text:
Kamppi

Kamppi (Kampen) is a neighbourhood in the centre of Helsinki, the capital of Finland. The name originally referred to a small area known as the "Kamppi field" (see below), but according to the current official designation, "Kamppi" encompasses a much larger area with a population of 10,000 in 2004.

The heart of Kamppi is a part of the Central Business District. However, in stark contrast to the other districts of central Helsinki, development in Kamppi was sporadic and the very centre of Kamppi remained entirely undeveloped until 2002.

The name "Kamppi" is derived from the Swedish word for battle, kamp. Under Russian rule in the 19th century, Kamppi was mainly used as a military area by Russian forces, with barracks and training fields, which the name refers to. This so-called "Kamppi field" in the centre of Kamppi was also the location of a market run by Jewish merchants from the late 19th century until 1929 when it was shut down. A new pedestrian plaza on the same site, completed in 2005 as part of a recent redevelopment project, has been officially named Narinkka Square (Narinkkatori, Narinken) which comes from the name that the old Jewish market had. The name for the Jewish market has its background in the Russian language, as many of the Jewish merchants came from Russia and spoke Russian. In Russian language, "на рынке" (na rinke) means "on the market". The Finnish speaking people began to call the place "narinkka" and the name stuck to the place with few people today knowing the original meaning of the word.

The reputable Ressu Upper Secondary School as well as the Helsinki Old Church and its adjacent park are located in the district of Kamppi. There are also two hotels in Kamppi area: Hotel Marski and Hotel Torni.

The central bus station of Helsinki is located in a modern terminal built entirely underground in Kamppi, and the Helsinki railway station is located only a few hundred metres away. A popular destination in Kamppi is Tennispalatsi, the largest cinema multiplex in Helsinki.

Since August 2002, the centre of Kamppi was occupied by the largest single construction site in the history of Finland. The first phase of the project, the underground bus terminal, was opened to the public in June 2005. Completed in March 2006, the Kamppi Center also houses high-quality apartments and a large shopping mall. In 2012 the Kamppi Chapel was opened on the other end of Narinkka Square.

title: Kamppi


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

title: User:Violetriga/Templates4/peerreview


text: User:Violetriga/Templates4/oldpeerreview


text:
Talk:Coma Berenices

Diadem (star) is suspected of being an eclipsing binary.
Not by Jim Kaler, it ain't!

http://www.astro.uiuc.edu/~kaler/sow/diadem.html

Quote: "The orbital tilt, however, a mere tenth of a degree against the line of sight, is enough to keep the stars from eclipsing each other."
 * I had a look at Burnham's and it says that too. I'll reword that and cite Burnham's as a source.  JYolkowski 16:39, 15 Apr 2005 (UTC)

Coordinates Appear Inconsistent
This article says galactic north is at "at right ascension 12h 51m 25s and declination +27° 07′ 48″ (epoch J2000.0)", while the article "Galactic coordinate system" states it is at "12h 51m 26.282s +27° 07′ 42.01″ (J2000)". Shouldn't these agree exactly?

Also, it would be nice if the pole could be marked on one of the images for those (like me) who aren't up to speed on locating things astronomical. CoyneT talk 20:56, 13 July 2008 (UTC)

21 Com = Kissin
Really hard to control since a google gives a lot of "Kissing" hits. I don't believe the star names are OK, with the one exception of Diadem.  Said: Rursus   ☻   19:02, 16 July 2008 (UTC)

 * "Kissos" indeed means 'ivy' in Greek; "kissinos" is a possessive form meaning "of ivy"; it derives from Ptolemy, who used the term for one or more of the stars of the constellation --Branko (talk) 20:26, 24 May 2011 (UTC)

Ad footnote 1
The footnote 1 says:

1. ^ Gaius Julius Hyginus, Astronomica, 2.24 As given, Hyginus' version contains some serious logic flaws: • Votaries make sacrifices when requesting the deity's aid, not when receiving it. • Berenice would be sensible enough to know that after a long, hard campaign, Ptolemy would not be overjoyed to discover that his wife was bald. • No reason is given for Berenice returning to the temple the next day. • Overnight is hardly long enough for the priests to have misplaced a royal donation. The problems are resolved if it is understood that Berenice sacrificed her hair upon her husbands departure, praying for his safe return, by which time her hair would have regrown. An unscheduled royal visit to the temple to give thanks would have been appropriate, resulting in the discovery of the misplacement in the long interim.

I am sorry to say that, but both the criticism of Hyginus' narration and the "solution" to the "problem" are rather silly. Here:

1) Hyginus' version agrees with the story told by Catullus in his poem "Coma Berenices", which in turn is a very close translation of a poem by Callimachus of Cyrene, a poet contemporary with: Berenike, her husband Ptolemy III Euergetes, and the astronomer Conon of Samos, who actually defined and named the constellation. So, first of all, our sources for the story tell us exactly the same stuff as Hyginus does.

2) "serious logical flaws" in the story is pure bullshit:

a) "votaries make sacrifices when requesting the deity's aid"... etc. Not true: votaries make sacrifices having the deity's aid received. You only make a vote when requesting the aid, and the sacrifice is made (in other words: the vote gets fulfilled) when the deity has given the aid. Therefore Lutatius Catulus has voted (= promised) to build the temple of Fortuna Huiusce Diei before his battle in 101 BCE, and built the temple in resolution of the vote having won the battle. This of course dismisses the silly "explanation" below.

b) "bald" comment is particularly ignorant here: the "coma" she voted to sacrifice was not the entire hair of her head, but just the long and beautiful braid she had plaited. Despite that, how the author of the footnote can say anything on what Ptolemy III Euergetes enjoyed and what he did not?!

c) no "reason for Berenice returning to the temple next day" needs to be given, because neither Hyginus nor anyone says anything that Berenice returned to the temple the next day. He simply states that the lock has disappeared, not that Berenice discovered that herself.

d) Hyginus does not say anything on "priests misplacing a royal donation", he simply says that the lock has disappeared (see above) not giving any explanation. In reality, the lock migh have been indeed misplaced or even stolen, but it is beyond my comprehension how an overnight might be "hardly long enough" for that. How long you expect a thing being stolen, a month? 83.28.199.96 (talk) 22:54, 25 April 2011 (UTC)

The temple was for Venus Arsinoe Zephyritis. I read somewhere that it was in Cyrene, but I don't know if that's actually the same temple. Cyrene is about 500 miles from Alexandria. How long would Berenice have remained in Cyrene, who would have reported the theft, and how long would it have taken the news to reach Alexandria? 99.9.112.31 (talk) 00:13, 19 July 2011 (UTC)NotWillDecker

"near Antares"?
I've received an OTRS request saying in essence that Coma Berebuces is not near Antares, a southern star RA: 16h29m24s; δ −26°25'55 in the Scorpio constellation, but that the intended star mentioned in the lede paragraph is probably Arcturus RA: 14h15m39.7s; δ +19°10'56". Though this seems logical, I don't want to make the correction myself without someone checking.  DGG ( talk ) 19:44, 7 September 2014 (UTC)
 * Yes, Arcturus it is that's meant. I've changed it accordingly. Skeptic2 (talk) 21:49, 7 September 2014 (UTC)

title: Talk:Coma Berenices


text:
Talk:Alan White (Oasis drummer)

Delete-ey stuff
I deleted the large section of text :-

''The reasons of his departure are quite foggy, considering the fact that Alan was solid standing member for most part of Oasis history. Nevertheless, the Gallagher brothers stressed many times that he is one of the best (if not the best) sticksmen they've ever worked with. Noel always said that Whitey was more than a session and touring drummer for Oasis and that he helped immensly in the recording process. When he had written a song he played it to Whitey, then the latter changed the rhythm of the song or advised Noel to change the tempo for both doing the best on the upshot. ''It should be noted that he was the only member who was spare with much cocaine usage (although he liked drinking) apart from the Gallaghers and the only one who survived for most part of Oasis' career, due not only to his skills, but undeniably as well as to his temper. A notable act is when two original members Paul Arthurs and Paul McGuigan left, Alan White elected to remain with the band, providing his exceptional drumming on two more records with Oasis.

''With the facts that he performed on 5 records, giving definite different drum-playing on each of them and also touring for the most part of band's history, his indisputable talent and abilities are exceptional. His contribution to the band can't be denied and Whitey definitely was an important component in forming the significant and trademark Oasis sound. Whatever the future holds for him, he remains a proven and gifted drummer and probably soon will display again his superb drum-skills and talent.''

I can't see how it is relevent. It's Very POV, the grammer is confused, it apeeared out of place and it reads more like a fan-page on White than an objective article. We don't need a "Verdict" on why he left the band, because we don't really know anyway. I've salvaged bits and peices of it which I want to work into the rest of the article, but I don't see the need to leave the rest of it in. --Crestville 15:38, 14 Apr 2005 (UTC)

 * Its odd that somebody re-added all the stuff about Noel attributing much of the Oasis sound to Whitey. I think its BS -- where's the support?  Noel composed alone from what we all know.

Namesake
Is it really necessary to say "not to be confused with the drummer for Yes"? I hardly think anyone would confuse the two. The disambiguation page Alan White should do the trick. Camillus (talk) 18:44, 11 November 2006 (UTC)

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title: Talk:Alan White (Oasis drummer)


text:
Microdrive

The Microdrive is a type of miniature, 1-inch hard disk produced by IBM and Hitachi. These rotational media storage devices were designed to fit in CompactFlash (CF) Type II slots.

By 2010, Microdrives were viewed as obsolete, having been overtaken by solid-state flash media in read/write performance, storage capacity, durability, and price.

Precursors
Prior to the 1-inch Microdrive, a 1.3-inch HDD nicknamed the "Kittyhawk" was developed and launched in June 1992 by Hewlett Packard with a capacity of 20, then later 40 MB. These units weighed about 28 g (1 oz), with dimensions of 2.0" × 1.44" × 0.414" (50.8 mm × 36.5 mm × 10.5 mm) and were the physically smallest hard drives in the world before the Microdrive. The Kittyhawk was a failure however, and didn't last long in the market.

Development

The idea of the Microdrive was created by IBM researcher Timothy J. Reiley who was working at the Almaden Research Center in San Jose. He wanted to create a small form factor hard disk drive with high capacity storage that would be used for mobile devices, after working on a project to look at Micromechanics. Originally Reiley planned for the drive to use Microelectromechanical systems for parts of the drive such as the spindle motor and head actuator. Thomas R. Albrecht, another researcher, collaborated with Reiley to design and create the drive. Thomas changed the drive technology to miniaturized conventional technologies instead due to the increased technical risk and costs of using microelectromechanical systems.

The leader of mobile drive development at the IBM Fujisawa facility at the time, Hideya Ino, highly sought the potential of a 1-inch disk drive. He had a team collaborate with the IBM researchers to create working prototypes. Those prototypes were then used to persuade product planning and marketing teams to support the project. Two notable people from the Japan development team were Mitsuhiko Aoyagi and Kenji Kuroki, who contributed to launching the product line. Bill Healey and John Osterhout worked at the storage technology division in San Jose and were responsible for the business development and marketing of the Microdrive.

Introduction
In September 1998, IBM announced the Microdrive in North America with a maximum capacity of 340 MB. It was advertised as being about the size of a large coin, weighing less than an AA battery, and storing over 200 times more data than a floppy disk. The Microdrive was expected to be available by mid-1999. At the time, CompactFlash cards had a maximum capacity of 128 MB.

On June 24, 1999, IBM Japan announced the IBM Microdrive 340 MB for ¥58,000 or $475 USD. It was planned to be marketed as a storage device for digital cameras and other handheld devices.

On August 24, 1999, Microtech International announced they would be the first North American distributor of the 340 MB Microdrive.

In June 1999, IBM launched the first generation 1-inch Microdrive. It had storage capacities of 170MB and 340MB at a price of $499. The physical dimensions of Microdrive were 1.65" × 1.42" × 0.197" (42.0 mm × 36.0 mm × 5.0 mm) and conformed to CompactFlash Type II card standard. A second generation of Microdrive was announced by IBM in June 2000 with increased capacities at 512 MB and 1 GB, with the 512 MB model costing $399 and the 1 GB model costing $499.

Following the merger of IBM and Hitachi HDD business units, Hitachi Global Storage Technologies continued the development and marketing of the Microdrive. In 2003, 2 GB and 4 GB models were announced by Hitachi. The 4 GB model was first available on February 20, 2004 for a price of $499. This was followed by a 6 GB capacity model in February 2005 for a price of $299, with the 4 GB model dropping to $199. Hitachi additionally planned an even smaller 1-inch hard drive with a capacity of 8-10 GB under the code-name "Mikey" for late 2005 with a weight of 14 grams and a size of 40 mm × 30 mm × 5 mm.

By 2007, sales and profit of the Microdrive were dwindling so Hitachi discontinued production of 1 inch hard disk drives. Sales of 1-inch drives were only about 3,000 in a three-month period in 2007, while 560,000 units of 1-1.8-inch drives were sold throughout July to September 2007. Hitachi wanted to shift over to bigger 2.5 and 3.5-inch hard disk drives, rather than retain focus on the small hard disk drive business.

Seagate
In 2004, Seagate launched 2.5 and 5 GB hard disk drives in the same small physical form-factor as IBM Microdrive and referred to them as either 1-inch hard drives or CompactFlash hard drives due to the trademark issue. These drives were also commonly known as the Seagate ST1. In 2005, Seagate launched an 8 GB model. Seagate also sold a standalone consumer product based on these drives with a product known as the Pocket Hard Drive. These devices came in the shape of a hockey puck with an integrated USB 2.0 cable.

Seagate launched their 6 GB mini drive on the same day as Hitachi, in February 2005.

Western Digital
In early 2005, Western Digital announced they would be joining the mini hard drive market with their own drives. These would be available by the second half of 2005 and reach capacities up to 6 GB.

Western Digital launched a 6 GB external USB 2.0 microdrive as a part of the Passport Pocket brand in March 2006. This was made as a competitor to the Seagate Pocket Hard Drive. The unit had 2 MB of cache, 11 ms seek, spun at 3,600 RPM, and was 60 × 45 × 9 mm. The price for the unit was $130 upon release.

GS Magicstor
On July 16, 2003, a Chinese manufacturer called GS Magicstor, Inc. (subsidiary of GS Magic, Inc.) announced it had produced 1-inch hard disk drive with capacity of 2.4 GB at the beginning of the year 2003, originally marketed as an alternative to Microdrive by Hitachi Global Storage Technologies. It was to be followed by 2.2 and 4.8 GB 1-inch HDD that was unveiled in 2004 International CES, with 0.8-inch HDD. On December 28, 2004, Hitachi Global Storage Technologies announced it had filed lawsuit against GS Magicstor, Inc., GS Magic, Inc., and Riospring, Inc. for infringement of multiple Hitachi GST's patents relating to hard disk drives, after GS Magic Inc. had started promoting mini-HDD (small form factor hard disk drive).

Cornice
Cornice was founded in 2000. Based in Longmont (Colorado), it quickly came out with 4GB and 8GB microdrive models, destined to the MP3 player and mobile phone markets. Hit with patent infringement lawsuits by Seagate and other disk drive companies, and faced with stiff competition and lagging sales, the company eventually folded in 2007.

Toshiba
Toshiba decided to skip the 1" form factor, and in March 2004 announced a 0.85" drive that shipped in September of the same year. This form factor remains the smallest one ever shipped. Capacities of 2 and 4 GB were offered, destined primarily to the cellular phone market

Samsung
Samsung entered the microdrive market at a very late stage in 2008 with announced capacities of 20, 30 and 40 GB. Doing away with the bulky compact flash II connector, Samsung Spinpoint A1 microdrives were able to use a 1.3" diameter disk, while keeping the same outer microdrive dimensions (42.8mmx32.4mmx5mm). They also used perpendicular recording technology which had just been introduced in the hard disk industry. At the time when flash memory was becoming the medium of choice for all portable application, Samsung's entry was very short lived, with only one product carrying the 30 GB model known to ship: JVC's Everio GZ-MG73, an ultra-slim camcorder

Discontinuation
By 2006, flash-based CompactFlash cards surpassed Microdrives in maximum size and over time became less expensive as well, which rendered the technology obsolete. As of July 2012, there are no known manufacturers of 1-inch form-factor hard disk drives. Hitachi had also stopped production of its trademarked Microdrive product.

Features

Microdrives weigh less than a roll of 35mm film.

Until 2006, Microdrives had higher capacity than CompactFlash cards. As of 2006, Microdrive's capacity advantages were exceeded by CompactFlash cards (which are the same size and are often compatible with each other), and USB flash drives.

Microdrives allow more write cycles than flash storage, making them suitable for use as swap space in embedded applications. Flash storage always needs to move some old data around while writing, to ensure the flash's finite write life is consumed equally. Microdrives are better at handling power loss in the middle of writing: a bug in the wear levelling algorithm can cause data loss in flash storage were a card unplugged at the exact wrong time. Data on rotational disks is modified in place, and hard drive algorithms at the time were much more advanced than those of flash storage. Being mechanical devices however, they are more sensitive to physical shock and temperature changes than flash memory. For example, a microdrive will generally not survive a 4-foot (1.2-meter) drop onto a hard surface whereas CF cards can survive much higher falls. They are not designed to operate at high altitudes (over 10,000 feet or 3,000 meters) but can be safely used on most commercial aircraft as cabins are generally pressurized.

Microdrives are not as fast as the high-end CompactFlash cards; they generally operate at around 4–6 megabytes per second while high-end CF cards can operate at 45 megabytes per second.

Unlike flash storage, Microdrives require power even when no data is being transferred to or read from them, just to keep the disk spinning in order to maintain quick access. As a result, many devices such as the iPod mini leave the drive switched off for most of the time while periodically starting it up to fetch data from it to fill the device's buffer. Microdrives will switch off after idling for more than a few seconds to counter this problem; however, this means that it needs to spin up for the next access, which takes about 1 second. This effect would be particularly problematic if an operating system is being run from the drive, as seen in the case of the Palm LifeDrive.

Since they are thicker than flash-based CF cards, Microdrives require a Type II slot. Many newer compact cameras only have a Type I slot due to the increasing popularity of flash-based cards, so Microdrives have limited popularity outside of the professional photography market.

Certain bus-powered CF card readers lack the power needed to run a Microdrive although they do take CF II cards. When using such a device, it will usually be detected by the host, but errors will occur once the user attempts to access the drive.

Some "OEM Only" drives use the CompactFlash form factor but only provide a 5V IDE/ATA interface. These will not work in readers or devices which expect a 3.3V interface and full CompactFlash functionality.

By manufacturer

 * IBM:
 * 170 MB
 * 340 MB
 * 512 MB
 * 1 GB
 * 4 GB
 * 8 GB
 * 16 GB

Several physical examples of Microdrives are held by the Computer History Museum.

 * Hitachi:
 * 512 MB
 * 1 GB
 * 2 GB
 * 3 GB
 * 4 GB
 * 5 GB
 * 6 GB
 * 8 GB

IBM and Hitachi models were fitted with 128 KB of cache memory.

 * GS Magicstor:
 * 2.2 GB ATA, USB (NATIVE), & CF variants
 * 3 GB ATA
 * 4 GB ATA & CF variants
 * 6 GB

 * Seagate ST1:
 * 2.5 GB
 * 4 GB
 * 5 GB
 * 6 GB

 * Seagate ST1.2:
 * 4 GB
 * 8 GB

These Seagate models were fitted with 2MB of cache memory.
 * Seagate ST1.3:
 * 12 GB

 * Sony Compact Vault:
 * 2 GB (rebadged Hitachi)
 * 4 GB (rebadged Hitachi)
 * 5 GB (rebadged Seagate)
 * 8 GB (rebadged Seagate)

 * Toshiba (0.85" Form Factor):
 * 2 GB
 * 4 GB

 * Cornice:
 * 2 GB
 * 4 GB
 * 8 GB

 * Western Digital:
 * 6 GB

title: Microdrive


text:
Talent manager

A talent manager (also known as an artist manager, band manager or music manager) is an individual who guides the professional career of artists in the entertainment industry. The responsibility of a talent manager is to oversee the day-to-day business affairs of an artist; advise and counsel talent concerning professional matters, long-term plans and personal decisions which may affect their career.

An artist manager is also a person responsible for hiring and managing the employees in a company.

The roles and responsibilities of a talent manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. For example, a music manager's duties differ from those managers who advise actors, writers, or directors. A manager can also help artists find an agent, or help them decide when to leave their current agent and identify whom to select as a new agent. Talent agents have the authority to make deals for their clients while managers usually can only informally establish connections with producers and studios but do not have the ability to negotiate contracts.

History
Modern talents managers are associated with all artistic fields, sports, as well as various fields in business. Talent agents have at times been covered in the music or art press almost as intently as artists themselves, for example the various talent agents who spearheaded the British Invasion of The Beatles and Herman's Hermits in the 1960s such as Brian Epstein, Allan Williams, Harvey Lisberg. Infamous examples in the music press include Allen Klein, manager of both The Beatles and The Rolling Stones.

The industry of talent management has been unionized or organized in several forms throughout history. In the United States, a notable early example was the Association of Talent Agents, which was formed in Los Angeles, California in 1937. The ATA comes out of the Wagner Act upheld by the Supreme Court which established many of the unions and guilds that regulate people who work in the entertainment industry such as the Screen Actors Guild, Directors Guild of America, and Writers Guild of America.

Music managers
A music manager (or band manager) may handle career areas for bands, singers, and DJs. A music manager may be hired by a musician or band, or the manager may discover the band, and the relationship is usually contractually bound with mutual assurances, warranties, performances guarantees, and so forth. The manager's main job is to help with determining decisions related to career moves, bookings, promotion, business deals, recording contracts, etc. The role of music managers can be extensive and may include similar duties to that of a press agent, promoter, booking agent, business manager (who are usually certified public accountants), tour managers, and sometimes even a personal assistant.

Manager's contracts, however, cannot license those responsibilities unto the manager in the same way a state license would empower the agent to do so. Therefore, conflicting areas of interest may arise unless those are clarified in the contract. That said, a manager should be able to read and understand and explain a contract and study up on the long-term implications of contractual agreements that they, the bands, and the people they do business with, enter into. Before the manager enters into an agreement with the band, their relationship may be regarded as competing for interest; after a good contract is signed, their interests, obligations and incentives are aligned, and the interest in success is shared.

Responsibilities of a music manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers may assume multiple roles: graphic designer, publicist, promoter, and handling money and finances. As an artist's career develops, responsibilities may grow, and because of their percentage agreement with the band, the manager's income may grow as well.

A music manager becomes important to managing the many different pieces that make up a career in music. The manager can assist singers, songwriters, and instrumentalists in molding a career, finding music producers, and developing relationships with record companies, publishers, agents, and the music-loving public. They should carefully consider when certain contributions have been made which would also entitle them to cowriting credits, Executive Producer credit, or Producer credit should they become involved in songwriting, financing works, or actually producing demos and recordings, and should carefully know these jobs and these fees should be considered either as separate from the contract, in addition to the contract, or as free to the musician as clarified in emails and the contract.

The duties of an active music manager may include supporting the band's development of a reputation for the musician(s) and building a fan base, which may include mastering and launching a demo CD, developing and releasing press kits, planning promotional activities, creating social network identities for bands, and booking shows. A music manager may be present during recording sessions and should support the artist during the creative process while not interfering between the artist and the producer, but musicians may also find valuable feedback in the extra pair of ears and this should be carefully considered as well. The manager may gain access to a recording studio, photographers, and promotions. He or she will see that CD labels, posters, and promotional materials appropriately represent the band or artist, and that press kits are released in a timely manner to appropriate media. Launching a CD with complementary venues and dates is also a music manager's responsibility.

Among all the business and professional responsibilities that music managers assume; they also become a pseudo parent for the group and help with personal matters usually. This is both for the psyche of the group and to ensure that things are running smoothly.

Early on in an artist's career, the different facets of management and marketing fall upon either the band itself or, if they have one, their manager. Because the band or artist is relatively unknown initially, promotion, booking, and touring are minimal. A new music manager begins by establishing a clear understanding of what the artist(s) want. This can be accomplished through either a written or verbal contract. A music manager's first task is to solidify all artist development aspects and then concentrate on product development.

Management strategies
Despite the dominant presence of digital media in the music industry, there are many typical strategies that even the most modernized managers must adhere to in order to reach the managerial goals effectively. Most of these trick-of-the-trade strategies are employed to establish and maintain connections with booking agents, promote the activities of the artist, and manage finances in order to optimize the artist's ability to book gigs, establish a fan base, and ultimately bring in revenue from their work, respectively.

Booking gigs
Among the more traditional responsibilities of music managers are booking and promoting gigs for their artist(s). Managers often become known for establishing ongoing relationships with specific venues, booking one artist at the venue regularly, or several artists on their roster. A large number of 'how-to' books have been published on the topic.

Internet strategies
As technology has advanced, the music industry has consequently undergone a drastic change in the way it operates. The internet has made it both easier and harder to attract the attention of fans and the press, as both outreach and industry saturation increase. “The sale of prerecorded music has diminished, but there’s so much more that’s going on. You can’t focus on what’s not working when there are so many other opportunities.”. Social media is a common form of online networking for managers, and platforms such as MySpace, Facebook, Beatport, Bandcamp, SoundCloud, Distrokid and YouTube have been noted in the press for their use in networking in the music industry. Other fields such as business may use more common websites such as LinkedIn or Google+, while networking on behalf of a client.

Not everyone is so optimistic about the role of social media in the music industry. In his article, “Why Music Won’t Be Saved By Social Media”, Wes Davenport suggests that the role of social media in the industry “has been grossly inflated”. In the article, Davenport quotes Jon Ostrow saying, “Social media is a conversation tool – that’s it”, acknowledging that there is potential for sparking conversation and building a fan base, but suggesting that social media does not necessarily live up to the potential for success that people in our modern culture seem to give credit.

Digital case Study: Lady Gaga
In an article titled, “Case study: Making money from music” by Martin Kupp, Jamie Anderson and Joerg Reckhenrich, the effects of technological advances on the music industry are recognized, analyzed, and utilized through an online marketing strategy that led to the incredible success of Lady Gaga. Troy Carter of Coalition Media signed Gaga with the intention of making her into a star with the help of some clever marketing. Recognizing that digitalization was the cause of the almost 33% decrease in the music industry's total revenue between the years 2000 and 2007, Carter decided to find a way to use digitalization to his advantage with his newly signed artist. Coalition Media, with the help of marketing company ThinkTank Digital, invested large amounts of time and money into developing Lady Gaga's global presence through social media.

They set up many interviews with online bloggers, established a large following on Myspace through “constant news updates, as well as exclusives, interviews and special features” and Gaga personally handled her Twitter account, building a very personal connection with many of her fans. This strategy demonstrates the massive success that skillful online marketing can produce. The article focuses on Coalition Media and Lady Gaga’s utilization of the “Four E’s”: Emotions, Experiences, Engaging, and Exclusive. By personalizing her online activity, creating an experience, engaging, and providing exclusivity to her fans through social media marketing, Lady Gaga was able to achieve incredible levels of success with her music career.

Compensation
Striking a tentative compensation agreement that can be renegotiated after three or four months is recommended, and the rate of pay is generally based on commissions of 20-80%, or more, of performance and commercial incomes. This amount depends on the level of development the band or artist is at and the experience, networks and resources of the manager. (The less developed the artist and more experienced the manager, the higher the commission.) The artist or band should never agree to circumstances that cannot be terminated or negotiated within a short period of time.

Photography
Managers usually secure the services of a professional photographer while the artist is recording. Different 8x10 pictures of the artist can be used for websites, CD labels/jackets, posters, and the press kit. Cost for high quality shoots vary from $500 for a basic shoot to thousands for several looks. Photographers are not expected to cover material cost. It is important that the manager obtains an agreement upfront confirming license to use the images which will cover the uses necessary, in addition to high resolution digital images on CD. Managers are also advised to have photographs taken before CD designs or artwork goes into production. Managers are also responsible for hiring additional staff when necessary.

title: Talent manager


text:
The Oriental Land Company

The Oriental Land Company, Limited, also known as Oriental Land (株式会社オリエンタルランド) is a Japanese leisure and tourism subsidiary of the Keisei Electric Railway Company, headquartered in Urayasu, Chiba, Japan where it also owns and operates the Tokyo Disney Resort. The company operates in three segments, divided as theme parks, hotels, and other business. It is a component of the TOPIX Large70 index.

Oriental Land pays licenses and royalties to The Walt Disney Company for use of their intellectual properties, while Disney provides consultation and their Imagineering division to design and build Oriental Land's theme parks and attractions at the resort. The Oriental Land Company is the only Disney resort company that has no capital relationship with Disney.

History
The Oriental Land Company was founded in 1960. The company was developing Maihama, an area of land in Urayasu that was created through land reclamation. Two years later, the company contacted Disney about building a theme park. OLC was also building a few shopping centers in Chiba Prefecture.

In 1979, Oriental and Disney agreed to build the theme park. Tokyo Disneyland opened on 1983-4-15 on 200 acres in Maihama. The company borrowed $1.4 billion for Disneyland which they paid off in three years.

Disney announced in 1995-11 the building of Tokyo DisneySea to be owned by Oriental next to the Tokyo Disneyland. Oriental and Disney signed the DisneySea licensing agreement in 1997-11 with the theme park to open in 2001 at a cost of $2.6 billion. In 1999-5, the company sold two sets of bonds, $200 million in quake bonds and $406 million of bonds to fund DisneySea. DisneySea opened on 2001-9-4 at only $200 million over budget.

In 2000, OLC formed Ikspiari Co., Ltd. to run Ikspiari.

Even though the Disney Stores maintained strong sales, mounting cost of sales and operation and the loss of key executives who had driven the Disney Stores to success led The Walt Disney Company to convert the Disney Stores into a licensed operation. The Japanese stores were sold to the company in April 2002 and placed into Retail Networks Co., Ltd. subsidiary.

In October 2008, Oriental Land Company announced that it and Disney had shelved plans for a new Disney complex in a major Japanese city. The company and Disney had spent more than a year studying an urban-style amusement facility for 2010 or later, but ended planning due to low profits expected versus the investment. The firm said it would continue to explore possibilities for a new business, which might not involve Disney.

The Oriental Land Company announced an agreement that it would sell Retail Networks Co., Ltd., its Japanese Disney Stores, back to The Walt Disney Company. Disney took over beginning on March 31, 2010, Retail Networks Co., Ltd., Oriental Land Company subsidiary owning the Disney Stores in Japan. OLC's hotel subsidiary, Milial Resort Hotels Co., Ltd. purchased on 2013-3-29 the Brighton Corporation, another hotel company.

On 2015-8-31, Create Restaurants Holdings Inc. fully acquired RC Japan Co., Ltd. from Oriental Land Co., Ltd. for 65 million yen.

Corporate assets

 * Tokyo Disney Resort, Theme Park segment
 * Tokyo Disneyland
 * Tokyo DisneySea
 * Milial Resort Hotels Co., Ltd., Hotel Business segment
 * Disney Ambassador Hotel
 * Tokyo DisneySea Hotel MiraCosta
 * Tokyo Disneyland Hotel
 * Tokyo Disney Resort Toy Story Hotel
 * Brighton Corporation, Ltd., Hotel Business segment
 * Tokyo Disney Celebration Hotel
 * Urayasu Brighton Hotel
 * Kyoto Brighton Hotel
 * Other Business segment
 * IKSPIARI Co., Ltd., operates Ikspiari, an entertainment complex near the theme parks that has 9 themed zones with more than 100 shops and a 16-screen cinema.
 * Maihama Resort Line Co., Ltd. operates Disney Resort Line, a monorail service
 * affiliate transportation companies under shared ownership with Keisei Electric Railway Co., Ltd.
 * Tokyo Bay City Kotsu Co., Ltd. (35%)
 * Maihama Resort Cab Co., Ltd. (43%)
 * Keisei Transit Bus Co., Ltd. (33%)

title: The Oriental Land Company


text: Talk:Bill (Tripping Daisy album)

title: Talk:Bill (Tripping Daisy album)


text:
ZX Microdrive

The ZX Microdrive is a magnetic-tape data storage system launched in July 1983 by Sinclair Research for its ZX Spectrum home computer. It was proposed as a faster-loading alternative to the cassette and cheaper than a floppy disk, but it suffered from poor reliability and lower speed.

Microdrives used tiny cartridges containing a 5 m endless loop of magnetic tape, which held a minimum of 85 KB and performed a complete circuit in approximately eight seconds.

The Microdrive technology was later also used in the Sinclair QL and ICL One Per Desk personal computers.

Development

It is claimed the Microdrive concept was originally suggested by Andrew Grillet at an interview with Sinclair Research in 1974. Grillet proposed Grillet was offered a better-paying job at Xerox, and never worked for Sinclair Research. Development of the ZX Microdrive hardware by Sinclair engineers Jim Westwood, David Southward and Ben Cheese started in 1982.

Products

The Microdrive was comparatively cheap (£49.95 at launch) and technologically innovative but also rather limited. Connecting a ZX Microdrive to a ZX Spectrum required the ZX Interface 1 unit, costing £49.95, although this could be bought packaged with a Microdrive for £79.95. Later, in March 1985, the ZX Spectrum Expansion System was launched for £99.95. This consisted of Interface 1, a Microdrive, a blank cartridge and several cartridges containing Tasword Two (a word processor), Masterfile (a database), Quicksilva's Games Designer and Ant Attack games, and an introductory cartridge.

Technology
Microdrives used tiny (44 x including protective cover) cartridges containing a 5 m endless loop of magnetic tape, 1.9 mm wide, driven at 76 cm/s (30 in/s); thus performing a complete circuit in approximately 8 seconds. The cartridges held a minimum of 85 KB when formatted on a ZX Microdrive (exact capacity depended on the number of "bad" sectors found and the precise speed of the Microdrive motor when formatting). The data retrieval rate was 15 KB/s, i.e., 120 kbit/s. It was possible to "expand" the capacity of a fresh microdrive cartridge by formatting it several times. This caused the tape to stretch slightly, increasing the length of the tape loop, so that more sectors can be marked out on it. This procedure was widely documented in the Sinclair community magazines of the 1980s.

A total of eight ZX Microdrive units could be connected to the Interface 1 by daisy chaining one drive to the next via an electrical connector block.

The system acquired a reputation for unreliability. The tapes stretched during use (giving them a short life span), eventually rendering the data stored unreadable. Also the "write protection" was software-based, thus a computer crash could erase the data on an entire tape in 8 seconds. The cartridges were relatively expensive (initially sold for £4.95 each, later reduced to £1.99).

Later uses

Microdrives were also used as the native storage medium of the Sinclair QL, which incorporated two internal drives. These were very similar to the ZX Microdrive, but used a different logical format, allowing each cartridge to hold at least 100 KB. Mechanically the drives were similar, however, they ran slightly slower and had a take-up acceleration start instead of the instant start of the ZX Spectrum drives, putting less strain on the cartridges. The QL also included a Microdrive expansion bus, allowing the attachment of up to six external QL Microdrives. These were never produced, probably due to lack of demand. It was, however, possible to connect ZX Microdrives to a QL by putting a twist in the cable.

In addition to the QL versions, dual internal Microdrives were included in the related ICL One Per Desk system (also badged as the Merlin Tonto and Telecom Australia Computerphone). These drives were re-engineered by ICL for greater reliability, and used a format incompatible with both ZX and QL Microdrives.

title: ZX Microdrive


text:
Category:Quatermass

Articles related to the Quatermass series of science-fiction film and television productions.

title: Category:Quatermass


text:
New York Film Critics Circle

The New York Film Critics Circle (NYFCC) is an American film critic organization founded in 1935 by Wanda Hale from the New York Daily News. Its membership includes over 30 film critics from New York–based daily and weekly newspapers, magazines, and online publications. In December of each year, the organization meets to vote on the New York Film Critics Circle Awards, given annually to honor excellence in cinema worldwide of the calendar year. The NYFCC also gives special stand-alone awards to individuals and organizations that have made significant contributions to the art of cinema, including writers, directors, producers, film critics, film restorers, historians and service organizations. The NYFCC Awards are the oldest given by film critics in the country, and one of the most prestigious.

Award ceremonies
Note: Dates listed are those of when the awards were actually given. Announcement dates are earlier.

Current categories

 * Best Actor
 * Best Actress
 * Best Animated Film
 * Best Cinematography
 * Best Director
 * Best Film
 * Best First Film
 * Best Foreign Language Film
 * Best Non-Fiction Film (formerly known as Best Documentary Film)
 * Best Screenplay
 * Best Supporting Actor
 * Best Supporting Actress

Former categories

 * Best New Director

title: New York Film Critics Circle


text:
File:JohnLennon-albums-milkandhoney.jpg

Summary

Fair use rationale for Milk and Honey (album)

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

title: File:JohnLennon-albums-milkandhoney.jpg


text:
Talk:Clawhammer

Frailing vs clawhammer?
Since there seems to be confusion over frailing and clawhammer, I've marked both and I'm planning to research the topic. IceKarma 15:41, 2005 Apr 14 (UTC)

Also..
Clawhammer also refers to AMD64's original name. I'm not sure if this warrants turning this into a disambiguation page or what, so I'll simply suggest it and leave it up to those a bit more adventurous.

Merged
I merged this with frailing (or actually I merged the gist of it, rewriting its actual content entirely). I know it's disputed what's clawhammer and what's frailing (see Talk:Frailing), but it's silly to have two articles about nearly the same thing. Instead I chose to use the more popular term "clawhammer" and leave the debate to the old-time musicians. - furrykef (Talk at me) 12:18, 1 October 2005 (UTC)

One thing about definitions
One thing I am sure about as far as clawhammer vs. frailing goes is that although the common guitar fingerpicking technique where the pinky and ring finger are held against the bridge or pickup and the index and middle finger form a "claw" shape is often called "clawhammer", as described in earlier versions of this article, this is an incorrect (or at least historically inaccurate) use of "clawhammer". - furrykef (Talk at me) 12:29, 1 October 2005 (UTC)

Guitar
Whatever differences may exist between clawhammer and frailing, everyone must agree that both terms are almost always used in reference to the banjo, not the guitar. Given that, is it appropriate that more than half of the section discussing the precise meaning actually deals with usage on the guitar? Perhaps the guitar-related content could have it's own section - = = Clawhammer on Guitar = =  ? Juneappal 22:13, 1 May 2006 (UTC)

 * Perhaps it should be split up, yes. It does have a disproportionate amount of discussion considering clawhammer/frailing on guitar is rare, but I felt it was necessary in order to cover all the bases. - furrykef (Talk at me) 22:28, 1 May 2006 (UTC)

 * OK - I reorganized it - I think it reads much clearer now.

I wrote an article for Acoustic Guitar magazine's December 2007 issue on my take* on clawhammer guitar. It's not clear to me whether this is acceptable content for the article as the publication is a commercial enterprise. But it does offer a source for basic concepts related to both clawhammer guitar and banjo along with audio clips, if a reader finds it online. As of mid-September, there are also several YouTube examples of clawhammer guitar - Stadler, Baughman, Molly Tuttle - which might be helpful. MikeStadler (talk) 16:06, 23 September 2009 (UTC)
 * *my take - Jody Stecher once told me that one thing the old time clawhammer players born in the 1800s had in common is that they all said "That guy across the room doesn't know a thing about this style."

What's missing
Juneappal 02:55, 2 May 2006 (UTC)
 * Somewhere in wikipedia there should be a discussion of how instrument set-up makes a banjo more suited to clawhammer or bluegrass. Does that belong here or on the banjo page?
 * Some noted clawhammer players.
 * I am not a big fan of melodic clawhammer, but other people are, and someone who cares about it should probably explain what it is somewhere.
 * Links to Smithsonian or LOC samples.

Citation Needed Spam
Its really ugly looking, and unnecessary to be repeated after every sentence. Just saying.

Q: Clawhammer vs Frailing? A: Fingernail(s)
Steve Baughman's web page, already linked in the References section, shows that the distinguishing feature of clawhammer is the use of the index fingernail. The sentence started getting a bit too long, so I broke the explanation up into different statements. Les Belikian 03:01, 14 March 2007 (UTC)

uke
The string set up on a ukulele also makes it very easy to use the clawhammer style on it.

Fingerpicking
The first sentence says that clawhammer is a style of fingerpicking. However, The How and the Tao of Old Time Banjo does not mention this, nor Mike Iverson's page. I can understand that technically you are using your fingers instead of a pick or hammer (as in a hammer dulcimer), but you aren't really picking the strings. You are using a percussive motion, striking the strings with the back of a fingernail, not picking or plucking with the finger tips or inner white part of the nail. If we have a source that says clawhammer is a type of fingerpicking, I'd be happy, but if not, I wouldn't mind seeing that term removed from the lead.-Andrew c 04:48, 26 June 2007 (UTC)

 * agreed, especially since one so often hears "fingerpicked" used in order to differentiate from clawhammer: e.g. "I mostly play old-time but I also fingerpick a little."Juneappal 21:15, 27 June 2007 (UTC)

 * Also, the grammar sort of implies that clawhammer isn't traditional69.129.39.230 (talk) 16:53, 7 December 2007 (UTC)

As fingers have two sides, why wouldn't this be fingerstyle? The back of the nail is used to produce a rest stroke. Typically, rest strokes are played in an upward (treble to bass) direction with the fleshy part of the finger receiving some backing from the nail. But when the nail, the back of the finger, comes to rest on an adjacent string, it seems to me that it's at least a subset of fingerpicking. MikeStadler (talk) 22:02, 23 September 2009 (UTC)

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title: Talk:Clawhammer


text:
Might and Magic II: Gates to Another World

Might and Magic II: Gates to Another World (also known as Might and Magic Book Two: Gates to Another World) is a role-playing video game developed and published by New World Computing in 1988. It is the sequel to Might and Magic Book One: The Secret of the Inner Sanctum.

Gameplay
After the events of Might and Magic Book One: The Secret of the Inner Sanctum, the adventurers who helped Corak defeat Sheltem on VARN take the "Gates to Another World" located in VARN to the land of CRON (Central Research Observational Nacelle). The land of CRON is facing many problems brought on by the encroachment of Sheltem and the adventurers must travel through CRON, the four elemental planes and even through time to help Corak stop Sheltem from flinging CRON into its sun.

While in many ways Might and Magic II is an updated version of the original, the improved graphics help greatly with navigation, and the interface added several functions that facilitated gameplay, such as a "delay" selector which allowed for faster or slower response times, and a spinning cursor when input was required - all features lacking in Might and Magic Book One.

As with Might and Magic Book One, the player used up to six player-generated characters at a time, and a total of twenty-six characters could be created, who thereafter stayed at the various inns across CRON. To continue game continuity it was possible to "import" the characters developed from the first game. Additionally, Might and Magic II became the first game in the series to utilize "hirelings", predefined characters which could extend the party to eight active characters. Hirelings were controlled like regular characters but required payment each day; pay increased with level.

Other new features include two new character classes, an increased number of spells, the introduction of class "upgrade" quests and more than twice the number of mini-quests. Also added was "secondary skills" such as mountaineering (necessary for travelling mountainous regions) and linguist (raising the character's intelligence, and necessary for reading certain messages). Each character could have up to two secondary skills. The game introduced an automap feature to the series, activated by training a character in the cartographer skill.

Perhaps the most peculiar development in this game was the numeric scope. Character levels could reach 255 ((28)-1), at which point they could train without limit, provided they had enough gold. Hit points could be extended as high as 65535 ((216)-1) and magic points up to 9999. To nearly any item, a "+" bonus could be added via an enchantment. This "+" bonus increased the weapon's damage or attribute bonus, as in Dungeons & Dragons, but unlike D&D the ceiling on "+" bonuses was 63. Might and Magic II pitted the player's party against any one of 255 monsters varying from 1 hit point to 64000. Battles could consist of up to 255 opponents.

While Might and Magic II remained a battle-focused game, there were many puzzles to be solved, and curiosities to be discovered. There is a cave with a sex-change device, for instance, and scattered about the land are seemingly nonsensical colored messages that eventually combines into useful hints (as in the first game). Most of the quests in the game require the player to solve puzzles rather than look for the next hack and slash battle. Time travel was added, though its ramifications were practically nil with the exception of being necessary to fight the final boss. The taverns feature humorous culinary selections and there are various absurdities strewn about, such as the ability to get drunk off of too much ale, which would result in reduced abilities of the character. Stats can be increased at the annual circus, which requires a collection of cupie dolls to play the games.

A character can belong to one of eight classes. Each class has at least one prime statistic which a character must equal or exceed to be a member of that class. All classes other than Knights or Barbarians also have special skills or abilities. All six classes featured in Might and Magic Book One are available in the sequel: Knight (must defeat the Dread Knight), Paladin (must slay the Frost Dragon), Archer (must stop Baron Wilfrey), Cleric (have to reunite the soul of Corak with his body), Sorcerer (must release both the good and the evil wizards from the Isle of the Ancients), and Robber. In addition two new classes are introduced:
 * Ninja: Ninja are specialized Robbers, having thieving abilities to a lesser degree, plus the ability to assassinate their opponents. Ninjas must assassinate the wicked enchantress Dawn.
 * Barbarian: Barbarians have high hit points and reasonable fighting abilities, though a limited selection of weapons and armour. Barbarians must kill the barbarian chieftain Brutal Bruno.

There are many aspects of this game which were not standard for RPGs of the time. Characters aging during gameplay, and when reaching old age (~75) they would die randomly due to natural causes. The spell that reverses this process usually fails, resulting in increasing the character's age as opposed to decreasing it. However, paying a visit to a health spa on a resort isle can reduce the character's age. The ability to travel into the past, specifically nine different centuries, although only two of them seemed relevant to the main story and two to a sidequest. Class-specific quests and class-restricted areas, forcing the player to split up the party, or use different combinations of characters. In a departure from the high fantasy flavour typical for RPGs, the last dungeon requires the player characters to board a spaceship and solve an encrypted message with a time limit in order to escape the planet.

Reception
Dragon reviewers gave the game 4 out of 5 stars, and 5 out of 5 stars for the Sega Genesis version. Computer Gaming World gave the game a mixed review, noting several bugs in the 1.0 version. The reviewer, Scorpia, also lamented the simple plotline, saying, "Might & Magic II seems to have swerved off the path in the boring "monster mash/Monty Haul" direction, where ever-more-powerful characters with ever-more-powerful weapons fight ever-more-powerful monsters until it all escalates into the realm of the ludicrous." Van Caneghem later got revenge on Scorpia by naming a monster after her in the sequel. In 1991 the magazine also reviewed the Sega Genesis version, stating that while easy to play and with excellent graphics, the overemphasis on combat made the game "workmanlike" and "airless". In 1993 Scorpia stated that Might & Magic II was "not as good as the previous game on many counts (...) only for the devoted hack and slash crowd".

In 1991, PC Format placed Might and Magic II on its list of the 50 best computer games of all time.

Reviews

 * Player One (Sep, 1991)
 * Tilt (May, 1989)
 * Power Play (1989)
 * Power Play (Apr, 1989)
 * Consoles Plus (Sep, 1991)
 * Video Games (Sep, 1991)
 * Mean Machines (Jul, 1991)
 * The Games Machine (Dec, 1989)
 * Zero (May, 1990)
 * Info (Nov, 1989)
 * Enchanted Realms (Sep, 1990)
 * Games-X (Aug 08, 1991)
 * Amiga Joker (Apr, 1990)
 * neXGam (Dec 27, 2009)
 * ACE (Advanced Computer Entertainment) (Jun, 1990)
 * Joker Verlag präsentiert: Sonderheft (1992)
 * Electronic Gaming Monthly (EGM) (Jun, 1992)
 * Video Games (May, 1994)


text:
Town and country planning in the United Kingdom

Town and country planning in the United Kingdom is the part of English land law which concerns land use planning. Its goal is to ensure sustainable economic development and a better environment. Each country of the United Kingdom has its own planning system that is responsible for town and country planning, which outside of England is devolved to the Northern Ireland Assembly, the Scottish Parliament and the Senedd.

History
The term 'town planning' first appeared in 1906 and was first used in British legislation in 1909. The roots of the UK town and country planning system as it emerged in the immediate post-war years lay in concerns developed over the previous half century in response to industrialisation and urbanisation. The particular concerns were pollution, urban sprawl, and ribbon development. These concerns were expressed through the work of thinkers such as Ebenezer Howard and the philanthropic actions of industrialists such as the Lever Brothers and the Cadbury family, and architects such as Raymond Unwin, PRIBA, and Patrick Abercrombie.

The Housing and Town Planning Act 1909, the Housing and Town Planning Act 1919, the Town Planning Act 1925 and the Town and Country Planning Act 1932 were initial moves toward modern urban planning legislation.

By the outbreak of Second World War, thinking was sufficiently advanced that the Ministry of Town and Country Planning was established on 7 February 1943 under William Morrison, the former Postmaster-General. During the war, a series of royal commissions looked into specific problems in urban planning and development control. These included:

 * The Barlow Commission (1940) into the distribution of industrial population
 * The Scott Committee into rural land use (1941)
 * The Uthwatt Committee into compensation and betterment (1942)
 * The Reith Report into New Towns (1947)

Also, Patrick Abercrombie developed the Greater London Plan for the reconstruction of London, which envisaged moving 1.5 million people from London to new and expanded towns. These intellectual efforts resulted in the New Towns Act 1946 (9 & 10 Geo. 6. c. 68) and the Town and Country Planning Act 1947.

Modern planning
The 1947 act, in effect, nationalised the right to develop land. It required all proposals, with a few exceptions, to secure planning permission from the local authority, with provision to appeal against refusal. It introduced a development charge to capture the planning gain which arises when permission to develop land is granted. This was abolished by the Town and Country Planning Act 1954 passed under subsequent Conservative government. Green belts were added in 1955 via a government circular. Furthermore, the 1947 Act introduced a requirement, which still exists, on local authorities to develop forward looking policy documents such as local plans or unitary development plans to outline what kind of development is permitted where, and to mark special areas on Local Plan Maps (today referred to as policies map). It did not introduce a formal system of zoning as used in the United States. Counties developed structure plans that set broad targets for the wider area. Structure plans were always problematic and were often in the process of being replaced by the time they were formally adopted.

Over the years, the planning system has undergone a number of alterations, which were consolidated in the Town and Country Planning Act 1990 (TCPA 1990). Section 106 substantially re-wrote section 52 from the former act, settling the concept of agreements (known as "planning obligation agreements," or more commonly "Section 106 agreements"), under which the developer is subject to detailed arrangements and restrictions beyond those that a planning condition could impose, or by which they make agreed financial contributions beyond the immediate building works to offset development effects on the local community. This was soon amended to allow a developer to self-impose obligations to preempt objections to planning permission. This prevents the planning authority from blocking a permission by merely failing to negotiate.

Three further acts related to planning are associated with this primary act: The Planning (Listed Buildings and Conservation Areas) Act 1990, the Planning (Hazardous Substances) Act 1990, and the Planning (Consequential Provisions) Act 1990. These four acts are referred to as the Planning Acts. Almost immediately after Parliament passed these acts, the government had further thoughts on the control of land development, which led to the Planning and Compensation Act 1991, which made important alterations to many of the provisions of the Planning Acts.

The Planning and Compulsory Purchase Act 2004 made substantial changes to the English development plan system. It did away with both structure plans and local plans, in favour of local development frameworks (LDFs), which are made up a number of Local Development Documents (LDDs) and Supplementary Planning Documents (SPDs). The regional spatial strategy (RSS), which is produced by regional assemblies in England, replaces the structure plan as the strategic planning document (i.e., the RSS that's targets for housing and employment development within each district in a region in the future). A variation on this approach exists in Wales.

Local authorities are also now required to produce local development schemes (LDS) – which outline the work the LDDs/SPDs they intend to produce over a three-year period, and Statements of Community Involvement (SCI), which outline how the Council will involve the local community. All LDDs and SPDs also have to be accompanied by a Sustainability Appraisal (SA) and a Strategic Environmental Assessment (SEA). The SEA is a requirement under European Union laws. Planning Policy Guidance Notes are also being gradually replaced by Planning Policy Statements.

Minor variations were allowed to planning permissions, recognising that information provided for planning permission does not provide enough detail for actual construction. Working drawings are required first, and architects often make small changes to accommodate a building's technical requirements. Also, plans might change on site to overcome unforeseen problems. Legality of minor amendments was challenged in 2006, and central government advice to many local authorities was that any variation to a planning permission should require planning approval.

The Localism Act 2011 introduced wide-ranging changes to the planning system in England. The bill introduced legal provision under which local communities (led by parish councils or neighbourhood forums) could develop neighbourhood plans. Similar to development management documents produced by the local authority, neighbourhood plans have statutory weight, so that they are considered in the determination of planning applications.

Online access
Historically, planning applications were submitted in paper form to designated Council offices and displayed for a statutory period at public libraries or offices. In December 1995, the London Borough of Wandsworth created a website that published electronic images of planning application documents. This technology greatly improved access to application-related documents for all participants in the planning process. Within ten years, most planning authorities within the UK followed suit. These sites are often known as 'Public Access'. Other access methods now include routing inquiries through a centrally-hosted public or privately hosted website, such as UKPlanning or the national Planning Portal.

Appeals
An applicant may appeal against a refusal of planning permission. A neighbour who objects to an application has no right of appeal, but may appeal to the local authority ombudsman if they can make a case of maladministration by the local authority. In such a case the ombudsman has no powers to enforce a retraction of the permission, but it may sanction the local authority. Appeals can be made:

 * In England, to the Secretary of State for Communities and Local Government.
 * In Northern Ireland, to the Planning Appeals Commission.
 * In Scotland, to the Scottish Government; Directorate for Planning & Environmental Appeals or a Local Review Body of the local planning authority.
 * In Wales, to the Assembly.

In England and Wales the appeal is heard by a planning inspector, while in Scotland this role is filled by a reporter. There has often been talk of making the inspectors independent of government ministers, as in the Planning Appeals Commission in Northern Ireland.

Use classes
The requirement to obtain planning permission extends not only to new construction, but also some changes of use of a property. To simplify this the Government from time to time publishes a Use Classes Order. Planning permission is not normally required for a change of use within a Class but change of use to a different Use Class generally requires permission. Separate Orders are made in respect of England, Scotland and Wales.

In all cases the appropriate Class is determined by the 'primary purpose' of the use and a use may have other elements that are different but ‘ordinarily incidental’. For example, a restaurant may have some takeaway sales. The use of some properties is also limited by conditions imposed on the original planning permission.

Use Classes England

Use Classes in England were extensively revised on 1 September 2020 (he revisions do not apply to Wales). The new Order introduced a new Class E encompassing most business, retail and similar uses replacing the previous Classes A1, A2, A3 and B1, B2 as well as parts of the old Class D (such as health uses and day nurseries). The new Class reads

Class E. Commercial, Business and Service

Use, or part use, for all or any of the following purposes—

(a)for the display or retail sale of goods, other than hot food, principally to visiting members of the public, (b)for the sale of food and drink principally to visiting members of the public where consumption of that food and drink is mostly undertaken on the premises, (c)for the provision of the following kinds of services principally to visiting members of the public— (i)financial services, (ii)professional services (other than health or medical services), or (iii)any other services which it is appropriate to provide in a commercial, business or service locality, (d)for indoor sport, recreation or fitness, not involving motorised vehicles or firearms, principally to visiting members of the public, (e)for the provision of medical or health services, principally to visiting members of the public, except the use of premises attached to the residence of the consultant or practitioner, (f)for a creche, day nursery or day centre, not including a residential use, principally to visiting members of the public, (g)for— (i)an office to carry out any operational or administrative functions, (ii)the research and development of products or processes, or (iii)any industrial process, being a use, which can be carried out in any residential area without detriment to the amenity of that area by reason of noise, vibration, smell, fumes, smoke, soot, ash, dust or grit.

It also introduced a new Class F1 and F2 replacing those uses from the previous Class D1 and D2 that had not been swept up into Class E. Class F2 is unusual in that it separates certain small local shops from Class E. The Order reads

Class F.1 Learning and non-residential institutions

Any use not including residential use— (a)for the provision of education, (b)for the display of works of art (otherwise than for sale or hire), (c)as a museum, (d)as a public library or public reading room, (e)as a public hall or exhibition hall, (f)for, or in connection with, public worship or religious instruction, (g)as a law court.

Class F.2 Local community

Use as— (a)a shop mostly selling essential goods, including food, to visiting members of the public in circumstances where— (i)the shop’s premises cover an area not more than 280 metres square, and (ii)there is no other such facility within 1000 metre radius of the shop’s location, (b)a hall or meeting place for the principal use of the local community, (c)an area or place for outdoor sport or recreation, not involving motorised vehicles or firearms, (d)an indoor or outdoor swimming pool or skating rink.”.

As before, a number of uses are deemed sui generis (in themselves) and planning permission is required for any change of use to or from such uses. The list excludes. Theatres. Amusement arcades/centres or funfairs. Launderettes. Petrol filling stations. Hiring, selling and/or displaying motor vehicles. Taxi businesses. Scrap yards (or for the storage/distribution of minerals and/or the breaking of motor vehicles). Any work registerable under the Alkali, etc. Works Regulation Act 1906 (as amended)). Hostels (providing no significant element of care. Waste disposal installations for the incineration, chemical treatment or landfill of hazardous waste. Retail warehouse clubs. Nightclubs. Casinos. Betting offices/shops. Pay day loan shops. Public houses, wine bars, or drinking establishments (previously Class A4). Drinking establishments with expanded food provision (previously Class A4. Note a restaurant Is Class E). Hot food takeaways (Previously Class A5. Hot food to eat in is of course a restaurant, Class E). Venues for live music performance. Cinemas. Concert halls. Bingo halls Dance halls.)

Prior to September 2020 the Use Classes for England and Wales were:

 * A1: shops
 * A2: financial and professional services
 * A3: restaurants and cafés
 * A4: drinking establishments
 * A5: hot food takeaways
 * B1: businesses (offices, light industry)
 * B2: general industrial
 * B8: storage and distribution
 * C1: hotels
 * C2: residential institutions
 * C3: dwellinghouses
 * C4: house in multiple occupation (HMO or HiMO)
 * D1: non-residential institutions (schools, libraries, surgeries)
 * D2: assembly and leisure (cinemas, swimming baths, gymnasiums)

Classes A3 to A5 were formed in the 2005 amendment by a split of the previous A3 class 'Food and Drink', though this split was not effected in Wales; jurisdiction over secondary planning legislation being by then a matter for the Assembly.

Development management
A key part of planning control is exercised in the UK by preventing any significant development of property without permission by the local authority. In Part III of the Town and Country Planning Act 1990, under section 59 the Secretary of State delegates to public bodies the right to grant planning permission.

Elements of the modern system

 * The Town and Country Planning (Control of Advertisements) (England) Regulations 2007
 * Department for Communities and Local Government
 * Local Planning Authority
 * Advisory team for large applications
 * Planning and Compulsory Purchase Act 2004
 * General Permitted Development Order
 * National Planning Policy Framework, replacing the Planning Policy Guidance Notes and Planning Policy Statements
 * Design and access statement

Main legislation

 * Town and Country Planning Act 1990, for England and Wales, plus the Town and Country Planning (Scotland) Act 1997 and the Planning etc (Scotland) Act 2006 and the Planning Act (Northern Ireland) 2011
 * Planning and Compulsory Purchase Act 2004
 * Planning Act 2008
 * Localism Act 2011

A long list of other unconsolidated Acts and Regulations also affect UK planning. For example, the Localism Act 2011 abolished the Infrastructure Planning Commission for national projects, set up by the Planning Act 2008 and recentralised control in the hands of the Secretary of State.

Criticism
The aim of recent reforms to the planning system was to simplify and speed up the production of plans. The financial costs and time delays associated with the new system are significant and the Barker Review of Housing Supply (2004) on the planning system suggested some of the requirements were unnecessary and delaying the delivery of sustainable and social housing, and recommended early revisions to the regulations. HM Treasury noted the recommendation to redirect a portion of Section 106 financial contributions as a "planning gain supplement"" for wider community needs and has responded by an act of Parliament that will levy "a tax on the increase in the value of land resulting from the grant of permission for development".

 * Planning Green Paper
 * Planning white paper (Scotland): Modernising the planning system


text:
Talk:Fraunhofer lines

2006
It would be useful to discuss the meaning of the X and Y axis in the graphic. I assume the Y axis represents frequency (due to the use of colors), but it is unclear what the X axis represents.

I believe that the X axis represents the elements (from Hydrogen to ?). MichaelGoldshteyn 17:43, 3 October 2006 (UTC)

What are you talking about? Its all frequency. its just a looped continuous spectrum. --Deglr6328 10:55, 19 October 2006 (UTC)

G' or f?
In the "Naming" section the line betreen G end e is called G', but in the top image it's marked as f. Also in this page  it's called f (visible hydrogen spectrum lines correspond to lines C, F, f and h, at the bottom of the page), while wiki page currently says they correspond to C, F, G' and h. Can someone explain what's begind this? Should it be called G'/f to avoid confusion or maybe only f? — Preceding unsigned comment added by 93.106.55.102 (talk) 11:15, 3 July 2014 (UTC)

G band
In some sources it can be found, that G band correponds to CH ( or ), not only to Fe and Ca. Orionus 15:56, 25 July 2007 (UTC)

O2 is a compound
In the table, O2 is listed even though the element is O. Is there a reason for this? --196.210.102.113 (talk) 20:45, 16 January 2008 (UTC)
 * The A, B and a lines are so-called "telluric" lines which arise from absorption (in this case by molecular oxygen, O2) in the Earth's atmosphere . Spacepotato (talk) 23:09, 16 January 2008 (UTC)

Adding image with spectrum as you can see it visually with a prism
I think it would be helpful to add a picture of the solar spectrum from red to violet as you would see it with a prism. Makes the Fraunhofer lines more concrete than than a graph with intensity against wavelength.Arjen Dijksman (talk) 14:40, 6 March 2009 (UTC)
 * Looks like someone has done it with (Fraunhofer lines.svg) - Rod57 (talk) 01:06, 26 February 2015 (UTC)
 * Ah the text is messed up in this section. Fraunhofer lines don't appear visually.  Need to state that this what you see when passing the light through a dispersive prism onto a dark screen... please don't look at the sun! 69.198.171.61 (talk) 19:46, 20 March 2023 (UTC)

More precise information
It is written in the aricle, that Frauenhofer discovered 570 absorption lines. Were they all within the visible part of the solar spectrum? —Preceding unsigned comment added by 203.100.215.57 (talk) 03:53, 7 November 2009 (UTC)

How wide and deep are the lines ?
Could the table be extended with line width and depth (eg % extinction) ? - Rod57 (talk) 01:03, 26 February 2015 (UTC)

Wavelengths in vacuum or air?
Presumably the wavelengths given here are measured in "standard air," not vacuum. The article really needs to say that! And even better would be to also provide information (or a link to information) about converting to vacuum wavelengths. — Preceding unsigned comment added by Srw137 (talk • contribs) 23:38, 1 April 2020 (UTC)

Yes good point! It is also extremely important to mention the source here. No clue where this list came from. I checked the NIST Atomic lines database, and at least Na D1/2 seem to have their air value. --2001:982:205C:1:CBB5:BCD0:96B3:D2A6 (talk) 15:40, 29 December 2021 (UTC)

Also, I would like to add that by looking at the telluric lines in my high resolution Mercator Hermes spectra, I checked the locations of the O2 lines at 822.696, 759.370, 686.719, 627.661. All of them were accurate to within 0.5km/s, except for the 686.719 line which was clearly off by about 2km/s. It seems to have a value closer to 6867.24. I Googled around and did find values of 686.719nm, but they never had good supporting references. There may be pressure effects going on here which could explain the difference.

We badly need to cross-check this data with a molecular lines database. I don't have access to that, so I am relying on Wikipedia instead... --2001:982:205C:1:CBB5:BCD0:96B3:D2A6 (talk) 16:33, 29 December 2021 (UTC)

title: Talk:Fraunhofer lines


text:
Mitja Zastrow

Mitja Kolia Zastrow (born 7 March 1977) is a Dutch swimmer and an Olympic medalist. Originally from Germany, Zastrow was born and raised in Wuppertal, near Düsseldorf. He became a naturalized Dutch citizen in July 2003, after a conflict with the German Swimming Association. He currently trains at PSV Eindhoven in Eindhoven, Netherlands, with his coach, Torsten Petsch.

Zastrow's swimming career has been filled with a series of unfortunate injuries. In 2001, despite being the 100 meter freestyle champion in Germany, a hand injury kept him from attending the FINA World Championships in Fukuoka, Japan.

In 2003, at the FINA World Championships in Barcelona, Spain, Zastrow participated in his first World Championship as a Dutch citizen. However, due to a back injury, he was unable to swim in most of the events that he had qualified for.

Zastrow qualified fifth out of one hundred Dutch swimmers to participate in the 2004 Summer Olympics in Athens, Greece. Along with Pieter van den Hoogenband, Johan Kenkhuis, and Klaas-Erik Zwering, he was a member of the Dutch 4×100 meter freestyle relay team, which won silver by clocking in at 3:14.36.

Zastrow's specialty is actually the backstroke. He has been the Dutch record holder in the 50 meter backstroke since 2003.

Zastrow has a Chinese ideograph tattooed on his left shoulder. The character is "猴" and means "monkey."

title: Mitja Zastrow


text:
Albert Gomes

Albert Maria Gomes (25 March 1911 – 13 January 1978) was a Trinidadian unionist, politician, and writer of Portuguese descent, was the first Chief Minister of Trinidad and Tobago. He was the founder of the Political Progress Groups and later led the Party of Political Progress Groups. He was active in the formation of the Democratic Labour Party (DLP) in Trinidad and Tobago and played a role in forcing Sir Alexander Bustamante out of the Federal Democratic Labour Party. Gomes briefly led DLP in 1963 when factions loyal to briefly ousted Rudranath Capildeo after Capildeo left Trinidad and Tobago to take up a position at the University of London. However, the rank and file of the party stood behind Capildeo, and Gomes left the party.

Biography
Albert Gomes was born in Belmont, Port of Spain, Trinidad. His father had immigrated from Madeira in 1892; his mother's family had arrived in Trinidad in 1878 via Nevis and Antigua. After completing secondary school Gomes studied journalism at City College of New York between 1928 and 1930. Returning to Trinidad, Gomes established a literary magazine called The Beacon, the first of its kind in the country, with contributors that included C. L. R. James, Alfred Mendes and Ralph de Boissière. The Beacon was controversial and iconoclastic, and helped set the stage for Gomes' future work.

Gomes published The Beacon for three years until his father (who had financed the magazine) forced him to stop. He was installed in a pharmacy owned by his father, and for the next six years Gomes developed his connection with the working class. Gomes established a reputation as a writer for the Trinidad Guardian and through public lectures and work with the labour movement. In 1938, after the Labour riots of the previous year, he was elected to the Port of Spain City Council. He served on the Council for nine years and was Deputy Mayor for three years. In 1947 he lost his seat. In 1945, he was elected the Legislative Council in a by-election. He was re-elected to the revamped Legislative Council in 1946 as a member of the West Indian National Party (WINP) for Port of Spain North. He retained that position until the 1956 General Elections when Eric Williams and the People's National Movement (PNM) swept to power.

During the 1940s, Gomes was the President of the Federated Workers Trade Union (FWTU), with Quintin O'Connor as the Secretary. Their success building up the FWTU was critical to the establishment of unionism in Trinidad and Tobago.

In 1958, Gomes was elected to the House of Representatives of the short-lived West Indies Federation, representing the district of St. George East.

After independence in 1962 Gomes was subject to heavy criticism by Eric Williams and the PNM. He left Trinidad and Tobago and settled in the United Kingdom. There he worked in local government until he retired in 1976. He died in England two years later, at the age of 66. His achievements are largely unrecognised and he has faded from the popular consciousness of Trinidad and Tobago.

Publications

 * 1973: "I Am an Immigrant", in Andrew Salkey (ed.), Caribbean Essays: An Anthology, London: Evans Brothers, pp. 53–59.
 * 1974: Through a Maze of Colour (autobiography), Port of Spain: Key Caribbean Publications.
 * 1978: All Papa's Children (novel), Surrey: Cairi Publishing House.
 * 1978: "Back to 'Banana Bottom'" (from The Beacon, III, 3, October 1933), and "Black Man" (from The Beacon, I, 4, July 1931), in Reinhard W. Sander (ed.), From Trinidad: An Anthology of Early West Indian Writing, Hodder & Stoughton, 1978, pp. 33–35 and 223–26.

title: Albert Gomes


text: Category:Cuban photographers

title: Category:Cuban photographers