text:
Wikipedia:Articles for deletion/Jason Court

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. Golbez 06:09, Jun 18, 2005 (UTC)

Jason Court
Only achievement is voice in star wars game in which the character already has a page. I suggest we Delete but a redirect to the character is also okay with me, but this guy is not notable enough to deserve a page.Sasquatch′↔Talk↔Contributions 07:17, Jun 12, 2005 (UTC)
 * Keep After new rewrite. Establishes notability and is nicely cleaned up. Thanks Scimitar. Sasquatch′↔Talk↔Contributions 22:30, Jun 15, 2005 (UTC)
 * Delete or speedy delete: It looks like this is one of those "The character of Bob is played by Bobby" and then "Bobby plays Bob" articles that result from wikilinking every proper noun in the universe. Bad practice.  This article could be speedy deleted as a substub by my standards:  it contains a fact, not an article.  Further, it cannot be expanded at present and should not be, as the subject is not particularly notable yet. Geogre 15:17, 12 Jun 2005 (UTC)
 * Weak, weak, weak, weak keep: Re rewrite: I even did a rewrite after Scimitar by going to IMDB and seeing all that could be said about him.  Unfortunately, not a lot can be said about him.  Two video game voice overs in the 90's, two small parts in movies in the 80's, and random cast appearances in television shows.  It is IMDB's job to catalog every actor, but it's not ours, and I think he's too minor still.  No change of vote.  Geogre 16:39, 15 Jun 2005 (UTC)
 * I re-reconsidered. Terribly minor figure, but it really doesn't do damage, and NPOV'd like this it's not so horrible. Geogre 01:37, 16 Jun 2005 (UTC)

 * Delete Not noteable. ConeyCyclone 17:42, 12 Jun 2005 (UTC)

 * Keep Jinkleberries 19:54, 12 Jun 2005 (UTC)
 * Note: Junkleberries is a new account today and voted 'keep' on 37 articles within a 7-minute period. This user also received a vandalism warning today.  Tobycat 20:58, 12 Jun 2005 (UTC)
 * Actually, he doesn't voice-act. The game uses him in video clips as an actual actor, and I figure he's probably notable. However, this article is atrocious, so delete unless rewritten. --Scimitar 15:02, 13 Jun 2005 (UTC)
 * Actually, I have overcome my apathy and rewritten it myself. Vote keep for new stub. --Scimitar 15:10, 13 Jun 2005 (UTC)
 * Keep. New version is fine. Pburka 01:27, 17 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
Chris Potter (jazz saxophonist)

Chris Potter (born January 1, 1971) is an American jazz saxophonist, composer, and multi-instrumentalist.

Potter first came to prominence as a sideman with trumpeter Red Rodney (1992–1993), before extended stints with drummer Paul Motian (1994–2009), bassist Dave Holland (1999–2007), trumpeter Dave Douglas (1998–2003) and session work, while also maintaining an active solo career.

Biography
Potter was born in Chicago, Illinois, but his family moved to Columbia, South Carolina, where he spent his formative years. Potter showed an early interest in a wide variety of different music and learned several instruments, including the guitar and piano. He realized after hearing Paul Desmond that the saxophone would be the vehicle that would best allow him to express himself musically. He has been quoted by Jazz Times as saying that, "Music has always been a vehicle for me to investigate the things that are important about life. It's been a way of figuring out what it is I need to say. Plus, I keep learning new things about it."

He took up the alto saxophone at age 10, playing his first jazz gig at 13. He developed a devoted local following while performing with Johnny Helms and Terry Rosen. After leaving Columbia upon his graduation from Dreher High School, Potter attended college in New York City, first at The New School and later at the Manhattan School of Music. In New York he began performing with Red Rodney. He is currently based in New York City.

Recordings
Potter has released over twenty albums as a leader and performed as a sideman on more than 150 more. Some of the artists he has played with include Pat Metheny, Marian McPartland, Patricia Barber, Kenny Werner, the Mingus Big Band, Paul Motian, Ray Brown, Jim Hall, James Moody, Dave Douglas, Joe Lovano, Mike Mainieri, Nguyen Le, Steve Swallow, Steely Dan, Dave Holland and Joanne Brackeen.

His 2006 album Underground, on which he recorded with an electric, "groove"-based ensemble featuring keyboardist Craig Taborn, guitarists Wayne Krantz or Adam Rogers and drummer Nate Smith, was followed by the expansive Follow the Red Line: Live at the Village Vanguard with Rogers on all six of its tracks. This group have reunited with Potter multiple times throughout his career, and recorded & toured extensively.

Awards and honors
Potter's 1998 album Vertigo was named one of the year's top ten jazz CDs by both Jazziz magazine and The New York Times. The album was inspired by a bout of Ménière's disease that caused severe dizziness and damaged his hearing in one ear. He was nominated for a Grammy Award for Best Jazz Instrumental Solo for his work on the Joanne Brackeen album Pink Elephant Magic. He was awarded the Jazzpar Prize in 2000. His 2004 album Lift: Live at Village Vanguard was named one of the year's ten best jazz recordings by Fred Kaplan of Slate.

Potter has appeared in the Down Beat Critic's and Reader's Polls and named Rising Star for Best Tenor Saxophonist in 2004, 2005, 2006 and 2007. He was honored as Tenor Saxophonist of the Year 2013 by the Jazz Journalists Association.

As leader

 * Presenting Chris Potter (Criss Cross Jazz, 1993)
 * Concentric Circles (Concord Jazz, 1994)
 * Pure (Concord Jazz, 1995)
 * Sundiata (Criss Cross Jazz, 1995)
 * Moving In (Concord Jazz, 1996)
 * Concord Duo Series Volume Ten (Concord Jazz, 1996) with Kenny Werner
 * Unspoken (Concord Jazz, 1997)
 * Vertigo (Concord Jazz, 1998)
 * This Will Be (Storyville, 2001)
 * Gratitude (Verve, 2001)
 * Traveling Mercies (Verve, 2002)
 * Lift: Live at the Village Vanguard (Sunnyside, 2004)
 * Underground (Sunnyside, 2006)
 * Song for Anyone (Sunnyside, 2007)
 * Follow the Red Line (Sunnyside, 2007)
 * Ultrahang (ArtistShare, 2009)
 * Transatlantic (Red Dot Music, 2011) with DR Big Band
 * The Sirens (ECM, 2013)
 * Imaginary Cities (ECM, 2015)
 * The Dreamer Is the Dream (ECM, 2017)
 * Circuits (Edition, 2019)
 * There Is a Tide (Edition, 2020)
 * Sunrise Reprise (Edition, 2021)
 * Rituals (Double Moon Records, 2022) with hr-Bigband
 * Got the Keys to the Kingdom: Live at the Village Vanguard (Edition, 2023)
 * Eagle's Point (Edition, 2024)

As sideman
With David Binney
 * South (ACT, 2001)
 * Welcome to Life (Mythology, 2004)
 * Bastion of Sanity (Criss Cross Jazz, 2005)
 * Graylen Epicenter (Mythology, 2011)

With Scott Colley
 * Portable Universe (Free Lance, 1996)
 * Subliminal... (Criss Cross Jazz, 1997)
 * This Place (SteepleChase, 1998)
 * The Magic Line (ArtistShare, 2008)

With Dave Douglas
 * Magic Triangle (Arabesque, 1998)
 * Leap of Faith (Arabesque, 1999)
 * The Infinite (RCA, 2002)
 * Strange Liberation (Bluebird, 2003)

With Fleurine
 * San Francisco (Sunnyside, 2008)
 * Brazilian Dream (Sunnyside, 2018)

With James Francies
 * Flight (Blue Note, 2018)

With Greg Gisbert
 * Harcology (Criss Cross Jazz, 1994)
 * On Second Thought (Criss Cross Jazz, 1994)

With Dave Holland
 * Prime Directive (ECM, 1999)
 * Not for Nothin' (ECM, 2001)
 * What Goes Around (ECM, 2002)
 * Extended Play: Live at Birdland (ECM, 2003)
 * Overtime (Dare2, 2005)
 * Critical Mass (Dare2, 2006)
 * The Monterey Quartet (Dave Holland, Gonzalo Rubalcaba, Eric Harland) (Live at the 2007 Monterey Jazz Festival, 2007)
 * Pathways (Dare2, 2010)
 * Aziza (Dare2, 2016)
 * Good Hope (Edition, 2019)

With Ryan Kisor
 * On the One (Columbia, 1993)
 * Power Source (Criss Cross Jazz, 1999)

With Susannah McCorkle
 * Easy to Love: The Songs of Cole Porter (Concord Jazz, 1996)
 * Let's Face the Music: The Songs of Irving Berlin (Concord Jazz, 1997)
 * Someone to Watch Over Me: The Songs of George Gershwin (Concord Jazz, 1998)

With Pat Metheny
 * Unity Band (Nonesuch, 2012)
 * KIN (←→) (Nonesuch, 2014)
 * The Unity Sessions (Nonesuch, 2016)

With Mingus Big Band
 * Mingus Big Band 93 - Nostalgia in Times Square (Dreyfus, 1993)
 * !Que Viva Mingus! (Dreyfus, 1997)

With Paul Motian
 * Reincarnation of a Love Bird (JMT, 1994)
 * Flight of the Blue Jay (Winter & Winter, 1997)
 * Trio 2000 + One (Winter & Winter, 1998)
 * Play Monk and Powell (Winter & Winter, 1999)
 * On Broadway Vol. 4 or The Paradox of Continuity (Winter & Winter, 2006)
 * Live at the Village Vanguard (Winter & Winter, 2006)
 * Live at the Village Vanguard Vol. II (Winter & Winter, 2007)
 * Live at the Village Vanguard Vol. III (Winter & Winter, 2008)
 * Lost in a Dream with Jason Moran (ECM, 2010)

With John Patitucci
 * One More Angel (Concord Jazz, 1997)
 * Now (Concord Jazz, 1998)
 * Imprint (Concord Jazz, 2000)
 * Line by Line (Concord Jazz, 2006)
 * Live in Italy (Concord Jazz, 2022)

With Adam Rogers
 * Allegory (Criss Cross Jazz, 2003)
 * Apparitions (Criss Cross Jazz, 2005)

With Renee Rosnes
 * Ancestors (Blue Note, 1996)
 * As We Are Now (Blue Note, 1997)
 * Life on Earth (Blue Note, 2001)
 * Beloved of the Sky (Smoke Sessions, 2018)

With Alex Sipiagin
 * Images (TCB, 1998)
 * Steppin' Zone (Criss Cross Jazz, 2001)
 * Equilibrium (Criss Cross Jazz, 2004)
 * Prints (Criss Cross Jazz, 2007)
 * Destinations Unknown (Criss Cross Jazz, 2011)
 * Overlooking Moments (Criss Cross Jazz, 2013)
 * Moments Captured (Criss Cross Jazz, 2017)
 * Horizons (Blue Room Music, 2024)

With Steely Dan
 * Alive in America (Giant, 1995)
 * Two Against Nature (Giant, 2000)
 * Everything Must Go (Reprise, 2003)

With Steve Swallow
 * Deconstructed (Xtra Watt, 1997)
 * Always Pack Your Uniform on Top (Xtra Watt, 2000)
 * Damaged in Transit (Xtra Watt, 2003)

With John Swana
 * The Feeling's Mutual (Criss Cross Jazz, 1993)
 * Tug of War (Criss Cross Jazz, 1999)

With Joris Teepe
 * Seven Days a Week (VIA Jazz, 1998)
 * For Adults Only (Postcards, 2000)

With others
 * Red Rodney, Then and Now (Chesky, 1992)
 * LaVerne Butler, No Looking Back (Chesky, 1993)
 * Marian McPartland, In My Life (Concord Jazz, 1993)
 * Peter Madsen, Snuggling Snakes (Minor Music, 1993)
 * James Moody, Live at the Blue Note (Telarc, 1995)
 * Randy Sandke, The Chase (Concord Jazz, 1995)
 * Billy Drummond, Dubai (Criss Cross Jazz, 1996)
 * Per Husby, If You Could See Me Now (Gemini 1996)
 * Marlena Shaw, Dangerous (Concord Jazz, 1996)
 * Ray Drummond, Vignettes (Arabesque, 1996)
 * Karrin Allyson, Scott Hamilton, Concord Jazz Festival All-Stars, Fujitsu-Concord 27th Jazz Festival (Concord, 1996)
 * Eden Atwood, A Night in the Life (Concord Jazz, 1996)
 * Billy Hart, Oceans of Time (Arabesque, 1997)
 * Ed Palermo Big Band, Plays the Music of Frank Zappa (Astor Place, 1997)
 * The Seatbelts, Cowboy Bebop: Vitaminless (Victor, 1998)
 * Jochen Rueckert, Introduction (Jazzline, 1998)
 * Jim Hall, Jazzpar Quartet + 4 (Storyville, 1998)
 * Allen Farnham, Meets the RIAS Big Band (Concord, 1998)
 * Joanne Brackeen, Pink Elephant Magic (Arkadia Jazz, 1999)
 * Sarah Jane Cion, Moon Song (Naxos, 2000)
 * Antonio Farao, Thorn (Enja, 2000)
 * John Fedchock, Hit the Bricks (Reservoir, 2000)
 * Nnenna Freelon, Soulcall (Concord Jazz, 2000)
 * Nguyen Le, Bakida (ACT, 2000)
 * Mike Gibbs, Nonsequence (Provocateur, 2001)
 * Larry Carlton, Deep Into It (Warner Bros., 2001)
 * Rene Marie, Vertigo (MAXJAZZ, 2001)
 * Joachim Kuhn, Universal Time (EmArcy, 2002)
 * Kenny Rankin, A Song for You (Verve, 2002)
 * Chuck Loeb, eBop (Shanachie, 2003)
 * Josh Roseman, Treats for the Nightwalker (Enja, 2003)
 * Lizz Wright, Salt (Verve, 2003)
 * Wayne Shorter, Alegria (Verve, 2003)
 * Mike Clark with Billy Childs and Chris Potter, Summertime (JazzKey, 2003)
 * Jim Rotondi, New Vistas (Criss Cross Jazz, 2004)
 * Enrico Pieranunzi, Paul Motian, with Chris Potter, Doorways (CAM Jazz, 2004)
 * Kenny Wheeler, What Now? (CAM Jazz, 2005)
 * Malene Mortensen, Malene (Stunt, 2006)
 * Miles Okazaki, Mirror (2006)
 * Mark Sholtez, Real Street (Verve, 2006)
 * Kenny Werner, Lawn Chair Society (Blue Note, 2007)
 * Luciana Souza, The New Bossa Nova (Verve, 2007)
 * Mark Soskin, One Hopeful Day (Kind of Blue, 2007)
 * Antonio Sánchez, Migration (CAM Jazz, 2007)
 * Patricia Barber, The Cole Porter Mix (Blue Note 2008)
 * Walter Becker, Circus Money (Mailboat, 2008)
 * Ari Hoenig, Bert's Playground (Dreyfus, 2008)
 * Joe Martin, Not by Chance (Anzic, 2009)
 * Tim Ries, Live at Smalls (SmallsLIVE, 2010)
 * Sophie Milman, In the Moonlight (eOne, 2011)
 * Adam Cruz, Milestone (Sunnyside, 2011)
 * Mike Stern, All Over the Place (Heads Up, 2012)
 * Burak Bedikyan, Circle of Life (SteepleChase, 2013)
 * Monika Borzym, My Place (Sony 2013)
 * Eldar Djangirov, Breakthrough (Motema, 2013)
 * John Escreet, Sabotage and Celebration (Whirlwind, 2013)
 * Monika Borzym, My Place (Sony 2013)
 * Dave Stryker, Messin' with Mister T (Strikezone 2015)
 * Scott Tixier, Cosmic Adventure (Sunnyside, 2016)
 * Ben Patterson Jazz Orchestra Featuring Chris Potter, Vital Frequencies (Bonecat 2016)
 * Mihaly Dresch with Chris Potter, Zea (Budapest Music Center, 2016)
 * Joey Alexander, Countdown (Motema, 2016)
 * Marek Napiorkowski, WAW-NYC (Wydawnictwo Agora, 2017)
 * Nate Smith, Kinfolk: Postcards from Everywhere (Ropeadope, 2017)
 * Randy Waldman, Super Heroes (BFM, 2018)
 * Jon Cowherd, Pride & Joy (Le Coq, 2022)

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

title: Chris Potter (jazz saxophonist)


text:
Wikipedia:Articles for deletion/Richard Grossman

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 06:09, Jun 18, 2005 (UTC)

Richard Grossman
Article doesn't seem to indicate notability. Google isn't helpful due to the number of people with this name, including multiple doctors. I suspect that User:Acudoc, the article's author, is the aforementioned Dr. Grossman. --Xcali 07:18, 12 Jun 2005 (UTC)
 * I suspect as much as well. If it was he who took this from acudoc.com and incompletely converted it from 1st person to 3rd person, it's vanity; if not, it looks like plagiarism. (And either way, it looks like quackery.) Delete -- Hoary 07:45, 2005 Jun 12 (UTC)
 * Delete. The original was POV, potentially an advert, and was rather careless in its use of the phrase 'almost literally'. I have to wonder if he kept a fan next to his toilet. Average Earthman 07:52, 12 Jun 2005 (UTC)
 * Delete Vanity plagirism? ConeyCyclone 17:41, 12 Jun 2005 (UTC)

 * Keep Jinkleberries 19:54, 12 Jun 2005 (UTC)
 * Note: Junkleberries is a new account today and voted 'keep' on 37 articles within a 7-minute period. This user also received a vandalism warning today.  Tobycat 20:58, 12 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
Crime boss

A crime boss, also known as a crime lord, mafia don, gang lord, gang boss, mob boss, kingpin, godfather, crime mentor or criminal mastermind, is the leader of a criminal organization.

Description
A crime boss has absolute or nearly absolute control over the other members of the organization and is often greatly feared or respected for their cunning, strategy, and/or ruthlessness and willingness to take lives to exert their influence and profits from the criminal endeavors in which the organization engages.

Some groups may only have as little as two ranks (a crime boss and their soldiers). Other groups have a more complex, structured organization with many ranks, and structure may vary with cultural background. Organized crime enterprises originating in Sicily differ in structure from those in mainland Italy. American groups may be structured differently from their European counterparts and Latino and African American gangs often have structures that vary from European gangs. The size of the criminal organization is also important, as regional or national gangs have much more complex hierarchies.

Sicilian Mafia
The boss in the Sicilian and Italian-American Mafia is the head of the crime family and the top decision maker. Only the boss, underboss or consigliere can initiate an associate into the family, allowing them to become a made man. The boss can promote or demote family members at will, and has the sole power to sanction murders inside and outside the family. If the boss is incarcerated or incapacitated, he usually retains the title of "boss" but may appoint an acting boss who is responsible for running the crime family in his stead or on a more daily basis. In addition to "boss" and "acting boss", some families have at times officially or unofficially utilized the positions of front boss and street boss. A "front boss" is generally put into place to act ostensibly as the boss while drawing police attention away from the actual official boss operating behind the scenes. A "street boss" is often informally appointed or regarded by the official boss or by subordinates as the "hands-on", street-level, actively engaged proxy or stand-in for the official boss, usually coordinating, controlling, and managing street operations on the behalf of an official boss who prefers to stay behind the scenes (either by choice or to avoid police scrutiny). "Street bosses" are often particularly influential or powerful caporegimes or underbosses, and the term is sometimes used interchangeably with "acting boss" or "front boss" depending on the circumstances. When a boss dies, the crime family members choose a new boss from inside the organization.

The typical structure within the Mafia in Sicily and America is usually as follows:

 * Boss of all bosses – also known as the capo dei capi or godfather (padrino), has been given by the media to the most powerful boss, although the Mafia never recognized the position itself. The highest body to decide on inter-family issues is the Commission (see also Sicilian Mafia Commission).
 * Boss – Also known as the capomandamento, capocrimine, rappresentante, don, or godfather, is the highest level in a crime family.
 * Underboss – Also known as the "capo bastone" in some criminal organizations, this individual is the second-in-command. He is responsible for ensuring that profits from criminal enterprises flow up to the boss, and generally oversees the selection of the caporegime(s) and soldier(s) to carry out murders, kidnappings, carjackings, robberies, terrorisms, and etc. The underboss may take control of the crime family after the boss' death. He keeps this position until a new boss is chosen, which in some cases may be the underboss.
 * Consigliere – Also known as an advisor or "right-hand man", this person is a counselor to the boss of a crime family. The boss, underboss, and consigliere constitute the "Administration". The consigliere is third ranked in the hierarchy but generally does not have capos or soldiers working directly for him. Like the boss, there is usually only one consigliere per criminal organization.
 * Caporegime – Also known as a captain, skipper, capo, or "crew chief", the caporegime was originally known as a "capodecina" (captain of ten) because he oversaw only 10 soldiers. In more recent times, the caporegime may oversee as many soldiers as he can efficiently control. A caporegime is appointed by the family boss to run his own borgata (regime, or crew) of soldati (soldiers). Each caporegime reports directly to the underboss, who gives him the permission to perform criminal activities. If the family decides to murder someone, the underboss normally asks a caporegime to carry out the order. The caporegime runs the day-to-day operations of his crew. The caporegime's soldiers give part of their earnings to him, and then he gives a share to the underboss. A caporegime can recommend to the underboss or boss that a recruit be allowed to join his crew as a mob associate.
 * Soldato – Also known as a sgarrista, soldier, "button man", "made man", "wiseguy" or "goodfella", this is the lowest level of mobster or gangster. A "soldier" must have taken the omertà (oath of silence),  and in some organizations must have killed a person to be considered "made".  A picciotto is a low-level soldier, usually someone who does the day-to-day work of threatening, beating, planting bombs, and intimidating others.
 * Associate – Also known as a "giovane d'onore" (man of honor), an associate is a person who is not a soldier in a crime family, but works for them and shares in the execution of and profits from the criminal enterprise. In Italian criminal organizations, "associates" are usually affiliates of the criminal organization who are not of Italian descent, or affiliates and candidates of Italian descent who have not yet been "made" or inducted into the Mafia and thus have not yet been promoted to the position of "soldato" or "soldier".

A boss will typically put up layers of insulation between himself and his men to hinder police efforts to connect his orders to him. Whenever he issues orders, he does so either to his underboss, consigliere or capos. The orders are then passed down the line to the soldiers. This makes it difficult under most circumstances for the police to directly implicate a boss in a crime, since he almost never directly gives orders to the soldiers.

Mr. Big
The term Mr. Big is used within the underworld, and additionally during media reportings of persons associated with criminal activities, to refer to a leader of a body of persons functioning in the capacities of roles within organised crime. Sometimes bosses of the so-called gangland are referred to as being Mr Big, as for example when he could not be named for legal reasons. The term implicitly indicates a degree of a possession of a higher intelligence of an individual.

The term especially indicates the existence of involvement in what is known as big-time crime, which would include for example armed robbery, and the more organised aspects of careers within crime.

A 1945 dictionary of criminal slang in the U.S. lists Big Brains as "a gang-leader", but not Mr Big.

title: Crime boss


text:
Bond market

The bond market (also debt market or credit market) is a financial market in which participants can issue new debt, known as the primary market, or buy and sell debt securities, known as the secondary market. This is usually in the form of bonds, but it may include notes, bills, and so on for public and private expenditures. The bond market has largely been dominated by the United States, which accounts for about 39% of the market. As of 2021, the size of the bond market (total debt outstanding) is estimated to be at $119 trillion worldwide and $46 trillion for the US market, according to the Securities Industry and Financial Markets Association (SIFMA).

Bonds and bank loans form what is known as the credit market. The global credit market in aggregate is about three times the size of the global equity market. Bank loans are not securities under the Securities and Exchange Act, but bonds typically are and are therefore more highly regulated. Bonds are typically not secured by collateral (although they can be), and are sold in relatively small denominations of around $1,000 to $10,000. Unlike bank loans, bonds may be held by retail investors. Bonds are more frequently traded than loans, although not as often as equity.

Nearly all of the average daily trading in the U.S. bond market takes place between broker-dealers and large institutions in a decentralized over-the-counter (OTC) market. However, a small number of bonds, primarily corporate ones, are listed on exchanges. Bond trading prices and volumes are reported on Financial Industry Regulatory Authority's (FINRA) Trade Reporting And Compliance Engine, or TRACE.

An important part of the bond market is the government bond market, because of its size and liquidity. Government bonds are often used to compare other bonds to measure credit risk. Because of the inverse relationship between bond valuation and interest rates (or yields), the bond market is often used to indicate changes in interest rates or the shape of the yield curve, the measure of "cost of funding". The yield on government bonds in low risk countries such as the United States and Germany is thought to indicate a risk-free rate of default. Other bonds denominated in the same currencies (U.S. Dollars or Euros) will typically have higher yields, in large part because other borrowers are more likely than the U.S. or German Central Governments to default, and the losses to investors in the case of default are expected to be higher. The primary way to default is to not pay in full or not pay on time.

Types
The Securities Industry and Financial Markets Association (SIFMA) classifies the broader bond market into five specific bond markets.

 * Corporate
 * Government and agency
 * Municipal
 * Mortgage-backed, asset-backed, and collateralized debt obligations
 * Funding

Participants
Bond market participants are similar to participants in most financial markets and are essentially either buyers (debt issuer) of funds or sellers (institution) of funds and often both.

Participants include:
 * Institutional investors
 * Governments
 * Traders
 * Individuals

Because of the specificity of individual bond issues, and the lack of liquidity in many smaller issues, the majority of outstanding bonds are held by institutions like pension funds, banks and mutual funds. In the United States, approximately 10% of the market is held by private individuals.

Size
Amounts outstanding on the global bond market increased by 2% in the twelve months to March 2012 to nearly $100 trillion. Domestic bonds accounted for 70% of the total and international bonds for the remainder. The United States was the largest market with 33% of the total followed by Japan (14%). As a proportion of global GDP, the bond market increased to over 140% in 2011 from 119% in 2008 and 80% a decade earlier. The considerable growth means that in March 2012 it was much larger than the global equity market which had a market capitalisation of around $53 trillion. Growth of the market since the start of the economic slowdown was largely a result of an increase in issuance by governments. In terms of number of bonds, there are over 500,000 unique corporate bonds in the US.

The outstanding value of international bonds increased by 2% in 2011 to $30 trillion. The $1.2 trillion issued during the year was down by around a fifth on the previous year's total. The first half of 2012 was off to a strong start with issuance of over $800 billion. The United States was the leading center in terms of value outstanding with 24% of the total followed by the UK 13%.

U.S. bond market size
According to the Securities Industry and Financial Markets Association (SIFMA), as of Q1 2017, the U.S. bond market size is (in billions):

The total federal government debts recognized by SIFMA are significantly less than the total bills, notes and bonds issued by the U.S. Treasury Department, of some $19.8 trillion at the time. This figure is likely to have excluded the inter-governmental debts such as those held by the Federal Reserve and the Social Security Trust Fund.

US bond market cap compared to stock market cap.webp)

{{legend|#B9B9B9|Corporate bonds|outline=#929292}} {{legend|#FEE786|Municipal bonds|outline=#FFD932}} {{legend|#5B7694|US Treasuries|outline=#0A3161}}

]]

Volatility
For market participants who own a bond, collect the coupon and hold it to maturity, market volatility is irrelevant; principal and interest are received according to a pre-determined schedule.

But participants who buy and sell bonds before maturity are exposed to many risks, most importantly changes in interest rates. When interest rates increase, the value of existing bonds falls, since new issues pay a higher yield. Likewise, when interest rates decrease, the value of existing bonds rises, since new issues pay a lower yield. This is the fundamental concept of bond market volatility—changes in bond prices are inverse to changes in interest rates. Fluctuating interest rates are part of a country's monetary policy and bond market volatility is a response to expected monetary policy and economic changes.

Economists' views of economic indicators versus actual released data contribute to market volatility. A tight consensus is generally reflected in bond prices and there is little price movement in the market after the release of "in-line" data. If the economic release differs from the consensus view, the market usually undergoes rapid price movement as participants interpret the data. Uncertainty (as measured by a wide consensus) generally brings more volatility before and after a release. Economic releases vary in importance and impact depending on where the economy is in the business cycle.

Bond investments
Bonds typically trade in $1,000 increments and are priced as a percentage of par value (100%). Many bonds have minimums imposed by the bond or the dealer. Typical sizes offered are increments of $10,000. For broker/dealers, however, anything smaller than a $100,000 trade is viewed as an "odd lot".

Bonds typically pay interest at set intervals. Bonds with fixed coupons divide the stated coupon into parts defined by their payment schedule, for example, semi-annual pay. Bonds with floating rate coupons have set calculation schedules where the floating rate is calculated shortly before the next payment. Zero-coupon bonds do not pay interest. They are issued at a deep discount to account for the implied interest.

Because most bonds have predictable income, they are typically purchased as part of a more conservative investment scheme. Nevertheless, investors have the ability to actively trade bonds, especially corporate bonds and municipal bonds with the market and can make or lose money depending on economic, interest rate, and issuer factors.

Bond interest is taxed as ordinary income, in contrast to dividend income, which receives favorable taxation rates. However many government and municipal bonds are exempt from one or more types of taxation.

Investment companies allow individual investors the ability to participate in the bond markets through bond funds, closed-end funds and unit-investment trusts. In 2006 total bond fund net inflows increased 97% from $30.8 billion in 2005 to $60.8 billion in 2006. Exchange-traded funds (ETFs) are another alternative to trading or investing directly in a bond issue. These securities allow individual investors the ability to overcome large initial and incremental trading sizes.

Bond indices
A number of bond indices exist for the purposes of managing portfolios and measuring performance, similar to the S&P 500 or Russell Indexes for stocks. The most common American benchmarks are the Barclays Capital Aggregate Bond Index, Citigroup BIG and Merrill Lynch Domestic Master. Most indices are parts of families of broader indices that can be used to measure global bond portfolios, or may be further subdivided by maturity or sector for managing specialized portfolios.

History
In ancient Sumer, temples functioned both as places of worship and as banks, under the oversight of the priests and the ruler. Loans were made at a customary fixed 20% interest rate; this custom was continued in Babylon, Mesopotamia and written into the Code of Hammurabi.

The first known bond in history dates from circa 2400BC in Nippur, Mesopotamia (modern-day Iraq). It guaranteed the payment of grain by the principal. The surety bond guaranteed reimbursement if the principal failed to make payment. Corn was the currency of that time period.

In these ancient times, loans were initially made in cattle or grain from which interest could be paid from growing the herd or crop and returning a portion to the lender. Silver became popular as it was less perishable and allowed large values to be transported more easily, but unlike cattle or grain could not naturally produce interest. Taxation derived from human labor evolved as a solution to this problem.

By the Plantagenet era, the English Crown had long-standing links with Italian financiers and merchants such as Ricciardi of Lucca in Tuscany. These trade links were based on loans, similar to modern-day Bank loans;  other loans were linked to the need to finance the Crusades and the city-states of Italy found themselves - uniquely - at the intersection of international trade,   finance and religion. The loans of the time were however not yet securitized in the form of bonds. That innovation came from further north: Venice.

In 12th Century Venice, the city-state's government began issuing war-bonds known as prestiti, perpetuities paying a fixed rate of 5% These were initially regarded with suspicion but the ability to buy and sell them became regarded as valuable. Securities of this late Medieval period were priced with techniques very similar to those used in modern-day Quantitative finance. The bond market had begun.

Following the Hundred Years' War, monarchs of England and France defaulted on very large debts to Venetian bankers causing a collapse of the system of Lombard banking in 1345. This economic set-back hit every part of economic life - including clothing, food and hygiene - and during the ensuing Black Death the European economy and bond market were depleted even further. Venice banned its bankers from trading government debt but the idea of debt as a tradable instrument and thus the bond market endured.

With their origins in antiquity, bonds are much older than the equity market which appeared with the first ever joint-stock corporation the Dutch East India Company in 1602 (although some scholars argue that something similar to the joint-stock corporation existed in Ancient Rome ).

The first-ever Sovereign bond was issued in 1693 by the newly formed Bank of England. This bond was used to fund conflict with France. Other European governments followed suit.

The U.S.A. first issued sovereign Treasury bonds to finance the American Revolutionary War. Sovereign debt ("Liberty Bonds") was again used to finance its World War I efforts and issued in 1917 shortly after the U.S. declared war on Germany.

Each maturity of bond (one-year, two-year, five-year and so on) was thought of as a separate market until the mid-1970s when traders at Salomon Brothers began drawing a curve through their yields. This innovation - the yield curve - transformed the way bonds were both priced and traded and paved the way for quantitative finance to flourish.

Starting in the late 1970s, non-investment grade public companies were allowed to issue corporate debt.

The next innovation was the advent of Derivatives in the 1980s and onwards, which saw the creation of Collateralized debt obligations, Residential mortgage-backed securities and the advent of the Structured products industry.

title: Bond market


text:
Talk:CoolWebSearch

Untitled
With refrerence to CoolWebSearch System Restore will not always work... It does not restore the miscellaneous non-executable files, and CWS.Hiddendll may have some hidden files with seemingly non-executable file extensions (which restore the whole hijack again).

Well, that's exactly why the article said " may work in some cases". And, in fact, it does work for some variants that can be detected with Ad-Aware, but not removed. For example, there's a variant which kidnaps search queries from some search engines, like Google or AltaVista, and which shows "iFriends" pop-ups. That variant can be removed with System Restore. Unfortunately, I don't know what the name of the variant is. That's why the different variants should be described in the article.

There's an example on Google Groups:. 2004-12-29T22:45Z 18:15, 12 Jun 2005 (UTC)

OK!

When someone's got some time, have a look at this Slashdot discussion. The article needs updating
 * http://it.slashdot.org/it/05/08/06/170224.shtml?tid=172&tid=158

Notes from a traveling computer technician: System Restore rarely works, in fact most of the cases I've seen you cannot remove CWS until the System Restore is deleted (via System Properties). The CWS hides in the System Restore and then re-infects the system on reboot after you delete it from the systems32 directory (or wherever on the system). System Restore is not a good option for virus removal, or for anything for that matter (maybe hardware problems?). I usually remove CWS by first turning off system restore, and then deleting temp files with CCleaner (within each user) After that, I use AVG (www.grisoft.com or free.grisoft.com), Ad-aware, hijackthis, msconfig, sometimes CWShredder, and sometimes About Buster. I'll usually have to remove some programs in Ad/remove programs as well. It's hard these days to tell what's CWS and what's other spyware/adware/viruses because CWS pulls in so much other junk. One other thing to note is that Norton does not work for this! Mcafee usually will and I think Avast does too, but Norton completely drops the ball on this one.

Untitled
Completely not able to verify this but I was a high level user at Spywareinfo and talked to the creators on IRC in 2003. They are Russian, as are the developers of most of the variants at that time.

mywebsearch
I've picked up some malware which directs me to a site called "mywebsearch" or "My Web Search" when I type a bad web address into IE. The name is ominously similar to that of coolwebsearch. Is it worthy of adding a new section?

The homepage is here but I wouldn't touch it with a ten fot long bargepole.

Reply:

I don't know. I mean the virus/malware works the same way and does the same sort of things. Maybe these should all be under the catagory of browser hijackers? Anyway did you get rid of it? If not, read above for some guidance.

Another reply:

Get rid of it. It's related to CWS.

MyWebSearch Is Not Part Of CWS
Please do not accuse Mywebsearch of being "related" to CWS. MyWebSearch is owned by IAC which is part of Ask.com and Excite. The toolbar however is questionable and it is common for the the 404 pages to be handled with mywebsearch.com when you installed the toolbar. http://siteadvisor.com/sites/mywebsearch.com. However this has nothing to do with CWS and can anyway this can easirly be removed by the Add/Remove process.

FACT: It has no relation to CWS browser hijacks or malware, and it not nearly as malicious.

Thank you. CJP

Reasons for putting cleanup and inappropriate tone tags back
--RainR 09:20, 4 April 2006 (UTC)
 * "You" and "Your" is inappropriate tone for encyclopedia.
 * None of the sources actually say that CWS is a keylogging program.
 * Wikipedia articles should not include instruction - advice (legal, medical, or otherwise), suggestions, or contain "how-to"s.
 * Very few references.

 * That reference there isn't an appropriate reference for CWS being a keylogging program. It's just misquoting what SunbeltSoftware said. http://sunbeltblog.blogspot.com/2005/08/coolwebsearch-issues-statement.html --RainR 09:49, 4 April 2006 (UTC)

Cleaning Up
This article is strongly POV so I've tried to remove some of the biased claims about CWS. I've also removed the information about Look2Me, as L2M is considered a variant of VX2, not CWS, by all major anti-virus and anti-spyware vendors. I'm also removing the text about CWS being a keylogger. It does not log the user's keystrokes, and as such can not be considered a keylogger. The only source to support that seems to be a misquoted Sunbelt article.

IP to CWS says that it's currently in LA
66.250.74.150 That IP adress belongs to CWS, here is some more info.

 * IP address country: United States
 * IP address state: California - Los Angles
 * IP address city: Los Angeles - Chicago

ISP: Cogent Communications

Any of the above is not confirmed, just the IP adress is, it's very hard for some reason to know the region & the state of the IP.

title: Talk:CoolWebSearch


text:
Talk:Crimson King

Why does the google search automatically show us Stephen King's "Crimson King" I'm looking for the Proper elder god descriptions (set aside from Stephen King, and set aside from the Crimson King Rockband.)

The true Crimson King that rules all Elder gods. (In an even higher tier than Shubb Nibberath)

Where is that link? Where did that description go? Did someone simply overwrite it online to change it?

Find that.

Hastur Rip-off?
Am I the only one who thinks this character is a rip-off of Hastur? The similarities are huge and King is a Lovecraft fan. Could those similarities be important enough to add to this article? --85.231.30.235 (talk) 21:13, 19 September 2011 (UTC)
 * Flagg operates nothing like Hastur. He's got more in common with Nyarlathotep, something I believe King himself has acknowledged more than once.  — Preceding unsigned comment added by 68.60.35.112 (talk) 21:26, 20 October 2014 (UTC)

KingFisher?
Isn't kingfisher a bird? I haven't read the books, but maybe kingfishers are defined as catfish in the books? If so, maybe it should be clarified. Andrerav (talk) 17:04, 21 April 2010 (UTC)

I think you'll find that the word used is "kingfish" rather than "kingfisher"...in Insomnia Ralph Roberts realizes, while facing the Crimson King that in fact "he" is a "queenfish"...67.142.168.142 (talk) 06:33, 19 July 2011 (UTC)
 * Note that the titular monster from It refers to itself by the moniker of "kingfish" and is, in fact, female, or an approximation thereof. — Preceding unsigned comment added by 68.60.33.73 (talk) 04:51, 23 May 2012 (UTC)

MOTHER
No. The mother of the Crimson King is the Crimson Queen. One of the old ones of Prim. Im thinking that at the time of the novels all the old ones of Prim are gone. The Crimson King is the last surviver. If she was still around then there would be two survivers, right? Siull, its interesting that Ittook spider form. Maybe S King just doesn't like arachnids? —Preceding unsigned comment added by 75.72.228.218 (talk) 13:19, 8 January 2009 (UTC)

I don't know if anyone has read the gunslinger born comics, but at the end of #2 it states that the mother of the Crimson King was an old one described as a great spider. Does anyone think this may be IT? IT was a female giant spider with great power, so was the Crimson King's Mother. Just a thought...
 * Since when was It female? It was just that: an it. That said, it seems very possible that this was an intentional reference to It (although I haven't read the Gunslinger Born). Still, it's too speculative to be mentioned in the article.72.202.143.28 21:21, 5 October 2007 (UTC)
 * It was female. This was pointed out in the novel near the end. But I don't think that the Crimson Queen = Pennywise because there are far too many discrepancies to ignore.--CyberGhostface 23:31, 5 October 2007 (UTC)
 * This has been discussed by for, but the general concensus seems to be no - It is described as an enemy of Maturin, the Turtle, an agent of the White, whereas the Crimson King is usually called "the Red" and is the primary antagonist to the White, an enemy of the tower itself - a more common theory is that It may be an aspect of the King or otherwise related, but either way the Crimson King (see my bit below about the two kings) -- that is, the Red, not the corrupted prior ruler of Thunderclap, is "the" baddie in S. King's multiverse. Zelse81 (talk) 02:10, 4 January 2008 (UTC)

Granted I haven't read a lot of the Dark Tower material, but based on what I do know about the Crimson King, I'm not sure it's far-fetched to equate him with the monster in It. In both It and Insomnia, characters coming face-to-face with the monster discover that the monster is in fact female and in the process of laying eggs. In It, as Mike Hanlon tries to call 911 from the Derry Library, the voice of Pennywise breaks into the phone call, calling himself the Kingfish. In Insomnia, Ralph Roberts identifies the Crimson king as a "kingfish." After his encounter with the Crimson King, Roberts has a thought pertaining to the shape behind the Crimson King. He calls that shape the deadlights, which is the word given in It for the Its true form.Seems pretty slam-dunk to me; maybe the article should reflect more of this connection instead of just mentioning it in passing? 67.142.168.142 (talk) 06:41, 19 July 2011 (UTC)

Recent info on the CK
should new information brought to light in the most recent edition of the Gunslinger Born comic (issue 2). the issue talks about his relation to Arthur eld. i havn't actually read it yet, so i don't have all of the info, but if someone who has read it could add it.Blu elph44 20:17, 10 March 2007 (UTC)

Top 'o' the Tower
I don't believe that the CK wastrapped on a balcony at the top of the tower, i believe that it was a lower balcony Blu elph44 23:52, 5 March 2007 (UTC)
 * I only read it once, but I think you are right. — RevRagnarok  Talk Contrib 23:55, 5 March 2007 (UTC)
 * I just re-read it; it was "two levels from the base". --Mus Musculus 03:33, 7 March 2007 (UTC)

Some observations
At some point I may "be bold" and fix up this article, but there's a few things that should be changed sooner than later, IMHO: 1. There are two Keystone Worlds -- Keystone Tower (the only world in which the Dark Tower is actually accessible as a Tower), and Keystone Rose, where the Tower is represented as the Rose, with the significance of the latter being that any change in Keystone Rose is permanent, with time-travel et al being impossible -- hence why the Sombra Corporation wished to acquire The Lot in Manhattan: destroying the Rose in Keystone Rose would instantly destroy all other manifestations of the Tower & the Tower itself, thus destroying the multiverse.

2. Concerning the two Jakes: The two Jakes dealt with in the Dark Tower were created due to a combination of the contrivances of Flagg. This is due to the Dark Tower itself being a multiverse, as established in King's works. Jake & company do have twinners, but that isn't the only thing at work. Anyway, as it's explained in the book:

 * A. Flagg entered a reality and apparently possessed or otherwise inspired Mort to push Jake infront of the car which killed him.
 * As you may recall, the Gunslinger first thought it was Randall himself (or Walter, as he knew him) pushing Jake into the path of the :car, but later realized it was Mort but was sure that Flagg was nearby.

 * B. Flagg then transported Jake to the Waystation to be found by Roland.

 * C. Roland finds Jake, looming doom, etc, and eventually lets Jake die. Jake's death was the necessary sacrifice to
 * open the Unfound Door for Roland to find the Prisoner, the Lady of the Shadows, and Death.

 * D. While inhabiting Mort's body, Roland creates a temporal paradox by stopping Jake from dying. This fractures the timeline and
 * causes Roland & Jake to begin going insane, because they both have memories about both timelines at once. It's hinted that this
 * was exactly what Flagg wanted.

3. Concerning the Crimson King himself: It's my understanding, based on the sixth & seventh books, that the Crimson King exists as several forces. This is actually explained by Rando Thoughtful (I believe) when he meets Roland. To whit: There's an incorporeal King who exists in the room at the top of the Tower, in the rooms "above" mankind's reach. This is the same King that is the archetype of evil in the Dark Tower. His power seems to fluctuate, but is definitely there, as he manages to teleport people around in the Straub books. He is trapped, but still potent. One argument about King's work states that all of King's baddies derive from this archetype, hence the similarities, like obsession with heirs, spider-forms, and other such happenings. The second King is the one called Los the Red, who is trapped on the balcony of the Tower. This is the guy who ruled Thunderclap, blighted it, poisoned everyone in his court, blew by Dandelo's place, and attempted to take the Tower. He was human at one point (of the Line of Eld, just like Roland, hence how he was able to enter the Tower), but was corrupted by the King. The trouble with this (especially when you add in the hints, the multiplicity of the worlds in the Dark Tower, and the difficulty in figuring out which King is which) is that it is very difficult to figure out who did what when. For example, we know that the human Crimson King was the one who gathered and smashed several of Merlins' Glass, poisoned the court, swallowed a silver spoon, and then tried to take the Tower before Roland, but it's not clear whether the human was ever insanely powerful or not. The most common explanation I've read about was that the destruction of the Forge of the King created a "ripple effect" through the Tower and drove several incarnations of the Crimson King mad and de-powered many of them.

So, what we know from the books themselves: 1. The Crimson King was more powerful at one point than he is now (compare Straub to the King of the Dark Tower) 2. There are at least two Crimson Kings. The one trapped in the Tower itself, and the one trapped on the Balcony of the Dark Tower. 3. The King on the Balcony ruled Thunderclap and is descended or somehow related to Arthur Eld. (Some people think he may be Arthur Eld, what with the tapestry in the Dixie Pig) 4. Randall Flagg is older than one of the Crimson King's incarnations (he states that him serving the King is a new deal, and that he's been around longer) 5. Both of the Crimson King's avatars are at least moderately powerful. The one in the Tower had the ability to teleport. The one at Thunderclap/on the Balcony swallowed a silver spoon and died, then came back to life, thus being impossible to kill for Roland. Also, Rando mentions that the Crimson King at Thunderclap could easily have killed everyone in the castle with a thought, but instead made them take the "slow poison." Also, Thoughtful is trapped behind the Deadline, which the King drew. 6. While Flagg/Marten/Walter may be the same character, they're distinct from Maerlyn and the Crimson King.

This is even worse when you try to figure out Flagg's place in things -- is he, Linoge, & Leland Gaunt demons that form a part of Legion (a distinct set of beings from the Crimson King, as we know Flagg was human at one point): twinners with similar objectives? Are they derived from a Flagg archetype? Are they derived from the evil archetype of the King Crimson? Unfortunately, with Stephen's many hints and the vast amount of literature covered, we can never be sure, but we do have some things to go on in the text. If I don't end up doing it, anyone who wants to re-write this thing should probably consult, at the very least, the Straube books and the Dark Tower, especially the latter two books. Zelse81 09:18, 13 November 2006 (UTC)
 * You may want to take a minute and look at the template so you can format this into a checklist and spread it among the proper DT-related articles. —  RevRagnarok  Talk Contrib 12:14, 13 November 2006 (UTC)

I've been wondering about an Andre Linoge connection myself...67.142.168.142 (talk) 06:47, 19 July 2011 (UTC)

King Crimson
Hey...I've read most of Stephen King's work but am not certain on all the publishing dates so bear with me...is the King referenced in any books/stories before the band formed in the 70s? If not, how could they have used it as thier name? —Preceding unsigned comment added by 24.78.4.225 (talk • contribs)
 * The Crimson King first appeared in Insomnia which was in the late 90s.--CyberGhostface 12:19, 11 July 2006 (UTC)

 * It must be the other way round - King took the name from the group/album. They used it as a name for the devil, didn't they ? -- Beardo (talk) 04:17, 23 August 2008 (UTC)

 * Stephen King borrowed the name from King Crimson's first album, 1969's In the Court of the Crimson King. —Preceding unsigned comment added by 204.152.2.82 (talk) 18:40, 17 November 2008 (UTC)

Other topics
How can you remove an untrue paragraph when it is not only not a paragaph, but it's a statement of ideas put forth by people instead of a statement of opinion in and of itself? Calling that statement untrue amounts to saying that people don't think that, which is ridiculous.

 * But their ideas are patently untrue - in The Dark Tower, it's shown definitively that Flagg, the Crimson King and Mordred Deschain are all individual characters, not 'facets of the same personality' or somesuch. Proto 09:57, 16 Jun 2005 (UTC)

 * Actually, he has a good point - the fact that the characters are seperate entitites do not mean that there are not multiple iterations of them in the Dark Tower. The precedence for this would be in the case of the multiple Jakes, and how the "real" Jake more or less went insane when he had to come to grips with deviating from his old fate. The idea suggests that Flagg, the Crimson King, and Mordred are all iterations of the Dark Man, Crimson King, whatever you want to call it, on different levels of the tower. Since there are linking thematic elements between them (Flagg and the King being obsessed with having an heir, the King and IT being represented as pregant females, Mordred and IT's "true" forms being twisted spiders, etc.), the idea is more than valid - and should be reserved because it is interesting if for no other reason. Further, taking off an idea because you disagree with it, especially when it's presented as a theory, is not sensible. Wyborn 05:56, 18 Jun 2005 (UTC)
 * Wikipedia is not a forum - it's not a location for theories, research, and somesuch. However, if more than one person feels strongly enough about it, I don't have a problem with it being there, and won't remove it.  That being said, I still don't think it's right.  The multiple (two) Jakes stemmed from (as I remember) some weird fork in timelines thing (he should have died by being pushed into the street, then he didn't die cause Roland saved him, and he kept thinking he should be dead when he wasn't etc) ... not a similar enough situation to be used as a precedent.  Proto 08:45, 20 Jun 2005 (UTC)

 * I added the link Wyborn sent me to the DarkTower.net wiki where there are theories about the Crimson King. I think it's a good enough reference to include the theories in our article. On a side note, I just realized that this article should be at Crimson King not The Crimson King. I'm going to move the article when I have time to fix all the redirects/links. Lachatdelarue (talk) 14:31, 20

Jun 2005 (UTC)

I moved the page. In doing so, I realized that I was the one that moved it to include "The" in the first place. Guess it's only appropos that I fixed my own mistake. Lachatdelarue (talk) 14:51, 20 Jun 2005 (UTC)

 * And, in fairness, there were at least three Jakes, and three Eddies, two Oys, etc. DTVII set the precedent for applying the "Twinner" theory to those characters even if nothing else did. Wyborn 23:04, Jun 22, 2005 (UTC)

King Crimson
Is the wording really close enough to include a link at the top of the article? Should we do this in all two-word articles where there is another article that reverses them? This linking policy seems a little overexuberant right now. Alfoor 05:42, 13 November 2005 (UTC)

 * Though there could be confusion with the album In the Court of the Crimson King or the song Court of the Crimson King. -- Beardo (talk) 04:24, 23 August 2008 (UTC)

Los
Should it be mentioned in the article that Feemolo, et al refer to the Crimson King as Los. From reading the book, it sounds as if that is his name.

OR
I don't know that much about all of this, but it was my understanding that the King was not insane. He wanted to destroy the laws of nature because he was the child of an Old One, who were greatly reduced in power by the forming of the tower and the physical laws it upheld. Isn't that right? He wasn't nihilistic just for the sake of it. Now this is something I REALLY don't understand; Too much order is just as bad as too much chaos. Just why is one preferable to the other? Do we want an overly predictable world? We want both, I assume. Does anyone else scratch their head over this idea that random is bad? —Preceding unsigned comment added by 75.72.228.218 (talk) 13:39, 8 January 2009 (UTC)
 * I don't think he was insane in his earlier appearances, but he was definitely crazier than a shithouse rat in the final Dark Tower book.--CyberGhostface (talk) 14:46, 8 January 2009 (UTC)

Let's do this...

Contradictions (this entire section is OR, this page is ostensibly presenting the facts of his character, not speculating on his nature or extrapolating things from the book)

(weasel words) ---> Some see contradictory features of the Crimson King are mentioned in various books....The character was received as a particular letdown by some fans (speculative) due to the fact that the majority of his final conversation with Roland consists of high-pitched, guttural shouts of "EEEEEEEEE!" They felt it difficult to resolve the incongruity between the Gunslingers' greatest foe being reduced to such a pathetic state.

Fall from power

(weasel) Others see things differently. While the Crimson King projected the image of omnipotence in some stories and was certainly powerful, his omnipotence was in some sense the product of distance and fear. (speculative) Like Randall Flagg, his weapons were fear, intimidation, illusion and ultimately the power to convince others to do his will. The King was in particular never shown to ever be all that sane. (opinion) The goal of all his plots after all was the nihilistic desire to bring down the tower and destroy the multiverse. As the gunslinger drew nearer to the Crimson King, the truth of his kingdom was revealed. He was an old man surrounded by weak-willed followers using the last pieces of failing technology from the past to work his will through others. Broken in spirit by the failure of his plot to bring down the tower, he attempted to take it for himself only to fail and end up trapped. With regard to the Gunslinger, the ending of the story cycle revealed that his greatest enemy was himself rather than the Crimson King.(speculative) Ultimately, if Roland had faith in himself, his enemies would destroy themselves and the true path to the top of the tower would be open, which explains, in part, the resumption at the end of the tale. (unencyclopedic analysis)

(all theoretical speculation) There has been some speculation among those who see a radical change in the character; one theory suggests that after the events of Black House he lost most of his power. Another theory suggests that he is, in fact, the archetype which many of King's other villains, such as It, Flagg, and Mordred Deschain are iterations of in different worlds connected to the Dark Tower. This would mean that several events, such as the endings of Black House, It, and The Stand, served to weaken the Crimson King by disrupting several of his different incarnations simultaneously.

(unsourced speculation) A "unified" fanon theory suggests that the Crimson King is a representative (or possibly an avatar) of It on certain levels of the Tower. Therefore, when It was defeated, the King lost most of his power, forcing him to act through others (i.e. Atropos, Lord Malshun, and Flagg). This theory gathers most of its evidence from the King's nature as a "were-spider," as well as his mastery of illusions and description of himself as "the Kingfish" (which It called Itself on occasion.)

(speculation) Another possibility is that the Crimson King's weakness in the Dark Tower may represent Stephen King's judgement on the nature of evil. Rather than being a seductive or mysterious force, such as it appears from a distance in King's other works, evil is finally revealed as being ultimately pathetic and will eventually destroy itself without its opponents having to compromise themselves. That what is ultimately necessary to destroy evil is confront it and make a stand against it at which point it will collapse in on itself. This idea is similar in theme to those in The Stand.

(speculative) There is another theory concerning the Crimson King that he is consisted of two separate entities. The first of these is trapped at the top of the Dark Tower in a physical form in which he cannot escape. His second entity is the omnipotent/spiritual form from Insomnia and Black House. This form cannot affect the worlds in a physical way, but works through psychological influences to influence beings toward his will. Atropos and Lord Malshun are two examples of the King's work. The many events that weaken the King affect both his physical and spiritual manifestations.

Death

The Crimson King was partially erased from existence by Patrick Danville, a character from Insomnia who was foretold to defeat the King, leaving only his floating red eyes behind, forever trapped on the balcony to gaze over the Scarlet Field. (next part is non-reference criticism) Though having the ultimate villain defeated by a character which had only just appeared may seem anticlimactic (even though said character was an important character from a previous novel), The Artist did require Roland's blood (mixed with crushed petals of a Rose) to make the paint he used to draw the Crimson King. This procedure resulted in the loss of another of the Gunslinger's right hand fingers, completely preventing him from using this hand effectively from then on. To defeat the Crimson King, Roland, in effect, symbolically abandoned the use of his "guns" as a solution, demonstrating that he didn't need his weapons in the first place to reach the tower. (thematic speculation)

Alternative theories on the character (title alone IDs this entire section as speculative)

Villainous Links (overt similarities to other King villians could be presented but not expounded on philosophically)

Twinners (could have its own article)

(all rules concerning Twinners hypothetical and not needed in CK article)

This is all interesting stuff, but it belongs in a book report, a research paper or on a King forum, not in a Wikipedia article that could be less than 25 lines long. This article needs a major overhaul. ka1iban 20:41, 18 July 2006 (UTC)

 * Well, I added the "EEEE" part, and it's particularly notable because Stephen King fans have historically received his books very well. Remember that The Dark Tower story was revived in part because the initial run was so small that fans kept writing for him to republish it (several times, I beleive). I guess I could post a few links to message boards regarding complaining of this part in particular, but then it'll probably degrade into an edit war. Liu Bei 02:19, 7 October 2006 (UTC)

Kill most of the article. Replace it with a stub, and rebuild. No speculation. 24.224.233.94 00:31, 20 March 2007 (UTC)

Cleanup
I'm cleaning up The Dark Tower Characters and am thinning the Crimson King section considerably, since there is a main article on him. For legacy, or pasting into this article, here is the original text:

The ultimate in evil, this mysterious figure wishes to conquer the Dark Tower and raze it to the ground. Since this will destroy the entire universe, he is naturally cast as the villain in The Dark Tower books. He is also present in another Stephen King book, Insomnia, and the second King-Peter Straub collaboration, Black House. He is also known as Ram Aballah, and once ruled from his castle in Thunderclap, but now is imprisoned on a balcony on the Dark Tower, which he had run to in a fit of madness that had taken him over. He believes that when the Tower falls, he will rule the Todash darkness that was once the multiverse. He is the one whom Walter/Flagg serves, whom the low men and taheen serve, and has opposed Roland of Gilead from the beginning. Like Roland, he is descended from Arthur Eld, but there is speculation among Tower fans whether or not he and Arthur Eld are the same individual. This is noted in the sixth book; when Susannah enters the Dixie Pig, she is confronted by a room full of low men and Taheen, who are eating roasted babies. As she looks around the room, she is also confronted with a tapestry depicting Arthur Eld eating the leg of a baby at the Round Table.

However, in the seventh book Roland notes that the tapestry is a 'blasphemous parody of Eld's Last Fellowship.' Presumably, the tapestry in question is a play on The Last Supper. If so, the depiction in the Dixie Pig is likely a perversion, and not a clue to the identity of the Crimson King.

The Crimson King is known by a number of names, including Los' the Red, Ram Aballah, The Aballah, The Red King, The Lord of Spiders, and The Lord of Discordia.

— RevRagnarok  Talk Contrib 00:07, 23 July 2006 (UTC)

Confusing Introduction
'The Crimson King also put in an appearance in Robert McCammon's "Swan Song". The coining of the title should matter less to wikipeople than getting their facts right. People love to put forth "The Stand" as the earliest influential work in post apocalyptic fiction in the Dark tower mythos, but "Swan Song" deserves due consideration too... It's main character is a Roland, the main antagonist is merely a servant for another more powerful apocalyptic being, 'the crimson king', and the style of character development between the two writers is very reminiscent of the Richard Bachman/Stephen King garbage that occurred during the late 1980's. Read Swan Song and try to convince me it isn't a Stephen King work, I dare you. —Preceding unsigned comment added by 97.87.13.82 (talk) 07:16, 16 December 2009 (UTC)

 * The Crimson King is an immortal being with incarnations on most (if not all) levels of the Dark Tower, the lynchpin that holds King's multiverse together...

 * Am I the only person who was struck by the odd construction of the sentence above?

 * It almost seems as if the author was implying that the Crimson King's existence was necessary in order to perpetuate all of the worlds of the multiverse, in lieu of the beams-which are necessary for the perpetuation of humanity-when the exact opposite is the case.

 * The Crimson King's primary, if not exclusive, purpose in The Dark Tower saga is to destroy the beams, thereby catalyzing the end of humanity and life as the characters in this series have known it.

 * He only proceeded to use another tack, i.e. lure Roland to the dark tower, after his initial plan was foiled by Roland's ka-tet in Devar-Toi.

Ruthfulbarbarity 03:03, 30 July 2006 (UTC)

 * I think it was probably just a confusing phrasing. Probably, the author meant to refer to the Dark Tower as the lynchpin, not the Crimson King.  A rewording to make it clearer is probably in order. --Chesaguy 19:27, 30 July 2006 (UTC)

 * You're probably correct.

 * It could use some clarification.

Ruthfulbarbarity 23:24, 1 August 2006 (UTC)

Bloody Hell, Stephen King overcomplicates things. --Jupiter Optimus Maximus (talk) 17:20, 22 March 2008 (UTC)

The Dark Tower VII
Hi, I edited some of the Dark Tower entry as it seemed to jump from the Crimson King racing to the Tower to The Artist erasing him, without any explaination about who the artist was. Its not perfect by any means so feel free to edit what I've written. :) Darrek Attilla (talk) 12:04, 3 April 2008 (UTC)

Duma Key
This section is the definition of what SHOULDN'T be on Wikipedia articles. Its speculation, pure and simple. Unless said speculation is reported by a reliable source, it shouldn't be posted.--CyberGhostface (talk) 20:07, 6 June 2008 (UTC)
 * An editor has added it back. I agree with you. I will delete it. --MwNNrules (talk) 04:24, 11 July 2008 (UTC)

Confusing
Who is Atropos and who is The Fisherman? Both are mentioned as minions of good ol' CK, but what novels are they from, and why are they relevant. The ref to Randall Flagg is good enough, because a link to the character is provided, but in what novel did King use the god Atropos as a villain? And who is The Fisherman? --MwNNrules (talk) 07:45, 8 June 2008 (UTC)
 * Nevermind. Looking through Insomnia, I found Atropos easily enough. I'll remove the link to the Greek god, and replace it with a piped link to the novel. It is too bad there is no characters section, but I think the point will be taken by the reader of the article. After leafing through the article for Mr. Munshun, I found another link to a fictional serial killer known to some as "The Fisherman". A direct link can be provided. --MwNNrules (talk) 01:33, 18 June 2008 (UTC)
 * I have now completed everything which I stated I would. --MwNNrules (talk) 01:42, 18 June 2008 (UTC)
 * Not too clear on your wording whether or not you found an answer, but: The Fisherman is a serial killer based on real-life serial killer Albert Fish. He appears in Black House as a minion of the King if memory serves. Zelse81 (talk) 19:55, 20 June 2008 (UTC)
 * I apologize if my wording was not clear. It wouldn't be the first time it happened. And, thank you, I did find The Fisherman, in the article for Charles Burnside. --MwNNrules (talk) 05:41, 21 June 2008 (UTC)

Expansion
This article could be expanded a lot more than what it is currently considering that it is underdeveloped.--Paleface Jack (talk) 03:48, 10 August 2016 (UTC)

title: Talk:Crimson King


text:
Talk:Quantum compression

Untitled
To those who would take this to VfD: this is extremely obscure, but it seems to be legit. I'm not sure if it's notable, though. --Xcali 07:25, 12 Jun 2005 (UTC)

 * possible compression methods in a CAB archive. might make it notable enough. RJFJR 16:30, 23 May 2007 (UTC)

The quantum compressor also had limited popularity in the BBS scene, because it compressed tighter than other compressors, had "solid compression" (compress everything as a single stream), specially when the content was highly compressable (e.g. source code).

It was very slow though, and needed a lot of memory (decompression memory requirements are a quarter of the compression requirements) 88.159.64.210 (talk) 09:11, 23 November 2011 (UTC)

NOTE: There needs to be disambiguation added here. There is another thing called quantum data compression or quantum source coding which is a fundamental protocol in quantum information theory and isn't obscure, like the subject of this article.

129.97.124.109 (talk) 02:02, 2 February 2013 (UTC)

title: Talk:Quantum compression


text:
Podolsk (disambiguation)

Podolsk is a city in Moscow Oblast, Russia.

Podolsk may also refer to:
 * Podolsk (inhabited locality), name of several other inhabited localities in Russia
 * Podolsk Governorate, a governorate of Imperial Russia, now in Ukraine
 * Kamianets-Podilskyi (also known as Kamenets-Podolsk), a city in Ukraine

title: Podolsk (disambiguation)


text: File:Bob Schneider I'm Good Now Album Cover.jpg


text:
CFGO

CFGO is a commercial AM radio station in Ottawa, Ontario, broadcasting on 1200 kHz. It is owned by Bell Media and broadcasts a sports radio format, using the brand name TSN 1200 Ottawa. The radio studios and offices are in the Bell Media Building on George Street in Downtown Ottawa's ByWard Market. CFGO features local Ottawa sports shows most of the day, with programming from TSN Radio, ESPN Radio and Fox Sports Radio nights and weekends. CFGO is the flagship station for the Ottawa Senators NHL team.

CFGO is powered at 50,000 watts, the maximum for Canadian AM stations. Because 1200 AM is a clear channel frequency reserved for Class A WOAI San Antonio, CFGO must use a directional antenna to protect WOAI from interference. CFGO has a six-tower array on Moodie Drive at Barnsdale Road in Barrhaven, Ontario. CFGO audio streaming is also available through iHeartRadio.

Music format
In 1964, Confederation Broadcasting signed on CKPM at 1440 AM. CKPM aired a middle of the road (MOR) format with popular adult music and a heavy local news commitment.

In 1970, the Canadian Radio-television and Telecommunications Commission revoked Confederation's licence, alleging that the company had failed to live up to its financial and management obligations. Confederation appealed to the Supreme Court of Canada, who ruled in April 1971 that Confederation had not had a fair hearing before the CRTC.

In 1972, majority interest in the station was sold to Baton Broadcasting. The station also adopted its current CFGO call sign that year and moved to a Top 40 music format to compete with top-rated CFRA.

Frequency and format changes
On November 15, 1984, CFGO Radio Ltd. received approval from the CRTC to change CFGO's frequency to 1200 kHz with power remaining at 50,000 watts day and night. The station moved to its AM 1200 on January 5, 1986, improving its signal. It was sold to Rawlco Communications the following year.

Playing Starship's "We Built This City" as the inaugural song on the new 1200 AM frequency, Rawlco transitioned the station from Top 40 to adult contemporary music as "Adult Rock, Go 1200" at the same time as the frequency switch, with local actress Abby Hagyard (of You Can't Do That on Television fame) serving as morning co-host. However, following CFRA's move from contemporary hits to an AC/oldies mix in August 1986, CFGO switched back to its previous all-hit presentation within a month. On March 8, 1988, Rawlco relaunched the contemporary hit radio format, with the station downplaying its callsigns in favour of the name Energy 1200. The station changed its call sign to CJBZ and its brand name to The Buzz in late 1997, with a focus on more alternative rock and modern rock.

All-sports format
On September 9, 1998, at 7:30 a.m., the station switched to its current all-sports radio format, using the brand name OSR1200 - Ottawa Sports Radio. It was acquired the following year by CHUM Limited, reverting to its CFGO call sign. In 1999, the station adopted the Team 1200 brand name.

On May 7, 2001, the station formed the basis for CHUM's short-lived national sports radio network The Team, which adopted the Ottawa station's brand identity. The station retained its format and brand when CHUM subsequently folded the network.

On June 22, 2007, CFGO along with the other CHUM stations were sold to CTVglobemedia (now known as Bell Media). On September 30, 2013, CFGO re-branded as TSN Radio 1200.

Programming
TSN 1200 broadcasts a wide variety of sports programming, as well as news and weather, and the station streams Fox Sports Radio and ESPN Radio at night. As the official radio station of the Ottawa Senators, it broadcasts every Ottawa Senators game live. The station also broadcasts Ottawa 67's games, Ottawa Redblacks games, Atlético Ottawa games, Ottawa Blackjacks games, and formerly broadcast Ottawa Lynx games.

Notable programs include TSN Mornings, In the Box, The Drive, Offside With Eric Macramalla, Sens Pre/Post-game Shows, RedBlacks Radio Show, Junior Hockey Magazine, among several others.

Live sports
TSN Radio 1200 is the flagship station for the following teams' radio broadcasts:

 * Ottawa Senators (NHL hockey)
 * Ottawa 67's (OHL hockey)
 * Ottawa Redblacks (CFL football)
 * Atlético Ottawa (CPL soccer)
 * Ottawa Blackjacks (CEBL basketball)

TSN Radio 1200 also features live coverage of the following:

 * NFL Football (select games)
 * Toronto Blue Jays (select games)
 * Belleville Senators (select games)
 * World Juniors
 * NBA Basketball (select games)

Podcasts

 * TSN Mornings
 * In the Box
 * The Drive
 * Sens Pre-Game Show
 * Sens Post-Game Show
 * Offside With Eric Macramalla
 * TSN Weekend
 * RedBlacks Radio Show
 * CFL Weekly
 * The TSN MMA Show
 * She’s Got Game
 * Tee It Up
 * Corner Kicks Soccer Show
 * This is Wrestling
 * 3 in the Key

title: CFGO