text:
Music industry

The music industry refers to the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts.

The industry also includes a range of professionals who assist singers and musicians with their music careers. These include talent managers, artists and repertoire managers, business managers, entertainment lawyers; those who broadcast audio or video music content (satellite, Internet radio stations, broadcast radio and TV stations); music journalists and music critics; DJs; music educators and teachers; manufacturers of musical instruments and music equipment; as well as many others. In addition to the businesses and artists there are organizations that also play an important role, including musician's unions (e.g. American Federation of Musicians), not-for-profit performance-rights organizations (e.g. American Society of Composers, Authors and Publishers) and other associations (e.g. International Alliance for Women in Music, a non-profit organization that advocates for women composers and musicians).

The modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry"—a reference to recording performances of songs and pieces and selling the recordings–began to be used as a loose synonym for "the music industry". In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned Universal Music Group, the Japanese-owned Sony Music Entertainment, and the US-owned Warner Music Group. Labels outside of these three major labels are referred to as independent labels (or "indies"). The largest portion of the live music market for concerts and tours is controlled by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of iHeartMedia Inc, which is the largest owner of radio stations in the United States.

In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet (which includes both illegal file sharing of songs and legal music purchases in online music stores). A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off substantially while live music has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company: Apple Inc.'s online iTunes Store. Since 2011, the music industry has seen consistent sales growth with streaming now generating more revenue per year than digital downloads. Spotify, Apple Music, and Amazon Music are the largest streaming services by subscriber count.

Business structure
The main branches of the music industry are the live music industry, the recording industry, and all the companies that train, support, supply and represent musicians.

The recording industry produces three separate products: compositions (songs, pieces, lyrics), recordings (audio and video) and media (such as CDs or MP3s, and DVDs). These are each a type of property: typically, compositions are owned by composers, recordings by record companies, and media by consumers. There may be many recordings of a single composition and a single recording will typically be distributed via many media. For example, the song "My Way" is owned by its composers, Paul Anka and Claude François, Frank Sinatra's recording of "My Way" is owned by Capitol Records, Sid Vicious's recording of "My Way" is owned by Virgin Records, and the millions of CDs and vinyl records that can play these recordings are owned by millions of individual consumers.

Compositions
Songs, instrumental pieces and other musical compositions are created by songwriters or composers and are originally owned by the composer, although they may be sold or the rights may be otherwise assigned. For example, in the case of work for hire, the composition is owned immediately by another party. Traditionally, the copyright owner licenses or "assigns" some of their rights to publishing companies, by means of a publishing contract. The publishing company (or a collection society operating on behalf of many such publishers, songwriters and composers) collects fees (known as "publishing royalties") when the composition is used. A portion of the royalties are paid by the publishing company to the copyright owner, depending on the terms of the contract. Sheet music provides an income stream that is paid exclusively to the composers and their publishing company. Typically (although not universally), the publishing company will provide the owner with an advance against future earnings when the publishing contract is signed. A publishing company will also promote the compositions, such as by acquiring song "placements" on television or in films.

Recordings
Recordings are created by recording artists, which includes singers, musicians (including session musicians) and musical ensembles (e.g. backing bands, rhythm sections, orchestras, etc.) usually with the assistance and guidance from record producers and audio engineers. They were traditionally made in recording studios (which are rented for a daily or hourly rate) in a recording session. In the 21st century, advances in digital recording technology have allowed many producers and artists to create "home studios" using high-end computers and digital recording programs like Pro Tools, bypassing the traditional role of the commercial recording studio. The record producer oversees all aspects of the recording, making many of the logistic, financial and artistic decisions in cooperation with the artists. The record producer has a range of different responsibilities including choosing material and/or working with the composers, hiring session musicians, helping to arrange the songs, overseeing the musician performances, and directing the audio engineer during recording and mixing to get the best sound. Audio engineers (including recording, mixing and mastering engineers) are responsible for ensuring good audio quality during the recording. They select and set up microphones and use effects units and mixing consoles to adjust the sound and level of the music. A recording session may also require the services of an arranger, orchestrator, studio musicians, session musicians, vocal coaches, or even a discreetly hired ghostwriter to help with the lyrics or songwriting.

Recordings are (traditionally) owned by record companies. Some artists own their own record companies (e.g. Ani DiFranco). A recording contract specifies the business relationship between a recording artist and the record company. In a traditional contract, the company provides an advance to the artist who agrees to make a recording that will be owned by the company. The A&R department of a record company is responsible for finding new talent and overseeing the recording process. The company pays for the recording costs and the cost of promoting and marketing the record. For physical media (such as CDs), the company also pays to manufacture and distribute the physical recordings. Smaller record companies (known as "indies") will form business relationships with other companies to handle many of these tasks. The record company pays the recording artist a portion of the income from the sale of the recordings, also known as a "royalty", but this is distinct from the publishing royalties described above. This portion is similar to a percentage, but may be limited or expanded by a number of factors (such as free goods, recoupable expenses, bonuses, etc.) that are specified by the record contract. Session musicians and orchestra members (as well as a few recording artists in special markets) are under contract to provide work for hire; they are typically only paid one-time fees or regular wages for their services, rather than ongoing royalties.

Media
Physical media (such as CDs or vinyl records) are sold by music retailers and are owned by the consumers after they buy them. Buyers do not typically have the right to make digital copies from CDs or other media they buy, or rent or lease the CDs, because they do not own the recording on the CD, they only own the individual physical CD. A music distributor delivers crates of the packaged physical media from the manufacturer to the retailer and maintains commercial relationships with retailers and record companies. The music retailer pays the distributor, who in turn pays the record company for the recordings. The record company pays mechanical royalties to the publisher and composer via a collection society. The record company then pays royalties, if contractually obligated, to the recording artist.

When music is digitally downloaded or streamed, there is no physical media other than the consumer's computer memory on his or her portable media player or laptop. For this reason, artists such as Taylor Swift, Paul McCartney, Kings of Leon, and others have called for legal changes that would deny social media the right to stream their music without paying them royalties. In the digital and online music market of the 2000s, the distributor becomes optional. Large online shops may pay the labels directly, but digital distributors do exist to provide distribution services for vendors large and small. When purchasing digital downloads or listening to music streaming, the consumer may be required to agree to record company and vendor licensing terms beyond those which are inherent in copyright; for example, some services may allow consumers to freely share the recording, but others may restrict the user to storing the music on a specific number of hard drives or devices.

Broadcast, soundtrack and streaming
When a recording is broadcast (either on radio or by a background music service such as Muzak), performance rights organisations (such as the ASCAP and BMI in the US, SOCAN in Canada, or MCPS and PRS in the UK), collect a third type of royalty known as a performance royalty, which is paid to songwriters, composers and recording artists. This royalty is typically much smaller than publishing or mechanical royalties. Within the past decade, more than "15 to 30 percent" of tracks on streaming services are unidentified with a specific artist. Jeff Price says "Audiam, an online music streaming service, has made over several hundred thousand dollars in the past year from collecting royalties from online streaming. According to Ken Levitan, manager from Kings of Leon, Cheap Trick and others, "Youtube has become radio for kids". Because of the overuse of YouTube and offline streaming, album sales have fallen by 60 percent in the past few years. When recordings are used in television and film, the composer and their publishing company are typically paid through a synchronization license. In the 2000s, online subscription services (such as Rhapsody) also provide an income stream directly to record companies, and through them, to artists, contracts permitting.

Live music
A promoter brings together a performing artist and a venue owner and arranges contracts. A booking agency represents the artist to promoters, makes deals and books performances. Consumers usually buy tickets either from the venue or from a ticket distribution service such as Ticketmaster. In the US, Live Nation is the dominant company in all of these roles: they own most of the large venues in the US, they are the largest promoter, and they own Ticketmaster. Choices about where and when to tour are decided by the artist's management and the artist, sometimes in consultation with the record company. Record companies may finance a tour in the hopes that it will help promote the sale of recordings. However, in the 21st century, it has become more common to release recordings to promote ticket sales for live shows, rather than book tours to promote the sales of recordings.

Major, successful artists will usually employ a road crew: a semi-permanent touring organization that travels with the artist during concert series. The road crew is headed by a tour manager. Crew members provides stage lighting, live sound reinforcement, musical instrument maintenance and transportation. On large tours, the road crew may also include an accountant, stage manager, bodyguard, hairdressers, makeup artists and catering staff. Local crews are typically hired to help move equipment on and off stage. On a small tour with less financial backing, all of these jobs may be handled by just a few roadies or by the musicians themselves. Bands signed with small "indie" labels and bands in genres such as hardcore punk are more likely to do tours without a road crew, or with minimal support.

Artist management, representation and staff
Artists such as singers and musicians may hire several people from other fields to assist them with their career. The artist manager oversees all aspects of an artist's career in exchange for a percentage of the artist's income. An entertainment lawyer assists them with the details of their contracts with record companies and other deals. A business manager handles financial transactions, taxes, and bookkeeping. Unions, such as AFTRA and the American Federation of Musicians in the U.S. provide health insurance and instrument insurance for musicians. A successful artist functions in the market as a brand and, as such, they may derive income from many other streams, such as merchandise, personal endorsements, appearances (without performing) at events or Internet-based services. These are typically overseen by the artist's manager and take the form of relationships between the artist and companies that specialize in these products. Singers may also hire a vocal coach, dance instructor, acting coach, personal trainer or life coach to help them.

Emerging business models
In the 2000s, traditional lines that once divided singers, instrumentalists, publishers, record companies, distributors, retail and consumer electronics have become blurred or erased. Artists may record in a home studio using a high-end laptop and a digital recording program such as Pro Tools or use Kickstarter to raise money for an expensive studio recording session without involving a record company. Artists may choose to exclusively promote and market themselves using only free online video sharing services such as YouTube or using social media websites, bypassing traditional promotion and marketing by a record company. In the 2000s, consumer electronics and computer companies such as Apple Computer have become digital music retailers. New digital music distribution technologies and the trends towards using sampling of older songs in new songs or blending different songs to create "mashup" recordings have also forced both governments and the music industry to re-examine the definitions of intellectual property and the rights of all the parties involved. Also compounding the issue of defining copyright boundaries is the fact that the definition of "royalty" and "copyright" varies from country to country and region to region, which changes the terms of some of these business relationships.

After 15 or so years of the Internet economy, the digital music industry platforms like iTunes, Spotify, and Google Play are major improvements over the early illegal file sharing days. However, the multitude of service offerings and revenue models make it difficult to understand the true value of each and what they can deliver for musicians and music companies. As well, there are major transparency problems throughout the music industry caused by outdated technology. With the emerging of new business models as streaming platforms, and online music services, a large amount of data is processed. Access to big data may increase transparency in the industry.

Early history: Printed music in Europe
Music publishing using machine-printed sheet music developed during the Renaissance music era in the mid-15th century. The development of music publication followed the evolution of printing technologies that were first developed for printing regular books. After the mid-15th century, mechanical techniques for printing sheet music were first developed. The earliest example, a set of liturgical chants, dates from about 1465, shortly after the Gutenberg Bible was printed. Prior to this time, music had to be copied out by hand. To copy music notation by hand was a very costly, labor-intensive, and time-consuming process, so it was usually undertaken only by monks and priests seeking to preserve sacred music for the church. The few collections of secular (non-religious) music that are extant were commissioned and owned by wealthy aristocrats. Examples include the Squarcialupi Codex of Italian Trecento music and the Chantilly Codex of French Ars subtilior music.

The use of printing enabled sheet music to reproduced much more quickly and at a much lower cost than hand-copying music notation. This helped musical styles to spread to other cities and countries more quickly, and it also enabled music to be spread to more distant areas. Before the invention of music printing, a composer's music might only be known in the city she lived in and its surrounding towns, because only wealthy aristocrats would be able to afford to have hand copies made of her music. With music printing, though, a composer's music could be printed and sold at a relatively low cost to purchasers from a wide geographic area. As sheet music of major composer's pieces and songs began to be printed and distributed in a wider area, this enabled composers and listeners to hear new styles and forms of music. A German composer could buy songs written by an Italian or English composer, and an Italian composer could buy pieces written by Dutch composers and learn how they wrote music. This led to more blending of musical styles from different countries and regions.

The pioneer of modern music printing was Ottaviano Petrucci (born in Fossombrone in 1466 – died in 1539 in Venice), a printer and publisher who was able to secure a twenty-year monopoly on printed music in Venice during the 16th century. Venice was one of the major business and music centers during this period. His Harmonice Musices Odhecaton, a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type. That distinction belongs to the Roman printer Ulrich Han's Missale Romanum of 1476. Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font. He printed the first book of polyphony (music with two or more independent melodic lines) using movable type. He also published numerous works by the most highly regarded composers of the Renaissance, including Josquin des Prez and Antoine Brumel. He flourished by focusing on Flemish works, rather than Italian, as they were very popular throughout Europe during the Renaissance music era. His printing shop used the triple-impression method, in which a sheet of paper was pressed three times. The first impression was the staff lines, the second the words, and the third the notes. This method produced very clean and readable results, although it was time-consuming and expensive.

Until the 18th century, the processes of formal composition and of the printing of music took place for the most part with the support of patronage from aristocracies and churches. In the mid-to-late 18th century, performers and composers such as Wolfgang Amadeus Mozart began to seek more commercial opportunities to market their music and performances to the general public. After Mozart's death, his wife (Constanze Weber) continued the process of commercialization of his music through an unprecedented series of memorial concerts, selling his manuscripts, and collaborating with her second husband, Georg Nissen, on a biography of Mozart.

In the 19th century, sheet-music publishers dominated the music industry. Before the invention of sound recording technologies, the main way for music lovers to hear new symphonies and opera arias (songs) was to buy the sheet music (often arranged for piano or for a small chamber music group) and perform the music in a living room, using friends who were amateur musicians and singers. In the United States, the music industry arose in tandem with the rise of "black face" minstrelsy. Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a black person. The practice gained popularity during the 19th century and contributed to the spread of negative racial stereotypes of African-American people.

In the late part of the century the group of music publishers and songwriters which dominated popular music in the United States became known as Tin Pan Alley. The name originally referred to a specific place: West 28th Street between Fifth and Sixth Avenue in Manhattan, and a plaque (see below) on the sidewalk on 28th Street between Broadway and Sixth commemorates it. The start of Tin Pan Alley is usually dated to about 1885, when several music publishers set up shop in the same district of Manhattan. The end of Tin Pan Alley is less clear-cut. Some date it to the start of the Great Depression in the 1930s when the phonograph and radio supplanted sheet music as the driving force of American popular music, while others consider Tin Pan Alley to have continued into the 1950s when earlier styles of American popular music were upstaged by the rise of rock & roll.

Advent of recorded music and radio broadcasting
At the dawn of the early 20th century, the development of sound recording began to function as a disruptive technology to the commercial interests which published sheet music. During the sheet music era, if a regular person wanted to hear popular new songs, he or she would buy the sheet music and play it at home on a piano, or learn the song at home while playing the accompaniment part on piano or guitar. Commercially released phonograph records of musical performances, which became available starting in the late 1880s, and later the onset of widespread radio broadcasting, starting in the 1920s, forever changed the way music was heard and listened to. Opera houses, concert halls, and clubs continued to produce music and musicians and singers continued to perform live, but the power of radio allowed bands, ensembles and singers who had previously performed only in one region to become popular on a nationwide and sometimes even a worldwide scale. Moreover, whereas attendance at the top symphony and opera concerts was formerly restricted to high-income people in a pre-radio world, with broadcast radio, a much larger wider range of people, including lower and middle-income people could hear the best orchestras, big bands, popular singers and opera shows.

The "record industry" eventually replaced the sheet music publishers as the music industry's largest force. A multitude of record labels came and went. Some noteworthy labels of the earlier decades include the Columbia Records, Crystalate, Decca Records, Edison Bell, The Gramophone Company, Invicta, Kalliope, Pathé, Victor Talking Machine Company and many others. Many record companies died out as quickly as they had formed, and by the end of the 1980s, the "Big six" — EMI, CBS, BMG, PolyGram, WEA and MCA — dominated the industry. Sony bought CBS Records in 1987 and changed its name to Sony Music in 1991. In mid-1998, PolyGram Music Group merged with MCA Music Entertainment creating what we now know as Universal Music Group. Since then, Sony and BMG merged in 2004, and Universal took over the majority of EMI's recorded music interests in 2012. EMI Music Publishing, also once part of the now defunct British conglomerate, is now co-owned by Sony as a subsidiary of Sony/ATV Music Publishing. As in other industries, the record industry is characterised by many mergers and/or acquisitions, for the major companies as well as for middle sized business (recent example is given by the Belgium group PIAS and French group Harmonia Mundi).

Genre-wise, music entrepreneurs expanded their industry models into areas like folk music, in which composition and performance had continued for centuries on an ad hoc self-supporting basis. Forming an independent record label, or "indie" label, or signing to such a label continues to be a popular choice for up-and-coming musicians, especially in genres like hardcore punk and extreme metal, even though indies cannot offer the same financial backing of major labels. Some bands prefer to sign with an indie label, because these labels typically give performers more artistic freedom.

Rise of digital online distribution

In the first decade of the 2000s, digitally downloaded and streamed music became more popular than buying physical recordings (e.g. CDs, records and tapes). This gave consumers almost "friction-less" access to a wider variety of music than ever before, across multiple devices. At the same time, consumers spent less money on recorded music (both physically and digitally distributed) than they had in the 1990s. Total "music-business" revenues in the U.S. dropped by half, from a high of $14.6 billion in 1999 to $6.3 billion in 2009, according to Forrester Research. Worldwide revenues for CDs, vinyl, cassettes and digital downloads fell from $36.9 billion in 2000 to $15.9 billion in 2010 according to IFPI. The Economist and The New York Times reported that the downward trend was expected to continue for the foreseeable future. This dramatic decline in revenue has caused large-scale layoffs inside the industry, driven some more venerable retailers (such as Tower Records) out of business and forced record companies, record producers, studios, recording engineers and musicians to seek new business models.

In response to the rise of widespread illegal file sharing of digital music-recordings, the record industry took aggressive legal action. In 2001 it succeeded in shutting down the popular music-website Napster, and threatened legal action against thousands of individuals who participated in sharing music-song sound-files. However, this failed to slow the decline in music-recording revenue and proved a public-relations disaster for the music industry. Some academic studies have even suggested that downloads did not cause the decline in sales of recordings. The 2008 British Music Rights survey showed that 80% of people in Britain wanted a legal peer-to-peer (P2P) file-sharing service, however only half of the respondents thought that the music's creators should be paid. The survey was consistent with the results of earlier research conducted in the United States, upon which the Open Music Model was based.

Legal digital downloads became widely available with the debut of the Apple iTunes Store in 2003. The popularity of music distribution over the Internet has increased, and by 2011 digital music sales topped physical sales of music. In 2008, Atlantic Records reports that digital sales have surpassed physical sales. However, as The Economist reported, "paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs".

After 2010, Internet-based services such as Deezer, Pandora, Spotify, and Apple's iTunes Radio began to offer subscription-based "pay to stream" services over the Internet. With streaming services, the user pays a subscription to a company for the right to listen to songs and other media from a library. Whereas with legal digital download services, the purchaser owns a digital copy of the song (which they can keep on their computer or on a digital media player), with streaming services, the user never downloads the song file or owns the song file. The subscriber can only listen to the song for as long as they continue to pay the streaming subscription. Once the user stops paying the subscription, they cannot listen to audio from the company's repositories anymore. Streaming services began to have a serious impact on the industry in 2014.

Spotify, together with the music-streaming industry in general, faces some criticism from artists claiming they are not being fairly compensated for their work as downloaded-music sales decline and music-streaming increases. Unlike physical or download sales, which pay a fixed price per song or album, Spotify pays artists based on their "market share" (the number of streams for their songs as a proportion of total songs streamed on the service). Spotify distributes approximately 70% to rights-holders, who will then pay artists based on their agreements. The variable, and (some say) inadequate nature of this compensation, has led to criticism. Spotify reports paying on average US$0.006 to US$0.008 per stream. In response to concerns, Spotify claims that they are benefiting the music business by migrating "them away from piracy and less monetized platforms and allowing them to generate far greater royalties than before" by encouraging users to use their paid service.

The Recording Industry Association of America (RIAA) revealed in its 2015 earnings report that streaming services were responsible for 34.3 percent of the year's U.S. recorded-music-industry revenue, growing 29 percent from the previous year and becoming the largest source of income, pulling in around $2.4 billion. US streaming revenue grew 57 percent to $1.6 billion in the first half of 2016 and accounted for almost half of industry sales. This contrasts with the $14.6 billion in revenue that was received in 1999 by the U.S. music industry from the sale of CDs.

The turmoil in the recorded-music industry in the 2000s altered the twentieth-century balance between artists, record companies, promoters, retail music-stores and consumers. , big-box stores such as Wal-Mart and Best Buy sell more records than music-only CD stores, which have ceased to function as a major player in the music industry. Music-performing artists now rely on live performance and merchandise sales (T-shirts, sweatshirts, etc.) for the majority of their income, which in turn has made them more dependent – like pre-20th-century musicians – on patrons, now exemplified by music promoters such as Live Nation (which dominates tour promotion and owns or manages a large number of music venues). In order to benefit from all of an artist's income streams, record companies increasingly rely on the "360 deal", a new business-relationship pioneered by Robbie Williams and EMI in 2007. At the other extreme, record companies can offer a simple manufacturing- and distribution-deal, which gives a higher percentage to the artist, but does not cover the expenses of marketing and promotion.

Companies like Kickstarter help independent musicians produce their albums through fans funding bands they want to listen to. Many newer artists no longer see a record deal as an integral part of their business plan at all. Inexpensive recording-hardware and -software make it possible to record reasonable-quality music on a laptop in a bedroom and to distribute it over the Internet to a worldwide audience. This, in turn, has caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reports that as many as half of the recording facilities in that city have failed. Changes in the music industry have given consumers access to a wider variety of music than ever before, at a price that gradually approaches zero. However, consumer spending on music-related software and hardware increased dramatically over the last decade, providing a valuable new income-stream for technology companies such as Apple Inc. and Pandora Radio.

Digital album volume sales growth in 2014
According to IFPI, the global digital album sales grew by 6.9% in 2014.

Source: Nielsen SoundScan, Official Charts Company/BPI, GfK and IFPI estimate.

Consolidation
Prior to December 1998, the industry was dominated by the "Big Six": Sony Music and BMG had not yet merged, and PolyGram had not yet been absorbed into Universal Music Group. After the PolyGram-Universal merger, the 1998 market shares reflected a "Big Five", commanding 77.4% of the market, as follows, according to MEI World Report 2000:
 * Universal Music Group — 21.1%
 * Sony Music Entertainment — 17.4%
 * EMI — 14.1%
 * Warner Music Group — 13.4%
 * BMG — 11.4%
 * Independent labels combined — 22.6%

In 2004, the joint venture of Sony and BMG created the 'Big Four' at a time the global market was estimated at $30–40 billion. Total annual unit sales (CDs, music videos, MP3s) in 2004 were 3 billion. Additionally, according to an IFPI report published in August 2005, the big four accounted for 71.7% of retail music sales:
 * Universal Music Group—25.5%
 * Sony BMG Music Entertainment—21.5%
 * EMI Group—13.4%
 * Warner Music Group—11.3%
 * Independent labels combined—28.3%

Nielsen SoundScan in their 2011 report noted that the "big four" controlled about 88% of the market:
 * Universal Music Group (US based) — 29.85%
 * Sony Music Entertainment (US based) — 29.29%
 * Warner Music Group (US based) — 19.13%
 * EMI Group — 9.62%
 * Independent labels — 12.11%

After the absorption of EMI by Sony Music Entertainment and Universal Music Group in December 2011 the "big three" were created and on January 8, 2013, after the merger there were layoffs of forty workers from EMI. European regulators forced Universal Music to spin off EMI assets which became the Parlophone Label Group which was acquired by Warner Music Group. Nielsen SoundScan issued a report in 2012, noting that these labels controlled 88.5% of the market, and further noted:
 * Universal Music Group (US based) which owns EMI Music — 32.41% + 6.78% of EMI Group
 * Sony Music Entertainment (US based) which owns publishing arm of EMI Group — 30.25%
 * Warner Music Group— 19.15%
 * Independent labels— 11.42%

Note: the IFPI and Nielsen Soundscan use different methodologies, which makes their figures difficult to compare casually, and impossible to compare scientifically.

Market shares as of September 2018 are as follows:
 * Warner Music Group — 25.1%
 * Universal Music Group — 24.3%
 * Sony Corporation — 22.1%
 * Other — 28.5%

The largest players in this industry own more than 100 subsidiary record labels or sublabels, each specializing in a certain market niche. Only the industry's most popular artists are signed directly to the major label. These companies account for more than half of US market share. However, this has fallen somewhat in recent years, as the new digital environment allows smaller labels to compete more effectively.

Albums sales and market value
Total album sales have declined in the early decades of the 21st century, leading some music critics to declare the death of the album. (For instance, the only albums that went platinum in the US in 2014 were the soundtrack to the Disney animated film Frozen and Taylor Swift's 1989, whereas several artists did in 2013.) The following table shows album sales and market value in the world in 2014.

Source: IFPI 2014 annual report.

2000
In its June 30, 2000 annual report filed with the U.S. Securities and Exchange Commission, Seagram reported that Universal Music Group made 40% of the worldwide classical music sales over the preceding year.

2005
Interim physical retail sales in 2005. All figures in millions.

2003–2007
Approximately 21% of the gross CD revenue numbers in 2003 can be attributed to used CD sales. This number grew to approximately 27% in 2007. The growth is attributed to increasing on-line sales of used product by outlets such as Amazon.com, the growth of used music media is expected to continue to grow as the cost of digital downloads continues to rise. The sale of used goods financially benefits the vendors and online marketplaces, but in the United States, the first-sale doctrine prevents copyright owners (record labels and publishers, generally) from "double dipping" through a levy on the sale of used music.

2011
In mid-2011, the RIAA trumpeted a sales increase of 5% over 2010, stating that "there's probably no one single reason" for the bump.

2012
The Nielsen Company & Billboard's 2012 Industry Report shows overall music sales increased 3.1% over 2011. Digital sales caused this increase, with a Digital Album sales growth of 14.1% and Digital Track sales growth of 5.1%, whereas Physical Music sales decreased by 12.8% versus 2011. Despite the decrease, physical albums were still the dominant album format. Vinyl Record sales increased by 17.7% and Holiday Season Album sales decreased by 7.1%.

Total revenue by year
Global trade revenue according to the IFPI.

By region

 * Music industry of Asia
 * Music industry of East Asia
 * Music industry of Northern Europe
 * Music industry of the U.K.

Associations and organizations
The List of music associations and organizations covers examples from around the world, ranging from huge international bodies to smaller national-level bodies.

title: Music industry


text:
Talk:Racial memory

Similar concepts
Racial memory, genetic memory, collective unconscious, and morphic resonance are similar (but not necessarily the same) concepts). This article is in need of some referent or source citations, as noted therein.

Some scientific research in the field has yielded evidence re: genetic memory. I will supply some examples when I can get to it. --Blainster 21:51, 26 May 2005 (UTC)

 * It would probably be best to leave out reference to James V. McConnell's work on planarians (flatworms), since his results were not perfectly reproducible. RJCraig 05:38, 2 January 2006 (UTC)

NPOV and weaselspeak
I am adding an NPOV tag to this article because I'm not seeing much scientific skepticism. So far, there are a lot of weasel terms like "it has been hypothesized" and not a lot of actual, reliable references as far as the pro-racial-memory arguments go. The POV that racial memory may be pseudoscientific is given only a cursory "this hasn't been scientifically proven" for representation. We should look for some articles that attempt to debunk racial memory and add that POV with references because, as it is, the article does not adequately convey that the theory of genetic or racial memory is controversial. --InformationalAnarchist 7 July 2005 16:41 (UTC)

 * yeah its a big problem.  I've tried some editing on it, but i can't alter the supposed 'biological proofs'section as its not my field, and i don't know the survey used.   Perhaps the theory of how the brain is 'wired'could be enhanced?   Pydos 15:26, 31 August 2005 (UTC) signing off.

Scientology
Inspired by the discussion on 'weaselspeak' I added 'scientology'...the ultimate in tenuous logic (yes i know its a religion...and non have proof.  I'm not being POV here) Pydos 15:44, 16 September 2005 (UTC)

Merge with Race Memory
I think we should add Race Memory to 'racial Memory' assuming we can make this NPOV. Informationalanarchist has a point here about how it how it fails to show just how controversial the theory is - perhaps after the merge that could be resolved. Pydos 09:51, 12 August 2005 (UTC)
 * The merge does mention that that genetic memory has "no scientific evidence" to support it, which is good, but the result of the merge is an apparent dichotomy between racial and generic memory, and there's a lot of repetition now. This needs to be cleaned up before we can clarify the discussion, and we need to be clear on whether the more usual term for the concept is "racial memory" or "genetic memory." This means that we need to discuss some changes here and figure out re-directs and re-writes to make the merge smooth. I'm going to throw a cleanup tag on the article for that purpose. --InformationalAnarchist 03:19, 19 August 2005 (UTC)

Jungian example in Racial Memory section
''Consider, Jungians argue, an individual with a fear of heights. Racial memory would suggest that perhaps this individual's genetic ancestors met a dastardly fate due to a fall; ergo, this "racial memory" of the danger of heights causes the individual to fear them.''

Um...unless I'm missing something, how would an individual who met a "dastardly fate" (ignoring the question of how falling to one's death is treacherous or cowardly) manage to have any descendants? Isn't there a better example than this? RJCraig 07:03, 27 December 2005 (UTC)

So, does anyone which of Jung's work discusses racial memory. I'd like to give it a read. This article explains the idea using a Darwinian evolutionary model, which I don't think is correct. (That is to say that my understanding is that Racial Memory is non-Darwinian by nature, not that I think that Darwinian evolution is an incorrect concept.) --Dwcsite 19:49, 13 July 2006 (UTC)

 * Maybe The Archetypes and The Collective Unconscious?

 * In order for racial/genetic memory to be amenable to scientific study, it must be assumed to involve a physical representation or process. Transmission of this information from one generation to the next brings the topic within the province of genetics. The only way Darwinian evolution can be irrelevant is if it can be shown that the information is passed on in "junk DNA" and that this DNA is not subject to normal selectional constraints. RJCraig 03:48, 15 July 2006 (UTC)

 * Having read Archetypes and the Collective Unconscious, I think this article is unfair in it's representation. Jung merely makes a case that some psychological aspects are univerally held and, being common to modern man, have some basis in being inherited. He most certainly does not make suppositions about what this mechanism is. How can one debunk a mechanism that is undeclared? There is no citation on the Jungian section, and I will hopefully find some time to put together a more conclusive and cited piece of the article. Athemeus 19:10, 24 November 2006 (UTC)

Rewrite suggestions
Wouldn't the "Hypothetical biological explanations" section be better placed under "Genetic Memory"? How about adding a section entitled "(Purported) Examples" to collect/list the phenomena which are cited in support of the idea? (Or would the use of "purported" be POV?) The more I read this, the worse it seems; is a total rewrite out of the question? (Unfortunately, I am neither a genetic biologist or psychologist.) RJCraig 05:29, 2 January 2006 (UTC)

~ Maybe "Hypothetical causal mechanisms" since there is no scientifically validated mechanism that would explain the causation required by this, or any other lamarkian evolutionary process. --Dwcsite 21:23, 25 April 2006 (UTC)

Source?
"others have claimed to have observed the action of genetic memory in the behaviors of chimpanzees and bonobos who have demonstrated the abilities of their ancestors (such as using a rock to open nuts) even when isolated from them without the opportunity for direct learning."

This seems to similar to to this hoax. http://en.wikipedia.org/wiki/Hundredth_Monkey

Lamarckism and Possible Merge
Added a more skeptical tone to this article by putting in the appropriate references to Lamarckism. I've added the "merge with Lamarckism" tag at the top of the page because I think it's important to note that this is merely a new age pseudoscience rebranding of something that's already been largely (though not fully) discredited in science.

Coricus 10:57, 30 January 2006 (UTC)

First Paragraph
Just thought I'd drop a note to say that I removed the word "discredited" from the first paragraph because it seems largely redundant (given that the following paragraphs describe how it is discredited) and slightly POV (the emphasis that it gives is very perjorative). Good luck with the rest of the article. --84.64.93.157 10:55, 13 August 2006 (UTC)

Use of The Term 'Race'
This itself is controversial. One can argue that Michael Lewontin has proven that there is no such thing as 'race' or biological sub-species in modern living humans. There is not enough genetic variation to speak of subspecies. If they are 'ancestral memories', why call them 'race memories'? That seems very archaic.

 * how about calling it "inherited" memory? —Preceding unsigned comment added by 71.205.91.3 (talk) 00:45, 26 December 2007 (UTC)
 * I think the fact that Jung called the idea "Racial memory" kind of stamps that name on it. Calling it something like "inherited memory" means we then have to hunt down all sorts of tangentially related ideas and incorporate them into an article, which (IIRC) avoided deletion purely on the grounds that it had to be kept since it was one of Jung's theories.  I think writing up an article on "ideas kind of like Jung's theory of racial memory" would be WP:OR, since (again IIRC) no such secondary articles turned up last time anyone looked. Pete.Hurd (talk) 05:56, 26 December 2007 (UTC)

science fiction section
The science fiction section is maybe sort of entertaining but not of much relevance to an encyclopedia article about a nonfiction subject. How about squishing it down to a sentence or so, just saying that the theme has appeared in some fictional works. 67.117.130.181 00:19, 14 February 2007 (UTC)
 * How about shortening it to a couple of sentences as you said and setting up a separate page for the subject's use in film and print?--Poshzombie 00:56, 14 February 2007 (UTC)
 * I was the the one who deleted it, perhaps hastily. I was emboldened by this edit by another editor on Mass Driver. I think sections like this (ie X... in fiction) are a magnet for non-notable cruft. Any suggestions for a guideline, perhaps that could be added to Notability (fiction)? My suggestion would be to enforce a strict requirement for references that are not the primary source itself. - MrArt 08:33, 14 February 2007 (UTC)
 * I agree that the list may detract from the seriousness of the actual article. Would you disagree with putting it in a page by itself? The only reason I'm hesitant about deleting it all together is because I believe these types of lists cannot be created anywhere else on the net given the sheer number and diversity of contributors on Wikipedia. People who work in fiction can use these lists to see how a particular subject matter or plot device has been used in works that they'd never be aware of otherwise.--Poshzombie 17:36, 14 February 2007 (UTC)

I've gone ahead and put it in a separate article. - MrArt 06:49, 17 February 2007 (UTC)
 * I appreciate that. Thanks!--Poshzombie 19:14, 17 February 2007 (UTC)

Jung's biography ...
... states very clearly that he was uncomfortably enthusiastically in bed with the Nazis until 1944. He explained his involvement away with "only did it to preserve psychoanalysis during the 3rd Reich", but not many critics believed him. Therefore, having a Racial based theory sold on Wikipedia as suitable for human consumption based on Jung's (of all people) work makes my skin crawl. Guess Wikipedia would be better off if the article would have been deleted or merged into Jung's main article. HagenUK 20:37, 19 March 2007 (UTC)

 * Yeah, I'd have been happy with deletion. FWIW, as far as I can tell "Racial memory" might better be thought of as "Ancestral memory", in that the concept doesn't seem to refer to "races" in the present use sense, as in race.  What little I could find on-line (before deleting most of the material in this article) made reference to "Jung's concept of Racial Memory on X's artistic output" for various people X.  I could find no clear citation to a reference where Jung's exposition of this concept could be found.  So I cut it down to a stub.  I don't see anything here which might be seen as propagandizing a racist theory, but I'd be a whole lot happier if this were to have some verifyable sources... Pete.Hurd 20:55, 19 March 2007 (UTC)

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

title: Talk:Racial memory


text:
Catullus 7

Catullus 7 is a poem by Catullus addressed to his mistress Lesbia. Similar to Catullus 5, this poem revels in counting kisses, with a touch of stellar voyeurism.

The meter of this poem is hendecasyllabic, a common form in Catullus' poetry.

title: Catullus 7


text: User talk:24.60.161.255

title: User talk:24.60.161.255


text:
Wikipedia:Articles for deletion/Unprotected MediaWiki messages

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep and tag as historical. Mindspillage (spill yours?) 03:44, 9 Jun 2005 (UTC)

Unprotected MediaWiki messages
There are no unprotected MediaWiki messages, or at least none of the ones listed on this page are. Even if they were unprotected, having an explicit list of them would be a huge vandal magnet. Thryduulf 21:53, 26 May 2005 (UTC)
 * Keep for historical purposes (these used to be unprotected) and rewrite the page to indicate that. JYolkowski // talk 02:09, 27 May 2005 (UTC)
 * Keep as and rewrite to fix the listing. --cesarb 22:55, 29 May 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:
Hammering Man

Hammering Man is a series of monumental kinetic sculptures by Jonathan Borofsky. The two-dimensional painted steel sculptures were designed at different scales (from approximately 12 feet to 49 feet high), were painted black, and depict a man with a motorized arm and hammer movement to symbolize workers throughout the world. They were structurally engineered by Leslie E. Robertson Associates (LERA).

Borofsky has stated that "The Hammering Man is a worker. The Hammering Man celebrates the worker. He or she is the village craftsman, the South African coal miner, the computer operator, the farmer or the aerospace worker-the people who produce the commodities on which we depend."

Installations
Models of various sizes in the series have been installed in public spaces and museums throughout the United States and Europe, with the first 3.4 m (11.5 ft) high wood model shown at the Paula Cooper Gallery. The largest model reaches approximately 21 metres (69 ft), mid-size models at approximately 15 m (49 ft) and at 7 m (23 ft).

Seoul
The largest Hammering Man is in Seoul, South Korea (37.56991°N, 126.97246°W) next to the Heungkuk Life Insurance building in the Gwanghwamun area of the city. Installed in 2002, it stands 22 m (72 ft) high and weighs 50 tons. Seoul's Hammering Man strikes a blow every minute and seventeen seconds and is considered an important city landmark. In August 2009, the city of Seoul completed a project to move the sculpture 4.8 m/16 ft closer to the sidewalk and dedicated a new small gallery park at the site. A spiral path surrounding the statue was created to enhance its presence. Specially designed benches, landscaping, and lighting were also added to the surrounding park.

Frankfurt
The Hammering Man sculpture in Frankfurt, Germany is 21 metres (68.9 ft) tall and was commissioned in 1990, for the new Messeturm (exhibition tower) building at the Frankfurt Trade Fair (50.1125°N, 8.65278°W). An unofficial 6 ft tall copy of the Hammering Man appeared in Frankfurt in the 1990s in the Hülya-Platz (in the district Bockenheim, 50.12369°N, 8.63972°W). It was donated by a citizen's group against neo-nazism to commemorate the Solingen arson attack of 1993, and its hammer was designed with a hand crank that demolished a swastika emblem. This stealth sculpture was often vandalized and in April 2007 it was removed and scrapped after becoming so badly damaged and corroded that it was considered a danger for public safety. It was later replaced by a successor.

Seattle

The Hammering Man sculpture in Seattle is 14.6 m (48 feet) tall, 76 cm (30 inches) wide and 18 cm (7 inches) deep, and weighs 26,000 pounds. It is located directly in front of the Seattle Art Museum (47.60703°N, -122.33811°W) and is made from hollow-fabricated steel with a mechanized aluminum arm, an electric motor and flat black automotive paint. It was built in 1991 at a cost of $450,000. Original funding was provided by the Virginia Wright Fund in honor of Prentice Bloedel; City of Seattle 1% for Art funds; the Museum Development Authority and PONCHO (Patrons of Northwest Civic, Cultural and Charitable Organizations). However, during installation on 28 September 1991, the first sculpture fell and had to be replaced. The replaced sculpture was fabricated by Lippincott, Inc., North Haven, Connecticut and installed by Fabrication Specialities, Seattle. Its arm "hammers" silently and smoothly four times per minute, 20 hours a day, and runs on a 3-hp electric motor set on an automatic timer. The Hammering Man sculpture's arm rests 1–5 a.m. each morning as well as every year on Labor Day. On Labor Day 1993, a group of local artists led by Jason Sprinkle attached a scaled-to-fit ball and chain to the sculpture's leg.

Borofsky's statement on the Seattle installation: "The Hammering Man is a worker. The Hammering Man celebrates the worker. He or she is the village craftsman, the South African coal miner, the computer operator, the farmer or the aerospace worker-the people who produce the commodities on which we depend. This Hammering Man is 48 feet tall. It is constructed of steel (hollow-fabricated) and weighs over 20,000 pounds. A structural steel base-plate is bolted to a cement-block footing below ground level so that the architect's chosen material for the plaza can be brought up to flush to the feet of the sculpture. The Hammering Man appears to be standing (and working) on the plaza without a base in between. The black silhouette of the figure is, in fact, 30 inches wide: body (10 inches), arm (10 inches), space between arm and body (10 inches), as well as an extra 16 inches width at the top for the motor. The motorized hammering arm will move smoothly and meditatively up and down at a rate of four times per minute. Electricity runs from the motor down inside the sculpture and under the plaza to an on-off switch location. The Hammering Man is set on a timer and rests during evening and early morning hours. The sculpture has been sited so that the many pedestrians and drivers moving up and down First Avenue can enjoy the animated form while contemplating the meaning of the Hammering Man in their own lives."

"This sculpture is the second largest Hammering Man on the planet. A taller version is in Frankfurt, Germany. My goal is to have several different Hammering Men placed around the world-all working simultaneously. Other big outdoor versions of this work are in Japan and Switzerland. In the U.S. there are Hammering Men sculptures in New York, Minneapolis, Los Angeles and Washington D.C., among other places. It's a concept which helps to connect all of us together and also gives each specific Hammering Man site the potential for its own personal interpretations. The State of Washington is known for its aerospace, electronics, timber, fishing, agriculture, and gold mining industries-people working with their hands, or manual labor. Let this sculpture be a symbol for all the people of Seattle working with others on the planet to create a happier and more enlightened humanity."

"I want this work to communicate to all the people of Seattle-not just the artists, but families, young and old. I would hope that children who see the Hammering Man at work would connect their delight with the potential mysteries that a museum could offer them in their future. At its heart, society reveres the worker. The Hammering Man is the worker in all of us.  Jonathan Borofsky (Spring 2002)

United States

 * Dallas, Texas: 24 ft (1985)
 * Public Plaza, 110 E. Ninth Street, South Park, Los Angeles, California: 22 ft (1988)
 * La Jolla, California (1988)
 * Seattle Art Museum, Seattle, Washington: 48 ft (1991)
 * New York, New York (1981)
 * Minneapolis, Minnesota (1984, no longer on display)
 * Gainesville, Florida (date unknown)

Europe

 * Basel, Switzerland: 44 ft (1989)
 * Frankfurt, Germany: 70 ft (1990)
 * Lillestrøm, Norway (2010) 12 meters high.

Asia

 * Seoul, Korea: 72 ft (2002)

title: Hammering Man


text:
Scholomance

The Scholomance (Șolomanță, Solomonărie ) was a fabled school of black magic in Romania, especially in the region of Transylvania. It was run by the Devil, according to folkloric accounts. The school enrolled about ten students to become the Solomonari. Courses taught included the speech of animals and magic spells. One of the graduates was chosen by the Devil to be the Weathermaker and tasked with riding a dragon to control the weather.

The school lay underground, and the students remained unexposed to sunlight for the seven-year duration of their study. The dragon (zmeu or balaur) was kept submerged in a mountaintop lake, south of Sibiu, according to some accounts.

Folklore
An early source on the Scholomance and Dracula folklore was the article "Transylvanian Superstitions" (1885), written by Scottish expatriate Emily Gerard. It has been established for certain this article was an important source that Bram Stoker consulted for his novel Dracula. Gerard also published similar material in Land Beyond the Forest (1888), which Stoker might have also read, and other commentators stated this was Stoker's direct source for Scholomance in his novel.

Twenty years earlier, a description of the Scholomance and its pupils (the Scholomonariu) was given in an article written by Wilhelm Schmidt (1817–1901), a German schoolteacher at the Romanian town of Hermannstadt.

Some modern commentators have referred to the school as "L'École du Dragon" or "The School of the Dragon".

Curriculum
The school, it was believed, recruited a handful of pupils from the local population. Enrollment could be seven, 10, or 13 pupils. Here they learned the language of all living things, the secrets of nature, and magic. Some sources add specifically the pupils were instructed on how to cast magic spells, ride flying dragons, and control the rain.

The duration of their study was seven or nine years, and the final assignment for graduation required the copying of one's entire knowledge of humanity into a "Solomonar's book".

There was also the belief that the Devil instructed at the Scholomance. Moses Gaster remarked that this association with the Devil indicates that the memory of the school's origins as having to do with King Solomon had completely faded.

Location
The Scholomance, according to Gerard, was at some unspecified location deep in the mountains, but the dragon (correctly spelled zmeu, though given phonetically in German as ismeju ) was stabled underwater in a small mountaintop lake south of Hermannstadt in central Romania (modern Sibiu, Romania, called Nagyszeben in Hungarian). Stoker's novel locates the Scholomance near a non-existent "Lake Hermannstadt".

The Solomonărie, as it was called by the Romanians, was situated underground, according to Romanian folklorist Simion Florea Marian. Students there shunned sunlight for the seven-year duration of their training.

Weathermaker
By some accounts, one of the 10 graduating students would be chosen by the Devil to be the Weathermaker (Wettermacher ) and to ride a dragon (zmeu in Romanian) in this errand;  every time the dragon glanced at the clouds, rainfall would come. But according to legend, God made sure the dragon would not weary, because if it plummeted, it would devour a great part of the earth. The Solomonari's dragon-mount was, however, a balaur according to folklorist Marian's account.

Origins
Scholomance is a Germanization, Solomonărie was the Romanian form according to the popular beliefs collected by Marian, and an alternate Șolomanțâ is given elsewhere.

These forms suggest a tie to King Solomon, and it has been pointed out that one account in folklore describes the Solomonari as disciples of the weather-controlling ways of Solomon. Additionally, some assimilation might have occurred with Salamanca, Spain, the famed city of learning, with medieval stories of a sorcery taught by the devil located in the .

History of the Germanized form
Scholomance has been suspected of not being a genuine Romanian term, but rather a misnomer, created through the corrupted Germanization of "Solomonari", the term for the students and not the school. Such a view was given by Elizabeth Miller, a scholar specializing in Dracula studies.

A mistaken idea that "Scholomance" was a neologism first reported in 1885 by Emily Gerard was at one time current in English-speaking circles. The terms "Scholomance" and "Scholomonariu" appear in the Austrian journal Österreichische Revue in 1865.

In fiction
Bram Stoker, who studied Gerard's work extensively, refers to it twice in Dracula, once in chapter 18:

"The Draculas were, says Arminius, a great and noble race, though now and again were scions who were held by their coevals to have had dealings with the Evil One. They learned his secrets in the Scholomance, amongst the mountains over Lake Hermanstadt, where the devil claims the tenth scholar as his due."

And in chapter 23:

"He dared even to attend the Scholomance, and there was no branch of knowledge of his time that he did not essay."

Stoker's reference to "Lake Hermanstadt" appears to be a misinterpretation of Gerard's passage, as there is no body of water by that name. The part of the Carpathians near Hermannstadt holds Păltiniş Lake and Bâlea Lake, which host popular resorts for people of the surrounding area.

In the fantasy novel Lord of Middle Air by Michael Scott Rohan, the character of wizard Michael Scot reveals that he dared to train at the Scholomance on two occasions, as there was so much knowledge it could not all be learnt in one night.

The novel Anno Dracula by Kim Newman cites the same quotation from Stoker's Dracula in chapter 23.

The young adult fiction novel Lady Midnight by Cassandra Clare uses the Scholomance as a Shadowhunter training academy to train elite Shadowhunters in her spinoff to The Mortal Instruments, The Dark Artifices.

The novel A Deadly Education by Naomi Novik is the first in a series primarily set in a boarding school for young wizards inspired by and named for the legendary Scholomance.

The warlocks in Bungie's Myth II: Soulblighter are described as having been trained at a school of magic named the Scholomance.

In Blizzard Entertainment's World of Warcraft, the Scholomance is a ruined castle held by undead forces whose cellars and crypts are now used to train necromancers and create undead monsters. Like its legendary namesake, the Scholomance in World of Warcraft is in the middle of a lake. The school is also featured in the Scholomance Academy expansion pack of 2020, for the related game Hearthstone that is also set in the Warcraft universe.

title: Scholomance


text:
Bitten

Bitten may refer to:

 * Bitten (film), a 2008 film
 * Bitten (novel), a 2001 novel by Kelley Armstrong
 * Bitten (TV series), a 2014 television series
 * Bitten, an anthology book by RL Stine that contains Dangerous Girls and The Taste of Night
 * Bitten, a fashion line created by actress Sarah Jessica Parker

title: Bitten


text:
K.F.C. Verbroedering Geel

K.F.C. Verbroedering Geel was a Belgian association football club from the city of Geel in Antwerp (province).

History
The club was born in 1921 as a merger of Flandria and Geel Sport, becoming Flandria Geel Sport, and registered in 1924 to the Belgian Football Association receiving the matricule n° 395 after changing its name to FC Verbroedering Geel. It played for the first time in the second division in 1985–86. In 1999–2000 it appeared shortly in the first division as it won the second division final round. At this time the club merged with neighbours from K.F.C. Herentals leaving both name and matricule of the latter club.

On 30 November 2005 Verbroedering Geel is judged by the Control Commission of the FA for having falsified the 2004–05 second division final round and is subsequently downgraded to the third division. The judgement was confirmed on 1 March 2006 after which chairman Vic Keersmaekers resigned. Eventually on 13 April 2006 the Evocation Commission cancelled the decision of the Control Commission. Though on 3 May 2006 it was confirmed by the Appeal Commission of the FA that the club would be relegated. It thus seized the Evocation Commission. The executive committee of the FA decided on 8 May 2006 to let Geel play the 2005–06 second division final round although the rules of the competition state that a relegated club cannot take part in the final round. On 15 June 2006 the Evocation Commission rejected the plaint of Geel and the club was then officially relegated to the third division, permitting K.M. S.K. Deinze to avoid relegation.

The club was suffering serious financial trouble. Conversations were started with the Egyptian group Wadi Degla Investment to take over the club. Eventually they chose to take over Lierse and KFC Turnhout. On 30 June 2008, the club filed for bankruptcy and ultimately ceased to exist.

A different local team Verbroedering Meerhout, playing in Belgian Promotion, chose to move to the stadium of Verbroedering Geel due to better facilities. They changed their name to Verbroedering Geel-Meerhout, a symbolic merger.

Honours

 * Belgian Second Division final round:
 * Winners (1): 1998–99
 * Belgian Third Division B:
 * Winners (1): 1984–85
 * Belgian Third Division final round:
 * Winners (1): 2006–07

title: K.F.C. Verbroedering Geel


text:
Cursed

Cursed or The Cursed may refer to:

 * Curse, an expressed wish that some form of adversity will befall another

Films

 * Cursed (2004 fiim), a Japanese horror film by Yoshihiro Hoshino
 * Cursed (2005 film), an American horror comedy film directed by Wes Craven
 * The Cursed (2021 film), an American-French horror film directed by Sean Ellis
 * The Cursed: Dead Man's Prey, a 2021 South Korean adaptation of the 2020 South Korean TV series (see below)

Music

 * Cursed (band), a 2001–2008 Canadian hardcore punk band
 * Cursed (Ion Dissonance album) or the title song, 2010
 * Cursed (Morgoth album) or the title song, 1991
 * Cursed (Righteous Vendetta album) or the title song, 2017
 * Cursed (Rotten Sound album), 2011
 * Cursed (Scaramanga Six album), 2011
 * "Cursed", a song by King Princess from Hold On Baby, 2022
 * "Cursed", a song by Robbie Williams from Escapology, 2002

Series

 * Cursed (2000 TV series), a 2000–2001 American sitcom
 * Cursed (2020 TV series), a streaming television series
 * The Cursed (TV series), a 2020 South Korean TV series

Episodes

 * "Cursed!" (Amphibia), 2019
 * "Cursed!" (The Casagrandes), 2020
 * "Cursed" (Freelancers), 2019
 * "Cursed" (Hi Hi Puffy AmiYumi), 2005
 * "Cursed" (House), 2005

Other uses

 * Cursed (Buffy/Angei novel), a 2003 original novel based on the TV series Buffy the Vampire Slayer and Angel
 * Cursed, a 2012 Alex Verus novel by Benedict Jacka
 * Cursed!, a 2020 play by Kodie Bedford

title: Cursed


text:
MacDonnell Ranges

The MacDonnell Ranges, or Tjoritja in Arrernte, is a mountain range located in southern Northern Territory. MacDonnell Ranges is also the name given to an interim Australian bioregion broadly encompassing the mountain range, with an area of 3929444 ha. The range is a 644 km long series of mountains in central Australia, consisting of parallel ridges running to the east and west of Alice Springs. The mountain range contains many spectacular gaps and gorges as well as areas of Aboriginal significance.

The ranges were named after Sir Richard MacDonnell (the Governor of South Australia at the time) by John McDouall Stuart, whose 1860 expedition reached them in April of that year. The Horn Expedition investigated the ranges as part of the scientific expedition into central Australia. Other explorers of the range included David Lindsay and John Ross.

The MacDonnell Ranges were often depicted in the paintings of Albert Namatjira.

Geography
The highest peaks are Mount Zeil with an elevation of 1531 m AHD, Mount Liebig at 1524 m AHD, Mount Edward at 1423 m, Mount Giles at 1389 m and Mount Sonder at 1380 m AHD; the five highest mountains in the Northern Territory. The headwaters of the Todd, Finke and Sandover rivers form in the MacDonnell Ranges. The range is crossed by the Australian Overland Telegraph Line, the Stuart Highway and the Adelaide–Darwin rail corridor at the Heavitree Gap, a water gap created by the Todd River, at the southern entrance to Alice Springs.

Geology
Some 300-350 million years ago a mountain building event created the MacDonnell Ranges. Since that time, folding, faulting and erosion have shaped the range and created numerous gaps and gorges. The ranges are composed of many rock types, but are most famous for their red quartzite peaks and gorges. Other rock types include granite, limestone, sandstone and siltstone. Some of the valleys of the range contain fossil evidence of the inland sea that once covered central Australia.

Ecology
Part of the Central Ranges xeric scrub ecoregion of dry scrubby grassland, the ranges are home to a large number of endemic species that includes the centralian tree frog Litoria gilleni. This is mostly due to the micro climates that are found around the cold rock pools.

Tourist attractions
The West MacDonnell National Park was established in 1984 to protect the numerous parks and reserves of the range, including internal residents inside the range. It also facilitated the development of the Larapinta Trail.

To the east of Alice Springs, within an hour's drive, are sites important to the local Arrernte people, many of which contain examples of Aboriginal rock art. These include Emily Gap, Jessie Gap, Trephina Gorge and N’Dhala Gorge.

To the west of Alice Springs is the Larapinta Trail—a world-class, long distance bush walking trail that runs 223 km along the backbone of the range. Along the trail are Simpsons Gap, Standley Chasm, Ellery Creek Big Hole, Serpentine Gorge, Ochre Pits, Ormiston Pound, Redbank Gorge, Glen Helen Gorge, Mount Sonder and Mount Giles.

title: MacDonnell Ranges


text:
Talk:Game Manufacturers Association

Untitled
Needs a disambiguation page. Linked wrongly from Conor Lenihan to Gama, a Turkish construction firm currently under investigation in Ireland for exploiting their employees.

title: Talk:Game Manufacturers Association


text: User talk:129.241.129.48

title: User talk:129.241.129.48


text:
Talk:Cessna

Cessna push/pull twin
I see no mention of this iconic aircraft?? 68.102.137.219 (talk) 17:37, 8 October 2023 (UTC)

title: Talk:Cessna


text:
A. A. Trapp

Arthur A. "Archie" Trapp (November 7, 1918 – August 2, 2007) was a politician in Manitoba, Canada. He served in the Legislative Assembly of Manitoba as a Liberal-Progressive from 1958 to 1959.

The son of Albert Trapp and Charlotte Arnhold, he was born in Brokenhead, Manitoba. Trapp farmed and also operated timber and auctioneering businesses. He married Juliana Freund. Like his father, he served as reeve for the Rural Municipality of Brokenhead. Trapp later was employed with the Department of Indian Affairs. After his retirement, he became owner and operator of a fishing lodge in northern Manitoba.

Trapp was elected to the Manitoba legislature in the 1958 provincial election, defeating Progressive Conservative candidate G.A. Stewart by 176 votes in the mid-northern constituency of Lac Du Bonnet. He served in the parliamentary opposition during his time in the legislature.

In the 1959 election, Trapp challenged Cooperative Commonwealth Federation Edward Schreyer in the neighbouring constituency of Brokenhead. He was unsuccessful, finishing in third place.

He died in Winnipeg at the age of 88.

title: A. A. Trapp


text:
Talk:Treaty of Lacarno

VfD
On May 14, 2005, this article was nominated for deletion. The result was redirect'. See Votes for deletion/Treaty of Lacarno for a record of the discussion. Mindspillage (spill yours?) 21:58, 26 May 2005 (UTC)

title: Talk:Treaty of Lacarno


text:
Wikipedia talk:Federal Standard 1037C terms/coding terms

Should this be moved to list of coding topics? Michael Hardy 21:58, 26 May 2005 (UTC)


text:
Wikipedia:Articles for deletion/Quintippio

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Mindspillage (spill yours?) 03:39, 9 Jun 2005 (UTC)

Quintippio
Seems to be a hoax. The word, when on google, turns up 4 hits, two of which is Swedish wikipedia, the other two in languages I don't know. Even if it were real a non existant product that stars in an adverstisment is not encyclopedic. Delete. Sabine's Sunbird 21:59, 26 May 2005 (UTC)
 * Delete, hoax. Megan1967 05:44, 27 May 2005 (UTC)
 * I saw that commercial. I laughed.  Not encyclopedic.  Delete.  RickK 19:21, May 27, 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:
User talk:Rubberbandman747

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. --Whimemsz 21:59, May 26, 2005 (UTC)

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. --Happyfeet10 22:09, 26 May 2005 (UTC)

title: User talk:Rubberbandman747


text:
Col de Restefond

Col de Restefond (el. 2680 m) is a high mountain pass in the French Alps, near the border with Italy. It is situated on the flanks of le Restefonde within the Mercantour National Park in the department of Alpes-de-Haute-Provence.

The actual pass is situated on a gravel track leading off the D64 close to its summit at the Col de la Bonette (2715 m). The passage over the Col de la Bonette is often mistakenly referred to as the Col de Restefond, and in the 2008 Tour de France the summit was referred to as the Cime de la Bonette-Restefond. Stage 16 of the tour approached the summit from Saint-Étienne-de-Tinée (south-east), and after reaching the Col de la Bonette, took a loop round the Cime de la Bonette reaching the summit of 2802 m, which is the highest point reached by the Tour de France, before re-passing the Col de la Bonette. On the descent to Jausiers, the actual Col de Restefond was passed on the right approximately 1 km from the summit. This pass, like many others in the region, is generally impassable due to ice and snow from November to May.

Close by are various ancient blockhouses, remnants of the Maginot Line's Alpine extension, the Alpine Line. The Ouvrage Col de Restefond consisted of three infantry blocks facing Italy.

title: Col de Restefond


text:
Logos Dictionary

Logos Dictionary is a multilingual online dictionary provided by Logos Group, a European translation company. It was founded in 1995 by Rodrigo Vergara, and was one of the first and largest multilingual dictionaries on the web. In 1996, it was made freely accessible on the Web, and had over a thousand translators contributing to over a million entries. At the time, it was described by translator Robert Clark as the fastest growing dictionary. As of 2005 it contained over seven million terms in over 200 languages, some of them minority languages as Breton, Leonese, Scots or Venetian.

The dictionary offers a variety of search options, and requires free registration in order to add or update translations. It includes a multilingual portal for using the dictionary, a Linguistic Resources database of over 500 glossaries, a Universal Conjugator database for conjugation of verbs, and a children's dictionary with multilingual usage examples.

title: Logos Dictionary


text:
The Red Pony (Copland)

The Red Pony is a film score composed for Lewis Milestone's 1949 production which used John Steinbeck's screenplay based on his 1937 book, The Red Pony. It was composed by Aaron Copland in 1948 at Republic Pictures and an LP was issued of the soundtrack.

The orchestral suite, originally arranged by Copland for the Houston Symphony Orchestra, lasts approximately 20–25 minutes and consists of six separate pieces:
 * "Morning on the Ranch"
 * "The Gift"
 * "Dream March and Circus Music"
 * "Walk to the Bunkhouse"
 * "Grandfather's Story"
 * "Happy Ending"

The premiere of the suite in Houston was on October 30, 1948. In 1966, Copland transcribed selections from the orchestral suite for band.

title: The Red Pony (Copland)


text:
User talk:Zhang-guannan

Surname
Zhang means master of the bow, or an archer/bowman.

Name
Guannan means:

Guan: as in Guanjun, champion.

Nan: as in Nan Shu, a type of wood best used for exquisite high-end woodworking projects, especially in the production and creation of deadly weapons.

---

Origin of Name
Zhang Guannan, or the Archery Champion, is not a very popular name. In fact, it is generally avoided, due to its high improbability that the child so named will be a archery champ. Zhang Guannan's generally speaking, are people who would love nontraditional sports such as karate and archery, and can do pretty well in them. There is a rumor about a young filmmaker in Troy, MI, who is going to shoot a emo film this summer about boxing named Alec Averell. When this movie comes out and how it comes out are to still be determined. On one hand, people (anybody) with the name Guannan generally turns up to be a slightly higher-IQ'ed than most people with the same surname. They sometimes turn out to be too intelligent, as a lot of people with the name Guannan end up getting shot. Which is a real tragedy. On the other hand, the reason there are so few people named Guannan is that the name is generally reserved for those who are esteemed to be real heroes in their future communities. The name is usually bestowed on someone who is or was born after a great and immensely painful struggle. Most of the time the name is bestowed upon people who were born from caesarian section or who were the only ones born after so many failed attempts, or both; in either case the name fits due to the fact (and superstition in some areas of China) that the youngest, only-surviving member of a family will grow up to be a great general, or someone else everyone can look up to. The name Guannan originated in very obscure origins. No one knows for sure who is the first Guannan, but everyone seems to hold them in high esteem.

---

Some current Zhang Guannan's:
Nathan Guannan Zhang a young independent filmmaker from Troy, Michigan who happens to be a friend of mine. General Zhang Guannan an obscure general from Chinese history.

---

Other Guannan's:
Sun Guannan a young Chinese CCTV-4 television broadcastwoman.

---

Your comments are welcome.

title: User talk:Zhang-guannan


text: Category:Stop motion animators

title: Category:Stop motion animators


text:
User talk:Fourthgeek

FNORD
Hi! This is Icarus!, being non-Wiki (I'm not logged in...), saying thanx for the work on the Discordianism page! Keep it up!24.176.20.60 17:23, 19 August 2007 (UTC)

The Country Wife
Oh, no, intrigue redirected to the Oldsmobile Intrigue? LOL. Thanks very much for fixing that, and reverting vandalism to boot! Bishonen | talk 22:04, 26 May 2005 (UTC)

Sea Ice
I believe the word should have been left as "calve" - a process for pieces of ice to break off in analogy with a cow having calves

I thought the figures were OK as they were.

Pdn 02:36, 19 July 2005 (UTC)

You're right about the calve part, I changed that back. I think the images are better organized this way though. Side-by-side is better than top-on-bottom, for these purposes, I think. If other people agree with you, though, or if someone makes something better, then I'll gladly let it change back to the other way, but they are "tall" pictures, and so it makes more sense to put them side-by-side, for space efficiency and aesthetics.Fourthgeek

Sure - thanks for the fix on calving. Kind of more holistic than caving in a way. So far as the figures go they seem OK either way. Pdn 04:07, 19 July 2005 (UTC)

Did you make crafty bits for oblivion?
And do you have Google talk, MSN or AIM?

Disputed fair use rationale for Image:Portal (tv).jpg
Thanks for uploading Image:Portal (tv).jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 15:50, 21 January 2008 (UTC)

Orphaned non-free image File:David Bowman.jpg
 Thanks for uploading File:David Bowman.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of "file" pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "File" from the dropdown box. Note that any non-free images not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. +Angr 20:25, 4 July 2010 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:54, 23 November 2015 (UTC)

Nomination of Portal (TV series) for deletion
A discussion is taking place as to whether the article Portal (TV series) is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Portal (TV series) until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. ZXCVBNM (TALK) 21:01, 12 February 2018 (UTC)

title: User talk:Fourthgeek


text:
User talk:Nathanslife

Image:Test.jpg listed for deletion
An image or media file that you uploaded or altered, Image:Test.jpg, has been listed at. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in its not being deleted. Thank you. —MetsBot 19:16, 9 December 2006 (UTC)

title: User talk:Nathanslife


text:
Wikipedia:Articles for deletion/Gordon Springs, South Carolina

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Mindspillage (spill yours?) 03:35, 9 Jun 2005 (UTC)

Gordon Springs, South Carolina
Delete: There is no such town in South Carolina. It is a subdivision of another town, but not a town in its own right. See. Note that the text of this article is virtually identical to the text found at Gordon Springs, Georgia (Update:That article now describes a spring/creek, so the text is not a match anymore --Durin 06:00, 27 May 2005 (UTC)). I suspect the author is attempting to create more basis for his article on Evan Pryzant (which is up for VfD). The author has made some other contributions/edits that are questionable, such as the article Hard clam which is up for nonsense-speedy. --Durin 22:08, 26 May 2005 (UTC)
 * Keep. I edited the article to say "Gordon Springs is a subdivision in Richland County, South Carolina."  This much is verifiable and verifiable geographic locales are encyclopedic. Delete any unverifiable nonsense. Ask for help on WP:RFPP if people insist on inserting nonsense into the article. --Tony Sidaway|Talk 22:59, 26 May 2005 (UTC) No vote. --Tony Sidaway|Talk 08:21, 27 May 2005 (UTC)
 * Comment: Articles on subdivisions? U.S. Census bureau does not count this as a town. I could be wrong, but I doubt Wikipedia has subdivisions of towns having separate articles. Any such article would/should be merged into the town's article itself. --Durin 23:48, 26 May 2005 (UTC)
 * Fair enough. Here in the UK we'd basically catalog everything. It's a small country so that is feasible, and we're also very history-dense. Every small area of a big town was once a town or village of its own, usually for centuries. --Tony Sidaway|Talk 00:54, 27 May 2005 (UTC)
 * We have our share of merges as well, but our history is shorter than yours. Regardless, in this particular case 'Gordon Springs' is not remarkable enough to warrant an article. There may have been a town of that name at one time (I found references to Gordon Springs Post Office as historical in Georgia), but I can not verify that it ever existed as a town in its own right. I rather suspect the originating author of this and related articles created a number of reasonable sounding hoax pages, testing to see how long it would take to wipe them out. --Durin 01:33, 27 May 2005 (UTC)

 * With respect to the other article, Gordon Springs, Georgia, I take it this is the same place that changed hands or was always a border marker? --Tony Sidaway|Talk 23:03, 26 May 2005 (UTC)
 * No, this is a different place. older ≠ wiser 14:23, May 28, 2005 (UTC)
 * Delete unless new information turns up. There are two Google matches for "gordon springs" "richland county", both of which are likely based on a flawed listing of towns. Searching for "gordon springs" "south carolina" doesn't do much better. The final match includes lat/long, but that location doesn't turn up anything that seems to be named Gordon Springs (I also checked Mapquest). --SPUI (talk) 03:02, 27 May 2005 (UTC)
 * Comment - this vote does not mean I would vote no on an article with more details about the subdivision. Just noting that for the VFU people who assume. --SPUI (talk) 21:02, 31 May 2005 (UTC)
 * Delete, subdivisions are rarely encyclopedic and the USGS doesn't know about this one. Gazpacho 03:04, 27 May 2005 (UTC)
 * Delete, Although it is listed by the USGS, there does not appear to be anything worth noting about the place. older ≠ wiser 14:23, May 28, 2005 (UTC)
 * Keep real places. -- BD2412  talk  18:03, 2005 May 31 (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:
Televisió de Catalunya

Televisió de Catalunya (, known by the acronym TVC) is the public broadcasting network of Catalonia, one of the seventeen autonomous communities of Spain.

It is part of the Corporació Catalana de Mitjans Audiovisuals, a public corporation created by the Generalitat de Catalunya by a Founding Act in 1983. Slightly more than half of its revenue (52%) comes from public funding through the Generalitat de Catalunya, while the remaining 48% is raised through advertising, sponsorship and merchandise and original productions' sales. It is officially composed by six channels: TV3, TV3 HD, 33/Super3, 3/24, Esport3 and TV3CAT.

While the main language of all these channels is Catalan, Spanish is usually neither sub-titled nor dubbed, as it is generally accepted that all Catalan speakers are by default also Spanish speakers. Some programmes such as Polònia and APM use Spanish extensively, largely for effect. In the Aran Valley, there are programs in Aranese.

TVC headquarters are located in Sant Joan Despí, near Barcelona.

History
TV3 started its trial broadcasts on 11 September 1983 on the National Day of Catalonia, but its regular broadcasts started a few months later, on 16 January 1984. TV3 was the first television channel to broadcast only in Catalan. In 1985, TV3 expanded its coverage to Andorra, Northern Catalonia and the Valencian Community. One year later, TV3 inaugurated its new headquarters, a 4.5-hectare facility in Sant Joan Despí, near Barcelona.

Since 1987, TV3 has broadcast a second audio channel on almost all foreign-language series and movies with the original programme audio, first using the Zweikanalton system and later on, using NICAM. Back on analog broadcasting, series and movies were usually broadcast in NICAM stereo. However, sometimes an audio narration track for blind and visually impaired viewers is also provided.

In 1988, TV3 started a decentralization process, first broadcasting programmes in the Aranese language for the Aran Valley and, one year later, opening branch offices in Tarragona, Girona and Lleida and creating the Telenoticies Comarques, a regional news programme broadcast simultaneously in four different editions, one for each of the four Catalan provinces.

During the 1992 Summer Olympics, TV3 and TVE created the Olympic Channel, a joint network to provide coverage for the Olympic Games using Canal 33's frequency.

In 1999, Televisió de Catalunya started broadcasting in the Digital terrestrial television system, and regular DTT broadcasts started in 2002.

Coverage
Televisió de Catalunya's terrestrial channels are available in Catalonia, its home region. Thanks to agreements with the neighboring territories, they can be received in the Balearic Islands (TV3CAT, SX3/33 and 3/24 only), Andorra (all channels) and Northern Catalonia (all channels). The agreement with the Balearic Islands is reciprocal, as in the public balearic channel IB3 Global is available in Catalonia as well.

Since 1985 and until 2011, TVC's channels were also available in the Valencian Community thanks to transmitters run by volunteers from Acció Cultural del País Valencià. This transmission ceased in 2011 when the Generalitat Valenciana ordered its termination.

TV3CAT is available worldwide via its online TV service "3alacarta". The TV3CAT signal is carried by cable operators: Ono, Movistar Plus, Euskaltel, Freebox, Digi TV, Kabel BW, Evrotur, Sofiacable and Cable Mágico. It was previously broadcast via satellites Astra (in Europe) and Hispasat (in Europe and the Americas).

TV3 and TV3 HD
TV3 is TVC's first and main channel. A generalist channel, it broadcasts news and entertainment programmes, as well as fiction series and movies. In February 2011, it began simultaneous broadcasting in high definition (HD). On January 16, 2024, the HD signal completely replaced the standard definition (SD) signal, broadcasting exclusively in HD.

3/24
3/24 is TVC's 24-hour news channel, launched in 2003.

SX3
SX3 is a children's and teenagers' channel, that broadcasts from 6:00 to 21:30 on DTT (sharing its DTT channel with El 33) and 24 hours online on IPTV and HbbTV. It broadcasts both entertainment and educational programmes, for a wide range of ages. Early morning programmes are usually directed to younger children and use the brand S3, while the afternoon is directed more towards teenagers under the brand X3. It started on 10 October 2022, replacing Canal Super 3.

SX3 is the third incarnation of a children's and teenagers' channel from TVC, as Canal Super 3 replaced in 2009 in turn the previous children's channel, K3, which started in 2001.

33
TVC's second channel, El 33 is a cultural channel. Its programming consists of cultural programmes, documentaries and debates. Until 2011 and the creation of the sport channel Esport 3, it also broadcast sport events and programmes.

Originally called Canal 33, in 2003 it underwent a restructuring that split it into two channels that shared the same frequency: 33 and K3. While this is still true for analogical broadcasting, since December 2006, 33 has a channel of its own in digital terrestrial television.

Esport 3
Esport3 is TVC's sports channel. It started its emission tests in October 2010 and started its regular emissions in early 2011. It broadcasts sports events and sports programmes (Temps d'aventura).

TV3CAT
TV3CAT (known as TVCi until June 2009) is TVC's international channel, launched in 1995. It broadcasts a selection of TV3 and 33 programmes, as well as fiction series and movies.

title: Televisió de Catalunya


text: Category:Werewolf written fiction

title: Category:Werewolf written fiction


text:
Talk:Solar collector

Untitled
I think these articles should be merged. They are synonyms with the same information. What do you think Rick? Mtleslie 17:13, 30 May 2007 (UTC)

[[Image:Laundromat-SolarCell.png|thumb|200px|right|A [[laundromat]]

Solar panels = flat plate PV panels or flat plate solar thermal Solar collector = above but includes mirrors

PV and thermal need to be distinguished, lets have one section for

Solar thermal panels or collectors

and

one for

Photovoltaic modules (demerged from soalr panels)--Oldboltonian 20:06, 31 May 2007 (UTC)

Could also reduce this page a disambiguation page for PV modules or solar thermal panels. I have created a stub for PV modules, there is enough materal for a decent article on PV modules.

There's not much to say about both PV modules and solar thermal panels together--Oldboltonian 19:20, 2 June 2007 (UTC)

title: Talk:Solar collector