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Cinematronics

Cinematronics Incorporated was an arcade game developer that primarily released vector graphics games in the late 1970s and early 1980s. While other companies released games based on raster displays, early in their history, Cinematronics and Atari, Inc. released vector-display games, which offered a distinctive look and a greater graphic capability (at the time), at the cost of being only black and white (initially). Cinematronics also published Dragon's Lair in 1983, the first major LaserDisc video game.

History
Cinematronics Inc. was founded on April 1, 1975, by two players of the San Diego Chargers football team, Dennis Partee and Gary Garrison, as well as James Dale “Jim” Pierce (1937–2011) in San Diego, California. Garrison initially served as president until Pierce assumed that role. The company first entered the market creating clones of Pong, selling them in the local area. Their first game offered nationally was Flipper Ball (1976) followed by Embargo (1977). The company struggled to stay afloat and in 1977 Garrison sold his share to mortgage broker Ralph Clarke.

Vector Games
At the end of 1977, Cinematronics released the game Space Wars, developed by independent game developer Larry Rosenthal. The game was a TTL-based recreation of the mainframe game Spacewar! which ran using a custom vector monitor display. Cinematronics, approaching bankruptcy, agreed to manufacture the game in exchange for a five percent royalty on each cabinet to Rosenthal.

Space Wars was first shown at the Amusement and Music Operators of America show in October 1977, but Cinematronics was not ready to produce it. They brought in manufacturing expert Ken Beuck who had worked at Atari Inc. and salesman Bill Cravens to help sell the game. To finance the operation and keep the company from dissolving, San Diego coin-op operator Thomas B. Stroud bought out Partee's share in the company.

When the first units were shipped at the end of 1977, Space Wars was the first commercially available video game using vector graphics, which enabled a higher resolution display than raster graphics of the time. The game became the best-selling coin-operated video game of 1978 and sold around 7,000 units. The success helped save Cinematronics, but Rosenthal along with Bill Cravens were discontented with the company. In April 1978, Rosenthal left the company to found a new operation called Sunrise Research in Northern California. At the behest of his lawyer, he took with him all the documentation necessary to create vector games on his hardware system. Cinematronics retained a licensing agreement to create games using Larry Rosenthal's patents for his vector hardware, but was deprived on the knowledge to do so. Rosenthal's company was eventually renamed Vectorbeam, a marketing name that had been used for the technology at Cinematronics.

Luckily, Cinematronics managed to continue creating games due to two bits of happenstance. Firstly, an engineer named Bob Long had copied the operational codes for Rosenthal's system. Second, Rosenthal had evaluated a new employee named Tim Skelly prior to his departure. Skelly arrived at Cinematronics after Rosenthal had left and developed their first new game after the departure, with the help of technical engineers Dennis Halverson and Rob Patton.

Throughout 1978, Cinematronics experienced a realignment of management. Ralph Clarke departed the company and Tom Stroud's son Tom A Stroud took on the responsibility of salesman. Pierce briefly stepped down as president before reassuming the role. The company did not release any product that year, but debuted Tim Skelly's first game for them, Starhawk (1979), at the Amusement Trade Expo (ATE) in January 1979. Released in March, the game was successful, outcompeting the offering by Vectorbeam, Speed Freak (1979).

Jim Pierce and Tom Stroud kept in communication with Rosenthal to convince them to sell his patents to them. After little more than a year of independence, Vectorbeam was sold to Cinematronics along with the rights to his two patents on vector game technology on June 1, 1979. Vectorbeam became a subsidiary, with Tom A Stroud as the President and Tim Skelly as head of product development. Rosenthal continued developing games including Tail Gunner (1979) and the unreleased Oops! (1979) before departing the company. He later sued Cinematronics for payment of his contractual buyout of his patents.

Vectorbeam served as an alternative factory and label for Cinematronics products through the rest of 1979. Barrier (1979) and Warrior (1979) were released under the Vectorbeam name. In November 1979, Cinematronics sold the Vectorbeam factory and assets to Exidy Inc. who relabeled them as Exidy II. Through this, Exidy gained the rights to develop vector games after their release of Tailgunner as Tailgunner II. A few Vectorbeam staff took positions at Cinematronics in San Diego.

In 1980, Cinematronics began exploiting their rights to the vector game patents more readily. They sued Atari Inc. for their creation of games like Lunar Lander and Asteroids with their own vector system. The case was eventually settled out of court. They began licensing their games to be produced in the cocktail table format by Rock-Ola, who used their license to develop vector games Demon! (1982) and QB-3 (1982). They later gained a landmark judgement in video game copyright when they halted the sale of illegal copies of Star Castle (1980).

Star Castle was co-developed by Skelly and new programmer Scott Boden. It became Cinematronics’ most successful game, selling over 10,000 units and remaining in production over most of 1981. A dispute between Skelly and Cinematronics management led to his departure from the company. He was then hired by Sega/Gremlin, who was also developing vector games, inciting Cinematronics to sue Gremlin and Skelly personally over alleged theft of trade secrets.

The company moved into a newly built 78,000 sq ft facility on 1841 Friendship Drive in El Cajon in June 1981. After releasing the last game developed by Skelly for them, Armor Attack (1981), Cinematronics struggled to find new product to fill their factory. Scott Boden developed Solar Quest (1981) to fill a slot after Star Castle’s production had ceased but failed to find the same success. They attempted to formalize product development, bringing in official managers to set deadlines as well as leading to them developing a tank gunner simulator under a military contract. Their development of a color vector hardware resulted in the release of the unsuccessful Boxing Bugs (1982).

Bankruptcy and LaserDisc Games
Former Vice President of Finance of the company, Fred Fukumoto, assumed the Presidency of Cinematronics from Jim Pierce in January 1982. Fukumoto's plan for assuring product flow into the company was to license video games from Japanese companies, similar to how Midway had found success with the likes of Space Invaders and Galaxian. They imported the games Naughty Boy (1982) and Jack the Giantkiller (1982) which were both unsuccessful. They canceled many projects including their military contract. In August 1982, they were foreclosed on by Security Pacific Bank and entered Chapter 11 Bankruptcy. Fukumoto left the company and Pierce resumed duties as president.

Still operating in bankruptcy, they maintained a small internal development team – developing the game Cosmic Chasm (1983) – and started a partnership with the company Advanced Microcomputer Systems. After releasing the game Zzyzzyxx (1982), AMS convinced Cinematronics to manufacture their proposed Laserdisc game, Dragon’s Lair (1983), in partnership with Don Bluth Productions. The heads of all three companies formed the entity Starcom to control the rights for the game and any subsequent Laserdisc game releases. Cinematronics organized the production of the game and rode a wave of massive interest to success. Dragon’s Lair kept the company out of bankruptcy and gave them a national profile as leaders in video game technology.

By the time of the follow-up to Dragon's Lair, Space Ace (1984), the partnership between the companies had fallen apart. The collapse of Laserdisc games and the diverging interests of AMS and Don Bluth Productions led them away from developing more games together. Cinematronics location tested Dragon’s Lair II: Time Warp, but did not release it at the time. It would eventually be the final arcade release of The Leland Corporation in 1991.

Raster Games and Cinemat System
Still in bankruptcy, Cinematronics reformed its internal development structure. They abandoned the development of the vector game technology and started creating their own raster games again for the first time since Embargo. Many of the developers came from Sega/Gremlin, another San Diego company who had recently shed their internal development apparatus. Starting with Freeze (1984), they rebuilt their game-making capacity.

In 1985, Cinematronics introduced the Cinemat system hardware. Part of a trend which included the Nintendo VS System, Capcom's CPS, and later Neo Geo, the Cinemat was a standardized cabinet which allowed operators to change out their current games for a fraction of the price of a full upright cabinet. The software, marquee, and control panel could be changed out of a standard housing. Their first release Cerberus (1985) was followed by more, including World Series: The Season (1985). World Series was a huge technological leap and a significant hit for the company after the Golden Age of Arcade Video Games.

None of their follow-up products from World Series were nearly as successful and the company remained in Chapter 11 bankruptcy – reportedly the longest in the history of California. Jim Pierce felt that he needed to sell the company to keep it operation, so he sold the company on March 30, 1987, to Tradewest, an arcade game licensor and manufacturer operated by Leland Cook, Byron Cook, and John Rowe. Cinematronics was taken through bankruptcy, with Tradewest acquiring all of the assets and reforming them as The Leland Corporation. The legal entity of Cinematronics was dissolved on October 21, 1987.

Legacy
In bringing vector graphics to the coin-op industry with Space Wars, Cinematronics helped to inaugurate an entirely different type of arcade game. Large video game manufacturers like Atari, Midway, and Sega/Gremlin all created vector games after viewing the success of Cinematronics. Developments in 3D-based vector hardware, as in Atari's Battlezone, also provided the technological basis for some of the earliest games with three-dimensional graphics in the arcade.

Cinematronics’ other major innovation, the Laserdisc game in Dragon’s Lair, has been seen as a landmark moment in the evolution of multimedia. Though the game was criticized for its lack of interactivity, it was the first commercially successful game incorporating traditional audio-visual elements with video game mechanics. Subsequent versions of Dragon’s Lair and Space Ace were ported and converted to various home systems in the 1980s and 1990s, though they did not contain the Cinematronics branding.

Games like Warrior and Rip Off have been praised as innovative takes on arcade gameplay, showing early stages of fighting games and co-operative gameplay, respectively. Star Castle, Armor Attack, and World Series: The Season have been considered among the best arcade games of all time.

Many of Cinematronics’ games received ports to the Vectrex home console under license. One of the original Vectrex titles, Cosmic Chasm (1982), was converted into an arcade game by Cinematronics.

The rights to Cinematronics’ titles were retained by Midway Games after their purchase of Tradewest in 1994. Tim Skelly was asked to sign a legally binding agreement to give the rights to his games developed at Cinematronics to Midway.

Coin-Operated Games
All games developed by Cinematronics unless otherwise noted.

 * Unknown Pong clone (1975)
 * Flipper Ball (1976)
 * Embargo (May 1977)
 * Space Wars (December 1977) Developed by independent designer Larry Rosenthal.
 * Starhawk (March 1979)
 * Barrier (August 1979) Released under the Vectorbeam label.
 * Sundance (October 1979)
 * Warrior (October 1979) Released under the Vectorbeam label.
 * Tailgunner (March 1980) Developed by Vectorbeam. Later released by Exidy as Tailgunner II.
 * Rip Off (March 1980)
 * Star Castle (October 1980)
 * Armor Attack (June 1981)
 * Solar Quest (October 1981) Developed by independent developer Scott Boden.
 * Boxing Bugs (May 1982)
 * Naughty Boy (June 1982) Developed by Jaleco.
 * Jack the Giantkiller (1982) Developed by Hara Industries.
 * Zzyzzyxx (December 1982) Developed by Advanced Microcomputer Systems. Later renamed Brix.
 * War of the Worlds (February 1983) Also offered in a kit form by Progressive Game Distributors.
 * Cosmic Chasm (April 1983)
 * Dragon’s Lair (July 1983) Developed by Advanced Microcomputer Systems. Licensed from Starcom.
 * Space Ace (February 1984) Developed by Advanced Microcomputer Systems. Licensed from Magicom.
 * Freeze (January 1985)
 * Cerberus (February 1985)
 * Mayhem 2002 (March 1985)
 * Power Play (September 1985)
 * World Series: The Season (November 1985)
 * Alley Master (May 1986)
 * Danger Zone (December 1986)
 * Redline Racer (December 1986) Also published by Tradewest.

Unreleased

 * Doctor Strange (1980) A vector-based combat game based on the Marvel Comics character of the same name, experimented by Tim Skelly with immediately after Warrior.
 * Catch and Throw (1980) A Tim Skelly concept where players were their own shooting projectile. Later worked on at Sega/Gremlin before eventually becoming Reactor (1982) which Skelly independently developed for D. Gottlieb & Co.
 * Sentinel (1981) A fixed turret shooting game at advancing targets developed by Scott Boden and Tim Skelly. Evolved into Boxing Bugs.
 * Hovercraft (1983) An advanced vector graphics game utilizing polarized 3D imaging. Was location tested and planned to be shown at a trade show, but was shelved in favor of Dragon’s Lair.
 * Cutter (c. 1983) A game where players destroyed the web of a spider.
 * Express Delivery (1984) A top-down racing and maze game with similar objectives to Paperboy (1985).
 * Striker (c. 1986) The four player version of Power Play.

title: Cinematronics


text:
Perfect mirror

In optics, a perfect mirror is a mirror that reflects light (and electromagnetic radiation in general) perfectly, and does not transmit or absorb it.

General
Domestic mirrors are not perfect mirrors as they absorb a significant portion of the light which falls on them.

Dielectric mirrors are glass or other substrates on which one or more layers of dielectric material are deposited, to form an optical coating. A very complex dielectric mirror can reflect up to 99.999% of the light incident upon it, for a narrow range of wavelengths and angles. A simpler mirror may reflect 99.9% of the light, but may cover a broader range of wavelengths.

Almost any dielectric material can act as a perfect mirror through total internal reflection. This effect only occurs at shallow angles, however, and only for light inside the material. The effect happens when light goes from a medium with a higher index of refraction to one with a lower value (like air).

A new type of dielectric "perfect mirror" was developed in 1998 by researchers at MIT. These unusual mirrors are very efficient reflectors over a broad range of angles and wavelengths, and are insensitive to polarization. A version of the perfect mirror that was developed at MIT for military use is used by OmniGuide in laser surgery.

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

title: Perfect mirror


text: User talk:206.207.175.162

title: User talk:206.207.175.162


text:
Talk:Perfect mirror

Is this a theoretical concept or do they exist? Evercat 20:25, 6 Oct 2004 (UTC)

Why
Why would anyone want a perfect mirror? Is it good for anything? Does it have any practical or theoretical uses?

 * There are many reasons someone might want to reflect all their light instead of losing some to mirrors. A different one for every situation, in fact.  Nothing worse than finding out that you lose too much energy in your experiment to see whatever you're looking for: either have to buy a bigger laser or try to cut down on the number of lossy optics.  — Laura Scudder ☎ 22:43, 29 January 2007 (UTC)

They can be used with surgical lasers to access previously unreachable brain tumors. I'm also not sure why they couldn't also be used as part of efforts for full invisibility. —Preceding unsigned comment added by 66.24.278.98 (talk) 01:20, 21 December 2008 (UTC)

Fiber optics
Do fiber optics count as a sort of "perfect mirror"? –  Ker αun oςc op ia◁ galaxies  10:18, 12 June 2010 (UTC)

Very complex mirrors
"A very complex dielectric mirror can reflect up to 99.999% of the light incident upon it..." Is the point that the mirror is complex? Or is it rather that is is high-quality, carefully constructed, or something? 84.227.237.33 (talk) 14:23, 3 April 2014 (UTC)

External links modified
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title: Talk:Perfect mirror


text: Template:COTWs

title: Template:COTWs


text:
Wikipedia:Articles for deletion/Gallego Jesus

Gallego Jesus
No offence to Dr. Gallego (that's his last name), but he's one of many astronomers; neither Google nor his personal webpage suggest anything exceptional (yet! he's a young man still). — Bill 20:25, 6 Oct 2004 (UTC)
 * Delete. No evidence of notability, hardly an article. --Improv 22:32, 6 Oct 2004 (UTC)
 * Delete. Incorrectly titled, and the article doesn't suggest why Dr Gallego is notable. Average Earthman 22:53, 6 Oct 2004 (UTC)
 * Delete: Ass backwards naming, not notable within context of the article. I'm sure he has done neat things, but they must be a secret, because we don't learn them here. Geogre 03:32, 9 Oct 2004 (UTC)


text:
Electoral history of the Communist Party of India (Marxist)

State Election Results
Results from the Election Commission of India website. Results does not deal with defections and by-elections during the mandate period.


text:
Talk:Prithvi Bir Bikram Shah

Untitled
Could we try and clear up the facts on this page as the dates were originally marked with question marks? --Chrisblore 20:26, 6 Oct 2004 (UTC)

Proposed merge with Lalit Rajeshwari Rajya Lakshmi Devi
Subject is not notable enough to have a stand-alone article. — usernamekiran (talk)  13:45, 23 August 2017 (UTC)
 * Oppose: being a regent of Nepal for 12 years is sufficiently important to establish notability (given that the national leadership role meets WP:POLITICIAN, in the modern sense!). Klbrain (talk) 22:08, 21 December 2018 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 00:53, 7 July 2019 (UTC)
 * Tribhuvan.jpg

title: Talk:Prithvi Bir Bikram Shah


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Pinus halepensis

Pinus halepensis, commonly known as the Aleppo pine, also known as the Jerusalem pine, is a pine native to the Mediterranean region. It was officially named by the botanist Philip Miller in his 1768 book The Gardener's Dictionary; he probably never went to Aleppo but mentions seeing large specimens at Goodwood in the garden of the Duke of Richmond, which were transplanted (perhaps sent by Alexander Russell from Syria) in 1739.

Description
Pinus halepensis is a small to medium-sized tree, 15 - 25 m tall, with a trunk diameter up to 60 cm, exceptionally up to 1 m. The bark is orange-red, thick, and deeply fissured at the base of the trunk, and thin and flaky in the upper crown. The leaves ('needles') are very slender, 6 - 12 cm long, distinctly yellowish green, and produced in pairs (rarely a few in threes). The cones are narrow conic, 5 - 12 cm long and 2 - 3 cm broad at the base when closed, green at first, ripening glossy red-brown when 24 months old. They open slowly over the next few years, a process quickened if they are exposed to heat such as in forest fires. The cones open 5 - 8 cm wide to allow the seeds to disperse. The seeds are 5 - 6 mm long, with a 20 mm wing, and are wind-dispersed.

Related species
The Aleppo pine is closely related to the Turkish pine, Canary Island pine, and maritime pine, which all share many of its characteristics. Some authors include the Turkish pine as a subspecies of the Aleppo pine, as Pinus halepensis subsp. brutia (Ten.) Holmboe, but it is usually regarded as a distinct species. It is a relatively nonvariable species, in that its morphological characteristics stay constant over the entire range.

Distribution and habitat
The native range of Pinus halepensis extends from Morocco, Algeria, Tunisia, and Spain north to southern France, Malta, Italy, Croatia, Montenegro, and Albania, and east to Greece. It has been introduced into many parts of the world, including Portugal. There is an outlying population (from which it was first described) in Syria, Lebanon, southern Turkey, Jordan, Israel and Palestine.

The species is generally found at low altitudes, mostly from sea level to 200 m, but can grow above 1000 m in southern and eastern Spain, well over 1200 m on Crete, and up to 1700 m in the south, in Morocco, Algeria and Tunisia. The tree is able to quickly colonize open and disturbed areas. It is classed as an invasive species in South Africa. It can grow on all substrates and almost in all bioclimates in the Mediterranean.

Pinus halepensis is a diagnostic species of the vegetation class Pinetea halepensis.

Uses
The resin of the Aleppo pine is used to flavor the Greek wine retsina.

From the pine nuts of the Aleppo pine is made a pudding called asidet zgougou in the Tunisian dialect; it is served in bowls, covered with cream, and topped with almonds and small candies.

The Maltese dessert prinjolata is also prepared using these pine nuts, both in its filling as well as a topping.

Aleppo pine are used for bonsai.

Forestry
In its native area, P. halepensis is widely planted for its fine timber, making it one of the most important forestry trees in Algeria and Morocco.

In Israel, natural patches of Aleppo pine forests can be found in the Carmel and Galilee regions. The Aleppo pine, along with Pinus brutia, has been planted extensively by the Jewish National Fund. It proved very successful in Yatir Forest in the northern Negev (on the edge of the desert), where foresters had not expected it to survive. Many Aleppo pine forests exist today in Israel and are used for recreational purposes. Although it is a local species, some argue that the historical replacement of natural oak maquis shrubland and garrigue with tall stands of pine has created "ecological deserts" and has significantly changed the species assemblage of these regions. The species produces timber which is valued for its hardness, density and unproblematic seasoning. Seasoned timber is inclined to tear out with planing, but this can be avoided by using sharp blades or adjusting the sharpening angle of tools.

The Aleppo pine is considered an invasive species though useful in South Africa; in South Australia, a control program is in place on Eyre Peninsula.

Landscape
Pinus halepensis is a popular ornamental tree, extensively planted in gardens, parks, and private and agency landscapes in hot dry areas such as Southern California and the Karoo in South Africa, where the Aleppo pine's considerable heat and drought tolerance, fast growth, and aesthetic qualities are highly valued.

In culture
Paul Cézanne had an Aleppo pine in his garden at Aix-en-Provence; this tree was the inspiration and model for his painting The Big Trees. As of 2005, the tree is still growing in Cézanne's garden.

title: Pinus halepensis


text:
Talk:WWBZ (defunct)

Untitled
from VfD:

Our pals at the Blaze, 3 items up: they've been busy. Advert. — Bill 20:29, 6 Oct 2004 (UTC)
 * Just a comment. Although most radio stations are notable, so are high schools - but I'm concerned at a new proliferation of stubs. Can't we have a guideline (not a rule, just a guideline) not to create loads and loads of stubs, but instead write them up into reasonable length articles before they are posted? Jongarrettuk 20:35, 6 Oct 2004 (UTC)
 * Redirect.. They should get, at most, one article. --Improv 22:33, 6 Oct 2004 (UTC)
 * We have this, The Blaze (which should be The Blaze (radio) if kept, and 96.3 KBAZ. Keep one, redirect the other two.  Don't keep The blaze, wrong capitalization.  RickK 22:39, Oct 6, 2004 (UTC)
 * Merge and redirect all to KBAZ. Callsign seems to be the predominant radio station article naming scheme. -- Cyrius|✎ 01:11, 7 Oct 2004 (UTC)
 * Redirect to 96.3 KBAZ. -- Netoholic @ 02:43, 2004 Oct 7 (UTC)
 * We should rename this, or one of them anyway, to KBAZ and not 96.3 KBAZ so as to preserve our naming scheme. Then we should delete all others.  None of the "blaze" catchphrases should get naming priority.  I'm against the task of recording all call signs in the world, in general, but that door is already open.  If we're going to do it, at least we can make sure not to muddle it further by letting frequencies be part of the names. Geogre 03:35, 9 Oct 2004 (UTC)

end moved discussion

Do not merge with KBAZ
This station was located in Chicago and was the debut station for Mancow's Morning Madhouse / Mancow Muller. The Correct Page would be found at WKSC-FM http://www.scottchilders.com/timecapsule/TC3.htm --KDSRRGurl (talk) 11:05, 24 May 2011 (UTC)

title: Talk:WWBZ (defunct)


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Carl Dahlhaus

Carl Dahlhaus (10 June 1928 – 13 March 1989) was a German musicologist who was among the leading postwar musicologists of the mid to late 20th-century. A prolific scholar, he had broad interests though his research focused on 19th- and 20th-century classical music, both areas in which he made significant advancements. However, he remains best known in the English-speaking world for his writings on Wagner. Dahlhaus wrote on many other composers, including Josquin, Gesualdo, Bach and Schoenberg.

He spent the bulk of his career as head of Technische Universität Berlin's musicology department, which he raised to an international standard. Dahlhaus pioneered the development of numerous musicological fields, particularly the aesthetics of music, which he raised to a central status. Active as a historian, analyst, editor and organizer, he was massively influential and his work has since incited considerable discussion and debate.

Life and career
Dahlhaus was born in Hanover on 10 June 1928. The Second World War interrupted his early education; he served on the front and as an anti-aircraft auxiliary. He completed school exams through a special program designed for those engaged in combat. After a brief stint studying law, Dahlhaus first engaged in musicology from 1947 to 1952, studying with Wilibald Gurlitt at the University of Freiburg and Rudolf Gerber at the University of Göttingen. His 1953 dissertation at the latter concerned the masses of Josquin des Prez. Instead of seeking an academic career, he engaged in the theatre and journalism worlds. Having begun as a student, he worked as dramaturg for the Deutsches Theater in Göttingen from 1950 to 1958; Bertolt Brecht had encouraged him to take the post. From 1960 to 1962 he worked as musical editor for the Stuttgarter Zeitung newspaper, acting as a relentless promoter of the Darmstadt school.

His first academic position came in 1962, when he served as a research assistant at the University of Kiel until 1966. That year he completed his a work for his Habilitation, Untersuchungen über die Entstehung der harmonischen Tonalität (Studies on the Origin of Harmonic Tonality), published in 1968. The work was a seminal study on the origins of tonality, reaching back to the Renaissance and Baroque periods. Originally in German, Robert Gjerdingen has published a translated version in 1990 through the Princeton University Press. After working at Saarland University for less than a year, he was hired in 1967 to succeed Hans Heinz Stuckenschmidt as the head of the TU Berlin's musicology department. He would remain there until his death, gradually expanding and developing the university's previously minuscule musicology program to one of international renown. Though many universities offered him positions throughout his tenure, he rejected them all; the only exception was the two semesters he spent as a visiting professor at Princeton University.

Dahlhaus was honored with the Order of Merit of the Federal Republic of Germany (Grand Cross with Star), a Blue Max, and accepted into the German Academy. In 1987, he was awarded the Frankfurter Musikpreis.

After being ill for some time—a sickness he mostly kept private from his colleagues—he died in Berlin on 13 March 1989, from kidney failure. He had been working on a succinct history of Western music in English at the time, which was left unfinished.

Musicological scholarship
Dahlhaus wrote 25 books, more than 400 articles, and contributed to 150 other works on a wide range of subjects. The majority of these were on the history of Western music and particularly that of the 19th century, i.e. Romantic music. Composers whose music he wrote on include Josquin, Gesualdo, Bach and Schoenberg. 19th- and 20th-century classical music were also regular topics. All of his major works were written in German; the history of Western music he left incomplete would have been his first English publication.

He was very interested in the work of Richard Wagner and remains best known English-speaking world for his writings on Wagner. Other topics he regularly engaged in include music theory, the aesthetics of music, and the prehistory of "new music".

Legacy
Towards the end of his life, Dahlhaus was the most eminent and influential musicologist of his generation, with his works continuing to incite considerable discourse, discussion and controversy. He expressed himself not only as a musicologist, but as a historian, analyst, editor and organizer. His achievements include encouraging new interest in 19th-century music, particularly through his 1989 Nineteenth-Century Music publication.

His diverse interests allowed legitimized various musicological subfields, and broadened the discipline considerably. J. Bradford Robinson gives "systematic musicology, institutional history [and] salon music" as examples of newly accepted topics due to his influence. He was a principal proponent in raising aesthetics as a topic in the forefront of musicology. In addition, he helped establish a coherent narrative for 20th-century classical music.

Selected bibliography

 * Dahlhaus, Carl. 1979. Richard Wagner's Music Dramas. Translated by Mary Whittall. Cambridge & New York: Cambridge University Press.
 * ———. 1980. ''Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press.
 * ———. 1982. Esthetics of music. Translated by William W. Austin. Cambridge & New York: Cambridge University Press.
 * ———. 1983a. Analysis and Value Judgement. Translated from the German by Siegmund Levarie. New York: Pendragon Press.
 * ———. 1983b. Foundations of Music History. Translated by J. B. Robinson. Cambridge & New York: Cambridge University Press.
 * ———. 1985. Realism in nineteenth-century music. Translated by Mary Whittall. Cambridge & New York: Cambridge University Press.
 * ———. 1987. Schoenberg and the New Music: Essays. Translated by Derrick Puffett and Alfred Clayton. Cambridge & New York: Cambridge University Press.
 * ———. 1989. Nineteenth-Century Music. English translation by J. Bradford Robinson. Berkeley: University of California Press.
 * ———. 1989. The Idea of Absolute Music. Translated by Roger Lustig. Chicago: University of Chicago Press.
 * ———. 1990. Studies on the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton, NJ : Princeton University Press.
 * ———. 1991. Ludwig van Beethoven: Approaches to His Music. Translated by Mary Whittall. Oxford: Clarendon Press; New York: Oxford University Press.
 * Deathridge, John, and Carl Dahlhaus. 1984. The New Grove Wagner. New York: W. W. Norton.
 * Ruth Katz and Carl Dahlhaus (1987-1991): Contemplating Music (Sources in the aesthetic of music, selected, edited, annotated and introduced, with original translations, in four volumes), New York: Pendragon Press. Vol. I Substance (1987); Vol. II Import (1989); Vol. III Essence (1991); Vol. IV Community of Discourse (1991).

title: Carl Dahlhaus


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Harry Wu

Harry Wu (February 8, 1937 – April 26, 2016) was a Chinese-American human rights activist. Wu spent 19 years in Chinese labor camps, and he became a resident and citizen of the United States. In 1992, he founded the Laogai Research Foundation.

Early life and education
Wu was born into an affluent family in Shanghai; his father was a banking official and his mother had descended from a family of well-to-do landlords.

Wu studied at the Geology Institute in Beijing, where he earned a degree. In 1956, the Communist Party began a campaign encouraging citizens, particularly students and intellectuals, to express their true views of the Party and the state of society (known as the Hundred Flowers Campaign). Although cautious, Wu eventually voiced some sentiments, by disagreeing with the Soviet Union's military intervention in Hungary, and the practice of labeling people into different categories.

By the Fall of 1956, China's leader, Mao Zedong abruptly reversed course and proclaimed that the true enemies of the Party had been exposed and 19-year-old Wu was subsequently singled out at his university. Wu later wrote of this experience: "This was the first time I had ever been singled out as a political troublemaker. Most of my classmates were more pragmatic than I, and they just repeated what the Communists wanted to hear." For the next few years, Wu was continuously criticized in Party meetings and closely monitored until his arrest in 1960 at the age of 23 when he was charged with being a "counterrevolutionary rightist", and was sent to the laogai (China's system of forced-labor prison camps).

Labor camp years
Harry Wu was imprisoned for 19 years in 12 different camps mining coal, building roads, clearing land, and planting and harvesting crops. According to his own accounts, he was beaten, tortured and nearly starved to death, and witnessed the deaths of many other prisoners from brutality, starvation, and suicide.

In the camps Wu met a rough, illiterate peasant with the nickname, "Big Mouth Xing". Wu wrote, "I could see how Big Mouth Xing had gotten his name. The corners of his mouth seemed to stretch all the way to his ears." Xing had experienced a lot of starvation in life, first in his rural village, and later in the camps, and had become obsessed with getting enough food.

Lean and muscular, with missing teeth and ears that "looked black with dirt", Xing taught Wu how to fight for survival in the camps. He showed Wu how to dig for underground rat burrows in order to find clean caches of grain and beans which could then later be boiled for food to avoid starvation. He also taught Wu how to be aggressive to discourage bullies. Wu came from an urban, educated background and was naive. Xing often repeated to Wu, "Nobody here will take care of you. You have to take care of yourself." Wu later wrote:

"I was twenty-three, a college graduate raised in an affluent, urban family, and a political criminal. Xing Jingping, three years younger than I, was a peasant from a starving village, a thief with no education and no political viewpoint. The gulf between us was vast, yet I grew to admire him as the most capable and influential teacher of my life."

Wu was released from his life sentence in 1979 at the age of 42, as a result of political changes following the death of Mao Zedong. He obtained a teaching position at the Geoscience University in Beijing, but found that the label of having been a political prisoner continued to follow him. Wu also found that those who had played a part in labeling him "an enemy of the people", leading to his imprisonment twenty years earlier, tended to react to his survival and return the same way: "All that has happened is in the past ... the Party has suffered too."

Wu left China for the United States in 1985, after having received a chance invitation from the University of California at Berkeley to be a visiting scholar. (A faculty member at Berkeley had read an article that Wu had written in an academic journal on geology).

Early years in the U.S.
Wu arrived in the U.S. with only 40 dollars, a few clothes and an ink tiger print that he had inherited from his father. Since he did not have funding from the university for his first year he had to improvise. At first he was sleeping in the park, and on the Bay Area Rapid Transit when it rained. He got a night shift job making donuts at a donut shop for a few months; then a job at a liquor store, and was finally able to rent a cheap apartment. Wu continued with various odd jobs during this period and in 1988 began working for an electronic chip manufacturer, where he became an assistant manager, and was able to buy a used car. Looking back on this period of his life, Wu felt that there was opportunity and if he just worked hard he could make it.

During his first years in America, Wu did not want to think about or discuss politics. He felt that he had already lost the years of his youth and he wanted to establish a personal life and enjoy his freedom. But slowly he was drawn back into the discussion about prison camps in China and his own experiences. In 1986, Wu was asked to talk about his experiences in the camps in front of a class of college students at the University of California, Santa Cruz. As Wu spoke he started to cry as he felt he was being the voice for the many seemingly forgotten prisoners who had died.

Focus on the laogai regime
In 1988 Wu met with the curator of the East Asian Studies department at the Hoover Institution at Stanford to explain his interest in studying China's network of forced-labor prison camps. Wu did not have academic experience in social studies, only that of a geologist, but his stories about his time in the camps intrigued the curator, who invited Wu to pursue research as a visiting scholar. From that time on, Wu started compiling a catalog of the labor prison camp system within mainland China. Known in China as the laogai, which translates as "reform through labor", Wu eventually published Laogai: The Chinese Gulag in 1992. In the early 1990s, Wu made several trips into China in order to gather the evidence needed to prove the existence of the labor camps to the outside world — part of this involved visiting various camps and secretly recording images in photo and video.

In 1990, Senators Alan Cranston (D-Calif.), and Jesse Helms (R-N.C.) invited Wu to testify before the Senate on laogai. In 1991, Wu did a story with Ed Bradley for 60 Minutes, in which they posed as businessmen interested in purchasing factory goods in mainland China that had been manufactured by the slave labor of Chinese prisoners.

In 1992, Wu established the Laogai Research Foundation, a non-profit research and public education organization, considered a leading source for information on China's labor camps; and he was instrumental in proving that the organs of executed criminals were being used for organ transplants. Among Wu's supporters was the AFL–CIO, America's largest federation of labour unions. In addition, the center's stated purpose is to also "document and publicize other systemic human rights violations in China, including ... the coercive enforcement of China's 'one-child' population control policy, and Internet censorship and surveillance."

In 1995, by then a U.S. citizen, he was arrested as he tried to enter China with illegal documentation. He was held by the Chinese government for 66 days before he was convicted for "stealing state secrets". He was sentenced to 15 years in prison, but was instead immediately deported from China. He attributes his release to an international campaign launched on his behalf.

In 2007, Wu criticized the selection of a Chinese sculptor, Lei Yixin, as the lead sculptor for the Martin Luther King Jr. Memorial because Lei had also carved statues celebrating Mao Zedong.

In November 2008, Wu opened the Laogai Museum in Washington, D.C., calling it the first United States museum to directly address human rights in China.

Recognition
Wu received the Freedom Award from the Hungarian Freedom Fighters' Federation in 1991. In 1994 he received the first Martin Ennals Award for Human Rights Defenders. He was awarded the Courage of Conscience Award by the Peace Abbey in Sherborn, Massachusetts, on September 14, 1995 for his extraordinary sacrifices and commitment to exposing human rights violations in his motherland China. He received an honorary doctorate from the Institute of World Politics in Washington, DC in 2012.

In 1996, he was awarded the Geuzenpenning, the Medal of Freedom from the Dutch World War II Resistance Foundation. He also received honorary degrees from Saint Louis University and the American University of Paris. That same year, the Columbia Human Rights Law Review awarded Wu its second Award for Leadership in Human Rights. In 1997, Wu was presented with the Walter Judd Freedom Award by The Fund for American Studies for being an outspoken voice against tyranny and oppression.

Wu served as the Executive Director of the Laogai Research Foundation and the China Information Center. He was also a member of the International Council of the New York-based Human Rights Foundation. He was a member of the international advisory council of the Victims of Communism Memorial Foundation.

Lawsuits
In 2007, Wu helped the relatives of Chinese dissidents Wang Xiaoning and Shi Tao sue Yahoo!, which had disclosed their IP addresses to the Chinese government, leading to their arrest and imprisonment. Yahoo settled the lawsuit by establishing a $17 million fund to compensate and help Chinese dissidents, and chose Wu as its administrator. In January 2011, Wang and his wife Yu Ling sued Wu, who allegedly demanded $1 million in kickbacks from Yu for his Laogai Research Foundation. Wu stated that Yu had willingly donated the money. The case was settled in April 2012 when Wu repaid the $1 million to Yu. Wu's alleged mishandling of the millions from Yahoo alienated him from many in the human rights community. Seven Chinese dissidents signed an open letter stating that Wu had spent $14–15 million of the Yahoo fund from 2008 to 2015, but only $700,000 was used to help Chinese dissidents.

In March 2015, a Virginia woman named Wang Jing publicly accused Wu of sexually assaulting her and three underage girls, the daughters of Chinese dissidents who were under her guardianship, in late 2013. Wu denied the accusation. Wang filed a lawsuit against Wu with the Fairfax County Circuit Court, and the case was scheduled to go on trial in January 2017.

Death
Wu died in Honduras on April 26, 2016, at the age of 79 while he was vacationing there with friends. He was survived by his former wife, Ching Lee, and a son, Harrison.

Books

 * Laogai: The Chinese Gulag (1992), the first full account of the Chinese labor camp system.
 * Bitter Winds (1994), a memoir of his time in the camps.
 * Troublemaker (1996), an account of Wu's clandestine trips to China and his detention in 1995.
 * Thunderstorm in the Night (2003), Wu's first Chinese language book; an autobiography that spans his entire life.
 * New Ghosts, Old Ghosts, Prisons and Labor Reform Camps in China (1999), by James Seymour and Richard Anderson
 * Peter Braaksma (Editor), Nine Lives: Making the Impossible Possible (2009), New Internationalist Publications, which tells the stories of Wu & 8 others who, "operating outside the normal channels, have made the world a better, fairer place".
 * The Sunflower (1998), by Simon Wiesenthal, Hary James Cargas (Editor), Bonny V. Fetterman (Editor)

title: Harry Wu


text:
Wikipedia talk:Entertainment Collaboration of the week

Quibble
Hi everyone. Just wanted to drop by to applaud you on the new TSCOTW. One quibble, though--do you think you could change the color of CurrentTSCOTW and Current-TSCOTW? I'm the founder of Gaming Collaboration of the week, and I chose the light red color backgrounds so they would stand out from WP:COTW and WP:MCOTW...I was kind of thinking that each collaboration could have their own color. If you want help looking for different colors to use, you can view Template messages. Thanks and I hope TSCOTW will progress to become as big as WP:COTW itself! :) Cheers, pie4all88 20:30, 6 Oct 2004 (UTC)
 * I think the colours should remain the same throughout all COTWs - this should be the same as the WP:COTW and WP:MCOTW, just as WP:GCOTW should. violet/riga (t) 20:43, 6 Oct 2004 (UTC)
 * WP:MCOTW uses a blue background for their notice that a page is a current COTW. pie4all88 22:02, 6 Oct 2004 (UTC)
 * Note that Infobox has a lot of colors--one of which, chocolate, corresponds with TV theme songs. --pie4all88 20:12, 7 Oct 2004 (UTC)

Television show or program
Considering that the article is television program and not television show (a redirect to it) shouldn't it follow that this is the "Television Program Collaboration of the week"? At least the template should be changed to remove the redirect. violet/riga (t) 20:49, 6 Oct 2004 (UTC)
 * Further, perhaps it could be widened to Media Collaboration of the week, including radio, tv, film, magazinges, etc.. violet/riga (t) 09:24, 10 Oct 2004 (UTC)
 * Ooooh, you're hot (and hopefully female) - In other words I agree with your fan-fecking-tastic idea--ZayZayEM 09:31, 10 Oct 2004 (UTC)
 * I totally agree with this idea. When this was set up, I thought it was a bit too specific, unlike, say, WP:LCOTW. I would be very interested in the film/radio/mag side if it was set up. J OHN C OLLISON | (Ludraman) 09:43, 10 Oct 2004 (UTC)

Widening the scope sounds like a good idea. Tommy T 07:09, 12 Oct 2004 (UTC)

Right, so if we're going to do this what would the shortcut be? MCOTW isn't available (used by the Magic COTW) so MediaCOTW? violet/riga (t) 19:20, 12 Oct 2004 (UTC)

 * MMCOTW? - MultiMedia: Radio, Film, TV, magazine/journals and Websites (and well known art?); We should probably leave books to LCOTW though - its a pretty big field all in itself--ZayZayEM 03:10, 13 Oct 2004 (UTC)

Disagree with renaming. Seems like print media should go to WP:LCOTW. I think we already have a large enough scope in television. -- Netoholic @ 17:34, 2004 Oct 19 (UTC)
 * Would've been nice if you'd have said this before I started changing it over, along with the above support including the originator of this COTW. Printed media (ie. Newspapers) are not literature and should not appear in LCOTW.  As you can see with the lack of nominations I don't think this is wide enough in scope.  At least it's not popular enough.  Perhaps you could've let me finish changing things and then commented about switching it back.  violet/riga (t) 17:44, 19 Oct 2004 (UTC)
 * "Media" is too wide and unfocused. We have a lot of users who are television fans, and I think there is enough material there.  Expand from Television Show COTW to Entertainment COTW and I think we will have a better defined focus, with enough breadth to keep us busy.  I'd like to follow the hierarchy of the WikiProjects as close as possible, and Entertainment covers TV and movies, while Literature covers print media.  -- Netoholic @ 18:50, 2004 Oct 19 (UTC)
 * Entertainment COTW sounds good to me, but the current LCOTW doesn't seem to cover all printed media at the moment. violet/riga (t) 18:56, 19 Oct 2004 (UTC)

 * Now it's a bit of a mix of the two! violet/riga (t) 18:49, 19 Oct 2004 (UTC)

Is there something wrong with this COTW? Nothing has been chosen yet.

Observations
The TSCOTW main page says that the next TSCOTW will be determined on October 10, and as of this writing, it is October 17. If this has anything to do with the fact that what this COTW will comprise of is still being considered, that's understandable, but it seems like a good idea for this page to operate in some manner in the interim. Looking at what it seems the votes were on October 10th at 1800, it seems like the TSCOTW was Party of Five with four votes, unless it really needs to have five votes to be considered. In addition, a lot of the listed shows are ripe for removal. Cordell Walker 03:37, 18 Oct 2004 (UTC)

Pruning
I think the pruning limit should be less than 5 votes/week, maybe 3 would be best. There aren't as many voters here as in the main COTW. --Farside 20:05, 19 Oct 2004 (UTC)

 * Since we just expanded the scope to Entertainment, I think 5 is a good number for now. -- Netoholic @ 21:16, 2004 Oct 19 (UTC)

 * I strongly doubt it, but I guess time will tell. --Farside 20:32, 22 Oct 2004 (UTC)

Why is noone participating?
We had a lot of votes for MacGyver, but so far I am the only one working on it since it was accepted. Please jump in! :) -- Netoholic @ 20:40, 2004 Oct 22 (UTC)

Film CotW

 * I suggest that this goes back to being the TV-CotW, and we have a FCotW. I would have made a project page for it already, but you guys were here first and I thought it would be a good idea to see what your thoughts are. -Litefantastic 12:04, 29 Oct 2004 (UTC)


text:
Wikipedia:Articles for deletion/Dumb cane.

Dumb cane. was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

This redirect page was apparently made erroneously with a period. A Dumb cane redirect exists as well

Uh... shouldn't it be a Redirect anyway? Luigi30 22:32, 6 Oct 2004 (UTC)

 * This is a speedy deletion candidate (redirects that are typos). -- Netoholic @ 02:41, 2004 Oct 7 (UTC)
 * Gone. Candidates for speedy deletion case 4. Andrewa 14:24, 7 Oct 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: Category:Sufi music

title: Category:Sufi music