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Seventh Sojourn

Seventh Sojourn is the eighth album by the Moody Blues, released in October 1972. The album reached No. 5 in the United Kingdom, and became the band's first American chart-topper, spending five weeks at No. 1 there to close out 1972.

Background
The album is a collection of songs without a conceptual theme, continuing the style of its two predecessors, A Question of Balance and Every Good Boy Deserves Favour. According to John Lodge, "The album was very loosely based on the idea of The Canterbury Tales by Chaucer. This is how Seventh Sojourn evolved: we told stories, but musically."

The sessions were an unhappy time for the group. Sojourn would prove to be the group's last album together until 1978's Octave. Remembers drummer Graeme Edge, "At the time of recording Seventh Sojourn, it was my least favourite album. But years later, after coming to it with fresh ears and away from all of the pressures of that time, I realised that it was really rather good!"

Though it's overall the eighth Moody Blues album, Seventh Sojourn is the seventh album featuring this specific line-up of musicians. The first Moody Blues LP, The Magnificent Moodies, featured a substantially different line-up and sound when compared to the group's subsequent work.

Writing
Guitarist Justin Hayward recalls the inspiration behind Mike Pinder's socially conscious "Lost in a Lost World": "I think at the time, we were doing so much, so many universities and student functions, and that was our audience. I think we were just reflecting what was going on around us. [...] we were only reflecting the general conversation of young people at the time. For me, I was 21 or 22 years old, and we were reflecting a lot of that. We were lucky enough in Great Britain that what they called conscription finished, but of course so many of our friends in the U.S. were being drafted. It was a very disturbing time for young people."

Hayward's "New Horizons" was inspired by loss. He explains, "It was at a really tough time in my life. I’d not long lost my father. There was quite a lot of death around me, and I was having to cope with that and work out how you handle that and what you do and how you can get through it. It’s very poignant to me."

Ray Thomas recalls writing his longing love song "For My Lady": "That was really just after my divorce. Basically I'm saying I'd give my life for a gentle lady."

Lodge remembers the inspiration for "Isn't Life Strange": "That song wrote itself, strangely enough. I was with my wife, and a couple of friends, and I have a baby grand piano in my drawing room in my house in England. We were having dinner and I could hear this tune in my head and I excused myself. I went over to the piano and, basically, I wrote the whole song, then and there. It only had one lyric at that time, 'Isn't life strange.' I wrote the music right then and there. I remember going to bed and wondering, 'I wonder if I have written that song, or if it was something else? In the morning I am going to go downstairs and play it and see if it stands up.' It did. That next day I sat down and wrote all of the lyrics. The other thing, which is really interesting about that, and shows how things have changed, is that we did all of our vocals on that song on a Friday night, out of necessity, as we were leaving for a tour of America. We landed in New York and we took the tapes to London Records on a Saturday in New York and it was released as a single the following Friday. That was a different time then. It is unheard of today. It moved fast and it was so unbelievable."

Pinder's "When You're a Free Man" is addressed to Timothy Leary, who befriended the band after the release of their song "Legend of a Mind". At the time, Leary was imprisoned on a marijuana charge. In a later interview, Pinder defends Leary: ""He's a tremendous humanitarian with a tremendous capacity to bring people together. He's magnetic and he attracts negative energy as well as positive."

Lodge wrote "I'm Just a Singer (In a Rock and Roll Band)" as a response to fans who mistakenly read guru-like wisdom into the group's lyrics. He recounts one particular event that inspired the song: "Somehow, some of our fans attributed us with having the answer to the universe. I remember coming home from a tour of the US and when I got to my house I saw all these people camping out in the front yard. I asked what they were doing and they said, 'We've been told you're going to fly the spaceship that's going to save us all.' I actually don't like flying! I respected that young people at that time were looking for answers but like I said in the song, 'If you want the wind of change to blow about you/And you're the only other person to know, don't tell me/I'm just a singer in a rock and roll band.'"

Recording
Initial sessions took place at Mike Pinder's home studio built in the garage of his home "Beckthorns" in January 1972. Hayward reflects on the setting and the band's difficulty adjusting to their commercial success: "It was a ludicrous situation; we could afford to record anywhere in the world, and there we were in our keyboard player's garage. We were so frightened of failure that we just tried to make ourselves smaller and smaller." The group soon moved to one of Decca's proper recording studios. Work on the album continued from February through September at Decca Studio 4 on Tollington Park in North London.

The album is notable for Mike Pinder's use of a new keyboard instrument, the Chamberlin, alongside his familiar Mellotron. Hayward discussed the instrument's advantages: "We'd found a great replacement for the Mellotron, an American instrument called the Chamberlin. It worked on the same principle as the Mellotron, but had much better quality sounds – great brass, strings and cello and so on. With the Mellotron you had to overdub and overlay it, adding echo to get it to sound nice. The Chamberlin was a louder instrument and had a much better sound quality."

Each of the band members recall the sessions being an unhappy time for the group. According to Hayward, "The album took a long time to make and I found it a painful experience. It became obvious to me that the five of us wouldn't make another album. We didn't argue, it was just an unhappy time. No one was really enjoying the creative process and it was a struggle to get things done." Graeme Edge adds, "It was a strained and awkward period for us. Mike Pinder, particularly, found it difficult. We were all exhausted and had become prisoners of our own success." Thomas remembers, "By the time we began the sessions I think we needed a break from each other. Up to that time everywhere one of us went the others would be there too. All my experiences were their experiences." Lodge continues, "Unwittingly, we'd called time on ourselves via the title Seventh Sojourn. According to the bible, 'thou shalt rest' on the seventh day. The word "sojourn" means to call a halt. We needed to escape from our cocoon and get out and meet ordinary people once more to return our lives to something more recognisable as normality."

The band made one more attempt to record an album in 1973, without success. That year, they embarked on a highly successful but fatiguing world tour. Lodge remembers, "By then we were subject to lateral pressures which we'd brought on ourselves that were outside of music. On our 1973 tour we had our own Boeing 707 aircraft which was decked out with a sitting room and a fireplace. There were two bedrooms, some twenty individual TV's, sound systems everywhere and we had our own butler and our name written on the outside of the plane. I had a very empty feeling knowing that things had got this excessive." He continues, "By 1974, we had touring companies, we had our own record company, we had offices, a string of record shop stores we had across the south of England. We had forgotten the most basic thing, we stopped talking to each other! We shared all the same emotions and experiences together, we really didn't have anything to say to each other. We said, let's take a break and get rid of the clutter. We did! We waited until the time was right to get back together then we put out Octave."

Album cover
The album is the group's last to feature artwork by longtime collaborator Phil Travers. He remembers the process of designing the cover featuring a surrealistic landscape: "It is impossible for me to tell how long it took me to produce the illustrations other than to say that, in most cases, I had days rather than weeks to complete them and submit them for approval. At the first meeting we would listen to the soundtrack together and discuss the themes and ideas behind the album. It was then left to me to produce a pencil rough which was then discussed further. Eventually a consensus would be reached and the painting would begin in earnest. Time always was of the essence, and many times I was working all day and all night to meet the printer’s deadline. But I have to say it was greatly fulfilling and I thoroughly enjoyed it. As for the way I painted, I used Gouache and some watercolor, and very often I employed an airbrush."

Release
In April 2007 the album was remastered into SACD format and repackaged with four extra tracks. "Island", the fourth bonus track, is an unfinished recording from 1973, made during the brief sessions for a follow-up album that never happened.

In 2008, a remaster for standard audio CD was issued with the same bonus tracks.

Reception
Two hit singles came from this album: "Isn't Life Strange" (No. 13 UK, No. 29 US) and "I'm Just a Singer (In a Rock and Roll Band)" (No. 36 UK, No. 12 US). However, both songs were overshadowed by the re-release of "Nights in White Satin", which had been first released in 1967. Whereas both singles from Seventh Sojourn made the top 40, "Nights In White Satin" bested both, hitting No. 9 in the UK and No. 2 in the United States and gaining the highest American chart position for a Moody Blues single.

Record World rated "I'm Just a Singer" and "Land of Make-Believe" as "dynamite cuts".

Classic Rock History critic Brian Kachejian rated three songs from Seventh Sojourn as being among the Moody Blues' 10 best – "New Horizons", "Lost in a Lost World" and "For My Lady".

Personnel

 * Justin Hayward ― vocals, guitars
 * John Lodge ― vocals, bass, cello, acoustic guitar
 * Ray Thomas ― vocals, flute, tambourine, saxophone, oboe
 * Graeme Edge ― drums, percussion, vocals
 * Mike Pinder ― vocals, Chamberlin, piano, harmonium, cello

Production
Sources:
 * Producer - Tony Clarke
 * Recording engineers - Derek Varnals and Tony Clarke ("Isn't Life Strange")
 * Assistant engineer - David Baker
 * Cover and liner art - Phil Travers
 * Inner sleeve - The Moodies
 * All instruments played by The Moody Blues
 * Recorded at Tollington Park Studios, London

title: Seventh Sojourn


text:
Sancho VI

Sancho VI may refer to:

 * Sancho VI William of Gascony (d. 1032)
 * Sancho VI of Navarre (1132–1194)

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

title: Sancho VI


text:
Time3

Time3 (also known as Time Cubed) is a 1992 three-CD compilation box set by the American rock band Journey. The tracks are arranged chronologically and include both studio and live tracks. A booklet documenting the band's history and song details is included.

With the box set can be heard the progression of the band from the early days with heavy influences from Gregg Rolie (1972-1980), Aynsley Dunbar (1973-1978), and Neal Schon (1972–present), to the changes the band made with the addition of Steve Perry (1978–1997) and Jonathan Cain (1981-present), to the differences of the band after 1983, including Schon's jazz influences and the album Raised on Radio.

The box also features several unreleased Journey songs, alternate versions or even demos such as "Velvet Curtain", the very early (incomplete) version of "Feeling That Way" before Perry rebuilt the whole song structure.

Track listing

 * Time 1
 * 1) "Of a Lifetime" (Neal Schon, Gregg Rolie, George Tickner)
 * 2) "Kohoutek" (N. Schon, Rolie)
 * 3) "I'm Gonna Leave You" (N. Schon, Rolie, Tickner)
 * 4) "Cookie Duster" (previously unreleased) (Ross Valory)
 * 5) "Nickel and Dime" (N. Schon, Rolie, Tickner, R. Valory)
 * 6) "For You" (previously unreleased, lead vocals by Robert Fleischman) (N. Schon, Rolie, Robert Fleischman)
 * 7) "Velvet Curtain/Feeling That Way" (previously unreleased) (Steve Perry, Rolie, Aynsley Dunbar)
 * 8) "Anytime" (N. Schon, Rolie, Fleischman, R. Valory, Roger Silver)
 * 9) "Patiently" (Perry, N. Schon)
 * 10) "Good Times" (previously unreleased) (Sam Cooke)
 * 11) "Majestic" (Perry, N. Schon)
 * 12) "Too Late" (Perry, N. Schon)
 * 13) "Sweet and Simple" (Perry)
 * 14) "Just the Same Way" (N. Schon, Rolie, R. Valory)
 * 15) "Little Girl" (from the Dream, After Dream soundtrack) (Perry, N. Schon, Rolie)
 * 16) "Any Way You Want It" (Perry, N. Schon)
 * 17) "Someday Soon" (Perry, N. Schon, Rolie)
 * 18) "Good Morning Girl" (Perry, N. Schon)

 * Time 2
 * 1) "Where Were You" (Perry, N. Schon)
 * 2) "Line of Fire" (Perry, N. Schon)
 * 3) "Homemade Love" (Perry, N. Schon, Steve Smith)
 * 4) "Natural Thing" (B-side of Don't Stop Believin') (Perry, R. Valory)
 * 5) "Lights" (live) (Perry, N. Schon)
 * 6) "Stay Awhile" (live) (Perry, N. Schon)
 * 7) "Walks Like a Lady" (live) (Perry)
 * 8) "Lovin', Touchin', Squeezin'" (live) (Perry)
 * 9) "Dixie Highway" (live) (Perry, N. Schon)
 * 10) "Wheel in the Sky" (live) (N. Schon, Fleishman, Diane Valory)
 * 11) "The Party's Over (Hopelessly in Love)" (Perry)
 * 12) "Don't Stop Believin'" (Perry, N. Schon, Jonathan Cain)
 * 13) "Stone in Love" (Perry, N. Schon, Cain)
 * 14) "Keep on Runnin'" (Perry, N. Schon, Cain)
 * 15) "Who's Crying Now" (Perry, Cain)
 * 16) "Still They Ride" (Perry, N. Schon, Cain)
 * 17) "Open Arms" (Perry, Cain)
 * 18) "Mother, Father" (Perry, N. Schon, Cain, Matthew Schon)

 * Time 3
 * 1) "La Raza Del Sol" (B-side of "Still They Ride", previously unreleased - alternate version) (Perry, Cain)
 * 2) "Only Solutions" (from the film Tron) (Perry, N. Schon, Cain)
 * 3) "Liberty" (previously unreleased) (Perry, N. Schon, Cain)
 * 4) "Separate Ways (Worlds Apart)" (Perry, Cain)
 * 5) "Send Her My Love" (Perry, Cain)
 * 6) "Faithfully" (Cain)
 * 7) "After the Fall" (Perry, Cain)
 * 8) "All That Really Matters" (previously unreleased, lead vocals by Jonathan Cain) (N. Schon, Cain)
 * 9) "The Eyes of a Woman" (Perry, N. Schon, Cain)
 * 10) "Why Can't This Night Go on Forever" (Perry, Cain)
 * 11) "Once You Love Somebody" (Perry, N. Schon, Cain)
 * 12) "Happy to Give" (Perry, Cain)
 * 13) "Be Good to Yourself" (Perry, N. Schon, Cain)
 * 14) "Only the Young" (from the film Vision Quest) (Perry, N. Schon, Cain)
 * 15) "Ask the Lonely" (from the film Two of a Kind) (Perry, Cain)
 * 16) "With a Tear" (instrumental; previously unreleased) (Perry, N. Schon, Cain)
 * 17) "Into Your Arms" (instrumental; previously unreleased) (Perry, N. Schon, Cain)
 * 18) "Girl Can't Help It" (previously unreleased - live video mix) (Perry, N. Schon, Cain)
 * 19) "I'll Be Alright Without You" (previously unreleased - live video mix) (Perry, N. Schon, Cain)

title: Time3


text:
Ghost Reveries

Ghost Reveries is the eighth studio album by Swedish progressive metal band Opeth. It was released on 29 August 2005. It was their first album after signing with Roadrunner Records, and first album since Still Life (1999) to not be produced by Steven Wilson.

Ghost Reveries is the first album by Opeth to include keyboardist Per Wiberg as a "permanent" member (although Wiberg contributed keyboard work to Opeth's live performances starting around the time of Lamentations), and it is the last Opeth album to include drummer Martin Lopez and long-time guitarist Peter Lindgren.

The album's only single is "The Grand Conjuration". A music video of the song was released, although about half of the song was edited from the video, due to the length of the song. Lopez does not appear in the video, as he was sick and was temporarily replaced by Gene Hoglan.

Background
Opeth returned home in 2004 to start writing new material for its eighth album; by the end of the year, they had finished writing it. For the first time since Still Life, the songs for Ghost Reveries were written for the album before going into the studio. This gave Opeth three weeks to rehearse and perfect the recording in the studio. The band had to decide whether to record the album at Fascination Street Studios in Örebro, Sweden, or at Sonic Ranch. They eventually chose Fascination Street Studios, as it was closer to their homes.

Opeth's European label, Music for Nations, closed its doors in 2005. After negotiations with various labels, the band signed with Roadrunner Records. Åkerfeldt said the primary reason for signing with Roadrunner was the label's wide distribution, ensuring the album would be available at larger-chain retailers. When news leaked that the band was signed to Roadrunner, who predominantly worked with trend-oriented rock and metal, some fans accused the band of selling out. "To be honest," Åkerfeldt said, "that's such an insult after 15 years as a band and 8 records. I can't believe we haven't earned each and every Opeth fan's credibility after all these years. I mean, our songs are 10 minutes long!"

Style
The album marks a temporary return to the progressive metal styles of the previous albums and features death growls. However, it still includes some of the progressive rock elements of Damnation.

Ghost Reveries was initially intended to be a concept album, with numerous tracks linking together a story of a man's turmoil after committing an unconscionable act, symbolised by killing his own mother. However, Mikael Åkerfeldt commented: ""I had intended to do a occult concept piece lyrically and got off to a great start with some downright evil lyrics like "The Baying of the Hounds" and "Ghost of Perdition", then I did "Isolation Years" which had nothing to do with the intended concept but I liked it so much I decided to ease up on the concept idea in favour of this one lyric. Why I decided on a occult theme? Well, I've always been intrigued by it, especially Satanism and stuff like that. I studied some books that oddly enough my wife had in her collection like "Servants of Satan" as well as "Witchcraft and Sorcery" + some more. I figured it'd be interesting to see what a mature 31 year old mind would make of this subject as opposed to the 16 year old kid who used to pose in front of his Bathory poster. I'm quite happy with them to be honest, and they're ... evil!"" The album only partly portrays a concept, not fully arranged in the poetic manner as previous releases such as Still Life and My Arms, Your Hearse.

Many of the album's tracks make use of an unusual open Dmadd9 guitar tuning, in contrast to the rest of the band's material, which is largely played in standard tuning.

"The Baying of the Hounds" is partially inspired by lyrics from the song "Diana" from Comus's album First Utterance.

Artwork
The artwork was created after the completion of the album. Åkerfeldt commented on the artwork, saying: ""I'd been looking for one of the old medieval looking woodcuts, me and Peter went to the Royal library here in Stockholm looking for a evil (yep!) picture, but that was like searching for a needle in a haystack. Couldn't find one. In the meantime, I'd received some pics from good ol' Travis Smith. And as per usual with Mr. Smith, he's a genius ... the candle pictures just blew me away ... that's the cover, fuck the woodcuts! I love it! It's probably the most gothic looking cover we've had, right?""

Release
Ghost Reveries was released in Europe on 29 August 2005, and in North America on 30 August 2005.

A special edition of the album was released by Roadrunner Records on 31 October 2006. It is packaged in a large digipak and contains a CD and DVD, along with new cover art and an extended booklet featuring extra album artwork and a letter from Åkerfeldt. The CD contains the original tracks from the album, as well as a bonus cover of "Soldier of Fortune" by Deep Purple, which was recorded as a live take with the band's new drummer, Martin Axenrot. The DVD contains a Dolby 5.1 surround sound mix (not including the bonus track), a 40-minute documentary, and the video for "The Grand Conjuration". This documentary details the making of Ghost Reveries, offering a behind-the-scenes look at the band's day-to-day life while recording and touring.

Some copies of Ghost Reveries were mastered using HDCD. Although it is unmarked, playing the album in a CD player able to decode HDCD will give superior sound quality.

"Ghost of Perdition" is included in the soundtrack for the video game Saints Row 2 on the radio station Krunch 106.66. As of 29 November 2011, it is also available for download for the video game Rock Band 3. "The Grand Conjuration" is included in the soundtrack for the video game Sleeping Dogs, on the radio station "roadrunner records". It is also included in the soundtrack for the video game Final Fight: Streetwise, being the boss battle theme song of one of the game's bosses, Famine.

Reception
Ghost Reveries peaked on the Billboard 200 at number 64 and number 62 in the UK. The album reached number nine in Sweden, higher than any previous Opeth release.

Ghost Reveries received widespread acclaim upon release. Thom Jurek of AllMusic cited Ghost Reveries as a culmination of everything Opeth had worked towards throughout their career. Jurek defined the album as "fully realized, stunningly beautiful, and emotionally fragmented; it's a terrain where power, tenderness, and sheer grief hold forth under heavy manners. Awesome." Billboard described the album as delving further towards Opeth's progressive tendencies, commenting that the "alternating between powerful metal bursts and gauzy atmospheres requires patient listening, but it allows for better exploration of the beautifully dark world Opeth creates." Brandon Stosuy of Pitchfork praised Opeth's diverse musical influences and instrumentation, as a blend of "prog, jazz, stoner haze, blues-rock, Indian raga, pastoral tips, and acid-tinged freakers." Exclaim! reviewer Max Deneau similarly praised their songwriting and musicianship as key to Opeth's formula, whilst commenting on the addition of keyboardist Per Wiberg as having added "a volatile new dynamic to the band." Keith Bergman of Blabbermouth.net gave the album ten out of ten, one of only 21 albums to achieve a perfect rating from the site. Decibel called Ghost Reveries "achingly beautiful, sometimes unabashedly brutal, often a combination of both." The Aquarian Weekly placed Ghost Reveries among the band's finest work, writing: "This record was in the running for best metal release of the year before it even came out and now that it has, it may very well have decimated any competition."

Ghost Reveries was named the best album of 2005 by Metal Hammer. It was also ranked No. 1 on PopMatters "Best Metal Albums of 2005" and on webzine Metal Storm. Ghost Reveries appeared on many end of year lists, including Kerrang!, Terrorizer, Drowned In Sound and The Village Voice's Pazz & Jop poll. In a retrospective list, Loudwire named it the best metal album of 2005.

In 2014, TeamRock put Ghost Reveries at #46 on their "Top 100 Greatest Prog Albums of All Time" list commenting that "this was a partial concept album, with Satanism as its theme. It’s now regarded as one of the defining albums of 21st-century progressive metal." Loudwire placed the album at #3 on their "Top 100 Hard Rock and Heavy Metal Albums of the 21st Century" list, only being beaten out by System of a Down's Toxicity (#2) and Tool's Lateralus (#1).

Track listing

 * Notes:

Opeth

 * Mikael Åkerfeldt – vocals, rhythm guitar, lead guitar, acoustic guitar, Mellotron
 * Peter Lindgren – lead guitar
 * Martín Méndez – bass
 * Per Wiberg – Hammond organ, Mellotron, grand piano, Moog
 * Martin Lopez – drums, percussion

Production

 * Jens Bogren – production, engineering, mixing, mastering (at Cutting Room Studios), 5.1 remix
 * Opeth – production, engineering, mixing, mastering, art direction, recording ("Soldier of Fortune")
 * Pontus Olsson – engineering ("Soldier of Fortune"), mixing ("Soldier of Fortune")
 * Rickard Bengtsson – recording
 * Anders Alexandersson – recording
 * Niklas Källgren – recording
 * Thomas Eberger – mastering

Additional personnel

 * Travis Smith – art direction, illustration, layout
 * Anthony Sorrento – band portraits

title: Ghost Reveries


text: Category:Loyalist Volunteer Force

title: Category:Loyalist Volunteer Force


text:
Video game clone

A video game clone is either a video game or a video game console very similar to, or heavily inspired by, a previous popular game or console. Clones are typically made to take financial advantage of the popularity of the cloned game or system, but clones may also result from earnest attempts to create homages or expand on game mechanics from the original game. An additional motivation unique to the medium of games as software with limited compatibility, is the desire to port a simulacrum of a game to platforms that the original is unavailable for or unsatisfactorily implemented on.

The legality of video game clones is governed by copyright and patent law. In the 1970s, Magnavox controlled several patents to the hardware for Pong, and pursued action against unlicensed Pong clones that led to court rulings in their favor, as well as legal settlements for compensation. As game production shifted to software on discs and cartridges, Atari sued Philips under copyright law, allowing them to shut down several clones of Pac-Man. By the end of the 1980s, courts had ruled in favor of a few alleged clones, and the high costs of a lawsuit meant that most disputes with alleged clones were ignored or settled through to the mid-2000s. In 2012, courts ruled against alleged clones in both Tetris Holding, LLC v. Xio Interactive, Inc. and Spry Fox, LLC v. Lolapps, Inc., due to explicit similarities between the games' expressive elements.

Legal scholars agree that these cases establish that general game ideas, game mechanics, and stock scenes cannot be protected by copyright – only the unique expression of those ideas. However, the high cost of a lawsuit combined with the fact-specific nature of each dispute has made it difficult to predict which game developers can protect their games' look and feel from clones. Other methods like patents, trademarks, and industry regulation have played a role in shaping the prevalence of clones.

Overview
Cloning a game in digital marketplaces is common. It is hard to prevent and easy to compete with existing games. Developers can copyright the graphics, title, story, and characters, but have more difficulty protecting software design and game mechanics. A patent for the mechanics is possible but expensive and time-consuming. Popular game concepts often lead to that concept becoming incorporated or expanded upon by other developers. In other cases, games may be developed with clear influence from one or more earlier games. Such derivations are not always considered clones though the term may be used to make a comparison between games. As copyright law does not protect game mechanics, the reuse of such ideas is generally considered acceptable. For example, Grand Theft Auto III spurred a number of games that have been called GTA clones but which are not direct copies of assets or mechanical ideas. In these cases, games that are "clones" of another are generally not implied to have committed any intellectual property infractions, and otherwise considered legally acceptable practices, although calling such games clones is generally considered derogatory.

True video game clones occur when competitors, on seeing the success of a video game title, attempt to compete by creating a near-copy of the existing game with similar assets and gameplay with little additional innovation; developer Jenova Chen compared the nature of these clones similar to plagiarism in which there is little attempt to distinguish the new work from the original. Video game clones are seen by those developing them as low risk; knowing that a game or genre is popular, developing a clone of that game would appear to be a safe and quick investment, in contrast with developing a new title with unknown sales potential. Further, cloning of games from smaller developers, particularly indie developers, is more frequent as these small teams lack the financial resources to pursue legal recourse. Instead, these teams often appeal to social influence to try to have the cloner take corrective actions.

Hardware cloning (1970s–2000s)
Cloning of video games came early in the arcade video game industry shortly after the release of Pong by Atari in 1972. Its success led to numerous companies buying a copy of the arcade machine to try to make their own versions. Atari's Nolan Bushnell called these vendors "jackals", but took no legal action and instead focused on making new games to try to outpace them. Bushnell also maintained contractual agreements with Bally Manufacturing and Midway Manufacturing; in the case of Midway, Atari providing Midway with a licensed Pong design that Midway released as Winner.

One of those companies that had copied Pong was Allied Leisure, which had released its Paddle Battle arcade game in early 1973. When the market shifted from the two-player to four-player table tennis versions in mid-1973, Allied Leisure produced two new arcade games, Tennis Tourney and Ric-o-chet, both which Midway stated caused demand for the two-player Winner to drop dramatically. To stay competitive, Midway acquired one of Allied's games to compare the printed circuit board to that from Winner as to determine what was the new components for making it a four-player game, and added that to Winner board, and released as Winner IV. Allied Leisure filed suit against Midway claiming copyright infringement of using its printed circuit board design in making Winner IV and unfair competition, but the judge failed to agree to a preliminary injunction, ruling that while a drawing of the printed circuit board may have copyright protection, the physical board itself would not and instead would be covered by patents, which were not involved in this case. The case was settled out of court in 1974 for undisclosed terms, believed due to factors relating to a short downturn in the market, as David Braun, the CEO of Allied Leisure had said in 1974 that "th[e] video game is yesterday's newspaper". The settlement was also likely due to pressure from the patent issues that had arisen around the home versions of Pong in the first generation of consoles that were occurring simultaneously.

The base ideas of a home video game console were developed by Ralph H. Baer while working at Sanders Associates, where in 1966 he began work on what ultimately became his "Brown Box" prototype. After securing approval of a proposal for his idea from his superiors, Baer worked with Sanders engineers Bill Harrison and Bill Rusch to execute its design while keeping it within a low cost target. By 1967, the optimized design was ready to be shopped to other manufacturers as Sanders was not in that market area. To protect the idea, Sanders applied for and received three patents in Baer's, Harrison's, and Rusch's names, covering their "television gaming apparatus"; this included the 1974 reissued U.S. Patent RE28,507 for a "television gaming apparatus", U.S. Patent 3,659,285 for a "television gaming apparatus and method", and U.S. Patent 3,728,480 for a "television gaming and training apparatus". Sanders eventually licensed the technology and the patents to Magnavox, which used it to make the Magnavox Odyssey, released in 1972. In 1974, Magnavox sued several companies on patent infringement for creating and distributing table-tennis arcade games including Atari and Midway. Atari settled in 1976 and agreed to pay Magnavox US$1,500,000 for a perpetual license to the three patents and other technology sharing agreements, allowing them to continue to release their home version of Pong. This case was ultimately decided in Magnavox's favor against the remaining defendants in early 1977.

However, just as with the arcade version, the home version of Pong drew a number of third-party hardware manufacturers to make Pong clones on the market, to a point where it was estimated that Atari's Pong console represented only about a third of sales of home Pong consoles. Magnavox continued to pursue action against these Pong clones using the three patents, estimated to have won over US$100 million in damages from suits and settlements through the lifetime of the patents. Threats of lawsuits did not prevent more clones of the home console systems from being built, as these dedicated consoles were relatively risk free and easy to manufacture. This led to a flooded dedicated-game console market, and creating the industry's first market crash in 1977.

Closed consoles were not the only cloned systems. The ZX Spectrum had been released in the United Kingdom in 1982 and its low cost compared to other home computers helped give birth to the video game sector in the UK as well as Western Europe. The system could not be imported into the Eastern bloc countries, but enterprising companies found ways to clone the ZX Spectrum hardware at even lower cost. With teenagers and young adults able to afford these hardware clones, they too were able to begin developing their own games and helped to launch the video game industry within these countries.

Early copyright protection (1980s)
While hardware itself became difficult to clone, the software of games were subsequently used in unlicensed copies for other systems. Cloning of arcade video games was popular during the arcade's "golden age" in the early 1980s. Arcade games, prior to mass production, were made in limited numbers for field testing in public spaces; once news got out that a new arcade game from industry leaders like Atari was out in the open, third-party competitors would be able to scope the game and rush to make a clone of the game, either as a new arcade game or for home consoles; an occurrence which happened with Missile Command in 1980. This ultimately diluted the market for new arcade games.

An early legal question was whether video games were even eligible for intellectual property protection, as both industry and legal experts were unclear on whether copyright law applied. One such game was Breakout, which inspired many games, including Arkanoid, which itself inspired many other clones. When Atari decided to register its Copyright in Breakout, Register of Copyrights Ralph Oman refused to register the work because it "did not contain at least a minimum amount of original pictorial or graphic authorship, or authorship in sounds". Atari challenged Oman's decision not to award the game copyright protection, and courts sided with Atari that even simple video games could become copyrightable works, as they were both fixed and original expression. Midway sued Artic for making Puckman, an alleged clone of Pac-Man, with Artic responding that video games were not "fixed in any tangible medium of expression" and thus ineligible for copyright. Courts sided with Midway that aspects of an arcade game were copyrightable, even though the images that appeared on the screen were transient. Stern Electronics, Inc. v. Kaufman similarly decided that the look and feel of a game was fixed, and thus copyrightable, despite differences in the images between different player playthroughs. Thus, it became widely established that video games were eligible for copyright protection, against potentially infringing clones.

The most widely cloned arcade games in the early 1980s included Space Invaders (1978), Pac-Man (1980) and Donkey Kong (1981), clones of which were available for various different platforms by 1983. Clones and variants numbered in the hundreds for Space Invaders and Pac-Man, more than a hundred for Frogger, and dozens for Donkey Kong. They were programmed by professional and amateur coders for platforms ranging from desktop microcomputers to graphing calculators. Nintendo estimated a loss of over US$100 million to Donkey Kong clones on various different platforms despite attempts at litigation to stop them; the matter was further complicated by the Universal City Studios, Inc. v. Nintendo Co., Ltd. case where Universal Studios who claimed ownership over King Kong attempted to take action against Donkey Kong and its clones, notably the Tiger Electronics handheld electronic game King Kong, but the court ruled in Nintendo's favor along with ordering Tiger to pay damages to Nintendo.

BYTE reported in December 1981 that at least eight clones of Atari's arcade game Asteroids existed for personal computers. The magazine stated in December 1982 that that year "few games broke new ground in either design or format ... If the public really likes an idea, it is milked for all it's worth, and numerous clones of a different color soon crowd the shelves. That is, until the public stops buying or something better comes along. Companies who believe that microcomputer games are the hula hoop of the 1980s only want to play Quick Profit". The degree of cloning was so great that in 1981, Atari warned in full-page advertisements "Piracy: This Game is Over", stating that the company "will protect its rights by vigorously enforcing [its] copyrights and by taking appropriate action against unauthorized entities who reproduce or adapt substantial copies of ATARI games", like a home-computer clone. In Atari, Inc. v. Amusement World, Inc. (547 F. Supp. 222, 1982), Atari sued Amusement World claiming that its video game Meteors violated their copyright on Asteroids. The court did find twenty-two similarities between the two games, but ruled against Atari's claims, citing these elements as scènes à faire for games about shooting at asteroids. This was based on a principle in copyright law known as the idea-expression distinction, that copyright does protect the idea for a game only the game's unique expression.

In 1980, Namco released Pac-Man which became a massive commercial success, leading to the development of numerous Pac-Man clones. Between October 1980 and December 1981, the Pac-Man game alone generated $150 million in sales. Philips was one of several developers who attempted to create their own maze game, resulting in K.C. Munchkin! released in 1981. Atari sued Philips in Atari, Inc. v. North American Philips Consumer Electronics Corp., claiming that the game K.C. Munchkin! had illegally copied their game Pac-Man. The court initially refused Atari's motion to bar the sales of Munchkin, but Atari succeeded on appeal, with Judge Harlington Wood applying the abstraction test to find that Munchkin had in fact copied the unique expression of Pac-Man, particularly the character design. As a result of Atari's successful motion, Philips was legally barred from selling K.C. Munchkin. Courts later barred other clones of Pac-Man, including Packri-Monster by Bandai, Puckman by Artic International, and another similar game called Mighty Mouth. Siva Vaidhyanathan suggests that the ruling had a chilling effect on competition for Pac-Man, despite the court stating that copyright did not control the idea of a maze-chase game. Jerry Pournelle wrote in 1984 that "Atari bought itself about a million dollars worth of unfavorable publicity by bullying some very nice teen-aged programmers; surely they could have been smoother about it".

Loosening of protection (1988–2012)
The Atari v. Philips decision established that video game clones could be held liable for copying other games, because K.C. Munchkin! had substantial similarities to Pac-Man. However, the court also noted that several aspects of the games were standard or common, and thus not protected by copyright. By the late 1980s, courts began to take a more permissive approach with video game clones, deciding that many elements of creativity cannot be protected, such as generic concepts, functional rules, and scènes à faire. One such ruling was the 1988 case Data East USA, Inc. v. Epyx, Inc., where courts ruled that Epyx's game World Karate Championship did not infringe Data East's game Karate Champ, because none of the similarities were protected under copyright. This was based on the idea that the general gameplay of a martial arts game was an idea that was free for anyone to use, and could not be protected by copyright as unique expression.

In 1991, game developer Capcom released Street Fighter II. Its popularity led to an explosion of interest in the fighting game genre. Other companies rushed to capitalize, and Data East released their own one-on-one fighting game called Fighter's History in 1994. As it was later revealed, Data East created design documents that referred to Street Fighter II several times. Several people noticed the similarities and raised the issue with Capcom, reaching the president, Kenzo Tsujimoto. Capcom soon sued Data East for copyright infringements, in both America and Japan. Capcom also sought a preliminary injunction to stop Data East from distributing Fighter's History. Data East used the argument that had previously been used to thwart their 1988 lawsuit against Epyx, that none of the elements that were similar to Capcom's Street Fighter were protectable under copyright. The court noted the similarities between several moves and characters, but insisted "that the vast majority of the moves are unprotectable because they are commonplace kicks and punches". Capcom U.S.A. lost the case on grounds that the copied elements were excluded from copyright protection, as generic scènes à faire. The case was one of several that made it difficult for a copyright holder to win a lawsuit against an alleged clone, and also allowed game genres to develop based on imitation and iteration. Many game mechanics from Street Fighter II became common to the genre, as well as aspects of the fighting game Mortal Kombat.

With the costs of filing a lawsuit being very high compared to the expected outcome, many video game copyright holders became hesitant to sue alleged clones. Most lawsuits about alleged clones were settled between the mid-1990s through to the mid-2000s. The success of the 1993 game Myst led to a number of similar 3D adventure games, which were sometimes labeled as "Myst clones". Some video game genres are founded by archetypal games of which all subsequent similar games are considered derivatives; notably, early first-person shooters were often called "Doom clones", while the success of the open-world formula in Grand Theft Auto led to the genre of GTA clones. The genre of endless runners is based on the success and simplicity of the game Canabalt. Such cloning can also cause a relatively-sudden emergence of a new genre as developers attempt to capitalize on the interest. The battle royale genre grew rapidly after the success of PlayerUnknown's Battlegrounds and Fortnite Battle Royale across 2017 and 2018, while Dota Auto Chess released in January 2019 spawned several commercial games in the auto battler genre by mid-2019.

Another type of clone arose from developers in the modding, open source, and indie game communities, where these developers seek to recreate the mechanics of a popular title through reverse engineering, sometimes using their own original assets, and releasing the game typically for free and in homage to the original title. This allows the teams and users to expand upon original elements of the commercial game, such as software bugs that were not fixed, improving gameplay concepts, support for different and newer computers or console platforms, or adding new ideas to the base gameplay principles, as well as easing game extensions through user-created mods or add-ons. Some examples of these clones include Freeciv based on the Civilization series, Osu! based on Osu! Tatakae! Ouendan, and Frets on Fire based on Guitar Hero. The open source nature of these clones also enable new utilities, such as developing artificial intelligence agents that have learned and improved their play in Freeciv which in turn can help advance artificial intelligence research. Such games must be careful not to redistribute the original game's assets or they could face legal issues. OpenSC2K, an open-source recreation of SimCity 2000, was shut down by Electronic Arts after it was found that OpenSC2K used assets from SimCity 2000. Some projects that started as reverse engineered game engine recreations, faithful enough to directly use separately acquired assets from the original game by players who own it, may later become game clones by including the original game assets when the rights owners release the game as freeware, as did OpenRA, a Command & Conquer: Red Alert clone. It even incorporated code from the original game after Electronic Arts re-licensed it under the GPL later, as was the case for many game engines in ScummVM, which subsequently has been used for official re-releases by numerous companies, starting with Revolution Software's Sold Out label budget release of Broken Sword: The Shadow of the Templars. For cloning of original indie games by other indie developers, while such practices do exist, indie developers tend to rely on an informal code of honor to shun those who do engage in cloning.

Clones may also be used as commentary or parody of the original game, usually in a manner considered transformative to qualify as fair use. Pyst is a parody of the adventure game Myst, taking place on seemingly the same island as Myst but vandalized by numerous groups. Hatetris became a variant of Tetris where the next tetranomial provided is the worst possible for the current board.

New developments (2012–present)
New concerns related to cloned video games came with the rise of social network and mobile games, typically which were offered as freemium titles to entice new players to play. The rising popularity of these games with casual players led to widespread clones. Zynga was one of the first major developers in social network games, and had long been criticized by the video game industry as cloning popular social and casual games from other developers, includes those of smaller developers without the resources to fight back in courts (as in the case of Tiny Tower by NimbleBit, which Zynga has cloned in their game, Dream Heights) or that are willing to settle out of court (as in the case of Zynga's Mafia Wars, which was accused of cloning David Maestri's Mob Wars). In August 2012, Electronic Arts (EA), via its Maxis division, put forth a lawsuit against Zynga, claiming that its Facebook game, The Ville was a ripoff of EA's own Facebook game, The Sims Social. The lawsuit challenges that The Ville not only copies the gameplay mechanics of The Sims Social, but also uses art and visual interface aspects that appear to be inspired by The Sims Social. Pundits have noted that EA, unlike these previous developers, are financially backed to see the case to completion; EA themselves have stated in the lawsuit that "Maxis isn't the first studio to claim that Zynga copied its creative product. But we are the studio that has the financial and corporate resources to stand up and do something about it". The two companies settled out of court on undisclosed terms in February 2013. According to Brian Reynolds, the former lead gameplay designer at Zynga, the company sees potential new genres and game ideas that gain popularity, and then strive to add their own innovation and concepts to at, so that "[their] goal is to have the highest-quality thing".

In 2009, Xio Interactive released a mobile game called Mino that was based on the gameplay of Tetris, with the belief that their game did not include any legally-protected elements. The game Mino featured the same approach of using falling tetromino blocks to form complete lines on a playfield and score points. Mino also added new power-ups and game modes to the basic Tetris gameplay. While there had been many Tetris clones over the years, Mino was eventually downloaded more than six million times, culminating in The Tetris Company filing a lawsuit against Xio Interactive in December 2009. While the court determined that the idea of a vertically falling block game could not be protected by copyright, they determined that Tetris did have many unique elements making it eligible for copyright protection, including its twenty-by-ten square game board, the display of randomized junk blocks at the start of the game, the display of a block's "shadow" where it will land, and the display of the next piece to fall. Wolfson also granted protection to the blocks changing in color when they land, and the game board filling up when the game is over. In weighing these arguments, Wolfson noted that Mino copied Tetris much more closely than a game like Dr. Mario, a game that utilized the rules of Tetris to express a similar idea in a unique and non-infringing way. Legal and industry experts agreed this signalled that United States courts were becoming more willing to grant broader video games for specific visual arrangements. Though copyright would not limit the imitation of standard game elements, this decision would have the greatest impact on games that copied exact shapes and colors.

In 2012, Spry Fox, LLC v. Lolapps, Inc. was heard in the United States District Court for the Western District of Washington, brought by Spry Fox against developer Lolapps over their game Yeti Town which Spry Fox claimed was a copyright-infringing clone of Triple Town. At the initial hearings, the judge followed similar logic used in the Xio case to order a preliminary injunction in favor of Spry Fox, as Yeti Town had the same look-and-feel as Triple Town when simply viewed side by side. The case was subsequently settled out of court, with Spry Fox gaining ownership of the Yeti Town property by the end of 2012. Since these cases in 2012, legal scholars have found that courts have been more scrutinizing of look-and-feel in cases involving video game clones.

Clones of social and mobile games have continued to flourish as the format gained popularity; the low cost, ease and simplicity of the tools needed to develop these made cloning in that sector a significant problem. For example, Flappy Bird had been cloned dozens of times due to programming code clearinghouses offering templated code to which others could easily add their own art assets. The creators of Threes! spent 14 months developing the game and tuning its mechanics, but the first clone was released 21 days after Threes! and the original was quickly overshadowed by 2048, a clone that was developed over a weekend. While 2048 had been originally published freely and under an open-source license, Ketchapp developed an ad-supported version of 2048 that charted on the App Store. Following its sudden rise to popularity at the start of 2022, Wordle saw a number of clones appear on the App Store in early January, only to be removed in the wake of users criticizing the clone developers. The developers of Vampire Survivors fast-tracked the development of a mobile port of their game as a response to a number of clones that appeared on mobile app stores with stolen code and assets from the original game; Vampire Survivors itself was inspired by a mobile game named Magic Survival.

Another major area of concern for software clones arises within China. From 2000 to 2015, the Chinese government had numerous restrictions on imports of hardware and software, and access to non-Chinese storefronts. While this allowed gaming on personal computers to flourish within China, the cost of acquiring both hardware and software was too expensive for many, leading to Chinese developers to create low-cost clones of popular Western and Japanese titles for the Chinese market, which persist today. Foreign companies are faced with difficulties in seeking legal action against the Chinese developers that have created these clones, making cloning a far less risky process. Thus, it is common for popular games from both Western and Japanese markets to see near-exact clones appear within China, often within weeks of the original game's release. A notable example is a clone of Blizzard Entertainment's Hearthstone called Sleeping Dragon: Heroes of the Three Kingdoms created by Chinese developer Unico, released within a few months of Hearthstone beta release. Blizzard was ultimately successful in suing Unico for US$1.9 million in damages in 2014. In other cases, clones are made to address elements of the original game that are unsuitable under China's content restriction laws; for example, Tencent, which operated the publishing of PlayerUnknown's Battlegrounds in China, was forced to pull the game due to content related to violence and terrorism, and instead replaced it with a clone, Game for Peace, which otherwise reused assets from Battlegrounds but removed blood and gore.

Legal aspects related to clones
Video game clones are generally difficult to prevent through intellectual property laws such as copyright, patents, or trademarks. The game industry has generally been built on the concept of building atop gameplay concepts from other developers to make novel games, but avoiding outright copying element for element as to make a direct clone. Broadly, video games lack a fixed medium, and fall into the same area as software copyright where underlying source code as well as art and other assets qualify for copyright, but the gameplay does not. In the United States specifically, video games fall into the idea–expression distinction, that one cannot copyright the underlying gameplay but can copyright a specific implementation of it. Case law until 2012 has generally favorable to clones, often ruling that clones of a game do not violate copyright since they meet scènes à faire principle, elements necessary for a specific theme of a game.

However, in two separate U.S. cases in 2012, Tetris Holding, LLC v. Xio Interactive, Inc. and Spry Fox, LLC v. Lolapps, Inc., courts found using the Abstraction-Filtration-Comparison test that clones that not only copy gameplay without excessive changes but also too much of the original game's look and feel were in violation of copyright law. This new approach gave developers a better means to fight against direct clones. Despite this, there has only been an incremental increase, with the courts applying this legal standard carefully to new cases. Legal scholars have argued that the high costs of a legal dispute combined with the specific facts of each alleged clone have made these cases difficult to predict, and thus it is still rare that they proceed to trial. Wired compared a history of these rulings both for and against infringement, and described the idea-expression distinction – that copyright law won't protect an idea, only its expression – as "simple to state" but "difficult to apply".

Patents have been used in a limited fashion to protect novel gameplay ideas, such as the navigation system in Sega's Crazy Taxi games. Sega sued Fox Interactive for patent infringement for their use of a similar system in The Simpsons: Road Rage, a case that was ultimately settled out of court. Trademarks have also been used in a very limited fashion to block other developers from using the same terminology for their games or gameplay.

Industry regulation
More recently, with the popularity of social and mobile game stores like Apple's App Store for iOS system and Google Play for Android-based systems, a large number of likely-infringing clones have begun appearing. While such storefronts typically include a review process before games and apps can be offered on them, these processes do not consider copyright infringement of other titles. Instead, they rely on the developer of the work that has been cloned to initiate a complaint regarding the clone, which may take time for review. The cloned apps often are purposely designed to resemble other popular apps by name or feel, luring away purchasers from the legitimate app, even after complaints have been filed. Apple has released a tool to streamline claims of app clones to a team dedicated to handle these cases, helping to bring the two parties together to try to negotiate prior to action. While Apple, Google, and Microsoft took steps to stem the mass of clones based on Swing Copters after its release, experts believe it is unlikely that these app stores will institute any type of proactive clone protection outside of clear copyright violations, and these experts stress the matter is better done by the developers and gaming community to assure the original developer is well known, protects their game assets on release, and gets the credit for the original game.

Valve, which operates the Steam digital storefront for games on personal computers, also takes steps to remove games that are clearly copyright-infringing clones of other titles on the service, once notified of the issue.

title: Video game clone


text: Category:Shankill Butchers

title: Category:Shankill Butchers


text:
IMSS

IMSS may refer to:
 * Mexican Social Security Institute, (Instituto Mexicano del Seguro Social, IMSS, its Spanish acronym)
 * Istituto e Museo di Storia della Scienza, now the Museo Galileo, a museum in Florence, Italy
 * Integrated Maritime Surveillance Systems, an integrated network of coast-line radars by the Indonesian Navy
 * InterScan Messaging Security Suite, an enterprise e-mail antivirus software, by Trend Micro

title: IMSS


text:
Plain view doctrine

In the United States, the plain view doctrine is an exception to the Fourth Amendment's warrant requirement that allows an officer to seize evidence and contraband that are found in plain view during a lawful observation. The doctrine is also regularly used by Transportation Security Administration officers while screening people and property at American airports.

For the plain view doctrine to apply for discoveries, the three-prong Horton test requires that:
 * 1) The officer is lawfully present at the place where the evidence can be plainly viewed
 * 2) The officer has a lawful right of access to the object
 * 3) The incriminating character of the object is immediately apparent

Development
The plain view doctrine was first articulated in the Supreme Court case of Coolidge v. New Hampshire. The original formulation included three factors. First, the officer must be lawfully present when viewing the evidence or contraband. Second, the officer must immediately (without further search) have probable cause to believe that the item is either contraband or evidence of a crime. Third, the observation must have been "inadvertent," not anticipated or intended by the officer before the sighting.

In Horton v. California, the court eliminated the requirement that the discovery of evidence in plain view be inadvertent, which had caused ambiguity. The case involved the plain view seizure of weapons related to a robbery, even though the warrant was signed by a judge who had specifically denied permission to seize weapons as part of the search. The Horton ruling also clarified that the officer must have a "lawful right of access" to the objects to seize them under the plain view doctrine. For example, an officer who sees contraband in plain view in someone's home through the window but is not authorized to enter the home cannot rely on the plain view doctrine to enter the home and seize the contraband.

Limitations
For a law-enforcement officer to legally seize an item, the officer must have probable cause to believe that the item is evidence of a crime or is contraband. The police may not move objects in order to obtain a better view, and the officer may not be in a location unlawfully. These limitations were detailed in the case ofArizona v. Hicks, 480 U.S. 321 (1987).

The plain view doctrine only eliminates the warrant requirement, not the probable cause requirement. Investigators must normally obtain a court-issued warrant before seizing property, by presenting enough evidence to a magistrate judge to meet the probable cause requirement. When using the plain view doctrine, investigators must possess the evidence needed to meet the probable cause requirement, as they are only exempt from the step of obtaining a warrant from a judge.

The doctrine only authorizes the seizure of contraband or evidence; it does not authorize a further search or additional investigation. Therefore, if investigators do not have enough evidence to meet the probable cause requirement, they may not even conduct a relatively nonintrusive search to establish probable cause. The requirement is that the incriminating character of the object must be immediately apparent. In Arizona v. Hicks, police officers were in an apartment investigating a shooting and suspected that a record player in the apartment was stolen. The officers could not see the serial number, which was on the bottom of the record player, so they lifted the player and confirmed that its serial number matched that of one that had been reported stolen. However, the Supreme Court ruled that lifting the record player constituted an additional search (although a relatively nonintrusive one) because the serial number was not in plain view. This meant that the plain view doctrine did not apply, and the officers needed a warrant. The evidence of the stolen record player could not be used against the defendant because of the exclusionary rule, which is the remedy available when evidence is obtained in violation of the Fourth Amendment.

The officer must be lawfully present where he or she sees the item. For example, an officer may not enter a suspect's home without a warrant and rely on the plain view doctrine. However, if an officer is inside a suspect's home under an unrelated warrant, he or she may rely on the plain view doctrine, subject to the doctrine's other requirements. In Arizona v. Hicks, the police officers were in the apartment under another exception to the warrant requirement, exigent circumstances. This qualified as a lawful entry, and the plain view doctrine applied to items that the officers could see in the apartment and readily identify as contraband or evidence without further search.

Subdoctrines
The plain view doctrine has also been expanded to include the subdoctrines of plain feel, plain smell and plain hearing. These doctrines are also limited to seizing an item when its nature as contraband or evidence of a crime is "immediately apparent." In Minnesota v. Dickerson, a police officer felt a lump in a suspect's pocket during a lawful frisk search. He did not immediately have probable cause to believe that it was contraband, but he proceeded to inspect it further by squeezing it, and then had probable cause to believe that it was a piece of crack cocaine. The Supreme Court held that this additional inspection was not covered by the plain view doctrine, and as such, the contraband could not be used against the defendant. However, the court's reasoning extended the plain view doctrine to other senses, such as the sense of touch.

Application to technology
In the case of United States v. Wong, police were searching the defendant's computer for evidence related to a murder when they discovered images of child pornography on the computer. Although the warrant was specific to evidence of the murder, the Ninth Circuit held that the plain view exception allowed them to seize the child pornography, as searching graphics files was valid under the warrant and the files were immediately identifiable as contraband.

However, as with the application of this doctrine elsewhere, the plain view doctrine only justifies a seizure of evidence or contraband that is in plain view, and it does not justify a further search. In United States v. Carey, a detective was searching a computer for evidence of drug trafficking. When he opened an image file that depicted child pornography, he proceeded to search for more images and found a total of 244 images of child pornography on the computer. The Tenth Circuit held that only the first image was covered by the plain view doctrine, and the rest of the images could not be used against the defendant in court.

title: Plain view doctrine


text:
User:Tim Starling/Password matches/Annotated

Lir

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Note: a user has contacted me privately noting that the password for this set of accounts was in fact "Troll". The passwords have since been changed. If the owner of these accounts wishes to recover them, they can contact me via my talk page.

 * The Two Trolls
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WikinaziHunter

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text: Category:Ulster Volunteer Force

title: Category:Ulster Volunteer Force


text:
User:Ciphergoth/Password matches/Annotated

Lir

 * Lir
 * Krieger
 * Dietary Fiber
 * Entente
 * Peter Chamberlain
 * Terry Gander
 * Juan Hernandez
 * Iesuf Taitsevski
 * Shino Baku
 * Like a Virgin
 * Old Timer
 * Apocalypse
 * Qwert
 * Bridget
 * Pizza Puzzle
 * XbeenX
 * Tomer621
 * Mnbvcxz
 * Tothof
 * Marshall621
 * Juanwillis
 * Gfdsa
 * Tisi
 * Willy r
 * Gtru e
 * Tornito
 * Torinor
 * Yoliju
 * Raimunr
 * Editing Saddam Hussein
 * Editing Saddam Hussein1
 * Still Editing Saddam Hussein1
 * Willert

Nico

 * Henrik
 * Saddam
 * Heine
 * Rikke
 * Wolfram
 * Medline
 * Niceguy
 * Nico
 * Pius
 * William2
 * Zweimal
 * æøå
 * Genealogen
 * Gianfranco2
 * JaquesC
 * Jacques2
 * Zw
 * MSS
 * Nixi
 * F. Benecke
 * JeanneB
 * OlgaTest
 * Ertz
 * Scandinavian
 * BenjS
 * Allahu Akbar!
 * Dogmaster4000
 * Sir Ither
 * Wik Lir
 * Poland
 * Anthony Wik
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text:
Bernard Barrow

Bernard Elliott "Bernie" Barrow (December 30, 1927 – August 4, 1993) was an American actor and collegiate drama professor. He was best known as an actor for his roles as Johnny Ryan, an Irish-American patriarch, on Ryan's Hope (1975 to 1989) and Louie Slavinsky, a kindhearted garbage collector, on Loving (1989 to 1993). He won a Daytime Emmy Award for Outstanding Supporting Actor in 1991 for his role on Loving.

Early life
Barrow was born to Russian Jewish immigrants in New York City and raised in Yorkville, a neighborhood on the Upper East Side of Manhattan. His father ran a laundry and his mother also worked there. Barrow had two sisters. He received a bachelor's degree from Syracuse University in 1947, a master's degree from Columbia University in 1948, and a doctorate from Yale Drama School in 1957.

Paul Newman was one of Barrow's classmates at Yale and they appeared together in a student production of Pirandello's Tonight We Improvise. Barrow had the lead role, while Newman played a cadet. Later, when Newman needed an audition scene for the Actors Studio, he used Barrow's big scene from the play.

Career
By the age of twenty-two, Barrow was one of the youngest professors at Brooklyn College. He taught drama and theater there for thirty years, while also directing summer stock and community theater. One of Barrow's students was Dominic Chianese, who later starred on The Sopranos. He also taught Jimmy Smits and director Joel Zwick.

Barrow appeared Off-Broadway as Jonah Goodman in The Gentle People, a play by Irwin Shaw, in 1946. He was only nineteen at the time and the character was in his fifties. In 1947, he was cast in The Fall of the House of Usher, a production that aired on Philco TV. Barrow starred as Mitch in A Streetcar Named Desire at Miami's Coconut Grove Playhouse in 1953. He appeared in Stalag 17 at New York's Studio Arena Theater in the summer of 1954. In 1955, at the age of twenty-eight, he once again played a much older man in a production of Gentlemen Prefer Blondes.

Barrow appeared in numerous other Off-Broadway plays, including Molly's Dream and Scuba Duba. In the 1960s, he began to land roles in television and film. He played a reporter in a February 1968 episode of The Doctors. That same year, he played Joanne Woodward's principal in Rachel, Rachel, directed by his former classmate, Paul Newman.

He was cast as Earl Dana on the CBS soap opera Where the Heart Is, playing the role from 1969 to 1970. This was followed by another CBS soap opera, The Secret Storm, where Barrow played Dan Kincaid from 1970 to 1974. He co-starred with Jennifer O'Neill in the film Glass Houses and with Al Pacino in Serpico. He also appeared in the film Claudine.

On television, Barrow played the Judge who married Rhoda Morgenstern and Joe Gerard on Rhoda, as well as the Judge who married Maude and Walter Findlay on Maude. He also made guest appearances on Kojak, The Waltons, and On Our Own. Barrow and his wife, Joan Kaye, guest starred together on an episode of The Rookies, playing a married couple.

Barrow played Ira Paulson on the CBS soap opera The Edge of Night, from 1974 to 1975. He then fought to play the role of Johnny Ryan on the ABC soap opera Ryan's Hope, after being told by the casting director that he was "Too Jewish to play an Irishman." Barrow was initially asked to audition for the role of Seneca Beaulac (which went to John Gabriel). He was eventually cast as Johnny Ryan, playing him from 1975 until the show's final episodes in 1989.

In the 1980s, Barrow appeared in the films Jane Austen in Manhattan, The Survivors, Invasion U.S.A., and the TV movie Senior Trip. He guest starred on Kate & Allie in 1988 and Law & Order in 1990.

After his 13-year run with Ryan's Hope, he was cast as Louie Slavinsky on the ABC soap opera Loving in December 1989. He won the role without an audition because of his prior history with the network at RH. Barrow won a Daytime Emmy Award for Outstanding Supporting Actor in 1991 for his role on Loving, after receiving nominations for RH in 1979 and 1988. He was nominated again in the same category in 1992.

In 1992, he starred in a stage production of Barefoot in the Park at the Valley Forge and Westbury Music Fair. He co-starred with fellow soap opera actors Marilyn Chris, Cady McClain, and Walt Willey.

Personal life
Barrow began to lose his hair in his late twenties and was going bald by his early thirties. He started wearing a toupée while acting in television commercials in the 1970s and continued to wear it for many roles, including on Ryan's Hope.

He met actress Joan Kaye in 1963 while starring in a stage revival of Guys and Dolls. They married on September 15, 1964 and remained together until his death. He had two children from a previous marriage and two stepchildren.

Death
Barrow continued to work on Loving even after his diagnosis with lung cancer. He died at the age of 65 at Lenox Hill Hospital in Manhattan.

Awards and nominations
! scope="row" | 1979 ! scope="row" | 1988 ! scope="row" | 1991 ! scope="row" | 1992
 * Daytime Emmy Award
 * Outstanding Supporting Actor in a Drama Series
 * Ryan's Hope
 * Daytime Emmy Award
 * Outstanding Supporting Actor in a Drama Series
 * Ryan's Hope
 * Daytime Emmy Award
 * Outstanding Supporting Actor in a Drama Series
 * Loving
 * Won
 * Daytime Emmy Award
 * Outstanding Supporting Actor in a Drama Series
 * Loving

title: Bernard Barrow


text:
Wikipedia:Articles for deletion/Death Blossom

 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 - deleted - SimonP 14:18, Jun 15, 2005 (UTC)

Death Blossom
"An unusual and obscure sexual manuever" that is unreferenced and probably a hoax. Although user has an account, it is the user's first and only WP edit, made on April 30 with no subsequent activity. No inbound or outbound links. Quale 20:23, 31 May 2005 (UTC)
 * Delete --Xcali 20:52, 31 May 2005 (UTC)
 * Delete-CunningLinguist 00:24, 1 Jun 2005 (UTC)
 * Delete. Almost BJAODN-worthy. --Fazdeconta 07:55, 1 Jun 2005 (UTC)
 * Delete unverifiable. JamesBurns 09:58, 2 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:
HMS Exmouth (F84)

HMS Exmouth was a Royal Navy anti-submarine warfare frigate of the Blackwood-class frigate or Type 14 class.

Service history
Exmouth became the first major British warship to be powered by gas turbine engines alone when, in 1966, she was taken in hand and was refitted with a combined gas or gas (COGOG) arrangement. The main reason behind the conversion of Exmouth was to trial the (then) new Marine Olympus which had been selected as the turbine for the Type 82 destroyer and the Type 19 high-speed anti-submarine frigate. Therefore, she was fitted with a Bristol Siddeley Olympus TM1 of 24,000 shp (limited to 15000 shp due to gearbox and shaft limitations) for full power and two Bristol Siddeley Proteus 10M (3,500 shp each) for fuel-efficient cruising. These engines drove the single shaft through a common gearbox. The Proteus engines could work alone or together, but could not be run together with the Olympus. As the engines could not run in reverse, a reversible-pitch propeller was installed. As the engines could be controlled directly from throttles on the bridge, bridge steering was fitted. The requisite air intakes and filters were grouped amidships and the turbine uptakes exhausted into a common, streamlined funnel, completely changing Exmouth's appearance. The exhaust and intake trunking was also utilised to allow the removal of complete engines, giving a rapid 24-hour exchange time.

Exmouth rejoined the fleet on 5 June 1968, and during the 1970s she carried out extended trials to validate the feasibility of all-gas turbine propulsion. The foresight of her conversion was illustrated when after only 64 hours of running, an entire ring of Olympus turbine blades failed. Her test cruises took her to the Mediterranean Sea, where she took part in various trials and exercises based at Malta. She proceeded to Crete which made her the only Type 14 to get this far east. She acted as plane guard for the aircraft carrier HMS Ark Royal (R09) and was involved in the search for survivors when a Russian destroyer lost 3 men overboard when making a close pass ahead of Ark Royal whilst the latter was at flying stations (the men were never found). She eventually returned to her home base port of Chatham in Kent. She then went to the Isle of Portland as a day runner in the 2nd Frigate Squadron, providing support for ships working-up under Flag Officer Sea Training. This was to prove her propulsion in a stop/start scenario – basically press the button, start the engines and sail – which was much less time-consuming than flashing up a steam plant.

The trials were ultimately successful, and allowed the trouble-free introduction of the Olympus into naval service in the Type 42 destroyer and the Type 21 and two batches of Type 22 frigates. The Olympus was also an export success, and Exmouth's COGOG arrangement was also widely emulated. Exmouth was broken up in 1979.

title: HMS Exmouth (F84)


text:
User:Atomizer

Hello

title: User:Atomizer


text:
Talk:Windows Services for UNIX

SUA Username Mapping
One thing always missing on every piece of information about SUA is that it lacks an username mapping tool like MSSFU3.5. It seems it relies on Active Directory to map windows usernames to UIDs. — Preceding unsigned comment added by 187.57.147.35 (talk) 02:25, 14 September 2011 (UTC)

Versus Cygwin
When I arrived the article contained the claim, "It is an implementation of an environment subsystem running within the Windows kernel. This significantly improves performance, stability and security compared with the emulation used by Cygwin."

This may well be the case, but no sources are cited. The claim thus lacks verifiability, and the security claim in particular may be considered POV. As a temporary measure I've reworded the second sentence to meet Wikipedia's basic standards for claims for which no evidence is available. Can anyone help out by providing verifiable sources for any or all of these claims? Haeleth 14:25, 3 October 2005 (UTC)

Cygwin is definitely not an "emulation layer", it's a DLL that provides various low-level library calls that unix/linux applications need when talking to the kernel. All programs running with cygwin must be recompiled, in most cases this requires not insignificant porting efforts. Please see http://www.cygwin.com for full details.

It is true that what Cygwin does should not be referred to as emulation. It does, however, sit in application space above the Win32 subsystem, whereas Interix is a subsystem like Win32 and sits alongside it atop the NT kernel. (At least, it has been referred to as the NT kernel prior to Vista; I'm not sure if that is still the right term.) When I read the previous paragraph, I went to the two authoritative sites for corroboration - microsoft.com and interopsystems.com. Interop Systems developed Interix originally (the original name being OpenNT). Subsequently, Microsoft bought the technology from them and hired their lead architect and made Interix a part of their Services for Unix (SFU) offering. Since then, they have relegated it to the role of a migration tool set to Windows for obvious reasons. Because of this, I could not find documentation of what I say above at interopsystems.com nor in the MSDN. The closest I found was the following two sentences from an obsolete TechNet article at http://www.microsoft.com/technet/interopmigration/unix/sfu/runwin32.mspx: "The Interix subsystem replaces the original Microsoft® POSIX subsystem. Interix provides a complete, native UNIX environment than can run concurrently with the Windows subsystem." (1) Microsoft's original POSIX subsystem also ran alongside Win32 over the NT kernel. It was not that great, and Microsoft didn't want to spend a lot of money on what they saw as a migration tool, which is why they bought the Interix technology. (2) The sentence has inaccurate wording; the reference to "Windows" is actually a reference to Win32. UnConnoisseur

Since writing the above paragraph, I have noticed that Microsoft does not refer in SUA to the OS (subsystem) as Interix, as it did in SFU. My guess is that it is still the same code base, but I don't know that, and it appears the name is being retired. UnConnoisseur

Emulation
In my view, there's nothing wrong with calling Cygwin an emulation layer, given that it emulates a Unix-like API on top of Win32 API. Similarly, SUA (Interix) emulates the Unix API on top of the native NT API. In some official documentation, Microsoft even refer to the current and former subsystems for NT/Windows (Win32, POSIX, Interix and OS/2) as 'emulation subsystems'.

Given that some people have a rather strong (but in my view irrational) objection the word 'emulation', I'll refrain from adding it to this article for the time being, but there really isn't anything wrong with emulation. It doesn't imply poor performance, a poor design or anything else that could be construed as negative. Indeed, a system designed to efficiently emulate several others (e.g. by implementing the combined set of features offered by those systems) is arguably at least as good a design as a system that doesn't use emulation. Shalineth 09:57, 3 April 2007 (UTC)

SUA and Cygwin
An important distinction between SUA and Cygwin is that the former runs on top of the NT API, whereas the latter runs on top of Win32. This means that Cygwin can only make use of the subset of NT kernel functionality used by Win32, whereas SUA has access to the full feature set offered by the kernel, including Unix-specific features.

The most obvious example where the above would lead to performance (and security) differences is fork. The NT memory manager includes the capability of forking processes (with copy-on-write for the child address space, etc.), but this was included specifically to allow Unix to be implemented on top of NT, and has never been used by Win32.

Win32 has no notion of forking processes, so the Win32 subsystem neither calls nor offers a way to call into NT's fork functionality. This means there is no way to fork a Win32 process, and hence that Cygwin has to simulate the procedure by creating a new Win32 process and manually setting up its address space from another user-mode process (by copying data, etc.). This is extremely inefficient, and far less secure than leaving the kernel do it, as is the case with a typical Unix system (including SUA).

Another example where Win32 presents a problem for Cygwin is in case-sensitivity. Win32 is case-preserving, but not case-sensitive, which means you can't have two file names which differ only in terms of case. The underlying file system (NTFS), however, does support case-sensitive operation, but as with the NT's fork functionality, this was included to allow POSIX/Unix to be implemented on NT. Once again, Interix or SUA can call into the NT kernel to create file names that differ only by case, but Win32 cannot (and hence Cygwin cannot).

Historically, the major disadvantage of a subsystem running on top of the NT kernel was that NT itself does not provide any graphics capabilities: the graphical components of NT-based OSes have always been part of Win32 (part of which, since NT 4.0, has run in kernel mode, in the win32k.sys module). This meant that code running in a non-Win32 process (e.g. an Interix one) had no way to display graphics directly, so had to use IPC to communicate with a Win32 process (e.g. an X server) for that purpose.

With the SUA release in Server 2003 and Vista, there is now support for 'mixed mode' binaries, which are created and managed by the Unix subsystem, but can also call into the Win32 API (which Cygwin processes, as Win32 processes themselves, have always been able to do). Presumably this means an X server could be ported directly to the Unix subsystem, and still call into the kernel-mode portion of Win32 to access graphics devices.

As far as I know, no X server has been ported to the Unix subsystem on Windows, but there is no longer a technical barrier to it, it's simply a matter of nobody having done it.

Summing up, with the addition of 'mixed mode' binaries, there are no technical disadvantages to using a native subsystem to implement Unix on top of the NT kernel, as compared to the Unix-on-Win32 approach of Cygwin. On the other hand, Microsoft have never published documentation explaining how to develop a subsystem for NT (although I believe they have supported some academic projects in this area), so the only supported way for someone other than Microsoft to implement a Unix-like system on top of the NT kernel is to implement it on top of Win32 (like Cygwin), with all of the disadvantages that entails.

I haven't time to find official documentation for the above at the moment, but I've read about it in authoritative sources on the NT kernel design, so I'll try and find a source, and add it to the article, when I have got time. Shalineth 09:57, 3 April 2007 (UTC)

Next version
Next scheduled release is version 5.2 on December, 2005 (for Windows 2003 Server Release 2, aka W2K3/R2, only - no mention of this on the SFU page - in fact it's been EOL'd by Microsoft.  Can anyone confirm/deny the new version? Disregard this question.  Found answer myself, at.

Can someone fix RaviC's Image (resize it to appropriate size?), as it is the only image I can find. TheGuest

From OpenBSD?
I recall that a lot of the userland programs are from OpenBSD (as compared to MKS Toolkit, which uses independent reimplementations), but don't recall a source for that. Anyone got one? - David Gerard 12:04, 3 July 2006 (UTC)

 * I'm far from an expert on this subject, but the USENIX paper linked from the article under the name History of the Interix subsystem contains the following:
 * Much of the original utility base for the early INTERIX commands and utilities came straight off the 4.4BSD-Lite distribution. The general flow was to copy the source distribution over to a working directory, use a simple template makefile, and begin simple compile-edit cycles until the utility built. (6.14.4, p.10)
 * Might that be what you were thinking of? — Haeleth Talk 12:44, 3 July 2006 (UTC)

 * http://undeadly.org/cgi?action=article&sid=20030927090008 Running strings on it, see what the sources are.  Janizary 23:10, 24 August 2006 (UTC)

 * My understanding (second-hand) is that SUA was originally based on code from the NT POSIX subsystem (licensed from Microsoft by Softway Systems), together with 4.4BSD-Lite code, but that many of the BSD userland tools have subsequently been updated by importing code from OpenBSD.

 * Starting with SUA for Server 2003 R2, however, Microsoft also added System V tools alongside the BSD ones, the former of which I believe are derived from the original UNIX SVR5 (UnixWare) code base, licensed through the SCO Group (formerly known as Caldera, which bought the Unix System V code, and the 'SCO' name, from the former Santa Cruz Operation, which had acquired the first of these from Novell, which in turn had acquired it from AT&T's UNIX System Laboratories in the early 90s). This would make SUA a 'genetic Unix', although I'm not sure if it's an official 'UNIX' (i.e. licensed by The Open Group (TOG) to use the name), although I do know Interix was at one time certified by TOG as an official 'UNIX'. Shalineth 10:13, 3 April 2007 (UTC)

Merging Interix to here
Someone has suggested merging the Interix entry with SFU. That's wrong. Don't do it. SFU is now EOL, though it will be used for many years still. Interix (one of the components of SFU) continues to evolve as it is now bundled with the base OS release starting with Windows 2003/R2 (Interix version 5.2) and continuing with Vista (Interix version 6.0).

Like SFU, SUA is a migration package containing tools, Interix among them. Interix should be independently referenceable with crosslinks between them.
 * The articles Windows Services for UNIX and Interix both have overlapping content, e.g. each article states a feature list identical with respect to the other article ("over 350 Unix utilities such as vi, ksh, csh, ls, cat, awk, grep, kill, etc." etc...). Therefore I added the merge template again.
 * Either the articles should be merged or both articles may remain separate. In the latter case, they must be differentiated from each other. --Abdull (talk) 20:51, 13 September 2010 (UTC)

Agree that the two should remain separate, mainly to to WSFU is obsoleted by Microsoft and will have a different path than interix. WebSurfinMurf —Preceding undated comment added 12:16, 12 April 2011 (UTC).

I too agree these should not be merged. Although Interix was included in SFU 3.0 and 3.5 (the last version) it was not included in SFU 1.0 nor 2.0. Merging the articles would make them unwieldy as they would not be about any one single topic. 67.210.196.5 (talk) 17:07, 19 May 2011 (UTC)
 * I agree, and I've added much of that missing information to the article. FuFoFuEd (talk) 07:35, 30 May 2011 (UTC)

Merger proposal, 2015 discussion
As the last objection comment here was almost 4 years ago, and we're a couple of Windows versions on, can this now be merged? Seems sensible to me. --Adamfield (Adamfield) 09:49, 17 February 2015 (UTC)

 * What happened here it it appears that there was consensus against merging, but nobody actually bothered to close the conversation. However, since you commented recently about merging the articles in opposition to the consensus from then, and my own opinion is to keep them separate (on grounds of "why merge Interix but not MKS Toolkit?"), I'm going to go ahead and list this at WP:AN for them to decide whether to close with merge, close with current status, or determine new consensus. // coldacid (talk|contrib) 01:16, 13 March 2015 (UTC)
 * Listed. // coldacid (talk|contrib) 01:28, 13 March 2015 (UTC)

 * Oppose. Interix formed the core of the 3.x versions of Windows Services for UNIX, but both systems existed prior to that, and therefore they should not be considered one and the same. // coldacid (talk|contrib) 17:28, 14 March 2015 (UTC)

 * Oppose. Interix is a part of some releases of Windows Services for UNIX (but not all). Interix versions were released separately (both before and after Windows Services for UNIX). Merging the two would make for serious convolution. It would be analogous to merging MS-DOS and Microsoft Windows because DOS is a part of some releases of Windows (but DOS existed by itself first and Windows went on to exist without it). 50.126.125.240 (talk) 10:48, 23 May 2015 (UTC)

Article Title Change
The current version of this is called "Subsystem for UNIX-based Applications". There's no reason this article should stick to the old name. It should be moved to reflect the changes of circa-2003. 99.253.232.40 (talk) 03:18, 8 August 2009 (UTC)
 * What? www.microsoft.com/downloads: "Download details: Windows Services for UNIX Version 3.5"  —Preceding unsigned comment added by 218.214.18.240 (talk) 08:25, 4 October 2009 (UTC)
 * It was renamed to SUA for Windows 2003 R2, which included it on Disk 2. They also claim it was re-engineered at this point, e.g. to allow linking Win32 libraries.  The Vista download is called SUA, and so is the Windows 7 one . FuFoFuEd (talk) 07:42, 30 May 2011 (UTC)

Posix subsystem is no longer a kernel mode process
As Microsoft removed the OS2 subsystem, the Posix subsystem has been removed from kernel mode in Vista and Windows 7.

http://download.microsoft.com/download/3/C/4/3C4C7C9C-AAA0-4BD4-9C14-5BA29BDD7D4C/sua.pdf "Interix is Win32 process"

Shjacks45 (talk) 01:42, 22 April 2010 (UTC)

 * That claim is not in the source you provided. It just says Interix ran atop Win32 when it was first developed and that SUA is a replacement for the old POSIX subsystem.
 * I love this part of the document:

"To further reach out to the UNIX and open source programmers and system administrators who use the technology, the SUA team provided users the source code of the GCC and GNU changes and the binaries."
 * Like they had a choice.
 * 169.231.16.35 (talk) 04:26, 6 May 2010 (UTC)

"The Interix subsystem provides a fully POSIX-compliant environment that runs as a native subsystem in the Windows kernel. " http://support.microsoft.com/kb/324539/EN-US —Preceding unsigned comment added by 203.206.162.148 (talk) 01:12, 8 March 2011 (UTC)

The Windows kernel does not run subsystems, that page is wrong. It has always been a "native" application, and became a Win32 application Vista and later to support cross-subsystem calls. In both cases a driver (psxdrv.sys) IS used to provide add-on functionality, but it's not the subsystem proper. — Preceding unsigned comment added by 80.194.88.34 (talk) 11:47, 11 October 2012 (UTC)

NFS in 2012 R2
It looks like they fired or reassigned the whole team (2-3 persons), for they all have stopped blogging in late 2012. Someone not using his real name (talk) 07:51, 10 January 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Windows Services for UNIX. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20050510025015/http://www.microsoft.com:80/windowsserver2003/R2/unixcomponents/default.mspx to http://www.microsoft.com/windowsserver2003/R2/unixcomponents/default.mspx

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 09:01, 10 January 2016 (UTC)

Windows 8.1 and Sever 2012, onward
It's unclear in the article whether the removal of [most of] these features in Windows 8.1 and Windows Server 2012 R2 was replaced with something else (either in those releases or in Windows 10 and Windows Server 2016). Should probably clarify for readers what Unix-like tools are available in these OSes (now, and including the forthcoming bash and Ubuntu on Windows, in Windows 10 at least, which is already operational in developer builds). — SMcCandlish ☺ ☏ ¢ ≽ʌⱷ҅ᴥⱷʌ≼  08:40, 13 June 2016 (UTC)

 * "and including the forthcoming bash and Ubuntu on Windows, in Windows 10 at least, which is already operational in developer builds" I.e., mention the Windows Subsystem for Linux somewhere other than in the hatnote and the "See also" section. Guy Harris (talk) 16:56, 13 June 2016 (UTC)

title: Talk:Windows Services for UNIX


text:
Chantelle Anderson

Chantelle Denise Anderson (born January 22, 1981) is a retired Lebanese-American collegiate and professional basketball player who has played in the Women's National Basketball Association (WNBA) and overseas.

Personal
Chantelle Anderson was born in Loma Linda, California, to Maxine and Paul Anderson and is the oldest of four sisters.

College years
Anderson graduated from Vanderbilt University in 2003. In her last year she became Vanderbilt’s all-time female leading scorer with 2,604 points as well as setting the Vanderbilt's Career Field Goal Percentage mark of 65.1%. She was named to the All-American team in 2001.

Anderson was a member of the Gold Medal-winning USA Basketball Jones Cup Team in 2000 as well as being on the Gold Medal-winning U.S. team at the World University Games in 2001.

 * Vanderbilt's 2001 Female Athlete of the Year.
 * Named as her team's 2001 co-MVP, along with Trials participant Ashley McElhiney.
 * Earned 2001 NCAA Midwest Regional All-Tournament team honors after averaging 24.0 plays per game.
 * Named 2001 All-Southeastern Conference (SEC) first team and 2000 All-SEC second team.
 * Earned her SEC Tournament MVP honors in 2001.

Anderson was also named to the Vanderbilt Athletics Hall of Fame as part of its inaugural class.

Vanderbilt statistics
Source

WNBA career
Anderson was selected 2nd overall by the Sacramento Monarchs in the 2003 WNBA draft. She spent the 2003 and 2004 seasons with the Monarchs as a utility player. During the 2003 season she appeared in 26 games and averaged 1.6 points in 6.5 minutes per game. She scored a than career-high eight points on June 7 when the Monarchs played against the Los Angeles Sparks. She tallied 42 points in her rookie season with the Monarchs.

In the 2004 season she appeared Appeared in 30 games. She scored a then career-high 10 points, twice against New York on July and again at Detroit as well as a career-high seven rebounds in the same game.

During the 2004-05 off-season played for USVO in Valenciennes Cedex

On May 18, 2005, after two seasons in Sacramento, the Monarchs traded Anderson to the San Antonio Silver Stars and would be one of only four Silver Stars players who would see action in all 34 games played that season. She made a career-high 18 points against the Los Angeles Sparks on July 3, 2006 and a career-high eight rebounds at New York on June 30. Anderson appeared in 20 games before fracturing her patella in her left leg in July 2006. She missed the rest of the season. then a torn Achilles tendon in January 2007.

On February 6, 2008, Anderson was selected by the Atlanta Dream in the expansion draft, but before the 2008 season began, she suffered a torn ACL. Later on May 28, 2008 Chantelle Anderson was waived by the Atlanta Dream. Anderson was recovering from injury at the time. She was re-signed by the Dream on February 12, 2009, then waived again on May 31. In her WNBA career she played in 90 regular season games.

On October 6, 2009 Anderson announced her retirement from professional basketball.

In 2011, Anderson was honored at a halftime ceremony, including a highlight video of Anderson's career and the retirement of her jersey. At the time, she joined Wendy Scholtens as one of only two women's players to have their jerseys retired, and one of only four basketball players at Vanderbilt to have their jerseys retired, joining men's players Clyde Lee and Perry Wallace.

International career
2003-04: she played for MiZo-Pécsi VSK. She was injured at the halfway point of the season. During the 2004-05 WNBA offseason, Anderson played for USVO in Valenciennes, France, and averaged 9.7 points and 5.4 rebounds per game. Later, Anderson played for the Galatasaray club in Turkey.

She became a naturalized citizen of Lebanon in 2009 and represented their national team in the FIBA Asia Championship for Women.

After the WNBA
Anderson has worked as a color analyst for FSN and appeared on MTV’s MADE acting as a coach and advisor.

title: Chantelle Anderson