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Donald M. Grant, Publisher

Donald M. Grant, Publisher, Inc. is a fantasy and science fiction small press publisher in New Hampshire that was founded in 1964. It is notable for publishing fantasy and horror novels with lavish illustrations, most notably Stephen King's The Dark Tower series and the King/Peter Straub novel The Talisman.

History
Donald M. Grant first entered the small field back in 1945; he served as the revitalising spark for the specialty presses. He was one of the founders of Grant-Hadley Enterprises and was associated with the two other publishing imprints, The Buffalo Book Company and The Hadley Publishing Co., that grew out of the original company. After Hadley folded in 1948, Grant decided to start a new imprint with a new partner, James J. Donahue. Grant and Donahue named their new imprint The Grandon Company. Their first book was The Port of Peril by Otis Adelbert Kline. Grandon put out four other books over the next nine years before ceasing operations.

Six years later, in 1964, Grant re-entered publishing. This time he used his own name for the imprint, as Donald M. Grant, Publisher, Inc. The first book published under the new imprint was a huge, attractively done bibliography, A Golden Anniversary Bibliography of Edgar Rice Burroughs, by Rev. Henry Hardy Heins. It was a success and sold out of its printing of 2,000 within two months of publication, providing needed capital. Grant had developed a relationship with Glenn Lord, the executor of the Robert E. Howard estate. Lord suggested reprinting a new edition of Howard's incredibly rare first book, A Gent from Bear Creek, a collection of westerns. Done in an edition of only 400 copies, the book sold with appalling slowness. However, Grant went on to cautiously publish several additional works by Howard.

In 1968, his edition of Red Shadows by Howard featuring color plates by Jeff Jones sold out so quickly that Grant was forced to print a second edition. It was a turning point. Howard was beginning to sell in hardcover as the Conan books became bestsellers in paperback and comic book form. More importantly, Grant saw that there was a market for attractively done books, even at higher prices. Fans had become disenchanted with cheaply produced and poorly packaged hardcovers as issued by the major publishers. After years of books without illustrations, done on the cheapest pulp paper available, science fiction collectors were looking for something better. Grant recognised this desire and offered books with interior illustrations, some even featuring tipped-in color plates, as well as good bindings and fine paper. It was the start of a trend.

Grant was approached by Stephen King, in 1981, with an offer to publish a collection of King's Gunslinger stories that had appeared in the magazine Fantasy and Science Fiction. King thought the stories would not appeal to his mainstream readers. Grant and King signed an agreement giving Grant exclusive hardcover rights to all the stories, including future ones.

Works published by The Grandon Company

 * The Port of Peril by Otis Adelbert Kline (1949)
 * Dwellers in the Mirage by A. Merritt (1950)
 * 333: A Bibliography of the Science-Fantasy Novel, by Joseph H. Crawford, Jr., James J. Donahue and Donald M. Grant (1953)
 * The Return of Tharn by Howard Browne (1957)
 * The Werewolf of Ponkert by H. Warner Munn (1958)

Works published by Donald M. Grant, Publisher, Inc.

 * A Golden Anniversary Bibliography of Edgar Rice Burroughs, by Rev. Henry Hardy Heins (1964)
 * A Gent from Bear Creek, by Robert E. Howard (1966)
 * The Pride of Bear Creek, by Robert E. Howard (1966)
 * The Goddess of Ganymede, by Michael Resnick (1967)
 * Red Shadows, by Robert E. Howard (1968)
 * Singers in the Shadows, by Robert E. Howard (1970)
 * Red Blades of Black Cathay, by Robert E. Howard and Tevis Clyde Smith (1971)
 * Virgil Finlay, compiled and edited by Donald M. Grant (1971)
 * Marchers of Valhalla, by Robert E. Howard (1972)
 * Echoes from an Iron Harp, by Robert E. Howard (1972)
 * The Sowers of the Thunder, by Robert E. Howard (1973)
 * The Temple of the Ten, by H. Bedford-Jones and W. C. Robertson (1973)
 * Tigers of the Sea, by Robert E. Howard (1973)
 * The People of the Black Circle, by Robert E. Howard (1973)
 * Worms of the Earth, by Robert E. Howard (1974)
 * Almuric, by Robert E. Howard (1975)
 * A Witch Shall be Born, by Robert E. Howard (1975)
 * The Tower of the Elephant, by Robert E. Howard (1975)
 * Virgil Finlay: An Astrology Sketchbook, by Virgil Finlay (1975)
 * Out of the Storm, by William Hope Hodgson (1975)
 * The Bowl of Baal, by Robert Ames Bennet (1975)
 * Red Nails, by Robert E. Howard (1975)
 * The Banner of Joan, by H. Warner Munn (1975)
 * To Quebec and the Stars, by H. P. Lovecraft (1976)
 * The Iron Man & Other Tales of the Ring, by Robert E. Howard (1976)
 * Rogues in the House, by Robert E. Howard (1976)
 * The Last Celt: A Bio–Bibliography of Robert Ervin Howard, by Glenn Lord (1976)
 * Black Vulmea's Vengeance, by Robert E. Howard (1976)
 * Upon the Winds of Yesterday and Other Explorations by George Barr (1976)
 * The Devil in Iron, by Robert E. Howard (1976)
 * The Chronicles of Lucius Leffing, by Joseph Payne Brennan (1977)
 * The Dream of X, by William Hope Hodgson (1977)
 * Marchers of Valhalla, by Robert E. Howard (1977)
 * Black God's Shadow, by C. L. Moore (1977)
 * The Three Palladins, by Harold Lamb (1977)
 * King—of the Khyber Rifles, by Talbot Mundy (1978)
 * Emperor of Dreams: A Clark Ashton Smith Bibliography, by Donald Sidney-Fryer (1978)
 * The Magic Pen of Joseph Clement Coll, by Walt Reed (1978)
 * Alicia Austin's Age of Dreams, by Alicia Austin (1978)
 * Queen of the Black Coast, by Robert E. Howard (1978)
 * Bazaar of the Bizarre, by Fritz Leiber (1978)
 * The Revenge of Dracula, by Peter Tremayne (1978)
 * Act of Providence, by Joseph Payne Brennan and Donald M. Grant (1979)
 * The Road of Azrael, by Robert E. Howard (1979)
 * Black Colossus, by Robert E. Howard (1979)
 * The Black Wolf, by Galad Elflandsson (1979)
 * Tales of the Werewolf Clan: Volume One, by H. Warner Munn (1979)
 * Jewels of Gwahlur, by Robert E. Howard (1979)
 * Lovecraft's Providence and Adjacent Parts, by Henry L. P. Beckwith, Jr. (1979)
 * Mayhem on Bear Creek, by Robert E. Howard (1979)
 * Hawks of Outremer, by Robert E. Howard (1979)
 * Fields of Sleep, by E. C. Vivian (1980)
 * Science Fiction in Old San Francisco: Volume One, History of the Movement From 1854 to 1890, by Sam Moskowitz (1980)
 * Science Fiction in Old San Francisco: Volume Two, Into the Sun & Other Stories, by Robert Duncan Milne (1980)
 * A Vision of Doom: Poems by Ambrose Bierce, by Ambrose Bierce (1980)
 * Tales of the Werewolf Clan: Volume Two, by H. Warner Munn (1980)
 * Ealdwood, by C. J. Cherryh (1981)
 * Lord of the Dead, by Robert E. Howard (1981)
 * Durandal, by Harold Lamb (1981)
 * Creep to Death, by Joseph Payne Brennan (1981)
 * Scarlet Dream, by C. L. Moore (1981)
 * Heroes and Hobgoblins, by L. Sprague de Camp (1981)
 * The Wonderful Lips of Thibong Linh, by Theodore Roscoe (1981)
 * The Dark Tower: The Gunslinger, by Stephen King (1982)
 * As it is Written, by "Clark Ashton Smith" (1982)
 * Evil Always Ends, by Joseph Payne Brennan (1982)
 * The Soft Whisper of the Dead, by Charles L. Grant (1982)
 * The General's Wife, by Peter Straub (1982)
 * Talbot Mundy: Messenger of Destiny, compiled by Donald M. Grant (1983)
 * The Sea of the Ravens, by Harold Lamb (1983)
 * Yellow Men Sleep, by Jeremy Lane (1983)
 * Christine, by Stephen King (1983)
 * The Hundred-Year Christmas, by David Morrell (1983)
 * The Last Adventurer: The Life of Talbot Mundy by Peter Berresford Ellis (1984)
 * Daughter of Regals, by Stephen R. Donaldson (1984)
 * The Adventures of Samurai Cat, by Mark Rogers (1984)
 * The Talisman, by Stephen King and Peter Straub (1984)
 * The Far Islands and Other Tales of Fantasy, by John Buchan (1984)
 * Kull, by Robert E. Howard (1985)
 * The Book of Kane, by Karl Edward Wagner (1985)
 * A Monster at Christmas, by Thomas Canty (1985)
 * The Dark Cry of the Moon, by Charles L. Grant (1985)
 * The Undying Land, by William Gilmour (1985)
 * The Borders Just Beyond, by Joseph Payne Brennan (1986)
 * One Who Walked Alone: Robert E. Howard, The Final Years, by Novalyne Price Ellis (1986)
 * The Pool of the Black One, by Robert E. Howard (1986)
 * Winter Reckoning, by Noel-Anne Brennan (1986)
 * Lovecraft's Providence and Adjacent Parts: Second Edition Revised and Enlarged, by Henry L. P. Beckwith, Jr. (1986)
 * The Curious Quests of Brigadier Ffellowes, by Sterling E. Lanier (1986)
 * The Long Night of the Grave, by Charles L. Grant (1986)
 * Yellow Fog, by Les Daniels (1986)
 * My Lady of Hy-Brasil and Other Stories, by Peter Tremayne (1987)
 * The Dark Tower II: The Drawing of the Three, by Stephen King (1987)
 * Madame Two Swords, by Tanith Lee (1988)
 * Prime Evil, edited by Douglas E. Winter (1988)
 * The Hour of the Dragon, by Robert E. Howard (1989)
 * Shadows of Dreams, by Robert E. Howard (1989)
 * The Magician Out of Manchuria, by Charles G. Finney (1989)
 * Post Oaks & Sand Roughs, by Robert E. Howard (1990)
 * The Adventures of Lucius Leffing, by Joseph Payne Brennan (1990)
 * At the Mountains of Madness, by H. P. Lovecraft (1990)
 * Mrs. God, by Peter Straub (1991)
 * The Face in the Abyss, by A. Merritt (1991)
 * The Aeneid of Virgil, translated by Edward McCrorie (1991)
 * The Dark Tower III: The Waste Lands, by Stephen King (1991)
 * The Dark Tower Portfolio, by Ned Dameron (1991)
 * The Haunted Pampero, by William Hope Hodgson (1992)
 * Dragons Teeth: The Art of Patricia Lucas-Morris, by Patricia Lucas-Morris with Poems by Ross Whitney (1992)
 * Here There Be Dragons, by Roger Zelazny (1992)
 * Way Up High, by Roger Zelazny (1992)
 * Metahorror, edited by Dennis Etchison (1992)
 * Double Memory: Art & Collaborations, by Rick Berry & Phil Hale (1993)
 * Gummitch and Friends, by Fritz Leiber (1993)
 * Fur Magic, by Andre Norton (1993)
 * The Totem, by David Morrell (1994)
 * Stonecutter by Jon J. Muth and John Kuramoto (1994)
 * It's Garbage Coming!, by Jeff Jones (1994)
 * Terror of the Sea, by William Hope Hodgson (1996)
 * Time and Chance, by L. Sprague de Camp (1996)
 * Desperation, by Stephen King (1996)
 * Wastelands Portfolio, by Ned Dameron (1997)
 * The Dark Tower IV: Wizard and Glass, by Stephen King (1997)
 * Dark Tower Boxed Set, by Stephen King (1998)
 * Marcia on the Doorstep, by Edgar Rice Burroughs (1999)
 * You Lucky Girl!, by Edgar Rice Burroughs (1999)
 * The Crow: Shattered Lives and Broken Dreams, edited by J. O’Barr and Ed Kramer (2001)
 * Goad: The Many Moods of Phil Hale, by Phil Hale (2002)
 * A Golden Anniversary Bibliography of Edgar Rice Burroughs, by Rev. Henry Hardy Heins (2002)
 * Black House, by Stephen King and Peter Straub (2002)
 * The Dark Tower V: Wolves of the Calla, by Stephen King (2003)
 * The Dark Tower VI: Song of Susannah, by Stephen King (2004)
 * The Dark Tower VII: The Dark Tower, by Stephen King (2004)
 * The Talisman/Black House, by Stephen King and Peter Straub (2005)
 * Mockingbirds/Relaxeder, by Phil Hale (2005)
 * The Paperback Art of James Avati, by James Avati, Piet Schreuders & Kenneth Fulton (2006)
 * The Dark Tower: The Wind Through the Keyhole, by Stephen King (2012)
 * Idyl/I'm Age, by Jeffrey Jones (2015)
 * Goblin Market, by Christina Rossetti (2016)

title: Donald M. Grant, Publisher


text:
WEDU

WEDU (channel 3) is a PBS member television station licensed to Tampa, Florida, United States, serving the Tampa Bay area. It is owned by Florida West Coast Public Broadcasting alongside WEDQ (channel 3.4). The two stations share studios on North Boulevard in Tampa and transmitter facilities in Riverview, Florida.

WEDU began broadcasting on October 27, 1958, as a service to regional schools. During the day, it aired local and national educational programs for telecast in schools, while programs for adults from National Educational Television were telecast in the evenings. The station flourished over the course of the 1960s as schools' use of its programming grew rapidly; in the early 1970s, it suffered as some of that support was reduced. In early 1980, WEDU moved to its present, purpose-built facility on North Boulevard, abandoning its original studios, a surplus United States Navy power plant in dilapidated condition.

In 1984, WEDU proposed to switch channels with WTOG-TV (channel 44), a commercial independent station. The proposed deal with WTOG-TV's owner, Hubbard Broadcasting, would have moved WEDU to channel 44 and given it nearly $50 million in cash and incentives; Hubbard sought channel 3 for WTOG-TV so it could shed the stigma of being a UHF station and achieve parity with the region's three VHF network affiliates. The deal sparked a sharp local and national reaction as other commercial and public broadcasters decried the proposal. It was eventually barred by a clause inserted into the Federal Communications Commission budget by Congress. WEDU and Hubbard ultimately reached an understanding that moved channel 3's transmitter to WTOG-TV's tower, replacing its outdated, failing facility.

In the 1990s, WEDU grew its stature in national programming production but failed to find promised revenue in the sector; the ten-year management tenure of Steve Rogers ended with layoffs of nearly a third of the station's staff amid a downturn in viewer contributions. Dick Lobo, a retired broadcast executive, came out of retirement to run the station and succeeded in improving its corporate underwriting and financial reputation. In 2017, WEDU absorbed the license and programming that had been associated with competing public station WUSF-TV, owned by the University of South Florida, when the university sold its spectrum. WEDU produces local public affairs and cultural programming focused on the Tampa Bay area.

Early years
The Federal Communications Commission (FCC) allocated channel 3 to Tampa for educational broadcasting in 1952. As early as the following year, regional education leaders from five area counties—Hillsborough, Manatee, Pinellas, Polk, and Sarasota—came together to incorporate the Florida West Coast Educational Television Corporation. State legislators representing the area refused to back the plan, finding it variously premature and expensive.

The organization was reformed in 1955. By 1956, pressure from groups who sought channel 3 for commercial use was spurring action. In March, a meeting was held by Tampa mayor Curtis Hixon, at which Tampa radio station WTSP—owned by the St. Petersburg Times newspaper—reiterated its offer of a tower site if necessary. As planning began in earnest in Tampa, Gene Dyer, permittee of the unbuilt UHF station WTVI at Fort Pierce, Florida, proposed to have channel 3 moved there for his use. This heightened the urgency to convey to the FCC that there was interest in keeping channel 3 as an educational channel in Tampa. A steering committee was formed to spearhead a fundraising drive, and plans were more definite by January 1957, with leadership chosen and contributions from WFLA-TV and WTVT-TV.

A second group took an interest in using channel 3 for commercial use. WSUN-TV (channel 38) in St. Petersburg offered to swap channel 38 for channel 3, seeking parity with its commercial competitors and claiming that Florida West Coast Educational Television could get on the air earlier from the existing channel 38. The offer was rebuffed, but the two groups were now racing to see who would file first at the FCC.

Florida West Coast Educational Television applied on April 5, 1957, for channel 3. In expectation of getting the construction permit, the station began organizing program proposals and contacting regional school superintendents to solicit ideas for educational telecasts. The permit was granted by the FCC on September 19, 1957, and Florida West Coast Educational Television announced that their station would have studios in St. Petersburg and Tampa and would begin fundraising drives in both areas. Briefly called WFCE in the local press, it was WEDU by November, when planning began for station programming. For its Tampa studios, WEDU moved into a former Navy power plant on 20th Street, on land that been deeded to the Hillsborough County school board. The facility had high enough ceilings to accommodate a television studio with little conversion. To help raise funds, a dinner was held, featuring Governor LeRoy Collins among its guests. In August, courses and teachers were announced, with contributions from multiple counties in the channel 3 coverage area. On weekends, WTVT trained staff members in television production.

WEDU made its first broadcast on October 27, 1958. The first program featured Ceil Hedman of St. Petersburg teaching third-grade reading. She was followed by teachers with courses on high school American history, Spanish, and science, as well as after-school programs for adult audiences—then comparatively rare on educational stations that were mostly devoted to classroom instruction. In addition to local educational shows, the station aired programs from National Educational Television (NET) and educational series produced by NBC.

Shortly after, at the start of 1959, the second studio at St. Petersburg Junior College opened; with both studios in operation, the station would be on the air 10 hours a day during the week. Over the course of 1959, the station won a major Ford Foundation grant to support its teaching programs, obtained its first video tape recorder, and boosted its power to improve coverage and reception. The audience for its educational programming steadily grew to 75,000 students by 1960, 120,000 by 1962, and 151,000 by 1963; the Tampa facilities were expanded to include a second studio. The staff grew from 11 people to 38 and later 50. Live NET programming became a reality on channel 3 in 1961. In December 1965, WEDU began weekend broadcasting for the first time, making it the first educational station in Florida to institute a regular weekend schedule and the 12th nationwide. The station began holding an annual televised auction in 1968 as a fundraiser.

Educational competition and a budget crisis
In 1964, WEDU joined with the University of South Florida (USF) to propose the construction of a new transmitter facility in Riverview. The site would house a higher-power WEDU as well as a new UHF station to be owned by the university. After obtaining federal grant money, The site was completed two years later, and WEDU began broadcasting from it on August 30, 1966, with the maximum low-VHF power of 100,000 watts. On September 11, the USF station signed on as WUSF-TV (channel 16). Initially, WUSF-TV had no network programming, as WEDU was the local station for National Educational Television programs (and, later, PBS programs after PBS supplanted NET as the public television network in 1970 ). Instead, it focused on providing local shows and college-level telecourses; during the day, the station was off the air while the studios were in use to produce closed-circuit programs. WEDU was supportive of WUSF-TV because, per general manager R. Leroy Lastinger, it provided an outlet for college and higher education needs that channel 3 could not serve alone with its existing commitments.

However, shortly after coming on the air, WUSF-TV began angling for more resources and prominence. Within two years, it faced a budget crunch, exacerbated by its status as a secondary outlet with no national network programs. Channel 16 sought parity and the ability to simulcast PBS programs, and it indicated a desire to begin fundraising in the community, which irked WEDU officials fearing a dilution of viewer support and audience. A lobbying battle came to a fever pitch in January 1971, when leaders from the Corporation for Public Broadcasting (CPB) and the Florida Department of Education and several influential state legislators forced leaders of WEDU and WUSF-TV into a motel room to work out their differences. The consensus that emerged allowed WUSF-TV to become a PBS station, but the stations agreed not to simulcast programs. It encouraged channel 16 to develop an alternative lineup to WEDU's programs for schools and children and made it the primary source of local evening programming. To protect WEDU, WUSF-TV agreed not to tap the community for funds. PBS leaders hoped the "Tampa format" could be applied to similar situations in other cities.

Another theme of the late 1960s and early 1970s was changing support from local school systems. As early as 1967, Pinellas County—a major contributor—contemplated ceasing financial support for WEDU. Two of 11 counties pulled out in 1971, Polk and Manatee—one over factional disputes concerning cable TV and another due to its own money woes. In Polk alone, 38,000 students viewed WEDU programs, and the district paid the station's rate of $1.35 per student. When Pinellas reduced its support by nearly half in 1972, WEDU responded by laying off 12 of its 43 employees—including its entire local production unit—and cutting back its broadcast day. In response, the station held an emergency pledge drive and began seeking underwriting support for its programs, which helped alleviate the crunch.

Color programming and new facilities
In 1971, WEDU began color program production locally when it received a donation of color cameras from WFLA-TV. Florida West Coast Educational Television reincorporated as Florida West Coast Public Broadcasting in 1974 as part of a broadening of its by-laws to permit operation of a radio station.

By the mid-1970s, the old Navy power plant had become inadequate as a studio facility and run-down. Station staff joked, "We'll be all right as long as the termites don't stop holding hands—that's all that is holding this place up." Some employees worked out of two mobile homes parked behind the main studio. Discussion for a new facility had stretched as far back as 1969, when a site near WestShore Plaza was under consideration, but the 1976 session of the Florida Legislature made it a reality by allocating $2.25 million for WEDU to build new studios on property provided by the city of Tampa along North Boulevard near Interstate 75. The construction of the new studios would be overseen by a new general manager; Lastinger, one of WEDU's founders, retired from the position in 1977 (continuing as president until 1982 ) and was replaced by Mark Damen, an official in the Florida Department of Education. Ground was broken in December 1977; it was not officially opened until February 1980 owing to inflation-related cost overruns.

Despite—and in part because of—the new home, WEDU experienced continued financial cutbacks. County governments were still paring back their contributions to the station; the new building had a higher energy bill and maintenance load. New equipment, poorly maintained, was prone to breaking down; the station still relied on film for production, which meant processing costs and delays; In September 1980, the station adopted a "barebones" budget and laid off seven employees, mostly in local production, canceling its lone local show Three by 3 in the process. The Spanish-language public affairs show Los Nuestro, on the air for eight years, was canceled in 1982 because station leaders believed the newly arrived Spanish International Network had taken what little audience it had.

Channel swap attempt
On November 30, 1984, WEDU and WTOG-TV (channel 44), owned by Hubbard Broadcasting, jointly announced an agreement where, subject to FCC approval, the two stations would switch channel positions, moving WTOG to VHF channel 3 and WEDU to UHF channel 44. Both stations believed they could benefit from this arrangement. WTOG-TV, Tampa Bay's highest-rated independent station, would shed the stigma among advertisers associated with being a UHF outlet and gain parity with the region's three network affiliates. WEDU would receive new equipment by moving to WTOG's facility; it would still enjoy access to almost all of the same viewers it had on cable systems; and it would receive a cash infusion to bolster local programming at a time when federal support for public broadcasting appeared to be waning. The cash infusion, initially reported as $25 million, was later revealed to be about $30 million in cash plus a nearly equal amount in other inducements, such as sharing WTOG-TV's tower site, transmitter improvements, and the electricity bill for five years.

The announcement was met with sharp reaction locally and nationally. WTSP-TV (channel 10), while a VHF station, faced technical constraints that prevented its transmitter from being co-sited with others in the Tampa Bay market. It had to be more northerly to be properly spaced to WPLG-TV in Miami. Over the years, WTSP-TV had proposed a channel change to WEDU on multiple occasions, though Lastinger rejected the station's advances. Beyond Tampa Bay, offers worth millions of dollars came into public TV stations in Minneapolis, San Francisco, Phoenix, and Athens and Savannah, Georgia. The concept of a VHF–UHF swap required an FCC rulemaking, which was equally contested. An FCC decision known as Ashbacker raised the specter that any such swap deal would lead to a requirement to allow competing, mutually exclusive, applications and therefore a comparative hearing. The FCC proposed to allow public comments but otherwise treat a deal like it would a typical commercial station sale. This drew outcry from a string of commercial broadcasters, including such names as Belo Corporation, Capital Cities Communications, Gannett, Tribune Broadcasting, and Taft Broadcasting, who filed comments in opposition of the FCC's proposed rulemaking. They were joined by the National Association of Public Television Stations, the Corporation for Public Broadcasting, the National Education Association, the United Church of Christ, and 11 noncommercial station licensees, which believed any such exchange was subject to Ashbacker restrictions. Others believed a series of swaps would make public television a second-class service. Lawmakers were equally unconvinced. While the commission allowed swaps among two VHF or two UHF stations in March 1986, it did not rule on the more controversial VHF–UHF swap.

Senator Ernest Hollings made an attempt in May 1985 to block the FCC from permitting such swaps. Every year through 1995, Hollings inserted language into the FCC's budget barring it from considering any VHF–UHF swaps. By 1988, the deal was seen as dead; WTOG had put up a new tower without provision for WEDU, whose mast was rusting and which needed a total facility overhaul. Under the provision of the 10-year deal with Hubbard, WEDU received $100,000 a year. Ultimately, in 1990, Hubbard and WEDU reached a different arrangement that saw WEDU move to WTOG's tower, replacing its discontinued and damaged equipment.

New ventures and new fiscal battles
Damen retired in 1991 and was replaced as general manager by Steve Rogers, who had been the general manager of Miami's WPBT. Among his first priorities was to change the station's fundraising tactics to be more entrepreneurial and less reliant on traditional auctions. The station shifted from such methods as furniture auctions to using national programming and pledge drives to drive donations. A new local show started in 1990—From a Black Perspective, hosted by Syl Farrell—evolved into the broader Tampa Bay Week, a local politics program.

As the federal government looked likely to cut back on public broadcasting support in the mid-1990s, WEDU branched out into new arenas to diversify its revenue. In 1996, WEDU started Telewave Inc., a for-profit subsidiary to produce PBS specials and—more lucratively—sell recordings and videos of them to generate money. While the station had been involved in previous projects involving Yanni and John Tesh, it did not make any money off the former and only some off the latter. WEDU pared back its national programming ambitions in 1998 when they failed to generate the projected revenue. That year, WEDU celebrated its 40th anniversary and launched its first 24-hour program schedule.

Toward the end of Rogers's tenure, WEDU began preparing for a costly conversion to digital television. WTOG's tower lacked space for WEDU to begin digital broadcasting, and WUSF-TV's original 900 ft tower was deemed incapable of supporting additional equipment. As a result, both stations joined forces to construct a new, $5 million 1505 ft tower for their digital broadcasts; WEDU owned the tower, while WUSF-TV received lifetime usage rights and a portion of leasing revenues.

In the first years of the new millennium, WEDU saw membership non-renewals grow, eating into its budget just as the digital transition costs began to become a factor. In August 2000, Rogers appeared on-air for a fundraising drive in hopes of closing a $350,000 deficit. In 2001, the station laid off 18 of its 62 employees, once again mostly in production, and canceled Tampa Bay Week. Rogers then departed the station, saying that it was a "good time to hand over the reins" after cutting costs. Though Tampa Bay Week returned, it did so without Farrell, who left WEDU.

The task of righting the ship at WEDU fell to the next general manager: Richard "Dick" Lobo, who came out of retirement after a lengthy career in commercial TV news and management. Under Lobo, WEDU repaired its financial standing and increased revenue from corporate underwriting. An increased use of freelance producers and a side business of renting studio space so guests on national TV programs could appear live using WEDU's satellite uplink contributed to this improvement. Gulf Coast Journal, a weekly magazine program hosted by former NBC News reporter Jack Perkins, aired on the station from 2004 to 2012. In 2006, WEDU won a $1 million donation from the Joy McCann Foundation, the single largest contribution in station history, which was divided among a local programming endowment, production equipment, and literacy outreach programs for children.

In the late 2000s, the relationship between WEDU and WUSF-TV, which had remained cordial for decades, deteriorated again. One notable incident involved WUSF selling videos of The Lawrence Welk Show during a pledge drive, hours before Welk aired regularly on WEDU. WUSF-TV management took umbrage at PBS designating channel 16 a secondary station, saying their increased reliance on local programming led to the unfavorable label from PBS. Bright House Networks, the primary cable provider in the Tampa Bay area, exacerbated the strife by exercising a contract in its clause with PBS stations and relegating WUSF-TV, but not WEDU, to a tier where not all subscribers could see it. The relationship was repaired again a year later, when managers of both stations agreed to collaborate on programming as well as a jointly produced fundraising night.

Lobo announced his retirement in September 2009. His replacement was Susan Howarth, who had left WCET in Cincinnati in 2008 upon its merger with ThinkTV of nearby Dayton. Howarth sought to increase the station's local programming and digital presence. Howarth was forced to confront new budget challenges when governor Rick Scott vetoed a funding package for public broadcasting. Between 2007 and 2011, the station's annual budget shrank from $11 million to $7 million in spite of increased programming costs. In 2015, a viewer left a $4 million bequest to WEDU, which was used to increase staff and donate equipment to public libraries.

Acquisition of WUSF-TV license and programming
In 2015, the University of South Florida's board of trustees began exploring options for WUSF-TV, which had lost money for three consecutive fiscal years, in light of the FCC spectrum incentive auction. The station had lost money in fiscal years 2013, 2014, and 2015, and its cash flow was negative for fiscal year 2016; in contrast, WUSF radio was making money.

The incentive auction closed in February 2017, and USF sold the spectrum of WUSF-TV for $18.8 million. The university announced that the station would then cease operations on October 15.

WUSF-TV management had been in talks with their counterparts at WEDU since 2015 about planning to maintain services in the event that the station left the air. On October 8, it was announced that WUSF-TV had entered into a channel sharing agreement with WEDU, enabling the station to continue operations. WUSF-TV's license was transferred to Florida West Coast Public Broadcasting; the transfer was completed on January 24, 2018. With the shutdown on October 15, WEDU picked up the PBS Kids and Create subchannels previously carried by WUSF-TV as well as programs formerly on channel 16's lineup.

Paul Grove tenure
Howarth died from cancer in September 2018. She was replaced full-time by Paul Grove, who had been the vice president of national programming and production at WEDU before departing in 2006 to run WTCI in Chattanooga, Tennessee.

Local programming
WEDU local programs include the public affairs show Florida This Week; Suncoast Business Forum; and the Greater series of digital shorts focused on specific cities. The latter concept came with Grove from Chattanooga.

Funding
For the year ended September 30, 2023, Florida West Coast Public Broadcasting had total revenue of $17.8 million, more than half in the form of contributions and gifts, and $14.4 million in expenses. For the year ended September 30, 2022, the station had 47,427 members and 438 individual donors.

Analog-to-digital conversion
WEDU shut down its analog signal, over VHF channel 3, on February 17, 2009, to conclude the federally mandated transition from analog to digital television. The station moved its digital signal from its pre-transition UHF channel 54 to channel 13 on June 12, 2009; it had to wait for WTVT, which used channel 13, to complete its digital transition.

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

title: WEDU


text:
Wikipedia:Featured picture candidates/Aerogelbrick.jpg

Aerogelbrick
Shows the really nice comparison between an old brick and a sample of aerogel, which looks like a diffuse gas, but is indeed the world's lowest-density solid. Used currently in Aerogel. --Bricktop 23:50, 18 Apr 2005 (UTC)
 * Nominate and support (now the third version). Thanks for improving the pic! --Bricktop 23:50, 18 Apr 2005 (UTC)
 * Another of the many images I was thinking about nominating at some point in time. I might clean up some specks and adjust the balances later. -- brian0918  ™  00:07, 19 Apr 2005 (UTC)
 * Some cleanup sure would be usefull on this image! --Bricktop 00:16, 19 Apr 2005 (UTC)
 * I would also like to see a higher resolution. Then I could come back and support. Until then, neutral. (A vote that really doesn't mean a thing, does it?) Jonas Olson 06:31, 19 Apr 2005 (UTC)
 * Couldn't find any better resolution. At the source they only have an additional TIFF version, which is of same size and cleanness as the JPEG. --Bricktop 07:53, 19 Apr 2005 (UTC)
 * Conditional support to cleanup. Circeus 01:57, Apr 19, 2005 (UTC)
 * Support. Greatly exceeds expectations of an aerogel photograph.  --SEWilco 02:10, 19 Apr 2005 (UTC)
 * Support Edited version. Amazing stuff! --Fir0002 07:35, 19 Apr 2005 (UTC)
 * Change my vote to support third version. If its alright with everyone else I'd even suggest removing my version. --Fir0002 11:11, 19 Apr 2005 (UTC)

+10 / -1 / 1 neutral with preference for #3
 * Support Great picture! - Adrian Pingstone 07:56, 19 Apr 2005 (UTC)
 * Here's my obligatory version. I used the original uncompressed TIFF, and tried to clean it up so that the edges on the brick remained sharp.
 * Support third version. -- brian0918  ™  09:39, 19 Apr 2005 (UTC)
 * Support third version. Enochlau 10:53, 19 Apr 2005 (UTC)
 * Support Now =this= is cool. Denni ☯ 02:18, 2005 Apr 20 (UTC)
 * Support Graphic, interesting and I learnt something. -- Solipsist 16:00, 23 Apr 2005 (UTC)
 * Oppose. Too dark, and the lighting is fake. The whole image looks like it's trying too hard to be dramatic. - Pioneer-12 19:03, 23 Apr 2005 (UTC)
 * That's usually how good photographs are made. -- brian0918 ™  19:11, 23 Apr 2005 (UTC)
 * Good photographs are made in many ways--setups are just one way. Fakeness is not a virtue. A photograph can be an obvious setup but not appear "fake".... the chosen elements can be absurd, and the arrangment ridiculous, but it will appear as an honest expression of a desire to communicate a message through visual means. This just looks like a phony (see Catcher in the Rye), done to impress others for PR purposes. Furthermore, it is not particularly attractive or clever. Thumbs down. - Pioneer-12 22:51, 27 Apr 2005 (UTC)
 * Support third version. James F. (talk) 22:20, 27 Apr 2005 (UTC)


text:
Talk:SWF

Promotional Bias and a bit off topic.
I do not want to sound like a cry baby, but this article seems very promotional to me. Perhaps this article should be written to be a little less NPOV. Perhaps now that the specification is open it would be prudent to write a bit about the specification in the article instead of discussing its implementation (already discussed elsewhere). After all most people "wikipedia'ng" SWF would probably be more interested in the inner-workings rather than it's existence as a common platform for vector graphics etc... I am not too familiar with editing on Wikipedia or all of the rules so I do not feel qualified to make any changes here. 71.200.55.155 (talk) 11:41, 1 July 2008 (UTC)

Under the 'Description section' there is an error: "Based on an independent study conducted by Millward Brown, over 99% of Web users now have an SWF plugin installed, with around 90% having the latest version of the Flash Player.[7]"

I went to that source that was given and I don't see anything mentioning SWF. there is a bar chart that showed 99% of internet-enabled pcs had the adobe flash player installed. So, I don't see how over 99% had a swf plug, but only 90% had the last version of the flash player. Am i missing something? — Preceding unsigned comment added by 67.167.127.216 (talk) 21:36, 26 February 2012 (UTC)

Open?
How can Wikipedia state that Flash is an open format given that Macromedia pulled all copies of its license for the open format (version 4) from its web site about a year after it declared it open; and replaced it with a newer license (like the one referred to from the official reference page mentioned by the wiki entry), that contains this clause:

"Pursuant to the terms and conditions of this License, you are granted a nonexclusive license to use the Specification for the sole purposes of developing Products that output SWF."

In other words, only Macromedia can produce flash players.

Surely that isn't really open, in that case?

-- The sentence:

"SWF is an open format, and anyone can implement authoring software without having to pay royalties."

I had the same point earlier on and I deleted that sentence too. Weird how it's come back again? It's definitely not true, so why feed misinformation? I'm taking it out.

It's true now. Adobe released the SWF (v9) and FLV specs without license restrictions, as part of Open Screen. —Preceding unsigned comment added by 66.7.171.216 (talk) 20:56, 1 May 2008 (UTC)

Open Format Topic
Way too much effort is spent proving how a SWF does not strictly conform to Open Format guidelines - nearly half the article. Perhaps the entire last half of the article can be shortened into a single paragraph that reads something like, "SWF is not, strictly speaking, an open format as indicated by the Flash Player License.

Third party software can be produced to create SWF files using Macromedia's Flash File Format specifications but these specifications cannot be used to create a SWF interpreter." Thoughts? —Preceding unsigned comment added by 129.186.168.52 (talk • contribs) 19:58, 1 November 2005

 * The question of formats is pretty important. i'm not an expert on this, but i would guess that explaining things in terms of copyright and/or software patents might help clarify things. The latter only apply in the USA, but many parts of the "free world" such as the EU have refused software patents, and i don't see how someone can copyright a format. In fact, i'm not quite sure how a format whose specification is published on the www can be non-open - unless the idea is that anybody who reads the file carries out an implied contract with Adobe and the terms of that contract include not writing an SWF interpreter? That probably explains the comment about reverse engineering - anyone is free to download N different SWF files and reverse engineer them to discover the content from the "secret" document. Or someone could look at the various tools for creating SWF files and work out how to invert them to read SWF files. But if s/he has clicked on the SWF specification document, then s/he has implicitly signed a document saying that s/he agrees not to write an SWF interpreter. Hard to believe that such a restriction could be legal, but i guess that's the legal world we live in for the moment. Boud 23:31, 9 December 2006 (UTC)
 * IANAL, but it seems to be a bit more complicated; one is not allowed to use information obtained by reading the document in making a swf player. Of course, if one has read the document, and then produced a swf player, Adobe would have a stronger case in a hypothetical lawsuit, if they can prove it. Take a look at Clean room design for more on that. But the act of reading the document of course is not, and can not be legally binding about producing a swf player in general - indeed it doens't seem to make sense to talk about "swf player" in general in this context at all. "a piece of software that is designed to conform to this specification" and "a piece of software that is designed to play these files that were reverse engineered" are here two completely distinct concepts. That's all only to my best understanding. Krum Stanoev (talk) 16:51, 5 February 2008 (UTC)

SWF in Wikimedia projects
Why is the SWF file format not used in Wikimedia projects? --84.61.4.227 13:50, 3 December 2006 (UTC)

SWF files under the GFDL?
Is it allowed to license SWF files under the GFDL? --88.76.240.148 11:10, 21 January 2007 (UTC)

"Linux on Intel"
When discussing platforms on which the Flash Player is available, the author mentions "Linux on Intel". However, this could be misread (for example, as "not on AMD"). I think the point the author is trying to make is that on only runs on i386, i586, i686 etc systems (x86), and not 64 bit, SPARC etc, but perhaps the meaning could be clarified by saying something like "Linux on x86 architectures". Tpg 2007 08:03, 6 April 2007 (UTC)

Open format?
Why is the SWF file format not a open format? --88.77.246.15 15:31, 7 May 2007 (UTC)
 * Do you mean, "why" as in: "Why hasn't Adobe made the decision to do more to open up the SWF format?", or: "What part of Adobe's current license regarding the SWF format qualifies it as a non-open format?" The two questions have very different answers.  As well, the answers may be very different today than they would have been in 2007 when the question was originally asked.  As well, the answers could also vary quite a bit depending on the bias of the person writing the answer.24.222.2.222 (talk) 19:23, 18 April 2011 (UTC)

troll alert?
Hey, an IP has inserted some "downfalls" in this article, which I have, well, "converted" to a more intellectual way. Some points fell, because they were only nerd-reasons, but in all i would say that the important facts are mostly said in Macromedia Flash141.201.222.205 12:19, 18 June 2007 (UTC)
 * An IP says what? 198.49.180.40 23:16, 26 June 2007 (UTC)

Most?
"Plugins to play SWF files in web browsers are available from Adobe for most desktop operating systems, including Microsoft Windows, Apple Mac, and Linux on the x86 architecture."

It sounds funny to say "most" here. Adobe's plugins are available for exactly 4 architectures: 32-bit MS Windows, Mac OS, Linux on 32-bit x86, and Solaris. But then, since the list is so short (we list 3/4 of it already!), why not just list them all? Then we don't need to discuss how many "most" is. —Preceding unsigned comment added by 75.172.62.177 (talk) 19:50, 11 October 2007 (UTC)

swf does not mean 'shockwave' ?
I was told by an adobe/macromedia (at the time) employee .swf stands for 'small web format' and not shockwave, which makes sense : shockwave files are compiled from Director, NOT Flash. Shockwave player runs shockwave files, not Flash files. This has also been agreed by an Adobe trainer I had who stated this fact was also mentioned at an adobe conference he attended. I am of the opinion it is now a widespread misconception that swf = shock wave format/file'

I don't have sources for this but somebody must. One thing that is certainly true is that Flash does not compile shockwave nor are the files it compiles are not played by shockwave player as is implied by some of the flash related pages. Haute Pie 09:34, 12 October 2007 (UTC)

Update: More info here http://weblogs.macromedia.com/jd/archives/2007/07/swf_stands_for.cfm and here http://weblogs.macromedia.com/jd/archives/2004/08/shockwave_vs_fl.cfm. It states swf was NEVER an acronym but Shockwave Flash does seem to be the popularly adopted meaning, whilst 'small web format' was coined later internally by staff at macro/adobe to avoid confusing with director files. I think this should be mentionedas a noteable fact in itself and to avoid confusion with director shockwave. Haute Pie 09:40, 12 October 2007 (UTC)

 * funny, but that article links to http://www.darrelplant.com/blog_item.php?ItemRef=736 which argues for exactly the opposite. 91.124.33.76 —Preceding comment was added at 15:55, 21 October 2007 (UTC)

 * Except for the PC mag article, every other website and book lists SWF as ShockWave Flash. Restoring the industry-wide terminology until the debate can be solved by an experience Wikipedian. Wonderfl (reply) 03:00, 20 December 2014 (UTC])

Sorry if my edit is not correct, trying to correct seeming contradiction in lead and info box.1archie99 (talk) 18:18, 26 January 2015 (UTC)

synopsis & question by a browser user
I have gathered from all of the above, that (Consistent with Ms Windows' poorly designed dependence on unofficial file name extensions for 30 years) '.SWF' is used as the extension on at least two types of file: a Macromedia Shockwave file which contains specifically formatted media data, or a sort of macro file which describes and points (links) to at least one media file type (of several types), located elsewhere on the web. Both of these can be found on the web. If you define .SWF inclusively (not normatively), (".SWF format may include either media data or formatted links to media data files ...") the overall problem can then be acknowledged and addressed by any developer (from now on). Unfortunately, that still leaves most viewers (me) at a loss when trying to view any particular .SWF file. I suppose that usually the .swf files embedded in any website I visit, will play as expected, but --> 'An error occurred. Please try again later.' merely tells me that at least one of the authors of the entrained software (browser, plug-in, or .SWF) did not agree with one another, and the error author provides no solution pointer. Given the simplicity of the problem, and the complexity of a simple answer, perhaps someone who knows the details of the issue, can recommend an approach that an ordinary web user could take. Wikidity (talk) 18:21, 11 January 2010 (UTC)

Something missing?
As I extremely hazily understand it, an .swf file is a very compact affair that doesn't do much more than call on another, typically very much larger file that contains the video. So the shockwave or flash or whatever it is video isn't actually in the .swf file. Am I wrong here? -- Hoary 09:59, 16 October 2007 (UTC)
 * you could embed it, but it is done like you said for flexibility 217.76.195.16 (talk) —Preceding comment was added at 17:10, 20 November 2007 (UTC)
 * Not all .swf files are used to play video; in fact, most aren't. What you are referring to is video players used on sites like Youtube, which uses an .swf player to play .flv video.  I honestly don't understand exactly how this works but .swf files are perfectly capable of containing their own animation without the use of .flv, but the result is "cartoony" due to the vector graphics. Thus video is implemented through another format. 66.189.65.178 (talk) 15:19, 28 May 2008 (UTC)

Vector graphics?
I have an .swf file here which contains a video which can be played by VLC. So how can, as the article claims, SWF be vector graphics then? Maikel (talk) 01:16, 31 January 2008 (UTC)
 * I guess the question is: what's the difference between SWF and FLV (Flash Video)? Maikel (talk) 14:35, 31 January 2008 (UTC)

Cleanup
This article is a hodgepdoge of interesting information, but still needs to be licked into shape. SWF apparently used to be vector graphics but has meanwhile gone multimedia (like FLV). Another question would be as to the differences between FLV and SWF. I'm not competent to do it myself, so please go wild, thanks. Maikel (talk) 15:20, 31 January 2008 (UTC)

Naming conventions for image file formats
Please see the discussion at Talk:Image file formats on naming conventions for articles on image file formats. Dcoetzee 00:47, 25 October 2008 (UTC)

Some Very Important information is missing
I started this morning trying to find out what it would take to produce a really simple game for a website (like blob moves and user has to jump over traps). I thought it would be really easy to search "flash" and find out a few useful things like:
 * Is the file compiled (I assume it is - otherwise I may as well use javascript)
 * What application do I need to compile the file
 * What does it cost i.e. our there open source methods to compile (cause I'm not wasting huge amounts of money to get a blob to jump)
 * How is the language written (Clearly the file must contain information on text & graphics, so are the graphics included in the file or are they inlcuded via links)79.79.137.114 (talk) 12:00, 1 November 2008 (UTC)

 * I've added a paragraph on what you can compile it with.. I don't know much about the open source compilers out there, but I've mentioned one too (please expand.. there's a lot of info at osflash.org )

 * To answer the questions specifically:

 * It's compiled into bytecode. The Flash viewer may turn this into machine code (JIT compiling).
 * Adobe Flash, or MXMLC (command line) or Flex Builder 3.
 * MXMLC is free of charge within Flex SDK. It does not contain drawing/animations tools, and you'll have to make your blob jump programmatically (i.e. purely using ActionScript)
 * Bytecode is embedded within the file. However, SWF files can be loaded from other SWF files. I'm not sure if "plain text" actionscript can be used or embedded also.

There's still nothing about swf's bytecode in the article, and I don't know the history of it. —Pengo 22:33, 25 January 2009 (UTC)

Swftools.com link removed
I am not spamming wikipedia with tons of links, i just tought that swftools.com could be a good external link to the SWF topic, since it lists almost every Flash tool which saves in the SWF file format. Please take a closer look and then decide. The website is highly regarded in the Flash community and by many Adobe employers. —Preceding unsigned comment added by 77.234.77.180 (talk) 12:57, 23 January 2011 (UTC)
 * If you mean this edit, then it was not a Swftools.com link that was removed, it was a link to swtools.com (a website dedicated to promoting an irrelevant company) presented as a link to Swftools.com in its description. This really smelled like one of the thousands of dirty tricks that spammers use on Wikipedia so often. Or it could have also been an innocent mistake, a typo. One never knows. Anyway, before inserting an external link in the External links section, it is important to read the External links guideline (what should be linked: "material that is relevant to an encyclopedic understanding of the subject").—J. M. (talk) 23:58, 23 January 2011 (UTC)

Weasel words
'The document is claimed to be missing "huge amounts" of information…': passive voice conceals anything about who is making the claim. Can someone clarigy? - Jmabel | Talk 20:45, 12 July 2013 (UTC)
 * I've attributed (and dated) that quote. JMP EAX (talk) 12:33, 4 August 2014 (UTC)

External links modified
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 * Attempted to fix sourcing for http://www.adobe.com/products/player_census/flashplayer/
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Shockwave vs. Flash
I just edited Adobe Shockwave Player and Adobe Shockwave to make it clear that Flash content can't be played by the Shockwave Player and vice versa. But reading those articles, I see that Shockwave is embedding some Flash Player components, and both use the SWF file format. Just wanted to confirm my assumption is correct? We should also note the dual use on SWF if it is in fact used by both systems. -- Beland (talk) 19:33, 4 March 2016 (UTC)

External links modified
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title: Talk:SWF


text:
Philip Wilby

Philip Wilby (born Pontefract, 1949) is a British composer, organist and choir director.

Education
Educated at Leeds Grammar School and Keble College, Oxford, he joined the staff at the University of Leeds as a Lecturer in the Department of Music in 1972. There he taught various composition, liturgy, directing, and score reading classes as well as co-founding the Leeds University Liturgical Choir.

Music composing
Composing for many different instruments and ensembles (piano, organ, voice, chamber ensemble, wind orchestra), Wilby is most known for his compositions for brass band. Many of Wilby's pieces are based on his strong Christian beliefs. Famous works that fall in this category are ... Dove Descending, Revelation, and The New Jerusalem. Many of Wilby's works are written especially to be used as test pieces in brass band contests all over the world. One recent composition to fit this description is Vienna Nights, which was commissioned as the test piece for the 2006 British Open Brass Band Championship held in Symphony Hall, Birmingham. Most famously though Paganini Variations, one of his finest pieces of work, which was selected as the test piece for the 2011 Regional Championships (Championship Section) and has been used as the test piece for many other major competitions over the years, and has been recorded by a number of bands including Black Dyke, Fodens and Grimethorpe.

... Dove Descending was featured by Black Dyke Band at the 2007 BBC Promenade Concerts in a day devoted to music for brass. Wilby also wrote the descriptive Northern Lights commissioned by the Black Dyke Band which was scored for a brass band and 4 dancers. It was later adapted for the Contest Stage when it was selected for the Butlins Mineworkers Championships in January 2007.

One of his later compositions is entitled "A Brontë Mass" which was commissioned for the Leeds Philharmonic Society, in memory of their late Chairman, John Brodwell. The work includes poems by the Brontë sisters and text from Latin Mass. This piece premiered on Saturday 24 November 2007 at Leeds Town Hall. A recording, by The Bach Choir and Black Dyke Band, was made at Blackheath Halls in November 2009 and was released on a CD called Red Priest in September 2010. The title track of this CD "Red Priest" was commissioned by Black Dyke Band and first performed in the Brucknerhaus, Linz, Austria in May 2010 as part of the European Brass Band Championships. It was subsequently chosen as the test piece for the 2011 British Open Brass Band Championship.

Commission
In 2013 he delivered a commission by the Halifax Choral Society to compose an oratorio in the English tradition for the Society's bicentenary in 2017. The work, The Holy Face is based on the life of John the Baptist, patron saint of Halifax. It was recorded in the Summer of 2017 and is to be presented for the first time in Halifax in October 2017.

Personal
Philip Wilby now resides outside Ripon.

Works
Several CDs of his music for brass and wind bands have been released on the Doyen label in recent years;
 * Wilby
 * Sacred Symphonies
 * Vienna Nights
 * Red Priest
 * A Breathless Alleluia
 * In Tribute

title: Philip Wilby


text:
User talk:Petehappens

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title: User talk:Petehappens


text:
Saint Galdino

 Galdino della Sala (c. 1096 – 18 April 1176), Galdinus or Galdimus (Galdin), was a Roman Catholic saint from Milan in northern Italy. He was a cardinal elevated in 1165 and he also served as Archbishop of Milan from 1166 to his death in 1176. He was a staunch supporter both of Pope Alexander III, and of Milan and its neighbours in Lombardy, in their joint and parallel struggles against the Antipope Victor IV, supported by Holy Roman Emperor Frederick I Barbarossa.

He is remembered also for his charity in Milan to the poor and to those imprisoned for debt. Alexander III canonized him as a saint of the Roman Catholic Church, and he is a patron of both Lombardy and his old archdiocese.

Life
He was born in Milan around 1096 into the della Sala family which was considered to be minor nobility of the city.

He was a strong supporter of the Roman papacy in the schism that erupted in 1159 after the death of Pope Adrian IV. Pope Alexander III was the Roman candidate, while Antipope Victor IV was supported by Frederick Barbarossa and his cardinals. Galdino's Milanese church supported Alexander III, and Galdino, as archdeacon of the church, took a very public stand. Frederick came to besiege Milan and reduced it within six months.

Galdino joined Alexander III in Genoa and followed him to Maguelonne, Montpellier, and Clermont. He later followed him to Sicily and Rome upon his return in 1165. When Alexander returned to the papacy in 1165, he named Galdino in the consistory of 15 December as the Cardinal Priest of the titular church of Santa Sabina, and a year later made him the Archbishop of Milan. The year after that, Alexander III made Galdino the apostolic legate for Lombardy.

When the Lombard League expelled Barbarossa, Galdino took possession of his see and began deposing any Lombard priests who were faithful to Victor IV. He consecrated new bishops at Lodi, Alba, Cremona, Vercelli, Asti, Turin, Novara, Brescia, and Alessandria.

On 18 April 1176 Galdino della Sala died in his pulpit, having just completed a sermon against the Cathars, who were seen by orthodox Catholics as heretics.

Sainthood
Pope Alexander III canonized Galdino as a saint of the Roman Catholic Church during his pontificate.

His liturgical feast day in the Roman Catholic Church, celebrated particularly in churches which follow the Ambrosian Rite, is 18 April (the anniversary of his death).

title: Saint Galdino


text:
South West, Western Australia

Names such as the South West or South West corner, when used to refer to a specific area of Western Australia, denote a region that has been defined in several different ways.

Such names now usually refer to areas immediately south of the Perth metropolitan region and west of the Wheatbelt. Its narrowest and most specific usage is in reference to the official, government-designated South West region. However, broader usages may include the entire south-western quarter of Australia.

In regard to Western Australia, "South West" may refer to:

 * South West Region (Western Australia) – a multi-member electorate of the Western Australian Legislative Council
 * South West (Western Australia) - governmental division of local government areas
 * Southwest Australia – a botanical and freshwater region and biodiversity hotspot
 * South West drainage division – a drainage region
 * South West Land Division – a cadastral (land administration) region
 * South West Seismic Zone – a seismic region

title: South West, Western Australia


text:
Edmonton Sun

The Edmonton Sun is a daily newspaper and news website published in Edmonton, Alberta, Canada. It is owned by Postmedia following its 2015 acquisition of Sun Media from Quebecor.

It began publishing Sunday April 2, 1978 and shares many characteristics with Sun Media's other tabloids, including an emphasis on local news stories, its conservative editorial stance, extensive sports coverage, and a daily Sunshine Girl. Once each year, the Edmonton Sun prints a special swimsuit edition. Around Christmas time, they print a holiday lingerie edition.

Circulation
The circulation of Edmonton Sun has declined. Its total circulation dropped by 0 percent to 37,649 copies daily from 2009 to 2015.

As of 2023, Edmonton Sun has a daily circulation of approximately 50,000 copies, and its readership includes a diverse mix of ages and demographics. The newspaper is available for purchase at newsstands and convenience stores throughout the city, as well as through home delivery.

 * Daily average

title: Edmonton Sun


text:
Claire Merritt Ruth

Claire Merritt Hodgson Ruth (born Clara Mae Merritt; September 11, 1900 – October 25, 1976) was a native of Athens, Georgia, United States, who is most famous for having been the second wife of Babe Ruth.

Biography
Hodgson's first husband, Frank Hodgson, died February 16, 1921, leaving her with a daughter, Julia. She met Ruth in 1923. Ruth was still married to Helen Woodford, his first wife, at this time. Woodford died in a house fire in January 1929, and Ruth and Hodgson married that April 17, staying together until Ruth's death in 1948.

In later years, she indicated her responsibility, in part, for the poor relationship between her husband and teammate Lou Gehrig. According to her, Gehrig's mother indicated that the Ruths' adopted daughter, Dorothy, was not as well dressed as Claire's biological daughter, Julia; when Ruth was informed of this, he angrily demanded that Gehrig never speak to him off the ballfield again. Ruth and Gehrig did not make up until the day of Gehrig's famous "I'm the luckiest man on the face of this earth" speech in 1939. Later, Ruth admitted that she had overreacted, apologetically accepting full responsibility for the rift between the two players which, however, had numerous other causes besides the one indicated by Hodgson.

Ruth lived to see two of Ruth's most famous records broken: his single season record of 60 home runs, superseded by Roger Maris in 1961; and his career record of 714 home runs, which was broken by Hank Aaron in 1974. In her later years, she sometimes attended games that Aaron was playing, and was supportive of Aaron's effort. Ruth was quoted as saying: "The Babe loved baseball so very much; I know he was pulling for Hank Aaron to break his record."

Ruth was portrayed by Claire Trevor in the 1948 film The Babe Ruth Story, by Lisa Zane in the 1991 TV movie Babe Ruth, by Kelly McGillis in the 1992 film The Babe, and by Renée Taylor in 61*.

Ruth is buried next to her husband at Gate of Heaven Cemetery in Hawthorne, New York. The inscription on the headstone lists her birth year as 1900, instead of 1897.

title: Claire Merritt Ruth


text:
Talk:Gigaton (unit)

"An earthquake measuring an 8.0 on the richter scale releases approximately 1.01 gigatons of energy." I believe this is wrong. See Talk:Richter magnitude scale 64.168.29.110 23:56, 18 Apr 2005 (UTC)

The "estimate" of 191xxx gigatons seems too precise. I'm going to round it to 190,000. Not that there's any source listed for that figure.

This article should be merged into Tonne. --84.248.252.228 04:19, 10 February 2007 (UTC)

This article contains similar and repeated information as Tonne and Tonne_of_TNT and should be merged with one/both. Some of the numbers do not agree between the articles. Ickettpe 18:33, 21 February 2007 (UTC)

Gigaton is used in measuring Carbon in different places. Like "The seas contain around 36000 gigatonnes of carbon".

Redirected to tonne
(1) After 54 edits since 7 April 2004 this article still does not justify its existence, why it should be anything other than a multiple in a table in the tonne article. (2) It only has one reference though it makes many claims as fact. (3) There is nothing notable about the word. All uses of the word are only explosive power amounts in particular incidents (3a) an unmeasurable amount of carbon dioxide pollution (3b) the yield of Tsar Bomba (3c) The theoretical yield of a theoretical impact at Chicxulub crater in Mexico. (4) Two fictional uses of the word not central to any plot. (5) Gigatonne is not an official SI measurement. The official measure is Petagram Pg as mentioned in tonne. (6) The word is mentioned in Tonne.-Adimovk5 (talk) 21:34, 29 December 2007 (UTC) 05:31, 7 April 2004 68.149.57.60 (Talk) request to merge into tonne

Move discussion in progress
There is a move discussion in progress on Talk:Gigaton which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 18:21, 9 September 2020 (UTC)

title: Talk:Gigaton (unit)


text:
TIRF

TIRF may refer to:
 * Total internal reflection fluorescence microscope
 * Traffic Injury Research Foundation, in partnership with Toyota Canada Inc.
 * Trans-inclusionary radical feminism

title: TIRF


text:
Nelson Shoemaker

Nelson M. Shoemaker (February 17, 1911 in Grandview, Manitoba – June 10, 2003) was a politician in Manitoba, Canada. He served as a Liberal member of the Legislative Assembly of Manitoba from 1958 to 1969.

The son of Allan Shoemaker and Alice Louetta Harkness, Shoemaker was educated at a one-room school in Grandview, and became a partner of Shoemaker-McGilvray Agencies in Neepawa, working in the fields of insurance, travel and real estate. He later sold the business, which became known as Gill and Schmall Agencies. In 1933, he married Edith E. Ford. He was director of Associated Hospitals of Manitoba from 1955 to 1960, and an alderman in the town of Neepawa from 1956 to 1959.

He was easily elected to the Manitoba legislature in the 1958 provincial election for the rural riding of Gladstone, ironically as the Liberals were voted out of office at the provincial level. In the 1959 election, he defeated Progressive Conservative challenger Earl Murray by only 149 votes. He was returned by greater margins in the elections of 1962 and 1966, and spent his entire legislative career on the opposition benches.

The Liberal Party lost much of its rural support in the 1969 election, and Shoemaker lost his seat to James Ferguson of the Progressive Conservatives by 417 votes. He did not seek a return to the legislature after this time, and lived in Neepawa until his death.

title: Nelson Shoemaker


text: User talk:69.233.68.142

title: User talk:69.233.68.142


text:
Wikipedia:Featured article candidates/Johann Sebastian Bach/archive1

Johann Sebastian Bach
This is a great article on a very important musician. -- Tony Jin | (talk) 00:00, Apr 19, 2005 (UTC)
 * Personally, I don't think it's comprehensive enough to be featured. But don't count that as an object. Everyking 00:13, 19 Apr 2005 (UTC)
 * Object. Decent biography, nearly nothing about his music. - Fredrik | talk 00:26, 19 Apr 2005 (UTC)
 * Object. Needs a discussion of his music in its historical context (i.e., Baroque is only mentioned in the lead and in the category listing). --DanielNuyu 03:43, 19 Apr 2005 (UTC)
 * Object. No references.  This should be a featured article, but it will take time to get it to that level. Mark1 07:10, 19 Apr 2005 (UTC)
 * Object. An article about such a significant musician should have a lead section longer than two sentences. Discussion of Bach's work and its critical reception should be more extensive than that presented in the Legacy section. The Further Reading section should be renamed to References if all of these were used to write or check the article. Otherwise, move the ones that were used to a References section. Specific anecdotes should be referenced directly. Phils 10:02, 19 Apr 2005 (UTC)
 * Object. Lead is too short, no references (see Cite sources), remove external links from main body (see Footnotes).--Piotr Konieczny aka Prokonsul Piotrus Talk 10:08, 19 Apr 2005 (UTC)
 * Object. Far from comprehensive. Tobyox 17:23, Apr 23, 2005 (UTC)


text: User talk:67.42.98.3

title: User talk:67.42.98.3


text:
Talk:Lateral thinking

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 16 September 2019 and 18 December 2019. Further details are available on the course page. Student editor(s): Jknight1020.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 02:16, 17 January 2022 (UTC)

why is lateral thinking considered "pseudo scientific" ?
I don't get it. From my understanding, its that lateral thinking formalizes the creativity and creative thinking process into a day to day use framework. I have been using it for more than a decade now to great effect. Finecreate9 (talk) 04:49, 20 July 2023 (UTC)

title: Talk:Lateral thinking


text:
Treaty of Windsor (1386)

The Treaty of Windsor is a diplomatic alliance signed between Portugal and England on 9 May 1386 in Windsor and sealed by the marriage of King John I of Portugal (House of Aviz) to Philippa of Lancaster, daughter of John of Gaunt, 1st Duke of Lancaster. With the victory at the Battle of Aljubarrota, assisted by English archers, John I was recognised as the undisputed King of Portugal, putting an end to the interregnum of the 1383–1385 Crisis. The Treaty of Windsor established a pact of mutual support between the countries.

This document is preserved at the Portuguese National Archives.

Historian Matthew Winslett says, "This treaty has been the cornerstone of both nations' relations with each other ever since."

Enduring to this day, the Treaty of Windsor holds the record as the longest-lasting diplomatic treaty in recorded history.

title: Treaty of Windsor (1386)


text:
User talk:Hausa

Hello!

Being a Pakistani born in Hausaland myself, it is very intriguing to see someone working on a lot of Pakistani articles with "Hausa" as your ID. Would like to communicate with you. —iFaqeer (Talk to me!) 00:00, Apr 19, 2005 (UTC)

title: User talk:Hausa


text:
Category:Flare stars

UV Ceti variables or Flare stars

title: Category:Flare stars


text:
Hazlewood Castle

Hazlewood Castle is a country residence, now a hotel, in North Yorkshire, England, by the A1 and A64 between Aberford and Tadcaster. It is one of the oldest fortified houses to survive in the whole of Yorkshire.

The site overlooked the battlefield for the Battle of Towton in 1461, and during the persecution of Catholics through the reign of Henry VIII provided refuge for Catholic priests.

History
The castle was built towards the end of the 13th century and was transformed into a mansion in the mid 18th century.

The first records of the house are to be found in the Domesday Book of 1086, described as being owned and occupied by Sir Mauger the Vavasour (a vavasour was a type of feudal liegeman). Hazlewood was then inhabited by descendants of the Vavasours for over 900 years. During the Second Barons' War (1264–1267) the chapel was burnt down by a rival branch of the Vavasour family. It was rebuilt in 1283 by Sir William Vavasour and in 1290 fortified and crenellated.

In 1217 Robert Vavasour was Sheriff of York and his statue was placed above the door of York Minster in recognition of the fact that he gave stone from his Tadcaster quarry to maintain the cathedral.

Sir William Vavasour was High Sheriff of Yorkshire for 1548 and 1563 and MP for Yorkshire in 1553. His son John Vavasour was host to Mary, Queen of Scots on the night of 27 January 1569, when she passed through Wetherby en-route between Bolton Castle and Tutbury Castle.

John was convicted in 1610 of being a Catholic recusant. His nephew and heir William was gaoled for five years in Newgate prison in London for the same reason. William's son Thomas was forced to pay an annual fine even though he had been made a baronet in 1628. The second Baronet was a Royalist during the Civil War and was obliged to flee to France, not returning until the restoration of the monarchy in 1660.

Under the 6th Baronet the house was substantially modernised. On the death of the unmarried 7th Baronet in 1826 the baronetcy was extinguished and the estate passed to Edward Stourton, a relative. In 1828 he took the name Vavasour and was made the 1st Baronet Vavasour of the second creation. In 1908 the Vavasour family sold Hazlewood and bought a sheep farm and land in the Awatere Valley, New Zealand and in the 1970s established the valley's first winery, Vavasour Winery. After 1908 the site changed hands many times over the following years. It was first owned by a solicitor named Simpson, whose family occupied it until 1953, although it also served as a maternity hospital during the Second World War (and afterwards until 1953). For a few years it then belonged to the Fawcett family until it was sold in 1958 to Donald Hart, who sold it on as a retreat for the Carmelite Friars from 1971 until 1996. At the time of the sale to the Carmelite Order, the building was listed and is now a grade I listed building.

Present-day
In 1997, after restoration, the house reopened as Hazlewood Castle Hotel-Restaurant-Café and Cookery School under the management of Richard Carr, John Benson-Smith and Alison Benson-Smith.

The Castle won Hotel of the year, Restaurant of the year and also Chef of the year and the Chef Director John Benson-Smith also appeared on BBC MasterChef as a judge.

Hazlewood was purchased by the Ashdale Hotels group in 2008, it has since continued to be a successful wedding venue and hotel.

title: Hazlewood Castle


text:
User talk:Forejtv~enwiki

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Alai 00:03, 19 Apr 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Good to see that Haskell's "notable" in the Czech Republic, too! But the interwiki seems to be a dead link currently... Alai 00:03, 19 Apr 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Forejtv. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Forejtv~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:58, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 12:58, 22 April 2015 (UTC)

title: User talk:Forejtv~enwiki


text:
WUSF (FM)

WUSF (89.7 FM) is a National Public Radio (NPR) member station in the Tampa Bay area. It is licensed to Tampa and owned by the University of South Florida. WUSF is non-commercial and listener-supported. The station's format features news and talk programming 24 hours a day, 7 days a week, provided by NPR and other public radio networks. The studios and offices are on East Fowler Avenue in Tampa, on the USF campus.

WUSF is a Class C1 FM station. It has an effective radiated power (ERP) of 69,000 watts. The transmitter is on Boyette Road at Mosaic Drive in Riverview, Florida. WUSF broadcasts using HD Radio technology. Its HD2 digital subchannel features classical music from sister station 89.1 WSMR. That programming feeds 250-watt FM translator W280DW at 103.9 MHz.

History
WUSF signed on the air in September 1963. That was seven years after USF's founding in 1956. It joined NPR in 1976. It was the first public radio station in the country-—and the first station of any kind in Florida-—to broadcast using HD radio technology.

In 2010, USF acquired Christian radio station WSMR 89.1 MHz in Sarasota. It was previously owned by Northwestern College of Roseville, Minnesota. At the time, WUSF aired a mix of news and information shows along with classical music. USF planned to change WSMR's format to classical music, available around the clock. WSMR inherited the classical music library of WUSF. With WSMR becoming a full-time classical station, WUSF could switch to a format of NPR news along with nighttime jazz programming. WSMR's coverage area is mainly in the Sarasota-Bradenton area, but the station's programming would also be available online and on WUSF's HD2 digital subchannel.

WUSF's format was scheduled to be changed on September 15, 2010. But its relaunch was delayed due to technical problems. WSMR's sale to USF also included FM translator station W280DW, a repeater of WSMR, that broadcasts on 103.9 MHz. It is based in Brandon and serves Pasco and northern Hillsborough counties. The translator continued rebroadcasting WSMR, with its new classical music format.

Two weeks after the failed launch of classical replacement WSMR, station management came under public scrutiny. Critics thought the staff neglected to perform due diligence regarding the purchase of the WSMR transmitter. According to an article in the Bradenton Herald:

 * Arthur Doak, an engineer for the FCC, said there was no record of WUSF or Northwestern College conducting an inspection on the tower but said stations are entitled to a review of tower sites.
 * “If the buyer wanted it done to protect themselves, certainly they could,” Doak said. “That’s between the buyer and the seller.”

On October 20, 2022, WUSF announced that it would drop jazz programming later that month. It would have a schedule of all spoken-word programming, with news, information and talk shows, along with the BBC World Service airing overnight.

title: WUSF (FM)