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Soundie

A soundie is a three-minute American musical film displaying a performance. Soundies were produced between 1940 and 1946 and have been referred to as "precursors to music videos". Soundies exhibited a variety of musical genres in an effort to draw a broad audience. The shorts were originally viewed in public places on "Panorams": coin-operated, 16mm rear projection machines. Panorams were typically located in businesses like nightclubs, bars, and restaurants. Due to World War II, Soundies also featured patriotic messages and advertisements for war bonds. More adult shorts, such as burlesque and stripteases, were produced to appeal to soldiers on leave.

Technology
Filmed professionally on black-and-white 35 mm stock, like theatrical motion pictures, they were printed on the more portable and economical 16 mm film.

The Panoram "movie jukebox" was manufactured by the Mills Novelty Company of Chicago. Each Panoram housed a 16 mm RCA film projector, with eight Soundies films threaded in an endless-loop arrangement. A system of mirrors flashed the image from the lower half of the cabinet onto a front-facing screen in the top half. Because of the mirror arrangement, the films had to be printed with the image "flipped" (with the titles appearing backwards on the screen). Each film cost 10 cents to play, with no choice of song; the patron saw whatever film was next in the queue. Panorams could be found in public amusement centers, nightclubs, taverns, restaurants, and factory lounges, and the films were changed weekly. The completed Soundies were generally made available within a few weeks of their filming, by the Soundies Distributing Corporation of America.

Several production companies filmed the Soundies shorts in New York City, Hollywood, and Chicago: James Roosevelt's Globe Productions (1940–41), Cinemasters (1940–41), Minoco Productions (owned by Mills Novelty, 1941–43), RCM Productions (1941–46), LOL Productions (1943), Glamourettes (1943), Filmcraft Productions (1943–46), and Alexander Productions (1946) led by William D. Alexander). The performers recorded the music in advance, and mimed to the soundtrack during filming.

Competition
The movie-jukebox idea developed several imitations and variations of the technical design; the most successful of these imitators were the Techniprocess company (managed by Rudy Vallee) and the Featurettes company, which used original novelty songs and usually unknown talent (17-year-old Gwen Verdon appears in a couple of the Featurettes as "Gwen Verdun"). As Soundies quickly gained most of the market for jukebox films, the other companies disbanded, and some sold their films to the Soundies concern.

Musical genres
Soundies emphasized variety from their beginning; the first three bandleaders who contracted for Soundies were boogie-woogie specialist Will Bradley, established popular music maestro Vincent Lopez, and Hawaiian singer-leader Ray Kinney. Soundies displayed all genres of music, from classical to big-band swing, and from hillbilly novelties to patriotic songs. Harry McClintock, Jimmy Dorsey, Louis Jordan, Spike Jones, Stan Kenton, Kay Starr, Johnnie Johnston, Les Brown, The Hoosier Hot Shots, Charlie Spivak, Cliff Edwards, Martha Tilton, Sally Rand, Nick Lucas, Gene Krupa, Anita O'Day, Jimmie Dodd, Merle Travis, and Lawrence Welk were some of the leading Soundies performers. Many stars of the future made appearances in Soundies at the beginning of their careers, including Gale Storm, Dorothy Dandridge, Ricardo Montalbán, Liberace, Doris Day, Gloria Grahame, Cyd Charisse, Alan Ladd, Marilyn Maxwell, and Yvonne DeCarlo.

Many nightclub and recording artists also made Soundies, including Harry "The Hipster" Gibson, Benny Fields, Frances Faye, Gloria Parker, Charles Magnante, Milton DeLugg, and Gus Van. In the mid-1940s, during a moratorium imposed by James Petrillo of the musicians' union, Soundies resorted to filming nonmusical vaudeville acts, featuring exotic dancers Sally Rand and Faith Bacon, animal acts, acrobats, impressionists, and jugglers.

Beginning in 1941, Soundies experimented with expanding its format, and filmed comedy Soundies with Our Gang actor Carl "Alfalfa" Switzer, Broadway comic Willie Howard, dialect comedians Smith and Dale, Harry Langdon, Snub Pollard, and The Keystone Cops. Most of these films were nonmusical, and were not as well received as the musical Soundies. Soundies abandoned the comedy-sketch idea, but continued to produce filmed versions of comic novelty songs.

Some bandleaders recognized the promotional value of Soundies. Will Bradley, Vincent Lopez, and Ray Kinney were the first, as has been mentioned, and Ozzie Nelson, Cab Calloway, Louis Armstrong, Lawrence Welk, and Louis Jordan followed. The most prolific Soundies bandleaders were Johnny Long (18 titles) and Stan Kenton (17 titles).

More than 1,800 Soundies minimusicals were made, many of which have been released on home video. The Soundies films were regularly described and reviewed in the entertainment and music trade publications, such as Billboard.

Wartime impact
During their first year, the Soundies made millions of dollars (in dimes). However, in late 1941, the federal government restricted the use of rubber and precious metals, prioritizing these resources for military use during wartime. This meant that Mills Novelty could no longer build and sell Panoram machines, and had to confine its activities to keeping the existing projectors supplied with films. Soundies became strictly a production company, dedicated to making its own musical shorts.

Eclipse
The Soundies Distributing Corporation of America remained active until 1947. With commercial television developing rapidly, the Soundies machines and films became obsolete. Almost all of the Panoram jukeboxes were either junked or modified into self-service "peepshow" machines. Most remaining Panorams are in the hands of collectors and are occasionally offered for sale. The library of 1,800 Soundies films was sold to home-movie companies Castle Films and Official Films, then to syndicated television, and ultimately to home video (via England's Charly Records).

In 1958, the original Soundies "jukebox" concept was revived by French company Cameca as Scopitone. Similar to Soundies, Scopitones are short musical films designed to be played on a specially designed coin-operated jukebox, but with new technical improvements - color and high-fidelity sound. Scopitones were printed on color 16 mm film with magnetic sound instead of Soundies' optical sound. By the mid-1960s, Scopitone jukeboxes had spread across England and the United States.

Documentaries
Three documentaries have been produced about Soundies. Don McGlynn produced and edited The Soundies in 1986, hosted by Cab Calloway; the film was broadcast nationally on PBS. Dewey Russell compiled an hourlong, direct-to-video history, "Soundies: Music Video from the '40s" in 1987, narrated by Michael Sollazzo. Chris Lamson produced "Soundies: A Musical History," hosted by Michael Feinstein, in 2007 for PBS.

Legacy
For today's filmmakers and archivists, Soundies are known for preserving rare performances of African-American artists who had fewer opportunities to perform in mainstream films. Artists such as The Ink Spots, Fats Waller, Duke Ellington, Louis Jordan, Sister Rosetta Tharpe, Dorothy Dandridge, Big Joe Turner, Bob Howard, Billy Eckstine, Count Basie, The Mills Brothers, Herb Jeffries, Cab Calloway, Meade Lux Lewis, Lena Horne, Louis Armstrong, Nat King Cole, and Stepin Fetchit all made Soundies (several of these were excerpted from longer theatrical films).

Other later forms
The Soundies concept was revived in 1951 by producer Louis D. Snader. Radio stations relied on transcriptions—recorded musical performances. Snader brought the idea to television with films, which he called "Snader Telescriptions." Snader hired dozens of pop-music acts and vaudeville performers, many of whom had already appeared in Soundies, to star in his new films. Snader Telescriptions are often confused with Soundies because of their similarity in length and personnel.

title: Soundie


text:
Talk:La Défense

Untitled
Can we redo this page so that the text doesn't overlap the right margin? -- Zoe

 * Zoe, on my 1024 by 768 wide screen I get no overlap on the right margin.
 * Brion, I don't understand why you have reverted my careful placement of text and pic caption. I had the caption text entirely below the picture and not as it is now (spreading all across the page) and also I had the text flowing nicely down the right hand side of the picture. Now it's back as it was before I did that work. What's the reason for the change? It looks ugly now but I view you as too important a person in Wikipedia to merely revert what you've done. I expect there's a good reason I haven't thought of. -- Arpingstone 09:23 Feb 24, 2003 (UTC)

Hmmm... the previous version looks a little clunky but perfectly acceptable at 640 x 480, and is just fine at 800 x 600. (or any higher resolution, of course.) In contrast, Recent Changes is darn near unusable at 640 x 480. What's the point of messing up the page for the vast majority of users (at 800x or higher) when - let's face it - 640 x 480 is unusable on Wikipedia anyay? Tannin 09:45 Feb 24, 2003 (UTC)

 * Sorry, Tannin, I can't follow what you are saying. Can you explain a little more? Is it that my 1024 by 768 screen leaves loads of room for the La Defense text to flow down the left hand side but on a lower resolution screen there's not proper room for the text to do that? Does this mean that contributors should think about how changes will look on 800 by 600 screens as well as their own (probably higher) resolution screens? If so, this is a point I've never seem mentioned in any Wikipedia help article (and I think I've read them all). BTW, I did not supply the pic, I just wanted to improve the look of that article.-- Arpingstone 10:09 Feb 24, 2003 (UTC)

 * That is pretty much Brion's view in a nutshell, Adrian. (At least Brion's view as I understand it.) It's not my view though.

 * It is certainly important not to allow images to get so big that there is no room for the text to flow around them. The question is, at what screen resolution do we consider this issue? At, say, 1024 x 768, nearly all web pages are very usable. At 1152 x 864 and 1280 x 960, the same applies. At 1600 and above, lots of webpages start to have layout problems, as do pages at 800 x 600. And once you get down to really low resolutions - 640 x 480 and below - it becomes very difficult to navigate the Internet.

 * There are still pages around that look OK at 640 x 480, but the great majority are no longer usable at low res. And the great majority of users are running 800 x 600 or higher. (I'm in a good position to know this, as when I'm not editing Wikipedia, I build, upgrade and repair computers for a living. My working day is a constant steady stream of people bringing computers in to be replaced, upgraded, or repaired, and it's getting really rare to see a system running 640 x 480 pass across the workbench. We get maybe 10 to 20 systems come in on any particular day, and we only see a 640 x 480 job maybe once or at most twice a week. We always notice because we switch them up while we are working on them and have to remember to switch them back when we are finished in case whatever incredibly ancient moniter they are running can't cope.)

 * My point is that the idea of catering for users with low-res screens remains a very important part of web design, and Wikipedia should not forget that. However, the meaning of "low-res" changes as the years go by. "Low-res" these days is 800 x 600, "standard res" is 1024 to 1280, "high-res" is 1600 or more. We should certainly cater for low-res users by making sure that Wiki pages are readable at 800 x 600, even though they may well look a bit odd. But we should not extend this idea to absurdity by trying to cater for very low res users at 640 x 480, let alone the ultra low-res that some PDA screens have.

 * Bottom line is, if you ain't running 800 x 600 or better, you are going to have a lot of trouble even getting onto the Internet to find Wikipedia, let alone surfing anywhere else bar this place. (See for yourself: set your screen to 640 x 480 and go visit 20 random sites. Write down how many of them are reasonably navigable.) The Wiki 250px picture guideline, in other words, was appropriate some years ago when average res was 800x, but there comes a time when you have to stop degrading the viewing experience of the vast majority of users by catering to a tiny minority of people still running a 16-year-old screen format.

 * Tannin 11:00 Feb 24, 2003 (UTC)

 * PS: I just saw your addition. In a word, yes. We should always (IMO):

 * Aim at optimum appearance at the standard resolutions (1024 to 1280)
 * Aim at usable appearance at low and high resolution (800 x 600 & 1600)
 * Accept that we can't please the very, very small minority of users who still run 640 x 480 or lower.

 * Short of impractical exotica like Javascript page pickers and very smart dynamic HTML engines, it's not possible to create a page that works at weirdo resolutions - this includes very low res like 640 x 480 and below, and also ultra-high res in the multiple thousands of pixels. -- Tannin

 * Thanks for the info, I appreciate the very full explanation. So, allowing for all you've said, would you care to choose which version of La Defense, after all the discussion, you would keep? If you prefer Brion, that's fine. If you prefer mine, would it be unwise to revert the GrandMaster?

 * Changing the subject, do you know how I change my visible username, at the end of a contribution like this, to Adrian (arpingstone sounds so unfriendly.) -- Arpingstone 12:11 Feb 24, 2003 (UTC)

 * Well, I had an ulterior motive. I think it's time there was a general discussion of this issue with a view to bringing the policy up to date. I'll have to hunt around and find the right page and paste the above in, I guess.

 * I prefer your version, of course. You can revert the GrandMaster if you want to. I'm chicken! :)

 * You should be able to go to Preferences up in the top right corner just above the search box and write in your preffered nickname for signatures there. (On the right, sixth from the bottom.) I've never tried it though. If my sig to this post comes out as "Tony" then it works! Tony

I think we should keep Brion's version. The older version does have a problem at 800x600 if the user has the Quickbar turned on. (I assume some people do use the Quickbar, although I don't.) --Zundark 12:37 Feb 24, 2003 (UTC)

Ahhh ... what problem? Here it is at 800 x 600. (Colours look a little funny - I squashed to 16 colours to save server space.)

Even at 640 x 480 it's still perfectly acceptable:

Tannin 12:59 Feb 24, 2003 (UTC)

Tannin, it's not a question of resolution so much as the width of a line of text; text is easier to read at ten words per line or less. Resize your browser to see (but wikipedia's layout doesn't allow less than about 15) -- Tarquin 13:10 Feb 24, 2003 (UTC)

Tannin, I see that your browser wraps the URL. Mozilla doesn't, which is the problem. (Zoe's browser presumably has a similar problem.)

I think the discussion has focused too much on screen resolution. There are a number of other factors which affect the way the page displays: So the the concept of "optimizing for 1024x768" isn't really meaningful.
 * Size of browser window. (Not everyone chooses to browse in a maximized window, so this may be lower than the screen resolution.)
 * Choice of font and font size.
 * Choice of browser.
 * Wikipedia preference settings.

In general people will (usually without even thinking about it) optimize things for their own combination of choices/settings. Unless these are fairly extreme, this is not a problem most of the time.

(By the way, Recent Changes is fine for me at 640x480, with all my other settings as normal.)

--Zundark 13:28 Feb 24, 2003 (UTC)

Mozilla wraps it (v 1.2a), Internet Explorer wraps it (v 5.0), Opera wraps it (v 6.05), I had to go right back to Netscape 3.02 to find one that doesn't. Tannin

 * Strange. Mozilla 1.2.1 doesn't wrap it on my computer - the URL goes straight through a right-hand Quickbar. (Maybe my Mozilla settings are messed up or something?) Anyway, I'm not going to complain if someone reverts Brion's change, but please remember that Zoe had a problem with the old layout, and she's unlikely to be the only one. --Zundark 14:35 Feb 24, 2003 (UTC)

 * It might be a problem with the right-side Quickbar. I was having trouble using it on the right with Opera 5.X and 7.X. However, I haven't sat down to compile a useful bug report, yet. -- Stephen Gilbert 16:40 Feb 24, 2003 (UTC)

I just discovered that I have Netscape 4.08 on this machine too. It wraps the URL just fine. But the CSS breaks it here and there - i.e., the rest of the site - Recent Changes & etc is very ugly indeed. I'm well aware that people unconsciously optimise for their own favourite setttings - I've written web pages (hand-coded, none of this FrontPlague crap that some think counts as web design) and my job means that I spend 5 days a week working on other people's computers. (You wouldn't believe the horrible setting some people like!) Of course fonts and browsers and screen size settings vary. That's what web design is all about - trying to find a good, flexible, middle-of-the-road setting that lets you get your content out to as many people as you possibly can.

In the end, it's quite pointless uglifing Wikipedia because "it works better in 640 x 480", because - let's face it - people running 640 x 480 quite often don't have a CSS-capable browser anyway. I don't want to go on and on about this topic, but this is something we really ought to be getting right. Tannin

I've removed the problematic URL altogether, because it doesn't work. (I get a DNS look-up failure for www.corbinwalters.com.) With this URL gone, there seems no reason to avoid Arpingstone's layout. --Zundark 19:13 Feb 24, 2003 (UTC)
 * Anecdotes about the name confusion

I just think it looks dreadful to wrap a tiny one-sentence paragraph halfway down the side of an image that takes up most of the window (and much worse to try to stick a link section next to the image too!) If you prefer the caption to match the width of the picture, I would agree; my apologies for not fixing that.

If the body text were significantly longer than it is now, I would not object too much to wrapping it around the image. However, as it stands, it looks bizarre to my eye to wrap -- particularly to force the text to the right of the image, which is visually distracting. Left margin break is much more disruptive to my reading flow than right margin break (particularly as we have a ragged right margin in any case.)

I must say I'm surprised this much talk accumulated over one little margin! :) --Brion 19:54 Feb 24, 2003 (UTC)

Location
Hey can somebody tell me, what arrondissement is La Défense in?

 * The answer is written in the introduction, La Défense is actually located at the west of the city proper in the heart of the département of the Hauts-de-Seine. The district is spread across three municipalities: Nanterre, Courbevoie and Puteaux. So it not in any arrondissement, it's in the western suburbs. :) Metropolitan 23:02 20 may 2006 (UTC).

CBD?
Knowing that La Défense is not even located in Paris itself but in the suburbs, can we really say that it is a central business district? In my opinion it's not central at all :) --Grippenn 08:48, 5 July 2006 (UTC)

 * Thanks for this comment Grippenn, I'll edit this part of the introduction. Now this being said, La Défense is still located in the inner suburbs, in the heart of the urban area... hence it's not as it would be located at Mantes-la-Jolie or Melun. But your point is still valid and I'll make the change. Metropolitan 12:32, 5 July 2006 (UTC)

Photographs in high definition
Hello

the external links doesn't show photos in high definition

If you want you can add my website for people who want to see some photos (100) in 2048 * 1536.

koakoo

 * Merci beaucoup pour les photos merveilleuses, koakoo! —The preceding unsigned comment was added by 213.219.75.76 (talk) 15:29, 7 March 2007 (UTC).

West of and adjacent to...
If this is incorrect factually, re: there are defined cities between paris and La Defense - then obviously this proposal does not work. But we should be clear that La Defense is aprt of the metropolitan area. If so the current compromise seems to be à propos - since it is clear that it is considered part of the Paris metro - but outside the exact boundaries. -- Trödel 23:07, 25 September 2006 (UTC)

 * Meaux or Rambouillet are part of Paris metropolitan area, La Défense is located in the core of the urban area (the contiguous built-up area). The fact that the city of Paris is so small compared with its urban area (it represents only 3% of it) should not be considered as a pretext to present La Défense further than it actually is. Check this picture and you'll probably understand what I mean. "L'agglomération parisienne" (Paris urban area) represents a coherent unity. It would be a mistake to take advantage of the exceptionally small size of French administrative municipalities in general to give a distorted image of Paris realities.
 * After all, where else than in Paris do we talk about building a circular metro line, fully underground, which would be located fully outside of the central municipality ? That's the case with the Orbitale project, and actually, the weirdest is probably that the Paris municipality is ready to partially finance it (Indeed, the reason is that this line would reduce congestion of the central metro/RER network).
 * As for the use of the "adjacent" word, I'm not sure that it is technically correct. Granted, the municipality of Puteaux shares a border with the Bois de Boulogne which does belong to Paris, but that border isn't located at the level of the district of La Défense. Neuilly-sur-Seine is actually located between La Défense and the city of Paris in itself. I guess that using the expression "located in the inner suburbs" or something alike could be a better compromise.Metropolitan 23:56, 25 September 2006 (UTC).

La defense, one of the world's major centres of international finance?
The article states: "La Défense is the largest purpose-built business district in Europe, and one of the world's major centres of international finance."

I think that second part of the sentence destroys a lot of the credibility of the who article. OK, I can live with the assumption that other business centres in Europe were not purpose-built (i.e. they evolved), but I think la Defense is certainly not one of the world's major centres of international finance. Firstly, it is not even Paris' most important financial centre - most of which is still based in the avenues around the Arc de Triomphe. Secondly, Paris has never been seen as a major centre of international finance. London, Frankfurt, Zurich, OK, but Paris is stretching it too much. Even BNP, the only major French Investment Bank, has its European Investment Banking operations located in London. I do not want to change the article, I'll leave it to this discussion group, but I do believe that these exaggerations do serious damage to the overall credibility of the article. JGG 11:48, 26 September 2006 (UTC)

 * I thought for a second there that that mishap was because of my rewrite, but in fact "and is one of the major financial centers in the world." was the original version. Perhaps someone knowledgeable about the realities of the international situation could fix this with a couple references and clear this up for good. JGG, if you can do this, there is no reason why you shouldn't, so by all means, do. THE PROMENADER  12:01, 26 September 2006 (UTC)

 * Please have a look at http://www.lboro.ac.uk/gawc/rb/rb146.html, table 4. This does not say how big the centres are but how well connected they are.  Paris is simply not on the list for the banking/finance nodes.  Anyway the issue can be addressed easily:  Which non-French bank has its global or European investment banking head office in Paris: none.  The statement in the article as it is today really harms the credibility of the overall article.   JGG 16:44, 26 September 2006 (UTC)

''"The major French banks, insurance companies, and other financial bodies are all centred on Paris, predominantly in the main financial quarter on the Right Bank around the Stock Exchange (Palais de la Bourse) and the state-owned Bank of France. Scores of foreign multiservice banks have branches in Paris, but the city is not a dynamic centre for specialist activities such as merchant banking and venture capital investment. The Paris Stock Exchange, though expanded and modernized in the 1980s, still handles little more than one-fifth of the volume of the London Stock Exchange.

Paris has developed greatly since World War II as a centre for international commerce, especially in the new skyscraper quarter of La Défense, where many large companies are situated. The city is one of the world's most popular sites for international business conferences, often hosting more than 200 a year. It has several major modern convention centres, notably the Palais des Congrès at the Maillot Gate." '"Paris. Economy."''' Encyclopædia Britannica. 2006. Encyclopædia Britannica 2006 Ultimate Reference Suite DVD - ret. 27 Sept 2006

 * Okay, the jury's in on this one. Right you are. THE PROMENADER  22:22, 27 September 2006 (UTC)

NEw message from ChrisDVD

ok, here is what Wiki said : "The Paris urban area is among those hosting the most skyscrapers in the European Union:[1] as of 2006 there are 12 skyscrapers with roof height above 150 meters (492 feet) and 2 more under construction (compared to 10 such skyscrapers in Frankfurt, 9 in London, and 4 in Warsaw). Most of Paris high-rise buildings are located in three distinct areas..."

so i think this should help a bit. the fact that the stock exchange in Paris (euronext) ain't as big as the one in london dosn't have to do with the fact that london's is bigger. London's is importent with American Affair, while paris' and Frankfurt seem to be more European affairs. Also, La défence is fast growing, with a few 300 -320 meters tall building, and more to come. ChrisDVD

 * The number of skyscrapers has little to do with the importance of a financial district, dear. It's more about what goes on in those skyscrapers.

 * I added the qualifier 'one of' to 'La Defense is europe's largest financial centre.' This was for the following reason: 'largest' is a very vague term. La Defense doesn't cover the greatest ground area [the city of London is 640 acres, La Defense is either 77.5 or 400, depending on which bit of the article you read!], its trading volume pails in comparison, it's working population is smaller [City of London: 350 000, La Defense: 150 000]. I could go on. Don't confuse large shiny buildings with importance, people. Psidogretro (talk) 20:24, 15 June 2008 (UTC)

 * You also need to include Canary Wharf in those figures, which is the equivalent to La Defense really. You have the City of London (historic core of London, now CBD), and Canary Wharf (purpose built CBD). 95.148.249.48 (talk) 13:56, 28 January 2017 (UTC)

Projects
The Defense museum has very interesting displays about projects that didn't get built, some dating back to the 1930s. Could you gather some information about them? The only one mentioned is the Tour sans fin. --Error (talk) 22:20, 6 November 2011 (UTC)

File:Panorama La Défense.jpg to appear as POTD soon
Hello! This is a note to let the editors of this article know that File:Panorama La Défense.jpg will be appearing as picture of the day on January 26, 2013. You can view and edit the POTD blurb at Template:POTD/2013-01-26. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page so Wikipedia doesn't look bad. :) Thanks! — howcheng  {chat} 17:11, 25 January 2013 (UTC)

Part of Paris or separate?
Is La Defense a part of Paris or is it outside the city and it's own area?-- RM ( Be my friend ) 10:58, 28 March 2013 (UTC)

"15 of the top 50 companies"
The citation given for the claim that La Défense is home to "15 of the top 50 companies in the world" seems to be a Paris tourism board site, and doesn't cite its own sources. This is a vague claim and my minimal searching hasn't managed to track down any evidence of what these 15 are (or which top 50 companies they're talking about, for that matter). List of largest companies by revenue was the only Wikipedia list I could find that mentioned any companies in La Défense among the top 50. Can anyone find a more specific and trustworthy source, and clarify the wording of the claim in this article? — Control.valve (talk) 13:01, 8 April 2014 (UTC)

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File nominated for deletion on commons
file:c:File:La Defense dsc07138.jpg Reason:Copyvio (as stated in Category:CNIT, the architects died less than 70 years ago) and no c:COM:FOP in France. Maybe some files are de minimis (I excluded some obvious files), I let the community decide on that. subpage:link Message automatically deposited by a robot on 09:15, 2 January 2018 (UTC). — Preceding unsigned comment added by Harideepan (talk • contribs)

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 * La tour Majunga coté Puteaux février 2014.JPG

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 * La tour Majunga coté Puteaux février 2014.JPG

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 * Tour-T1.jpg

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 * Rose de Cherbourg tower at La Défense - 2018-07-21.jpg

Semi-protected edit request on 24 April 2022
Please remove "de merde" from infobox official_name 2A01:E0A:A54:7730:70DF:20C3:26D9:E112 (talk) 18:03, 24 April 2022 (UTC)
 * ✅ ScottishFinnishRadish (talk) 18:32, 24 April 2022 (UTC)

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 * Le Pouce de César à La Defense.jpg (discussion)
 * Tour Trinity La Défense France.jpg (discussion)

 * Can someone explain to me why these photos (Cesar’s pouce and Tour Trinity) have been deleted but not the photos for Tour Areva, Tour Total and Tour First? Seems that someone is using a double standard. Either all 5 photos go or they all stay. Dr Dobeaucoup (talk) 00:52, 12 April 2023 (UTC)
 * PS. And please don’t reply with an explanation of French intellectual property law for art and architecture. I get it!
 * Dr Dobeaucoup (talk) 00:55, 12 April 2023 (UTC)

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 * Thumb sculpture in La Defense, Paris, France.jpg

Promotional tone
The whole article has an unencyclopedic promotional tone. I haven't investigated, but I suspect a fair bit of COI editing has taken place. Ef80 (talk) 10:55, 5 July 2023 (UTC)

Transport links/infrastructure
Came here specifically to find out about transport links and infrastructure for the area, but no section for this, and it's not mentioned in the main body either. Seems an obvious missing element, compared to other similar articles. 2A02:C7C:364D:A400:1D89:1EE5:9CCE:AC9B (talk) 2A02:C7C:364D:A400:1D89:1EE5:9CCE:AC9B (talk) 12:36, 24 October 2023 (UTC)

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

title: Talk:La Défense


text:
Burr

Burr may refer to:

Australia

 * Cape Burr, a headland in South Australia
 * Mount Burr, South Australia, a town and mountain in South Australia

United States

 * Burr, Minnesota, an unincorporated community
 * Burr, Missouri, an unincorporated community
 * Burr, Nebraska, a village
 * Burr, Texas, an unincorporated community
 * Burr, West Virginia, an unincorporated community

Elsewhere

 * Burr, Saskatchewan, a hamlet in Canada
 * Burr Point, the easternmost point of mainland Ireland
 * Burr (crater), on the Jovian moon Callisto

People

 * List of people with surname Burr
 * Burr (given name)

Arts and entertainment

 * Burr (novel), a book about Aaron Burr by Gore Vidal
 * Burr Redding, a fictional character in the television series Oz
 * "Burr", a song by the Smashing Pumpkins from Atum: A Rock Opera in Three Acts, 2023

Other uses

 * Burr (edge), a deformation of metal wherein a raised edge forms on a metal part which has been machined
 * Burr (cutter), a small cutter used in rotary tools for metalworking
 * Burr mill, used to grind hard, small food products
 * Bur or burr, a spiky seed pod
 * Burl, burr in British English, an irregular growth in trees
 * Burr or Borr, a god of Norse mythology
 * × Burrageara, an orchid genus for which the abbreviation is Burr.
 * Butch cut, a haircut, for which burr is an alternative name
 * Burr Gymnasium, a multi-purpose arena in Washington, D.C., home of the Howard University basketball team

title: Burr


text:
Magnificent Obsession

Magnificent Obsession is a 1929 novel by American author Lloyd C. Douglas. It was one of four of his books that were eventually made into blockbuster motion pictures, the other three being The Robe, White Banners and The Big Fisherman.

Plot summary
Robert Merrick is resuscitated by a rescue crew after a boating accident. The crew is thus unable to save the life of Dr. Hudson, a physician renowned for his ability to help people, who was having a heart attack at the same time on the other side of the lake. Merrick then decides to devote his life to making up for the doctor's, and becomes a physician himself.

Mrs. Hudson, the widow, moves to Europe after her daughter Joyce is married. Merrick progresses in his career, and in the story's climax, gets involved in a railway accident in which Mrs. Hudson suffers serious injury. Merrick is instrumental in her recovery, and Merrick and Mrs. Hudson subsequently marry.

Inspiration
The story behind the novel, and the identity of the surgeon on whose life it is based, is mentioned in articles in the American Association of Neurosurgeons' journal AANS Neurosurgeon, Magnificent Obsession and "Inspirations and Epiphanies"

The theme of the book is based on a passage from the Gospel of Matthew (chapter 6:1-4):

"Take heed that ye do not your alms before men, to be seen of them: otherwise ye have no reward of your Father which is in heaven.....That thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly."

The philosophy behind the book is also partly that of "pay it forward", the idea that good deeds received are not to be paid back to the doer of the deed, but to a needing person in the future.

Dr. Hudson's Secret Journal
Douglas later wrote a book in response to the flood of letters he received from readers who wanted to know where they could find the book to which he referred in the novel, Dr. Hudson's Secret Journal. The Robert Merrick character decoded the journal, from which he learned the secret of his extraordinary success as a doctor. (According to the book, the secret was the literal practice of doing good deeds secretly, and thereby reaping spiritual power to use in becoming an excellent doctor.)

Adaptations

 * Magnificent Obsession (1935), film directed by John M. Stahl
 * Magnificent Obsession (1954), film directed by Douglas Sirk
 * Sublime Obsessão (1958), series directed by Dionísio Azevedo
 * Dr. Hudson's Secret Journal 1955-1957 television series.

title: Magnificent Obsession


text:
Yakovlev

The JSC A.S. Yakovlev Design Bureau (ОАО Опытно-конструкторское бюро им. А.С. Яковлева) is a Russian aircraft designer and manufacturer (design office prefix Yak). Its head office is in Aeroport District, Northern Administrative Okrug, Moscow.

Overview
The bureau formed in 1934 under aircraft designer Alexander Sergeyevich Yakovlev as OKB-115 (the design bureau has its own production base at the facility No.115), but dates its birth from 12 May 1927, the day of maiden flight of the AIR-1 aircraft developed within the Department of Light Aircraft of GUAP (Head Agency of Aviation Industry) under the supervision of A.S. Yakovlev.

During World War II Yakovlev designed and produced a famed line of fighter aircraft.

Irkut acquired Yakovlev in April 2004. The Russian government merged the holding company with Mikoyan, Ilyushin, Irkut, Sukhoi and Tupolev as a new company named United Aircraft Building Corporation in February 2006.

The firm designed the Pchela (Пчела, "bee") drone reconnaissance aircraft (first flown in 1990), but is perhaps best known for its highly successful line of World War II-era piston-engined fighter-aircraft.

In August 2023, Irkut Corporation rebranded itself as Yakovlev. The Sukhoi Superjet 100 was redesignated as the SJ-100, and the Irkut MC-21 also adopted the Yakovlev name.

The company was sanctioned by the Canadian government on 22 August 2023.
 * Sanctions

title: Yakovlev


text:
Talk:Asiatic-Pacific theater

Leyte Gulf
''Note that the Battle of Letye Gulf is listed in both the Central Pacific Area (under Nimitz) and in the South West Pacific Area (under MacArthur). Leyte Gulf is where Nimitz's western thrust across the central Pacific Ocean intersected MacArthur's northern thrust across the western Pacific Ocean. While the Pacific Ocean command structure was convoluted, operations were "designed to sequence the SWPA's operations with POA's forces across the central Pacific....The main purpose of sequencing is to arrange objectives/tasks in such a progression that collectively they lead to the accomplishment of the assigned ultimate objective in the shortest time possible and with the least loss of personnel and materiel." Nimitz provided, but maintained control over, Admiral Halsey's Third Fleet to cover and support Admiral Kinkaid's Seventh Fleet operating under General MacArthur. The result of this imprecise arrangement was the crisis precipitating the Battle off Samar.''
 * Leyte Gulf was in Macarthur's Southwest Pacific Area. The battle was not fought in POA. The point is that Nimitz wore two hats. He was Commander in Chief Pacific Ocean Areas (CINCPOA), but he was also Commander in Chief Pacific Fleet (CINCPAC). Occasionally, the Pacific Fleet would conduct operations in the Southwest Pacific, as it did during the Battle of the Coral Sea in 1942, and Rabaul and Hollandia in 1944. But at Leyte Gulf Halsey was answerable to Nimitz as CINCPAC, not CINCPOA. Third Fleet was part of the Pacific Fleet. Seventh Fleet was not; it was part of the United States Fleet. Hawkeye7 (talk) 20:49, 28 February 2014 (UTC)
 * Hawkeye - We seem to be in somewhat violent agreement. How do we give Nimitz credit for Palawan Passage, the Sibuyan Sea, Cape Engaño? MacArthur had zero pt zip aught naught squat to do with them. Halsey had a THIRD FLEET Area of Responsibility: PHILIPPINE ISLANDS Area exclusive of MINDANAO and SULU ARCHIPELAGO. and this task Leyte is where Nimitz's and MacArthur's efforts collided.  It is the context behind the picture of FDR.  Further, Halsey was operating under Nimitz’ CINCPOA Operations Plan No. 8-44 (See Appendix G) which clearly stated in paragraph 3.(x)(1): “In case opportunity for destruction of major portion of the enemy fleet offer or can be created, such destruction becomes the primary task.”  And that, in turn, is background context for the Battle off Samar. My note seems correct.  user:JMOprof ©¿©¬ 22:17, 28 February 2014 (UTC)

 * Nobody reads Milan Vego for fun, including me, but his discussion of OP PLAN 8-44 is here. Email me if you'd like, and I'll send you the college's Leyte case study. Morison's copyright fees got too high. ☺  user:JMOprof ©¿©¬ 15:02, 1 March 2014 (UTC)

 * Hawkeye—Is there more to discuss? Would you object if I put the elided comments back?  user:JMOprof ©¿©¬ 17:47, 8 March 2014 (UTC)
 * Gentlemen, that is the best description of the root of the problem I've seen yet. Put it back in.  TREK philer  any time you're ready, Uhura  20:54, 10 March 2014 (UTC)
 * I don't agree of course. None of this changes the fact that it was conducted in SWPA, as MacArthur's directive makes clear. The AOR was designated by SWPA. It wasn't unusual for forces from one theatre to cross into another. And I don't see why we need to give Nimitz credit. Hawkeye7 (talk) 20:13, 14 March 2014 (UTC)

Article is impertinent?
All - this article was erased. I brought it back. It maybe be badly titled, but the scholarship is solid. As a small example, there is a WW2 medal for serving in the "Asiatic-Pacific theater", members who served in any of the 4 operating areas are eligible. Another example: The US Army history is of the Asiatic-Pacific theater. user:JMOprof ©¿©¬ 15:15, 18 October 2015 (UTC)
 * No it wasn't erased. But the title is incorrect. You may not have been aware I started a talkpage thread at WT:MILHIST after I redirected it. But if the title for the threater is 'Asiatic-Pacific theater' rather than 'Pacific Theater of Operations,' it should be at Asiatic-Pacific theater, which ties it to the list of U.S. Army theaters, with their associated histories, medals, etc, rather than a non-existent 'Pacific Theater of Operations'. Feel free to comment at Milhist should you wish. Buckshot06 (talk) 21:13, 18 October 2015 (UTC)

Requested move 14 February 2024

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved. Uncontested RM (closed by non-admin page mover)  ❯❯❯  Raydann  (Talk)   01:22, 22 February 2024 (UTC)

– To be WP:CONSISTENT with Pacific Ocean theater of World War II, Asian and Pacific theatre of World War I, South West Pacific theatre of World War II, South-East Asian theatre of World War II, United States theaters of operations in World War II, Mediterranean and Middle East theatre of World War II, European theatre of World War II, African theatre of World War I, Middle Eastern theatre of World War I, List of commanders in the Middle Eastern theatre of World War I, European theatre of World War I, African theatre of World War I, Eastern theater of the American Civil War, Lower seaboard theater of the American Civil War, Pacific coast theater of the American Civil War, Trans-Mississippi theater of the American Civil War, Western theater of the American Civil War, Balkans theatre, etc. These phrases are not consistently capitalized in reliable sources, so should be lower-case per MOS:CAPS and WP:NCCAPS. (If they were, then all the lower-case ones should move insetad; either way, we should not have half of them with "Theater/Theatre" and half with "theater/theater"._  — SMcCandlish ☏ ¢ 😼  12:28, 14 February 2024 (UTC)
 * Asiatic-Pacific Theater → Asiatic-Pacific theater
 * China Burma India Theater → China Burma India theater
 * American Theater (World War II) → American theater (World War II)

 * Note: WikiProject Military history has been notified of this discussion. Vanderwaalforces (talk) 17:19, 14 February 2024 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Support The term is sometimes but not consistently capped in sources. I don't see that this is necessary capitalisation per MOS:CAPS for these particular cases. I can live with the mixed spelling per MOS:RETAIN (anyhow who says Americans can spell? :) ). Probably drop the hyphen as uncontroversial (famous last words I heard somebody say). Balkans theatre/campaign for WWI/WWII would need some investigation. Cinderella157 (talk) 07:18, 15 February 2024 (UTC)

title: Talk:Asiatic-Pacific theater


text:
Mephisto

Mephisto or Mephistopheles is one of the chief demons of German literary tradition.

Mephisto or Mephistopheles may also refer to:

Film and television

 * Méphisto, a 1931 French film
 * Mephisto (1981 film), a German-Hungarian film based on Klaus Mann's novel Mephisto
 * Mephistopheles, an antagonist in the film Ghost Rider
 * Dr. Mephesto, a mad scientist in the South Park TV series
 * Mephistopheles (Xena), a villain in the Xena: Warrior Princess TV series
 * Mephisto, a character on the Australian television series, Double the Fist
 * Mephisto, a character in the anime Suite PreCure
 * Mephisto Pheles, a son of Satan in the manga/anime Blue Exorcist
 * Mephisto, a character in the feature art film The Last Faust
 * Mephisto, a 1912 British silent film written by Leedham Bantock and directed by Alfred de Manby and F. Martin Thornton
 * Captain Mephisto, a time-travelling, shapeshifting pirate in the 1945 Republic Pictures movie serial Manhunt of Mystery Island

Gaming

 * Mephisto (automaton), a chess-playing pseudo-automaton
 * Mephisto (chess computer), a line of chess computers sold by Hegener & Glaser
 * Mephistopheles (Dungeons & Dragons), a character in Dungeons & Dragons
 * Mr. Mephisto, an early video game
 * Mephisto, a character in the Diablo series
 * Mephisto (crossword), a long-running competition in the Sunday Times, set by various compilers

Literature and publications

 * Mephisto (comics), a supervillain in the Marvel Comics universe
 * Mephisto (novel), a novel by Klaus Mann
 * Mefisto, a novel by John Banville
 * Mephisto, a Japanese literary magazine which publishes the winner of the Mephisto Prize
 * Mephisto or Mephi, a freedom-fighting organization in the 1920 novel We by Yevgeny Zamyatin

Music

 * Mefisto (band), a Swedish black metal band
 * Mephisto Waltzes (1859–1885), waltzes by Franz Liszt
 * Mefistofele (1868), an opera by Italian composer Arrigo Boito
 * "Mephisto" (song), a 2023 song by Queen Bee, served as an ending theme to the anime adaptation of Oshi no Ko
 * "Mephisto", a song by Moonspell from the 1996 album Irreligious
 * "Mephisto", a song by Klaus Schulze from the 2005 album Moonlake
 * Mephisto, a character in the two-part rock opera by Kamelot, Epica and The Black Halo
 * "Mephistopheles", a song by Deicide from the album Deicide
 * "Mephisto", a song by Bushido from the 2018 album Mythos; see Bushido discography

Vehicles

 * Mephisto (tank), a First World War German tank preserved in Australia
 * Mephistofeles (car), a one-off racing car created by Ernest Eldridge
 * VCAC Mephisto, a French anti-tank guided missile carrier

Other uses

 * Mephisto (fish), a genus of fish in the family Triacanthodidae
 * Mephisto (wrestler), a Mexican wrestler
 * Mephisto, musician and songwriter for Demonic Resurrection
 * Northern pudú (Pudu mephistophiles), the smallest species of deer in the world

title: Mephisto


text:
Apple Records

Apple Records is a British record label founded by the Beatles in 1968 as a division of Apple Corps Ltd. It was initially intended as a creative outlet for the Beatles, both as a group and individually, plus a selection of other artists including Mary Hopkin, James Taylor, Badfinger and Billy Preston. In practice, the roster had become dominated by the mid-1970s with releases of the former Beatles as solo artists. Allen Klein managed the label from 1969 to 1973, then it was managed by Neil Aspinall on behalf of the Beatles and their heirs. Aspinall retired in 2007 and was replaced by Jeff Jones.

1967–1969: early years

Apple Corps Ltd was conceived by the Beatles in 1967 after the death of their manager Brian Epstein. It was intended to be a small group of companies (Apple Retail, Apple Publishing, Apple Electronics, and so on) as part of Epstein's plan to create a tax-effective business structure. The first project that the band released after forming the company was their film Magical Mystery Tour, which was produced under the Apple Films division. Apple Records was officially founded by the group after their return from India in 1968 as another sub-division of Apple Corps.

At this time, the Beatles were contracted to EMI. In a new distribution deal, EMI and its US subsidiary Capitol Records agreed to distribute Apple Records until 1976, while EMI retained ownership of their recordings. Beatles recordings issued in the United Kingdom on the Apple label carried Parlophone catalogue numbers, while US issues carried Capitol catalogue numbers. Apple Records owns the rights to all of the Beatles' videos and movie clips, and the rights to recordings of other artists signed to the label. The first catalogue number Apple 1 was a single pressing of Frank Sinatra singing "Maureen Is a Champ" (with lyrics by Sammy Cahn) to the melody of "The Lady Is a Tramp" as a surprise gift for the 21st birthday of Ringo Starr's wife Maureen.

Apple Records and Apple Publishing signed a number of acts whom the Beatles personally discovered or supported, and one or more of the Beatles would be involved in the recording sessions in most cases. Several notable artists were signed in the first year, including James Taylor, Mary Hopkin, Billy Preston, the Modern Jazz Quartet, the Iveys (who became Badfinger), Doris Troy, and former Liverpool singer Jackie Lomax who recorded George Harrison's "Sour Milk Sea".

1969–1973: Klein era
In 1969, the Beatles were in need of financial and managerial direction, and John Lennon was approached by Allen Klein, manager of The Rolling Stones. When Klein went on to manage Apple, three of the Beatles supported him with Paul McCartney being the only group member opposed to his involvement. McCartney had suggested his father-in-law Lee Eastman for the job.

Klein took control of Apple and shut down several sub-divisions, including Apple Electronics, and he dropped some of Apple Records' artistic roster. New signings to the label were not so numerous afterward and tended to arrive through the individual actions of the former Beatles. For example, Elephant's Memory were recruited through Lennon and Ravi Shankar through Harrison. McCartney had little input into Apple Records' roster after 1970. Klein managed Apple Corps until March 1973, when his contract expired. The Beatles' entire pre-Apple catalogue on the Capitol label was re-issued on the Apple label in May 1971, including the singles from "I Want to Hold Your Hand" to "Lady Madonna", and the albums from Meet the Beatles! to Magical Mystery Tour. The album covers remained unchanged with the Capitol logos.

1973–2007: Aspinall era, Beatles reissues
After Klein's departure, Apple was managed by Neil Aspinall on behalf of the four Beatles and their heirs. Apple Records' distribution contract with EMI expired in 1976, when control of the Beatles' catalogue—including solo recordings to date by George Harrison, John Lennon and Ringo Starr—reverted to EMI (Paul McCartney had acquired ownership of his solo recordings when he re-signed with Capitol in 1975).

The original UK versions of the Beatles' albums were released worldwide on compact disc in 1987 and 1988 by Parlophone. Previously, Abbey Road had been issued on CD by the Toshiba-EMI label in Japan in 1983. Although this was a legitimate release, it was not authorised by the Beatles, EMI or Apple Corps. Following the settlement of Apple's ten-year lawsuit against EMI in 1989, new projects began to move forward, including the Live at the BBC album and The Beatles Anthology series. It was after the Anthology project (spearheaded by Neil Aspinall) that the company resumed making significantly large profits again and began its revival.

The label was again newsworthy in 2006, as the long-running dispute between Apple Records' parent company and Apple Inc. went to the High Court (see Apple Corps v Apple Computer).

2007–present: Jones era, iTunes reissues
In 2007, longtime chief executive Neil Aspinall retired and was replaced by American music industry executive Jeff Jones. The Beatles' catalog was remastered and re-issued in September 2009 and was made available on iTunes in November 2010. In June 2009, Apple Records published their last album, Let it Roll: Songs by George Harrison. When Universal Music Group acquired EMI and the Beatles' recorded music catalogue, Calderstone Productions was formed in 2012 to administer the Beatles' catalogue.

Design

Standard Apple album and single labels displayed a bright green Granny Smith apple on the A-side, while the flipside displayed the cross section of the apple. The bright green apple returned for Beatles CDs releases in the 1990s, following initial CD releases by Parlophone.

On the US issue of the Beatles' Let It Be album, the Granny Smith apple was red. The reason was that in the United States that album, being the soundtrack to the movie of the same name, was, for contractual reasons, being manufactured and distributed by United Artists Records and not Capitol Records, so the red apple was used to mark the difference. The red apple also appeared on the back cover, and on the 2009 remastered edition back cover. Capitol's parent company EMI purchased United Artists Records in the late 1970s, and Capitol gained the American rights to the Let It Be soundtrack album (along with the American rights to another, earlier, United Artists Beatles movie soundtrack LP, 1964's A Hard Day's Night).

Aside from the red apple, other examples in which the apple has been altered include George Harrison's album All Things Must Pass triple album, on which the first two discs have orange apples while the third has a jar label reading Apple Jam; black and white apples on John Lennon's album John Lennon/Plastic Ono Band and Yoko Ono's album Yoko Ono/Plastic Ono Band; a blue apple on Ringo Starr's single "Back Off Boogaloo"; Harrison's album Extra Texture (Read All About It), on which the apple (in shrunken cartoon form) is eaten away at its core (this was intended to be a joke because it was released at a time when Apple Records was beginning to fold); and a red apple on Starr's compilation album Blast from Your Past. Other types of apples were also used: in 1971, for Lennon's Imagine and Ono's Fly, the apples respectively featured pictures of Lennon and Ono, as did the apples for Ono's 1973 Approximately Infinite Universe and the singles that were released from these three albums.

Zapple Records

Zapple Records, an Apple Records subsidiary run by Barry Miles, a friend of McCartney, was intended as an outlet for the release of spoken word and avant-garde records, as a budget label in the style of a magazine or journal. It was active only from 3 February 1969 until June 1969; a string of projects were announced, and a number of recording sessions undertaken, but only two albums were released on the label both by solo Beatles, while another two LPs of finished material were issued by other labels after Zapple was closed down. The label was launched with the two Beatle related records firstly Lennon and Ono's avant garde Unfinished Music No. 2: Life with the Lions (Zapple 1) and George Harrison's Electronic Sound (Zapple 2). An album of readings by Richard Brautigan was recorded and mixed for release as Zapple 3, and acetate disc copies and test pressings were cut but, said Miles, "The Zapple label was folded by [Allen] Klein before the record could be released. The first two Zapple records did come out. We just didn't have [Brautigan's record] ready in time before Klein closed it down. None of the Beatles ever heard it." Brautigan's record was eventually released as Listening to Richard Brautigan on Harvest Records, a subsidiary of Apple distributor EMI, in the US only.

The first recordings were made for Zapple in January 1969, as field recordings of poets in their homes by Miles on a portable tape recorder as he toured the east coast of America. This included poet and Fugs drummer Ken Weaver and Black Mountain poet Charles Olson,. According to Miles, a spoken word album by Lawrence Ferlinghetti, which had been recorded and edited, would have been Zapple 4, and a spoken word album by Michael McClure had also been recorded. A planned Zapple release of a UK appearance by comedian Lenny Bruce was never completed. An early 1969 press release also named Pablo Casals as an expected guest on the label. American author Ken Kesey was given a tape recorder to record his impressions of London, but they were never released. Miles also had the intention of bringing world leaders to the label. Zapple was shut down in June 1969 by Klein, apparently with the backing of Lennon.

Artists

 * Badfinger (originally known as the Iveys) – Signed to Apple after several demo tapes were brought in by Beatles' road manager Mal Evans, after getting approval from Paul McCartney, George Harrison and John Lennon. They had several top 10 hits in the UK and US, including the McCartney song "Come and Get It", and recorded five albums for Apple.
 * Black Dyke Mills Band (as John Foster & Sons Ltd. Black Dyke Mills Band) – A north of England brass band whom Paul McCartney employed for the one-off "Thingummybob"/"Yellow Submarine" single. It was recorded by McCartney on location near Bradford, where the group were based.
 * Brute Force (stage name of Stephen Friedland) – Harrison attempted to have his song "King of Fuh" released as an Apple single. EMI refused to handle it, owing to its intentionally vulgar double entendre ("Fuh king"), but Apple manufactured a small number of copies in-house which were made available to the public. The song itself appears on the 2010 compilation Come and Get It: The Best of Apple Records.
 * Elastic Oz Band – A one-off single, "God Save Us", was written and produced by Lennon and Yoko Ono to raise money for a legal battle involving Oz magazine. The A-side of the single was sung by Bill Elliot, later a member of Harrison's Dark Horse Records signing Splinter.
 * Elephant's Memory – Recruited as backing band for Lennon and Ono, and also released material separately, including contributions to the soundtrack of the 1969 film Midnight Cowboy (not on Apple).
 * Chris Hodge – Discovered by Ringo Starr; they shared an interest in UFOs. Hodge only released two singles on Apple, the second of them not issued in the UK.
 * Mary Hopkin – Discovered after appearing on a UK television talent show and suggested by the model Twiggy. Her early recordings were produced by McCartney, including the Lennon-McCartney original "Goodbye" and her hit recording of "Those Were the Days". She also released a Eurovision Song Contest entry on Apple ("Knock, Knock Who's There?") and two studio albums.
 * Hot Chocolate (as Hot Chocolate Band) – Released one single, a reggae version of "Give Peace A Chance", which they recorded and had played to Lennon, who liked it. Their post-Apple releases as Hot Chocolate were more commercially successful.
 * Jackie Lomax – Liverpudlian singer known to the Beatles through his Brian Epstein connections; he recorded the Harrison-produced album Is This What You Want?, released in 1969, which also includes musical contributions from Starr and McCartney. Lomax's first single, "Sour Milk Sea", features those three Beatles and was written by Harrison.
 * Modern Jazz Quartet – Associated with Ono, and were famous prior to their involvement with Apple. They released two albums for the label, Under the Jasmin Tree and Space.
 * Yoko Ono – Recorded extensively with Lennon and released several singles and albums herself; on these Lennon usually directed the band and also performed.
 * David Peel and the Lower East Side – A political folk singer brought to the label by Lennon.
 * Billy Preston – Brought in to work with the Beatles in January 1969 on their "Get Back"/"Let It Be" sessions, and signed as a solo artist. Harrison produced Preston's recordings, including the 1969 hit single "That's The Way God Planned It". Preston's recording of Harrison's "My Sweet Lord" was released on Apple before Harrison's version. Preston issued two albums on Apple, That's the Way God Planned It in 1969 with George Harrison, Eric Clapton and Keith Richards, and its follow up Encouraging Words in 1970 with George Harrison, Eric Clapton, Ringo Starr and Delaney Bramlett.
 * Radha Krishna Temple (London), the UK branch of the Hare Krishna movement. Harrison brought the Temple devotees to the label in 1969 and produced two hit singles by them in 1969–70, including "Hare Krishna Mantra", as well as their eponymous studio album, released in 1971.
 * Ravi Shankar – An Indian classical musician. Harrison brought Shankar to the label in 1971 and produced his Apple releases, which included the Raga soundtrack and In Concert 1972, a double live album with Ali Akbar Khan.
 * Ronnie Spector – Married to Phil Spector, who separately worked with the Beatles and solo Beatles from 1970 onwards. Harrison wrote, co-produced and played on her only Apple single, "Try Some, Buy Some", which was made with her husband, as an attempt to revive her recording career.
 * The Sundown Playboys – A French-language cajun band from Louisiana. A pre-existing single was brought to the label by Starr.
 * John Tavener – A classical composer. His brother, a builder, worked on Starr's house, and the drummer took an interest in Tavener.
 * James Taylor – Recorded with McCartney, who appears on the Apple LP that launched his career.
 * Trash (originally White Trash) – Brought to Apple by Tony Meehan, formerly of the Shadows. Their second single was a cover of "Golden Slumbers" and charted on Apple in the UK.
 * Doris Troy – An American soul artist since the early 1960s, who worked with Harrison and Preston while the latter was signed to Apple. Troy recorded one Apple album, and released two spin-off singles in 1970, the first of which, "Ain't That Cute", was co-written with Harrison. Starr also collaborated on the album, and is credited as a co-writer with Harrison and Troy on some of the tracks.
 * Lon and Derrek Van Eaton – Signed to the label in September 1971 by Harrison, who produced their debut single, "Sweet Music". Starr also contributed to the recording, and to other tracks on the Van Eatons' 1972 Apple album Brother.

Also released were the soundtracks to Come Together and El Topo (in the US), the onetime Philles Records compilation Phil Spector's Christmas Album and the multi-artist The Concert for Bangla Desh. Cassette and 8-track tape versions of Bangla Desh were marketed by Columbia Records after a deal that permitted the inclusion of Bob Dylan, a Columbia artist, on the album.

Artists who had considerable success in the pop and rock world after their initial sessions at Apple Records include Badfinger (originally known as the Iveys), James Taylor, Mary Hopkin, Hot Chocolate, Yoko Ono and Billy Preston.

Artists who auditioned to appear on the label, but did not make it, include:
 * McGough and McGear (the latter of whom was McCartney's brother), whose self-titled album was due to be released on Apple; it was instead released on Parlophone, to which both were signed as members of The Scaffold.
 * Grapefruit, whose single "Dear Delilah" was issued on RCA Records with Apple publishing credit.
 * Focal Point, a Liverpool band who were going to be managed by Brian Epstein before he died, were signed to Apple after chasing McCartney around Hyde Park. John Lennon signed them to Apple; they were the first band signed. Their single "Sycamore Sid" was issued on Deram Records with credit to Apple Publishing on the label.
 * Fire (a band with future Strawbs member Dave Lambert on guitar) released two singles in 1968: "Father's Name Was Dad", produced by Tony Clarke, and "Round the Gum Tree", on Decca with Apple publishing credits.
 * Delaney and Bonnie's Accept No Substitute album was originally meant to be released on Apple in 1969; it was first released commercially on Elektra Records the same year. In England, copies of the LP were pressed before Apple realized the band were already contracted to Elektra. No album covers were ever printed; the disc is now a high-value Apple collectible.
 * Mortimer were a folk-based three-piece, notable for a recording of the Beatles' "Two of Us". It was planned for release as an Apple single in 1969 (before the Beatles' version was issued) under the title "On Our Way Home", but the release was cancelled.
 * Raven were offered a contract to record with Apple after Harrison received a tape from the band's manager Marty Angelo. Harrison was unable to be their producer, but sent Apple A&R chief Peter Asher to New York City to discuss Asher filling the role. This is documented in the book The Longest Cocktail Party and in Angelo's autobiography Once Life Matters: A New Beginning. The band turned down Asher's offer, and instead signed with Columbia Records in 1969.
 * Slow Dog (later known as Wheels) were a Cambridge-based rock band fronted by Scottish singer/guitarist Dave Kelly. They were the winners of the Apple Records-sponsored national talent contest early 1969, organised by Asher prior to his departure for the US. The winner of the talent contest was promised a record contract with Apple Records, but owing to Asher's departure, the band only recorded demo tracks. However, on recommendation from Mal Evans, Warner Bros. Records in London signed Slow Dog to a record contract, officially changing their name to Wheels.
 * See also Zapple Records section for cancelled releases.

title: Apple Records


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Talk:Vivendi Universal

We can't get "Canal+" to form a link. Can it be called Canal Plus or Canal-Plus? -- Zoe

What was Vivendi Universal Games previously?
What was Vivendi Universal Games previously? I'm assuming they were the merge of the Universal Games and Vivendi Games division. My problem is that the "Universal Games" isn't listed under the Universal disambig page. I'm not talking about Universal (game company) from the '70s and '80s. I mean the Universal Studios division that produced the Crash Bandicoot and Spyro the Dragon games. I also found no info on "Vivendi Games." Was there even a "Vivendi Games" before the merger? The Vivendi page doesn't list one.

Also anyone know who owns the other one percent of Vivendi Universal Games? It lists 99% of the Vivendi Universal Games are owned by Vivendi Universal under Vivendi Universal. -Hyad 03:47, July 25, 2005 (UTC)

I don't think there was ever a solo "Vivendi Games". Vivendi just bought out Universal and popped their name in front of everything (and subsequently ruined the game franchises...). It used to be just Universal Interactive as the game division of Universal.

As for that other 1%, I think that's the stockholders. Who now don't include anyone from America, sadly, even though half the company was created here, and most of the stuff they own is sold to Americans. Not to be self-centered, but, you know. Tom Temprotran 23:37, 2 May 2006 (UTC)

King's Quest
I think the part of the history that talks about VUG's foxing of the fanmade KQ might be a bit too specific when talking about a company of this size. Seems like who wrote it was an angry fan who meant to do some finger-pointing... -- Nbettencourt 03:03, 22 March 2006 (UTC)

Vivendi's Revenue
Hey this article is serverly out of date, it still saying in 2002 where it was losing money. Now the company is making massive profit now thanks to World of Warcraft.

Name change
Vivendi Universal changed their name to Vivendi and their logos will soon reflect the name change, so someone will need to update this page with an announcement and new logos (once they go into circulation).

title: Talk:Vivendi Universal


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Hideki Yukawa

Hideki Yukawa (湯川 秀樹) was a Japanese theoretical physicist and the first Japanese Nobel laureate for his prediction of the pi meson, or pion.

Biography
He was born as Hideki Ogawa in Tokyo and grew up in Kyoto with two older brothers, two older sisters, and two younger brothers. He read the Confucian Doctrine of the Mean, and later Lao-Tzu and Chuang-Tzu. His father, for a time, considered sending him to technical college rather than university since he was "not as outstanding a student as his older brothers". However, when his father broached the idea with his middle school principal, the principal praised his "high potential" in mathematics and offered to adopt Ogawa himself in order to keep him on a scholarly career. At that, his father relented.

Ogawa decided against becoming a mathematician when in high school; his teacher marked his exam answer as incorrect when Ogawa proved a theorem but in a different manner than the teacher expected. He decided against a career in experimental physics in college when he demonstrated clumsiness in glassblowing, a requirement for experiments in spectroscopy.

In 1929, after receiving his bachelor's degree at Kyoto Imperial University, he stayed on as a lecturer for four years. After graduation, he was interested in theoretical physics, particularly in the theory of elementary particles.

In 1932, he married Sumi Yukawa (スミ). In accordance with Japanese customs of the time, since he came from a family with many sons but his father-in-law Genyo had none, he was adopted by Genyo and changed his family name from Ogawa to Yukawa. The couple had two sons, Harumi and Takaaki. In 1933 he became a lecturer at Osaka Imperial University, at 26 years old.

In 1935 he published his theory of mesons, which explained the interaction between protons and neutrons at Osaka Imperial University, and was a major influence on research into elementary particles.

In 1938, he received his Ph.D degree at Osaka Imperial University for his predictions regarding the existence of mesons and his theoretical work on the nature of nuclear forces. These research achievements were the reason he was later awarded the Nobel Prize in Physics.

In 1940 he became a professor in Kyoto Imperial University. In 1940 he won the Imperial Prize of the Japan Academy, in 1943 the Decoration of Cultural Merit from the Japanese government. In 1949 he became a professor at Columbia University, the same year he received the Nobel Prize in Physics, after the discovery by Cecil Frank Powell, Giuseppe Occhialini and César Lattes of Yukawa's predicted pi meson in 1947. Yukawa also worked on the theory of K-capture, in which a low energy electron is absorbed by the nucleus, after its initial prediction by G. C. Wick.

Yukawa became the first chairman of Yukawa Institute for Theoretical Physics in 1953. He received a Doctorate, honoris causa, from the University of Paris and honorary memberships in the Royal Society, Royal Society of Edinburgh, the Indian Academy of Sciences, the International Academy of Philosophy and Sciences, the United States National Academy of Sciences, the American Academy of Arts and Sciences, the American Philosophical Society, and the Pontificia Academia Scientiarum.

He was an editor of Progress of Theoretical Physics, and published the books Introduction to Quantum Mechanics (1946) and Introduction to the Theory of Elementary Particles (1948).

Activism
In 1955, he joined ten other leading scientists and intellectuals in signing the Russell–Einstein Manifesto, calling for nuclear disarmament.

He was one of the signatories of the agreement to convene a convention for drafting a world constitution; subsequently, a World Constituent Assembly convened to draft and adopt a Constitution for the Federation of Earth.

Retirement and death
Yukawa retired from Kyoto University in 1970 as a Professor Emeritus. Owing to increasing infirmity, in his final years he appeared in public in a wheelchair. He died at his home in Sakyo-ku, Kyoto, on 8 September 1981 from pneumonia and heart failure, aged 74. His tomb is in Higashiyama-ku, Kyoto.

Solo violinist Diana Yukawa (ダイアナ湯川) is a close relative of Hideki Yukawa.

Recognition
There is a street, Route Yukawa, named after Yukawa at CERN, Geneva, Switzerland.
 * 1940 – Imperial Prize of the Japan Academy
 * 1941 – Academic Noma Award
 * 1943 – Order of Culture
 * 1949 – Nobel Prize in Physics
 * 1963 – Elected a Foreign Member Royal Society (ForMemRS)
 * 1964 – Lomonosov Gold Medal
 * 1967 – Pour le Mérite
 * 1967 – Medal of the Pontifical Academy of Sciences
 * 1977 – Grand Cordon of the Order of the Rising Sun
 * 1981 – Junior Second Rank (8 September; posthumous)

title: Hideki Yukawa


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Diamond Head

Diamond Head or Diamondhead may refer to:

Film and television

 * Diamondhead, a character in the television series Ben 10
 * Diamond Head (film), 1963
 * The Diamond Head Game, a 1975 American game show

Music

 * Diamond Head (British band), a British heavy metal band formed in 1976
 * Diamond Head (Diamond Head album), Diamond Head's self-titled seventh studio album
 * Diamond Head (Japanese band), a Japanese pop/rock band formed in 2000
 * Diamond Head (Phil Manzanera album), a 1975 album by Phil Manzanera
 * Diamondhead (album), a 2008 album by jazz saxophonist David "Fathead" Newman
 * "Diamond Head", an instrumental song by The Beach Boys from the 1968 album Friends
 * "Diamond Head" (song), an instrumental song by The Ventures from the 1964 album Walk, Don't Run, Vol. 2
 * "Life After Diamond Head", an instrumental song by Men Without Hats from the 1991 album Sideways

Places

 * Diamond Head (British Columbia), Canada, secondary peak on Mt. Garibaldi
 * Diamond Head, Hawaii, volcanic cone on the Hawaiian island of Oahu
 * Diamondhead, Mississippi

Other uses

 * Diamondhead (comics), a Marvel Comics character
 * USS Diamond Head (AE-19), a 1945 World War II and Cold War ammunition supply ship

title: Diamond Head


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User talk:EntmootsOfTrolls

See also User:142 and User:24, moved to User:24~enwiki

"Crapitalism" listed at Redirects for discussion
A discussion is taking place to address the redirect Crapitalism. The discussion will occur at Redirects for discussion/Log/2020 June 10 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. 1234qwer1234qwer4 (talk) 11:58, 10 June 2020 (UTC)

title: User talk:EntmootsOfTrolls


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Rising Up

Rising Up is an EP by British heavy metal band Diamond Head released in 1992. The recording stems following Brian Tatler and Sean Harris partnering back again, now with Karl Wilcox on drums and Eddie Chaos on Bass, following a jam session with Metallica. Playing only new material, the band completed a small tour of UK clubs under the pseudonym Dead Reckoning. Following that the band entered the studio to record tracks for the 2-track 12" EP, which was available only at gigs and specialist record shops. The track 'Wild On The Streets' had its origins back in 1978, but it had never been completed or recorded.

Personnel

 * Brian Tatler - guitars
 * Sean Harris - vocals
 * Karl Wilcox - drums
 * Eddie Chaos - bass

title: Rising Up


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Sweet and Innocent (album)

Sweet and Innocent is a compilation album by British heavy metal band Diamond Head, released in 1988. It largely contains tracks off the band's 1980 debut album Lightning to the Nations, with the non-LP single "Waited Too Long", and its B-side "Play It Loud", and "Streets of Gold", which was the B-side to Diamond Head's 1980 single "Sweet and Innocent". Although all of these non-LP singles featured here later appeared on a re-released version of Diamond Head's debut by Sanctuary Records in 2001.

Track listing

 * 1) It's Electric
 * 2) The Prince
 * 3) Sweet and Innocent
 * 4) Sucking My Love
 * 5) Streets of Gold
 * 6) Play It Loud
 * 7) Shoot Out the Lights
 * 8) Waited Too Long
 * 9) Helpless

Personnel

 * Brian Tatler
 * Sean Harris
 * Duncan Scott
 * Colin Kimberley

title: Sweet and Innocent (album)


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Lightning to the Nations

Lightning to the Nations (also known as The White Album) is the debut album by British heavy metal band Diamond Head. The album was recorded in 1980 (after the 1977 and 1979 demos) and released later that year through Happy Face Records, a label owned by the producer Muff Murfin of The Old Smithy studio of Worcester, due to lack of interest from major labels and the band feeling that they needed to get the ball rolling as other bands from the same era, such as Iron Maiden and Def Leppard, were already becoming big names.

It was originally released in a plain white sleeve with no title or track listing, and was subsequently named after the first track on the album. Metal Blade Records re-released it on CD in 1992. In 2001, it was re-issued in its original "White Album" form by Sanctuary Records, featuring seven bonus tracks that were featured on singles and EPs from this era.

Album information
Diamond Head had gained enough attention to tour as support with AC/DC and Iron Maiden. Although a clutch of record companies fought to sign the band, none were willing to fully commit. The fact that the band was at the time managed by Sean Harris' mother (Linda Harris) did not help the band's commercial momentum. So, while other new wave of British heavy metal bands were signed to major labels and were headlining their own tours, Diamond Head were growing increasingly impatient and decided that they would release their material through their own label, Happy Face Records.

The album was recorded within seven days at The Old Smythy Studio in Worcester, which the band described as 'dead'. This original album came in a plain sleeve with no title, having on it only a signature of one of the band members and no track listings. The reason for this was that the band's new manager, Reg Fellows, owned a cardboard factory and could produce blank sleeves at low cost. Also, the reason for recording this album was an attempt to lay down some tracks so they could send it to a record company who would be more willing to release it, as the recording costs had already been covered; this idea came from Fellows and Linda Harris (by then tour manager). There were originally only 1,000 copies pressed of the album, which were only available at the band's concerts or through mail-order at a price of £3.50. The only mail-order advertisement appeared in British music magazine 'Sounds' and ran for four weeks. However, the band did not pay for any advertisements and ended up being sued.

This album has become one of the most sought-after items from the time for record collectors. Later, there was a second pressing of 1000 copies that included track listings. The only original one-and-a-quarter-inch master tapes were lost for years after the band sent them to the German record company Woolfe Records, who did release the album (theirs having a front cover with a map of the world burning).

In 1993, Metal Blade Records released the first official CD version of the entire album. They did not attempt to find the master tapes or create a professional transfer from the original vinyl version and used a remix instead (made in 1986). Additionally, the track "It's Electric" has a major mastering error: the intro of the song is missing and it skips in shortly before the vocals start. High Vaultage Records released another version of the album in 1997, this time sourced from the German Woolfe Records LP. As a bonus, most of the 7" single tracks from that era were included. In 2001, a Sanctuary Records release came out. It includes the same mastering as the High Vaultage CD, which had since gone out of print. The 2011 Deluxe Edition, remastered by Andy Pearce, includes the original album sourced from the rediscovered master tape. This release, the 2016 HNE Recordings Ltd release, and the 2022 Silver Lining Music release are the only CD releases sourced from the original tapes; all other CD versions include either the 1986 remix or the High Vaultage vinyl dubs.

Legacy and influence
The album brought Diamond Head to the forefront of the new wave of British heavy metal scene and was a big influence on many later metal bands, including Metallica and Megadeth. The former have covered songs such as "The Prince", "Sucking My Love", "Am I Evil?", "It's Electric", and "Helpless" throughout their career and recorded most of them. Versions from various periods were compiled on Metallica's album Garage Inc.. As a result, Diamond Head became relatively well-known to Metallica fans and enjoyed exposure to a broader public than similar NWOBHM bands from the late 1970s and early 1980s.

In 2008, the Japanese metal magazine Burrn! rated this album as the third-best "riff album" of all time, behind Black Sabbath's Master of Reality and Slayer's Reign in Blood. The Guitarists' Book of Heavy Metal ranked the track "Am I Evil?" at on its list of the best metal riffs behind Iron Maiden's "The Number of the Beast".

In 2017, Rolling Stone ranked Lightning to the Nations 42nd on their list of "The 100 Greatest Metal Albums of All Time".

Personnel

 * Diamond Head
 * Sean Harris – vocals, rhythm guitar on "Am I Evil?"
 * Brian Tatler – lead and rhythm guitar
 * Colin Kimberley – bass
 * Duncan Scott – drums

 * Production
 * Produced by Reg Fellows and Diamond Head, except:
 * "Streets of Gold" produced by Robin George and Diamond Head
 * "Waited Too Long" and "Play It Loud" produced by Tony Wilson
 * "Diamond Lights", "We Won't Be Back" and "I Don't Got" produced by Diamond Head and engineered by Leslie Penning

Lightning to the Nations 2020
Lightning to the Nations 2020 is a re-recorded version of the original album, featuring a new line-up with vocalist Rasmus Bom Andersen. The album also has additional cover songs.

title: Lightning to the Nations


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Scofield Reference Bible

The Scofield Reference Bible is a widely circulated study Bible. Edited and annotated by the American Bible student Cyrus I. Scofield, it popularized dispensationalism at the beginning of the 20th century. Published by Oxford University Press and containing the entire text of the traditional, Protestant King James Version, it first appeared in 1909 and was revised by the author in 1917.

Features and legacy
The Scofield Bible had several innovative features. Most important, it printed what amounted to a commentary on the biblical text alongside the Bible instead of in a separate volume, the first to do so in English since the Geneva Bible (1560). It also contained a cross-referencing system that tied together related verses of Scripture and allowed a reader to follow biblical themes from one chapter and book to another (so called "chain references"). Finally, the 1917 edition also attempted to date events of the Bible. It was in the pages of the Scofield Reference Bible that many Christians first encountered Archbishop James Ussher's calculation of the date of Creation as 4004 BC; and through discussion of Scofield's notes, which advocated the "gap theory," fundamentalists began a serious internal debate about the nature and chronology of creation.

The first edition of the Scofield Bible (1909) was published only a few years before World War I, a war that destroyed a cultural optimism that had viewed the world as entering a new era of peace and prosperity; then the post-World War II era witnessed the creation of a homeland for Jews in Palestine. Thus, Scofield's premillennialism seemed prophetic. "At the popular level, especially, many people came to regard the dispensationalist scheme as completely vindicated." Sales of the Reference Bible exceeded two million copies by the end of World War II.

The Scofield Reference Bible promoted dispensationalism, the belief that between creation and the final judgment there would be seven distinct eras of God's dealing with man and that these eras are a framework for synthesizing the message of the Bible. Largely through the influence of Scofield's notes, many fundamentalist Christians in the United States adopted a dispensational theology. Scofield's notes on the Book of Revelation are a major source for the various timetables, judgments, and plagues elaborated on by popular religious writers such as Hal Lindsey, Edgar C. Whisenant, and Tim LaHaye; and in part because of the success of the Scofield Reference Bible, twentieth-century American fundamentalists placed greater stress on eschatological speculation.

Later editions
The 1917 Scofield Reference Bible notes are now in the public domain, and the 1917 edition is "consistently the best selling edition of the Scofield Bible" in the United Kingdom and Ireland. In 1967, Oxford University Press published a revision of the Scofield Bible with a slightly modernized KJV text, and a muting of some of the tenets of Scofield's theology. Recent editions of the KJV Scofield Study Bible have moved the textual changes made in 1967 to the margin. The Press continues to issue editions under the title Oxford Scofield Study Bible, and there are translations into French, German, Spanish, and Portuguese. For instance, the French edition published by the Geneva Bible Society is printed with a revised version of the Louis Segond translation that includes additional notes by a Francophone committee.

In the 21st century, Oxford University Press published Scofield notes to accompany six additional English translations.

title: Scofield Reference Bible


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Borrowed Time (Diamond Head album)

Borrowed Time is the second studio album by British heavy metal band Diamond Head. It was recorded in 1981 and released in 1982, reaching Number 24 on the UK Albums Chart.

In a 2008 interview, guitarist Brian Tatler said that this was his favourite period with Diamond Head and that the band "seemed to be getting somewhere after six years of building".

Background
This was the band's first major label released after being signed to MCA Records in 1981. As this was their first album under a major label, the album was much cleaner and better produced. However, some say that MCA was the wrong label for Diamond Head, which is one of the contributions to their downfall. Some have also questioned the necessity for "Am I Evil?" and "Lightning to the Nations" to be included on the album, since they had already appeared on the band's debut album, Lightning to the Nations. The reason for this was that their first album was only meant as a demo with the idea of Borrowed Time being their first official album. However, things have not quite worked out that way, with the former becoming their most notable work to date.

Originally, Borrowed Time was only released on CD in Japan, making it a highly collectible item. Although on 15 October 2008, it was released by Metal Mind Productions on CD format, with bonus tracks. However, this was limited to 2,000 copies. The release contains B-sides, such as "Dead Reckoning", which were previously unavailable on CD. However, Geffen Records have now issued the album on general release. The cover features a lavish Rodney Matthews illustrated gatefold sleeve, based on the album's Elric of Melniboné theme, which was the most expensive sleeve commissioned by MCA at that time.

Musical style
This album saw the band move away from all-out heavy riffs and towards softer and more progressive songs, such as "In the Heat of the Night" and "Don't You Ever Leave Me", which was well-received by fans, as the former has remained a regular in the live set list to date.

Reception
The album managed to get to No. 24 in the UK album charts, becoming the band's first and only album to chart. The band went on to perform a full scale UK arena tour, performing large venues such as London's Hammersmith Apollo.

The album failed to live up to prior expectations as the band's more commercial take to their music turned out to be a disappointment to critics.

Personnel
Per the liner notes
 * Sean Harris – vocals, backing vocals, percussion, vocoder
 * Brian Tatler – guitars, backing vocals
 * Colin Kimberley – bass, Taurus bass pedals, backing vocals
 * Duncan Scott – drums, percussion

title: Borrowed Time (Diamond Head album)


text:
Canterbury (album)

Canterbury is the third studio album by British heavy metal band Diamond Head. It was recorded and released in 1983, reaching number 32 on the UK Albums Chart. The progressive rock sound, which was only hinted at on Borrowed Time, is much more prominent here.

Background
This album was originally entitled Making Music (after the first track on the album) but later became Canterbury. The success of this album was initially stalled by the fact that the first 20,000 copies suffered vinyl-pressing problems, causing the LP to jump. In addition, this album was an attempt by the band to show that they could write more than just heavy metal songs. However, many fans wanted a heavier follow up to the previous record, Borrowed Time and did not like the progressive direction.

There were two singles to be released from this album, which were "Makin' Music" (that had an extended version and an interview with Andy Peebles, now available on the released version of the album) and "Out of Phase", which had "The Kingmaker" as its B-side. "Out of Phase" was also released as a B-side for a live version of "Sucking My Love".

The song "Knight of the Swords" is about the god Arioch in Michael Moorcock's Elric stories.

This album was only released on CD in Japan making it a highly collectible item. On 15 October 2007 it was released by Metal Mind Productions on CD format, with bonus tracks. However, this was limited to 2000 copies. The album was made widely available in 2009, along with Borrowed Time, as part of the boxset The MCA Years.

Diamond Head

 * Sean Harris – vocals
 * Brian Tatler – guitars
 * Colin Kimberley, Mervyn Goldsworthy – bass
 * Duncan Scott, Robbie France – drums

Additional musicians

 * Jamie Lane – drums
 * Chris Heaton – keyboards and fairlight
 * The Jolly Slaves – backing vocals

Production

 * Mike Shipley – producer, engineer
 * Bryan 'Chuck' New – assistant engineer

title: Canterbury (album)


text:
Soyuz 5

Soyuz 5 (Союз 5, Union 5) was a Soyuz mission using the Soyuz 7K-OK spacecraft launched by the Soviet Union on 15 January 1969, which docked with Soyuz 4 in orbit. It was the first docking of two crewed spacecraft of any nation, and the first transfer of crew from one space vehicle to another of any nation, the only time a transfer was accomplished with a space walk – two months before the United States Apollo 9 mission performed the first internal crew transfer.

The mission, flown by cosmonauts Boris Volynov, Aleksei Yeliseyev, and Yevgeny Khrunov, was also memorable for its dramatic re-entry. The craft's service module did not separate, so it entered the atmosphere nose-first, leaving Volynov hanging by his restraining straps. As the craft aerobraked, the atmosphere burned through the service module, allowing the remaining descent module to right itself before the escape hatch was burned through. During the descent, the parachute lines tangled and the landing rockets failed, resulting in a hard landing that broke Volynov's teeth.

Mission parameters

 * Mass: 6585 kg
 * Perigee: 210.0 km
 * Apogee: 233.0 km
 * Inclination: 51.69°
 * Period: 88.87 minutes

Space walk

 *  Yeliseyev and Khrunov  - EVA 1
 * EVA 1 Start: 16 January 1969
 * EVA 1 End: 16 January, 01:15 GMT
 * Duration: 37 minutes

1900s

Mission highlights

Soyuz 5 was piloted by commander Boris Volynov and carried flight engineers Aleksei Yeliseyev and Yevgeny Khrunov as the crew to be transferred to Soyuz 4 for reentry. The mission plan contained scientific, technical, and medical-biological research, testing of spacecraft systems and design elements, docking of piloted spacecraft, and transfer of cosmonauts from one craft to another in orbit.

Volynov remained behind on Soyuz 5, and returned to Earth in a remarkable re-entry. The service module of the Soyuz failed to separate after retrofire, but by that point it was too late to abort. While this had occurred on various Vostok and Voskhod flights, it was a much more serious problem for Volynov, as the Soyuz service module was much larger than the small retropack the earlier vehicles employed.

When the Soyuz started aerobraking in the upper reaches of the atmosphere, the combined spacecraft sought the most aerodynamically stable position - nose forward, with the heavy descent module facing directly into the air stream with only its light metal entry hatch at the front to protect it. The gaskets sealing the hatch began to burn, filling the compartment with dangerous fumes and smoke. The deceleration, while normal for reentry, pulled Volynov outward against his harness rather than against the padded seat. As the thermal and aerodynamic stresses on the combined craft increased, struts between the descent and service modules broke off or burned through before the hatch failed. The descent module immediately righted itself once the service module was gone, with the heat shield forward to take the brunt of re-entry.

There was one final problem in store for Volynov when the parachute cables partially tangled and the soft-landing rockets failed, resulting in a hard impact which broke some of his teeth. The capsule came down in the Ural Mountains at 200 km of the southwest of Kostanay, near Orenburg, Soviet Union, far short of its target landing site in Kazakhstan. The local temperature was -38 °C, and knowing that it would be many hours before rescue teams could reach him, Volynov abandoned the capsule and, having spotted smoke rising from a distant chimney, walked for several kilometers to find shelter at a local peasant's house. It would be seven years until Volynov flew again, on Soyuz 21.

A similar incident occurred decades later with Soyuz TMA-11 on 19 April 2008, though the latter's landing was not as rough.

EVA details
The mission had extravehicular activity (EVA) objectives similar to those planned for Apollo 9. Soyuz 4 launched first, and was the active vehicle in the docking with Soyuz 5. The news agency TASS stated that: "there was a mutual mechanical coupling of the ships... and their electrical circuits were connected. Thus, the world's first experimental cosmic station with four compartments for the crew was assembled and began functioning".

Moscow TV carried the cosmonauts' EVA preparations live. Khrunov and Yeliseyev put on their Yastreb ("hawk") suits in the Soyuz 5 orbital module with aid from commander Boris Volynov. Yastreb suit design commenced in 1965, shortly after Alexei Leonov's difficult EVA. Leonov served as a consultant for the design process, which was completed during 1966. Suit fabrication and testing occurred in 1967, but the Soyuz 1 accident in April of that year and Soyuz docking difficulties on the Soyuz 2 and Soyuz 3 missions delayed their use in space until the Soyuz 4 and Soyuz 5 flights. To prevent the suit from ballooning, the Yastreb suit used a pulley-and-cable articulation system. Wide metal rings around the gray nylon canvas undersuit's upper arms served as anchors for the upper body articulation system. The Yastreb had a regenerative life support system in a rectangular white metal box placed on the chest and abdomen to facilitate movement through the Soyuz's hatchways.

Volynov checked out Khrunov and Yeliseyev's life support and communications systems before returning to the descent module, sealing the hatch, and depressurizing the orbital module. Khrunov went out first, transferring to the Soyuz 4 orbital module while the docked spacecraft were out of radio contact with the Soviet Union over South America. Yeliseyev transferred while the spacecraft were over the Soviet Union. They closed the Soyuz 4 orbital module hatch behind them, then Soyuz 4 commander Vladimir Shatalov repressurised the orbital module and entered to help Khrunov and Yeliseyev get out of their suits. The spacewalkers delivered newspapers, letters, and telegrams printed after Shatalov lifted off to help prove that the transfer took place. Soyuz 4 and 5 separated after only four hours and thirty-five minutes together.

title: Soyuz 5