Suffering", McCartney's 1979 Christmas single "Wonderful Christmastime", and the latter's B-side, "Rudolph the Red-Nosed Reggae". In August 1993, Parlophone reissued the album as part of The Paul McCartney Collection with the same three bonus tracks. Samples of "Reception" and "The Broadcast" appeared on the Fireman's Strawberries Oceans Ships Forest (1993) album, a collaboration between McCartney and Youth. In 2007, Back to the Egg was released on iTunes, with a remix of "Goodnight Tonight" as a bonus track.

Track listing
All songs written by Paul McCartney, except where noted.

Side one: Sunny Side Up
 * 1) "Reception" – 1:08
 * 2) "Getting Closer" – 3:22
 * 3) "We're Open Tonight" – 1:28
 * 4) "Spin It On" – 2:12
 * 5) "Again and Again and Again" (Denny Laine) – 3:34
 * 6) "Old Siam, Sir" – 4:11
 * 7) "Arrow Through Me" – 3:37

Side two: Over Easy
 * 1) "Rockestra Theme" – 2:35
 * 2) "To You" – 3:12
 * 3) "After the Ball / Million Miles" – 4:00
 * 4) "Winter Rose / Love Awake" – 4:58
 * 5) "The Broadcast" – 1:30
 * 6) "So Glad to See You Here" – 3:20
 * 7) "Baby's Request" – 2:49

 * CD bonus tracks
 * 1) "Daytime Nighttime Suffering" – 3:23
 * 2) "Wonderful Christmastime" – 3:49
 * 3) "Rudolph the Red-Nosed Reggae" (Johnny Marks) – 1:48

 * 2007 iTunes bonus track
 * 1) "Goodnight Tonight" (Extended Version) – 7:16

Personnel
Wings and additional personnel per Benitez. Rockestra line-up and production per sleeve.

Wings
 * Paul McCartney – lead and backing vocals, bass, acoustic and electric guitars, keyboards, concertina on "Million Miles", piano and harpsichord on "Winter Rose"
 * Linda McCartney – keyboards, backing vocals
 * Denny Laine – lead vocal on "Again and Again and Again", electric and acoustic guitars, backing vocals
 * Laurence Juber – electric and acoustic guitars, guitar synthesizer, bass on "Love Awake"
 * Steve Holley – drums, percussion

Additional personnel
 * Black Dyke Mills Band – horns on "Love Awake"
 * Dierdre Margary, Harold Margary – book readings

Rockestra line-up on "Rockestra Theme" and "So Glad to See You Here"
 * Denny Laine, Laurence Juber, David Gilmour, Hank Marvin, Pete Townshend – guitars
 * Steve Holley, John Bonham, Kenney Jones – drums
 * Paul McCartney, John Paul Jones, Ronnie Lane, Bruce Thomas – basses
 * Paul McCartney, Gary Brooker, John Paul Jones – pianos
 * Linda McCartney, Tony Ashton – keyboards
 * Speedy Acquaye, Tony Carr, Ray Cooper, Morris Pert – percussion
 * Howie Casey, Tony Dorsey, Steve Howard, Thaddeus Richard – horns

Production
 * Paul McCartney and Chris Thomas – producers
 * Phil McDonald – engineer
 * Mark Vigars – assistant engineer
 * John Shaw – front cover photo
 * Linda McCartney, Paul McCartney – back cover photos
 * Hipgnosis – design

Grammy Awards

 * style="width:35px; text-align:center;"|1980 || "Rockestra Theme" || Best Rock Instrumental Performance || Won
 * style="width:35px; text-align:center;"|1980 || "Rockestra Theme" || Best Rock Instrumental Performance || Won

title: Back to the Egg


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/list of articles I found (for future reference)

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Edmund Rubbra

Edmund Rubbra (23 May 1901 – 14 February 1986) was a British composer. He composed both instrumental and vocal works for soloists, chamber groups and full choruses and orchestras. He was greatly esteemed by fellow musicians and was at the peak of his fame in the mid-20th century. The best known of his pieces are his eleven symphonies. Although he was active at a time when many people wrote twelve-tone music, he decided not to write in this idiom; instead, he devised his own distinctive style. His later works were not as popular with the concert-going public as his previous ones had been, although he never lost the respect of his colleagues. Therefore, his output as a whole is less celebrated today than would have been expected from its early popularity. He was the brother of the engineer Arthur Rubbra.

Early life
He was born Charles Edmund Rubbra at 21 Arnold Road, Semilong, Northampton. His parents encouraged him in his music, but they were not professional musicians, though his mother had a good voice and sang in the church choir, and his father played the piano a little, by ear. Rubbra's artistic and sensitive nature was apparent from early on. He remembered waking one winter's morning when he was about three or four years old, and noticing something different about the light in his bedroom; there was light where there was usually shadow, and vice versa. When his father came into the room, Edmund asked him why this was. His father explained that there had been a fall of snow during the night, and so the sunlight was reflecting off the snow and entering Edmund's bedroom from below, instead of above, thus reversing the patterns of light and shade. When Rubbra was much older he came to realise that this 'topsy-turveydom', as he called it, had caused him to often use short pieces of melody which would sound good, both in their original form and when inverted (so that when the original melody goes up a certain amount, the inverted one goes down the same amount). He then set these two melodies together, but slightly offset from one another, so that the listener hears the melody going up, say, then an echo where it goes down instead.

Another childhood memory which Rubbra identified as later affecting his music, took place when he was nine or ten. He was out walking with his father on a hot summer Sunday. As they rested by a gate, looking down at Northampton, he heard distant bells, 'whose music seemed suspended in the still air', as he put it. He was lost in the magic of the moment, losing all sense of the scenery round about him, just being aware of "downward drifting sounds that seemed isolated from everything else around". He traces the 'downward scales that constantly act as focal points in [his] textures' to this experience.

Rubbra took piano lessons from a local woman with a good reputation and a piano with discoloured ivory keys. This instrument contrasted starkly with the piano on which Rubbra practised, which was a new demonstration upright piano, lent to his family by his uncle by marriage. This uncle owned a piano and music shop, and prospective buyers would come to Rubbra's house, where he would demonstrate the quality of the piano by playing Mozart's Sonata in C to them. If the sale went through, the Rubbra family was given commission, and a new demonstration piano took the place of the one sold.

In 1912, Rubbra and his family moved a little more than quarter of a mile away to 1 Balfour Road, Kingsthorpe, Northampton, moving again four years later so that his father could start his own business selling and repairing clocks and watches. At this house, above the shop, Edmund had the back bedroom for his work, but the stairs were not wide enough to allow the piano to be brought up, so the window frame of his room had to be removed to get the piano in from outside.

Education and career
Rubbra started composing while he was still at school. One of his masters, Mr. Grant, asked him to compose a school hymn. He would have been very familiar with hymn tunes, as he attended a Congregational church and played the piano for the Sunday School. He also worked as an errand boy whilst he was still at school, giving some of his earnings to his parents.

At the age of 14, he left school and started work in the office of Crockett and Jones, one of Northampton's many boot and shoe manufacturers. Edmund was delighted to be able to accrue a number of stamps from parcels and letters sent to this factory, as stamp-collecting was one of his hobbies. Later, he was invited by an uncle, who owned another boot and shoe factory, to come and work for him. The idea was that he would work his way up from the bottom of the company, with a view to ownership when his uncle, who had no sons of his own, died. Edmund, influenced by his mother's lack of enthusiasm for the idea, declined. Instead, he took a job as a correspondence clerk in a railway station. In his last year at school he had learned shorthand, which was an ideal qualification for this post. He also continued to study harmony, counterpoint, piano and organ, working at these things daily, before and after his clerk's job.

Rubbra's early forays into chamber music composition included a violin and piano sonata for himself and his friend, Bertram Ablethorpe, and a piece for a local string quartet. He used to meet with the keen, young composer, William Alwyn, who was also from Northampton, to compare notes.

Rubbra was deeply affected by a sermon he heard given by a Chinese Christian missionary, Kuanglin Pao. He was inspired to write Chinese Impressions – a set of piano pieces, which he dedicated to the preacher. This was the beginning of a lifelong interest in things eastern.

At the age of 17, Rubbra decided to organise a concert devoted entirely to Cyril Scott's music, with a singer, violinist, cellist and himself on the piano, at the Carnegie Hall in Northampton Library. This proved to be a very important decision which would change his life. The minister from Rubbra's church attended the concert, and secretly sent a copy of the programme to Cyril Scott. The result of this was that Scott took Rubbra on as a pupil. Rubbra was able to obtain cheap rail travel because of his job with the railway, so he was able to get to Scott's house by train, paying only a quarter of the usual fare. After a year or so, Rubbra gained a scholarship to University College, Reading. Gustav Holst became one of his teachers there. Both Scott and Holst had an interest in eastern philosophy and religion, inspiring Rubbra to take a further interest in the subject.

Holst also taught at the Royal College of Music and advised Rubbra to apply for an open scholarship there. His advice was followed and the place was secured. Before Rubbra's last term at the college, he was unexpectedly invited to play the piano for the Arts League of Service Travelling Theatre on a six-week tour of Yorkshire, since their usual pianist had been taken ill. He accepted this offer despite this meaning that he missed his last term. The tour provided him with invaluable experience in playing and composing theatre music, which he never regretted and which stood him in good stead for his later dramatic work. In the mid-1920s Rubbra used to earn money playing piano for dancers from the Diaghilev Ballet. At around this time he became firm friends with Gerald Finzi.

In 1941, Rubbra was called up for army service. After 18 months he was given an office post, again because of his knowledge of shorthand and typing. While he was there, he ran a small orchestra assisted by a double-bass player from the BBC orchestra. The War Office asked him to form a piano trio to play classical chamber music to the troops. Rubbra was happy to oblige, and the trio, with William Pleeth the cellist, Joshua Glazier violinist and himself on the piano took six months acquiring a repertoire of chamber music. "The Army Classical Music Group", was formed and later expanded to seven people. On one occasion an overzealous entertainment officer thought there would be a better audience by advertising with big posters for "Ed Rub & his seven piece Band". They travelled all over England and Scotland and then to Germany, with their own grand piano which, with its legs removed for transport, became a seat for them in the back of the transport lorry.

After the war, on 4 August 1947 (the Feast of St Dominic), Rubbra became a Roman Catholic, writing a special mass in celebration. Also at this time, the University of Oxford was forming a faculty of music. They invited Rubbra to be a lecturer there. After much thought, he accepted the post. From 1947 to 1968 Rubbra was a lecturer at the Music Faculty and a Fellow of Worcester College, Oxford. The army trio kept meeting, playing at clubs and broadcasting, for a number of years, but eventually Rubbra was too busy to continue with it.

It is a measure of the high esteem in which Rubbra was held in the 1940s, that his Sinfonia Concertante and his song Morning Watch were played alongside such works as Elgar's The Dream of Gerontius, Kodály's Missa Brevis and Vaughan Williams's Job, at the 1948 Three Choirs Festival.

When Vaughan Williams heard that the University of Durham was going to confer an Honorary D.Mus on Rubbra in 1949, he wrote him a very short letter: "I am delighted to hear of the honour which Durham University is conferring on itself."

Rubbra received a request from the BBC to write a piece for the coronation of Queen Elizabeth II. The result was Ode to the Queen, for voice and orchestra, to Elizabethan words. In connection with the same occasion, he was invited by Benjamin Britten to contribute to a collaborative work, a set of Variations on an Elizabethan Theme. He initially accepted, but later withdrew; Britten then asked Arthur Oldham and Humphrey Searle to take his place.

On Rubbra's retirement from Oxford, in 1968, he did not stop working; he merely took up more teaching at the Guildhall School of Music and Drama where his students included Michael Garrett and Christopher Gunning. Neither did he stop composing. Indeed, he kept up this activity right until the end of his life: he started a 12th Symphony in March 1985, less than a year before his death, but only one page of manuscript short score (bearing the opus number 164) was completed. He died in Gerrards Cross on 14 February 1986.

Ronald Stevenson summed up the style of Rubbra's work rather succinctly when he wrote, "In an age of fragmentation, Rubbra stands (with a few others) as a composer of a music of oneness".

Sir Adrian Boult commended Rubbra's work by saying that he "has never made any effort to popularize anything he has done, but he goes on creating masterpieces".

Personal life
Rubbra was married three times, firstly in 1925 to his landlady Lilian Duncan. This marriage was never consummated and in 1933 Rubbra married Antoinette Chaplin, a French violinist. They toured Italy together, as well as giving recitals in Paris and radio broadcasts. They had two sons, Francis (1935–2012) and Benedict (born 1938, painter), with the marriage lasting into the late 1950s.

In the 1930s Rubbra was a pacifist and vegetarian but gave up vegetarianism during World War II whilst he was in the army out of fear of starvation. Although he became a devout Catholic through a mid-life conversion, he was also interested in Eastern thought and mysticism, going through a Buddhist phase.

In 1975, Rubbra married Colette Yardley, with whom he had had one son (born 1974) called Adrian. Colette was at the time of Adrian's birth married to Rubbra's neighbour Hugo Yardley.

Compositions
Rubbra did not base his composition on formal rules, preferring to work from an initial idea and discover the music as he composed. His style is more concerned with the melodic lines in his music than with the chords, and this gives his music a vocal feel. He found his method of composition, working from a single melodic idea and letting the music grow from that, to be very exciting.

Symphonies
It was not until 1937 that Rubbra's first symphony was completed. Symphonies 2, 3 and 4 followed in quick succession, the fourth being completed in March 1942. He described them as being 'different facets of one thought', since each was a reaction to the last.

His fifth Symphony was started in August 1947. Enough time had elapsed since the fourth Symphony, to allow this new symphony to be unrelated. Grover recognises a "sense of relaxation engendered by a greater flexibility in the handling of materials" which sets this work apart from earlier symphonies. The sixth and seventh symphonies followed in 1954 and 1957.

Rubbra's last four symphonies again show a change of approach. He himself identified this when he said, "in much of my later music a particular musical interval rather than a key underlies the building of the structure". These symphonies were composed between 1968 and 1979. All are available on CD. Richard Hickox recorded the complete cycle of symphonies on Chandos Records.

Vocal music
The vast majority (42 of 59 works) of Rubbra's choral works have religious or philosophical texts, in keeping with his interest in these subjects. His first choral work was his Op. 3, written in 1924, and his last was Op. 164, written in 1984, only two years before his death. He wrote for children's voices and madrigals, as well as producing masses and motets, including the Nine Tenebrae Motets, Op. 72, setting the responsories for Maundy Thursday in an intensely dramatic manner. In 1948, he composed Missa Sancti Dominici, Op. 66, to celebrate his conversion to Roman Catholicism. The reason for this particular title is that he was received into the church on the Feast of St. Dominic, 4 August. His Magnificat and Nunc Dimittis in A flat is still performed in Anglican cathedrals and larger parish churches.

Rubbra's songs are not well known, but, again they spanned his whole composing lifetime: Rosa Mundi, Op. 2, was the first published, in 1921; Fly Envious Time, Op. 148, was the last, in 1974, being inscribed "in Memoriam Gerald Finzi". Fewer than half of them have the piano specified for their accompaniment, though only one is unaccompanied. The others have string quartet, string orchestra or harp as their chosen accompaniment, except for the three songs published as Ode to the Queen, which have full orchestral accompaniment.

Chamber music
Although Rubbra was a fine pianist, his works for solo piano occupy only a minor part of his output. He did, however, write diverse chamber music throughout his career. He considered that his Violin Sonata, Op. 31, which he wrote in 1932, was the first of his compositions to be taken seriously in the musical world. His First String Quartet was composed only a year later. For a long time Rubbra was not satisfied with this piece, although Ralph Vaughan Williams was very interested in it. Finally he thoroughly revised it, and published it in 1946, with an inscription to Vaughan Williams, and destroyed the original finale. Three other string quartets followed at long intervals. The last was written in 1977 in memory of Bennett Tarshish, a young American admirer of Rubbra's work, who died in his thirties. This piece shows the same method of reliance on a certain interval or intervals (here the seventh) instead of a particular key, which is also evident in Rubbra's later symphonies.

The Cello Sonata of 1946 was dedicated to William Pleeth (the cellist in The Army Classical Music Group) and his wife. It was sometimes performed by Jacqueline du Pré, who was a pupil of William Pleeth. Rubbra's Second Piano Trio, Op. 138, was first performed by the members of The Army Classical Music Group, who got together again especially for this performance in 1970, though Glazier had now been replaced by Gruenberg.

The repertoire for recorder was both augmented and enhanced by several works composed by Rubbra. Foreman considers that these pieces are "significant for their demonstration of an idiomatic recorder style which successfully places the instrument as an equal with other instruments". This recorder music was written for Carl Dolmetsch, son of Arnold Dolmetsch, and almost every piece makes reference to 16th-century music, for example, Passacaglia sopra 'Plusieurs Regrets' for treble recorder and harpsichord.

Other chamber works in Rubbra's oeuvre include those for oboe, cor anglais and viola. The Quartets have all appeared on the Dutton Epoch label.

Other works
Incidental music for several plays formed a small but significant part of Rubbra's output. The longest of these is the unpublished score for Macbeth. In 1933, he wrote a one-act opera, still in manuscript, which he originally called Bee-bee-bei, but renamed The Shadow. It reflects his interest in the East, as it is set in Kashmir.

All three of his works for brass instruments were commissioned. One of them, Variations on "The Shining River", was a test piece for the Brass Band Championships of Great Britain, 1958, held in the Royal Albert Hall.

Rubbra's last completed work was his Sinfonietta for large string orchestra, Op. 163, which was commissioned by the Albany Symphony Orchestra, for performance in 1986 as part of the tricentennial celebrations of the founding of New York. The dedication is "For Adrian and Julian", Julian [Yardley] (b. 1942)  being Adrian's elder brother and Rubbra's stepson following his marriage to Adrian and Julian's mother in 1975. The Sinfonietta received excellent press reviews.

Rubbra is also well known for his 1938 orchestration of Johannes Brahms's piano work Variations and Fugue on a Theme by Handel. He also orchestrated Rachmaninov's Prelude in G minor, though when this was recorded by Frederick Fennell and the London Pops Orchestra in 1959 for 'Mercury', he was not given due credit on the LP sleeve or label.

Orchestral

 * Symphonies
 * Symphony No. 1, Op. 44 (1935–37)
 * Symphony No. 2 in D, Op. 45 (1937, rev. 1950)
 * Symphony No. 3, Op. 49 (1938–39)
 * Symphony No. 4, Op. 53 (1940–42)
 * Symphony No. 5 in B-flat, Op. 63 (1947–48)
 * Symphony No. 6, Op. 80 (1953–54)
 * Symphony No. 7 in C, Op. 88 (1956–57) (dedicated to the City of Birmingham Symphony Orchestra and premiered by them with Andrzej Panufnik conducting)
 * Symphony No. 8, Op. 132, Hommage à Teilhard de Chardin (1966–68)
 * Symphony No. 9, Op. 140, Resurrection (also known as Sinfonia Sacra) (1968–72)
 * Symphony No. 10, Op. 145, da Camera (1974)
 * Symphony No. 11, Op. 153, à Colette (1980)
 * Sinfonietta for large string orchestra, Op.163
 * A Tribute, Op. 56 (1942) for the celebration of Ralph Vaughan Williams's 70th birthday
 * Improvisations on Virginal Pieces by Giles Farnaby, Op. 50
 * Overture Resurgam (Plymouth 1942), Op. 149

Concertante

 * Piano
 * Piano Concerto, Op. 30, withdrawn
 * Sinfonia Concertante in C, Op. 38 (1934–36, rev. early 1940s)
 * Piano Concerto in G, Op. 85
 * Violin
 * Violin Concerto in A, Op. 103
 * Improvisation for Violin and Orchestra, Op. 89
 * Viola
 * Viola Concerto in A, Op. 75
 * Cello
 * Soliloquy, Op. 57 for cello, two horns, timpani and strings

Instrumental

 * Violin Sonatas
 * Violin Sonata No. 1, Op. 11
 * Violin Sonata No. 2, Op. 31
 * Violin Sonata No. 3, Op. 133
 * Cello Sonata in G, Op. 60
 * Meditationi sur Coeurs Désolés (for Recorder and Harpsichord or Flute or Oboe and Piano), Op. 67
 * Oboe Sonata in C, Op. 100
 * Meditations on a Byzantine Hymn (for solo Viola), Op. 117
 * Sonatina for Treble Recorder and Harpsichord, Op. 128
 * Fantasia on a Chord: for Treble Recorder, Harpsichord and Viola da Gamba (ad lib.), Op. 154
 * Duo for Cor Anglais and Piano, Op. 156

Chamber

 * String Quartets
 * String Quartet No. 1 in F minor, Op. 35
 * String Quartet No. 2 in E-flat, Op. 73
 * String Quartet No. 3, Op. 112
 * String Quartet No. 4, Op. 150
 * Piano Trio No. 1, Op. 68, in one movement
 * Piano Trio No. 2, Op. 138
 * Fantasia on a Theme of Machaut, Op. 86, for Flute, Harpsichord, and String Quartet
 * Lyric Movement for String Quartet and Piano, Op. 24

Choral

 * Dormi Jesu, Op. 3
 * Five Motets, Op. 37 for unaccompanied SATB choir
 * Five Madrigals, Op. 51 for unaccompanied SATB choir
 * Missa Cantuariensis, Op. 59 for double choir
 * Magnificat and Nunc dimittis in A flat, Op. 65 for chorus and organ
 * Missa in honorem Sancti Dominici, Op. 66 (Rubbra’s first Roman Catholic mass and the result of his conversion)
 * Three Motets, Op. 76 for unaccompanied SATB choir
 * Nine Tenebrae Motets, Op. 72 (a, b and c, three sets of three written over a period of time)
 * Festival Gloria, Op. 94 for unaccompanied SATB choir
 * That Virgin's Child Most Meek, Op. 114
 * And when the builders Op. 125 for SATB choir and organ
 * Missa Brevis, Op. 137 for treble voices and organ

For chorus and orchestra

 * The Morning Watch, Op. 55
 * Song of the Soul, Op. 78
 * Inscape (Gerard Manley Hopkins), Op. 122
 * Veni Creator Spiritus, Op. 130

Piano music

 * Sonatina, Op. 19
 * Introduction & Fugue, Op. 19c
 * Prelude and fugue on a theme by Cyril Scott (also played on organ), Op. 69
 * Nine teaching pieces, Op. 74 (requires a second pianist)
 * Introduction, Aria and Fugue, Op. 104
 * Eight preludes, Op. 131
 * Four studies, Op. 139
 * Invention on the name of Haydn, Op. 160
 * Fantasy-fugue, Op. 161
 * Fukagawa (without opus)
 * Nemo fugue (without opus)

Songs

 * Two Songs, Op. 2
 * 1. Easter
 * 2. Rosa Mundi
 * Two Songs with String Quartet, Op. 3
 * 1. Tears
 * 2. A Litany
 * Two Songs, Op. 4
 * 1. The Mystery
 * 2. Jesukin
 * O My Deir Hert, Op. 5
 * Two Songs with String Quartet, Op. 7
 * 1. Rejection
 * 2. Entrez-y-Tous en Sûreté
 * Four Songs, Op. 8
 * 1. A Cradle Song
 * 2. There Is a lady
 * 3. Who Is Sylvia?
 * 4. Orpheus
 * Three Songs, Op. 13
 * 1. Out in the Dark
 * 2. Hymn to the Virgin
 * 3. It Was A Lover
 * Two Songs, Op. 14
 * 1. The Night
 * 2. Slow Spring
 * Rune of Hospitality, Op. 15
 * Two Songs, Op. 17
 * 1. A Prayer
 * 2. Invocation to Spring
 * Rhapsody, Op. 18
 * A Duan of Barra, Op. 20
 * Soontree, Op. 21
 * Two Songs, Op. 22
 * 1. Take, O Take Those Lips Away
 * 2. Why So Pale and Wan
 * The Song of the Laverock, Op. 23
 * Ballad of Tristram, Op. 26
 * A Widow Bird State Mourning, Op. 28
 * Four Mediaeval Latin Lyrics, Op. 32
 * 1. Rondel: Tempus Est Iocundum
 * 2. Plaint: Dum Estas Inchoatur
 * 3. Pastoral: Ecce, Chorus Virginum
 * 4. Lament: Planctus
 * In Dark Weather, Op. 33
 * Five Sonnets, for tenor and strings, Op. 42
 * ''Amoretti: Five Sonnets, Op. 43
 * Nocturne, Op. 54
 * Three Psalms, Op. 61
 * 1. O Lord, Rebuke Me Not
 * 2. The Lord Is My Shepherd
 * 3. Praise Ye the Lord
 * O Excellent Virgin Princess, Op. 77
 * Ode To The Queen, Op. 83
 * 1. Sound Forth, Celestial Organs
 * 2. Fair As Unshaded Light
 * 3. Yet Once Again Our Measures Move
 * Two Sonnets by William Alabaster, Op. 87
 * 1. Upon the Crucifix
 * 2. On the Reed of Our Lord's Passion
 * No Swan So Fine, Op. 91
 * Cantata Pastorale, Op. 92
 * The Jade Mountain, Op. 116
 * 1. A Night Thought On Terrace Tower
 * 2. On Hearing Her Play the Harp
 * 3. An Autumn Night Message
 * 4. A Song of the Southern River
 * 5. Farewell To a Japanese Buddhist Priest Bound Homeward
 * Salve Regina, Op. 119
 * Fly Envious Time, Op. 148

Publications
Rubbra wrote numerous articles during his lifetime, about both his own music and that of others, including Gerald Finzi, Constant Lambert, John Ireland, Paul Hindemith, Ralph Vaughan Williams, Gustav Holst, Benjamin Britten, Johann Sebastian Bach, Alexander Scriabin, Béla Bartók and Dmitri Shostakovich. In the middle of the twentieth century he wrote "Gramophone Notes" for The Month, a Catholic magazine published in England. He also made several speech recordings for the BBC.

title: Edmund Rubbra


text:
User:Meelar/random test/list of articles I found

 * 1) Joondalup
 * 2) Pope Anterus
 * 3) Alfonso III
 * 4) Taichung County
 * 5) Robin Hood: Men in Tights
 * 6) Samothrace
 * 7) Charles Stark Draper
 * 8) Nottingham
 * 9) Couéism
 * 10) Dean Ween
 * 11) Lower New York Bay
 * 12) Global Business Network
 * 13) Tlalixcoyan
 * 14) Al-Sabah
 * 15) For Randy Entertainment
 * 16) Abitur
 * 17) John Rodgers (naval officer, Civil War)
 * 18) Marcus Miller
 * 19) Claudius Aelianus
 * 20) Sichuan Ribao
 * 21) Ordovician-Silurian extinction events
 * 22) Council of Science Editors
 * 23) Permafrost (Static Shock)
 * 24) Utopia Planitia
 * 25) Walford Davies
 * 26) Cauvicourt
 * 27) Dows, Iowa
 * 28) Magnetohydrodynamics
 * 29) Wheatus
 * 30) Aldur
 * 31) Wisconsin Intercollegiate Athletic Conference
 * 32) Seattle Slew
 * 33) Brian Merriman
 * 34) Pamela Green
 * 35) Chain-O-Lakes, Missouri
 * 36) Fox (Native American)
 * 37) Sandra Cretu
 * 38) Sepiidae
 * 39) From Ritual to Romance
 * 40) Crown Prince Wilhelm of Germany
 * 41) TV turnoff
 * 42) Richard Green
 * 43) Mourning
 * 44) Philip Treacy
 * 45) Ramsey
 * 46) Waterman, Illinois
 * 47) Polarization (psychology)
 * 48) Mach kernel
 * 49) LMC
 * 50) February
 * 51) Edward Elgar
 * 52) Transitivity
 * 53) Laadah
 * 54) SSI
 * 55) TestThreePhasePumps (a redirect on Redirects for deletion)
 * 56) Aleksander Arendt
 * 57) Barrhead
 * 58) Margaret Cho
 * 59) XML Signature
 * 60) System of linear equations
 * 61) Kamiyama, Tokushima
 * 62) Tacna, Arizona
 * 63) Phil Katz
 * 64) Heads of State in 1788
 * 65) Ah Kumix Uinicob
 * 66) Vladimir Zhirinovsky
 * 67) Porky's Duck Hunt
 * 68) WYSIAYG
 * 69) Bancroft, Idaho
 * 70) Ashford, Connecticut
 * 71) River Wye
 * 72) Unterseeboot 869
 * 73) Canadian Medical Association Journal
 * 74) 15 (number)
 * 75) Antenna (electronics)
 * 76) Dr Christopher Evans
 * 77) Azem Hajdari
 * 78) Folimage
 * 79) Steve Yzerman
 * 80) Hellions (comics)
 * 81) Satyrus
 * 82) Medley, Florida
 * 83) Soda Stereo
 * 84) Ronald William Kirby
 * 85) Joseph Story
 * 86) Joseph Alessi
 * 87) Perryville
 * 88) Mel Patton
 * 89) 40-40
 * 90) Keith Floyd
 * 91) Referer
 * 92) Equal opportunity
 * 93) Revised English Bible
 * 94) Dorchester County
 * 95) Camano Island
 * 96) Mitsubishi Lancer/Carisma GT
 * 97) Red Line (Massachusetts Bay Transportation Authority)
 * 98) Village Weaver
 * 99) Intermountain states
 * 100) 500
 * 101) Gonorynchiformes
 * 102) Hart Township, Michigan
 * 103) Tanya Streeter
 * 104) John Sholto Douglas, 9th Marquess of Queensberry
 * 105) Burt Township, Alger County, Michigan
 * 106) Adamanthea
 * 107) Essex Man
 * 108) Babieca
 * 109) VIS
 * 110) Florida Atlantic University
 * 111) Baron Colgrain
 * 112) Mutsu Province
 * 113) 1932 in Canada
 * 114) Nidoran
 * 115) Bantu languages
 * 116) USS Makin Island (CVE-93)
 * 117) Esparto
 * 118) Milton County, Georgia
 * 119) Ballwin, Missouri
 * 120) Kevin P. Chilton
 * 121) Typhon
 * 122) NCR Corporation
 * 123) Charles-Marie Widor
 * 124) Sumiainen
 * 125) Pierre Choderlos de Laclos
 * 126) Annie Horniman
 * 127) Defendant
 * 128) Petroglyph
 * 129) Gully Township, Minnesota
 * 130) Mani (god)
 * 131) Balsam Township, Minnesota
 * 132) Coronado, California
 * 133) Giselle of Bavaria
 * 134) Quebec nationalism
 * 135) Albinus
 * 136) Condé sur Noireau
 * 137) Heliodorus
 * 138) William Chillingworth
 * 139) Táhirih
 * 140) Milesians (Irish)
 * 141) Rock crystal vase
 * 142) Bear Valley Springs, California
 * 143) Centre Hastings, Ontario
 * 144) Extreme points of Spain
 * 145) Léon Gambetta
 * 146) Walters Art Museum
 * 147) Grammy Award for Best Pop Instrumental Performance
 * 148) J. P. Patches
 * 149) Saturn Award for Best Music
 * 150) Wuluwaid
 * 151) Mack North, Ohio
 * 152) August 11
 * 153) Kyocera
 * 154) Astrosnik
 * 155) Dot pitch
 * 156) C string
 * 157) Antioch (disambiguation)
 * 158) Hawkfish
 * 159) Bachelor of Science
 * 160) Undocumented feature
 * 161) Multichannel
 * 162) Plaza Sésamo
 * 163) Bi-directional text
 * 164) Seattle Thunderbirds
 * 165) Edgar Roni Figaro
 * 166) Savage Isles
 * 167) SATEB
 * 168) Scheelite
 * 169) Quinarius
 * 170) Maine Legislature
 * 171) Coloman of Hungary
 * 172) Slobodan Lalovic/Temp
 * 173) Skate or Die
 * 174) Bay, Somalia
 * 175) Basava Premanand
 * 176) 533
 * 177) Claudette Colvin


text:
Talk:In the Beginning... Was the Command Line

History or metaphor
To me this book seemed more than just a history of operating systems. It seemed like a book on epistemology, with operating systems used as metaphors for how humans interface with underlying reality. Did anyone else get that impression? Tim Shell 21:42, 7 Aug 2004

 * Yes. This book is a lot of things. The article, on the other hand, makes it appear as as yet another Microsoft-versus-free-software essay. Which is misleading, IMHO. Jgrahn 22:14, 6 March 2006 (UTC)

Where is a copy available?
Is there another copy of the annotated and updated version of this book out there? all the links I find point to an old copy which is no longer online--Gsham 03:09, 25 October 2005 (UTC)

Factual errors?
In the factual errors section, this looks rather like original research, or a book review. Does the c/cpp mistake really make a difference to the historical significance of this essay? Ojw 21:01, 22 November 2005 (UTC)

 * Agreed. It's not even really an error unless you interpret it that way. — Omegatron 21:40, 22 November 2005 (UTC)

The remaining Factual Errors entry (Apple development environment) is pretty pointless, too ... it's not as if it invalidates any major part of the essay, is it? Compare with the information that the author now prefers OS/X - that is relevant. Jgrahn 22:22, 6 March 2006 (UTC)

The Factual Errors is incorrect. The MPW didn't create a CLI for the OS, it simply made it available. This entry should be removed. --Archetypical 07:32, 9 August 2006 (UTC)

Punctuation of the title...?
Shouldn't there be a space after the ellipsis? Cf. Manual of Style. --Malyctenar 10:16, 9 August 2006 (UTC)

 * I would say that, since it's the title of the book, we should go with Stephenson's usage. But I can see how it should conform to the MoS as well.  I'm undecided. Wyatt Riot 12:07, 9 August 2006 (UTC)

That's the problem: what is his usage? The book cover (it seems to be the only edition in existence, right?) has a linebreak after the ellipsis. http://www.cryptonomicon.com/beginning.html, which is probably the most official you can get, has no ellipsis in the title (but in the navigation the title is shortened to "In the Beginning..."). The zipped TXT file you can download there has the title without ellipsis as well. So until we find a clear evidence that the ellipsis is more correct than a mere space, I'm all in favour of at least punctuating it properly. --Malyctenar 15:33, 11 August 2006 (UTC)
 * I just pulled out my copy of the actual book, and it's problematic. The front and back covers and copyright page (all presumeably the work of his publisher and typesetters) either include a space before and after, do not include a space before and after, or do not include the ellipsis at all, seemingly interchangeably.  Within the book itself (where I'm assuming Stephenson was largely responsible for spacing and such), he adds a space before and after, as well as spaces between the periods.  However, I couldn't find any instance of the title within the work itself.  So you're right, there's no definite right or wrong way, so I'd agree that it should conform to Wikipedia standards. Wyatt Riot 22:55, 11 August 2006 (UTC)

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

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 23:24, 5 June 2007 (UTC)

Garrett Birkel's rebuttal
Does this really need to be linked in the article? It reads much more like an op-ed piece than any sort of actual criticism or even discussion of Stephenson's essay. 144.135.138.40 (talk) 07:27, 24 June 2008 (UTC)

Seconded. Including Birkel's "rebuttal" link effectively turns this otherwise useful wikipedia entry into something resembling the early stages of a Slashdot flamewar. It serves no other purpose, and should be removed. —Preceding unsigned comment added by 129.55.200.20 (talk) 23:50, 9 June 2009 (UTC)

Disagree. I googled to investigate the cultural impact of this essay. Birkel's rebuttal appears to be the most notable and as such is a significant artifact. WP enabled me to find it. I believe it's important because it helps to put the essay into historical context. Note that it's been seven years. There's room for more rebuttal. – tbc (talk) 16:51, 3 January 2013 (UTC)

Neither agree nor disagree, but if we do have Birkel's rebuttal mentioned, there ought to be a citation of an online or offline resource. — Preceding unsigned comment added by Preserved killick (talk • contribs) 23:51, 1 February 2017 (UTC)

"Quotation issue" really an issue?
The opening line to this section reads:

"The book is commonly quoted as:"

This would imply that the mis-quoted text that follows has appeared in numerous places; however, the section only references one instance of the mis-quote as it appears on the Instapundit blog. I'm not one to question the notability of the Instapundit blog (I've never heard of it before, but I'm happy to accept that I may be in a minority), but this singular occurrence of a quotation error doesn't feel like an "issue", and the blog itself contains an acknowledgement and correction further down.

Unless there is evidence that the book is routinely mis-quoted elsewhere, I'm not sure that the inclusion of this section is helpful to people wanting to know more about Neal Stephenson's essay.

I (will) have added some tags to this effect, but if no additional information can be provided I propose removing the section. -- G — Preceding unsigned comment added by 217.35.226.67 (talk) 11:50, 15 August 2011 (UTC)

It seems that the first sentence in the quotation is, in fact, in the book -- at least the version which is linked to at the end of the article. — Preceding unsigned comment added by 128.151.150.9 (talk) 18:47, 25 August 2011 (UTC)

...except it isn't. I just did a text-search on the linked version of the book, and it does not contain the referenced mis-quoted sentence. Try it yourself. I therefore propose removal of the section. -- G — Preceding unsigned comment added by 86.130.57.71 (talk) 13:33, 30 August 2011 (UTC)

On Bug Tracking
There is much I dislike about this entire article, but I'm going to eat the elephant one bite at a time. I replaced the paragraph about bug tracking. I used google.com/search?q=neal+stephenson+debian+bug+6518 – tbc (talk) 16:51, 3 January 2013 (UTC)

Citation NOT needed?
A phrase like “similar to Zen and the Art of Motorcycle Maintenance” is marked “[Citation needed]”. The title is a link to the WP article about that work. How can there be any more citation needed than that? --CRConrad (talk) 11:46, 12 May 2019 (UTC)


text:
Eric Sevareid

Arnold Eric Sevareid (November 26, 1912 – July 9, 1992) was an American author and CBS news journalist from 1939 to 1977. He was one of a group of elite war correspondents who were hired by CBS newsman Edward R. Murrow and nicknamed "Murrow's Boys." Sevareid was the first to report the Fall of Paris in 1940, when the city was captured by German forces during World War II.

Sevareid followed in Murrow's footsteps as a commentator on the CBS Evening News for thirteen years, for which he was recognized with Emmy and Peabody Awards.

Early life
Sevareid was born in central North Dakota at Velva to Alfred Eric and Clara Pauline Elizabeth Sevareid (née Hougen). The town's economy was largely dependent on wheat farming. According to Sevareid, his neighbors were extremely charitable towards friends but very wary of outsiders; it was an egalitarian but politically conservative community. After the failure of the bank in Velva in 1925, his family moved to nearby Minot, and then to Minneapolis, Minnesota, settling on 30th Avenue North. He attended Central High School in Minneapolis. Sevareid graduated from the University of Minnesota in 1935. A descendant of Norwegian immigrants, he preserved a strong bond with Norway throughout his life.

Sevareid was adventurous from a young age; several days after he graduated from Central High School in 1930, he and his friend Walter Port embarked on an expedition sponsored by the Minneapolis Star to travel by canoe from Minneapolis to York Factory, on Hudson Bay. They canoed up the Minnesota River and its tributary, the Little Minnesota River, to Browns Valley, portaged to Lake Traverse, and descended the Bois des Sioux River to the Red River of the North, which led to Lake Winnipeg. They then went down the Nelson River, Gods River, and Hayes River to Hudson Bay, a trip of 2250 mi. Sevareid's book Canoeing with the Cree (1935) was the result of this canoe trip and is still in print.

Early career
At age 18, Sevareid entered journalism as a reporter for the Minneapolis Journal while he was a student at the University of Minnesota in political science. At the Journal, he wrote a five-part series on the Silver Shirts. He was disappointed with the way the editors portrayed the organization as ridiculous rather than a legitimate political threat. He received many personal threats of physical force in response to the story, but believed that the people issuing them were too cowardly to follow through.

He continued his studies abroad, first in London, and then at the Sorbonne University in Paris, where he also worked as an editor for United Press. Sevareid then became city editor of the Paris Herald Tribune, and later joined CBS as a foreign correspondent based in Paris.

Sevareid broadcast the Fall of Paris and followed the French government from there to Bordeaux and then Vichy before he left France for London and later Washington, D.C. He was appointed as CBS's Washington bureau chief in July 1942.

He wrote about the Plains influence on his life in his early memoir, Not So Wild A Dream (1946). The book is still in print and covers his life in Velva, his family, the Hudson Bay trip, his hitchhiking around the U.S., mining in the Sierra Nevada, the Great Depression years, his early journalism, and (especially) his experiences in World War II.

Relationship with Edward Murrow
Sevareid's work during World War II, with Edward Murrow as one of the original Murrow's Boys, was at the forefront of broadcasting. In 1940, he was the first to report on the Fall of France. Shortly afterward, he joined Murrow to report on the Battle of Britain. Later, Sevareid would refer fondly to the early years working with Murrow: "We were like a young band of brothers in those early radio days with Murrow." In his final broadcast with CBS, in 1977, he would call Murrow the man who "invented me."

Rescue in Burma
On August 2, 1943, Sevareid was on board a Curtiss-Wright C-46 Commando that, having taken off from Assam in India, developed engine trouble over Burma while it was on a Hump airlift mission. He grabbed a bottle of Carew's gin before he parachuted out of the plane. The U.S. Army Air Forces formed a search and rescue team to bring the group out from behind enemy lines. The operatives parachuted in, located the party, and evacuated them safely to India, for which John Paton Davies Jr. later won the Medal of Freedom. Davies was a U.S. diplomat who, having been a passenger himself, initially led the group away from the crash site and out of harm's way before the rescuers arrived.

Yugoslavia
In Yugoslavia, Sevareid later reported on Josip Broz Tito's Yugoslav Partisans.

Later career
After the war, Sevareid continued to work for CBS. He had begun his own program, Eric Sevareid and the News, on June 27, 1942, on CBS; it ran for five minutes, starting at 8:55 (ET) on Saturdays and Sundays. In 1946, he reported on the founding of the United Nations and then penned Not So Wild a Dream (University of Missouri Press, 1946). The book, whose title comes from part of the closing passage of Norman Corwin's radio play On a Note of Triumph, appeared in eleven printings and became one of the primary sources on the lives of the generation of Americans who had lived through the Great Depression, only to confront the horrors of World War II. In the 1976 edition of the book, Sevareid wrote, "It was a lucky stroke of timing to have been born and lived as an American in this last generation. It was good fortune to be a journalist in Washington, now the single news headquarters in the world since ancient Rome. But we are not Rome; the world is too big, too varied."

Sevareid always considered himself a writer first and often felt uneasy behind a microphone and even less comfortable on television. Nonetheless, he worked extensively for CBS News on television for decades after the war. During the middle and the end of 1950s, Sevareid found himself on television as the host and science reporter of CBS's Conquest. He also served as the head of the CBS Washington bureau from 1946 to 1954 and was one of the early critics of Joseph McCarthy's anticommunism tactics.

European correspondent
Sevareid wound up the 1950s as CBS's roving European correspondent from 1959 to 1961. He contributed stories to CBS Reports during that time and served as moderator on a number of CBS series such as Town Meeting of the World, The Great Challenge, Where We Stand, and Years of Crisis. Sevareid also appeared in or on CBS coverage of every presidential election from 1948 to 1976, the year before his retirement.

Final interview with Adlai Stevenson
One of Sevareid's biggest scoops from this time period was his 1965 exclusive interview with Adlai Stevenson II shortly before Stevenson's death. The interview was not broadcast over CBS but instead appeared in Look magazine.

CBS Evening News appearances
On November 22, 1963, Sevareid joined Walter Cronkite on CBS television with a commentary about the assassination of John F. Kennedy and the road ahead for the new president, Lyndon Johnson. From 1964 to his 1977 retirement from the network, Sevareid's two-minute segments on the CBS Evening News (anchored by Cronkite) inspired his admirers to dub him "The Grey Eminence."

During his long run as a commentator, his segments earned both Emmy and Peabody Awards. In 1987, he was honored as an inductee into the Academy's Fourth Hall of Fame. Those who disagreed with his views nicknamed him "Eric Severalsides." Sevareid recognized his own biases, which caused some to disagree with him vehemently. He said that as he had grown older, he had tended to become more conservative in foreign policy and liberal in domestic policy.

His commentary touched on many of the day's important issues. After a 1966 trip to South Vietnam, he commented that prolonging the war would be unwise and that the U.S. would be better off pursuing a negotiated settlement. He also helped keep alive another Murrow tradition at CBS that began with the interview show Person to Person. On Conversations with Eric Sevareid, he interviewed such famous newsmakers as West German Chancellor Willy Brandt and novelist Leo Rosten. In somewhat of a spoof of that tradition, he also had a conversation with King George III, portrayed by Peter Ustinov, titled The Last King in America.

In his final CBS Evening News editorial, on November 30, 1977, Severaid paid tribute to his colleagues and mentors, noting those who passed away, including Walter Lippmann and Edward R. Murrow, the latter of whom Severaid described as "the man who invented me." Severaid ended his farewell by thanking the American public for their engagement with his work, noting that the work of journalism, in his eyes, involves the "perception of honesty and fair intent."

"'There is, in the American people, a tough undiminished instinct for what is fair. Rightly or wrongly, I have the feeling that I have passed that test. I shall wear this like a medal. Millions have listened in agreement and in powerful disagreement. Tens of thousands have written their thoughts to me. I will feel always that I stand in their midst. This was Eric Severaid in Washington. Thank you and goodbye.'"

Walter Cronkite ended the broadcast by celebrating Severaid as, in his view, "one of the finest essayists of the century."

Sevareid later narrated the American history series Between The Wars. In 1981, Sevareid hosted a documentary series on PBS, entitled Enterprise, a profile on how America portrays business. The following year, he hosted the syndicated newsmagazine program Eric Sevareid's Chronicle.

He made a guest appearance as himself in a 1980 episode of the sitcom Taxi and also played himself in the 1983 space flight film The Right Stuff.

Personal life
Sevareid married the former Lois Finger. They had twin sons, Peter and Michael, born in Paris while Sevareid was stationed there as a war correspondent for CBS.

Sevareid's second marriage was to Belen Marshall. They had a daughter, Cristina, born in New York while he was working as a commentator at the New York bureau.

Death
Sevareid died of stomach cancer in Washington, D.C., on July 9, 1992, at age 79.

Honors

 * 1950, 1964, 1976: Peabody Award
 * 1954: Alfred I. duPont Award
 * 1964: State of North Dakota Theodore Roosevelt Rough Rider Award
 * 1965: New York Newspaper Guild Page One Award
 * 1977: Paul White Award, Radio Television Digital News Association
 * Emmy Award nominee:
 * Best News Reporter or Commentator – 1955
 * Best News Commentary – 1958
 * 1993: Inducted posthumously into the Scandinavian-American Hall of Fame
 * On October 5, 2007, the United States Postal Service announced that it would honor Sevareid and four other journalists of the 20th century with first-class rate postage stamps, to be issued on Tuesday, April 22, 2008. Sevareid's award was in recognition of his World War II reporting and his criticism of Sen. Joseph McCarthy's anti-communism campaign

Works

 * Canoeing with the Cree, 1935, reprinted 1968 ISBN 0-87351-152-2
 * Not So Wild a Dream (autobiography), 1946, reissued 1976 ISBN 0-8262-1014-7
 * In One Ear: 107 Snapshots of Men and Events which Make a Far-Reaching Panorama of the American Situation at Mid-Century (essays), Knopf, 1952.
 * Small Sounds in the Night: A Collection of Capsule Commentaries on the American Scene, Knopf, 1956.
 * This is Eric Sevareid (essays), McGraw, 1964.
 * (With Robert A. Smith) Washington: Magnificent Capital, Doubleday, 1965.
 * (With John Case) Enterprise: The Making of Business in America, McGraw-Hill, 1983.

Related reading

 * Raymond A. Schroth (1995) The American Journey of Eric Sevareid  (Steerforth Press) ISBN 1-883642-12-4
 * T. Harrell Allen (2017) The Voice of Reason: Eric Sevareid's CBS Commentaries (CreateSpace Independent Publishing Platform) ISBN 978-1-5470-2752-1

title: Eric Sevareid


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Software blacklist

Software blacklisting is a tool used by manufacturers of software and music on CD and DVD to prevent copying.

Essentially the software on the disc will audit the user's computer for certain types of virtual CD and CD authoring software, or for debugging software used by warez groups to create patches (known as cracks) that bypass copy protection schemes. If blacklisted software is found then certain actions are taken by the software on the game or music disc. Examples would be allowing the copying of the game to take place, but crashing the copied game when attempting to start it; allowing copies of games that will malfunction in subtle ways and simply disallowing the game to be run while this software exists.

This software blacklisting can be seen as a countermeasure to virtual CD/CD burning software used to bypass copy protection schemes such as SecuROM, SafeDisc and LaserLock.

In order to copy the CD, the user may have to copy the disc on another computer (real or virtual), uninstall the blacklisted software or wait for an update of the blacklisted software, which will have a countermeasure to the game or music disc's own blacklisting countermeasure.

title: Software blacklist


text:
Category:Corsica

Articles relating to Corsica, an island in the Mediterranean Sea and one of the 18 regions of France. It is the fourth-largest island in the Mediterranean and lies southeast of the French mainland, west of the Italian Peninsula and immediately north of the Italian island of Sardinia, the nearest land mass. A single chain of mountains makes up two-thirds of the island. The island is a territorial collectivity of France, and is expected to achieve "a form of autonomy" in the near future.

title: Category:Corsica


text:
User:Dwindrim~enwiki/Rocket fuel

Rocket fuel is the propellant which is burned to produce thrust in rockets.

The earliest rockets were created hundreds of years ago by the Chinese. Used primarily for fireworks displays and or as armaments, they were relatively simple and were fueled by black powder. Black powder, a mixture of potassium nitrate, sulfur, and charcoal, was the only fuel for centuries, so rockets did not undergo significant design or performance capabilities during that time. In the modern era, (since the 1920s), however, rockets underwent an enormous modernization. New fuels were required to achieve the goals of scientists, through World War II and the space age.

The purpose of any basic rocket propellant is to create thrust by expelling mass backward, creating forward motion in compliance with Newton's third law of motion (for any action there is an equal and opposite reaction). Propellants burn rapidly to create hot gas, which is ejected backward at extremely high speed to achieve forward motion. It is the "equal and opposite reaction" that moves the rocket, not pushing against air. Rockets actually move faster in space, given that they do not need to overcome air resistance.

The power a propellant provides is known as specific impulse, and is a direct relationship between the weight of the fuel burned and the thrust achieved. Technological development has led to many different fuels being created for different uses in rockets. They can all be classified according to two main types, however.

Solid fuels
Solid fuels were the first type of propellant to be used in rockets. Gunpowder, obviously, was the original propellant to be used in rocketry, consisting of a mixture of charcoal, sulfur and saltpeter. Solid fuels (and really, all rocket fuels) consist of an oxidizer (substance providing oxygen) and a fuel. In the case of gunpowder, the fuel is charcoal and sulfur and the oxidizer is the saltpeter. More contemporary recipies employ such compounds as sodium or potassium chlorate and powdered aluminum. (This admixture is sometimes known as "white powder"; not only is it different in appearance for black powder, it has a considerably higher energy density.

However, even white powder, despite its improved energy per init mass, was not adequate to produce the sort of thrusts required by such devices as solid-fuel rockets and solid-fuel boosters. Thiokol Propulsion produces the standard solid-rocket fuel today, a highly-inflammabke mixture of aluminum and ammonium perchlorate which has the consistency of a pencil eraser.

The advantage of solid fuel is that, once packed in a casing, it is movement-free. Solid fuel does not leak. However, once it is ignited, there is no turning it off. (However, current research is looking at techniques for throttling solid-fuel rockets, though techniques remain in the experimental stage as of 2004.)

Liquid fuels
Liquid-fuelled engines remain the primary driving engines for contemporary spacecraft. The primary reason is that, unlike with solid rockets, liquid-fuelled engines can be started, stopped, and throttled on command, but while they have greater energy output per unit mass of fuel, they require substantially more sophisticated pumping, valving, and cooling systems.

The earliest liquid-fuel rockets, as envisioned and tested by such pioneers as Robert Goddard, employed liquid hydrogen and liquid oxygen as propellants. As fuels, these substances were highly reactive, and provided a very effective ratio between the mass of the components and the velocity of the exhaust gas. Because of this effective ratio, liquid hydrogen/liquid oxygen engines have been continued to be employed up to the present time. The primary disadvantage to this fuel combination is the difficulty in maintaining temperatures low enough to ensure that both components remain liquid.

Hydrazine is another common propellant. Unlike liquid hydrogen, it needs so oxidizer, containing it within iteslf. It is thus known as a monopropellant.

A large number of liquid propellant - oxidizer compounds are in use today; see The Planetary Society - Liquid Fuel Rockets for a comprehensive list.

title: User:Dwindrim~enwiki/Rocket fuel


text:
User talk:OwensG35

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Follow the Simplified Ruleset
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

title: User talk:OwensG35


text: Country codes: H–I

title: Country codes: H–I


text:
Friedrichs extension

In functional analysis, the Friedrichs extension is a canonical self-adjoint extension of a non-negative densely defined symmetric operator. It is named after the mathematician Kurt Friedrichs. This extension is particularly useful in situations where an operator may fail to be essentially self-adjoint or whose essential self-adjointness is difficult to show.

An operator T is non-negative if

 * $$ \langle \xi \mid T \xi \rangle \geq 0 \quad \xi \in \operatorname{dom}\ T $$

Examples
Example. Multiplication by a non-negative function on an L2 space is a non-negative self-adjoint operator.

Example. Let U be an open set in Rn. On L2(U) we consider differential operators of the form

 * $$ [T \phi](x) = -\sum_{i,j} \partial_{x_i} \{a_{i j}(x) \partial_{x_j} \phi(x)\} \quad x \in U, \phi \in \operatorname{C}_c^\infty(U), $$

where the functions ai j are infinitely differentiable real-valued functions on U. We consider T acting on the dense subspace of infinitely differentiable complex-valued functions of compact support, in symbols

 * $$ \operatorname{C}_c^\infty(U) \subseteq L^2(U). $$

If for each x ∈ U the n × n matrix

 * $$ \begin{bmatrix} a_{1 1}(x) & a_{1 2}(x) & \cdots & a_{1 n}(x) \\ a_{2 1}(x) & a_{2 2} (x) & \cdots & a_{2 n}(x) \\ \vdots & \vdots & \ddots & \vdots \\ a_{n 1}(x) & a_{n 2}(x) & \cdots & a_{n n}(x) \end{bmatrix} $$

is non-negative semi-definite, then T is a non-negative operator. This means (a) that the matrix is hermitian and

 * $$ \sum_{i, j} a_{i j }(x) c_i \overline{c_j} \geq 0 $$

for every choice of complex numbers c1, ..., cn. This is proved using integration by parts.

These operators are elliptic although in general elliptic operators may not be non-negative. They are however bounded from below.

Definition of Friedrichs extension
The definition of the Friedrichs extension is based on the theory of closed positive forms on Hilbert spaces. If T is non-negative, then

 * $$ \operatorname{Q}(\xi, \eta) = \langle \xi \mid T \eta \rangle + \langle \xi \mid \eta \rangle $$

is a sesquilinear form on dom T and

 * $$ \operatorname{Q}(\xi, \xi) = \langle \xi \mid T \xi\rangle + \langle \xi \mid \xi \rangle \geq \|\xi\|^2.$$

Thus Q defines an inner product on dom T. Let H1 be the completion of dom T with respect to Q. H1 is an abstractly defined space; for instance its elements can be represented as equivalence classes of Cauchy sequences of elements of dom T. It is not obvious that all elements in H1 can be identified with elements of H. However, the following can be proved:

The canonical inclusion

 * $$ \operatorname{dom} T \rightarrow H $$

extends to an injective continuous map H1 → H. We regard H1 as a subspace of H.

Define an operator A by

 * $$ \operatorname{dom}\ A = \{\xi \in H_1: \phi_\xi: \eta \mapsto \operatorname{Q}(\xi, \eta) \mbox{ is bounded linear.} \} $$

In the above formula, bounded is relative to the topology on H1 inherited from H. By the Riesz representation theorem applied to the linear functional φξ extended to H, there is a unique A ξ ∈ H such that

 * $$ \operatorname{Q}(\xi,\eta) = \langle A \xi \mid  \eta \rangle \quad \eta \in H_1 $$

Theorem. A is a non-negative self-adjoint operator such that T1=A - I extends T.

T1 is the Friedrichs extension of T.

Another way to obtain this extension is as follows. Let :$$ L:H_1\rightarrow H $$ be the bounded inclusion operator. The inclusion is a bounded injective with dense image. Hence $$ LL^*:H\rightarrow H $$ is a bounded injective operator with dense image, where $$ L^* $$ is the adjoint of  $$  L $$ as an operator between abstract Hilbert spaces. Therefore the operator $$ A:=(LL^*)^{-1} $$ is a non-negative self-adjoint operator whose domain is the image of $$  LL^* $$. Then $$ A-I $$ extends T.

Krein's theorem on non-negative self-adjoint extensions
M. G. Krein has given an elegant characterization of all non-negative self-adjoint extensions of a non-negative symmetric operator T.

If T, S are non-negative self-adjoint operators, write

 * $$ T \leq S $$

if, and only if,

 * $$ \operatorname{dom}(S^{1/2}) \subseteq \operatorname{dom}(T^{1/2}) $$
 * $$ \langle T^{1/2} \xi \mid T^{1/2} \xi \rangle \leq  \langle S^{1/2} \xi \mid S^{1/2} \xi \rangle \quad \forall \xi \in \operatorname{dom}(S^{1/2}) $$

Theorem. There are unique self-adjoint extensions Tmin and Tmax of any non-negative symmetric operator T such that

 * $$ T_{\mathrm{min}} \leq T_{\mathrm{max}}, $$

and every non-negative self-adjoint extension S of T is between Tmin and Tmax, i.e.

 * $$ T_{\mathrm{min}} \leq S \leq T_{\mathrm{max}}. $$

title: Friedrichs extension


text:
Guðjón Arnar Kristjánsson

Guðjón Arnar Kristjánsson (5 July 1944 – 17 March 2018) was an Icelandic politician and chairman of the Liberal Party (Frjálslyndi flokkurinn) from 2003 to 2009. He served as the captain of fishing vessels in the years from 1967 to 1997. He was an active member of the Independence Party and attended meetings of Althingi 8 times in 1991–1995. In 1999 he joined Sverrir Hermannsson and formed the Liberal Party. He was a member of Althingi from 1999 to 2009.

Personal life
Guðjón Arnar was the son of Jóhanna Jakobsdóttir and Kristján Sigmundur Guðjónsson, commonly known as Kitti Gau (short for Kristján Guðjónsson). As such, Guðjón Arnar was commonly referred to as Addi Kitta Gau which means Addi (short for Arnar) son of Kitti Gau.

Death
Guðjón Arnar died on 17 March 2018 in the National University Hospital of Iceland after a battle with cancer.

title: Guðjón Arnar Kristjánsson


text:
Corabia

Corabia is a small Danube port located in Olt County, Oltenia, Romania, which used to be part of the now-dissolved Romanați County before World War II. Across the Danube from Corabia lies the Bulgarian village of Gigen.

History
Beneath Corabia, around the former village of Celei, lie the remains of Sucidava, an ancient Dacian and Daco-Roman town and fortress. Near the town, Emperor Constantine the Great built the longest European bridge over the Danube (2437 m). The bridge was destroyed during the Avar invasions, probably in the 7th century. The ruins also contain an old Roman bath and an old basilica. The name Corabia reflects the fact that the new settlement was built from the remains of a wrecked Genoan ship (corabia is the Romanian language term for "sailing ship", specifically used for "galley"). It became a thriving port in the 1880s.

Under the communist regime, Corabia developed as a considerable manufacturing town, with a sugar mill, furniture factory, tannery, a fiber manufacturing plant, and various other facilities. However, in more recent times the town's population has dwindled. Many inhabitants have migrated to larger towns in the wake of the closure of many of Corabia's factories.

Geography
Corabia is located in the southern part of Olt County, on the left bank of the Danube, on the border with Bulgaria. It administers two villages, Tudor Vladimirescu and Vârtopu. The town houses a football club, several shops and bars, the remains of the Roman castrum Sucidava, dating back to the Roman period and featuring the "Secret Fountain" (an unusual piece of engineering); the Holy Trinity Orthodox Cathedral (one of the largest buildings of its kind in Romania), as well a monumental statue in the middle of the town square commemorating the use of Corabia's facilities in the initial attack during the Romanian War of Independence of 1877. Corabia also has an important archaeological museum with, inter alia, a remarkable collection of Roman pottery. From the town harbour one can make trips along the Danube, with stops at the nearby Băloi Island.

Natives

 * Pavel Chihaia (1922–2019), novelist
 * Theodor Danetti (1926–2016), stage and film actor
 * Nicolae Dobrescu (1874–1914), church historian and theologian
 * Valentin Al. Georgescu (1908–1995), jurist, member of the Romanian Academy
 * Pola Illéry (1909–1993), Romanian-American actress and singer
 * Șerban Ionescu (1950–2012), actor
 * Theodor D. Ionescu (1898–1990), chemical engineer, corresponding member of the Romanian Academy
 * Virgil Mazilescu (1942–1984), poet, essayist, and translator
 * Ion Oblemenco (1945–1996), footballer
 * Ion Rîmaru (1946–1971), serial killer
 * Robert Săceanu (born 1983), footballer
 * Vladimir Screciu (born 2000), footballer
 * Cristina Vărzaru (born 1979), handballer
 * Ștefan Voitec (1900–1984), Marxist journalist and communist politician

title: Corabia


text:
The Lilac Domino

Der lila Domino (The Lilac Domino) is an operetta in three acts composed by Charles Cuvillier. The original German libretto is by Emmerich von Gatti and Bela Jenbach, about a gambling count who falls in love at a masquerade ball with a noblewoman wearing a lilac domino mask.

The operetta achieved far greater popularity in Britain and America than it did in Germany or France. Although The Lilac Domino became Cuvillier's greatest international hit, he won success in his native Paris with the operetta La reine s'amuse (1912; The Naughty Princess in London, 1920). He was popular in Germany before the First World War, and Der lila Domino was the first of two operettas that he wrote for German theatres.

Performance history
Der lila Domino was first performed in Leipzig, Germany, on February 3, 1912, where it was a failure. Although produced with success in the U.S. (1914) and outstanding success in the UK (1918), the work was not seen in France until 1947, when a production was mounted at Mulhouse, with a cast including Willy Clément.

Broadway version
Entitled The Lilac Domino, with an English libretto by Harry B. Smith, lyrics by Robert B. Smith, and additional songs by Howard Carr and Donovan Parsons, it opened on Broadway at the 44th Street Theatre on October 28, 1914, produced by Andreas Dippel. It received favourable notices and ran for 109 performances, starring Eleanor Painter and the English baritone Wilfrid Douthitt, followed by a North American tour. In the U.S. and UK versions, the setting was changed from Nice, France to Palm Beach, Florida.

Broadway cast, 1914

 * Vicomte de Brissac – George Curzon
 * Georgine – Eleanor Painter
 * Elledon – James Harrod
 * Leonie D'Andorcet – René Detling
 * Count André de St. Amand – Wilfrid Douthitt
 * Prosper – John E. Hazzard
 * Casimir – Robert O'Connor
 * Baroness de Villiers – Jeanne Maubourg
 * Istvan – Harry Herrosen

London version
A new version was presented in London, with revised dialogue by S. J. Adair Fitzgerald, opening at the Empire Theatre on February 21, 1918, and running there until September 27, 1919. After a brief break, the production transferred to the Palace Theatre in October 1919. The piece ran for a total of 747 performances, closing on December 13, 1919, an extraordinarily long run at that time. The London cast starred Clara Butterworth and Jamieson Dodds. It became the third of London's great World War I hits after Chu Chin Chow (1916) and The Maid of the Mountains (1917). Some of its success in London was due to interpolated numbers by the Empire Theatre's musical director, Howard Carr, a nephew of the composer Howard Talbot. One newspaper review commented, "The music throughout is beautiful and even if the whole company were to dispense with costumes and sit in a ring like Christy Minstrels, the Lilac Domino would be a success". To which the humorous magazine Punch responded, "We can well believe it."

London cast, 1918
Pigott, who played the role of the heroine's millionaire father, died suddenly in his dressing room, during the run, having not missed a single performance of the first 565.
 * Cornelius Cleveden – R. Stuart Pigott
 * Leonie Forde – Josephine Earle
 * Elliston Deyn – Vincent Sullivan
 * Prosper Woodhouse – Frank Lalor
 * Norman J. Calmain – Edwin Wilson
 * The Hon. Aubrey D'Aubigny – Jamieson Dodds
 * Carabana – Dallas Anderson
 * Georgine – Clara Butterworth
 * Baroness de Villiers – Andrée Corday

The Lilac Domino remained in the British musical theatre repertoire until after World War II, also touring in Britain, Australia and elsewhere. Jamieson Doods, from the London cast, led the first Australian tour in 1920. Notable revivals included a 1944 production at His Majesty's Theatre in London starring Pat Taylor as Georgine, with a cast including Leo Franklyn, Bernard Clifton, Graham Payn and Elizabeth French. In 1953 a revised book was prepared by H. F. Maltby, which proved popular with amateur groups and removed the American elements of the original English version, restoring the setting to France.

Film adaptation
A film version, The Lilac Domino, was released in the UK in 1937 and in the U.S. in 1940, starring Michael Bartlett as Count Anatole and June Knight as Shari, the Lilac Domino. The setting was changed to Budapest.

Synopsis
At Hotel Parnasse in Nice, during Carnival, at a masquerade ball, everyone is amazed by news that the wealthy old Lyons silk merchant Gaston Le Sage has found a new young bride, a widow named Leonie Lemmonnier. However, Leonie is more interested in Gaston's shy young step-nephew, Paul, who has been promised to Gaston's 18-year-old daughter Georgine. Georgine arrives masked and identified only as the "Lilac Domino". Meanwhile, three young men have lost heavily at cards. They agree that one must seek a wealthy bride in order to repay their gambling debts. Count André de St. Armand is chosen by the roll of dice to do the marrying. Fortunately, he has already fallen in love with a girl in a lilac domino. However, Georgine learns of the dice game, believes that André is wooing her only for her money, and breaks things off with him even though she returns his love. A gypsy violinist helps to solve the complications and unite the lovers. All ends happily.

Musical numbers (London version)

 * Act I
 * 1. No Fools Like Old Fools – Company
 * 2. We Girls Don't Like Them Shy – Léonie
 * 3. Let the Gypsies Play – Jack
 * 4. My Fate – Georgine
 * 5. The Lilac Domino – Georgine
 * 6. Finale Act I: This Seems to Me a Tricky Business – Drake, Bertie, Raymond, Jack

 * Act II
 * 7. For Your Love I Am Waiting – Léonie
 * 8. A Pretty Pair – Montague & Bertie
 * 9. Hello! Lilac Domino! – Jack with Georgine
 * 10. Bells of Bon Secour – Jack
 * 11. Dancing, Dancing – Drake, Raymond, Jack, Georgine, Léonie, Gaston and Paul
 * 12. What Has Gone – Georgine
 * 13. Finale Act II: – Seek, Find, Love's Blind

 * Act III
 * 14. Carnival Night
 * 15. All Line Up in a Queue – Drake and Girls
 * 16. Ah! Ah! Ah! / Tarantella – Girls
 * 17. We Girls Don't Like Them Shy (Reprise) – Léonie
 * 18. Carte de jour – Guests
 * 19. Finale Act III: The Domino! The Lilac Domino! – Company

title: The Lilac Domino