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Dental material

Dental products are specially fabricated materials, designed for use in dentistry. There are many different types of dental products, and their characteristics vary according to their intended purpose.

Temporary dressings
A temporary dressing is a dental filling which is not intended to last in the long term. They are interim materials which may have therapeutic properties. A common use of temporary dressing occurs if root canal therapy is carried out over more than one appointment. In between each visit, the pulp canal system must be protected from contamination from the oral cavity, and a temporary filling is placed in the access cavity. Examples include:

 * Zinc oxide eugenol—bactericidal, cheap and easy to remove. Eugenol is derived from oil of cloves, and has an obtundant effect on the tooth and decreases toothache. It is suitable temporary material providing there are no biting forces on it. It is also contraindicated if the final restorative material is composite because eugenol adversely effects the bond/polymerization process; also, when applied directly on the pulp tissue, it can produce chronic inflammation and result in pulp necrosis. Brands include Kalzinol and Sedanol.

Cements
Dental cements are used most often to bond indirect restorations such as crowns to the natural tooth surface. Examples include:

 * Zinc oxide cement—self setting and hardens when in contact with saliva. Example brands: Cavit, Coltosol.
 * Zinc phosphate cement
 * Zinc polycarboxylate cement—adheres to enamel and dentin. Example brand: PolyF.
 * Glass ionomer cement
 * Resin-based cement
 * Copper-based cement

Impression materials
Dental impressions are negative imprints of teeth and oral soft tissues from which a positive representation can be cast. They are used in prosthodontics (to make dentures), orthodontics, restorative dentistry, dental implantology and oral and maxillofacial surgery.

Because patients' soft-tissue undercuts may be shallow or deep, impression materials vary in their rigidity in order to obtain an accurate impression. Rigid materials are used with patients with shallow undercuts, while elastic materials are used with patients with deep undercuts, as the material must be flexible enough to reach the end-point of the undercut.

Impression materials are designed to be liquid or semi-solid when first mixed, then set hard in a few minutes, leaving imprints of oral structures.

Common dental impression materials include sodium alginate, polyether and silicones. Historically, plaster of Paris, zinc oxide eugenol and agar were used.

Lining materials
Dental lining materials are used during restorations of large cavities, and are placed between the remaining tooth structure and the restoration material. The purpose of this is to protect the dentinal tubules and the sensitive pulp, forming a barrier-like structure. After drilling the caries out of the tooth, the dentist applies a thin layer (approximately 1/2mm) to the base of the tooth, followed by light curing. Another layer might be applied if the cavity is very large and deep.

There are many functions to dental lining materials, some of which are listed below:

 * Lining materials protect the weak tooth from post-operative hypersensitivity, reducing patient discomfort and allowing the tooth to heal at a faster rate after the procedure.
 * Some dental restorative materials, such as acrylic monomers in resin-based materials and phosphoric acid in silicate materials, may pose toxic and irritable effects to the pulp. Lining materials protect the tooth from such irritants.
 * Lining materials serve as an insulating layer to the tooth pulp from sudden changes in temperature when the patient takes hot or cold food, protecting them from potential pain resulting from thermal conductivity.
 * Lining materials are electrically insulating, preventing corrosion by galvanic cell where two dissimilar metals (e.g. gold or amalgam) are placed next to each other.

Types
Calcium hydroxide

Calcium hydroxide is a relatively low compressive strength and a viscous consistency, making it difficult to apply to cavities in thick sections. A common technique to overcome this issue is to apply a thin sub-lining of calcium hydroxide, then build up with zinc phosphate prior to amalgam condensation. This generates a relatively high pH environment around the area surrounding the cement due to calcium hydroxide leaking out, thus making it bactericidal.

It also has a unique effect of initiating calcification and stimulating the formation of secondary dentine, due to an irritation effect of the pulp tissues by the cement.

Calcium hydroxide is radio-opaque and acts as a good thermal and electrical insulation. However, due to its low compressive strength it is unable to withstand amalgam packing; a strong cement base material should be placed above it to counter this.

Calcium silicate-based liners have become alternatives to calcium hydroxide and are preferred by practitioners for their bioactive and sealing properties; the material triggers a biological response and results in formation of bonding with the tissue. They are commonly used as pulp capping agents and lining materials for silicate and resin-based filling materials. It is usually supplied as two pastes, a glycol salicylate and another paste containing zinc oxide with calcium hydroxide. On mixing, a chelate compound is formed. Light-activated versions are also available; these contain polymerzation activators, hydroexyethyl methacrylate, dimethacrylate which when light activated will result in a polymerization reaction of a modified methacrylate monomer.

Polycarboxylate cement

Polycarboxylate cement has the compressive strength to resist amalgam condensation. It is acidic, but less acidic than phosphate cements due to it having a higher molecular weight and polyacrylic acid being weaker than phosphoric acid. It forms a strong bond with dentine and enamel, allowing it to form a coronal seal. In addition, it is an electrical and thermal insulator while also releasing fluoride, rendering it bacteriostatic. It is also radio-opaque, making it an excellent lining material.

Care has to be taken in handling such material, as it has a strong bond with stainless steel instruments once it sets.

Polycarboxylate cement is commonly used as a luting agents or as a cavity base material. However, it tends to be rubbery during its setting reaction and adheres to stainless steel instruments, so most operators prefer not to use it in deep cavities.

It is usually supplied as a power containing zinc oxide and a liquid containing aqueous polyacrylic acid. The reaction consists of an acid base reaction with zinc oxide reacting with the acid groups in polyacid. This forms a reaction product of unreacted zinc oxide cores bound by a salt matrix, with polyacrylic acid chains cross linking with zinc ions.

Glass ionomer

Glass ionomer (GI) has the strongest compressive and tensile strength of all linings, so it can withstand amalgam condensation in high stress bearing areas such as class II cavities. GI is used as a lining material as it is very compatible with most restorative materials, insulates thermally and electrically, and adheres to enamel and dentine. GI lining contains glass of smaller particle sizes compared to its adhesive restorative mix, to allow formation of a thinner film. Some variations are also radiopaque, making them good for X-ray cavity detection. In addition, GI is bacteriostatic due to its fluoride release from un-reacted glass cores.

GIs are usually used as a lining material for composite resins or as luting agents for orthodontic bands.

The reaction is an acid-base reaction between calcium-aluminum-silicate glass powder and polyacrylic acid. They come in a powder and liquid which are mixed on a pad or in capsules which are for single usage. Resin-modified GIs contain a photoinitiator (usually camphorquinone) and an amide, and are light cured with a LED light curing unit. Setting takes place by a combination of acid-base reaction and chemically activated polymerization.

Zinc oxide eugenol

Zinc oxide eugenol has the lowest compressive and tensile strength of the liners, so its use is limited to small or non-stress-bearing areas such as Class V cavities. This cavity lining is often used with a high strength base to provide strength, rigidity and thermal insulation. Zinc oxide eugenol can be used as linings in deep cavities without causing harm to the pulp, due to its obtundant effect on the pulp as well as its bactericidal properties due to zinc. However, eugenol may have an effect on resin-based filling materials, as it interferes with polymerization and occasionally causes discoloration. Caution could therefore be exercised when using both in tandem. It is also radio-opaque, allowing fillings to be visible by X-rays.

Zinc oxide eugenol is usually used as a temporary filling/luting agent due to its low compressive strength making it easily removed, or as a lining for amalgam as it is incompatible with composites resins.

It is supplied as a two paste system. Equal length of two pastes are dispensed into a paper pad and mixed.

Restorative materials
Dental restorative materials are used to replace tooth structure loss, usually due to dental caries (cavities), but also tooth wear and dental trauma. On other occasions, such materials may be used for cosmetic purposes to alter the appearance of an individual's teeth.

There are many challenges for the physical properties of the ideal dental restorative material. The ideal material would be identical to natural tooth structure in strength, adherence, and appearance. The properties of such material can be divided into four categories: physical properties, biocompatibility, aesthetics and application.

 * Physical properties of good restorative materials include low thermal conductivity and expansion, resistance to different categories of forces and wear such as attrition and abrasion, and resistance to chemical erosion. There must also be good bonding strength to the tooth. Everyday masticatory forces and conditions must be withstood without material fatigue.
 * Resin based root canal sealer.jpgmpatibility refers to how well the material coexists with the biological equilibrium of the tooth and body systems. Since fillings are in close contact with mucosa, tooth, and pulp, biocompatibility is very important. Common problems with some of the current dental materials include chemical leakage from the material, pulpal irritation and, less commonly, allergic reactions. Some of the byproducts of the chemical reactions during different stages of material hardening need to be considered.
 * Radiopacity in dental materials is an important property that allows for distinguishing restorations from teeth and surrounding structures, assessing the absorption of materials into bone structure, and detecting cement dissolution or other failures that could cause harm to the patient. Cements, composites, endodontic sealers, bone grafts, and acrylic resins all benefit from the addition of radiopaque materials. Examples of these materials include zinc oxide, zirconium dioxide, titanium dioxide, barium sulfate, and ytterbium(III) fluoride.
 * Ideally, filling materials should match the surrounding tooth structure in shade, translucency, and texture.
 * Dental operators require materials that are easy to manipulate and shape, where the chemistry of any reactions that need to occur are predictable or controllable.

Direct restorative materials
Direct restorations are ones which are placed directly into a cavity on a tooth, and shaped to fit. The chemistry of the setting reaction for direct restorative materials is designed to be more biologically compatible. Heat and byproducts generated cannot damage the tooth or patient, since the reaction needs to take place while in contact with the tooth during restoration. This ultimately limits the strength of the materials, since harder materials need more energy to manipulate. The type of filling material used has a minor effect on how long they last. The majority of clinical studies indicate the annual failure rates (AFRs) are between 1% and 3% with tooth colored fillings on back teeth. Root canaled (endodontically) treated teeth have AFRs between 2% and 12%. The main reasons for failure are cavities that occur around the filling and fracture of the real tooth. These are related to personal cavity risk and factors like grinding teeth (bruxism).

Amalgam
Amalgam is a metallic filling material composed from a mixture of mercury (from 43% to 54%) and a powdered alloy made mostly of silver, tin, zinc and copper, commonly called the amalgam alloy. Amalgam does not adhere to tooth structure without the aid of cements or use of techniques which lock in the filling, using the same principles as a dovetail joint.

Amalgam is still used extensively in many parts of the world because of its cost effectiveness, superior strength and longevity. However, the metallic colour is not aesthetically pleasing and tooth coloured alternatives are continually emerging with increasingly comparable properties. Due to the known toxicity of mercury, there is some controversy about the use of amalgams. The Swedish government banned the use of mercury amalgam in June 2009. Research has shown that, while amalgam use is controversial and may increase mercury levels in the human body, these levels are below safety threshold levels established by the World Health Organization and the U.S. Environmental Protection Agency. However, there are certain subpopulations who, due to inherited genetic variabilities, are more sensitive to mercury than these threshold levels. They may experience adverse effects caused by amalgam restoration, including neural defects caused by impaired neurotransmitter processing.

Composite resin
Composite resin fillings (also called white fillings) are a mixture of nanoparticles  or powdered glass and plastic resin, and can be made to resemble the appearance of the natural tooth. Although cosmetically superior to amalgam fillings, composite resin fillings are usually more expensive. Bis-GMA based resins contain Bisphenol A, a known endocrine disrupter chemical, and may contribute to the development of breast cancer. However, there is no added risk of kidney or endocrine injury in choosing composite restorations over amalgams. PEX-based materials do not contain Bisphenol A and are the least cytotoxic material available.

Most modern composite resins are light-cured photopolymers, meaning that they harden with light exposure. They can then be polished to achieve maximum aesthetic results. Composite resins experience a very small amount of shrinkage upon curing, causing the material to pull away from the walls of the cavity preparation. This makes the tooth slightly more vulnerable to microleakage and recurrent decay. Microleakage can be minimized or eliminated with proper handling techniques and appropriate material selection.

In some circumstances, using composite resin allows less of the tooth structure to be removed compared to other dental materials such as amalgam and indirect methods of restoration. This is because composite resins bind to enamel (and dentin too, although not as well) via a micromechanical bond. As conservation of tooth structure is a key ingredient in tooth preservation, many dentists prefer placing materials like composite instead of amalgam fillings whenever possible.

Generally, composite fillings are used to fill a carious lesion involving highly visible areas (such as the central incisors or any other teeth that can be seen when smiling) or when conservation of tooth structure is a top priority.

The bond of composite resin to tooth is especially affected by moisture contamination and the cleanliness of the prepared surface. Other materials can be selected when restoring teeth where moisture control techniques are not effective.

Glass ionomer cement
The concept of using "smart" materials in dentistry has attracted a lot of attention in recent years. Conventional glass ionomer cements (GICs) have many applications in dentistry. They are biocompatible with the dental pulp to some extent. Clinically, this material was initially used as a biomaterial to replace the lost osseous tissues in the human body.

GIC fillings are a mixture of glass and an organic acid.

The cavity preparation of a GIC filling is the same as a composite resin. GICs are chemically set via an acid-base reaction. Upon mixing of the material components, no light cure is needed to harden the material once placed in the cavity preparation. After the initial set, GICs still need time to fully set and harden.

An advantage of GICs compared to other restorative materials is that they can be placed in cavities without any need for bonding agents. Another advantage is that they are not subject to shrinkage and microleakage, as the bonding mechanism is an acid-base reaction and not a polymerization reaction. Additionally, GICs contain and release fluoride, which is important to prevent carious lesions. As GICs release their fluoride, they can be "recharged" by the use of fluoride-containing toothpaste; this means they can be used to treat patients at high risk of caries.

Although they are tooth-colored, GICs vary in translucency, and their aesthetic potential is not as great as that of composite resins. Newer formulations that contain light-cured resins can achieve a greater aesthetic result, but do not release fluoride as well as conventional GICs.

The most important disadvantage of GICs is lack of adequate strength and toughness. To improve the mechanical properties of the conventional GIC, resin-modified ionomers have been marketed. GICs are usually weak after setting and are not stable in water; however, they become stronger with the progression of reactions and become more resistant to moisture.

New generations of GICs aim to regenerate tissues; they use bioactive materials in the form of a powder or solution to induce local tissue repair. These materials release chemical agents in the form of dissolved ions or growth factors such as bone morphogenetic protein, which stimulates activate cells.

GICs are about as expensive as composite resin. The fillings do not wear as well as composite resin fillings, but they are generally considered good materials to use for root caries and for sealants.

Resin modified glass-ionomer cement (RMGIC)
A combination of glass-ionomer and composite resin, these fillings are a mixture of glass, an organic acid, and resin monomers that harden when light cured (light-activated polymerization besides the acid-base reaction of conventional GICs). The cost is similar to composite resin. It holds up better than GIC, but not as well as composite resin, and is not recommended for biting surfaces of adult teeth, or when control of moisture cannot be achieved.

Generally, RMGICs can achieve a better aesthetic result than conventional GICs, but not as good as pure composites.

Compomers
Another combination of composite resin and GIC technology, compomers are essentially made up of filler, dimethacrylate monomer, difunctional resin, photo-activator and initiator, and hydrophilic monomers. The filler decreases the proportion of resin and increases the mechanical strength, as well as improving the material's appearance.

Although compomers have better mechanical and aesthetic properties than RMGIC, they have some disadvantages which limit their applications: Due to its relatively weaker mechanical properties, Compomers are unfit for stress-bearing restorations but can be used in the deciduous dentition where lower loads are anticipated.
 * Compomers have weaker wear properties.
 * They cannot adhere to tooth tissue due to the presence of resin, which can make it shrink on polymerisation. They therefore require bonding materials.
 * They release low levels of fluoride, so cannot act as a fluoride reservoir.
 * They have high staining susceptibility; uptake of oral fluid causes them to show staining soon after placement.

Cermets
Dental cermets, also known as silver cermets, were created to improve the wear resistance and hardness of glass ionomer cements by adding silver. Their other advantages are that they adhere directly to tooth tissue, and are radio-opaque, which helps with identification of secondary caries when future radiographs are taken.

However, cermets have poorer aesthetics, appearing metallic rather than white. They also have a similar compressive strength, flexural strength, and solubility as GICs, some of the main limiting factors for both materials. In addition, their fluoride release is poorer than that of GICs. Clinical studies have shown cermets perform poorly. All these disadvantages led to the decline in the use of this restorative material.

Indirect restorative materials
An indirect restoration is one where the teeth are first prepared, then an impression is taken and sent to a dental technician who fabricates the restoration according to the dentist's prescription.

Porcelain
Porcelain fillings are hard, but can cause wear on opposing teeth. Their hardness and rigidiy enables them to resist abrasion forces, and are good aesthetically as they mimic the appearance of natural teeth. However, they are also brittle and not always recommended for molar fillings. Porcelain materials can be strengthened by soaking fired material in molten salt to allow exchange of sodium and potassium ions on the surface; this successfully creates compressive stresses on the outer layer, by controlling cooling after firing, and by the use of pure alumina inserts, a core of alumina or alumina powder, as they act as crack stoppers and are highly compatible to porcelain.

Dental composite materials
Tooth colored dental composite materials are either used as a direct filling or as the construction material for an indirect inlay. They are usually cured by light.

Nano-ceramic particles
Nano-ceramic particles embedded in a resin matrix are less brittle and therefore less likely to crack, or chip, than all-ceramic indirect fillings. They absorb the shock of chewing more like natural teeth, and more like resin or gold fillings, than do ceramic fillings; at the same time they are more resistant to wear than all-resin indirect fillings. They are available in blocks for use with CAD/CAM systems.

Gold fillings
Gold fillings have excellent durability, wear well, and do not cause excessive wear to the opposing teeth, but they do conduct heat and cold, which can be irritating. There are two categories: cast gold fillings (gold inlays and onlays) made with 14 or 18 kt gold, and gold foil made with pure 24 kt gold that is burnished layer by layer. For years, they have been considered the benchmark of restorative dental materials. However, recent advances in dental porcelains and a consumer focus on aesthetic results have caused the demand for gold fillings to drop. Gold fillings are sometimes quite expensive, but they last a very long time, meaning that gold restorations are less costly and painful in the long run. It is not uncommon for a gold crown to last 30 years.

Other historical fillings
Lead fillings were used in the 18th century, but became unpopular in the 19th century because of their softness. This was before lead poisoning was understood.

According to American Civil War-era dental handbooks, since the early 19th century metallic fillings had been made of lead, gold, tin, platinum, silver, aluminum, or amalgam. A pellet was rolled slightly larger than the cavity, condensed into place with instruments, then shaped and polished in the patient's mouth. The filling was usually left "high", with final condensation—"tamping down"—occurring while the patient chewed food. Gold foil was the most popular filling material during the Civil War. Tin and amalgam were also popular due to lower cost, but were held in lower regard.

One survey of dental practices in the mid-19th century catalogued dental fillings found in the remains of seven Confederate soldiers from the Civil War. They were made of:
 * Gold foil: preferred because of its durability and safety.
 * Platinum: rarely used because it was too hard, inflexible and difficult to form into foil.
 * Aluminum: failed because of its lack of malleability but has been added to some amalgams.
 * Tin and iron: believed to have been a very popular filling material during the Civil War. Tin foil was recommended when a cheaper material than gold was requested by the patient, but it wore down rapidly; even if it could be replaced cheaply and quickly, there was a concern, specifically from Chapin A. Harris, that it would oxidise in the mouth and cause a recurrence of caries. Due to blackening, tin was only recommended for posterior teeth.
 * Thorium: the element's radioactivity was unknown at that time, and the dentist probably thought he was working with tin.
 * Lead and tungsten mixture: probably from shotgun pellets. Lead was rarely used in the 19th century, as it is soft and quickly worn down by mastication, and had known harmful health effects.

Acrylic polymers
Acrylics are used in the fabrication of dentures, artificial teeth, impression trays, maxillofacial / orthodontic appliances and temporary (provisional) restorations. They cannot be used as tooth filling materials because they can lead to pulpitis and periodontitis, as they may generate heat and acids during setting, and in addition they shrink.

Failure of dental restorations
Fillings have a finite lifespan; composites appear to have a higher failure rate than amalgam over five to seven years. How well people keep their teeth clean and avoid cavities is probably a more important factor than the material chosen for the restoration.

Evaluation and regulation of dental materials
The Nordic Institute of Dental Materials (NIOM) performs several tests to evaluate dental products in the Nordic countries. In the European Union, dental materials are classified as medical devices according to the Medical Devices Directive. In USA, the Food and Drug Administration is the regulatory body for dental products.

title: Dental material


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User talk:J D

FCC data
>Hi there, noticed your nice formatting work on Chicago. I was wondering where >you were pulling the radio station information from? 97.1 is WDRV-FM, "The >Drive", and has been for a few years now. It looks like whatever DB you may >be pulling the info from has old information. Perhaps you can query WDRV on >the FCC site, if that's not what you were already using.

I'm glad you like the formatting. I've been pulling the data from Arbitron. I tried the FCC but came up empty handed. If you find something let me know. I used to work in radio and every station worth its salt keeps their info updated with Arbitron because that's how they make their money. Arbitron is like the Nielsen of radio and they get their ad dollars by showing their status with them. I noticed 3 other stations that had out of date info with Arbitron and I checked on some of them and saw that some of their status was in limbo (buyout's etc.) which would make sense if their was some kind of change in ownership to wait until the next reporting period to make their change. — Preceding unsigned comment added by Jasenlee (talk • contribs) 21:00, 1 March 2004

AP rhetorical questions
Thanks for -- I've been trying to remove those for a while, but could never get the wording quite right. Nicely done. Cheers, David Iberri (talk) 12:12, 21 February 2006 (UTC)

Your account will be renamed
Hello,

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Unfortunately, your account clashes with another account also called JMD. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name JMD~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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East Coast hip hop
There are many unsourced edits, edit warring, and turf wars on East Coast hip hop article. Please add a WP:RFPP if they continue. The article may need a long-term protection. Thanks for fixing all that stuff (again). Cheers Jim1138 (talk) 23:38, 6 May 2015 (UTC)
 * Thanks for the pointer Jim1138. Still learning how to manage these sorts of gnarly situations. J D (talk) 23:55, 6 May 2015 (UTC)
 * I just undid a wp:copy-paste from possibly http://genius.com/Young-dee-east-coast-lyrics Looking back, I see that this was likely copy pasted previously. Copy/pasting of significant amounts of text is considered a copyright violation, and is serous enough to warrant a block after several warnings. See FAQ/Copyright. One quick check is to find a unique-looking piece of text and google it in quotes. I used "East Coast hip hop is a style of hip hop music that originated in New York City during the" and fount the above link. Often a giveaway is a persons style in a comment being significantly different from what goes in the article. If you are interested in the subject (I'm not), you might get in touch with and update the article. I hope you don't minding me adding a huge welcome block at the top of your talk page. Cheers! Jim1138 (talk) 04:50, 7 May 2015 (UTC)
 * Jim I think you've mixed up my talk page with the IP user's talk page. (You added the welcome block to their page, not mine, etc.) But thanks for stepping in on East Coast hip hop, reverting that user's edits, and posting extensively on that IP's talk page about copyright and properly sourcing material. I'll take a look at the article again in a few days and try to clean things up and remove unsourced material. I worry this is going to estrange the IP user, but it seems they've been warned numerous times and are unresponsive. We'll probably have to RFPP. J D (talk) 06:33, 7 May 2015 (UTC)
 * Hi JD, I was interrupted. Now you have it. Don't forget, there is the wp:teahouse for discussing issues and wp:Help desk. For the IP's talk page, I used which is for IPs encouraging them to get a user name. Your welcome was . Editing since 2004? You should be giving me the welcome treatment! Less than 500 edits? Wow!
 * Unless you are really into Hip Hop, I wouldn't worry about the East Coast hip hop article. I have fairly eclectic tastes in music, but rapping isn't among them.
 * Some policy and essays that might apply/be useful here: WP:BITE, WP:AGF, WP:OWN, WP:COMPETENCE, and WP:NOTHERE. If you want to bring my (or others') attention to a talk page use . Be sure to sign after the ping with four tildes, otherwise I won't be pinged. Cheers Jim1138 (talk) 07:45, 7 May 2015 (UTC)
 * Yes, 500 edits in 11 years. Some of us know how to pace ourselves. :)
 * Anyway, since I last checked on East Coast hip hop, our old friend came back and started an edit war;  intervened and the page is now semiprotected. About sending notifications: thanks for the info, I didn't know how to do that. But I was reading the  template page, and it doesn't mention that it generates notifications. I see, on the other hand, that  and  do. That's how it reads to me, anyway. So did this edit ping you? J D (talk) 18:23, 8 May 2015 (UTC)
 * Yep, I got the ping. I did a wp:rfpp, here erroneously using the redirect East coast hip hop and wondering for awhile why nobody responded. Also did a WP:ANI/3RR report WP:ANI/3RR which will quickly be archived. Our friend doesn't seem to have said anything since. Probably be on another IP. Do you think and  are the same person? Cheers Jim1138 (talk) 04:27, 9 May 2015 (UTC)
 * From the history, there does seem to be much battling. I wonder if any physical fights resulted from Wikipedia editing? Jim1138 (talk) 04:31, 9 May 2015 (UTC)
 * , almost certainly the same person at those two IPs. Their writing style is the same, plus, here's a diff of 71.178.130.74 identifying as "Nu Yawk", and here's a diff of 71.178.138.25  using that same moniker. (The former isn't blocked, the later is under a two-week block.) J D (talk) 05:06, 9 May 2015 (UTC)

And, now there's Midwest hip hop & Southern hip hop Perhaps just delete the articles? I wouldn't know hip hop from (your choice here) ;o) Ping me with {{u|Jim1138}} and sign "~~~~" or message me on my talk page. 22:10, 20 June 2015 (UTC)

A cup of coffee for you!

 * My first reward! Thanks! And just in time to replace all that coffee I drank while figuring out all the WikiPolicies to deal with that page! I plan to beef it up more in the coming days, if I don't stumble trying to find third-party sources.

schoolhouse
hadn't thought about that in a while. :) Jytdog (talk) 11:19, 19 August 2015 (UTC)

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ArbCom elections are now open!
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:J D


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California Zephyr (1949–1970)

The California Zephyr was a passenger train that ran between Chicago, Illinois, and Oakland, California, via Omaha, Denver, Salt Lake City, Winnemucca, Oroville and Pleasanton in the United States. It was operated by the Chicago, Burlington & Quincy (CB&Q), Denver & Rio Grande Western (D&RGW) and Western Pacific (WP) railroads, all of which dubbed it "the most talked about train in America" on March 19, 1949, with the first departure the following day. The train was scheduled to pass through the most spectacular scenery on its route in the daylight. The original train ceased operation in 1970, though the D&RGW continued to operate its own passenger service, the Rio Grande Zephyr, between Salt Lake City and Denver, using the original equipment until 1983. In 1983 a second iteration of the California Zephyr, an Amtrak service, was formed. The current version of the California Zephyr operates partially over the route of the original Zephyr and partially over the route of its former rival, the City of San Francisco.

Pre-California Zephyr (1939 to 1949)
In 1939, the Golden Gate International Exposition opened on Treasure Island in San Francisco Bay. The CB&Q, D&RGW and WP decided to operate a train that could take passengers to the event. Service on the Exposition Flyer began on June 10, 1939. In the beginning, the train used steam locomotives as motive power and consisted of heavyweight Pullman standard cars. In later years, the train used diesel power and in the final months of service used streamlined passenger cars. Initially, the service was to be temporary, but its popularity made it a significant rival to the City of San Francisco, the Chicago-Oakland train operated jointly by the Chicago & Northwestern, Union Pacific and Southern Pacific, and it remained in operation until 1949. The CB&Q, D&RGW and Western Pacific replaced the Exposition Flyer in 1949 with the all-streamlined California Zephyr, which used the same route.

California Zephyr

In its original run, the California Zephyr operated over the Chicago, Burlington and Quincy Railroad (Burlington Route) from Chicago to Denver, Colorado, the Denver and Rio Grande Western Railroad between Denver and Salt Lake City, Utah, and the Western Pacific Railroad from Salt Lake City to Oakland, California. Cars owned by different railroads ran together; cars cycled in and out for service, repairs, and varying passenger loads with the seasons.

The first train was named in San Francisco by Eleanor Parker, but the WP entered it in the same way that railroads like the DL&W, Erie, and CNJ/RDG/B&O entered New York City: by ferry, and not by rail. California Lieutenant Governor Goodwin Knight, mayor of San Francisco Elmer Robinson, and WP President Harry A. Mitchell looked on. For the inaugural run in 1949, every woman on the train was given "silver" and orange orchids flown from Hilo, Hawaii. The car hostesses were known as Zephyrettes.

In summer 1954, the scheduled run for the 2,532 miles from Chicago to San Francisco was 50 hours 50 minutes. An eastbound California Zephyr through Ruby Canyon saw the train's first birth on March 1, 1955, when Reed Zars was born on board.

Knowing that they could not begin to compete with the faster and less-rugged route used by the City of San Francisco, the Burlington Route, D&RGW and WP billed the California Zephyr as a scenic "rail cruise" through the Rockies.

Zephyrettes

The brainchild of Velma McPeek, the Burlington's Supervisor of Passenger Train Services, the Zephyrettes were train hostesses who performed a wide variety of roles, from tour guide to first-aid responder to babysitter. After debuting on the Denver Zephyr in 1936, they served on the California Zephyr from 1949 until it was discontinued in 1970. Described by former Zephyrette Julie Ann Lyman as "the railroad's answer to the air line stewardess", the various duties of the position included welcoming passengers, making announcements, sending telegrams, making dinner reservations, and generally serving as a liaison between the train's passengers and its crew. At any one time, there were 10 or 11 Zephyrettes who were actively employed. When Amtrak revived the California Zephyr in 1983, it invited a former Zephyrette, Beulah Bauman, to christen the train.

A pair of the Western Pacific's Budd Rail Diesel Cars (RDCs), replacements for the Royal Gorge (trains No. 1 and 2), also used the name Zephyrette. From September 15, 1950, to October 2, 1960, they were in service between Oakland, California, and Salt Lake City, a distance of 924 mi, which made the route the longest RDC service in the United States.

Discontinued Ferry Connection
The last portion of route utilizing the bay ferries ended in 1958 and replaced by bus service.

The opening of the San Francisco–Oakland Bay Bridge and San Francisco Transbay Terminal in 1930s offered alternative rail connections directly into San Francisco until the 1950s. Declining rail ridership prompted ending rail connection and even the Transbay Terminal became a bus depot.

Decline and replacement
The California Zephyr was not immune to falling passenger travel in the 1960s; moreover, it began to lose money even when sold out. The Western Pacific applied to discontinue its portion in 1966, but the Interstate Commerce Commission (ICC) refused after public outcry. The D&RGW made the same request in 1969 and in 1970 the ICC permitted Western Pacific to end its portion, provided the D&RGW and Burlington Northern Railroad provide "some semblance of [service]" between Chicago and Ogden, Utah. The last westbound California Zephyr to the west coast left Chicago on March 22, 1970, and arrived in Oakland two days later. The original California Zephyr had operated for 21 years and 2 days. East of Salt Lake City the train was reduced to a tri-weekly schedule, operating as California Service on the Burlington Northern and as the Rio Grande Zephyr on the Rio Grande. The Rio Grande portion of the train was extended beyond Salt Lake to Ogden, Utah, allowing Nevada and California passengers to connect to the Southern Pacific Railroad's City of San Francisco. This continued until the creation of Amtrak on May 1, 1971.

Amtrak intended to revive the California Zephyr as part its original route network in 1971, using the Burlington Northern east of Denver, the Rio Grande between Denver and Ogden, and the Southern Pacific west of Ogden, Utah. At the last minute, the Rio Grande refused to join Amtrak, fearing the new company's passenger trains would interfere with profitable freight traffic. This forced Amtrak to use the Union Pacific's Overland Route through southern Wyoming instead of going across Colorado. Between the spring of 1971 and the summer of 1972, passengers traveling between Chicago and Oakland would have to travel on two different trains: the Denver Zephyr, which operated daily between Chicago and Denver, and the City of San Francisco, which operated three times a week between Denver and the San Francisco Bay Area. Eventually, however, after several false starts, Amtrak consolidated the two trains into one, dubbed the San Francisco Zephyr in homage to both the California Zephyr and the San Francisco Chief between Chicago and Oakland. The Rio Grande continued to operate the Rio Grande Zephyr between Denver and Ogden.

In 1983 the D&RGW elected to join Amtrak, citing increasing losses in passenger operations. Amtrak re-routed the San Francisco Zephyr over the D&RGW's Moffat Subdivision between Denver and Salt Lake City, its original preference from 1971. The change was scheduled for April 25, but a mudslide at Thistle, Utah, closed the line and delayed the change until July 16. With the change of route, Amtrak renamed the train as the California Zephyr. The modern California Zephyr uses mostly the same route as the original east of Winnemucca, Nevada. The train uses the route of the former City of San Francisco, along the Overland Route (First transcontinental railroad), between Elko, Nevada, and Sacramento. Across central Nevada, the two rail lines have been combined under owner Union Pacific to use directional running. As such, the exact spot the train switches lines depends on the direction of travel.

Route description
Both the current and original iterations of the California Zephyr operate on Chicago, Burlington and Quincy (today part of BNSF Railway) between Chicago and Denver, and the former Denver and Rio Grande Western main line from Denver to Salt Lake (today part of Union Pacific Railroad's Central Corridor). West of Salt Lake City both iterations departed Salt Lake on the Shafter Subdivision of the former Western Pacific Railroad and crossed much of Nevada using the Elko Subdivision.

The routes of the two iterations of the California Zephyr diverge at the rail junction of Weso, Nevada (near Winnemucca). The current iteration uses the Overland Route from this point west, the route used by the City of San Francisco. The original California Zephyr used the Feather River Route as its path through the Sierra Nevada. Instead of passing through Reno, the original Zephyr was routed via Gerlach, Nevada, and in California passed through Portola, Oroville, Sacramento, Stockton and Pleasanton before arriving at the Oakland depot. The Feather River Route is still in use for freight; however, no longer hosts a regularly scheduled passenger service. This portion of the route mostly parallels State Route 70.

The Oakland terminal was originally the Southern Pacific Mole, where a ferry service was available to San Francisco. After July 1958, trains terminated at the Western Pacific Depot.

Equipment
The Budd Company manufactured six ten-car trainsets; three went to the Burlington, two to the Western Pacific and one to the Rio Grande. In line with the train's sightseeing schedule, each set included five of the new "Vista-Domes" (three coaches, a dormitory-lounge, and a sleeper-observation car). The California Zephyr was the first long-distance train to carry domes in regular service. In addition, each consist included a baggage car, a dining car, a 16-section sleeping car and three 10-roomette 6-double bedroom sleeping cars. The Pennsylvania Railroad owned a single 10-roomette 6-double bedroom sleeping car, the Silver Rapids, which was used for through service to New York City.

Each car was named: all names began with "Silver…" with each type of car having a different theme; the baggage cars were named after animals, the dome coaches had a western theme, the lounge and dining cars had a catering theme, the 16-section cars were named after trees, the 10-6 cars carried names associated with the suffixes used for types of Pullman sleeping cars, while the observation cars' names emphasised their domes.

The forward section of the first Vista-Dome car was partitioned off and reserved for women and children. A door was located in the corridor under the dome just behind the women's restroom to allow access to the reserved section. Early on, this reserved section was opened up to all passengers and the door and partitions were removed. Ownership of the cars was split between the three railroads almost evenly across all car types. Each car was owned by one railroad, but the ownership of the cars in any one day's train depended more on what was available at the terminals than whose railroad the train was operating over.

Generally positioned as the second Vista-Dome coach was the car referred to as the "Conductor's Car". This car was like the other Vista-Dome coaches, except a small booth with a bench seat and desk for the conductor was located in the B end.

In 1952 another type of Pullman sleeper (6-double bedrooms 5-compartments) was added to each consist; they ran as the leading sleeping car as line CZ16, and carried the names of birds as their "Silver…" theme. In addition, the Burlington bought another observation car, another 16-section car, and two 10-6 cars. With the new cars delivered that year, cars arriving in Chicago on the California Zephyr were made available for use on the Ak-Sar-Ben Zephyr for an overnight round trip to Lincoln, Nebraska. When the cars returned from Lincoln the next day, they were placed back in the westbound California Zephyr's consist for the next train out of Chicago that afternoon.

The Pennsylvania Railroad's transcontinental sleeping car to and from New York was eliminated in October 1957, owing to declining ridership.

During the winter 1963–1964 season, all seven 16-section cars were withdrawn and rebuilt as 48-seat (non-dome) coaches. They went back into service carrying the same names and were placed between the baggage car and the dome coaches as line CZ23. The Burlington renumbered their cars but the Rio Grande and Western Pacific retained the existing fleet numbers on their cars.

Preservation

The high-quality Budd-built cars of the California Zephyr have proven to be popular with private car owners. Several operate in private charter service on Amtrak, including dome-observation car Silver Solarium, dome-coach Silver Lariat, sleepers Silver Rapids and Silver Quail and a dome lounge now known as the Sierra Hotel. In 2018, the Silver Lariat, Silver Solarium, Silver Rapids and the baggage car Silver Peak were sold to the Cuyahoga Valley Scenic Railroad outside Cleveland, Ohio and entered service there in September 2018.

Seven museums currently hold equipment once used on the California Zephyr:

 * The largest collection of preserved equipment can be found in Portola, California, at the Western Pacific Railroad Museum. One locomotive and four cars are currently preserved there as part of the museum's "Zephyr Project" restoration program. Western Pacific 805-A is the last intact locomotive built specifically for the California Zephyr. The cars include dome-lounge Silver Hostel, dome coaches Silver Lodge and Silver Rifle (on long-term loan from the Golden Gate Railroad Museum) and the diner Silver Plate. The Heart of Dixie Railroad Museum in Calera, Alabama, owns the Silver Maple (ex-CB&Q 400 [sleeper], rebuilt 1963 to chair car configuration, CB&Q 4742) now numbered 4741. The Silver Maple is used in regular excursion service.
 * The Illinois Railway Museum owns several Burlington locomotives that were used to pull the train on occasion, Rio Grande dome coach Silver Pony, and WP baggage car Silver Beaver.
 * The Colorado Railroad Museum has two Rio Grande locomotives that also saw California Zephyr and later Rio Grande Zephyr service.
 * The Gold Coast Railroad Museum in Florida owns two former Western Pacific Railroad California Zephyr cars: baggage car Silver Stag and dome-observation car Silver Crescent.
 * The Avon Park Depot Museum in Florida owns one former Western Pacific California Zephyr car: the Silver Palm, originally a sleeper car, is now a buffet dining car used by the museum for dinner parties. The car was converted to its buffet car state by the Auto-Train Corporation when it bought the car.
 * The Austin Steam Train Association, which operates the Austin & Texas Central Railroad in the Hill Country between Cedar Park and Burnet, has completed its restoration of the Silver Pine. Originally a 16-section sleeper manufactured in 1948 by the Budd Company, the coach car re-entered revenue service in 2011 for the first time since its Denver & Rio Grande Western days.

Three diner cars were in revenue service with Amtrak as of 2015, but are now retired.

Replicas
A non-functional replica of the California Zephyr was displayed at Disney California Adventure Park in Anaheim, California. It housed Baker's Field Bakery and Bur-r-r Bank ice cream counter cafes at the Sunshine Plaza main entrance. The exhibit closed on July 31, 2011, as part of the park's $1.1 billion overhaul. Disney gave the replica to the Western Pacific Railroad Museum in Portola, California.

In popular culture
Hank Williams' 1956 single "California Zephyr" is likely his take on the traditional "Wabash Cannonball," made famous by his hero Roy Acuff; the melody and references to American cities and towns are strikingly similar.

Jack Kerouac's 1962 novel Big Sur opens with a trip to California on the train:

"...I had sneaked into San Francisco as I say, coming 3,000 miles from my home in Long Island (Northport) in a pleasant roomette on the California Zephyr train watching American roll by outside my private picture window, really happy for the first time in three years, staying in the roomette all three days and three nights with my instant coffee and sandwiches..."

Ben Gibbard and Jay Farrar’s 2009 music album One Fast Move or I'm Gone and the associated documentary of the same name are based on Kerouac's novel Big Sur. The record opens with a song called “California Zephyr.”

Grant Hart (of Hüsker Dü fame) wrote a song called "California Zephyr" for his 2009 album Hot Wax. The song may be a paean to gay liberation, especially following the AIDS epidemic.

title: California Zephyr (1949–1970)


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Jesus of Montreal

Jesus of Montreal (Jésus de Montréal) is a 1989 Canadian comedy drama film written and directed by Denys Arcand, and starring Lothaire Bluteau, Catherine Wilkening and Johanne-Marie Tremblay. The film tells the story of a group of actors in Montreal who perform a Passion play in a Quebec church (the film uses the grounds of Saint Joseph's Oratory on Mount Royal), combining religious belief with unconventional theories on a historical Jesus. As the church turns against the main actor and author of the play, his life increasingly mirrors the story of Jesus, and the film adapts numerous stories from the New Testament.

The film came out to critical acclaim and won numerous awards, including the Genie Award for Best Picture and the Jury Prize at the 1989 Cannes Film Festival. The film was also nominated for the 1989 Academy Award for Best Foreign Language Film. Critics in the Toronto International Film Festival have regarded the film as one of the Top 10 Canadian Films of All Time.

Plot
In Montreal, an unknown actor named Daniel is hired by a Roman Catholic pilgrimage's site ("le sanctuaire") to present a Passion play in its gardens. The priest, Father Leclerc, asks him to "modernize" the classic play the church has been using, which he considers dated. Despite working with material others consider to be clichéd, Daniel is inspired and carries out intensive academic research, consulting archaeology to check the historicity of Jesus and drawing on supposed information on Jesus in the Talmud, using the Talmud name Yeshua Ben Pantera for Jesus, whom he portrays. He includes arguments that the biological father of Jesus was a Roman soldier who left Palestine shortly after impregnating the unwed Mary. He assembles his cast, found from insignificant and disreputable backgrounds (one being a man who does pornographic voiceovers), and moves in with two of them, Constance and Mireille.

When the play is performed, the audience is thrilled; the show receives excellent reviews. Father Leclerc, however, regards it as controversial. He angrily distances himself from Daniel. The actor's life is further complicated when he attends one of Mireille's auditions. Mireille is told to remove her top, causing an outburst from Daniel in which he damages equipment and assaults a director, resulting in criminal charges. When the higher authorities of the Roman Catholic Church strongly object to his interpretation of Jesus and security forces stop a performance, the audience and actors oppose them and Daniel is injured in an ensuing accident.

Daniel is first taken by ambulance to an overrun Catholic hospital where he is neglected. He leaves and collapses on a Montreal Metro platform. The same ambulance takes him to the Jewish General Hospital. Despite immediate, skilled, and energetic efforts by the doctors and nurses, he is pronounced brain dead. His doctor asks for the consent of his friends, since he has no known relatives, to take his organs for donation, stating that they would have been able to save him if he had been brought in half an hour earlier. After his death, his eyes and heart are used to restore the health of other patients.

In the wake of his death, Daniel's friends start a theatre company to carry on his work.

Allegory
Authors have written Jesus of Montreal has "many parallels" to the New Testament, and "is so loaded with all sorts of fascinating allusions" between modern Quebec and the Gospels. Daniel is mainly known to the public through "hearsay", and is reported to have traveled to India and Tibet, reflecting "extra-biblical legends" about Jesus. The story begins when Daniel becomes a teacher to his actors, as Jesus was to his disciples. Another actor named Pascal Berger, played by Cédric Noël, praises Daniel as John the Baptist hailed Jesus. Pascal "loses his head" when an advertiser uses his photo to sell perfume, just as John the Baptist was beheaded.

Daniel's outburst in the audition scene evokes the Cleansing of the Temple. In the subsequent criminal case, Daniel has a Pontius Pilate-like judge played by Arcand, and meets a lawyer, Richard Cardinal, played by Yves Jacques who – looking out over the city from a skyscraper – offers Daniel profit and fame, telling him "The city is yours," which is a reference to the Temptation of Christ. After he is injured, Daniel is taken to the Jewish General Hospital. Arcand said this is a deliberate parallel with Jesus being a Jew "rejected by his own people," but Arcand depicted the hospital as efficient and better organized than other Montreal hospitals because he felt this was accurate. Scholar Jeremy Cohen tied the Jewish doctor's statement "we lost him" to the idea of Jewish deicide. At the end, Daniel's organs are donated to distant patients who speak various languages, echoing Jesus' miracles restoring sight to the blind and raising of the dead, as well as symbolizing his own resurrection and influence around the world. Daniel's "disciples" also continue his work after he dies, led by Martin, played by Rémy Girard, who is an analogue of Saint Peter, but under the guidance of Cardinal, suggesting that by institutionalizing their message it may become corrupted.

Development
The idea for the film came to director Denys Arcand after an actor apologized for appearing with a beard at an audition at a Montreal conservatory, saying "I'm sorry, I'm Jesus." The actor explained that he had the role of Jesus in a passion play at Saint Joseph's Oratory. Arcand went to see the play and recalls, "I saw actors in a mediocre production which received shouted applause from the tourists. I decided I had to make a film." The actor also spoke to Arcand about the difficulties he and his friends had in the acting profession, taking undesirable roles in TV advertisements and pornographic films.

As a lapsed Catholic and self-proclaimed atheist, Arcand did not envision Jesus of Montreal as a religious film, adding, "In my film, the story of the Passion is a metaphor of an artist and his struggles and temptations." He spent a year in 1987 writing the screenplay. The film was made on a budget of $4.2 million, with Arcand saying he got a "blank check" after his success with The Decline of the American Empire (1986). This budget was unusually large for a Quebec film. The film received $500,000 from the National Film Board of Canada.

Casting
Arcand saw actress Johanne-Marie Tremblay in Straight for the Heart (1988) and cast her as Constance, one of Daniel's actresses who takes him in to live with her. She reprised her role as Constance in Arcand's later films The Barbarian Invasions (2003) and Days of Darkness (2007).

Robert Lepage, who played René, one of Daniel's "disciples", was a playwright and said that aside from TV and student films, Jesus of Montreal was his first major acting role. He said that the screenplay was complete and detailed, leaving less room for improvisation than he expected.

Filming
The film was shot with mobile cameras on location in Montreal, which has many churches against its skyline and has been "a center of Catholicism since its beginnings". Arcand stated he often shot Montreal from a distance or from the air to represent God viewing the city.

He claimed that while French-Canadian churches in Montreal denied permission to shoot inside their buildings, an English-language Catholic church allowed the crew to use its space. He said this was because, although church members asked to see the screenplay, they could not read French and needed money from the rental. Some scenes were shot near Saint Joseph's Oratory. A substantial amount of theatrical blood was required for the Passion play scenes.

Box office
In Canada, it won the Golden Reel Award, indicating the highest box-office performance of any Canadian film that year with a gross of C$2.53 million in Canada. It went on to gross C$3 million. In English Canada, it was among only three Canadian films to gross over $500,000 between 1987 and 1990, along with Black Robe and Dead Ringers with a gross of C$747,000.

Jesus of Montreal did not enjoy the degree of success in France as Arcand's prior The Decline of the American Empire (1986), drawing an audience of 187,827 people, the eighth highest for a Quebec film to date. Generally, the film did not meet expectations in drawing audiences in countries with predominantly Roman Catholic populations, with Arcand claiming using the name Jesus in the title made the subject matter appear cliché. In the U.S., Stephen J. Nichols referred to it as "not-very-popular" and said it was Martin Scorsese's The Last Temptation of Christ "to dominate the 1980s" in dramatic portrayals of Jesus.

Critical reception
Jesus of Montreal enjoyed mostly positive review. The film has an approval rating of 69% on review aggregator website Rotten Tomatoes, based on 16 reviews, and an average rating of 6.8/10.

Roger Ebert gave the film three and a half stars, calling Arcand "the best of the new generation of Quebec filmmakers", and saying "It's interesting the way Arcand makes this work as theology and drama at the same time", adding Lothaire Bluteau is perfectly cast. Caryn James of The New York Times called the film "intelligent" and "audacious", particularly praising the first half "before it gives in to leaden, self-conscious Christ imagery". Peter Travers of Rolling Stone wrote "Arcand has exposed a world that can't recognize its own hypocrisy or hear a voice in the wilderness". Jonathan Rosenbaum called it a "must-see". David Denby of New York, however, felt Jesus of Montreal was "smug from the beginning", but the film was not boring thanks to Arcand's "theatricality and skill". Entertainment Weekly gave the film a C−, questioning the controversy depicted in the film, saying "Hasn’t Canada, in the past 20 years, ever seen a single touring company of Jesus Christ, Superstar?" and claiming the film "flits between the smug and the ersatz mystical". Hal Hinson of The Washington Post said the scenes where Daniel collects his actors are the best part of the film, but the rest is outdated. In terms of religious response, Jesus of Montreal met "dead calm" on its release, in contrast to Scorsese's more controversial The Last Temptation of Christ.

Critics in the Toronto International Film Festival ranked the film second in the Top 10 Canadian Films of All Time in 1993 and 2004 and fourth in 2015. In 2003, Rob Mackie of The Guardian called the film "thought-provoking and wickedly funny" and said "Lothaire Bluteau, makes a charismatic focus whose performance makes sense of the whole thing". In 2010, British critic Mark Kermode named Bluteau as one of "The 10 best screen faces of Jesus," calling him "mesmerising" and praising the film as a "genuine masterpiece" and "real cinematic miracle". In 2014, Marc-Andre Lussier of the Montreal-based La Presse called the film excellent. E! Online named it the third best "Jesus-inspired" film, calling it "beautiful" and "inventive".

In 2001, an industry poll conducted by Playback named it the sixth best Canadian film of the preceding 15 years.

Accolades
Jesus of Montreal won the Prize of the Ecumenical Jury at the 1989 Cannes Film Festival and swept the 11th Genie Awards, winning 12 prizes, including Best Motion Picture, Best Director for Arcand, and the Golden Reel Award. It was also nominated for the 1989 Academy Award for Best Foreign Language Film.

title: Jesus of Montreal


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City of New Orleans (train)

The City of New Orleans is a long-distance passenger train operated by Amtrak in the Central United States between Chicago and New Orleans. The overnight train takes about 19$1/2$ hours to complete its 934 mi route, making major stops in Champaign–Urbana, Carbondale, Memphis, and Jackson as well as in other small towns.

The City of New Orleans was first initiated by the Illinois Central Railroad in 1947 as the daytime complement to the Panama Limited, a night train dating back to 1911. In 1971 both routes were conveyed to Amtrak, which retained only the Panama Limited. In 1981 Amtrak revived the City of New Orleans name for the train, still on an overnight schedule, on the heels of the popular song of the same name by Steve Goodman.

Additional corridor service on the northern segment of the route is provided by the Illini and Saluki between Chicago and Carbondale, Illinois. The City of New Orleans is the only Amtrak train to serve Tennessee.

During fiscal year 2023, the train carried 233,876 passengers, an increase of 50.3% from FY2022. In FY2016, the last year that route-specific revenue data was given, the train had a total revenue of $18,706,915, a 3.7% decrease from FY2015.

Illinois Central
The Illinois Central Railroad introduced the original City of New Orleans on April 27, 1947. It was a daytime, all-coach companion to the overnight Panama Limited, which had been all-Pullman for most of its run. EMD E7 diesel locomotives pulled new lightweight Pullman Company coaches. The 921 mi route, which the City of New Orleans covered in 15 hours 55 minutes, was the longest daytime schedule in the United States. The City of New Orleans exchanged St. Louis—New Orleans through cars at Carbondale, Illinois and Louisville—New Orleans cars at Fulton, Kentucky. The average speed of the new train was nearly 60 mph with a maximum of 100 mph; a result of the largely flat route of the Illinois Central along the Mississippi River. By October 25, 1959, the timetable had lengthened to 16 hours 30 minutes. The train remained popular throughout the 1960s and gained ex-Missouri Pacific Railroad dome coaches in 1967.

Amtrak
When Amtrak assumed operation of U.S. passenger train service on May 1, 1971, it dropped the Panama Limited in favor of retaining the City of New Orleans on the traditional daytime schedule. At that time the City of New Orleans was one of four trains that called at Chicago's Central Station, which was originally Illinois Central's terminal in Chicago. All Amtrak trains were consolidated to Union Station by March 1972. Inauspiciously, the City of New Orleans was involved in Amtrak's first fatal derailment on June 10, near Salem, Illinois. Because this train made no connections with other trains at either New Orleans or Chicago, Amtrak moved the train to an overnight schedule on November 14, 1971, and renamed it the Panama Limited.

In February 1981, Amtrak restored the City of New Orleans name while retaining the overnight schedule; Amtrak hoped to capitalize on the popularity of the song written by Steve Goodman and recorded in 1972 by Arlo Guthrie. A Kansas City section, the River Cities, began operation on April 29, 1984. It separated from the City of New Orleans at Centralia, Illinois (later Carbondale) and ran to Kansas City via St. Louis. This section ended on November 4, 1994. The northbound City of New Orleans began stopping at Gilman, Illinois, on October 26, 1986. Gilman had last seen service in 1971; the Illini stopped there as well. Service to Cairo, Illinois, south of Carbondale, ended on October 25, 1987.

Amtrak operated the City of New Orleans reliably through the 1980s and into the 1990s; in 1992, the City of New Orleans had the highest on-time performance rate of all Amtrak services at 87%. Nevertheless, on-board service had declined; Trains magazine editor J. David Ingles called the train "Amtrak's least-glamorous long-distance train". On March 3, 1994, new Superliner cars replaced the single-level cars. Real dining service returned; by the early 1990s an Amfleet dinette had doubled with the lounge car. On September 10, 1995, the train was rerouted between Memphis and Jackson due to the Illinois Central's desire to abandon the original route (the Grenada District) in favor of the newer and flatter Yazoo District. Five towns in the Mississippi Delta lost service–Batesville, Grenada; Winona; Durant and Canton.

On March 15, 1999, the City of New Orleans collided with a flatbed semi-trailer near Bourbonnais. Of the 217 people aboard the train, eleven people were killed in the Bourbonnais train accident. The fourth car, where the fatalities occurred, was engulfed in flames following the collision at the crossing.

Because of damage in Mississippi and Louisiana due to Hurricane Katrina, Amtrak was forced in late August 2005 to truncate the City of New Orleans at Memphis, Tennessee. Service was first restored as far south as Hammond, Louisiana, and on October 8, 2005, Amtrak resumed service to New Orleans. In December 2005 Arlo Guthrie, who helped popularize the song "City of New Orleans", led a fundraiser aboard the City of New Orleans and at several stops along the train's route to help in the hurricane recovery efforts.

The train began stopping at Marks, Mississippi, on April 4, 2018, following the completion of a new station.

Starting October 1, 2019, traditional dining car services were removed and replaced with a reduced menu of 'Flexible Dining' options.

From October 1, 2020, to May 31, 2021, daily service was reduced to three trains per week due to the COVID-19 pandemic.

Proposed expansion
In 2016, Amtrak released a study on bringing passenger rail to the Gulf Coast that recommended extending the City of New Orleans to Orlando, Florida along trackage once traversed by the Sunset Limited but unserved since Hurricane Katrina.

The Chicago Region Environmental and Transportation Efficiency Program (CREATE) is in the preliminary design phase for the Grand Crossing Project. This project will reroute the Illini, Saluki, and City of New Orleans trains from CN's tracks to Norfolk Southern's Chicago Line in the Greater Grand Crossing neighborhood in Chicago. This will eliminate a time-consuming switchback on the St. Charles Air Line into Chicago Union Station.

In 2023, Louis Armstrong New Orleans International Airport began seeking federal funding for a people mover linking the airport to a new station serving the planned New Orleans–Baton Rouge passenger rail service, as well as the City of New Orleans.

Route details
The City of New Orleans uses rail lines that were once part of the Illinois Central Railroad system, and are now owned by the Canadian National Railway (CN):
 * St. Charles Air Line Railroad (IC), Chicago Union Station to the shore of Lake Michigan, now CN
 * Illinois Central Railroad Chicago Branch and main line, Chicago to Cairo, Illinois, now CN
 * Chicago, St. Louis and New Orleans Railroad (IC), Cairo to Fulton, Kentucky, now CN
 * Chesapeake, Ohio and Southwestern Railroad (IC), Fulton to Memphis, Tennessee, now CN
 * Yazoo and Mississippi Valley Railroad (IC), Memphis to Jackson, Mississippi, now CN
 * Chicago, St. Louis and New Orleans Railroad (IC), Jackson to New Orleans, Louisiana, now CN

, the southbound City of New Orleans leaves Chicago at 8 p.m., traveling overnight through southern Illinois and Kentucky for arrival at breakfast time the following morning in Memphis, lunchtime in Jackson, and mid-afternoon in New Orleans. Northbound trains leave New Orleans in early afternoon, arriving in Jackson in early evening, then traveling through Tennessee and southern Illinois overnight before arriving in Champaign-Urbana at breakfast time the following morning and Chicago just after rush hour.

The train is the sole Amtrak service in Tennessee, making stops at Memphis and Newbern.

In fiscal year 2004, the City of New Orleans achieved an on-time performance rating of 67.6%. The train's average on-time performance rating for fiscal year 2006 was 86.8%, reaching as high as 93.5% for the month of May 2006.

Equipment
A typical City of New Orleans consist includes:
 * GE Genesis/Siemens ALC-42 locomotive
 * Viewliner Baggage car
 * Superliner Transition-sleeper
 * Superliner Sleeper
 * Superliner Diner-Lounge
 * Superliner Sightseer Lounge
 * Superliner Coach
 * Superliner Coach
 * Superliner Coach-baggage

Folk song
"City of New Orleans" is a folk song written and first performed by Steve Goodman in 1970 and subsequently recorded by Arlo Guthrie in 1972. Many other artists, notably Willie Nelson, Johnny Cash, John Denver (with slightly different lyrics), Judy Collins, and Jerry Reed have also recorded it. The song lyrics trace the trail of the train route in mourning the "...disappearin' railroad blues...."

Tom Rush performed and recorded a folk song (based on some Bukka White songs) about the Panama Limited, the overnight train along the same route as the City of New Orleans.

title: City of New Orleans (train)


text:
Machina/The Machines of God

Machina/The Machines of God is the fifth studio album by the American alternative rock band the Smashing Pumpkins, released on February 29, 2000, by Virgin Records. A concept album, it marked the return of drummer Jimmy Chamberlin and was intended to be the band's final official LP release prior to their initial breakup in 2000. A sequel album—Machina II/The Friends & Enemies of Modern Music—was later released independently via the Internet, and in highly limited quantities for the physical version.

Following the electronic and industrial rock elements established by its predecessor, Adore, Machina again proved controversial to the band's fan base and failed to reconnect them with chart-topping success. However, after the relatively brief Adore tour, the new lineup with Chamberlin and the former Hole bass guitarist Melissa Auf der Maur mounted longer international tours that returned the live incarnation of the band to a guitar-driven hard rock style.

Background and concept
After the Adore tour ended in the second half of 1998, lead singer/guitarist Billy Corgan immediately began to work on new material, playing new songs as early as October of that year. In the same month, the four original band members convened, and decided that Jimmy Chamberlin would rejoin the band, and that a final album and tour would be mounted before the group disbanded permanently. "If you want to know what Jimmy brings back to the band," Corgan told Q, "then listen to Adore and this new record back-to-back. It speaks for itself." According to an August 19, 2014 interview with Ryan Leas, Corgan explained, "I was thinking like, you know, what the Beatles did with Sgt. Pepper’s. Why can’t we make a really different type of record? So that was my thinking going into it."

Corgan envisioned a lengthy concept album in conjunction with a musical theater approach to a tour, based around the idea of the band playing exaggerated versions of themselves, as the press and public seemed to view them. He later explained, "the band had become such cartoon characters at that point in the way we were portrayed in the media, the idea was that we would sort of go out and pretend we were the cartoon characters." From there, a story was conceived revolving around a rock star named Zero (based on the public persona of Corgan) hearing the voice of God, renaming himself Glass, and renaming his band The Machines of God. Fans of the band were referred to as the "Ghost Children".

Corgan originally wanted Machina to be a double album, but Virgin Records was not interested after the disappointing sales of Adore.

Recording
Much like previous albums, the songs were first tracked acoustically at Corgan's house in late 1998 before the band set to work on them at their practice space and the Chicago Recording Company. The recording was conducted with the team responsible for finishing Adore – co-producer Flood and engineers Howard Willing and Bjorn Thorsrud.

The band took a break from recording in April 1999 to embark on the Arising! tour, which took the band to nine small clubs. After the tour's conclusion, the bass guitarist, D'arcy Wretzky, left the band, leaving the rest of them in a difficult position. Corgan later said, "This put a stress obviously on the full integrity of the project, because it was connected to the band not only bringing the music to fruition fully, but also the public component of being in character. I ended up in a broken band with a half-ass enthusiasm towards finishing a project already started."

Flood later remembered, "We decided that we were going to have to make a very different kind of record [...] we pretty much went back to the drawing board. Certain songs on the record are survivors from that first period, but it meant a shift in the ways songs had to be formed."

Corgan described the new recording process for Machina, now focused more on the song development than on the concept:

We spent most of the time trying to take the songs as far as they could be taken down a particular avenue. So if it was gonna be proto-cyber metal, we tried to make it very proto and very cyber. If it was acoustic, then we tried to not fall into the typical ballad-y kind of aspects. That's where we spent most of our time. The songs were probably written in about a day.

In the end, the theatrical qualities of the live performances and appearances were mostly abandoned. Many of the songs on the album refer to the ending of love and relationships (both romantic and otherwise), most of them obvious references to the band themselves. Corgan described "This Time" as "my love song to the band". According to Corgan, the album was structured so that the first eight tracks would be "more poppy", and the last seven "more arty". Generally, Corgan appraised the sound of the album as "a rock 'n' roll approach with pop sensibility". After the electronica-influenced Adore, Machina was a return to the distorted guitar sound of previous albums, though synthesizers and acoustic guitars were still heavily used.

Marketing and release
Machina was released as a single album on February 29, 2000, with a bonus disc, Still Becoming Apart, available at certain stores.

A video was made for "Stand Inside Your Love", the planned first single, in late 1999, but at the last minute, "The Everlasting Gaze" was issued as the album's first promotional radio single in December 1999. "Stand Inside Your Love" was released as the first commercially available single on January 21, 2000. "I of the Mourning" was also released as a promotional single and received limited airplay. "Heavy Metal Machine" was issued as a promotional cassette but was not distributed to radio stations.

On March 9, the band went on the Thursday edition of @MTV Week at Broadway Studios in New York City for a half-hour live TV special. During the broadcast they performed "The Everlasting Gaze" as well as "I of the Mourning" after an online and call-in voting competition between three songs from Machina. The special also featured Carson Daly interviewing the band members and online chats with the band, and an interactive online video for "The Crying Tree of Mercury".

On May 23, Corgan announced on KROQ-FM that the band would be breaking up at the end of the year. The band reconvened in a studio to finish off the leftover Machina tracks, but Virgin remained uninterested, so the band released Machina II on their own in September, handing them off to fans to distribute free over the Internet.

The video for the final single, "Try, Try, Try", directed by Jonas Åkerlund, was released on September 11, 2000, but did not receive airplay in the US due to its graphic content.

Glass and The Machines of God
Although the full extent of the original concept went unrealized, the storyline of Glass was tied to the album's release and marketing. A sequence of writings, by Corgan, were released under the name "Glass and the Machines of God" starting in the CD booklet and continuing over the Internet and elsewhere. Corgan challenged fans to solve the "Machina mystery" hinted at through it all, and in December 2000 posted his favorite fan interpretations.

The booklet artwork, a series of paintings by Vasily Kafanov, loosely told the album's story while hinting at themes related to alchemy, chemistry, metallurgy, physics, medicine, astrology, semiotics, mysticism, spiritualism, and art. The album was nominated for a 2001 Grammy for Best Recording Package.

In June 2001, a viral marketing campaign written by Jim Evans and Ben Allgood was launched via the Smashing Pumpkins message board, encouraging users to seek out mysterious websites and video clips. This early example of an internet-based alternate reality game eventually unveiled the news of a new online animated series by Sony based on the Machina story. Due in part to the changing circumstances surrounding the album's rollout, the series was shelved before any episodes were completed, though several portions have been leaked to YouTube. In a 2010 interview, Corgan commented on the abandoned cartoon, stating, "Yeah, I think you can find a few bits and pieces, but it never got finished unfortunately. That would've at least explained what the fuck I was trying to do [laughs]. I'm not even sure now what I was trying to do. But I was trying to do something."

Critical reception
According to Metacritic, the album received generally favorable reviews, scoring 66 out of 100 based on 15 reviews.

Jim DeRogatis of the Chicago Sun-Times called Machina "an exceedingly impressive and hard-driving record" and contended that it was the band's "masterpiece".

"Machina finds the quartet back at their grunge-rocking best", wrote Clark Collis in The Daily Telegraph. "[Corgan] seems re-energised as a writer and singer with the likes of 'Stand Inside Your Love' and 'Try Try Try' standing among their best work to date, while the lyrical refrain of the epic 'Glass and the Ghost Children' should please all those who like their rock music to be mean, moody and not a little psychotic."

In Q, Paul Elliott described it as "mostly, a wonderful rock album" that was "not without its faults". "'Heavy Metal Machine' is a hokey title for a dull rock song. 'Glass and the Ghost Children' sounds like mid-'80s U2 pretending to be The Doors… Often Corgan is at his most effective when he keeps it simple... 'With Every Light' is the gentlest song on Machina, and perhaps the best."

However, a few reviews were negative, such as NME's, who criticized the album for "[not sounding] like a band in love with the potential and power of music".

Commercial performance
Machina is the second lowest-selling commercially released Pumpkins album to date, with US sales of 583,000 units up to 2005. Although it entered the US charts at number 3, selling 165,000 copies in its first week, sales declined sixty percent the second week, and continued to slide. Regarding the disappointing sales, Jimmy Chamberlin commented, "It was like watching your kid flunking out of school after getting straight A's for ten years." Corgan, in 2008, summarized the failures of the album: I think the combination of the band breaking up during that record, D'arcy leaving the band... Korn was huge at the time, Limp Bizkit was huge at the time, so the album wasn't heavy enough. It wasn't alternative enough, it was sort of caught between the cracks. And it was a concept record, which nobody understood. So the combination of those elements was a career-killer... Adore didn't alienate the audience, they were just sort of like, 'Oh, it's not the record I want.' [Machina] alienated people.

Reissue
The album is scheduled to be reissued, this time resequenced as a double album with the Machina II material as was originally envisioned. The original co-producer Flood will be involved with a complete remix of all the material and sequencing into its original order as a two-disc concept album. Part of the restored concept album will be a suite simulating a live Machines of God concert, possibly with crowd noise added, with a mix inspired by Kiss' Alive!.

From July 2015, the reissue's release was put on permanent hold due to legal troubles with the record label. Corgan has said he has spent a lot of time on this and wants it to be released, but the legal issues need to be resolved first. In August 2018, Billy answered an Instagram Q&A about this. The question was "Will the Machina reissue ever see the light of day?" He answered "Just signed legal settlement today on that. So yes". Corgan announced in later Q&As that the reissue will feature completely new artwork and will not reuse any of the original Machina artwork.

As of the January 28, 2021, the NME reports that the Machina reworking is complete and Billy Corgan states that it will contain at least 80 songs.

Track listing
Note

Personnel
Band
 * Billy Corgan – vocals, guitar, bass guitar, keyboards, piano, production, art direction, mixing
 * James Iha – guitar, bass guitar
 * D'arcy Wretzky – bass guitar
 * Jimmy Chamberlin – drums

Additional musicians
 * Mike Garson – piano on "With Every Light"

Production
 * Bill Douglass – mixing assistance
 * Flood – production, mixing
 * Vasily Kafanov – sleeve paintings and etchings
 * Tommy Lipnick – technical assistance
 * Tim "Gooch" Lougee – technical assistance
 * Jef Moll – mixing assistance
 * Alan Moulder – mixing
 * Andrew Nicholls – mixing assistance
 * Erin Piepergerdes – mixing assistance
 * Scott Schimpff – technical assistance
 * Greg Sylvester – art direction
 * Bjorn Thorsrud – recording, mixing, digital editing, compilation, additional programming
 * Howie Weinberg – mastering
 * Howard C. Willing – recording, mixing
 * Thomas Wolfe – art direction
 * Yelena Yemchuk – art direction
 * Mike Zainer – mixing assistant

title: Machina/The Machines of God