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Small Aircraft Transportation System

The Small Aircraft Transportation System (SATS) is a joint research project between the Federal Aviation Administration (FAA) and the National Aeronautics and Space Administration (NASA), along with local airports and aviation authorities. SATS is designed to facilitate transportation between small General Aviation airports, using small aircraft as an alternative to traditional airline travel.

Conception
The terrorist attacks of September 11th caused the Transportation Security Administration (TSA) to increase security measures. These increases in security multiplied the number of times travelers spent getting through the airport to their gate. After the tourism industry rebounded from the recession caused by the attacks, the higher levels of airport traffic further demonstrated the strain on these new elevated security procedures.

NASA and the FAA saw in General Aviation the cure to the aviation industry's problems. With more than 3,400 small airports in the U.S. alone, a large amount of traffic could be diverted from mass transit airline travel to private, small aircraft General Aviation.

The idea was born with the introduction of new technologies by NASA and the development of logistics, systems, and infrastructure by the FAA.

The concept of the Small Aircraft Transportation System (SATS) first emerged in the late 1980s during a workshop by the AIAA, NASA, FAA, and industry titled, "The Role of Technology in Revitalizing the U.S. General Aviation Industry." The SATS concept was first articulated by that name in the 1997 presentation by NASA at the Oshkosh Air Venture Convention, "Life After Airliners." The SATS concept emerged from the work of the Advanced General Aviation Transport Experiments (AGATE) Alliance. The AGATE Alliance was a public-private partnership (1994-2001), established by NASA, between government and industry to revitalize the technology deployment capacity for the U.S. General Aviation industry. Based on the technology design guidelines, system standards, and certification standards developed by AGATE, a new generation of personal transportation aircraft was developed by industry from around the world. These new aircraft appear to be economically and operationally viable for use in on-demand transportation fleet operations. The first fleet operators began services in 2005, with increasing numbers of companies starting operations in 2006 and 2007.

Proposed technology
The greatest barriers were perceived to be a poor safety record for small aircraft operating from general aviation airports, restricted airspace capacity, and weather-related complications to the expanded use of small aircraft and community airports for public transportation.

The SATS Project (2001-2006), conducted by NASA and partners in the National Consortium for Aviation Mobility (NCAM), demonstrated the technical capabilities' viability in the following four areas:
 * High-volume operations at airports without control towers or terminal radar facilities
 * Technologies enabling safe landings at more airports in almost all weather conditions
 * Integration of SATS aircraft into a higher capacity air traffic control system, with complex flows and slower aircraft
 * Improved single-pilot ability to function competently in evolving, complex national airspace

title: Small Aircraft Transportation System


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Uppsala Reggae Festival

Uppsala Reggae Festival is the largest reggae festival in Scandinavia. It was first held in 2001, but the name was used as early as 1995.

History
The festival was held each August in Uppsala, 70 km north of Stockholm, until 2011.

It took place in Gävle in 2012 and 2013.

After a six year long hiatus, the festival was held in Uppsala again in 2017 but only lasted one day, as opposed to two or three days in the past.

The festival returned in 2018, this time lasting two days and a who's who in reggae line up with Jimmy Cliff, Alborosie, Tarrus Riley, Konshens, Protoje and more.

2019 saw the festival returning to Fyrishov, the original venue where it had started out in 2001.

It was not held in 2020 and 2021.

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

title: Uppsala Reggae Festival


text: User talk:69.47.234.134

title: User talk:69.47.234.134


text:
Upper Salmon Hydroelectric Development

The Upper Salmon Hydro Development, a hydroelectric plant in Newfoundland and Labrador. It utilises a portion of the residual head between Meelpaeg Lake Reservoir and Round Pond within the watershed of the Bay d'Espoir Hydroelectric Development.

The plant operates at a normal supply level of 241 m under a net head of 51 metres. The average rated flow of 189.5 m3/s is used to generate 84 megawatts (MW) of electrical power with an average annual production of 541 GWh. The unit, which is equipped with a Francis turbine, was first synchronized on January 19, 1983.

title: Upper Salmon Hydroelectric Development


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Xeranthemum

Xeranthemum is a genus of flowering plants in the tribe Cardueae within the family Asteraceae, native to Southern Europe. It has silvery flower heads with purplish tubular flowers.

Species
Species include:

 * 1) Xeranthemum annuum L. ("annual everlasting"): Central + southern Europe from Spain to Dagestan; Turkey, Caucasus
 * 2) Xeranthemum cylindraceum Sm. : Central + southern Europe from Portugal to Ukraine; Turkey, Caucasus, Iran, Iraq, Syria, Jordan, Israel
 * 3) Xeranthemum cylindricum Spreng.
 * 4) Xeranthemum inapertum (L.) Mill. : southern Europe, North Africa, southwest Asia from Morocco to Turkmenistan
 * 5) Xeranthemum longepapposum Fisch. & C.A.Mey. : southeastern Europe, southwestern and central Asia
 * 6) Xeranthemum squarrosum Boiss. : Greece, southwestern and central Asia

title: Xeranthemum


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CJPM-DT

CJPM-DT, virtual channel 6 (UHF digital channel 46), is a TVA owned-and-operated television station licensed to Saguenay, Quebec, Canada. The station is owned by the Groupe TVA subsidiary of Quebecor Media. CJPM-DT's studios and transmitter are located on Rue du Mont Sainte Claire in the former city of Chicoutimi.

History
The station signed on for the first time on April 14, 1963, as CJPM-TV. Its owner, John Murdock, who died on October 2 of that same year, soon realized that he didn't have the revenue to challenge Radio-Canada affiliate CKRS-TV (now CKTV-DT) on his own. To obtain better programming, he started sharing CJPM's programs with the largest privately owned francophone station in Canada, CFTM-TV in Montreal, owned by Télé-Métropole. Along with Quebec City's CFCM-TV (owned by Télévision de Québec, a consortium of theatre chain Famous Players and Quebec City's two private AM radio stations, CHRC and CKCV, which joined the group in 1964 after disaffiliating from Radio-Canada), this collective of independent stations was the forerunner of TVA, though the network wasn't formally created until September 12, 1971, with CJPM as one of its three charter affiliates, alongside CFTM and CFCM.

John Murdock's family sold the station to Télé-Métropole in 1982. It became a TVA owned-and-operated station when Télé-Métropole bought majority control of the network in 1990. Since then it has been basically a semi-satellite of CFTM, except for newscasts. It was licensed to Chicoutimi until the formation of the "megacity" of Saguenay in 2002.

CJPM-DT signed on its digital signal on August 29, 2011, from a temporary antenna at Mont Sainte-Claire.

title: CJPM-DT


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Julia Wetzel

Julia Wetzel began her National Security Agency (NSA) career as a Special Research Analyst in the Operations unit. In the late 1970s, Wetzel worked with the House Select Committee on Intelligence. In 1989 she was assigned as the NSA's representative to the US State Department. Wetzel retired from the NSA in 1999 as the Executive Director, the third highest-ranking person in the agency.

Julia is listed as one of the Women in American Cryptology Honorees.

As the Soviet Union’s Communist regime collapsed, Wetzel was chief of a major operational analysis group. She saw the division through the critical time of the agency's restructuring to align with new threats.

title: Julia Wetzel


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1915–16 in Swedish football

The 1915-16 season in Swedish football, starting August 1915 and ending July 1916:

Uppsvenska Serien 1915–16

Uppsvenska

Mellansvenska

Västsvenska

Svenska Mästerskapet 1915

 * Final

Kamratmästerskapen 1915

 * Final

Wicanderska Välgörenhetsskölden 1915

 * Final

National team results
🇸🇪 Sweden: Sven Jonsson - Melcher Johansson-Säwensten, Helmer Lundberg - Bruno Lindström, Knut Nilsson, Gustaf Carlson - Rune Bergström, Walfrid Gunnarsson, Iwar Swensson, Helge Ekroth, Gunnar Linder.

🇸🇪 Sweden: John Karlsson-Nottorp - Valdus Lund, Henning Svensson - Bertil Nordenskjöld, Götrik Frykman, Ragnar Wicksell - Georg Bengtsson, Caleb Schylander, Iwar Swensson, Erik Hjelm, Carl Karlstrand.

🇸🇪 Sweden: John Karlsson-Nottorp - Valdus Lund, Henning Svensson - Sven Friberg, Bruno Lindström, Josef Appelgren - Harry Magnusson, Walfrid Gunnarsson, Iwar Swensson, Louis Groth, Carl Karlstrand.

🇸🇪 Sweden: Erik Bergqvist - Theodor Malm, Oscar Gustafsson - Bertil Nordenskjöld, Ragnar Wicksell, Bruno Lindström - Rune Bergström, Walfrid Gunnarsson, Iwar Swensson, Karl Gustafsson, Carl Karlstrand.

title: 1915–16 in Swedish football


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Country pop

Country pop (also known as urban cowboy) is a fusion genre of country music and pop music that was developed by members of the country genre out of a desire to reach a larger, mainstream audience. Country pop music blends genres like rock, pop, and country, continuing similar efforts that began in the late 1950s, known originally as the Nashville sound and later on as Countrypolitan. By the mid-1970s, many country artists were transitioning to the pop-country sound, which led to some records charting high on the mainstream top 40 and the Billboard country chart. In turn, many pop and easy listening artists crossed over to country charts during this time. After declining in popularity during the neotraditional movement of the 1980s, country pop had a comeback in the 1990s with a sound that drew more heavily on pop rock and adult contemporary. In the 2010s, country pop metamorphosized again with the addition of hip-hop beats and rap-style phrasing.

Beginnings: Nashville sound/50s-60s
The joining of country and pop began in the 1950s when studio executives Chet Atkins and Owen Bradley wanted to create a new kind of music for the young adult crowd after "rockabilly stole away much of country music's youth audience". According to Bill Ivey, this innovative genre originated in Nashville, Tennessee and thus became known as the Nashville Sound. He believes that the "Nashville Sound often produced records that sounded more pop than country" after the removal of the fiddle and banjo. Patsy Cline, Marty Robbins, Jim Reeves, and Eddy Arnold were among the most popular artists during this time. Both Reeves and Arnold had major influence on their RCA labelmate Elvis Presley, apparent not only in secular songs but even more so in country gospel songs. Cline became famous in the early 1960s, gaining widespread acceptance from country and pop audiences alike. Other crossover hits during the 1960s included Skeeter Davis's "The End of the World", Sonny James' "Young Love", Jeannie C. Riley's "Harper Valley PTA", and Bobby Goldsboro's "Honey". However, the Nashville Sound was not well received by country purists and faced competition on that front, first from the Bakersfield Sound and later the outlaw movement; on the pop side, the format was overshadowed by the British Invasion, which was taking place during the same time that Cline and Reeves died by airplane accident.

1970s country pop

The Nashville sound eventually evolved into countrypolitan during the 1970s and had varying levels of success, with several artists recording in the style: Ray Price ("For the Good Times" 1970), Lynn Anderson ("Rose Garden" 1970), Charley Pride ("Kiss an Angel Good Morning" 1971), Mac Davis ("Baby, Don't Get Hooked on Me" 1972), Donna Fargo ("The Happiest Girl in the Whole U.S.A." 1972 and "Funny Face" 1973), Marie Osmond ("Paper Roses" 1973), Kris Kristofferson ("Why Me" 1973), Charlie Rich ("The Most Beautiful Girl" 1974), Billy Swan ("I Can Help" 1974), Ray Stevens ("The Streak" 1974), Jessi Colter ("I'm Not Lisa" 1975), and Crystal Gayle ("Don't It Make My Brown Eyes Blue" 1977) all charted pop-influenced country hits during the 1970s.

Country pop started when pop music singers like Glen Campbell, John Denver, Olivia Newton-John, and Anne Murray (Canada) began having hits on the country charts. Denver's single "Take Me Home, Country Roads" went to No. 2 on the Billboard pop charts in 1971, and while the song stalled outside of the top 40 on Billboard's country chart, the album Poems, Prayers, and Promises reached the top 10 on the Billboard Country Album chart and was certified Platinum. Denver's career flourished from then on, and he had a series of hits over the next four years. In 1972, Denver scored his first Top Ten pop album with Rocky Mountain High, with its title track reaching the pop Top Ten in 1973. At the peak of his popularity in 1974 and 1975, Denver's albums Back Home Again and Windsong reached number one on both the pop and country album charts. His singles were also successful on both charts: "Sunshine on My Shoulders" No. 1 pop, No. 42 country; "Annie's Song" No. 1 pop, No. 9 country; "Thank God I'm a Country Boy" No. 1 pop and country; "Back Home Again" No. 5 pop, No. 1 country; and "I'm Sorry" No. 1 pop and country.

Another 1970s crossover artist was Olivia Newton-John, who emerged from Australia in the mid-1970s, hoping to make it big in the United States. Her single "Let Me Be There" became a big pop-country crossover hit in 1974. She won a Grammy award for "Best Female Country Vocal Performance" for the song and also won the Country Music Association's most coveted award for females, "Female Vocalist of the Year" (beating out established Nashville artists Dolly Parton, Loretta Lynn, and Tanya Tucker, as well as Canadian transplant Anne Murray). Her win sparked a backlash, with several traditional country artists forming the Association of Country Entertainers (ACE) to promote what they considered to be "real country music." Newton-John scored a string of pop-country hits in 1974 and 1975 including "I Honestly Love You", "Have You Never Been Mellow", and "Please Mr. Please", before moving away from country in the late 1970s after starring in Grease and focusing mostly on pop music from then onward.

The debate raged into 1975 and reached its apex at that year's Country Music Association Awards when reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) presented the award to his successor, John Denver. As he read Denver's name, Rich set fire to the envelope with a cigarette lighter. The ACE would only last two years; its two biggest backers, firm traditionalists George Jones and Tammy Wynette, faced a bitter divorce, and Jean Shepard, the other major backer of the ACE, closed down the organization when she could not find others that shared her enthusiasm for the association's purpose.

Although known primarily as a rock performer in the 1970s, Linda Ronstadt had considerable country chart success with "I Can't Help It (If I'm Still in Love with You)" (1974), for which she won the Grammy Award for Best Female Country Vocal Performance in 1976, "When Will I Be Loved" and "Love is a Rose" (1975), and "Blue Bayou" (1977).

Several artists principally identified as rock, such as the Eagles and America, scored significant pop chart hits with country rock songs, though they may have reached country charts rarely or not at all.

Glen Campbell's "Rhinestone Cowboy" was a crossover hit between the pop and country charts in 1975. "Rhinestone Cowboy" was produced by blue-eyed soul writer team Dennis Lambert & Brian Potter and written by Larry Weiss. The Bellamy Brothers' "Let Your Love Flow", Amazing Rhythm Aces' "Third Rate Romance" (1976), Glen Campbell's Southern Nights (1977), and Anne Murray's "You Needed Me" (1978) were additional examples of late '70s pop country hits.

In 1977, Kenny Rogers, former frontman of the rock band the First Edition, burst onto the country charts with "Lucille" and would go on to rank among the most successful country pop performers. After "Lucille", Rogers had a string of songs that did well on both the country and pop charts around the world, including "Daytime Friends", "The Gambler", and "Coward of the County", all of which were produced by Larry Butler. Rogers would go on to push the boundaries of pop influence in country music, having records produced by the likes of the Bee Gees, Lionel Richie, David Foster, and George Martin, all of which did well in both the pop and country markets. Barbara Mandrell also became known for her blue-eyed soul vocal style. Several of her other hits charted on the country adult contemporary charts, but her songs were the Bubbling under Billboard Top 100 charts. She was one of country music's most successful artists during the 1970s and 1980s. She was involved in a serious car accident in 1984. Her big country hits included "Sleeping Single In a Double Bed" and "(If Loving You is Wrong) I Don't Want to Be Right."

In 1977, Dolly Parton crossed over into the pop music world with her No. 1 country and No. 3 pop hit "Here You Come Again."

1980s
Parton earned another big hit with "9 to 5", which topped both the country and pop singles charts in early 1981, supplemented by the 1980 film of the same name.

Country pop reached new heights immediately following the movie Urban Cowboy in the early 1980s. Urban Cowboy was the third music-themed hit film to star John Travolta, each from a different genre; much like Saturday Night Fever did for disco and Grease did for oldies, Urban Cowboy popularized pop-country, helping to boost the career of Mickey Gilley in particular (whose real-life bar and music were featured in the film), along with other songs that appeared on the film's soundtrack.

Willie Nelson and Dottie West came back in the 1980s. Dottie West released a series of hit duets with Kenny Rogers. Kenny Rogers also had a duet hit with Parton, the Bee Gees–penned "Islands in the Stream", which topped the country and pop singles charts in late 1983. (The Bee Gees themselves have one credited country hit to their name, 1978's "Rest Your Love on Me", which was made an even bigger hit by Conway Twitty in 1980.) Dottie West achieved her biggest success as a country singer during this time, acquiring her first No. 1 hit as a solo artist in 1980 with "A Lesson in Leaving".

Oak Ridge Boys, Alabama, Eddie Rabbitt, Juice Newton, Bertie Higgins, and Ronnie Milsap also had crossover success during the early 1980s. The Oak Ridge Boys had a crossover hit "Elvira" in 1981. Four of Alabama's most successful songs of the early 1980s—"Feels So Right", "Love in the First Degree", Take Me Down", and "The Closer You Get" (the last two of which were covers of songs by then–pop band Exile)—all reached the Top 40 of the Billboard Hot 100, while four of Ronnie Milsap's No. 1 songs between 1980 and 1982 reached the Hot 100s Top 20, the most successful of which was the No. 5 hit "(There's) No Gettin' Over Me". Rabbitt had three top-5 pop songs in 1980–1981, and "I Love a Rainy Night" reached No. 1 on both the Hot 100 and Billboard Hot Country Singles chart. Country star Juice Newton also achieved country-pop success with several crossover hits in the early '80s, including "Queen of Hearts", "The Sweetest Thing (I've Ever Known)", and Grammy-winner "Break It To Me Gently"; in addition, she wrote "Sweet Sweet Smile", the only country hit for easy-listening act the Carpenters. Former pop acts such as Exile, Merrill Osmond (both solo and with his fellow Osmond Brothers), Marie Osmond, Bill Medley (formerly of the Righteous Brothers), Tom Jones, Michael Johnson, Billy Joe Royal, B. J. Thomas, Nicolette Larson, Paul Davis and Dan Seals ("England Dan" of England Dan and John Ford Coley) began targeting their music at the country market in the early 1980s with a country-pop sound.

Although a number of country pop artists continued to have hits, most notably Alabama, Parton, Mandrell, Rabbitt, and Milsap, the mid-1980s saw a major sea change within the country music industry and the revival of traditional country sounds, as the boost in country's crossover popularity had collapsed; by 1984, country record sales had fallen to the point they were before Urban Cowboy was released.

1990s revival
Country pop enjoyed a resurgence in the 1990s, primarily because of the beginning proliferation of country music to the FM radio dial, which in turn was aided by the increase of FCC licenses for suburban and rural FM stations in the late 1980s and an increase in talk radio on the AM dial, as well as a decision by Billboard to no longer count record sales toward the country singles chart, giving country radio full power to determine a chart ranking by their collective airplay. The commercial boom in the industry during this time was also attributable to the rise of talented artists who coincided with the implementation of new marketing strategies that were meant to attract a larger fan base; this further pushed the genre into a pop musical style with an emerging new image. Garth Brooks rose to fame during the 1990s with a string of several extremely successful albums and songs. Shania Twain would rival this success with her three albums The Woman in Me, Come On Over, and Up!. In the last few years, country singer LeAnn Rimes has proved her ability to sing country pop songs such as the record-setting "How Do I Live", which spent 69 weeks on the Billboard Hot 100, the second longest single in the record history. This achievement came in spite of the fact that a nearly identical version of the same song by Trisha Yearwood was released at the same time and was also a hit. Rimes also had a hit with the pop songs "Can't Fight the Moonlight" and "I Need You", the latter of which required a remix to be suitable for country radio.

Incorporating elements of pop into country music became extremely popular by the late '90s, thus producing many crossover hits and artists, especially on the adult contemporary charts. Country love songs also became more popular with songs like "To Make You Feel My Love", "Cowboy Take Me Away", "I Love You", "Breathe", "It's Your Love", "Just to See You Smile", "This Kiss", "The Way You Love Me", "You're Still the One", "From This Moment On", "You've Got a Way", "Valentine", etc.

In the 1990s, many country artists experienced huge crossover success. In addition to Brooks, Twain, McBride, and Rimes, Billy Ray Cyrus, Tim McGraw, Faith Hill, Dixie Chicks, Jo Dee Messina, Martina McBride, Lonestar, Mary-Chapin Carpenter and Wynonna Judd all had songs cross over to Top 40 and/or Adult Contemporary radio, sometimes with remixes eliminating steel guitars and other "country" elements to be more suitable for pop radio. Brooks, Reba McEntire, and other artists also maintained high profiles on the album charts despite having less radio crossover success.

2000s and 2010s
The early 2000s also saw continued success of these artists. Lee Ann Womack scored a big hit with "I Hope You Dance", peaking at number one on the U.S. Adult Contemporary chart. The Dixie Chicks had continued success with a less mainstream country-pop sound when they released their bluegrass-influenced album Home in 2002. However, by the mid-2000s, there were fewer country acts having crossover success. That was until singer Carrie Underwood won the fourth season of American Idol in May 2005.

With her exposure from American Idol, Underwood's debut single, "Inside Your Heaven", became the first song by a prominently country artist to ever debut at number one on the Billboard Hot 100. Underwood continued to have crossover success in 2006 and 2007, with her hit single "Before He Cheats", which was notable for becoming a success on mainstream pop radio without a more "pop-friendly" remix. Underwood has had additional, but more spotty, success on pop radio since. Nonetheless, she disproved the notion that country artists, especially country female artists, were limited to success only within one genre. Further supplying that evidence was the success of Taylor Swift, who released her debut album in 2006.

Swift rose to fame in the late 2000s as a teenage artist, buoyed by the success of her country pop singles "Teardrops On My Guitar" and "Our Song", with the latter making Swift the youngest person in history to single-handedly write and perform a number-one song on the Billboard Hot Country Songs chart. Her chart-topping second studio album Fearless was released in 2008; it spawned international hit singles "Love Story" and "You Belong With Me", becoming two of the best selling singles of all time. In 2009, Swift became the first country artist in history to win an MTV Video Music Award. Later in 2010, Swift won the Grammy Award for Album of the Year and Best Country Album for Fearless, becoming the youngest artist to win the top prize at that time. Fearless went on to become Diamond certified by Recording Industry Association of America for moving over 10 million units in the U.S. Her subsequent albums Speak Now (2010) and Red (2012) topped multiple charts globally, including the Top Country Albums and Billboard 200; both of those albums sold 1 million copies in their debut week sales, opening 1.0 million for Speak Now and 1.2 million for Red. On Red, Swift incorporated elements of electronic and dance such as dubstep and worked with pop producers Max Martin and Shellback on several tracks, including the pop hits "We Are Never Ever Getting Back Together", "I Knew You Were Trouble", and "22", which were more favored by pop radio over country radio. Swift collaborated with rapper B.o.B on his country rap single "Both of Us", and dueted with Tim McGraw on his 2013 single "Highway Don't Care" featuring Keith Urban. Swift labeled herself as a pop artist since 2014's 1989, which also won the Grammy awards for Album of the Year and Best Pop Vocal album, making Swift the first and only artist to win those awards in both pop and country genres. The subsequent Reputation (2017) and Lover (2019) were pop albums, though Lover drew on country influences in songs like "Lover" and "Soon You'll Get Better"; the latter being a collaboration with Dixie Chicks. Swift has also written songs for other country pop acts, such as Little Big Town's "Better Man" and Sugarland's "Babe". Achieving both national and international prominence through her tour gross, sales records, and critical acclaim, Swift has been credited for bringing recognition of country music "within the broad expanse of music worldwide"; the Country Music Association acknowledged that her talent and presence "will have a long-term positive impact on the appreciation of country music for generations to come".

Other examples of prominent country-pop artists from this decade included Lady A, Sugarland, Rascal Flatts, Keith Urban, and Kenny Chesney.

2010s–present
The 2010s saw many changes for the country-pop genre, not only in sound, but also in values; there was a significant shift away from big-voiced power ballads to more casual, hip-hop influenced styles. One such trend was the controversial bro-country subgenre, which Vulture described as "music by and of the tatted, gym-toned, party-hearty young American white dude."

During this decade, Uncle Kracker achieved success when his number 3 adult contemporary hit "Smile" also became a number 6 country hit. Jason Aldean and Kelly Clarkson hit number 3 on adult contemporary, 9 on adult pop and 1 on country charts with the song "Don't You Wanna Stay". Other records to hit on both the pop and country charts included Miley Cyrus' "The Climb", Lady A's "Just A Kiss", the Band Perry's "If I Die Young", Kelly Clarkson's "Mr. Know It All", Hunter Hayes' "Wanted", and Florida Georgia Line's "Cruise".

Sam Hunt also earned significant crossover appeal. His 2014 debut album Montevallo, which featured hip-hop and rap influences, reached number 1 on Top Country Albums and number 3 on the Billboard 200. His 2017 single "Body Like a Back Road" reached number 1 on Hot Country Songs, number 6 on the Billboard Hot 100, and number 11 on Adult Top 40.

Hip hop's penchant for story-telling is one of the reasons frequently cited for its influence on mainstream pop country. Additionally, there are now no less than four generations who have grown up listening to both country music and hip hop, as evidenced in the subgenre country rap, starting with Jelly Roll, Colt Ford, Cowboy Troy, and Kid Rock.

In 2016, Morgan Wallen signed to Big Loud, releasing his debut album, If I Know Me in 2018, with strong hip-hop elements like trap beats and snap tracks. If I Know Me included the singles "Up Down" (featuring Florida Georgia Line), "Whiskey Glasses", and "Chasin' You"; the album reached number 1 on the Billboard Top Country Albums chart.

Wallen's second album, Dangerous: The Double Album, was released in January 2021, and in February 2021, became the only country album in the 64-year history of the Billboard 200 to spend its first seven weeks at No. 1. It spent a total of ten weeks at that spot, the first album to do so since Whitney Houston's Whitney in 1987. The album included Billboard No. 1 singles "More Than My Hometown", "7 Summers", and "Wasted on You".

In 2018, many country artists achieved international pop hit singles in collaborations with mainstream pop artists. This included Chris Stapleton who collaborated with Justin Timberlake on Hot 100 top ten single "Say Something"; Urban-pop star Bebe Rexha whose duet with the country duo Florida Georgia Line "Meant to Be" reached No. 2 both in Australia and in the U.S.; and German DJ Zedd whose dance hit "The Middle" featured main vocals from Maren Morris and peaked at No. 5 on the Billboard Hot 100.

Of particular note, in 2012, Billboard restored recording sales to the chart formula but also added airplay from non-country stations, giving an inherent advantage to country pop crossover songs, at the same time maintaining the 1990 formula solely to measure country radio airplay. After the change, crossover songs have increasingly set the record for the longest run atop the country chart for longer and longer stretches; "Meant to Be" currently holds the record, 50 weeks and counting as of November 2018, more than double the pre-2012 record (Leroy Van Dyke's "Walk On By" was atop the chart for 19 weeks in 1963, during the 1958–1990 period of a unified sales, jukebox and airplay chart; three songs topped the various separate country charts for 21 weeks each between 1948 and 1955).

The way audiences consumed their music also changed during the 2010s, as streaming services became more prominent, thus affecting how artists marketed their songs. Being played on the radio was no longer a requirement to be a contender in the country industry, as it had been for decades before; one such example was Kacey Musgraves. Despite receiving little airplay for her singles sent to country radio, Musgraves won the Grammy award for Album of the Year in 2019, for her fourth studio album Golden Hour. Musgraves's success was unprecedented in the sense that she earned fans from both the pop and country genres without the benefit of airplay on country radio, instead promoting her music through online media platforms such as YouTube and Apple Music. The Hoya pointed out Musgraves's groundbreaking approach, writing, "Musgraves's refusal to bend the knee for Nashville record label executives, coupled with her massive success, proves she is the Nashville big machine's worst nightmare. She is a female artist who managed to find widespread success in an industry that endlessly tried to muzzle her."

The disparity between male and female artists on country radio became even more obvious during the back half of this decade, with one study finding that male artists accounted for 5.5 to 1 in total airplay during the years 2000–2018. In 2018, that number only increased, with a ratio of male vs. female at 9.7 to 1. In 2015, radio consultant Keith Hill made controversial comments about why women received less representation on the radio, referring to male artists as the "salad" and women as "tomatoes"; the controversy became known as Tomato-gate.

Collaborations between country and pop artists became even more popularized during this decade, as well. In October 2019, country duo Dan + Shay released a joint single with pop singer-songwriter Justin Bieber, "10,000 Hours", which went to number one on both the Billboard Hot Country Songs and Country Airplay charts. In April 2020, country singer-songwriter Kelsea Ballerini released "The Other Girl" as a joint single with pop singer Halsey from her third studio album kelsea. The single peaked within the top twenty of both the Hot Country Songs and U.S. Adult Top 40 charts. At the February 2020 Country Radio Seminar, there was discussion on the increase in fan attention to pop and country collaborations, in addition to an increase in the use of streaming services.

In 2020, American Idol finalist Gabby Barrett topped Billboard's Hot Country Songs for over 20 weeks with her single, "I Hope", which was later remixed into a duet with pop singer-songwriter Charlie Puth. Their collaboration went on to top Billboard's Adult Pop Songs chart in October 2020. In its 45th week, the single reached the top five of the all-genre Billboard Hot 100, achieving the slowest climb to the top five in the chart's history.

Two artists who were influential in shifting mainstream attitudes about the genre's more pop-inflected sound were Sam Hunt and Maren Morris. As NPR Music wrote, "Sam Hunt and Maren Morris arrived on the scene in the years that followed, each of them possessing fluency in the postures and cadences of millennial pop that turned heads and blurred boundaries. '[M]odern country singers love to flaunt phrases and attitudes borrowed from hip-hop, but Hunt's borrowings are softer and sneakier,' noted Kelefa Sanneh." Jon Caramanica said: "Think of all the ways dissenters have tried to upend country in recent years: by sneaking in rhythmic vocal tics learned from rappers, by thinning out the genre's musical baggage, by pledging inclusive values. Ms. Morris, an astute synthesizer, has studied and perfected them all." In an article published in 2019, Time called Morris "the future of country music." In November 2020, Morris won three Country Music Association awards, including two for her 2019 single "The Bones"; it also received a Grammy nomination for Best Country Song. The year previously, she won Album of the Year for her sophomore effort Girl, signifying a critical, mainstream shift in attitude about what constituted the country sound. "The Bones" also received Song of the Year at the 56th ACM awards.

In January 2021, Nashville Scene pointed out the commercial impact and critical acclaim brought on by songs considered to be crossover hits, writing, "The walls around the country genre seem evermore flimsy these days. Thanks in part to streaming, 'Old Town Road' became the most-certified song in RIAA history earlier this month, racking up 14 million sales. Morris's 'The Bones,' winner of two CMA Awards and nominated for a Grammy, topped four different Billboard charts and peaked at No. 12 on the weekly Hot 100. 'The Middle,' her 2018 dance-pop collaboration with producers Zedd and Grey, peaked at No. 5 on the weekly Hot 100 Songs and was nominated for three Grammys." Still, the debate on what constituted the country sound continued into the 2020s. Despite placing at the top of Billboard's Top Country Albums chart, Kacey Musgraves's album Star-Crossed was deemed ineligible for nomination in the Best Country Album category for the 64th Grammys, owing to the policy that potential nominated albums must contain at least "51 percent of new country recordings". Billboard, however, pointed out that Musgraves was hardly the first to face controversy from the Grammys; previous records nominated in Pop categories included Dolly Parton's "Here You Come Again" and "Rhinestone Cowboy" by Glen Campbell. Musgraves did, however, earn two nominations for Best Country Song and Best Country Performance for the album track, "Camera Roll."

In 2023, three pop country songs placed within the first four spots on Billboard's all-genre Hot 100 for the first time in the chart's 65-year history. Billboard noted the overall increase in the popularity of pop country and credited Morgan Wallen with 40 percent of its growth, calling the phenomenon the "Wallen Effect". The popularity of pop country continues to surge, with a 2023 Economist poll finding it has become more popular than hip hop in the United States.

title: Country pop


text:
War Child

War Child or Warchild may refer to:

 * Child soldiers, children who are used in war, as soldiers or in combat support
 * Military brat, military slang for a child or teenager of a military family
 * Refugee, children who are refugees of war
 * War children, those born to a native parent and a parent belonging to a foreign military force
 * War Child (charity), a Dutch, British and Canadian charity that helps children who are victims of warfare
 * Childhood in war
 * German childhood in World War II
 * Finnish war children, evacuated from Finland to Sweden, Norway or Denmark

Fiction

 * Warchild, a 1982 novel by Richard Bowes
 * Warchild (Cartmel novel), a 1996 Doctor Who spin-off novel by Andrew Cartmel
 * Warchild (Lowachee novel), a 2002 science fiction novel by Karin Lowachee
 * Warchild (Star Trek), a 1994 novel by Esther Friesner
 * Warchild (film), a 2006 German-Bosnian film by Christian Wagner

Music

 * War Child (album), a 1974 album by Jethro Tull featuring the song "War Child"
 * Warchild (album), a collection of songs by Paul Di'Anno's Battlezone
 * "War Child" (song), a 1982 song by American band Blondie
 * "War Child", a song by The Cranberries from the album To the Faithful Departed
 * The Help Album, a charity album compiled by the War Child charity
 * "War Child", a song by Hollywood Undead from the album Day of the Dead

title: War Child


text:
Esperanto II

Esperanto II or Esperanto 2 was a reform of Esperanto proposed by René de Saussure in 1937, the last of a long series of such proposals beginning with a 1907 response to Ido with a project called Lingwo Internaciona, later called Antido 1. Esperanto II was one of several languages investigated by the International Auxiliary Language Association, the linguistic research body that eventually standardized and presented Interlingua de IALA.

Several of the grammatical inflections were changed. The accusative is in -u, which replaces the final vowel of nouns, pronouns, and correlatives (ju for ĝin, tu for tion), and for the plural -n is added to both nouns and pronouns (lin "they", lina "their"). Neither suffix affects adjectives, which do not agree with their noun. The correlative series tiu, ĉiu becomes ta, cha when modifying a noun. The indefinite suffix -aŭ is replaced with adverbial -e, and the inchoative -iĝ- becomes -ev-.

Many small grammatical words are also replaced, such as ey for kaj "and", be for ĉe "at", and ki for ol "than". The work of the preposition de "of, by, from" is divided up into several more specific prepositions.

Additionally, the project introduced international cognates when such cognates were readily recognized; for example, skolo was used for "school" in place of standard Esperanto's lernejo (a derivation of lerni, "to learn"); Esperanto has skolo only in the sense of "a school of thought", which is also the meaning that the word has in the example passage below. Antonymic roots such as tarde for malfrue "late" and poke for malmulte "few" are used today in Esperanto poetry, though they resemble Ido and Esperanto may have acquired them from that language.

Orthography and phonology
The orthography and phonology were changed to eliminate diacritics and a few of the more marginal sounds: $⟨j⟩$ becomes $⟨y⟩$, $⟨ĵ⟩$ and $⟨ĝ⟩$ conflate to $⟨j⟩$, $⟨ŭ⟩$ becomes $⟨w⟩$, $⟨ĉ⟩$ becomes $⟨ch⟩$, $⟨ŝ⟩$ becomes $⟨sh⟩$, $⟨kv⟩$ becomes $⟨qu⟩$, $⟨kz⟩$ and $⟨ks⟩$ become $⟨x⟩$, $⟨ej⟩$ becomes $⟨e⟩$.

Sample
Changes from standard Esperanto that involve more than orthography are highlighted in this sample passage and explained below.

 * Esperanto II
 * Vizitinte perhazarde la 2-a Universala Kongres u de Esperanto be Genevo ( te 1906), mi far ev is Esperantisto ey partoprenis tie la fond u de la Int(ernacia) Scienca Asocio Esperantista, kaes mi estis elektata sekretaro. Dum pli longe ki qin yaro n mi ank e estis chef-redaktoro de la Int(ernacia) Scienca Revuo, la oficiala organo de ta Asocio, kay tiam havis pliente ki 800 membr un . En 1907 okazis la 3-a Universala Kongreso de Esperanto be Cambridge, kaw mi ank e be estis ey kie mia pro j ekto de internacia helpmono estis akceptata di la Kongreso. Pos ta Kongreso aperis la riformpro j ekto Ido, verkita di Markezo de Beaufront ey Prof. Couturat. Mi tuy konsciis, ke ta pro j ekto estas tute ne konforma al la spirito de Esperanto, kaes rimarkinda flexebl u Ido detruis per logika derivsistemo tro rigida por la cha taga uzado de la lingvo skribe ey parole, ey dey ta tago mi komencis rifuti la pretend un de Ido en la Int(ernacia) Scienca Revuo. Dum mia laboro por la riformo de Esperanto mi examenis ne nur la pro j ekt u Ido, sed ank e la interlingv un el la skolo "naturista" (Occidental, Latino sine flexione, e tp.). Tala lingvopro j ekto n estas interesa, sed lina awtoro n forgesis, ke la ple malfacila parto de la interlingva problemo ne estas la facila kompreno por la Okcidentano n, sed la facila parolado por cha popolo n de la terglobo. Ey lo ankor e pli malfacila ne estas krei interlingv u , sed ju vivigi, ey tu sukcesis nur Esperanto; forlasi la baz u Esperanta ey la grandega labor u yam farita di la Esperantisto n estus vera frenezajo, tiente pli ke la Esperantisto n niam akceptos lingv u tute nova.

 * Standard Esperanto:
 * Vizitinte perhazarde la 2-a n Universala n Kongres on de Esperanto en Ĝenevo ( en 1906), mi far iĝ is Esperantisto kaj partoprenis tie la fond on de la Int(ernacia) Scienca Asocio Esperantista, de kiu mi estis elektita sekretario. Dum pli longe ol kvin jaro j mi ank aŭ estis ĉef-redaktoro de la Int(ernacia) Scienca Revuo, la oficiala organo de tiu Asocio, kiu tiam havis pli ol 800 membr ojn . En 1907 okazis la 3-a Universala Kongreso de Esperanto en Kembriĝo, kiun mi ank aŭ ĉe estis kaj kie mia pro j ekto de internacia helpmono estis akceptita de la Kongreso. Post tiu Kongreso aperis la reformpro j ekto Ido, verkita de Markizo de Beaufront kaj Prof. Couturat. Mi tuj konsciis, ke tiu pro j ekto estas tute ne konforma al la spirito de Esperanto, kies rimarkinda n fleksebl on Ido detruis per logika derivsistemo tro rigida por la ĉiu taga uzado de la lingvo skribe kaj parole, kaj ekde tiu tago mi komencis rifuzi la pretend ojn de Ido en la Int(ernacia) Scienca Revuo. Dum mia laboro por la reformo de Esperanto mi ekzamenis ne nur la pro j ekt on Ido, sed ank aŭ la interlingv ojn el la skolo "naturalisma" (Occidental, Latino sine flexione, k tp.). Tia lingvopro j ekto j estas interesa j, sed ilia aŭtoro j forgesis, ke la plej malfacila parto de la interlingva problemo ne estas la facila kompreno por la Okcidentano j , sed la facila parolado por ĉiuj popolo j de la terglobo. Kaj ankor aŭ plej malfacile ne estas krei interlingv on , sed ĝin vivigi, kaj tion sukcesis nur Esperanto; forlasi la baz on Esperanta n kaj la grandega n labor on jam farita n de Esperantisto j estus vera frenezaĵo, des pli ke la Esperantisto j neniam akceptos lingv on tute nova n .

 * Translation
 * "Visiting by chance the 2nd World Congress of Esperanto in Geneva (in 1906), I became an Esperantist and took part there in the founding of the International Scientific Esperantist Association, of which I was elected secretary. For more than five years I was also chief editor of the International Science Journal, the official organ of that association, which then had more than 800 members. In 1907 there was the 3rd World Congress of Esperanto in Cambridge, which I also attended and where my project of international financial aid was accepted by the congress. After that congress there appeared the reform project Ido, worked out by Marquis [sic] de Beaufront and Prof. Couturat. I immediately realized that that project was completely non-conforming to the spirit of Esperanto, whose remarkable flexibility Ido destroyed through a logical derivational system too rigid for everyday use of the spoken and written language, and from that day I began to refute the claims of Ido in the International Science Journal. During my work for the reform of Esperanto I examined not only the Ido project, but also the interlanguages of the "naturalist" school (Occidental, Latino sine flexione, etc.). Such language projects are interesting, but their authors forgot that the most difficult part of the interlanguage problem is not easy comprehension by Westerners, but ease of speech for all the peoples of the Earth. And what is more difficult is not to create an interlanguage, but to make it live, and only Esperanto has succeeded in that; to leave the base of Esperanto and the huge work already done by Esperantists would be true craziness, even more given that Esperantists will never accept a completely new language."

In the order in which they occur in the passage above, these are:   -u : -on (as Kongresu : Kongreson, fondu : fondon)  be : ĉe  te : je (date)  farevis : fariĝis  ey : kaj  kaes : kies  ''de kiu. ki : ol''  anke : ankaŭ

 ta : tiu

 kay : kiu?

 pliente ki : more than
 -n : -j (as yaron : jaroj, membrun : membrojn)

 kaw : kiun?

 projekto : projekto (change in pronunciation)

 di : (accepted) by

 pos : post

 cha : ĉiu

 dey : from

 tala : tia

 li-n-a : ili-a (lin for ili is li plus plural ''-n)
 lo : ?

 ankore : ankoraŭ

 ju : ĝin

 tu : tion

 tiente: ?

 niam : neniam

 * Correspondences

title: Esperanto II


text:
Malwana

Malwana (මල්වාන மல்வான) is a town of 36,050 (estimate as of 2011) inhabitants in the Western Province of Sri Lanka. It is situated on the banks of the Kelani River, 14 km north-east of Colombo. It is part of the Gampaha District and Biyagama electoral division. Recognized all over Sri Lanka for the exotic Rambutan fruit that grows in the area, Malwana forms part of the Biyagama free-trade zone, where government incentives has drawn investors from around the world into manufacturing ventures involving clothing and light industry. Malwana Muslim area exist with several sub-areas as well as Raxapana, Vidanagoda, Malwana- Town, Daluggala, Thottam, Pallam, Kandawatta, Burulapitiya, Rajamalwatta, Malwatta, Walgama, Ulahitiwala, Pelangahawatta, Paaluwatta, Yatihena and other areas Yabaraluwa, Mapitigama, Barukanda, Wekanda, Nagahawatta.

title: Malwana


text:
User:MarkJaroski

I'm Mark Jaroski, a software developer living in Lausanne, Switzerland, and working (as a sysadmin) at the World Health Organization in Geneva.

My main concentration of Wiki effort is over at Wikivoyage. I'm also the original author and maintainer of a Perl Client library for Mediawiki called WWW::Mediawiki::Client.

UTF-8 test characters
'G Ϙ 984    ,G ϙ  985    T3 Ϛ  986    t3 ϛ  987    M3 Ϝ  988    m3 ϝ  989    K3 Ϟ  990    k3 ϟ  991 P3 Ϡ 992    p3 ϡ  993    '% ϴ  1012   j3 ϵ  1013   IO Ё  1025   D% Ђ  1026   G% Ѓ  1027   IE Є  1028 DS Ѕ 1029   II І  1030   YI Ї  1031   J% Ј  1032   LJ Љ  1033   NJ Њ  1034   Ts Ћ  1035   KJ Ќ  1036 V% Ў 1038   DZ Џ  1039   A= А  1040   B= Б  1041   V= В  1042   G= Г  1043   D= Д  1044   E= Е  1045 Z% Ж 1046   Z= З  1047   I= И  1048   J= Й  1049   K= К  1050   L= Л  1051   M= М  1052   N= Н  1053 O= О 1054   P= П  1055   R= Р  1056   S= С  1057   T= Т  1058   U= У  1059   F= Ф  1060   H= Х  1061 C= Ц 1062   C% Ч  1063   S% Ш  1064   Sc Щ  1065   =" Ъ  1066   Y= Ы  1067   %" Ь  1068   JE Э  1069 JU Ю 1070   JA Я  1071   a= а  1072   b= б  1073   v= в  1074   g= г  1075   d= д  1076   e= е  1077 z% ж 1078   z= з  1079   i= и  1080   j= й  1081   k= к  1082   l= л  1083   m= м  1084   n= н  1085 o= о 1086   p= п  1087   r= р  1088   s= с  1089   t= т  1090   u= у  1091   f= ф  1092   h= х  1093 c= ц 1094   c% ч  1095   s% ш  1096   sc щ  1097   =' ъ  1098   y= ы  1099   %' ь  1100   je э  1101 ju ю 1102   ja я  1103   io ё  1105   d% ђ  1106   g% ѓ  1107   ie є  1108   ds ѕ  1109   ii і  1110 yi ї 1111   j% ј  1112   lj љ  1113   nj њ  1114   ts ћ  1115   kj ќ  1116   v% ў  1118   dz џ  1119 Y3 Ѣ 1122   y3 ѣ  1123   O3 Ѫ  1130   o3 ѫ  1131   F3 Ѳ  1138   f3 ѳ  1139   V3 Ѵ  1140   v3 ѵ  1141 C3 Ҁ 1152   c3 ҁ  1153   G3 Ґ  1168   g3 ґ  1169   A+ א  1488   B+ ב  1489   G+ ג  1490   D+ ד  1491 H+ ה 1492   W+ ו  1493   Z+ ז  1494   X+ ח  1495   Tj ט  1496   J+ י  1497   K% ך  1498   K+ כ  1499 L+ ל 1500   M% ם  1501   M+ מ  1502   N% ן  1503   N+ נ  1504   S+ ס  1505   E+ ע  1506   P% ף  1507 P+ פ 1508   Zj ץ  1509   ZJ צ  1510   Q+ ק  1511   R+ ר  1512   Sh ש  1513   T+ ת  1514   ,+ ،  1548 ;+ ؛ 1563   ?+ ؟  1567   H' ﺀ  1569   aM ﺁ  1570   aH ﺃ  1571   wH ﺅ  1572   ah ﺇ  1573   yH ﺉ  1574 a+ ﺍ 1575   b+ ﺏ  1576   tm ﺓ  1577   t+ ﺕ  1578   tk ﺙ  1579   g+ ﺝ  1580   hk ﺡ  1581   x+ ﺥ  1582 d+ ﺩ 1583   dk ﺫ  1584   r+ ﺭ  1585   z+ ﺯ  1586   s+ ﺱ  1587   sn ﺵ  1588   c+ ﺹ  1589   dd ﺽ  1590 tj ﻁ 1591   zH ﻅ  1592   e+ ﻉ  1593   i+ ﻍ  1594   ++ ـ  1600   f+ ﻑ  1601   q+ ﻕ  1602   k+ ﻙ  1603 l+ ﻝ 1604   m+ ﻡ  1605   n+ ﻥ  1606   h+ ﻩ  1607   w+ ﻭ  1608   j+ ﻯ  1609   y+ ﻱ  1610   :+  ً  1611 "+ ٌ  1612   =+  ٍ  1613   /+  َ  1614   '+  ُ  1615   1+  ِ  1616   3+  ّ  1617   0+  ْ  1618   aS  ٰ  1648  p+ پ  1662   v+ ڤ  1700   gf گ  1711   0a ۰  1776   1a ۱  1777   2a ۲  1778   3a ۳  1779   4a ۴  1780  5a ۵  1781   6a ۶  1782   7a ۷  1783   8a ۸  1784   9a ۹  1785   B. Ḃ  7682   b. ḃ  7683   B_ Ḇ  7686  b_ ḇ  7687   D. Ḋ  7690   d. ḋ  7691   D_ Ḏ  7694   d_ ḏ  7695   D, Ḑ  7696   d, ḑ  7697   F. Ḟ  7710  f. ḟ  7711   G- Ḡ  7712   g- ḡ  7713   H. Ḣ  7714   h. ḣ  7715   H: Ḧ  7718   h: ḧ  7719   H, Ḩ  7720  h, ḩ  7721   K' Ḱ  7728   k' ḱ  7729   K_ Ḵ  7732   k_ ḵ  7733   L_ Ḻ  7738   l_ ḻ  7739   M' Ḿ  7742  m' ḿ  7743   M. Ṁ  7744   m. ṁ  7745   N. Ṅ  7748   n. ṅ  7749   N_ Ṉ  7752   n_ ṉ  7753   P' Ṕ  7764  p' ṕ  7765   P. Ṗ  7766   p. ṗ  7767   R. Ṙ  7768   r. ṙ  7769   R_ Ṟ  7774   r_ ṟ  7775   S. Ṡ  7776  s. ṡ  7777   T. Ṫ  7786   t. ṫ  7787   T_ Ṯ  7790   t_ ṯ  7791   V? Ṽ  7804   v? ṽ  7805   W! Ẁ  7808 w! ẁ 7809   W' Ẃ  7810   w' ẃ  7811   W: Ẅ  7812   w: ẅ  7813   W. Ẇ  7814   w. ẇ  7815   X. Ẋ  7818 x. ẋ 7819   X: Ẍ  7820   x: ẍ  7821   Y. Ẏ  7822   y. ẏ  7823   Z> Ẑ  7824   z> ẑ  7825   Z_ Ẕ  7828 z_ ẕ 7829   h_ ẖ  7830   t: ẗ  7831   w0 ẘ  7832   y0 ẙ  7833   A2 Ả  7842   a2 ả  7843   E2 Ẻ  7866 e2 ẻ 7867   E? Ẽ  7868   e? ẽ  7869   I2 Ỉ  7880   i2 ỉ  7881   O2 Ỏ  7886   o2 ỏ  7887   U2 Ủ  7910 u2 ủ 7911   Y! Ỳ  7922   y! ỳ  7923   Y2 Ỷ  7926   y2 ỷ  7927   Y? Ỹ  7928   y? ỹ  7929   ;' ἀ  7936 ,' ἁ 7937   ;! ἂ 7938   ,! ἃ 7939   ?; ἄ  7940   ?, ἅ  7941   !: ἆ  7942   ?: ἇ  7943   1N    8194 1M   8195   3M    8196   4M    8197   6M    8198   1T    8201   1H    8202   -1 ‐  8208   -N –  8211 -M — 8212   -3 ―  8213   !2 ‖  8214   =2 ‗  8215   '6 ‘  8216   '9 ’  8217   .9 ‚  8218   9' ‛  8219

title: User:MarkJaroski


text:
Talk:Random mating

I decided to put an article back up for "Random mating" because it is an important concept in biology that is held independent of the Hardy-Weinberg Equilibrium theory. While random mating is important in the HWE, it is by no means the same thing. Random mating can exist without a HWE existing, and though the two are closely corrolated, they are not equivalent. If you disagree, please let me know- I'm open to all suggestions! Thanks. :) Flcelloguy 18:12, 29 May 2005 (UTC)

title: Talk:Random mating


text:
Talk:Mathematical morphology

Overhaul
I would be interested in seeing this article (and morphological image processing) fleshed out a little. I have studied morphological image processing as applied to binary images, and the extension to greyscale and in particular how it relates to lattice theory is far from obvious. CyborgTosser (Only half the battle) 18:13, 29 May 2005 (UTC)

I have just made a modification to this article; and intent it to be a first of a number of modifications. I have extensive experience on this field, and find the page to be kind of poor at this point, so I intend to add material substantially over time.Renatokeshet (talk) 06:47, 16 May 2008 (UTC)

 * By now, I've finished most of the over-haul I intended for this page. Even though I believe there is still a lot of work to do (input data on applications of mathematical morphology, make pages for granulometries, dilation and others, etc.), I believe that the page is now in a format that better suits Wikipedia. Hope it helps people, and also that people edit it. Renatokeshet (talk) 11:44, 24 June 2008 (UTC)

The figure that illustrates erosion is not correct: the center of the eroding disk should walk on the boundary of the outer rectangle. Sprocedato (talk) 14:11, 13 August 2009 (UTC)
 * The figure that illustrates erosion is correct and exact. Renato (talk) 14:51, 8 August 2010 (UTC)

The section although correct is hard to understand. I found the following link to be very useful in describing the concept. It seems it is written as a refresher for the academic.

Attention needed
Chaosdruid (talk) 04:16, 7 August 2010 (UTC)
 * Redlinks - fix
 * I'm not sure I understood. Your are saying the article needs immediate attention because it has red links? Renato (talk) 15:02, 8 August 2010 (UTC)

 * Yes - that is what is needed to be fixed immediately. Links are placed to either explain further/clarify points in the article or to link to further reading. Anyone who reads this page will not have that facility available as the links do not work. It is imperative that people can follow links and so they need fixing urgently to ensure that an average reader can understand the material by being able to have further information explained.
 * There are also other points but they are not immediate. An article riddled with redlinks is one which is obviously not getting a lot of attention.
 * Chaosdruid (talk) 19:13, 8 August 2010 (UTC)

 * I'm curious to find out how one immediately fixes an article riddled with red links. Renato (talk) 21:01, 8 August 2010 (UTC)

 * Either by delinking them or finding another article to link to which partially or wholly provides the necessary material. Chaosdruid (talk) 21:37, 8 August 2010 (UTC)

 * Delinking just because of red links is certainly something that should not be done in Wikipedia. The solution is to write the articles that are red, which is somethings that cannot be done immediately.
 * I think it's a bit of an exaggeration to mark this article for immediate attention on the grounds of red links. There are 164 links in the article, from which only 12 are red, and 3 of them are explained in the text immediately following the link. The Lead has no red links, and in fact, up to the middle of the article there are only 4 red links. That's hardly an article "riddled with red links". I wonder how many articles in Wikipedia has less than 7% red links in it.
 * I hope that what is bothering you will be addressed by the overhaul we discussed below. Meanwhile, I would like to suggest that you remove the need for attention. Thanks. Renato (talk) 22:05, 8 August 2010 (UTC)
 * Delinking because of red links is definately something that should be done if the links have been there for a while and it is unlikely that the articles are to be created soon. If an article is to be created later then the link can be created as long as that article is eventually created and two years seemed like a pretty long time. It is one thing to create a redlink to an article you are going to create next week, or one that you hope will eventually be created, but it is another to find redlinks there that have been there for years without any articles having been created.
 * As for the redlinks I had mentioned - it says fix. That can be linking to other articles than originally intended or creating the articles that were intended but the important thing is that something needed to be done as the timeframe was pretty long. There had been no discussion on here for 11 months, so forgive me for thinking that they had been left here and fogotten about lol, and during my second sweep of the Robotics project articles I found that it had not been looked at since my last visit 3 weeks previously. There were 14 or 15 redlinks and spread throughout so riddled was probably accurate - more importantly they have been there for a long time, , and the oldest (2 years ago).
 * It is good that at least now some more work has been done on here - so maybe the "attention needed" served its purpose ? As for removing it, I have no problem with that now that work is progressing. I understand that you put those links there two years ago and probably were fully intending to come back and work on them, as do I understand the problems of having RL to deal with and that it is not always easy to get back to things. Do not kill the messenger though :¬)
 * Chaosdruid (talk) 00:10, 9 August 2010 (UTC)

Plan for new overhaul
I'm planning to do a new overhaul to this article. It will take a couple of months, but here is the plan: Even after the overhaul, there will be still a lot of work in illustrating and expanding the examples. But then the article will be somewhat more directed to the general audience, rather to experts in image processing. Comments/remarks/ideas/objections? Renato (talk) 16:15, 8 August 2010 (UTC)
 * 1) Move all the mathematic details of the basic morphological operators (erosion, dilation, opening, and closing), and their definitions on different spaces (binary, grayscale and lattices), to a new page: Basic morphological operators.
 * 2) Link from this article to the new one using.
 * 3) Leave only a general description of the basic operators here, with examples.
 * 4) Elaborate on the composite operators (hit-or-miss transform, gradient, watershed, etc...)
 * 5) Provide examples of applications.

 * If you are intending to massively expand a section then fair enough, but to leave just a stub here would only move the problem from here to there. I don't think that that is really necessary as the page is not that big at the moment.
 * All that is really needed, right now, is an explanation for what the technique is/does in laymans/college language to link the reason for the articles existence to the real world functions to which it applies. I, for one, would really like to see your expertise directed more at helping get all the articles that lack this fundamental link between PhD level and layperson/college explanation fixed. It is merely a case of writing a few paragraphs in the style of "I am talking to my sixteen year old child and explaining how it works to them"
 * A large proportion of the AI, algorithm, machine learning and similarpages are not explained very well to the reader. I have been examining correlations between a couple of sources and the articles in Wiki as it appears that there may have been some Copyvio a couple of years ago. The articles are in magazines aimed at the already knowledgeable in the field, at MSc or PhD levels, and this would explain why the articles have little or no attempts at explaining the basics for the layperson or even higher school/college educated.
 * For example the reader asks themselves "But what is this used for?" - where in the article is this information?
 * Chaosdruid (talk) 19:28, 8 August 2010 (UTC)

 * I'm not intending to leave a stub, but to clean the space to "elaborate on the composite operators and to provide example and applications", as I wrote above. Also, as I wrote, my intention is to "direct the article more to the general audience, rather to experts in image processing". Having that in mind, do you have any objections to the plan as described above? Clarification: I don't know about other articles in "the field" - I wrote this one, and only this one, and no "Copyvio" took place here. Renato (talk) 20:54, 8 August 2010 (UTC)

 * Fair enough - it was the comments "Move all the mathematical details" and "Leave only a general description" which gave me the impression that not much would be left here after the changes you were proposing. Now you have explained in more detail it seems more reasonable that there will be enough material remaining.
 * I am not saying that you did any copyvio - merely that as you are involved in the field you may be able to help with the task of adding explanation and examples. There is a great shortage of experts in the fields I mentioned as many of them have had COI issues raised which can cause problems with editors jumping on them and scaring them away. Chaosdruid (talk) 21:45, 8 August 2010 (UTC)

 * So, I'll start working on it. But, as I said, it will take some time. Meanwhile, can you point me to one or more of these COI issues? I'm curious about what have happened. Renato (talk) 21:49, 8 August 2010 (UTC)

I have a trouble with the equations of the dilation in grayscale morphology: isn't it $$(f \oplus b)(x) = sup_{z \in B} f(x-z) = sup_{z \in B^s} f(x+z)$$ rather than $$= sup_{z \in B^s} f(z-x)$$? It does not seem to be coherent with the first grayscale equation of the dilation (if we set z = x - y). Plus $$sup_{z \in B} f(x-z)$$ is coherent with the chap2 of the slides of Jean Serra (p.19). Same for the erosion. What do you think ? RaffiEnficiaud (talk) 23:43, 26 August 2010 (UTC)

 * I agree, the dilation equation looks erroneous to me. Please comment on my suggested correction in the talk page here http://en.wikipedia.org/wiki/Talk:Dilation_%28morphology%29 161.84.227.13 (talk) 16:23, 21 August 2014 (UTC)

Do you think the sentence "Dilation is the opposite of the erosion" is accurate ? One may think about a reversible process, which the pair ero/dil does not meet (both transforms loose some information either on the foreground or the background) RaffiEnficiaud (talk) 23:54, 26 August 2010 (UTC)

I think there should be some numeric examples, particularly of grayscale morphology. The notation isn't particularly clear- consider dilation for example. f(x) is defined as an image, but in the equation, f(y) is used, followed by f(x-z). y is defined as an element of E, which is further defined as any real in a Euclidean space. So, to me the implication is to take some function f, apply it to every real that is a member of a Euclidean space, and then take the same function and apply it to x-z. Do that for all y, and take the highest sum, and do what with it? I think a rudimentary example with a small structuring element and numeric image would help clarify. Raligan (talk) 14:06, 9 July 2014 (UTC)

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title: Talk:Mathematical morphology


text:
Cat Arm Hydroelectric Development

The Cat Arm Generating Station is located on the Great Northern Peninsula of Newfoundland and makes use of 380.5 m of head between the reservoir and White Bay. Each of the two units operates with an average rated flow of 20 m3/s to generate a total 127 MW of electrical power with an average annual production of 733 GWh. The two 63.5 MW units, equipped with pelton turbines, were first synchronized on February 10 and 12, 1985.

The watershed of the Cat Arm River is located on a plateau with an average elevation of approximately 518 m on the raised uplands of the Long Range Mountains. The project involved the creation of a reservoir with a surface area of approximately 53 square kilometres by the erection of one main dam and seven smaller dams.

title: Cat Arm Hydroelectric Development


text:
CIMT-DT

CIMT-DT, virtual and VHF digital channel 9, is a TVA-affiliated television station licensed to Rivière-du-Loup, Quebec, Canada. Owned by Télé Inter-Rives, it is part of a twinstick with Noovo affiliate CFTF-DT (channel 29). Both stations share studios on Rue de la Chute and Rue Frontenac in Rivière-du-Loup, while CIMT-DT's transmitter is located near Chemin du Mont Bleu in Picard.

History
The station was launched on September 17, 1978. The station is part of a rare "triple-stick", owned by Télé Inter-Rives, which also owns CKRT and CFTF. Télé Inter-Rives also owns the TVA affiliate in Carleton-sur-Mer, CHAU-DT. The latter station picks up the TVA signal from CIMT, and the two stations' logos are shown in promos.

Transmitters
In addition to several smaller Quebec communities, CIMT also has a rebroadcast transmitter in Edmundston, New Brunswick. CIMT is carried on cable in most of northern New Brunswick as well as in parts of Northern Maine. Sister station CHAU also operates several rebroadcasters in New Brunswick, and its main signal covers portions of New Brunswick as well. Between them, the two stations provide TVA service to all of New Brunswick.

Since 1999, CIMT has operated a "nested" low-power rebroadcaster, CIMT-DT-6 (formerly CIMT-6), primarily serving western Rivière-du-Loup. The area's rugged topography renders the main CIMT signal more or less unviewable in the lower portions of the city. CIMT's main signal is on channel 9, while its second transmitter in Rivière-du-Loup airs on channel 41.

CIMT-DT converted all its transmitters to digital by the August 31, 2011 digital transition deadline, including its transmitters that were not required to convert by this deadline. Only its transmitters in Rivière-du-Loup was obligated to convert, as Rivière-du-Loup was a mandatory market for digital television conversion.

As part of the Spectrum auction in Canada in 2016, CIMT-DT applied to move repeater CIMT-DT-6 on UHF 41 down to UHF 35, in line with international coordination with the FCC as a result of their 600 MHz band spectrum auction removing channels 38-51 from television service. Ultimately, by November 24, 2021, CIMT-DT would instead be granted permission by the CRTC to move CIMT-DT-6 to the former CKRT-DT-3 facility, effectively restoring that transmitter to active use and decommissioning CIMT-DT-6. The reasons cited were greater reliability and lower power usage (and thus, less expensive to run), as CKRT-DT-3 was on VHF 13 when it was shut down, as opposed to the UHF band the repeater occupied.

title: CIMT-DT


text:
Stephen Storace

Stephen John Seymour Storace (4 April 1762 – 19 March 1796) was an English composer of the Classical era, known primarily for his operas. His sister was the famous opera singer Nancy Storace.

He was born in London in the Parish of St Marylebone to an English mother and Italian father. Relatively little is known through direct records of his life, and most details are known second-hand through the memoirs of his contemporaries Michael Kelly, the actor John Bannister, and the oboist William Thomas Parke.

Early years: 1762–1780
His father, Stefano Storace (b. Torre Annunziata, ca. 1725; d. London, ca. 1781), an Italian contrabassist and composer, taught him the violin so well that at ten years old he played successfully the most difficult music of the day. The composer's youth was spent entirely in the company of musicians, since his father (also a composer and arranger) was the Musical Director of Marylebone Gardens. Mistrusting the quality of musical education available in England, Stefano Storace sent his son to Italy to study, at the Conservatorio di Sant' Onofrio, Naples. Stephen neglected his musical studies in Italy, and went on painting expeditions with Thomas Jones. His interest in art may not have been entirely extinguished, however – unlike the works of any of his English contemporaries, the printed vocal scores of all his operas feature elaborate engravings of what are presumed to be the stage-designs, and it is suggested that these drawings were Stephen's own work. No other artist, at least, seems to have claimed credit for them. Towards the end of their studies, Stephen and Nancy first made the acquaintance of Michael Kelly, whom they encountered by chance in Livorno. Kelly was with English-speaking friends, and ventured an opinion (in English) as to whether the young person with Stephen was a boy or a girl. "The person is a she-animal" retorted an offended Nancy in English as the first remark in what would be a lifelong friendship with both the Storaces.

Return to England; employment in Vienna: 1780–1787
Stephen Storace returned to England sometime between the years of 1780 and 1782, most likely to settle his father's affairs after his death in Naples, which probably happened around 1780–1781. Nancy, accompanied by her mother, Elizabeth, went to Vienna in January 1783. Nancy entered into an arranged marriage (most likely arranged by her mother) to the English violinist and composer John Fisher in March 1784. The marriage only lasted a few months. It is unclear how Stephen obtained his first commission to compose an Italian opera for the Viennese stage, but the commission was most likely obtained by Nancy sometime in the fall of 1784, with Stephen arriving in Vienna sometime in late December of that same year.

Stephen produced his first opera, Gli sposi malcontenti, at Vienna, on 1 June 1785. The premiere, however, was marred by the failure of his sister's voice. She was singing the prima buffa role and collapsed on-stage in mid-aria, causing the performance to be abandoned. Nancy was pregnant and gave birth to a baby girl a few weeks later. The child was given to a foundling home by Elizabeth Storace, who claimed that it belonged to Nancy's estranged husband, John Fisher, who had been banished by the Emperor some months earlier for beating Nancy. Elizabeth Storace claimed that they did not care if the child lived or died; the child died in the foundling home a month after she was born. Nancy's return to the stage four months later was marked by the performance of Per la ricuperata salute di Ofelia, composed specially for the occasion by a trio of composers – Mozart, Salieri, and the unknown "Cornetti" (which may have been a pen-name for Stephen, Salieri, or even perhaps Emperor Joseph II). This rare example of a Mozart-Salieri collaboration was discovered only in 2016.

In Vienna, the Storaces knew Mozart very well. Nancy sang Susanna at the premiere of Mozart's Le nozze di Figaro, and Kelly sang Don Curzio. Stephen was regularly playing pool with Wolfgang. One interesting anecdote is that at one occasion in 1785 Haydn, Dittersdorf, Mozart and Wanhal played Storace's string quartet, Dittersdorf taking first violin, Haydn second violin, Mozart viola and Wanhal cello. The "English circle" in Vienna also included the composer Thomas Attwood.

Stephen produced a second opera in Vienna, Gli equivoci, founded on Shakespeare's The Comedy of Errors.

The English Operas: 1787–1796
There is no clear explanation why the Storaces abandoned Vienna at the height of their success there. The reasons are suggested to be more personal than professional. Certainly the Emperor spoke of her with great admiration, even using her abilities as an arbitrary unit of currency – "I'd not give you a Storace for it!". Quite possibly Nancy was under pressure from Elizabeth, who was not at all happy in Vienna, and wished to return to England with both of her children in tow. Nancy left Vienna in February 1787, along with her "entourage" of Michael Kelly, her brother, and Thomas Attwood. Buoyed-up by their success on the Viennese stage, the coach-party which left for London could not have imagined they would find themselves rejected and unwanted in London, where their names were quite forgotten after such a long absence. Stephen was remembered – if at all – as an infant prodigy violinist at Vauxhall Gardens, and found it very hard to secure paying work without the cherubic charm of youth behind him, and moreover as an unknown composer.

Both Nancy and Stephen imagined they might find work at the King's Theatre, which was – at that time – the home of the Royal Italian Opera, a troupe which enjoyed a Royal monopoly on the presentation of Italian opera, and in fact of any musical works which were through-composed without dialogue. Kelly succeeded in getting a few roles there (on the basis of his wider professional experience, knowing roles the King's Theatre already had in repertoire, and his legendary charm), but both Storaces found themselves excluded by the group of native Italian musicians already well-established there. Stephen too worked at the King's Theatre as music director for some operas, including his own La Cameriera Astuta, before moving in 1789 to the Theatre Royal, Drury Lane, which at this time was under the management of Richard Brinsley Sheridan. Sheridan's personal interest in the theatre had largely dried-up by this point in his career, and he was more interested in politics – his theatrical interests were primarily financial, and he had established a successful format of lavish musical spectaculars, more remarkable for their visual than musical content. To evade the Royal monopoly on opera at the King's Theatre, Sheridan presented a mixture of Singspiel-type works specially written in English in the ballad-opera style, with "English'd" versions of popular operas playing in continental Europe in which he saw some commercial opportunity. Stephen Storace's first job at Drury Lane was to make an "English" version of Dittersdorf's German Singspiel Doktor und Apotheker, which appeared in English as Doctor & Apothecary in 1787 in Storace's version. The work of making "English" versions was not just a question of translation – all complicated musical numbers (especially trios, quartets etc.) had to be "cut" to make them performable by English casts who were primarily pantomime comedians without any great musical talent. This also meant transposition of some numbers, making a fresh English text, cutting whole numbers and replacing them with dialogue, and sometimes inserting new comic songs and "patter-songs" which the public greatly enjoyed.

Stephen quickly established his credentials with Sheridan as a young man who could quickly and competently produce good results. He also had an impresario's skill for judging what would make good box-office and bring in good receipts, and he took to adding famous numbers from the Vienna stage to "spice-up" works which needed it. Seeing that the repertoire of the King's Theatre was still largely made-up of opera seria works about ancient gods or monarchs of antiquity, Storace spotted a niche in the market for the new "romantic" style of ghost-stories, gothic horror, and romance, and his first purpose-written work for Drury Lane employed all these elements. The Haunted Tower (1789) was a box-office sensation, selling out for 50 nights in succession. No little part of the success was the performance of Michael Kelly in the male lead role. Up to this time, high notes in the male parts in the theatre had been crooned falsetto by performers who were more actors than singers. Kelly's aria to the ghost of the Haunted Tower – "Spirit of My Sainted Sire!" included a top B♭ which he took in full voice in the Italian style, and proved such a success that at most performances it was encored in full. This aria outlived the rest of Storace's output by decades, and was still being reprinted in parlour songbook anthologies for the amateur tenor a century later.

However, The Haunted Tower still included "borrowings" from other composers on whose reputations tickets might be sold, and Sheridan remained adamant – despite the success of the piece – that he did not want Storace composing fresh work as a regular occurrence. Storace was put to work producing an "English" version of Gretry's Richard, Coeur du Lion, with the unfortunate difficulty that John Bannister – the famous tragedian – was cast in the main role, and was tone-deaf. No amount of re-writing could get around the problem that Richard was supposed to sing his famous ballad so that Blondin would hear it outside the castle walls. As so often in Storace's life, he was saved by his friends. Michael Kelly was now established as the audience's favourite star after Bannister, and was given a Benefit Night in 1790 – by tradition, he could choose whatever piece he believed would bring in the best receipts at the box-office. At this period a "programme" at Drury Lane would always be a double-bill – a main work, and a one-act "afterpiece" which was usually a comedy. Kelly broke with tradition and risked his income by announcing – to Sheridan's disapproval – that instead of a popular favourite, he would premiere a new afterpiece by Storace, called No song, no supper. No Song outsold even The Haunted Tower, and proved the best-selling show at Drury Lane for the following decade. Nancy had appeared as a Guest Artist in The Haunted Tower – the success of No Song obliged Sheridan to take her "onto the books", and at last she secured a full-time engagement in Britain.

It seems likely that Storace had been working on an "English" version of Vicente Martín y Soler's (known as Martini) comedy Una cosa rara – an opera which had already been cited by Mozart in the final scene of Don Giovanni. However, presumably at around the date of the No Song triumph, Storace abruptly discarded all of Martini's music in Acts II and III, and had librettist James Cobb produce an entirely new libretto, creating another "romantic" hit situated in the midst of the Ottoman-Austrian war of a few years earlier, The Siege of Belgrade (1791). From this point on Storace abandoned the ballad-opera style completely, and wrote the entire piece in the Mozartian "Singspiel" style. The Siege is remarkable for the extended ensemble numbers such as the Act I Trio for the Seraskier, Lilla and Ghita, "Your passions thus deceiving" – divided into allegro-andante-allegro sections. Alive to what the public cheered most, Storace included a bravura coloratura aria for Mrs Crouch as the imprisoned Austrian hostage, Princess Catherine, "My plaint in no-one pity moves"; a warlike Act III aria for Kelly as the "noble Turk"; and an extraordinary "Queen of the Night"-style dramatic-coloratura Act III aria for Nancy, "Domestic Peace", with a string of double-octave fast upward scales to top c '' over French-horn fanfares that brought the house down. The printed vocal score not only includes one of the famous "scenery" engravings, but cast a glove down to the King's Theatre – avoiding all euphemism the work is clearly described as "an Opera, in three acts".

The year 1792 saw Storace produce the boldest of his operatic projects, Dido, Queen of Carthage, with a libretto by Prince Hoare after Metastasio's Didone abbandonata. This was the only all-sung opera Storace produced in English – all his other works had spoken dialogue between the musical numbers. His sister regarded it as Stephen's finest work. However, for whatever reason, the piece proved unpopular with the public, and was withdrawn after a short run. The music was not thought worth printing commercially, with the result that not a note of this opera now survives, nor were any solo numbers from it printed separately.

The Pirates, also produced in 1792, was partly adapted from Gli Equivoci, and is remarkable as affording one of the earliest instances of the introduction of a grand finale into an English opera. These works were followed by some less successful productions; but The Cherokee (1794) and The Three and the Deuce (1795) were very favourably received. The Cherokee did not, unlike The Siege of Belgrade, attempt to add any "exotic" music for the Cherokee – their "War March" is disappointingly four-square and tonal, but the "War Whoop" is an exciting number. The work also introduced the public to the boy-treble star, "Master Walsh", whose coloratura talents must have been remarkable as his numbers are no less complex than Crouch's or Nancy Storace's. He was to figure regularly in Storace's works thereafter.

Storace collaborated with Sheridan in bringing William Godwin's controversial novel Caleb Williams to the stage. In the light of the French Revolution, the work – about a faithful servant whose life is ruined by a vicious master – had gained considerable notoriety, and was produced under the title The Iron Chest, first performed on 12 March 1796.

Storace's final work was Mahmoud, Prince of Persia, but he never saw the premiere.

Death
He caught cold at rehearsals for The Iron Chest, and died on 15 or 16 March 1796. He is buried in Marylebone Parish Church with a monument by the celebrated sculptor Thomas Banks.

Nancy Storace organised that the unfinished work was completed (Kelly claims to have had a hand in doing so, but it is more likely that he paid other hands to do it, since he freely admitted he could not read the bass clef. Most likely the work was finished and orchestrated by the Orchestra Leader, John Shaw, who was Kelly's collaborator on all his later projects). The work was given as a Benefit Performance for Storace's widow. Mahmoud survives, but it is clear that the completed version was very makeshift.

Storace is also known to have been involved in preparing musical spectaculars for isolated events. It is intriguing to speculate what performances like The English Fleet in 1391 may have resembled, but no details survive. He also wrote pieces "to order" for favourite performers at the Drury Lane Theatre, such as the musical comedian Richard "Dicky" Suett, for whom he wrote the musical farce My Grandmother. Unfortunately we can only imagine the visual effect of numbers such as "Dicky's Walk", which must have accompanied some on-stage buffoonery of a greatly amusing nature.

Legacy
Although Storace's English operas were popular in their time, their failure to endure in performance is in part due to the financial caution of his employer, Sheridan. A legendarily shrewd man with money, Sheridan refused to allow any copies of the Storace's works to be circulated, for fear of pirate versions being performed from which no royalties would be paid. In fact history shows that Sheridan's best attempts failed, and pirated versions of Storace's works were playing in New York by the end of the century. In 1800, the French composer Madame Ronssecy arranged and published variations on Storace’s Lullaby (from his opera The Pirates) for harp.

It is assumed that Storace’s carefully guarded opera scores and parts perished in the Drury Lane Theatre Fire. His two Viennese operas have been preserved, but only one of his English operas survives complete in score and parts – No Song, No Supper (published in Musica Britannica editions, edited by Roger Fiske). The other works survive only in piano and voice vocal scores issued by Storace's publishers, Longman & Broderip. (A number of these scores were reprinted by Kalmus Edition in the 1970s in the USA, but all have been deleted and no details are available from Kalmus). The surviving vocal scores have clearly been prepared by an expert hand, and are extensively "cued" with the orchestral parts in smaller notes – it seems possible that Storace himself, or one of his closer assistants, must have prepared these vocal scores. There are, to date, no commercially available recordings of any of Storace's operas. Storace is not known to have written any exclusively instrumental music, other than the overtures for his operas.

The character of Storace's music is preeminently English; but his early intercourse with Mozart gave him an immense advantage over his contemporaries in his management of the orchestra, while for the excellence of his writing for the voice he was no doubt indebted to the vocalisation of his sister Ann (Nancy) Storace.

Operas

 * Gli sposi malcontenti (libretto by G. Brunati, opera buffa, 1785, Vienna)
 * Gli equivoci (libretto by Lorenzo da Ponte based on Shakespeare's Comedy of Errors, opera buffa, 1786, Vienna)
 * La cameriera astuta (Librettist unknown, comic opera, 1788, London)
 * The Doctor and the Apothecary (libretto by James Cobb, afterpiece, 1788, London)
 * The Haunted Tower (libretto by James Cobb, mainpiece, 1789, London)
 * No song, no supper (libretto by Prince Hoare, afterpiece, 1790, London)
 * The Siege of Belgrade (libretto by James Cobb, mainpiece, 1791, London)
 * The Cave of Trophonius (libretto by Prince Hoare, afterpiece, 1791, London)
 * Poor Old Drury (libretto by James Cobb, prelude, 1791, London)
 * Dido, Queen of Carthage (libretto by Prince Hoare based on Metastasio, opera seria, 1792, London)
 * The Pirates (libretto by James Cobb, mainpiece, 1792, London)
 * The Price (libretto by Prince Hoare, afterpiece, 1793, London)
 * My Grandmother (libretto by Prince Hoare, afterpiece, 1794, London)
 * Lodoiska (libretto by John Philip Kemble, afterpiece, 1794, London; an "English'd" version of the Cherubini opera, compiled by Storace, largely with Cherubini's music).
 * The Glorious First of June (libretto by James Cobb and R. B. Sheridan, afterpiece, 1794)
 * The Cherokee (libretto by James Cobb, afterpiece, 1794, London)
 * The Three and the Deuce (libretto by Prince Hoare, afterpiece, 1795, London)
 * The Iron Chest (libretto by George Colman II, mainpiece, 1796, London)
 * Mahmoud (libretto by Prince Hoare, mainpiece, 1796, London)

Ballet

 * Venus and Adonis (1793, London)

title: Stephen Storace