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Studio system

A studio system is a method of filmmaking wherein the production and distribution of films is dominated by a small number of large movie studios. It is most often used in reference to Hollywood motion picture studios during the early years of the Golden Age of Hollywood from 1927 (the introduction of sound motion pictures) to 1948 (the beginning of the demise of the studio system), wherein studios produced films primarily on their own filmmaking lots with creative personnel under often long-term contract, and dominated exhibition through vertical integration, i.e., the ownership or effective control of distributors and exhibition, guaranteeing additional sales of films through manipulative booking techniques such as block booking.

During the Hollywood Golden Age, eight companies constituted the major studios that promulgated the Hollywood studio system. Of these eight, five were fully integrated conglomerates known as the original Big Five, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Metro-Goldwyn-Mayer (owned by Loews Incorporated, owner of America's largest theater chain), Paramount Pictures, Warner Bros., 20th Century-Fox (later renamed 20th Century Studios after its Disney acquisition brought back the Big Five for the first time since then), and RKO Radio Pictures. Also at this time, two of the Little Three major-minors (Columbia Pictures and Universal Pictures) were similarly organized, though without more than small theater circuits, and the third (United Artists) owned a small number of theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, financing independent productions and releasing their films.

The studio system was challenged under the antitrust laws in a 1948 Supreme Court ruling which sought to separate production from the distribution and exhibition and ended such practices, thereby hastening the end of the studio system. By 1954, with television competing for audience and the last of the operational links between a major production studio and theater chain broken, the historic era of the studio system was over.

Sound and the Big Five
The years 1927 and 1928 are generally seen as the beginning of Hollywood's Golden Age and the final major steps in establishing studio system control of the American film business. The success of 1927's The Jazz Singer, the first feature-length "talkie" (in fact, the majority of its scenes did not have live-recorded sound) gave a big boost to the then midsized Warner Bros. studio. The following year saw both the general introduction of sound throughout the industry and two more smashes for Warners: The Singing Fool, The Jazz Singer's even more profitable follow-up, and Hollywood's first "all-talking" feature, Lights of New York. Just as significant were a number of offscreen developments. Warner Bros., now flush with income, acquired the extensive Stanley theater chain in September 1928. One month later, it purchased a controlling interest in the First National production company, more prominent than Warners itself not long before. With the First National acquisition came not only a 135 acre studio and backlot but another large string of movie theaters.

The last of the "Big Five" Hollywood conglomerates of the Golden Age emerged in 1928: RKO Pictures. The Radio Corporation of America (RCA), led by David Sarnoff, was looking for ways to exploit the cinema sound patents, newly trademarked RCA Photophone, owned by its parent company, General Electric. As the leading film production companies were all preparing to sign exclusive agreements with Western Electric for their technology, RCA got into the movie business itself. In January, General Electric acquired a sizable interest in Film Booking Offices of America (FBO), a distributor and small production company owned by Joseph P. Kennedy, father of future president John F. Kennedy. In October, through a set of stock transfers, RCA gained control of both FBO and the Keith-Albee-Orpheum theater chain; merging them into a single venture, it created the Radio-Keith-Orpheum Corporation, Sarnoff chairing the board. With RKO and Warner Bros. (soon to become Warner Bros.–First National) joining Fox, Paramount, and Loew's/MGM as major players, the Big Five that would remain for thirty years were now in place.

Although RKO was an exception, the heads of studios on the west coast, the 'movie moguls', had mostly been in place for some years: Louis B. Mayer at MGM, Jack L. Warner at Warner Bros., Adolph Zukor at Paramount, William Fox and Darryl F. Zanuck (at 20th Century Fox from 1935), Carl Laemmle at Universal, and Harry Cohn at Columbia.

Reign of the majors and the first decline
The ranking of the Big Five in terms of profitability (closely related to market share) was largely consistent during the Golden Age: MGM was number one eleven years running, 1931–41. Paramount, the most profitable studio of the early sound era (1928–30), faded for the better part of the subsequent decade, and Fox was number two for most of MGM's reign. Paramount began a steady climb in 1940, finally edging past MGM two years later; from then until its reorganization in 1949 it was again the most financially successful of the Big Five. With the exception of 1932—when all the companies but MGM lost money, and RKO lost somewhat less than its competitors—RKO was next to last or (usually) last every year of the Golden Age, with Warner generally hanging alongside at the back of the pack. Of the smaller majors, the Little Three, United Artists reliably held up the rear, with Columbia strongest in the 1930s and Universal ahead for most of the 1940s.

Hollywood's success grew during the Great Depression, possibly because films helped audiences escape their personal difficulties. President Franklin Delano Roosevelt said of Shirley Temple, "When the spirit of the people is lower than at any other time during this Depression, it is a splendid thing that for just fifteen cents an American can go to a movie and look at the smiling face of a baby and forget his troubles". By 1939 there were 15,000 movie theaters in the United States, more than banks; the number of theaters per capita was twice that of the mid-1980s. The cinema industry was larger than that for office machines. While only the 14th largest by revenue, it was second in the percentage of profits that its executives received. Top stars such as Bing Crosby and Claudette Colbert were paid more than $400,000 a year ($0 today).

The end of the system and the death of RKO
One of the techniques used to support the studio system was block booking, a system of selling multiple films to a theater as a unit. Such a unit—five films was the standard practice for most of the 1940s—typically included only one particularly outstanding film, the rest a mix of A-budget pictures of lesser quality and B movies. As Life magazine wrote in 1957 in a retrospective on the studio system, "It wasn't good entertainment and it wasn't art, and most of the movies produced had a uniform mediocrity, but they were also uniformly profitable ... The million-dollar mediocrity was the very backbone of Hollywood."

On May 4, 1948, in a federal antitrust suit known as the Paramount case brought against the entire Big Five, the U.S. Supreme Court specifically outlawed block booking. Holding that the conglomerates were indeed in violation of antitrust, the justices refrained from making a final decision as to how that fault should be remedied, but the case was sent back to the lower court from which it had come with language that suggested divorcement—the complete separation of exhibition interests from producer-distributor operations—was the answer. The Big Five, though, seemed united in their determination to fight on and drag out legal proceedings for years as they had already proven adept at—after all, the Paramount suit had originally been filed on July 20, 1938.

However, behind the scenes at RKO, long the financially shakiest of the conglomerates, the court ruling came to be looked at as a development that could be used to the studio's advantage. The same month that the decision was handed down, multimillionaire Howard Hughes acquired a controlling interest in the company. As RKO controlled the fewest theaters of any of the Big Five, Hughes decided that starting a divorcement domino effect could actually help put his studio on a more equal footing with his competitors. Hughes signaled his willingness to the federal government to enter into a consent decree obliging the breakup of his movie business. Under the agreement, Hughes would split his studio into two entities, RKO Pictures Corporation and RKO Theatres Corporation, and commit to selling off his stake in one or the other by a certain date. Hughes's decision to concede to divorcement terminally undermined the argument by lawyers for the rest of the Big Five that such breakups were unfeasible.

While many today point to the May court ruling, it is actually Hughes's agreement with the federal government—signed November 8, 1948—that was truly the death knell for the Golden Age of Hollywood. Paramount soon capitulated, entering into a similar consent decree the following February. The studio, which had fought against divorcement for so long, became the first of the majors to break up, ahead of schedule, finalizing divestiture on December 31, 1949. By this time, there were 19,000 movie theaters in the United States.

Through Hughes's deal with the federal authorities, and those by the other studios that soon followed, the studio system lingered on for another half-decade. The major studio that adapted to the new circumstances with the most immediate success was the smallest, United Artists; under a new management team that took over in 1951, overhead was cut by terminating its lease arrangement with the Pickford-Fairbanks production facility and new relationships with independent producers, now often involving direct investment, were forged—a business model that Hollywood would increasingly emulate in coming years. The studio system around which the industry had been organized for three decades finally expired in 1954, when Loew's, the last holdout, severed all operational ties with MGM.

Hughes's gambit helped break the studio system, but it did little for RKO. His disruptive leadership—coupled with the draining away of audiences to television that was affecting the entire industry—took a toll on the studio that was evident to Hollywood observers. When Hughes sought to bail out of his RKO interest in 1952, he had to turn to a Chicago-based syndicate led by shady dealers without motion picture experience. The deal fell through, so Hughes was back in charge when the RKO theater chain was finally sold off as mandated in 1953. That year, General Tire and Rubber Company, which was expanding its small, decade-old broadcasting division, approached Hughes concerning the availability of RKO's film library for programming. Hughes acquired near-complete ownership of RKO Pictures in December 1954 and consummated a sale with General Tire for the entire studio the following summer.

The new owners quickly made some of their money back by selling the TV rights for the library they treasured to C&C Television Corp., a beverage company subsidiary. (RKO retained the rights for the few TV stations General Tire had brought along.) Under the deal, the films were stripped of their RKO identity before being sent by C&C to local stations; the famous opening logo, with its globe and radio tower, was removed, as were the studio's other trademarks.

Back in Hollywood, RKO's new owners were encountering little success in the moviemaking business and by 1957 General Tire shut down production and sold the main RKO facilities to Desilu, the production company of Lucille Ball and Desi Arnaz. Just like United Artists, the studio now no longer had a studio; unlike UA, it barely owned its old movies and saw no profit in the making of new ones. In 1959 it abandoned the movie business entirely.

In Europe and Asia
While the studio system is largely identified as an American phenomenon, film production companies in other countries did at times achieve and maintain full integration in a manner similar to Hollywood's Big Five. As historian James Chapman describes, In Britain, only two companies ever achieved full vertical integration (the Rank Organization and the Associated British Picture Corporation). Other countries where some level of vertical integration occurred were Germany during the 1920s (Universum Film Aktiengesellschaft, or Ufa), France during the 1930s (Gaumont-Franco-Film-Aubert and Pathé-Natan) and Japan (Nikkatsu, Shochiku and Toho). In Hong Kong, Shaw Brothers adopted the studio system for its wuxia films throughout the 1950s-'60s. India, which represents perhaps the only serious rival to the U.S. film industry due to its dominance of both its own and the Asian diasporic markets, has, in contrast, never achieved any degree of vertical integration. For instance, in 1929 nearly 75 percent of Japanese movie theaters were connected with either Nikkatsu or Shochiku, the two biggest studios at the time.

Star-driven system
In the 1950s Hollywood faced three great challenges: The Paramount case ending the studio system, the new popularity of television, and consumer spending providing its audience with many other leisure options. The scale of both box office successes and flops grew, with a "dangerous middle" consisting of films that in the previous era would have made money. A filmmaker stated in 1957 that "[t]he one absolute disaster today is to make a million-dollar mediocrity. One of these you can lose not only your total investment but your total shirt." By that year Hollywood was only making about 300 feature films a year, compared to about 700 during the 1920s. Darryl F. Zanuck, head of 20th Century Fox, had no direct involvement with the studio from 1956 to 1962, and Louis B. Mayer, sacked in 1951 from MGM, died in 1957. Harry Cohn of Columbia, who died the following year, informed investors in the studio's annual report of 1957 that: "We find ourselves in a highly competitive market for these talents [stars, directors, producers, writers]. Under today's tax structures, salary to those we are dealing with is less inviting than the opportunity for capital gains. We find ourselves, therefore, dealing with corporations rather than with individuals. We find ourselves, too, forced to deal in terms of a percentage of the film's profits, rather than in a guaranteed salary as in the past. This is most notable among the top stars."

Most actors became freelancers after the end of the studio system. Financial backers increasingly demanded star actors, directors, and writers for projects to reduce risk of failure. The growing importance of the overseas market—40 to 50% of Hollywood's total revenue by 1957—also emphasized stars' names as box-office attractions. With their new power, "working for nothing"—receiving a percentage of profit instead of a salary—became a status symbol for stars. A top actor could expect 50% of profit, with a minimum guarantee, or 10% of gross revenue. Cary Grant, for example, received more than $700,000 (equivalent to $ million in ) from his 10% of the gross for To Catch a Thief (1955), while director and producer Alfred Hitchcock received less than $50,000. In one extreme case, Paramount promised Marlon Brando 75% of the profit of what became One-Eyed Jacks (1961). (Because of Hollywood accounting, studios still received much of the revenue before any profit sharing; thus, they preferred 50% of profit to 10% of gross.) The larger paychecks also increased the power of talent agents such as Lew Wasserman of MCA, whose office was now nicknamed "Fort Knox".

By 1957, independent producers made 50% of full-length American films. Beyond working for others, top actors such as Gregory Peck and Frank Sinatra created their own production companies and purchased scripts. Top independent directors George Stevens, Billy Wilder, and William Wyler also saw their paychecks increase, in part because their involvement attracted star actors. Studios increasingly provided funding and facilities to independent producers as opposed to making their own films, or just like United Artists, they focused on distribution. While television had damaged Hollywood, TV production companies such as Desilu and the film studios' own TV divisions helped save the industry by using otherwise-unused facilities.

Syndication, television, recession, and conglomerate Hollywood
At the beginning of the 1960s the major studios began to reissue older films for syndication and transformed into mainly producing telefilms and b-movies to supply TV's demand for programming. The industry underwent a severe recession, due in part to big-budget flops, but soon recovered artistically with such films as The Godfather (1972) and Chinatown (1974).

Steven Spielberg's 1975 Jaws and George Lucas's Star Wars (1977) became the prototype for the modern blockbuster. Prior to Jaws, most films would initially be released in a few key cities, and would later spread to "secondary markets" across the country based on the response in those markets — a system called "platforming." Jaws was instead immediately released simultaneously across the country, and backed by a $700,000 TV advertising budget — the first time that trailers were released on network television — along with extensive promotional merchandising. The release of films at hundreds of venues became the norm, with hits such as the sequels to Lucas's Star Wars, The Empire Strikes Back and Return of the Jedi, Spielberg's back-to-back successes with Raiders of the Lost Ark and E.T. the Extra-Terrestrial, and the development of home-video and cable television. Meanwhile, the uncontrolled budget of Heaven's Gate (1980), and its limited box-office revenue, led to the sale of United Artists.

From 1990 to 1995, New Hollywood turned into more of a conglomerate Hollywood and quickly dominating the entire global entertainment industry. Today, three of the Golden Age majors (Universal, Paramount and Warner Bros.) along with Sony Pictures (formed by a merger between Columbia and TriStar) continue to exist as major Hollywood studio entities, all of which were taken over by many different companies that were acquired by and merged with larger media conglomerates. Furthermore, to date, the Walt Disney Studios has emerged as a major, resulting in a "Big Six" until its acquisition of 20th Century Fox in early 2019 resulted in a "Big Five" once again. With the exception of Disney, all the other four of today's Big Five major studios (Paramount, Sony Pictures, Universal and Warner Bros.) are essentially based on the model not of the classic Big Five (at that time Paramount and Warner Bros. in addition to 20th Century Fox, MGM and RKO), but of the old United Artists: that is, they are primarily backer-distributors (and physical studio leasers) rather than actual production companies.

In 1996, Time Warner acquired the once-independent New Line Cinema via its purchase of Turner Broadcasting System. In 2008, New Line was merged into Warner Bros., where it continues to exist as a subsidiary. Each of today's Big Five controls quasi-independent "arthouse" divisions, such as Paramount Vantage. Miramax Films (which originally was an independent studio) was owned by Disney until 2010. Most also have divisions that focus on genre movies, B movies either literally by virtue of their low budgets, or spiritually—for instance, Sony's Screen Gems. One so-called indie division, Universal's Focus Features, releases arthouse films under that primary brand. Both Focus and Disney's arthouse division, Searchlight Pictures, are large enough to qualify as mini-majors. Two large independent firms also qualify as mini-majors, Lionsgate and the aforementioned MGM (acquired by Amazon in 2022). They stand somewhere between latter-day versions of the old "major-minor"—just like Columbia and Universal were in the 1930s and 1940s, except Lionsgate has about half their market share—and leading Golden Age independent production outfits such as Samuel Goldwyn Inc. and the companies of David O. Selznick.

Independent era and the beginning of the Second Decline
In the mid-2010s, major studios shifted towards producing mainstream films that appeal to the audience (genre films, sequels, 3-D, and superhero films). Many of these films risk losing money at the box-office (and some, in fact, have). This in part precipitated the Second Decline, as audiences began to turn away from movie theatres. With this new decline, an opportunity opened up for independent companies to produce films have upset major studio films for the Academy Award for Best Picture. The Academy of Motion Picture Arts and Sciences (which produces the annual Academy Awards) typically award Best Picture Oscars to films of artistic and scientific merit rather than the franchise films. In recent years, the multiple award wins for independent films such as Spotlight (Open Road, 2015), Moonlight (A24, 2016), Parasite (CJ/Neon, 2019), and CODA (Apple TV+, 2021) has had a notable impact on box-office revenue of other major studio films. The continuing praise of the independent film implies success is not dependent on a film's format, whether it be 3-D, a streaming exclusive, or large-format such as IMAX. Contemporary outcomes of the Cannes Film Festival and the lack of American films winning these awards may also have affected the dominance of independent film.

The COVID-19 crisis contributed to a further decline, as audiences began switching from movie theatres to streaming services such as Netflix, Hulu, and Apple TV+.

Published

 * Bergan, Ronald (1986). The United Artists Story. New York: Crown. ISBN 0-517-56100-X
 * Chapman, James (2003). Cinemas of the World: Film and Society from 1895 to the Present. London: Reaktion Books. ISBN 1-86189-162-8
 * Finler, Joel W. (1988). The Hollywood Story. New York: Crown. ISBN 0-517-56576-5
 * Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys. New York: Simon and Schuster. ISBN 0-671-23108-1
 * Hirschhorn, Clive (1979). The Warner Bros. Story. New York: Crown. ISBN 0-517-53834-2
 * Jewell, Richard B., with Vernon Harbin (1982). The RKO Story. New York: Arlington House/Crown. ISBN 0-517-54656-6
 * Orbach, Barak Y. (2004). "Antitrust and Pricing in the Motion Picture Industry," Yale Journal on Regulation vol. 21, no. 2, summer (available online).
 * Regev, Ronnie (2018). Working in Hollywood: How the Studio System Turned Creativity into Labor. Chapel Hill, NC: University of North Carolina Press.
 * Schatz, Thomas (1998 [1988]). The Genius of the System: Hollywood Filmmaking in the Studio Era London: Faber and Faber. ISBN 0-571-19596-2
 * Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s. Berkeley: University of California Press. ISBN 0-520-22130-3
 * Utterson, Andrew (2005). Technology and Culture—The Film Reader. New York: Routledge/Taylor & Francis. ISBN 0-415-31984-6

Authored

 * Brand, Paul (2005). "'Nice Town. I'll Take It': Howard Hughes Revisited", Bright Lights Film Journal 47, February.
 * Freiberg, Freda (2000). "Comprehensive Connections: The Film Industry, the Theatre and the State in the Early Japanese Cinema", Screening the Past 11, November 1.

Archival

 * The Hollywood Antitrust Case, aka The Paramount Antitrust Case detailed history from the Society of Independent Motion Picture Producers research archive.

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Music of the United Kingdom (1990s)

Popular music of the United Kingdom in the 1990s continued to develop and diversify. While the singles charts were dominated by boy bands and girl groups, British soul and Indian-based music also enjoyed their greatest level of mainstream success to date, and the rise of World music helped revitalise the popularity of folk music. Electronic rock bands like The Prodigy and Chemical Brothers began to achieve a high profile. Alternative rock reached the mainstream, emerging from the Madchester scene to produce dream pop, shoegazing, post rock and indie pop, which led to the commercial success of Britpop bands like Blur and Oasis; followed by a stream of post-Britpop bands like Radiohead and The Verve.

Madchester
The independent rock scene that had developed in Manchester in the second half of the 1980s, based in The Haçienda nightclub and around Factory Records, dubbed Madchester, came to national prominence at the end of the decade, with the Happy Mondays, the Inspiral Carpets, and Stone Roses charting late in 1989. The scene became the centre of media attention for independent rock in the early 1990s, with bands like World of Twist, New Fast Automatic Daffodils, The High, Northside, Paris Angels, and Intastella also gaining national attention. The period of dominance was relatively short lived with The Stone Roses beginning to retreat from public performance while engaged in contractual disputes, the Happy Mondays having difficulty in producing a second album and Factory Records going bankrupt in 1992. Local bands catching the tail-end of Madchester, such as The Mock Turtles, became part of a wider baggy scene. The music press in the UK began to place more focus on shoegazing bands from the south of England and bands emerging through US grunge.

Dream pop and shoegazing
Dream pop had developed out of the indie rock scene of the 1980s, when bands like Cocteau Twins, The Chameleons, The Passions, Dif Juz, Lowlife and A.R. Kane began fusing post-punk and ethereal experiments with bittersweet pop melodies into sensual, sonically ambitious soundscapes. The 4AD record label is the one most associated with dream pop, though others such as Creation, Projekt, Fontana, Bedazzled, Vernon Yard, and Slumberland also released significant records in the genre. A louder, more aggressive strain of dream pop came to be known as shoegazing; key bands of this style were Lush, Slowdive, My Bloody Valentine, Alison's Halo, Chapterhouse, Curve and Levitation. These bands kept the atmospheric qualities of dream pop, but added the intensity of post-punk-influenced bands such as The Chameleons and Sonic Youth.

Indie pop
Initially dubbed 'C86' after the 1986 NME tape, and also known as "cutie", "shambling bands" and later as "twee pop", indie pop was characterised by jangling guitars, a love of sixties pop and often fey, innocent lyrics. It was inspired by the DIY scene of punk, with a thriving fanzine, label and club and gig circuit, but tended to eschew punk's nihilism and aggression. Early bands included The Pastels, Talulah Gosh and Primal Scream, and among the most commercially successful were Belle and Sebastian.

Post rock
Post rock originated in the release of Talk Talk's album Laughing Stock and US band Slint's Spiderland, both in 1991, which produced experimental work influenced by sources as varied as electronica, jazz, and minimalist classical music, often abandoning the traditional song format in favour of instrumental and ambient music. The term was first used to describe the band Bark Psychosis and their album Hex (1994), but was soon employed for bands such as Stereolab, Laika, Disco Inferno and Pram and other acts in America and Canada. Scottish group Mogwai were among some of the influential post-rock groups to arise at the turn of the 21st century.

Britpop
Britpop emerged from the British indie scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. New British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass and Elastica. Britpop groups brought British indie rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.

Post-Britpop
By 1999, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it. Many of these bands tended to mix elements of British traditional rock (or British trad rock), particularly the Beatles, Rolling Stones and Small Faces, with American influences, including post-grunge. Post-Britpop bands like The Verve, Radiohead, Travis, Stereophonics and Feeder, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s.

Pop
The success of American boy band New Kids on the Block from about 1989, led to replica acts in the UK, including Nigel Martin-Smith's Take That and East 17, competing with Irish bands Westlife and Boyzone. Soon after, girl groups began to reappear, like the R&B act Eternal, who achieved a string of international hits from 1993. The most successful and influential act of the genre were the Spice Girls, who added well-aimed publicity and the ideology of girl power to their pop careers. They had nine number 1 singles in the UK and US, including "Wannabe", "2 Become 1" and "Spice Up Your Life" from 1996. They were followed by British groups like All Saints, who had five number 1 hits in the UK and two multi-platinum albums. By the end of the century the grip of boy bands on the charts was faltering, but proved the basis for solo careers like that of Robbie Williams, formerly of Take That, who achieved seven Number One singles in the UK between 1998 and 2012.

UK garage
UK garage originated from England, particularly in London in the early 1990s and emerged from styles such as garage house, R&B, jungle, and dance-pop, and usually features a distinctive 4/4 percussive rhythm with syncopated hi-hats, cymbals and snares, and sometimes includes irregular kick drum patterns. Garage tracks also commonly feature 'chopped up' and time-stretched or pitch-shifted vocal samples complementing the underlying rhythmic structure at a tempo usually around 130 BPM. UK garage gave rise to subgenres such as speed garage and 2-step, and was then largely subsumed into other styles of music and production in the mid-2000s, including grime, bassline and dubstep. The decline of UK garage during the mid-2000s saw the birth of UK funky, which is closely related.

Drum and bass
Drum and bass emerged from the London breakbeat hardcore and rave scene of the late 1980s. Originally known as jungle, it was a pop-created fusion of hardcore, house and techno which was usually instrumental, using extremely fast polyrhythms and breakbeats and incorporating elements from dancehall, electro, funk, hip hop, house, jazz, heavy metal. Pioneered by figures like Club Rage DJs Fabio and Grooverider, in the mid-1990s the genre expanded from an underground and pirate radio scene to form subgenres including the intelligent drum and bass pioneered by LTJ Bukem, and the ambient jungle of Goldie's crossover debut Timeless (1995) and the jazzstep of Roni Size's Mercury Award-winning New Forms (1997). Subsequent artists included Shy FX, Ed Rush, 4 Hero and DJ Rap, some fusing drum and bass with influences from jazz, film music, ambient and trip-hop.

Trip hop
In the early 1990s, dance music saw more exposure at rock music festivals like Glastonbury and Reading. Raves, many illegal, continued to be organised and the tension caused by police attention, new putative legislation aimed at organisers, and the increase of harder music, led many dance music fans to return to legal night clubs, where rave music had given way to progressive house. Other clubs emerged to play the ever-splintering genres associated with the house music and rave scene, including hardcore techno, downtempo and trance, drum and bass and happy hardcore. The Bristol scene saw the development of trip hop, which mixed house and hip hop producing successful bands such as Massive Attack and Portishead. The 1990s also saw the development and refinement of IDM (Intelligent Dance Music), which borrowed from forms such as techno, drum and bass, and acid house music and introduced more abstract elements, including heavy use of digital signal processing. Among the most commercially successful products of these scenes were acts like The Prodigy, Chemical Brothers and Fat Boy Slim.

Metal
Extreme metal bands were rarely covered in mainstream media and rarely appeared on television. Part of what separated the British metal music of the 1990s was a sense of a humor and irony that was not as nearly widespread as the European and American metal groups of the era. Even among the more 'serious' British groups such as Carcass or Gorerotted have displayed a tongue-in-cheek attitude.

The British extreme metal scene produced bands of worldside significance and popularity such as Cradle of Filth. Other metal oriented media that originated in the United Kingdom included magazines such as Terrorizer which have a reputation worldwide.

Hip hop
By the early 1990s the British hip hop seemed to be thriving, with flourishing scenes in London, Bristol and Nottingham. British rap became more assured of its identity, abandoning American accents and developing a more distinctive sound. However, the anticipated mainstream success was not achieved, with the British hip hop scene particularly affected by the record industry clamping down on sampling. The result was the development of the breakbeat culture, searching out obscure recordings and the creation of original music, with bands like Stereo MCs beginning to playing instruments and sampling their own tunes. Arguably this led to a creative renaissance, with British hip hop shifting from the hardcore American template and moving into more melodic territory.

Soul
After Soul II Soul's breakthrough R&B hits "Keep on Movin'" and "Back to Life" in 1989, existing black soul acts, including Omar and acid jazz bands Incognito, Jamiroquai, and Brand New Heavies, were now able to pursue mainstream recording careers. Particularly noticeable was the proliferation of British female black singers including Mica Paris, Caron Wheeler, Gabrielle and Heather Small.

Folk resurgence
Traditional folk music, having been in a slow decline from mainstream popularity since the 1970s, began to enjoy a resurgence in the 1990s, benefiting from the more general interest in World music. The arrival, and sometimes mainstream success, of acts like Martyn Bennett, Kate Rusby, Nancy Kerr, Kathryn Tickell, Spiers and Boden, Blazin' Fiddles, Eliza Carthy, Runrig and Capercaillie, all largely concerned with acoustic performance of traditional material, marked a radical turn around in the fortunes of British folk music. This was reflected in the adoption creation of the BBC Radio 2 Folk Awards in 2000 and the profile for folk music was as high as it had been for over thirty years.

Post-Bhangra
After the establishment of thriving south Asian music scenes in the 1980s, the 1990s saw Indian music reach the mainstream, particularly through a series of "post-Bhangra" fusions. A mix of Bhangra and reggae beats helped make Apache Indian the first British south Asian pop star, reaching number 5 in the UK singles charts with "Boom Shack-A-Lak" in 1990 and becoming the first south Asian DJ on a major national station in 1994. The album Migration (1994) by Nitin Sawhney fused flamenco and other genres with Bhangra. By 1997 Indian music artists such as Talvin Singh had become mainstream stars in the UK. In 1998 Cornershop, reached number 1 in the singles charts with a version of "Brimful of Asha" remixed by Fatboy Slim.

Declining American popularity and increasing divergence with US styles
By the latter half of the decade, British music was declining in popularity in the United States. Oasis and Blur were not considered phenomenons but one-hit wonders stateside. Various Electronica styles were less well received in America than at home while genres that were popular in the United States such as nu metal were not picked up by UK artists. British "quirkiness" and regional sensibilities that once were considered strengths there were now considered weakness by the increasingly oligarchic American music industry that was interested in marketing to young teens.

title: Music of the United Kingdom (1990s)


text:
File:Bad News Bears film.jpg

Bad News Bears film poster

Fair use in Bad News Bears
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a Film Poster / VHS or DVD Cover.
 * 2) It doesn't limit the copyright owner's rights to sell the film in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the artwork/image.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image  is significant because it was used to promoted a notable film.

Source

 * 1) Derived from a digital capture (photo/scan) of the Film Poster/ VHS or DVD Cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the film company or the artist.  Claimed as fair use regardless.

title: File:Bad News Bears film.jpg


text:
Spegazziniophytum

Spegazziniophytum is a plant genus of the family Euphorbiaceae first described as a genus in 2001. It contains only one known species, Spegazziniophytum patagonicum, endemic to Argentina (Provinces of Mendoza, Neuquén, Chubut, Santa Cruz).

title: Spegazziniophytum


text:
Wikipedia:Articles for deletion/Twenty miles to africa

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Delete. Rje 14:19, September 5, 2005 (UTC)

Twenty miles to africa
Ad for a rather new band that fails google and allmusic tests. Punkmorten 08:25, 27 August 2005 (UTC)
 * Delete due to its self-promotional nature.   Paul Klenk 08:56, 27 August 2005 (UTC)
 * Delete nn junk Ryan Norton T 08:59, 27 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Spirostachys

Spirostachys is a plant genus of the family Euphorbiaceae first described as a genus in 1850. It is native to Africa. Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monographs in systematic botany from the Missouri Botanical Garden 107(1–3): i–xcvi, 1–3348.

The genus name is derived from Ancient Greek speiros = spiral, stachys = spike, in allusion to the spiral arrangement of the florets on the flower spike.

 * Species
 * 1) Spirostachys africana Sond. - E + SE + S Africa (Kenya, Tanzania, Mozambique, Angola, Zimbabwe, Botswana, Namibia, Swaziland, Limpopo, Mpumalanga, KwaZulu-Natal, Cape Province)
 * 2) Spirostachys venenifera (Pax) Pax  - Somalia, Kenya, Tanzania

moved to other genera (Excoecaria Spegazziniophytum )
 * formerly included
 * 1) Spirostachys madagascariensis, syn of Excoecaria madagascariensis
 * 2) Spirostachys patagonica, syn of Spegazziniophytum patagonicum

The same genus name, Spirostachys, was used twice to name genera in the Amaranthaceae. Thus were created two illegitimate homonyms, unacceptable according to the rules of nomenclature. The species assigned to these genera have been placed in the genera Allenrolfea and Heterostachys, as follows:
 * names in Amaranthaceae
 * 1) Spirostachys occidentalis (S. Watson) S. Watson 1874, now Allenrolfea occidentalis (S.Watson) Kuntze
 * 2) Spirostachys olivascens Speg. 1902, now Heterostachys olivascens (Speg.) Molfino
 * 3) Spirostachys ritteriana (Moq.) Ung.-Sternb. 1866, now  Heterostachys ritteriana (Moq.) Ung.-Sternb.
 * 4) Spirostachys vaginata Griseb. 1874, now Allenrolfea vaginata (Griseb.) Kuntze
 * 5) Spirostachys vaginata Benth. & Hook.f. - unresolved

title: Spirostachys


text:
Category:Subprefectures in Nagasaki Prefecture

Subprefectures in Nagasaki Prefecture, Japan.


text: User talk:80.82.36.169

title: User talk:80.82.36.169


text:
User talk:Camje lemon

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.
 * User:Redwolf24/Bootcamp My own personal summarized Bootcamp.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24 (Talk) 08:27, 27 August 2005 (UTC)

P.S. I like messages :-P

Wikiproject Plan 9
Hi, we have started WP:Plan9 to fix up the Wikipedia mess for Plan 9-related articles. Hope to see you joining in. ems 13:12, 26 March 2006 (UTC)

Unix diagram
I would like to access the dot source of your Unix genealogy so I can convert it to SVG format, but your server stalls after sending the first 1665 bytes. Could you provide the source some other way (e.g. paste it inline into my user page)? Thanks! EdC 04:27, 23 May 2006 (UTC)

Unix diagram missing key OS's
As mentioned on Image talk:Unix history-simple.svg the Unix diagram is missing several key OS's, mainly Mac OS X (which is almost certainly the Unix-like/Unix OS with the highest market share, and certainly the highest mind-share) but also IBM's AIX and HP's HP/UX. These all really need adding to the diagram, especially as this means only 1 of the 4 official Unix OS's are on the diagram.

It also looks like the diagram could do with a tidy, and some clarification to show whether the OS's are commercial or not so I'd like to redo it with that information on it. Eraserhead1 (talk) 13:08, 21 June 2008 (UTC)

title: User talk:Camje lemon


text:
Triadica

Triadica is a plant genus of the family Euphorbiaceae first described as a genus in 1790. It is native to eastern southeastern, and southern Asia.

Species included are:
 * 1) Triadica cochinchinensis Lour. - China (Anhui, Fujian, Guangdong, Guangxi, Guizhou, Hainan, Hubei, Hunan, Jiangxi, Sichuan, Taiwan, Yunnan, Zhejiang), Cambodia, Assam, Bangladesh, Bhutan, Nepal, Himalayas of E + N India, Borneo, Sulawesi, Sumatra, Laos, Malaysia, Myanmar, Philippines, Thailand, Vietnam
 * 2) Triadica rotundifolia (Hemsl.) Esser - Guangdong
 * 3) Triadica sebifera (L.) Small - China (Anhui, Fujian, Gansu, Guangdong, Guangxi, Guizhou, Hainan, Hubei, Jiangxi, Jiangsu, Shaanxi, Shandong, Sichuan, Taiwan, Yunnan, Zhejiang), Japan; naturalized in Himalayas, Cuba, Puerto Rico, SE + SC USA, Sacramento Valley in N California

A species formerly included but moved to Neoshirakia is:
 * Triadica japonica (Siebold & Zucc.) Baill. - Neoshirakia japonica (Siebold & Zucc.) Esser

title: Triadica


text:
South Branch Depot, West Virginia

South Branch Depot also known as South Branch is an unincorporated community in Hampshire County in the U.S. state of West Virginia. Originally known as Forks of Potomac because of its proximity to the confluence of the North and South Branches of the Potomac River and then later in the early 20th century as French's Station and then simply South Branch, South Branch Depot served as a depot and post office on the Baltimore and Ohio Railroad since the railroad was constructed there in the 1840s. Today, South Branch Depot may only be reached from Levels by way of Frenches Station Road (County Route 5/7).

title: South Branch Depot, West Virginia


text:
Talk:Spin-off

Star Trek
Is "Star Trek TNG" really a spin-off of the "Star Trek"? I think it's a sequel.

Ghost
Don't you think that the movie Ghost(1990) has made many spin offs, such as The Sixth Sense, Tru Calling, Ghost Whisperer, and many more. So please include it as an example. 201.145.144.97 00:07, 21 April 2006 (UTC)

 * Wrong. VERY wrong. I don't mean to snap here, but I can't lie, either. The three titles you just listed have almost nothing in common with Ghost except being in the speculative fiction sub-genre of the ghost story. I.e. the only thing they have in common with Ghost is ghosts (and if that makes them "spin-offs", then Ghost is also a highly derivitive spin-off, because ghost stories date back well past actual recorded history!).

 * Here's why: NONE of the same characters are used, and they do not specifically take place in the same (story) world, nor were they noted as being "spun-off" of Ghost. Furthermore, while I suppose Ghost could be easily crossed-over (har!) with The Sixth Sense or Ghost Whisperer (and by the way, you forgot NBC's Medium, another series with a psychic who can see and communicate with ghosts), as a matter of fact Tru Calling was not even a "ghost story" series in the traditional sense at all, and was more of a sort of time travel series. The only "ghostly" event in any given episode was her hearing the whispered message from the dead body - the "rewinding" of days was far more integral to the plot and her power is labeled on the DVDs, publicity material, original TV ads, etc., as more of a "reliving days" power than a "talks to dead people" power, by far. While this would not preclude characters from the Tru Calling universe from talking to ghosts, the issue of ghosts was actually never brought up, since Tru was always more concerned with saving lives than with where they went post-mortem (and, furthermore, it seems as if she can only have the chance to save one specific person ONCE - I don't recall her ever having been able to relive the same day via hearing the pleas of the same person a second time, even though she was able to partially relive the same day multiple times in one episode thanks to mulitiple people's dying and asking her to save them. In other words, she apparently has VERY limited ability to communicate with the dead -or rather, have the dead communicate with her - and that's only if you take the stance that it's actually ghosts asking for her help as opposed to some other phenomenon. Hey, don't look at me like that - what with the "Is Tru really fighting on the side of good?" plotline brought up before the poor dear got her show canceled, you could make a very good case for that kind of thing, so I would actually hesitate to label it a "ghost story" series per se, since there's almost no telling what stance they would have taken in regards to the human soul in later episodes had they not gotten canceled, especially with the main issue of the series ending up being more the asking of the question "is altering history ethical - even if it saves one or more lives in the process?").

 * In short - you're confusing being in the same or related genres or having similar setups, plots, gimmicks or themes with being a "spin-off". :) Generally, a series or story would have to be very explicitly using the same characters and/or world as another, previous series, and to have delibrately and obviously and explicitly been derived from that series, in order to be considered a "spin-off." Runa27 00:05, 23 July 2006 (UTC)

Spinning off a new article
There should be a separate article on spin-off corporations because there's not really much connection with media spinoffs. I think that someone looking up "spin-off" probably has either media or corporations in mind, and isn't looking for a complete treatment of the concept. If they anyone is, a disambiguation page with a bit of an intro would work nicely. Either this page should just be a disambiguation page with "Spin-off (media)" and "Spin-off (corporation)" articles listed, or corporations should be split into "Spin-off Corporations". --AAMiller 01:02, 25 April 2006 (UTC)

- Support. I agree completly.

I don't - just CHANGE IT Mgway 03:24, 14 May 2006 (UTC)

It's overdue to split it off. The topics are not directly related, and in fact there should be a disambiguation page since (depending on the reader and context) different people will assume different meanings. JoelWest 07:01, 31 May 2006 (UTC)

Yes. Please change it, its a bit out of place half a page down from a description of TV spin-offs.

The same for me - It's interesting to see that it's the same name for movies industry, but I came here with an absolute business background and was kind of puzzled. (SMI, 07 June 2006)

I am in support of spinning off an article on spin-offs. Kent Wang 13:44, 15 June 2006 (UTC)

I too am in favour. elvenscout742 14:32, 19 June 2006 (UTC)

Please spin it off! But do include a disambiguation...I was looking for the corparate definition, and had it not been there I may have assumed there was no such article...

I also completely agree with this idea. Do it now.

 * Love the irony! But seriously, two such hugely different contexts (in storied media vs. business), it definitely warrants two seperate articles, and a disambig. Runa27 00:07, 23 July 2006 (UTC)

As long as there is still a link in this page, itis a good idea and should be implemented as soon as possible :-)

82.40.75.55 19:49, 13 September 2006 (UTC)

 * The company section was already there, Spin out, moved media also to its own. reg . Mion 12:13, 4 October 2006 (UTC)
 * Can somenone wikify Spin out ? . Mion 12:15, 4 October 2006 (UTC)

Confusion
The entry about Trapper John M.D. dosn't make any cense.Bow down and pay taxes to your king. 05:06, 16 September 2006 (UTC)

Much better.Kingjoey52a 22:44, 16 September 2006 (UTC)

What about spin-off technologies?
I'm surprised this page does not mention the technological spin-offs derived from e.g. space projects. Philcha 11:42, 7 April 2007 (UTC)

There is now a separate Spinoff page about the eponymous NASA magazine and spinoff technologies, which a lot of students end up searching for (on the NASA pages.) I'm not sure how to setup this page (spin-off, with the hyphen) in order to explain the differences in a convenient, constructive way. Any suggestions are welcome, such as setting up redirects and disambiguations. --User:Amiralia (talk) 20:58, 25 June 2008 (UTC)

And I'd like to add my support for some sort of spinoff/ spin-off disambiguation page. I'm new to Wikipedia authoring, though, so I don't want to try it alone. I do think people are searching for completely different things and usually don't know how "spinoff" or "spin-off" is spelled. (I only know how NASA does it.) --AM at Spinoff office (talk) 15:03, 26 June 2008 (UTC)

Media Spin-off
I removed:
 * In most television spin-offs, atleast one major character from the original show is not a major in the spin-off. They may be referenced, or guest-star.

Because, frankly, it doesn't make sense, is unclear and is covered better on the media spin-offs page. I also think that it's preferencing shows that are retooled after a character leaves, rather than, say a show based around a character that leave... but, once again, it doesn't really make sense, so I'm not sure. Duggy 1138 (talk) 04:24, 22 June 2008 (UTC)

religion
Does anyone really refer to a schism as a "spinoff"? —Tamfang (talk) 00:05, 14 August 2012 (UTC)

title: Talk:Spin-off


text:
Talk:Playing time (cricket)

Untitled
I think this should be a part of the cricket article, its not really worthy of its own article.
 * I disagree. It's a huge article, despite how seemingly insignificant the subject is, and would only serve to make the main cricket article harder to read. [[Image:Flag_of_Australia.svg|30px]] plattopustalk 11:46, August 27, 2005 (UTC)

Gloaming in Karachi
Is it just me, or does this part of the article seem irrelevant and over-long? Doctorhawkes (talk) 01:17, 14 January 2010 (UTC)

title: Talk:Playing time (cricket)


text:
Talk:Australian cuisine

Modern vs modern
I'm not entirely happy with the merge from Modern Australian, since the merged article currently conflates two separate things: small-m modern Australian as in what regular people eat, and capital-m Modern Australian/Mod Oz as in the fancy fusion restaurant food pioneered by Tetsuya & co. These really should be separated out. Jpatokal (talk) 04:02, 7 September 2023 (UTC)

title: Talk:Australian cuisine


text:
Doctor Who audio productions

A number of officially licensed audio productions based upon the long-running British science fiction television series Doctor Who have been produced over the years.

The canonicity of the various audio adventures has not been confirmed. While it is a question that has vexed fans, it appears that, broadly, the BBC care little about the matter, as Doctor Who has no official canon. The first season of the new television series made no explicit references to the audio adventures, partly to keep the programme accessible to a wide audience, and partly in obedience to BBC guidelines about the relationship between public broadcasting and commercially licensed material. However, by 2013, the BBC Red Button minisode "The Night of the Doctor" referenced the Eighth Doctor's companions from the audio plays — namely Charley Pollard, C'rizz, Lucie Miller, Tamsin Drew and Molly O'Sullivan.

Audios featuring the Doctor
The first Doctor Who audio production, released on LP record in 1976, was a children's adventure entitled Doctor Who and the Pescatons by Victor Pemberton. Around this time an audio version of the televised serial Genesis of the Daleks was released on record, with specially recorded narration by Tom Baker. Both of these early releases have since been reissued on CD. The same year, Tom Baker and Elisabeth Sladen reprised their roles in an episode of the BBC Schools radio play Exploration Earth: The Time Machine.

In 1985, during a period when the series was on a sabbatical at the BBC, BBC Radio hired Colin Baker and his TV companion Nicola Bryant to reprise their TV roles for a new production called Slipback, broadcast as part of the Radio 4 children's magazine Pirate Radio Four, which received quite a bit of press fanfare, though it did not receive good reviews. It too was later released on audio tape and CD.

Doctor Who audio adventures diversified somewhat in the 1990s, when the BBC began issuing the soundtracks of 1960s-era serials on cassette and compact disc, some with added narration. These releases were usually derived from serials that were incomplete in the BBC vaults, thereby making this the only format in which fans could enjoy the entire story.

BBC Radio, meanwhile, attempted to get a new series of Doctor Who stories made for radio. Although more were planned, only two were ever completed: The Paradise of Death (1993) and The Ghosts of N-Space (1996), both written by Barry Letts and featuring Jon Pertwee, (in two of his final performances as the Third Doctor), Elisabeth Sladen and Nicholas Courtney. The Paradise of Death was broadcast on Radio 5, and after that station's re-launch as a news and sport network in 1994 it seemed that there would be no home for any sequels. However, a repeat broadcast of The Paradise of Death that year on Radio 2 proved popular — despite episode four accidentally being broadcast twice in place of episode five, necessitating episode five being delayed by a week — and the station was happy to commission the sequel, The Ghosts of N-Space, for itself.

In 1994, BBC Radio 4 in part of the series "Whatever Happened to ..?" broadcast a comedy drama entitled Whatever Happened to Susan Foreman? featuring Jane Asher as Susan Foreman and Andrew Sachs as Temmosus the Thal.

Several of the Target novelisations have been made into audiobooks narrated by actors who have appeared in the television series. For example, Peter Davison read the novelisation of Kinda.

In 1998, the Doctor Who Appreciation Society produced a collection of audio adventures entitled Cosmic Fugue 2 in aid of charity. The stories were read by Doctor Who actors Colin Baker, Elisabeth Sladen, Caroline John, Wendy Padbury and Louise Jameson and the writers included Barry Letts and Gary Russell, the latter of whom went on to produce Doctor Who audio dramas for Big Finish Productions. The BBC released a collection of audio versions of short stories featured in the book Short Trips, along with an original story, all read by Sophie Aldred and Nicholas Courtney. Following this, another two collections of audio versions of stories featured in Short Trips and More Short Trips, along with an original story on each, were released - Earth and Beyond read by Paul McGann and Out of the Darkness read by Colin Baker and Nicola Bryant.

Beginning in 1999, Big Finish Productions, under licence from the BBC, began a range of audio plays on compact disc, with one released every month starring one of the surviving actors to play the Doctor, namely the Fifth, Sixth and Seventh Doctors, with the Eighth Doctor following them in 2001. The Doctors are frequently joined in the audio plays by companions from the television series and new companions created for the audio range. Stories in the ongoing Eighth Doctor series were originally released in "seasons" of between four and six consecutive releases, but this pattern ceased after Doctor Who returned to television in 2005. In 2009, Tom Baker agreed to appear in five new audio stories for the BBC called Hornets' Nest. A second five-CD series, Demon Quest, followed in 2010, and the series Serpent Crest followed that in 2011. Also in 2011, Baker began appearing in audio plays as the Fourth Doctor for Big Finish, starting with The Fourth Doctor Boxset, a box set containing the "lost stories" submitted during Baker's time on television, "The Foe from the Future" and "The Valley of Death". CD box sets featuring the War Doctor were released between 2015 and shortly after John Hurt's death in 2017, and audio releases with the Tenth Doctor began from 2016.

Big Finish have also produced a limited series, titled Doctor Who Unbound, which explores possibilities contrary to the established mythos (for instance, "What if the Doctor had never left Gallifrey?"). The format of the Unbound series allows well-known actors such as Derek Jacobi and David Warner to play alternative versions of the Doctor. Bernice Summerfield, the Doctor's companion from the Virgin New Adventures novels, also features in her own series of audio plays; the character is voiced by Lisa Bowerman.

The BBC has extended Big Finish's licence to produce the audios until June 2025, and Big Finish's licence includes characters and storylines up to and including "The Time of the Doctor" (2013).

In 2005, six of the Eighth Doctor audio dramas were broadcast on the digital radio station BBC Radio 7 — these were Storm Warning, Sword of Orion, The Stones of Venice, Invaders from Mars, Shada (originally recorded for an animated webcast on the BBC's online service), and The Chimes of Midnight. A new series of original Eighth Doctor dramas aired on BBC7 starting on New Year's Eve 2006, and lasted eight weeks. They were subsequently released on CD by Big Finish. These are Blood of the Daleks, Horror of Glam Rock, Immortal Beloved, Phobos, No More Lies and Human Resources. A second series of eight Eighth Doctor audios, from Dead London to Vengeance of Morbius, were released by Big Finish in 2008 and subsequently aired on BBC Radio 7; two more series in this line were released on CD, but have not aired on BBC7.

In 2022, BBC Sounds broadcast Doctor Who: Redacted, a 10-episode podcast written by Juno Dawson and starring Charlie Craggs and Jodie Whittaker. A second, six-episode season aired in late 2023 with Dawson once again writing the show and Craggs, Chimimba, and Holly Quin-Ankrah returning. The Sarah Jane Adventures actors Alexander Armstrong and Anjli Mohindra joined the second season cast.

Non-Doctor audios
There have been licensed audio productions featuring characters and situations created for Doctor Who, but using characters other than the Doctor.

These include, from Big Finish:
 * Dalek Empire, Dalek Empire II: Dalek War, Dalek Empire III, Dalek Empire IV: The Fearless and Cyberman, epic space operas about the Doctor's foes written and directed by Nicholas Briggs;
 * Sarah Jane Smith, modern-day suspense stories starring Elisabeth Sladen as the intrepid journalist and former companion of the Doctor;
 * Gallifrey, with Lalla Ward, Mary Tamm, Louise Jameson and John Leeson reprising their roles as Romanas I and II, Leela and K-9, respectively;
 * UNIT, with a new UNIT crew, and guest-starring Nicholas Courtney as the now-retired General Sir Alistair Gordon Lethbridge-Stewart in some audios.

Non-Big Finish audio productions include:
 * the Kaldor City series, produced by Magic Bullet Productions, which expands on the setting and characters created for the serial The Robots of Death and also ties in with the BBC television series Blake's 7; and
 * the Faction Paradox series, about the rebel crime syndicate/voodoo cult introduced to the Doctor Who novel line by author Lawrence Miles. The first six Faction audios were published by BBV under the title The Faction Paradox Protocols. Subsequently, Magic Bullet took over the series, using the title The True History of Faction Paradox.

title: Doctor Who audio productions


text:
Camillo Porzio

Camillo Porzio (1526–1580) was an Italian historian.

Life
He belonged to a wealthy and noble Neapolitan family, and was the son of the philosopher Simone Porzio. He studied law, first at Bologna and later at Pisa, and after graduating in utroque jure, practised as a lawyer in Naples.

His chief literary work is La Congiura dei baroni, a history of the unsuccessful conspiracy of the Neapolitan barons against King Ferdinand I of Naples in 1485; it is based on the authentic records of the state trials, but is prejudiced in favor of the royal power. It was first published by Manutius in Rome in 1565. Of Porzio's other works, the Storia d'Italia (from 1547 to 1552), of which only the first two books have survived, is the most important.

title: Camillo Porzio


text:
User talk:Joshieb

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.
 * User:Redwolf24/Bootcamp My own personal summarized Bootcamp.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24 (Talk) 08:32, 27 August 2005 (UTC)

P.S. I like messages :-P

title: User talk:Joshieb


text:
Algernonia

Algernonia is a plant genus of the family Euphorbiaceae first described as a genus in 1858. It is native to Peru and Brazil.

• # Algernonia amazonica - Huanuco, Amazonas
 * Species

• # Algernonia bahiensis - Bahia

• # Algernonia brasiliensis - São Paulo, Rio de Janeiro

• # Algernonia dimitrii - SE Brazil

• # Algernonia gibbosa - Rio de Janeiro

• # Algernonia glazioui - Rio de Janeiro

• # Algernonia kuhlmannii - Peru, SE Brazil

• # Algernonia leandrii - SE Brazil

• # Algernonia obovata - Bahia, Rio de Janeiro

• # Algernonia pardina - Bahia

• # Algernonia paulae - Rio de Janeiro

• # Algernonia riedelii - Rio de Janeiro

title: Algernonia


text:
End

End, END, Ending, or ENDS may refer to:

Mathematics

 * End (category theory)
 * End (topology)
 * End (graph theory)
 * End (group theory) (a subcase of the previous)
 * End (endomorphism)

Sports and games

 * End (gridiron football)
 * End, a division of play in the sports of curling, target archery and pétanque
 * End (dominoes), one of the halves of the face of a domino

Entertainment

 * End (band) an American hardcore punk supergroup
 * End key on a modern computer keyboard
 * End Records, a record label
 * "End", a song by The Cure from Wish
 * "Ends" (song) a 1998 song by Everlast, off the album Whitey Ford Sings the Blues
 * End (album), by Explosions in the Sky
 * "Ends" (Spaced), a television episode

Other uses

 * End, in weaving, a single thread of the warp
 * Ends (short story collection) (1988 book) anthology of Gordon R. Dickson stories

END

 * European Nuclear Disarmament
 * Endoglin, a glycoprotein
 * Equivalent narcotic depth, a concept used in underwater diving
 * Environmental noise directive

Ending

 * Ending (linguistics), a linguistic morpheme
 * Alternate ending
 * End of a part of a baseball game
 * Chess endgame
 * Ending credits
 * Post-credits scene
 * False ending
 * Happy ending
 * Multiple endings
 * Twist ending
 * Endings (film), a 2012 film
 * The Ending (Song), a 2012 song by Ellie Goulding off the album Halcyon
 * This Ending (band) Swedish extreme metal band
 * A repeat sign, in music theory
 * "Endings", a Series E episode of the television series QI (2007)

ENDS

 * ENDS, electronic nicotine delivery system

title: End


text:
Ophthalmoblapton

Ophthalmoblapton is a plant genus of the family Euphorbiaceae first described as a genus in 1849. The entire genus is endemic to eastern Brazil.

 * Species
 * 1) Ophthalmoblapton crassipes Müll.Arg. - Bahia
 * 2) Ophthalmoblapton macrophyllum Allemão - Rio de Janeiro
 * 3) Ophthalmoblapton parviflorum Emmerich - Bahia
 * 4) Ophthalmoblapton pedunculare Müll.Arg. - Bahia, Minas Gerais, São Paulo, Rio de Janeiro

title: Ophthalmoblapton


text:
User talk:Bob Hu

Welcome from Redwolf24
Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. We as a community are glad to have you and thank you for creating a user account! Here are a few good links for newcomers:
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.
 * User:Redwolf24/Bootcamp My own personal summarized Bootcamp.

Yes some of the links appear a bit boring at first, but they are VERY helpful if you ever take the time to read them.

Remember to place any articles you create into a category so we don't get orphans.

I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome.

Redwolf24 (Talk) 08:33, 27 August 2005 (UTC)

P.S. I like messages :-P

Save "List of school pranks" From Deletion
Hi, the article List of school pranks has been targeted by the Wikipedia Thought Police™. Please help preserve this marvellous testament to human inventiveness—and cruelty—from certain extinction by voting Keep at the article's deletion page if you haven't already done so. May algid reason never reign supreme! Thanks, Maikel 15:24, 4 April 2006 (UTC) PS:  This is a generic message that has been hand-posted to you as a former contributor—hope you won't mind.

August 2008
Please don't add a section with a note to fill it in, nor add a blank section. You should only add a new section if you already have the information to fill it in. Article discussion goes on the talk page, not on the article page itself. Rainbow Of Light  Talk  06:34, 30 August 2008 (UTC)

Tidal flow
Hi Bob. I have reverted your edit to tidal flow, because tidal flow refers to tides. Traffic engineers use the term as an analogy. They think of traffic streams as moving like a tide. But it is quite incorrect to then define a tidal flow in terms of traffic engineering. If you want to resolve your redirect "conflict", then I suggest you reinstate your version ( it is still there in the history) but title it "Tidal flow (traffic)". --Geronimo20 (talk) --11:41, 4 November 2008 (UTC)

 * I adjusted Tide (disambiguation) to reflect Tidal flow (traffic), as you suggested. --Geronimo20 (talk) 19:45, 4 November 2008 (UTC)

Kangxi Emperor
Hi Bob. In response to your message on my talk page: yes, sure, no problem! I thought your edit on the treasury was very useful. When I undid your second edit, I had spent most of the day correcting mistakes on other pages, so I guess I lumped this very minor one (1661 vs. 1662) with all the others. Sorry about that. Please keep contributing to the pages on Chinese history: they need a lot of work! --Madalibi (talk) 12:39, 25 November 2008 (UTC)
 * Hi again. I tried to make the edit you requested, but I figured it was easier to explain the dates 1661 and 1662 at the very beginning of the article. Let me know if you're satisfied with the new edit. Cheers, --Madalibi (talk) 13:08, 25 November 2008 (UTC)

Another good edit to the "Treasury" section. Thanks! I just read the entire Kangxi article and realized how messy it is. I hope someone will take care of its structure one day. I've already done some work on many Qing emperors in my sandboxes. If you're interested, take a look at my user page. "See" you around! --Madalibi (talk) 14:38, 25 November 2008 (UTC)

Notification: changes to "Mark my edits as minor by default" preference
Hello there. This is an automated message to tell you about the gradual phasing out of the preference entitled "Mark all edits minor by default", which you currently have (or very recently had) enabled.

On 13 March 2011, this preference was hidden from the user preferences screen as part of efforts to prevent its accidental misuse (consensus discussion). This had the effect of locking users in to their existing preference, which, in your case, was. To complete the process, your preference will automatically be changed to  in the next few days. This does not require any intervention on your part and you will still be able to manually mark your edits as being 'minor'. The only thing that's changed is that you will no longer have them marked as minor by default.

For established users such as yourself there is a workaround available involving custom JavaScript. If you are familiar with the contents of WP:MINOR, and believe that it is still beneficial to the encyclopedia to have all your edits marked as such by default, then this discussion will give you the details you need to continue with this functionality indefinitely. If you have any problems, feel free to drop me a note.

Thank you for your understanding and happy editing :) Editing on behalf of User:Jarry1250, LivingBot (talk) 19:02, 14 March 2011 (UTC)

Proposed deletion of Mushroom sauce

The article Mushroom sauce has been proposed for deletion  because of the following concern:
 * This is a dictionary definition as well as a tautology (mushroom sauce is a sauce made with mushrooms).

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. The speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. HominidMachinae (talk) 08:05, 5 June 2011 (UTC)

Nomination of Mushroom sauce for deletion
A discussion is taking place as to whether the article Mushroom sauce 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/Mushroom sauce 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 good 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 template from the top of the article. HominidMachinae (talk) 04:34, 7 June 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:09, 23 November 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:33, 23 November 2015 (UTC)

title: User talk:Bob Hu


text: Category:Maldives geography stubs

title: Category:Maldives geography stubs


text: Template:Maldives-geo-stub

title: Template:Maldives-geo-stub


text:
Simone Porzio

Simone Porzio (Simon Portius) (1496–1554) was an Italian philosopher, born and died in Naples.

Life
Like his greater contemporary, Pomponazzi, he was a lecturer on medicine at Pisa (1546–1552), and in later life gave up purely scientific study for speculation on the nature of man. His philosophic theory was identical with that of Pomponazzi, whose De immortalitate animi he defended and amplified in a treatise De mente humana. There is told of him a story which illustrates the temper of the early humanistic revival in Italy. When he was beginning his first lecture at Pisa he opened the meteorological treatises of Aristotle. The audience, composed of students and townspeople, interrupted him with the cry Quid de anima (We would hear about the soul), and Porzio was constrained to change the subject of his lecture. He professed the most open materialism, denied immortality in all forms and taught that the soul of man is homogeneous with the soul of animals and plants, material in origin and incapable of separate existence.

Simone Porzio was the father of Camillo Porzio.

title: Simone Porzio


text:
User talk:Eduardo89

Your recent editing history shows that you are currently engaged in an edit war. To resolve the content dispute, please do not revert or change the edits of others when you are reverted. Instead of reverting, please use the talk page to work toward making a version that represents consensus among editors. The best practice at this stage is to discuss, not edit-war. See BRD for how this is done. If discussions reach an impasse, you can then post a request for help at a relevant noticeboard or seek dispute resolution. In some cases, you may wish to request temporary page protection.

Being involved in an edit war can result in your being blocked from editing—especially if you violate the three-revert rule, which states that an editor must not perform more than three reverts on a single page within a 24-hour period. Undoing another editor's work—whether in whole or in part, whether involving the same or different material each time—counts as a revert. Also keep in mind that while violating the three-revert rule often leads to a block, you can still be blocked for edit warring—even if you don't violate the three-revert rule—should your behavior indicate that you intend to continue reverting repeatedly.

Thanks
--Stéphane Charette (talk) 09:02, 14 January 2008 (UTC)

For?

 * Helping me reduce the amount of time I spend reverting edits. --Stéphane Charette (talk) 19:13, 14 January 2008 (UTC)

December 2017
Please don't edit war to replace a prod tag. WP:PROD is pretty clear that it's a one-shot deal. If you think the page should be deleted after the tag is removed, then you must start an WP:AFD. --Dr. Fleischman (talk) 17:00, 5 December 2017 (UTC)

Jamesharrison2014 ANI Round 2
There is currently a discussion at Administrators' noticeboard/Incidents regarding an issue with which you may have been involved. The thread is Disruptive editing by Jamesharrison2014. Billhpike (talk) 18:18, 21 December 2017 (UTC)

White House Press Corps RFC
There is an ongoing RFC at Talk:White House press corps Billhpike (talk) 20:19, 24 December 2017 (UTC)

Creation of the article "2019 in Germany" in English Wikipedia
Hello, Eduardo89. Happy New Year to you! 2019 is coming soon. Can you creat the article "2019 in Germany" in English Wikipedia? Thanks a lot! 123.150.182.177 15:42, 31 December 2018 (UTC)

title: User talk:Eduardo89


text:
Lee Passarella

Lee Passarella is a writer and senior literary editor of the Atlanta Review. His long narrative poem Swallowed Up In Victory (Burd Street Press, 2002) is based on the American Civil War.

Works

 * Swallowed Up in Victory: A Civil War Narrative, Petersburg, 1864-1865. Burd Street Pr (2002). ISBN 1-57249-301-1.
 * The Geometry of Loneliness, WordTech Communications (2006). ISBN 1-933456-39-6.

title: Lee Passarella


text:
Talk:Richard S. Castellano

Untitled
His filmogrophy needs to be updated.. just copy it from http://www.imdb.com/name/nm0144710/ basically..if anyone's not lazy like i am. —The preceding unsigned comment was added by 65.92.40.160 (talk • contribs) 19:41, August 27, 2005  (UTC)
 * No, do not copy and paste it from IMDb. It is a copyvio and is illegal and against wiki policy. Sarah Ewart 00:29, 1 February 2006 (UTC)

title: Talk:Richard S. Castellano


text: User talk:67.163.194.6

title: User talk:67.163.194.6


text:
Pleuropulmonary blastoma

Pleuropulmonary blastoma (PPB) is a rare cancer originating in the lung or pleural cavity. It occurs most often in infants and young children but also has been reported in adults. In a retrospective review of 204 children with lung tumors, pleuropulmonary blastoma and carcinoid tumor were the most common primary tumors (83% of the 204 children had secondary tumors spread from cancers elsewhere in the body). Pleuropulmonary blastoma is regarded as malignant. The male:female ratio is approximately one.

Signs and symptoms
Symptoms may include coughing, an upper respiratory tract infection, shortness of breath, and chest pain. These symptoms are very non-specific, and can be caused by other types of tumor in the lung or mediastinum more generally, and by other conditions. Imaging (X-ray, CT, MRI) may be used to determine the presence and precise location of a tumor, but not a specific diagnosis of PPB or other tumor. Doctors are unable to tell if a child has PPB right away, and not upper respiratory tract infection, until more test are taken and they show that there is no infection. Another symptom is pneumothorax.

Genetics
A number of PPBs have shown trisomy 8 (17 out of 23 cases studied per the PPB registry). Trisomy 2 and p53 mutations/deletions have also been described.

An association with mutations in the DICER1 gene has been reported. Mutations in this gene are found in 2/3 cases.

Diagnosis
The most common way to test someone for PPB is to take a biopsy. Other tests like x-rays, CAT scans, and MRI's can suggest that cancer is present, but only an examination of a piece of the tumor can make a definite diagnosis.

Types
Pleuropulmonary blastoma is classified into 3 types:
 * Type I is multicystic
 * Type II shows thickening areas (nodules) within this cystic lesion
 * Type III shows solid masses.

Type I PPB is made up of mostly cysts, and may be hard to distinguish from benign lung cysts, and there is some evidence that not all type I PPB will progress to types II and III. Types II and III are aggressive, and cerebral metastasis is more frequent in PPB than in other childhood sarcomas.

Treatment
Treating PPB depends on the size and location of the tumor, whether the cancer has spread, and the child's overall health. Surgery is the main treatment for PPB. The main goal of surgery is to remove the tumor. If the tumor is too large to be completely removed, or if it's not possible to completely remove the tumor, surgery may be performed after chemotherapy. Because PPB can return after treatment, regular screening for possible recurrence should continue for 48 to 60 months, after diagnosis.

History
Pleuropulmonary blastoma was first described in 1988.

An international registry has been established.

title: Pleuropulmonary blastoma


text:
Jez Nelson

Jeremy Nelson MBE (born 1 April 1964) is a jazz broadcaster and television producer. He is the founder and CEO of media production company Somethin' Else, which in 2021 became part of Sony Music Entertainment.

Education
Nelson was educated at Dulwich College (a boys' independent school in Dulwich, South London) and at King's College London, where he first began to DJ.

Career
After working on several pirate jazz radio stations, including KJazz, which he and DJ Gilles Peterson set up, Nelson joined Jazz FM soon after it was licensed in 1989. His first show on Jazz FM was on 4 March 1990, and he went on to present a nightly four-hour programme called Something Else, on which he interviewed jazz stars including Herbie Hancock, Nina Simone, Wayne Shorter and Sun Ra.

Having left Jazz FM in 1991, Nelson joined Kiss 100 and, along with former colleagues Sonita Alleyne and Chris Philips, he founded the media production company Somethin' Else. The business has become the largest independent radio production company in the UK and is a leading cross-platform content producer. In 2009, Nelson succeeded Alleyne as CEO of Somethin' Else. He has also presented many BBC television and radio programmes, including It'll Never Work? for Children's BBC, which led to a presenter's role on the primetime Tomorrow's World show. He has also presented Formula Five on BBC Radio 5 and Radio 3's Jazz on 3.

Nelson is a Fellow of The Radio Academy.

title: Jez Nelson


text:
Talk:Digenes Akritas

Comments
What is the correct pronunciation and correct spelling of the name? I have an academic book, summariazing a symposium about Digenes called "Digenes Akrites" (Robert Beaton and David Ricks, eds. Variorum 1993). Shouldn't there at least be some redirection page?

 * There's no standard term. Latinization before translation yielding Digenis Acritas or Digenis Acrites seem to be more popular, but Digenes Akritas or Digenis Akrites or others are also widely used. I guess a redirection page would be usefull. Though the weakeness of this page is that its unknown. This article needs to be linked with more Wikipedia pages. Colossus 13:24, 27 August 2005 (UTC)

Digenes=Heracles?
Is this "epic" not simply a retelling of the legend of Heracles and his labours, adapted to the context of the Greek/Byzantine/Arab conflicts of the Middle Ages? There are so many parallels that it's hard not to see a connection:

 * Digenes kills/encounters many of the same animals that Heracles did (lion, hind, dragon/hydra- plus the three warriors/three heads of Cerberus)
 * Maximu is obviously Hippolyte
 * Heracles is the son of a god who disguised himself as a mortal man to win over Alcmene, likewise Digenes is the son of an emir who "disguised" himself as a Christian to win over the Byzantine woman
 * Heracles is "twice-born" (as mortal and god)
 * The "wrestling with Death". Heracles does eventually die, but not before encountering Hades/Charon when he went to the underworld to rescue Theseus and capture Cerberus

It seems the story of Heracles as a Greek superhero survived in oral tradition, to be written down again centuries later in the guise of a medieval warrior.Walshie79 (talk) 23:54, 16 March 2015 (UTC)

title: Talk:Digenes Akritas


text:
Keith Stackpole

Keith Raymond Stackpole Jr. (born 10 July 1940) is a former Victorian and Australian cricketer who played in 43 Test matches and six One Day Internationals between 1966 and 1974. He went on to become a cricket commentator on radio and TV in the 80s and 90s. His father, Keith Stackpole Sr. also played first-class cricket and was a noted Australian rules footballer for Collingwood and Fitzroy.

Stackpole was a big, heavy batsman in the Colin Milburn mould and quite capable of hitting the ball all over the ground. He made his Test debut against England in the Fourth Test in Adelaide in 1965–66, where he took a great catch to dismiss Jim Parks, made 43 batting at number 8 and took the wickets of the England captain M.J.K. Smith and his vice-captain Colin Cowdrey with his leg spin, his 2/33 remaining his best Test figures. Australia won by an innings to square the series. Against England in 1970–71 he was the main Australian runmaker with 627 runs (52.25). In the First Test Stackpole should have been run out for 18 as Geoff Boycott threw down the wicket at the bowler's end, but the batsman was given the benefit of the doubt by Lou Rowan. The Australian papers carried photographs the next day showing that he was clearly out and labelled the decision "one of the worst in cricket history". It probably cost England victory as Stackpole took advantage of his escape to pile up 207 – his highest Test score – in Australia's 433. Faced with an impossible 469 runs to win in the Sixth Test Stackpole made a powerful 136 with 16 boundaries to save the game, adding 202 for the second wicket with Ian Chappell (104) as Australia made 328–3 on the last day. In the Seventh and last Test Australia needed 223 to win and save the Ashes. Stackpole hit 2 sixes and 6 fours in his 67, but received little support from the rest of the team and they were all out for 160. On the Ashes tour of England in 1972 he was Ian Chappell's vice-captain and made 485 runs (52.88), topping the Australian batting averages for the second series in a row and being named a Wisden Cricketer of the Year in 1973.

title: Keith Stackpole


text:
Schizophyllan

Schizophyllan (Sonifilan, SPG) is a neutral extracellular polysaccharide produced by the fungus Schizophyllum commune. Schizophyllan is a β-1,3 beta-glucan with β-1,6 branching. Schizophyllan is also known as sizofiran.

Schizophyllan has a molecular weight of 450,000 Da, and a specific rotation in water of +18-24°. A chemically analogous polysaccharide, scleroglucan, is formed by the fungus Athelia rolfsii. Both polysaccharides share the chemical structure of the backbone with curdlan. It is known for several things, including its ability to stimulate the immune system, carry metals in water, aid in delivering drugs, and use in some nanofibers.

Safety
Schizophyllan, classified as a beta-glucan and extracted from the fungus Schizophyllum commune, showed no quantifiable adverse reactions through independent scientific procedures. With its classification as a beta-glucan, schizophyllan is generally recognized as safe (GRAS) by the United States FDA. While no distinction has been made specifically for schizophyllan, schizophyllan and other β-glucans have been orally administered safely in a variety of vertebrate species showing immunomodulation: mice,    canines, horses, and humans.

More specifically, in 2012, mushroom-derived beta-glucans were deemed GRAS by direct FDA review. A March 2017 further demonstrates the safety of schizophyllan in horses.

Processing and efficacy
The ability for schizophyllan to produce a physiological response is directly correlated with the extraction process and subsequent processing the compound endures. This theory also coincides with that of other beta-glucans.

High doses of schizophyllan are not the primary determinant of an immunological response. Studies have validated that 10 mg (or less) of a high quality, adequately processed chemically similar beta-glucan is a sufficient dose to elicit a measurable effect on immune cells. In addition, small particle beta-glucans modified to prevent re-aggregation during digestion have the most positive effects on immune potentiation.

Ninety percent of horses with active ulceration treated with ta schizophyllan-containing polysaccharide blend showed complete resolution and/or improvement in ulcerative areas, increased appetite, weight gain, and positive behavioral changes.

title: Schizophyllan


text:
Spherometer

A spherometer is an instrument used for the precise measurement of the radius of curvature of a curved surface. Originally, these instruments were primarily used by opticians to measure the curvature of the surface of a lens.

Design
A spherometer usually consists of:

 * A frame with three legs, arranged in an equilateral triangle of known radius. The outer legs of some spherometers can be moved to a set of inner holes in order to accommodate a smaller surface. The lower ends of the legs are finely tapered and terminate in hemispheres.
 * A central leg, which can be raised or lowered via a screw.
 * A reading device for measuring the distance the central leg is moved. Often this consists of a marked dial attached to the top of the screw and a vertical scale attached to the frame. This both indicates the number of turns of the screw and serves as an index for reading the divisions on the dial. A lens may be fitted in order to magnify the scale divisions.

On new spherometers, the vertical scale is marked off in units of 0.5 mm. One complete turn of the dial also corresponds to 0.5 mm and each small graduation on the dial represents 0.005 mm. The graduations on old spherometers are 0.001 mm.

Principles of operation
To measure the radius of a sphere—e.g. the curvature of a lens—the spherometer is leveled and read, then placed on the sphere, adjusted until the four points exert equal pressure, and read again. The difference gives the thickness of that portion of the sphere cut off by a plane passing through the three feet. A contact-lever, delicate level or electric contact may be attached to the spherometer in order to indicate the moment at which the four points exert equal pressure.

The spherometer directly measures a sagitta, h. If the mean length between two outer legs is a, the spherical radius R is given by the formula
 * $$R = \frac{h}{2}+\frac{a^2}{6h}$$

Using a spherometer with a circle cup of diameter D, the spherical radius R is instead given by the formula
 * $$R = \frac{h}{2}+\frac{D^2}{8h}$$

Alternative uses
Since the spherometer is essentially a type of micrometer, it can be employed for purposes other than measuring the curvature of a spherical surface. For example, it can be used to measure the thickness of a thin plate.

To do so, the instrument is placed on a perfectly level plane surface and the screw turned until the point just touches; the exact instant when it does so is defined by a sudden diminution of resistance followed by a considerable increase. The dial and scale are read, the screw is raised, the thin plate slipped under it, and the process is repeated. The difference between the two readings gives the required thickness.

Similarly, the instrument can measure the depression in an otherwise flat plate. The method is as for measuring the thickness of a plate, except that the micrometer portion is placed over the depression and the measurement is taken below the surface instead of above.

This type of instrument is commonly used in inspecting oil field tool pipe for metal surface pits, fractures, and roundness before being shipped to drilling sites for exploratory wells, so that weakened drill pipe will not fracture during drilling. Tool pipe with thicker than 1" walls for a 4" diameter tube of hardened steel, fitted with tapered thread collars, are re-used after drilling is complete and thinner-walled tubular oil-well casing is in place. Electronic instruments similar to the spherometer in design are used at inspection plants for casing, tubing, and drill pipe. The equivalent measurements in optics would be for a cylinder, or lens with a cylindrical component having an optical axis, where a plane through the lens would produce an oval circumference.

An alternate approach using coordinate geometry was developed recently. This approach reproduces the well-known result for the spherometer and also leads to a scheme to study aspherical surfaces.

A related device is the cylindrometer (also known as cylindro-spherometer or sphero-cylindrometer), which can additionally measure the radius of curvature of a right-circular cylinder.

title: Spherometer


text:
Publilius Optatianus Porfyrius

Publilius Optatianus Porfyrius (fl. 4th century) was a Latin poet, possibly a native of Africa. Porfyrius has been identified with Publilius Optatianus, who was praefectus urbi in 329 and 333. For some reason he had been banished, but having addressed a panegyric to the Emperor Constantine I, he was allowed to return.

Works
Twenty-eight poems are extant under his name, of which twenty were included in the panegyric. The content of the poetry is rather trivial. However, the form of the works can be regarded as a specimen of perverted ingenuity. Some of them are squares (the number of letters in each line being equal), certain letters being rubricated so as to form a pattern or figure, and at the same time special verses or maxims. Others represent various objects (a syrinx, an organ, an altar). Others have special peculiarities in each line (number of words or letters) while the eighth poem (the versus anacyclici) may be read backwards without any effect upon sense or metre. A complimentary letter from the emperor and letter of thanks from the author are also extant.

The manuscript tradition attributes to Optatianus an extensive, but uneven, body of work, which includes poems written at various times and using different techniques. Despite the presence of poems composed well before his fall from grace, the central core of the work is still made up of the panegyric sent to Constantine in the hope of obtaining forgiveness.

The central theme of the Panegyricus is the emperor, but with infrequent references to contemporary historical facts.

The main feature of the poems, however, lies not so much in their content, as in the technique with which they are made. Optatianus was the first author known to write versus intexti (literally "twisted verses"), a special form of picture poem.

The picture poem is that in which the lines are arranged so as to form a precise stylized drawing (an altar, a bagpipe ...). This compositional technique, used by influential poets such as Theocritus, had come to Rome between the second and first centuries BC, with the Erotopaegnia of Laevius. Optatianus's novel use of this technique involved constructing an acrostic, so that within the composition, by a specified path, arises a second or third text relating to the first.

The composition of such a poem was done in phases:
 * the sheet (and not the roll of papyrus) was first divided into squares;
 * inside the squares were inserted letters of the verses that followed different paths;
 * completing the previous verses, the rest of the page was filled by placing letters in the boxes that, together with those already present, formed sensible verses.

The technique used by Optatianus reveals his predilection for difficulties and technical virtuosity, as the compositions of the Panegyrics become even more complicated, for example, with the construction of verses in the form of palindromes (as in the poem XXVIII) or verses metrically identical when read from right to left.

Optatianus was inspired by Lucan and Silius Italicus, but especially by Ovid, who is the main touchstone for the author, especially because of their mutual experience of exile.

For example, in poem VIII the versus intexti form the "Chi Rho" monogram of Christ, and the name "Iesus" (Jesus). The X (Chi) is made up of the two lines Alme, salutari nunc haec tibi pagina signo, Scripta micat, resonans nominibus domini ("Dear, this page with a salutary watchword is for you, what is written shines, echoing the names of the Lord"). The letters which compose the name of Jesus and the central P (Rho) form the lines  Nate deo, solus salvator, sanctae bonorum, tu deus es justi, gratia tu fidei ("Son of God, the only savior, of the holy woman of the good, you are the god of the righteous, you are the grace of faith") and sit victor comes Aug et natis eius ("He shall be a triumphant companion to Aug and his children").

title: Publilius Optatianus Porfyrius