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Demutualization

Demutualization is the process by which a customer-owned mutual organization (mutual) or co-operative changes legal form to a joint stock company. It is sometimes called stocking or privatization. As part of the demutualization process, members of a mutual usually receive a "windfall" payout, in the form of shares in the successor company, a cash payment, or a mixture of both. Mutualization or mutualisation is the opposite process, wherein a shareholder-owned company is converted into a mutual organization, typically through takeover by an existing mutual organization. Furthermore, re-mutualization depicts the process of aligning or refreshing the interest and objectives of the members of the mutual society.

The mutual traditionally raises capital from its customer members in order to provide services to them (for example building societies, where members' savings enable the provision of mortgages to members). It redistributes some profits to its members. By contrast, a joint stock company raises capital from its shareholders and other financial sources in order to provide services to its customers, with profits or assets distributed to equity or debt investors. In a mutual organization, therefore, the legal roles of customer and owner are united in one form ("members"), whereas in the joint stock company the roles are distinct. This allows a broader capital base if the customers cannot or will not provide sufficient financing to the organization. However, a joint stock company must also try to maximize the return for its owners instead of only maximizing the return and customer services to its customers. This can lead to a decline in customer service to the extent that customers', management's and shareholders' interests diverge.

A very early example of demutualization were the changes to the structure of the Union Insurance Society of Canton initiated by its secretary N.J. Ede between 1873 and 1882 leading to its re-registration as a limited company having originated as a mutual assurance society for traders in Canton in 1835.

Types of demutualizations
There are three general methods in which an organization might demutualize, full demutualization, sponsored demutualization, and into a mutual holding company (MHC). In any type of demutualization, insurance policies, outstanding loans, etc., are not directly affected by the organization's change of legal form.

 * In a full demutualization, the mutual completely converts to a stock company, and passes on its own (newly issued) stock, cash, and/or policy credits to the members or policyholders. No attempt is made to preserve mutuality in any form. However, in a full demutualization of a mutual savings bank, stock is issued to investors in an initial public offering, while the depositors, who theoretically owned the bank before demutualization, do not automatically receive stock and must separately invest. Under United States federal and state regulations, depositors receive first priority to purchase the stock before any other investors.
 * A sponsored demutualization is similar; the mutual is fully demutualized and its policyholders or members are compensated. The difference is that the mutuality is essentially bought by a stock corporation. Instead of receiving stock in the formerly mutual company, stock in the new parent company is granted instead.
 * A mutual holding company is a hybrid concept, part stock company and part mutual company. Technically, the members still own over 50% of the company as a whole. Because of this, they are generally not significantly compensated for what would otherwise be viewed as loss of property. (This is also why many jurisdictions, including Canada, disallow the formation of MHCs.) The core participants are isolated into a special segment of the company, still viewed as "mutual". The rest is a stock company. This part of the business might be publicly traded, or held as a wholly owned subsidiary until such time that the organization should choose to go public.

Mutual holding companies are not allowed in New York where attempts by mutual insurance to pass permissible legislation failed. Opponents of mutual insurance holding companies referred to the establishment of mutual holding companies in New York as "Legalized Theft".

Some MHC demutualizations have been planned as the first of a two-stage process. The second stage would be full demutualization once the transition pains into MHC status are complete. In other cases, the MHC is the final stage.

Note that some mutual companies, such as Nationwide Mutual Insurance Company and the MassMutual, have owned stock companies listed on a stock exchange. Nationwide bought back its subsidiary stock company in full, on December 31, 2008. These are not MHCs, however; they are simply mutual companies which have majority control over one or more stock companies. Other mutual companies may own some of another company's stock, but as simply an asset, not something they actually control. Finally, many mutual companies, including Nationwide and MassMutual, have wholly owned subsidiaries. The subsidiaries may technically be stock companies, but the mutual owns all the stock. For example, the New York Life Insurance and Annuity Corporation (NYLIAC) is a wholly owned subsidiary of the New York Life Insurance Company (NYLIC). A person may purchase an insurance policy from either company, but only those who own participating policies from NYLIC are mutual members. Other policyholders are customers.

Security exchanges
The Stockholm Stock Exchange was the first exchange to demutualize in 1993, followed by Helsinki (1995), Copenhagen (1996), Amsterdam (1997), the Australian Exchange (1998) and Toronto, Hong Kong and London Stock Exchanges in 2000. The Chicago Mercantile Exchange became a shareholder-owned public corporation in 2000 through a public offering. "The road to this initial public offering began in June 2000, when Exchange members voted overwhelmingly to transform the then not-for-profit, membership-owned organization into a for-profit, shareholder-owned corporation. On November 13, 2000, CME became the first U.S. exchange or commodities exchange to demutualize into a joint stock corporation." The Chicago Mercantile Exchange had its IPO on December 6, 2002.

The Chicago Board of Trade similarly carried out an IPO in 2005, having previously been "a self-governing, self-regulated Delaware not-for-profit, non-stock corporation that serves individuals and member firms". The Stock Exchange of Hong Kong underwent a similar process of demutualization and was publicly traded.

SIX Group, a global financial service provider based in Switzerland, represents an extra ordinary form of a mutualised organisation. The owners are limited to an exclusive group of service consumers, in particular Swiss and foreign banks. This entails a closer relationship with the customer, since a customer might influence the customer-oriented behavior by the magnitude of its own equity holding of SIX Group – in this category the subsidiary SIX Swiss Exchange AG.

Life insurers
Over 200 US mutual life insurance companies have demutualized since 1930. At the end of the 20th century and beginning of the 21st century numerous large mutuals such as Prudential, MetLife, John Hancock, Mutual of New York, Manulife, Sun Life, Principal, and Phoenix Mutual decided to demutualize and return to policyowners all the profits they had accumulated as mutual life insurers. Policyowners were awarded cash, stock and policy credits exceeding $100 billion in a wave of demutualizations, which have been regarded by some as very rewarding to the new owners although the effect on customers is not discussed. Others show that the demutualization process is detrimental to customers.

The boards of directors of other mutual companies, which include Northwestern Mutual, Massachusetts Mutual, New York Life, Pacific Life, Penn Mutual, Guardian Life, Minnesota Life, Ohio National Life, National Life Group, Union Central Life, Acacia life, and Ameritas Life decided to either remain mutual or they decided to form mutual insurance holding companies. At the end of 2006 there were fewer than 80 mutual life insurers in the United States. Some of these mutual companies award dividends to their policyowners. For example, Northwestern Mutual expects to pay more than $5 billion in dividends to participating policyowners in 2008. Northwestern Mutual has paid its policyowners more than $65 billion in dividends, since the company was founded 151 years ago. Mass Mutual Financial Group's Web site defines life insurance policy dividends.

Agricultural cooperatives
Numerous agricultural supply and marketing cooperatives have demutualized. One of the largest, CF Industries, a manufacturer and distributor of fertilizers in the United States, was for 56 years a cooperative federation. CF then demutualized and made an initial public offering of equity stock in 2005.

Another large example is Kerry Co-operative Creameries of Ireland, a milk and meat processor that partially demutualized in 1986 under the so-called Irish model, with the primary business of the co-operative transferred to a publicly traded company Kerry Group and the shareholding split between the co-operative and its farmer members. Since this partial demutualisation, the co-operative has gradually reduced its holding in the Kerry Group in order to fund an extensive redemption scheme of its own co-operative shares held by farmer members.

Murray Goulburn Co-operative and Australia's 2016 dairy crisis is another large example.

Building societies
A building society is a form of mutual mortgage provision organization that emerged in the UK in the 19th century, for personal savings and home mortgages. For much of the 20th century, building societies had a large share of the retail savings market, and they had their zenith after the deregulation under the Building Societies Act 1986. Following that Act, many of the larger societies, beginning with Abbey National, the second largest, in 1989, and including the Halifax Building Society, the largest, soon converted into joint stock banking companies, some of which were subsequently acquired by other banks. Many societies soon became targets of speculative "carpetbaggers", who opened savings accounts in order to obtain a windfall, in cash or shares, in the event of demutualisation. Most of the remaining societies, such as the Nationwide Building Society, the largest remaining mutual, adopted poison pill clauses in their rules as a defense against carpetbaggers. These took the form of a charitable assignment provision that requires new members to assign any compensation from demutualization to charity.

Membership associations
The UK motorists' organization, The Automobile Association, demutualized and was purchased by Centrica plc in 1999. The sale was completed in July 2000 for £1.1 billion.

Retail consumers' cooperatives
As well as the many agricultural supply cooperatives that demutualized, a small number of general retail consumer's cooperatives have demutualized or considered demutualization. In 1997, Andrew Regan launched an unsuccessful hostile takeover bid to demutualize the UK's giant Co-operative Wholesale Society, which, despite its name, was a large retailer in its own right. In 2007, the tiny Scottish retailer, Musselburgh and Fisherrow Co-operative Society, completed most or all of the steps necessary to demutualize. In 2008, a Swiss competition regulator recommended demutualization to Switzerland's leading supermarket chains, Coop and Migros.

Retailers' co-operatives
Irish grocer-owned retailers' cooperative, ADM Londis, changed its capital structure in 2004 to an unlisted public limited company, allowing its owners to trade its stock privately at market value.

title: Demutualization


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User talk:Wizha1

wizha List of topict to watch Early childhood education socail constuctionism teacher teaching weblog

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

title: User talk:Wizha1


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Thomas Buergenthal

Thomas Buergenthal (11 May 1934 – 29 May 2023) was a Czechoslovak-born American international lawyer, scholar, law school dean, and judge of the International Court of Justice (ICJ). He resigned his ICJ post as of 6 September 2010 and returned to his position at The George Washington University Law School where he was the Lobingier Professor Emeritus of Comparative Law and Jurisprudence.

Early life
Thomas Buergenthal was known as one of the youngest holocaust victims to survive places like Auschwitz and Sachsenhausen, which were concentration camps. The first 11 years of his life were spent under German authority. It is known that when the Germans were pushed out by the Soviet army in January 1945, the Germans forced the victims out by marching them; it was a long journey, people began to get tired and if they stopped they were executed. Buergenthal was one of the few children to survive the three day march to Sachsenhausen, where Buergenthal would soon be liberated. His mother was liberated from a different concentration camp around the same time, though they did not find each other until 1946. His father was killed shortly before liberation in yet another camp. Buergenthal, born to German-Jewish/Polish-Jewish parents who had moved from Germany to Czechoslovakia in 1933, grew up in the Jewish ghetto of Kielce (Poland) and later in the concentration camps at Auschwitz and Sachsenhausen. After the War he lived with his mother in Göttingen.

On 4 December 1951, he emigrated from Germany to the United States. He studied at Bethany College in West Virginia (graduated 1957), and received his J.D. at New York University Law School in 1960, and his LL.M. and S.J.D. degrees in international law from Harvard Law School. Judge Buergenthal is the recipient of numerous honorary degrees from American, European and Latin American Universities, including the University of Heidelberg in Germany, the Free University of Brussels in Belgium, the State University of New York, the American University, the University of Minnesota, and the George Washington University.

Career
Buergenthal was a specialist in international law and human rights law.

Buergenthal served as a judge on the International Court of Justice at The Hague from 2 March 2000 to his resignation on 6 September 2010. Prior to his election to the International Court of Justice, he was the Lobingier Professor of Comparative Law and Jurisprudence at The George Washington University Law School. He was Dean of Washington College of Law of American University from 1980 to 1985, and held endowed professorships at the University of Texas, SUNY/Buffalo Law School, and Emory University. While at Emory, he was the director of the Human Rights Program of the Carter Center. Buergenthal served as a judge for many years, including lengthy periods on various specialized international bodies. Between 1979 and 1991, he served as a judge of the Inter-American Court of Human Rights, including a term as that court's president; from 1989 to 1994, he was a judge on the Inter-American Development Bank's Administrative Tribunal; in 1992 and 1993, he served on the United Nations Truth Commission for El Salvador; and from 1995 to 1999, he was a member of the United Nations Human Rights Committee.

Buergenthal was the author of more than a dozen books and a large number of articles on international law, human rights and comparative law subjects. He was member of a number of editorial boards of law journals, including the American Journal of International Law. He also served as a member of the Ethics Commission of the International Olympic Committee.

On 9 July 2004, Judge Buergenthal was the sole dissenter in the advisory opinion on the Israeli West Bank barrier, where the ICJ found 14-1 that the Israeli-built barrier into the occupied West Bank violated international law and should be torn down. While he stated that Israeli settlements were illegal under the Fourth Geneva Convention and that the Palestinians had the right of self-determination, Judge Buergenthal felt that the court hadn’t looked into the question of self-defense adequately.

Judge Buergenthal was a co-recipient of the 2008 Gruber Prize for Justice for his contributions to the promotion and protection of human rights in different parts of the world, and particularly in Latin America. He was also a recipient of the following awards: Goler T. Butcher Medal, American Society of International Law, 1997; Manley O. Hudson Medal, American Society of International Law, 2002; Elie Wiesel Award, U.S. Holocaust Memorial Council, 2015; and Olympic Order, International Olympic Committee, 2015.

Buergenthal strongly supported the creation of the International Nuremberg Principles Academy in Nuremberg, Germany, and became the first President of its Advisory Council in 2014. From 2016 until his death in 2023, he served as its Honorary President.

His memoir, A Lucky Child, which describes his experience in various German concentration camps, has been translated into more than a dozen languages, including German, French, Spanish, Japanese, Dutch, Norwegian and Swedish.

Death
Buergenthal died on 29 May 2023, at the age of 89.

Selected works

 * Vol. 2 ISBN 9780672821875 Vol. 3 ISBN 9780672842276
 * , Thomas, Shelton, Stewart, 4th ed. (2009)
 * , 5th ed. (2013), 4th ed. (2007)
 * , Thomas, Shelton, Stewart, 4th ed. (2009)
 * , 5th ed. (2013), 4th ed. (2007)
 * , Thomas, Shelton, Stewart, 4th ed. (2009)
 * , 5th ed. (2013), 4th ed. (2007)
 * , 5th ed. (2013), 4th ed. (2007)

Lectures
A Brief History of International Human Rights Law in the Lecture Series of the United Nations Audiovisual Library of International Law

"The Lawmaking Role of International Tribunals," Dean Fred F. Herzog Memorial Lecture, 17 October 2011, The John Marshall Law School, Chicago, Illinois.

title: Thomas Buergenthal


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User:Crystallp

Hello, My name is crystallp. I'm currently a fourth year Early Childhood Education Student at Ryerson University.

Links:

[ECEGroup]

[crystallp's Widgetwiki Page]

crystallp's livejournal

title: User:Crystallp


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Talk:Horse Feathers

Credits - Horse Feathers
Walter Brennan is not the uncredited sports commentator in Horse Feathers. That's Phil Tead, who looks a little like Walter Brennan. The commentary track on the "Horse Feathers" Blu-ray identifies the actor as Brennan, but I saw him in "The Most Dangerous Game" and looked him up. (Both movies were released in the same year.) ClassicCF (talk) 15:05, 16 July 2024 (UTC)

title: Talk:Horse Feathers


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Ellen Nikolaysen

Ellen Helen Nikolaysen (born 10 December 1951) is a Norwegian singer/actress. She participated in the Eurovision Song Contest in 1973 as part of the Bendik Singers group with the song It's Just A Game and Eurovision this time as a solo artist in 1975 with Touch My Life With Summer. She won the Best Performance Award at the World Popular Song Festival in Tokyo in 1974 with the entry "You Made Me Feel I Could Fly". In the early 1990s she began a new career as actor in musicals on Norwegian theatre stages.

Albums

 * 1972; Stans! Jeg vil gi deg en sang
 * 1973: Freckles
 * 1976: Kom
 * 1978: Jul med Hans Petter og Ellen with Hans Petter Hansen
 * 1983: Songar utan ord with Sigmund Groven
 * 1987: Julekvad

Singles

 * 1971 "Livet er som et orkester" ("We're All Playing in the Same Band") / Kom, kom, kom (Pomme, pomme, pomme) (Philips 6084 008)
 * 1973 "Sangen han sang var min egen" ("Killing Me Softly With His Song") / Når du ler
 * 1974 "Kunne du lese tanker"
 * 1974 "You Made Me Feel I Could Fly" / "Who Put the Lights Out" (Philips 6084 043)
 * 1975 "Du gjorde verden så lys" / "Hvis du tror meg (si det nå)" (Philips 6084 045)
 * 1975 "Touch My Life With Summer" / "You Made Me Feel I Could Fly" (Philips 6084 046)
 * 1975 "Wer liebt kommt wieder" / "Aber du" (Philips 6003 419)
 * 1977 "Sommerzeit" / "Du bist nicht mehr, was du mal warst" Boy (CBS 5262)

title: Ellen Nikolaysen


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User:Icefyre

 * "I'd play with fire to break the ice
 * And I'd play with a nuclear device
 * Is it something I'll regret?"
 * ~ Wendy Clear

Important aspects of my life:

Computer Science - The study of computers and their architecture, languages, and applications, in all aspects, as well as the mathematical structures that relate to computers and computation.

Martial Arts - Bodies of codified practices or traditions of unarmed and armed combat.

Music - The artful or pleasing organization of sound and silence. Extreme Sports - Sports designed to push the limits of the individual - a test of control and physical ability.
 * Extreme - Going to great lengths; the furthest end or farthest reaches; Existing in the highest degree.
 * Sport - Physical activity; An active pastime; recreation.

title: User:Icefyre


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Talk:Priscus

Comments
Curious problem in the caption to the image. The correct spelling of the Greek word is ἹΣΤΟΡΙΑ; but the painter, getting it wrong, unequivocally painted ἹΣΤΩΡΙΑ. I'm in favor of at least captioning it with the correct Greek spelling, since the purpose of the caption is to inform the reader on Priscus, not on the painting? Bill 21:30, 4 Oct 2004 (UTC)
 * That is reasonable. Noting the misspelling would also be acceptable, I think. —No-One Jones (m) 21:33, 4 Oct 2004 (UTC)

Gore Vidal character of same name
Hi, Mirv. Perhaps it should be mentioned that Priscus may today be best known popularly as one of the two pseudo-narrarators in Gore Vidal's novel "Julian"? BarrettBrown 03:03, 6 May 2006 (UTC)

Goth
Priscus was a Goth, not a Greek! It clearly states that in Jordanes's History of the Goths. I will make the necassary change.--Lucius Sempronius Turpio 06:13, 11 August 2007 (UTC)

 * Personally, I don't care whether or not Priscus was a Goth or a Greek. I recommend providing a direct in-line citation (provide page number and direct quote please) when incorporating any information pertaining to the historian's background. If Jordanes states that Priscus was a Goth, then it is essential that you (or anyone) provide direct references. Deucalionite (talk) 01:36, 15 January 2008 (UTC)

 * Concur, entirely. Thank you for the initial strong scholarly work that set this article on it good course. Cheers, Le Prof 71.201.62.200 (talk) 00:27, 22 August 2015 (UTC)
 * As was later corrected, no, he was not a Goth. Jordanes' error has been noted by historians such as Momsen. — Preceding unsigned comment added by 50.111.29.1 (talk) 14:15, 30 August 2022 (UTC)

title: Talk:Priscus


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National interest

The national interest is a sovereign state's goals and ambitions (economic, military, cultural, or otherwise), taken to be the aim of government.

Etymology
The Italian phrase ragione degli stati was first used by Giovanni della Casa around the year 1547.

The expression "reason of state" (Ragion di Stato) was championed by Italian diplomat and political thinker Niccolò Machiavelli, and was later popularised by Italian political thinker Giovanni Botero around 1580s,. Prominently, Chief Minister Cardinal Richelieu justified France's intervention on the Protestant side, despite its own Catholicism, in the Thirty Years' War as being in the national interest in order to block the increasing power of the Catholic Holy Roman Emperor. At Richelieu's prompting, Jean de Silhon defended the concept of raison d'État as "a mean between what conscience permits and affairs require."

Usage
Within the field of international relations, national interest has frequently been assumed to comprise the pursuit of power, security and wealth. Neorealist and liberal institutionalist scholars tend to define national interest as revolving around security and power. Liberal scholars view national interests as an aggregation of the preferences of domestic political groups. Constructivist scholars reject that the national interest of states are static and can be assumed a priori; rather, they argue that the preferences of states are shaped through social interactions and are changeable.

In a February 2020 article for CSIS, Gordon de Brouwer argued: "The national interest has three components—security, prosperity, and social wellbeing—and they should all be part of framing the problem and solutions. All three matter. More than ever, they reinforce each other. Security underpins prosperity, prosperity creates power and pays for security, and a well-functioning society reduces economic and security risks."

title: National interest


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East Montlake Park

East Montlake Park is a park in the Montlake neighborhood of Seattle, Washington, USA. The park is bounded on the north by the Montlake Cut, on the east by Union Bay, on the south by Washington State Route 520, and on the west by East Park Drive E. It is across from the Huskies Stadium. There is a large parking area.

The 1971 Montlake Cut Waterside Trail runs through the park past the 40-foot totem pole shown at right on its way to West Montlake Park. A plaque at the bottom of the totem pole states that it was carved in 1937 by John Dewey Wallace, a Haida chief, in Waterfall, Alaska. The dedication ceremony for the donated totem pole took place in May 1983. The park used to house the Museum of History and Industry (MOHAI) until the museum was relocated to a different location. There are also floating paths, an observation deck, and some benches.

Before construction of the Evergreen Point Floating Bridge replacement, McCurdy Park, formerly home to the Museum of History & Industry, existed to the south and east. Since 2019, East Montlake Park has been closed for preparation of the WSDOT 520 bridge replacement project.

title: East Montlake Park


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User:Rosemerced

[]

title: User:Rosemerced


text: User talk:129.24.89.145

title: User talk:129.24.89.145


text:
List of satellites in geosynchronous orbit

This is a list of satellites in geosynchronous orbit (GSO). These satellites are commonly used for communication purposes, such as radio and television networks, back-haul, and direct broadcast. Traditional global navigation systems do not use geosynchronous satellites, but some SBAS navigation satellites do. A number of weather satellites are also present in geosynchronous orbits. Not included in the list below are several more classified military geosynchronous satellites, such as PAN.

A special case of geosynchronous orbit is the geostationary orbit, which is a circular geosynchronous orbit at zero inclination (that is, directly above the equator). A satellite in a geostationary orbit appears stationary, always at the same point in the sky, to ground observers. Popularly or loosely, the term "geosynchronous" may be used to mean geostationary. Specifically, geosynchronous Earth orbit (GEO) may be a synonym for geosynchronous equatorial orbit, or geostationary Earth orbit. To avoid confusion, geosynchronous satellites that are not in geostationary orbit are sometimes referred to as being in an inclined geostationary orbit (IGSO).

Some of these satellites are separated from each other by as little as 0.1° longitude. This corresponds to an inter-satellite spacing of approximately 73 km. The major consideration for spacing of geostationary satellites is the beamwidth at-orbit of uplink transmitters, which is primarily a factor of the size and stability of the uplink dish, as well as what frequencies the satellite's transponders receive; satellites with discontiguous frequency allocations can be much closer together.

As of July 2023, the website UCS Satellite Database lists 6,718 known satellites. Of these, 580 are listed in the database as being at GEO. The website provides a spreadsheet containing details of all the satellites, which can be downloaded.

Listings are from west to east (decreasing longitude in the Western Hemisphere and increasing longitude in the Eastern Hemisphere) by orbital position, starting and ending with the International Date Line. Satellites in inclined geosynchronous orbit are so indicated by a note in the "remarks" columns.


text:
User:Tashacs

[]

title: User:Tashacs


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Talk:Herbert Czaja

Untitled
Was his treason alleged? The fact remains that the guy did not revoke his Polish citizenship yet broke the Polish law (both pre-war and post-war) by joining the military of the enemy. As simple as that... [[User:Halibutt|Halibutt]] 21:34, Oct 4, 2004 (UTC)

Attacked by the communists
This information was originally added by User:Cautious - it's plausible, of course. I will see if I can find some sources on this. UweBayern (talk) 20:26, 25 August 2009 (UTC)

Why he is not described as German-Polish in the introduction
1) He never held political office in Poland, and the political career which is notable took place in Germany.

2) He was of German ethnicity, a member of the German minority in Poland when he lived there.

3) The term "German-Polish" would usually mean someone of German origin who did something notable in Poland/is currently living there.

Herbert Czaja was an ethnic German who only became notable as a politician in Germany. He was a Polish citizen in his youth, but this information belongs below where it is appropriately dealt with. It is completely misleading to describe him as a Polish politician. UweBayern (talk) 20:33, 25 August 2009 (UTC)

Assessment comment
Substituted at 17:48, 29 April 2016 (UTC)

title: Talk:Herbert Czaja


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Solomon Islands Labour Party

The Solomon Islands Labour Party was a political party in Solomon Islands. The party was founded in 1988 by the Solomon Islands Council of Trade Unions after the leadership of the union split. Joses Tuhanuku went on to lead the Labour Party, while Bartholomew Ulufa'alu led the Solomon Islands Liberal Party. Tuhanuku would be an MP for the party starting in 1989.

The party participated in government from 1993 until 1994 and then in the Solomon Islands Alliance for Change government from 1997 to 2000.

Tuhanuku lost his seat in 2006 and the party has contested no parliamentary elections since then.

title: Solomon Islands Labour Party


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Category:Triple star systems

''This category is for physical triple stars, sometimes called trinary stars or ternary star systems in the case of a hierarchical star system. For optical triple stars, see Category:Triple stars''

title: Category:Triple star systems


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Garden City, Texas

Garden City is a census-designated place (CDP) in and county seat of Glasscock County, Texas, United States. It lies near the center of the county, 27 mi south of Big Spring. and at the 2020 census had a population of 334. The ZIP code is 79739.

History
Garden City's history began in 1886, when what became the town's post office was established in a general store, and a settlement began to develop in the area around the business. The post office was to be named after the store proprietor, a man by the name of Gardner. However, after a clerical error by officials in Washington, the postal franchise was granted under the name "Garden" City.

Garden City was the first Texas community platted by renowned surveyor W. D. Twichell, a Minnesota native.

In 1893, Glasscock County was organized, and Garden City vied for the county seat along with two other area communities, New California and Dixie. New California was ultimately chosen as the county seat; it was located in a less flood-prone region and had a readily accessible water supply. However, at the time of the county's organization, New California consisted of a mere two dwellings and an equally sparse population, whereas Garden City boasted a school, the general store/post office, and several homes. In a unique compromise, most of Garden City's structures were placed on wheels and relocated to the New California site, and on April 5, 1893, the settlement was renamed Garden City. A two-story stone courthouse was constructed later that same year, followed by a new, larger courthouse in 1910 (with the former building remaining in use as the Glasscock County Jail).

Between 1927 and 1943, Garden City's population fluctuated between 100 and 250, and several businesses and a newspaper (the Garden City Gazette) had come and gone. By 1945, Garden City had eight businesses and a population of 200. In the 1950s, oil was discovered nearby, creating a bit of a boom for the area. While Garden City's population did not experience the spike that other West Texas oil boom towns had seen (the population peaked at 300 in 1968, many years after the boom had ended), it did increase the community's commerce, with the number of operating businesses almost doubling from 1947 to 1968. By 1980, the population had fallen to 293, a figure maintained until 2010, when that year's census counted 334 residents.

The area is conducive to wind power generation, as is much of West Texas, and several wind farms have been proposed for the area.

Limestone from the quarry of TexaStone in Garden City was donated in 2004 for establishment of the Stonehenge replica in Odessa, Texas.

2020 census
As of the 2020 United States census, there were 334 people, 78 households, and 67 families residing in the CDP.

Education
Garden City is served by the Glasscock County Independent School District and home to the Garden City High School Bearkats.

Climate
According to the Köppen climate classification system, Garden City has a semiarid climate, BSk on climate maps.

title: Garden City, Texas


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Alexander Morton

Alexander Morton (born 24 March 1945) is a Scottish actor.

Acting career
Glasgow-born Morton trained in London at the Central School of Speech and Drama from 1965 to 1968 and is well known for his roles in several leading drama series, such as Taggart, Second Sight, Between the Lines, Minder, and Casualty; movies such as Croupier and London to Brighton; and single dramas The One That Got Away (1996), Looking After Jo Jo (1998), and The Man-Eating Wolves of Gysinge (2005).

He is best known for playing the ghillie Golly Mackenzie in the BBC TV series Monarch of the Glen (2000–2005, appearing in all 64 episodes), and before that made regular appearances over the 1980s and 1990s as the evil Andy Semple in Scottish soap Take the High Road. From 2012 to 2015, Morton played Criminal Billy Kennedy in Scottish soap opera River City. He appeared again as Billy Kennedy in the 20th anniversary episode of the show in 2022.

Highlights of his stage career include his work with Raindog Theatre Company in the early 1990s. He was a founder member, along with Robert Carlyle, Caroline Paterson and Stuart Davis and others. Leading roles with Raindog included his Scots rendition of Shakespeare's Macbeth and R.P. McMurphy in One Flew Over the Cuckoo's Nest, both directed by Robert Carlyle. Morton also worked regularly with theatre companies 7:84 and Borderline, and has appeared at the Traverse, the Lyceum, the Bush, the Royal Court, as well as appearing in pantomime, notably two years running at the Eden Court Theatre in Inverness with Andy Gray, and at Glasgow's King's Theatre.

In 2006, Morton played the Prince of Darkness in the BBC radio adaptation of Dracula (Voyage of the Demeter, 2006). He was also the first actor to play Detective Inspector John Rebus in the BBC Radio 4 adaptation of Ian Rankin's Rebus series of books. He also provided voices for video games, including Heavenly Sword, Viking: Battle for Asgard and he played Zoltan Chivay in series 2 and 3 of The Witcher. He was the narrator on three albums by the Swiss Celtic / Melodic Death Metal band Eluveitie.

Personal life
Morton has been married three times, and has two children – Kerry (b. 1970) and Jamie (b. 1980) – from each of his first two marriages. His first wife was Pam Scotcher; his second was Denise; and his third is Jane, whom he met before filming for Monarch of the Glen got underway. She was his landlady while he was doing television work in London.

Film and television credits

 * 1971: Get Carter (film) Hubert - directed by Mike Hodges
 * 1971: Manipulators (TV) written and directed by Mike Hodges
 * 1979: Play for Today (TV): Ploughman's Share - Dave
 * 1980-1994: Take the High Road (TV) - Andy Semple
 * 1981: Play for Today (TV): The Good Time Girls - Alec Park
 * 1984: Minder (TV): Windows - Alex
 * 1985: Taggart (TV): Dead Ringer - David Balfour
 * 1986: Waiting for Elvis (TV) Ike Morrison - directed by Hal Duncan
 * 1987: Extras (TV) - Frank Riley - directed by David Andrew
 * 1987: Bookie (TV) - Ross
 * 1989: Winners and Losers (TV) - Ross
 * 1990: Silent Scream - Don Winters
 * 1992: Rab C. Nesbitt (TV) - Police Inspector Mccrae
 * 1992-1994: Firm Friends (TV) - D.I. Hogg
 * 1993: Between the Lines (TV) - Superintendent Tyrell
 * 1993: Taggart (TV): Death Benefits - John Fraser
 * 1994: Jolly a Man for All Seasons - Police Sergeant Watson
 * 1994: Crime Story - John McVicar
 * 1994: The Tales of Para Handy - John Cruickshank
 * 1996: Bad Boys - Dick
 * 1996: The One that Got Away - Big Bob (credited as Sandy Morton)
 * 1996: Nightlife (TV movie) - D.C.Dave
 * 1997: Looking After Jo Jo - DS Alistair Wright
 * 1997: Bombay Blue - Jack Grey
 * 1997: Love Me Tender (TV) - Tommy
 * 1998: Croupier (film) David Reynolds
 * 1999-2000: Second Sight (TV) - DS Julian
 * 1999: Life Support (TV) - Alan Carswell
 * 2000-2005: Monarch of the Glen (TV) - Golly Mackenzie in all 64 episodes
 * 2005: The Man-Eating Wolves of Gysinge (TV) - Malmberg Nilsson
 * 2006: Casualty (TV)
 * 2006: London to Brighton (film) - Duncan Allen
 * 2007: Kitchen (TV) - Mr. Glasgow
 * 2008: Casualty (TV)
 * 2009: Valhalla Rising (film) - Chieftain Barde
 * 2010: Taggart: (TV) The Rapture - James Hardie
 * 2010: Luther (TV) - Bill Winingham
 * 2012-2015: River City (TV) - Billy Kennedy
 * 2013: Shetland (TV) - Joseph Wilson
 * 2022: River City (TV) - Billy Kennedy

title: Alexander Morton


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Talk:Video game music

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Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 12:24, 17 January 2022 (UTC)

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Disagreement with the second paragraph of the introduction section
Specifically, the part which says: "With advances in technology, video game music has grown to include the same breadth and complexity associated with television and film scores, allowing for much more creative freedom"

That is quite the opposite: it is BECAUSE of the limitations of the console music hardware that video game music composers could be so creative. — Preceding unsigned comment added by 78.123.99.88 (talk) 21:45, 17 June 2020 (UTC)

Creativity is not necessarily tied to the limitations of your creation or rules. GtRyz (talk) 03:13, 28 September 2020 (UTC)

Content in Game music as a genre & Video game music outside of video games
There's a brief mention in the former of rock bands covering VG themes, however I think it would be better suited in the latter. I edited the article yesterday not realizing this has already been mentioned (review History for details), and it was subsequently (and rightly) removed. Upon reviewing the article however it took me a few tries to actually find this in the article. I don't think Game music as a genre is the right place for this, it makes more sense to me to removed it and put in the video game music outside of video games section instead, since that's essentially what it is. Generally the bands that play this are from either the rock or metal genre who are playing videogame themes, rather than groups whose style of music is derived from games themselves. It's kind of semantic, but a metal band playing videogame theme songs is still of the metal genre IMHO. Thee darcy (talk) 22:00, 13 March 2008 (UTC)

 * While totally uncited and as near as I can tell currently uncitable, I find having the genre section is somewhat relevant from the POV of explaining how different from what one would consider more conventional forms of music were composed, especially in relation to the older pre-sampling systems from 3rd gen. This however has less to do with being video games, and more to do with the musical instrument being used, a limited tone generator. IMO thats the only scope that this section should deal with, and that any reference to a 'band' that didn't use an actual video game sound engine as their musical instrument, or to compositions from the 4th gen or later equipment (which was essentially no different than regular sampled instruments of the day) are irrelevant.RCHM (talk) 02:16, 5 June 2008 (UTC)

 * Personally, I think that the "Video game music outside of video games" section should only be about the actual music from the video games being played outside a video game context, like rocking out to a CD of Super Mario World. As written, the section goes into public performances of video game music, especially by those other than the original artist(s), where I really don't think it should. And for "Game music as a genre", I would argue that we should follow the Wikipedia definition of "Genre", which is a "a loose set of criteria for a category of composition". By this definition, The Imperial March from Star Wars could be classified as both classical music and a soundtrack or the music of Rage Against the Machine could be classified as some variant of rap rock and political music. This would mean that a metal band's cover of F-Zero could be both heavy metal and video game music culture (Just examples, the first that popped into my head.) This is just my opinion, of course. I'm interested how this discussion will play out. Wyatt Riot (talk) 22:27, 13 March 2008 (UTC)

 * You've got a good point, most music (these days at least) seems to fit under at least a couple different genres. Since there are many different styles of metal bands playing VGM, the consensus in Wikiproject Metal was that we'd list both the style(s) of metal they play along with video game music in the genre field. Video Game Metal is a bit of a fringe genre (no kidding!) and kind of unpindownable aside from being both metal and video game music, so it was decided that for now it's not really notable enough or very encyclopedic to list it as a legit fusion genre on its own. Which makes sense to me.

 * EDIT: I guess one of the things I'm concerned with here is that orchestral arrangements are listed in one section, while rock arrangements are another, which from my perspective doesn't make much sense- in both cases it's a matter of the music being played with varying degrees of faithfulness, and both are as you said "public performances of video game music, especially by those other than the original artist(s)". Thee darcy (talk) 18:39, 14 March 2008 (UTC)

 * I wholeheartedly agree. They should all be considered covers, in my opinion, whether it's done by a professional orchestra or the metal band down the street. Ideas from others? Wyatt Riot (talk) 21:58, 14 March 2008 (UTC)

 * There's a difference between something that's officially licensed, like Black Mages and Video Games Live, and "the metal band down the street". We have a seperate article for the later, for a good reason. ♫ Melodia Chaconne ♫ (talk) 22:23, 14 March 2008 (UTC)

 * Are you saying that these elements (i.e., the unofficial covers, including those by orchestras and such) should be pruned from this article and added to the other article? If so, I'd agree.  Wyatt Riot (talk) 03:31, 15 March 2008 (UTC)

 * Agreed, that makes sense- so long as the orchestral performance has a direct connection with the developers, such as VGL. Right now the article shows a strong bias in favour of orchestral music no matter how tenuous their connection to the games may be. Considering that a number of games' soundtracks were written with emulating a rock band in mind, that strikes me as a rather arbitrary distinction. Also consider groups like Level 70 Elite Tauren Chieftain who started off writing unofficial fan music and have since been included in BlizzCon, appeared on soundtracks, etc. —Preceding unsigned comment added by Thee darcy (talk • contribs) 14:26, 17 March 2008 (UTC)

 * VGM performed by an orchestra is not a "cover". A "cover" is a term used only to refer to pop music renditions.  VGM is arranged and/or orchestrated, not covered.71.255.174.65 (talk) 02:49, 22 May 2008 (UTC)

 * When a rock band plays something they didn't write it's usually (though incorrectly) referred to as a cover whether it was originally a pop tune or some other piece. I referred to them as covers earlier, but if we're going to get that particular I would say that VGM faithfully performed by any kind of group is an arrangement, not a cover.Thee darcy (talk) 19:07, 29 May 2008 (UTC)

 * Probably correct, but does it matter? The issue at hand is whether a band is operating "officially" or "unofficially". Unless there are any other objections, I'll go through and remove some of the clutter. (If anybody else wants to do it, please do. Not sure when I'll have the time.) Wyatt Riot (talk) 11:56, 30 May 2008 (UTC)
 * ambatakum ohhhhhhhhhhhhhhh 149.19.42.79 (talk) 15:07, 16 October 2023 (UTC)

VGM album history
Is "Video Game Music" the first known video game music album? The Japanese version of this article seems to claim it is: 1984年には、細野晴臣プロデュースのアルバム「ビデオ・ゲーム・ミュージック」にて、『ゼビウス』などのゲームミュージックが初めてレコードとしてリリース. 翌年にはアルファレコード内に、ゲームミュージック専門のレーベル・GMOが発足し、ゲームミュージックのサウンドトラック市場が形成され始めた. (|en|1984%E5%B9%B4%E3%81%AB%E3%81%AF%E3%80%81%E7%B4%B0%E9%87%8E%E6%99%B4%E8%87%A3%E3%83%97%E3%83%AD%E3%83%87%E3%83%A5%E3%83%BC%E3%82%B9%E3%81%AE%E3%82%A2%E3%83%AB%E3%83%90%E3%83%A0%E3%80%8C%E3%83%93%E3%83%87%E3%82%AA%E3%83%BB%E3%82%B2%E3%83%BC%E3%83%A0%E3%83%BB%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF%E3%80%8D%E3%81%AB%E3%81%A6%E3%80%81%E3%80%8E%E3%82%BC%E3%83%93%E3%82%A6%E3%82%B9%E3%80%8F%E3%81%AA%E3%81%A9%E3%81%AE%E3%82%B2%E3%83%BC%E3%83%A0%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF%E3%81%8C%E5%88%9D%E3%82%81%E3%81%A6%E3%83%AC%E3%82%B3%E3%83%BC%E3%83%89%E3%81%A8%E3%81%97%E3%81%A6%E3%83%AA%E3%83%AA%E3%83%BC%E3%82%B9%E3%80%82%E7%BF%8C%E5%B9%B4%E3%81%AB%E3%81%AF%E3%82%A2%E3%83%AB%E3%83%95%E3%82%A1%E3%83%AC%E3%82%B3%E3%83%BC%E3%83%89%E5%86%85%E3%81%AB%E3%80%81%E3%82%B2%E3%83%BC%E3%83%A0%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF%E5%B0%82%E9%96%80%E3%81%AE%E3%83%AC%E3%83%BC%E3%83%99%E3%83%AB%E3%83%BBGMO%E3%81%8C%E7%99%BA%E8%B6%B3%E3%81%97%E3%80%81%E3%82%B2%E3%83%BC%E3%83%A0%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF%E3%81%AE%E3%82%B5%E3%82%A6%E3%83%B3%E3%83%89%E3%83%88%E3%83%A9%E3%83%83%E3%82%AF%E5%B8%82%E5%A0%B4%E3%81%8C%E5%BD%A2%E6%88%90%E3%81%95%E3%82%8C%E5%A7%8B%E3%82%81%E3%81%9F%E3%80%82 translation)

It also mentions how Alfa Records launched their "GMO" label dedicated to game music - many game music albums (from a variety of the large Japanese game producers) from the mid-late '80s and early '90s were released under this label. Would this be noteworthy? The Haruomi Hosono article also mentions this album. --Zilog Jones (talk) 03:01, 2 October 2008 (UTC)

Incorrectness on NES Sound
The Famicom Disk System did not have a PCM channel as it might indicate in the article. The FDS did however have an extra channel that provided FM-synth like tone. This appears in games like Metroid and The Legend Of Zelda. When these games were released in the US, the soundtrack was "dumbed down" because of this. The NES did however have the PCM channel which was originally used for small sound bits. Top Gun for example uses the DMC channel for the kickdrum, giving more depth to the track. The US version of Super Mario 2 also used the dmc channel for percussion. These were generally indvidual tiny samples that were programmed together. The use of large samples for speech and such came about later when they could squeeze more data on the the cartridges, such as in Monopoly and 3 Stooges. I've not discovered any games that use the dmc channel that have a japanese version that uses the fds channel. The number of games that actually use it seem to be few, but I have not dug through the 4,000 or so NSF files. Dewdude (talk) 16:36, 15 April 2009 (UTC)

 * The article, as near as I can tell, indicates no such thing. Are you sure you're not confusing the Famicom, and its peripheral the Famicom Disk System? the FDS has an extra FM channel of audio, but all Famicoms and NES released have a DPCM channel.RCHM (talk) 01:51, 23 September 2009 (UTC)

FM Synthesis?
"such as FM synthesis, this technique allowed short samples of pre-recorded sound waves to be played back through the computer's sound chip from memory." What? It's not fucking FM Synthesis! Adlib is FM Synthesis, you moron. This method is called "wavetable synthesis" or something like that. FM synths generate the sound via sorts of different mfilters and modulators and there's no samples involved. Sega Genesis had an FM synthesier. It also had a sampler. That's why you thought that FM synthesis is samples but it's not! — Preceding unsigned comment added by 87.105.67.254 (talk) 17:07, 8 December 2010
 * language, dude. I'm sure it was just a mis-arrangement of words, nothing to get worked up over.RCHM (talk) 23:25, 5 July 2011 (UTC)

German Article
Anyone notice how wildly different it is? anyone speak german wanna swing on by and get the skinny?RCHM (talk) 23:25, 5 July 2011 (UTC)

No CD Games used Redbook CDDA
Not unless they are not a game but a soundtrack. I changed all the articles and references that I could find that incorrectly state that VGM from CD Games are Redbook it is not. Redbook CDDA is an audio only format and very specific standard (i.e. audio only, single session etc.). Yellowbook CD-ROM is data only and what most games used, however when they use CD Streaming Audio the format is properly called Mixed Mode CD. The first track is always data and the rest are audio - this is not Redbook or Yellowbook but a mix :) I am surprised on how many articles have incorrectly used this on Wiki. Please be aware of this misconception and help change any incorrect references other the ones I have found.

Corrected: Streaming audio in video games, Video game music, Game rip (audio).

Thanks. Tyros1972 (talk) 20:38, 16 June 2012 (UTC)

Mention more on current music styles
I think there should be more examples of newer, 21st century soundtracks/music. What about the soundtracks/music from newer games like Super Smash Bros. Melee/Brawl, The Legend of Zelda: Skyward Sword, Final Fantasy XIV, The Elder Scrolls V: Skyrim, Halo, Portal, Battlefield, etc.? Maybe we could mention the changes and gives examples of newer music styles? Example: the blending or usage of different styles that already exist, such as the Gregorian chant used in Halo, or the styles used in Skyrim. Video game music nowadays can pretty much be used in movies... - M0rphzone (talk) 08:45, 14 October 2012 (UTC)
 * Games still have soundtracks? I thought they were 100% dialogue and cutscenes? :) But seriously, the bulk of this article is driven by nostalgia, which explains the lack of current content. If you can find sources on modern games, I agree that the article could/should be brought up to date. Cheers! Wyatt Riot (talk) 15:07, 14 October 2012 (UTC)
 * Here's an article from Gamespot that's pretty specific on the history of video game music. Here are two nice sources from NPR that may be useful. I think we should mention something about "video game music hitting the concert stage" (as said in the source). Example: Video Games Live, and lol, here's a source from IGN where the London Philharmonic Orchestra played soundtracks including something from Mass Effect 3 and some of the others I mentioned above. - M0rphzone (talk) 20:53, 14 October 2012 (UTC)
 * Here's a source from The Atlantic. So, I think we can say something like: Starting in the late 2000s, video game music became increasingly similar to film scores and music. (Additional info about developments in soundtracks of modern games). In 2011, composer Christopher Tin's "Baba Yetu," originally written for Civilization IV, was nominated for Best Instrumental Arrangement Accompanying Vocalist(s), making it the first time that music written for a game has been nominated for anything at the Grammys. - M0rphzone (talk) 21:18, 14 October 2012 (UTC)
 * "More and more filmmakers are adopting the visual vibe of old-school videogames." - we can also mention something about the return to "8-bit"-style imagery in music videos, as mentioned in this Wired article, or maybe this is more appropriate at computer graphics? Here's another source which says the concert phenomena thing started around 2004/2005. - M0rphzone (talk) 21:24, 14 October 2012 (UTC)

 * Btw, about the cut scenes/dialogue comment. Shouldn't we mention something at gameplay about the blending of film/animation/video games/virtual reality/simulation? L.A. Noire is almost an interactive movie, and the Unreal Engine can be used to make animated films and machinima. Something about the increase in virtual reality/simulation should be mentioned too. Of course, all this is only possible from the developments of first-person/third-person game play. - M0rphzone (talk) 21:27, 14 October 2012 (UTC)
 * Yes, to everything! :) Wyatt Riot (talk) 04:58, 15 October 2012 (UTC)
 * Alright then, here we go. Can you clean up after my edits, and add the content I didn't mention? The current layout of the article makes it difficult to write in a historical perspective. - M0rphzone (talk) 05:04, 15 October 2012 (UTC)

Also, shouldn't we could get/use a snippet of music from something like Final Fantasy or Skyrim, or even Red Dead Redemption and Medal of Honor? Like the main theme from FF7 or One Winged Angel, music from SSB Melee, Dragonborn, theme from Red Dead or a Portal soundtrack like Still Alive? - M0rphzone (talk) 05:22, 15 October 2012 (UTC)
 * I'll take a crack at it tomorrow. And I agree on including some music, although I'm not sure what the policies or guidelines on that would be. I know that short musical sections are generally okay, and they're usually in OGG format, but little beyond that. Wyatt Riot (talk) 06:06, 15 October 2012 (UTC)

 * There's a snippet on Skyrim; maybe that could work. - M0rphzone (talk) 06:25, 15 October 2012 (UTC)
 * I added a couple sentences and included three references. I'm not sure how (or if) we'll be able to work in the other sources, since they're pretty short on actual content. Didn't have much time to read through all of your changes, but on first glance it looks great. I'm also wondering if we should tackle naming the references. That could be...fun. Sorry, didn't have much time this morning due to IRL issues, but I'll try to find more time tonight or in the next couple days. Cheers! Wyatt Riot (talk) 15:31, 15 October 2012 (UTC)

 * That's fine; you can just edit more when you have time. Hopefully more editors can help as well? - M0rphzone (talk) 03:33, 16 October 2012 (UTC)

Intro Cleanup
Feels like more of a side-grade to what was there before. I think the specific artists in the cross-over bit could still be left out of the intro section without losing much. Perhaps the whole cross-over bit could be left out of that part. I mostly left it in because I wasn't tempted to smeg up whatever the references were referencing too much. I did tack on the chiptunes bit, as I think some folks may conflate the idea of chiptunes with being the common style from video game music. If that would be better done with a disambiguation, go for it. Most of what I cut was reference to the console generations which are covered in detail in the article, and stating multiple times that the old music was simple and the new music is complex. Hope I did more good than harm. :D Desolation0 (talk) 10:24, 3 December 2012 (UTC)

General trimming and reorganising
This article has picked up alot of wordmass over the years again, and many of the details in their inclusion have diluted the overall chronologic presentation of the information. Lets consider reviewing pertinent content and the way its listed. for example, the introduction references composers needlessly in what should be a brief explanation of the subject of the article, and much of the details added to the early digital synthesis section muddles any sense of chronology. I'm going to work on it a bit at a time again. RCHM (talk) 23:03, 30 December 2014 (UTC)

No mention of David Bowie ?
His album Hours was composed for a videogame — Preceding unsigned comment added by 2601:248:100:741C:6:25BD:F6F9:873 (talk) 05:14, 1 September 2015 (UTC)

Where Did it start?
I read the article and no reference to where video game music started 216.104.100.66 (talk) 17:11, 29 October 2015 (UTC)Unknown
 * What do you mean started? The first video games that had music were in early 80's arcade games in Japan, which is explained in the article. ~ Dissident93  (talk) 21:59, 29 October 2015 (UTC)

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Sound effects
Hello, this article seems to discuss music in detail, but says very little about sound effects. Music is often a background to set mood, whereas effects are used to indicate game actions. Can you please expend it? --167.57.194.159 (talk) 18:57, 22 May 2016 (UTC)
 * While sound effects from the SNES/Genesis era and before were mostly created in conjunction with the music and serves a somewhat similar purpose, I don't think more than a few sentences could be written about it. Of course, somebody is always welcome to try. ~ Dissident93  (talk)  01:04, 23 May 2016 (UTC)

Sound effects modified
After reading through the talk page about what people thought should be added to the article on video game music to make it more beneficial to the active readers on Wikipedia, I decided to edit what the user "Dissident93" had posted. They believed that sound effects are essential to video game music because it helps set the mood of the game and evokes certain emotions out of the players. However, nowhere in this article did it specifically talk about sound effects. Therefore, I decided to create a subsection over sound effects and how it benefits video game music in order to give the most to the readers of Wikipedia. The major points I went over include how the use of sound effects through the small attention towards details help increase the sales of that video game in the market, how it encourages the player to keep playing since it won't bore them, and also how it gives the gamer a real virtual experience. Dtamilmani1 (talk) 03:33, 27 March 2019 (UTC)
 * How are sentences like "The more sound effects the creators put, the more successful the game will be" acceptable? Such obvious bias has no place on Wikipedia. I'm removing the section until you can clean it up. ~ Dissident93 (talk) 03:54, 27 March 2019 (UTC)

The edits you made were great! However, there was only one problem. At times in the paragraph you wrote, some parts were not supported by evidence and sources and therefore can not be used. Once you fix those it will be excellent. Good Job! - Basir Mansoor

Added "Importance of Soundtracks"
After reading through the talk page and discussing with my peers, I decided to add a section to this article called "Importance of Soundtracks." This section is a small section which discusses how sound effects and soundtracks in video games leads to heightened mood and elevated feelings about the game. I wrote about how soundtracks are very noticed by people as they generally come from whatever genre of music is popular at the time and falls into the current day trend. Studies have shown that video game soundtracks also have the power to not only help the gamer focus on playing the video game but also collect their thoughts and help with their cognitive skills. This makes sense because the players that were playing the video games were listening to the music and engaging their brain. After these studies were done more emphasis was placed on soundtracks and many video game designers began to give importance to the soundtracks that were playing in video games as a marketing strategy to increase the number of sales that could be done if people begin to realize the direct link between video game music soundtracks and immersion. I believe that this is a good addition to this article because it elaborates on the importance of soundtracks which the article doesn't currently do very well. — Preceding unsigned comment added by Basirmansoor (talk • contribs) 04:24, 27 March 2019 (UTC)

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 * Added archive https://web.archive.org/web/20110604150610/http://mixonline.com/mixline/soundcon_launches_gamesoundcon_0906/ to http://mixonline.com/mixline/soundcon_launches_gamesoundcon_0906/

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Cheers.— InternetArchiveBot  (Report bug) 06:41, 22 December 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Video game music. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20140201192753/http://www.mcvuk.com/press-releases/read/jason-graves-to-conduct-at-joystick-5-0-symphony-concerts-in-sweden/0115108 to http://www.mcvuk.com/press-releases/read/jason-graves-to-conduct-at-joystick-5-0-symphony-concerts-in-sweden/0115108

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Cheers.— InternetArchiveBot  (Report bug) 06:25, 9 January 2018 (UTC)

Peer Review on Importance of Soundtrack
Only one sentence is linked to a source within the paragraph. Sentences with quotes and statistical information should have some type of citation. There is some subjective wording, but for the most part, it isn't too opinionated. Portions like "This makes sense because..." should be removed. — Preceding unsigned comment added by Kimbadonic (talk • contribs) 18:58, 28 March 2019 (UTC)

Peer Review on Importance of Soundtrack
Over all I did not recognize anything off the bat that suggested an opinion within the article. Looking deeper into it, there may be a few grammar mistakes that should be fixed, but all-in-all it is a well written add on that flows nicely. — Preceding unsigned comment added by Prestonw21 (talk • contribs) 19:30, 28 March 2019 (UTC)

Synthwave as a Music Genre
The article talks about chiptune as a music genre, however, today we have synthwave as a music genre often used in video games. We should add some information about video game music genres other than just synthwave that we have today since depending on the game, it will have a different music genre. --VMX5599 (talk) 22:56, 31 March 2019 (UTC)

This reads more like a history lesson
A lot of this is about hardware and seems out of place. There are contemporary areas. Maybe this should be split apart into different articles?--Nubtrazolacine (talk) 20:46, 10 May 2019 (UTC)

What about notable companies which have produced video game music?
Is that a possible area? This seems very focused on individual composers.Nubtrazolacine (talk) 20:49, 10 May 2019 (UTC)
 * Because people make music. Even if you mentioned a company of specific people, you'd still be listing individual composers regardless. ~ Dissident93 (talk) 05:08, 11 May 2019 (UTC)

No mention of Grant Kirkhope?
He is nearly as seminal a figure in video game composition as David Wise and Jeremy Soule, out of the "Western" composers. Those 3 were the main Western video game music force for a long time before most of the others listed.

Main other Western composers I can think of were Matt Uelmen (Diablo), Tim Follin (many NES and SNES games), Alberto Jose González (many of the better Gameboy soundtracks) and maybe Tim Larkin (Riven/Myst, URU, Portal). Kirkhope was the main one I was surprised to not see though. — Preceding unsigned comment added by 192.241.54.18 (talk) 18:28, 3 July 2019 (UTC)

Wiki Education assignment: The Editing Process
— Assignment last updated by Ali01225 (talk) 19:11, 20 October 2022 (UTC)

Wiki Education assignment: Technology and Culture
— Assignment last updated by BrendanTMD (talk) 01:28, 23 September 2023 (UTC)

title: Talk:Video game music


text:
User:Jmacedo

Watchlist

title: User:Jmacedo


text:
User talk:Jsilva

Hello and welcome to Wikipedia!

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User:Jsilva
I've added the "" template to your user page (User:Jsilva), suggesting that it be deleted according to the proposed deletion process. I've explained why in the deletion notice (see also "What Wikipedia is not" and Wikipedia's deletion policy).

Please note that the purpose of a user page is not as personal homepage or used as a general webhosting service, but as way for active editors of Wikipedia to introduce themselves to other editors. If you disagree with the notice, discuss the issues here or on my user talk page. You may remove the deletion notice, and the page will not be deleted for the moment, but note that it may still be sent to Miscellany for Deletion, where it may be deleted if consensus to delete is reached, or if it matches any of the speedy deletion criteria. Calton | Talk 10:58, 8 February 2007 (UTC)

title: User talk:Jsilva


text:
User talk:Jmacedo

Hello and welcome to Wikipedia!

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * 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!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (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).

title: User talk:Jmacedo


text: Category:Glasscock County, Texas

title: Category:Glasscock County, Texas