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Lauren Reed

Lauren Reed is a fictional character played by Melissa George in the ABC television series Alias. She is Michael Vaughn's wife during the third season of the series.

Character biography
Lauren is the daughter of Senator George and Olivia Reed, and was introduced at the beginning of the third season of the show as Vaughn's wife, having married him during Sydney's two-year absence under the control of The Covenant. Though Lauren reveals early in the season she was trained as a CIA field agent at the Farm, her father, believing the occupation to be too dangerous, used his influence to make sure she did not receive a field rating. Thus, she became an agent of the NSC, serving as its liaison to the CIA and working in the same CIA office with both Sydney Bristow and Michael Vaughn.

Lauren and Sydney have an antagonistic relationship from the start, with Lauren in particular feeling threatened that her husband's former lover is now back in his life. Eventually, Sydney and Lauren start co-operating and even go on missions together. Their dynamic briefly falters when Lauren discovers that the murder of a Russian diplomat that she was investigating was committed by Sydney during her two-year absence and Vaughn worked with Sydney's associates to conceal the truth; however, when Lauren witnesses Sydney being subjected to brutal interrogation and threatened with a lobotomy, she assists Vaughn, Jack, and Sloane in breaking Sydney out of prison. During this mission, Lauren shoots and kills one of Sydney's interrogators, an act which apparently leaves her distraught.

However, it is soon revealed Lauren is actually a double agent for the Covenant, working to sabotage the CIA's work against the criminal organization and to gain more information about Sydney through Vaughn. Her first known mission for the Covenant was the assassination of Andrian Lazarey. She is also, contrary to her air of innocence, a cold-blooded killer, yet she also appears to have a soft side since she can't bring herself to pull the trigger when tasked to murder her own father when he is given evidence of her true affiliations and to shore up her faltering relationship with Vaughn. It was her mother that stepped in and pulled the trigger herself, revealing she too is an agent of The Covenant.

Lauren is also an adulterer, for not only does she seduce Vaughn and some of her targets, but also becomes involved (both personally and professionally) with Julian Sark, who is also now working for The Covenant. Eventually, her true nature is discovered by the CIA and she becomes a marked woman, with both Sydney and Vaughn wanting to kill her. Lauren then impersonates Sydney with a prosthetic mask to infiltrate the CIA, shoots Marshall Flinkman, and inflicts major damage to the building as well as killing and injuring several agents with remote-triggered bombs before murdering an innocent motorist and stealing his car to escape.

Vaughn becomes obsessed with revenge and is even encouraged by Jack Bristow to kill Lauren. Vaughn eventually captures Lauren, who tells him that she fell in love with him, but then Sydney came back and he didn't need her anymore. She also claimed that the Covenant hadn't been in contact with her for two years by that point and she thought they'd leave her with him in peace. Her 'confession' is ambiguous as she does appear to have developed feelings for Vaughn, as is evident by her reaction to Sark's earlier observation that it killed her when Michael dropped his gun, which was trained on her, to save Sydney. Vaughn's plans are thwarted by Katya Derevko who helps Lauren escape.

When Sark is captured by the CIA, Lauren is seemingly brought into the cell next to him to arrange his release. After Sark gives her a crucial password, she reveals herself as Sydney, wearing an identical mask to the one the real Lauren had used earlier with a voice modulator.

In the season three finale, Sydney loses to Lauren during vicious hand-to-hand combat, but Lauren is fatally shot by Vaughn before she can kill Sydney. Before her death, she reveals to Sydney the location of a safe deposit box containing vital information about Sydney's family. This information turns out to be evidence that Jack Bristow was authorized by the CIA to kill his ex-wife, Sydney's mother Irina Derevko, an order he apparently carried out.

In the fourth season episode, "A Man of His Word", Lauren's corpse was shown in a special high-security crypt after Sark demands to see her body. For reasons not yet explained, the CIA determined Lauren's death should not be made public knowledge, and the double agent's remains are housed in the CIA crypt. Melissa George makes a cameo appearance as the dead woman.

Casting and creation
Katherine Heigl auditioned for the role of Lauren Reed but did not get it. Melissa George was working on Charmed when J.J. Abrams called to tell her she had landed the part. George had auditioned to play lead character Sydney Bristow, but lost out to Jennifer Garner. When that happened, ABC cast her on Thieves instead. It was originally planned that George would guest-star for several episodes but she was quickly upgraded to regular. To explain her character's accent (George is Australian), the writers wrote that she was born in the United States but grew up in London.

Characterization and fan reaction
At the beginning of the third season, George said of Reed: "I think it would be interesting if we did see Lauren turn evil, because she seems so pleasant, and innocent and lovely, which makes it more exciting if she was evil..." Looking back on her character, George said: "Nobody cared about Lauren Reed, because she had no heart. Zero. There was nothing to like about her. But that was beautiful at the same time, because she was an assassin, after all. I mean, you see Jason Bourne or James Bond or any of the other characters, they kill and they’re vengeful characters, but you don’t hate them. Lauren Reed, though, you hate."

The character of Lauren Reed received quite a bit of animosity from fans of the show, according to series creator J. J. Abrams, in part because she disrupted the romance between Sydney and Vaughn. However, Abrams indicated that the revelation of Lauren being a turncoat was planned from the beginning and was not because of fan response. George has said that "I got offered a couple of films so I decided to kind've [sic] move on." George has joked "my character was written out for being too evil".

Since Lauren died "off screen" there were rumors during the fourth season that the character would return. George herself said "there is talk of me coming back at some point, because obviously in Alias you're never written out completely.... [but] I wouldn't want to go back unless she got some focus." These rumors were put to rest when Lauren's corpse was shown in the ninth episode of season 4. The season 4 gag reel, included in the DVD release of that season, includes footage in which Melissa George as Lauren makes a surprise appearance during a scene, before George breaks character and begins to laugh.

title: Lauren Reed


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Leila (music producer)

Leila Arab (, born in 1971), professionally known as Leila, is an Iranian-born record producer and DJ based in London, England. She has released music on the labels Rephlex, XL and Warp. She has also worked extensively with Icelandic singer Björk.

Biography
Arab was born in Pahlavi Iran and spent part of her childhood there. Her family fled to London following the Iranian Revolution in 1979. She became interested in DJing and keyboards, and left college to perform with singer Björk 1994, later working with her as a sound engineer and live mixer. She met Richard D. James while both were on tour with Björk, and both James and Grant Wilson-Claridge suggested she release her solo recordings on their label Rephlex Records.

In 1998, Leila released her debut album, Like Weather, on Rephlex. In 2000, she released Courtesy of Choice on XL Recordings. Ben Thompson of The Telegraph referred to these releases as "two collections of spooky electronic soul which [...] established her as an integral member of the Nineties' golden generation of British writer-producers."

After a hiatus following the death of her parents, she released Blood Looms and Blooms in 2008 on Warp. It included vocal contributions from Terry Hall and Martina Topley-Bird. In 2009, she contributed a cover of an Aphex Twin song, "Vordhosbn", to the Warp20 (Recreated) compilation album.

In 2012, she released her fourth LP U&I on Warp. In 2015, she released a collaborative EP with Zebra Katz, titled Nu Renegade, on ZFK Records.

Albums

 * Like Weather (1998)
 * Courtesy of Choice (2000)
 * Blood Looms and Blooms (2008)
 * U&I (2012)

EPs

 * Nu Renegade (2015) (with Zebra Katz)

Singles

 * "Don't Fall Asleep" (1997)
 * “Space, Love" (1998)
 * "Feeling" (1998)
 * "Sodastream" (1999)
 * "Mettle" (2008)
 * "Deflect" (2008)
 * "(Disappointed Cloud) Anyway" (2011)

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

title: Leila (music producer)


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Talk:Rigel

Absolute magnitude
Rigel is actually a multi star system. But the energy output of its components other than the main star are negligable. Its average apperent magnitude is m=0.13 and the distance is d=860 ly. With these figures its absolute magnitude should be M= -6.97. But the article gives the figure as M= -7.84. Have I missed something? Nedim Ardoğa (talk) 14:42, 6 January 2021 (UTC)
 * Yes, you missed something. First, the references given for the apparent magnitude, the distance, and the absolute magnitude are not the same, so they are not necessarily consistent.  In fact the reference for the absolute magnitude (which I just changed to the original paper that derived the value instead of one that was just quoting it) assumed a distance of $360 pc$.  There is also extinction, which many people forget about.  In this case it isn't obvious how many magnitudes of extinction have been included in the calculation because the paper goes directly from the distance modulus and colour excess to the absolute magnitude.  However, the difference between the distance modulus and the absolute magnitude makes it fairly clear that there are about 0.16 magnitudes of extinction in there.  That is consistent with the E(B-V) of 0.05.  Lithopsian (talk) 17:27, 6 January 2021 (UTC)

Distance
The first paragraph gives a distance of 860 light-years (260 pc) from Earth. Yet the sidebar lists Distance	1,010 ± 20 ly (309 ± 5 pc). KevinTernes (talk) 14:15, 15 September 2021 (UTC)
 * Thanks for pointing that out. I took a look and it seems that the infobox value was obtained using another method, but the value of 860 ly (863, to be exact) is the more widely accepted value. I have updated the infobox and added a reference. - Pax  Verbum  18:54, 15 September 2021 (UTC)
 * The distance isn't consistent now to the measured parallax - which i think is a pretty accurate method for this distance. The simbad database also states that the Parallax is actually 3.78 (compare: https://simbad.u-strasbg.fr/simbad/sim-basic?Ident=Rigel). Should the parallax be changed to reflect this value? Or is the gaia data which was used for the 3.2 value more accurate? 194.113.40.61 (talk) 07:18, 13 February 2023 (UTC)
 * The parallax in the starbox is for Rigel B. It should probably have a note to that effect since it isn't obvious from the reference.  Yes, it is fairly accurate, but it is also somewhat indirect and potentially doesn't reflect the actual distance of Rigel.  The parallax shown at Simbad for Rigel A is the old Hipparcos parallax because Gaia can't yet provide a useful parallax for such bright stars.  The Hipparcos value is still widely-used as the "reference" distance for Rigel.  Lithopsian (talk) 14:51, 13 February 2023 (UTC)

Pronunciation
I would rhyme this with Nigel, but is that correct? Would it be a hard G? — Preceding unsigned comment added by 2A01:4C8:1428:C467:F0B7:ED5:AF2E:FE81 (talk) 07:12, 2 January 2022 (UTC)
 * I rhyme it with Nigel, the 'g' as in jam. Some pronunciation guides give a hard 'g', but I haven't heard this actually being used.  Lithopsian (talk) 17:38, 2 January 2022 (UTC)
 * And that corresponds to the tri-literal root RJL of the Arabic name (ar-Rijl al-Jauza, the foot of the giant). -- Elphion (talk) 18:27, 2 January 2022 (UTC)

Evolutionary stage
The sidebar says that Rigel is on the main sequence but the text says that it has evolved away from the main sequence. Presumably the text is correct 155.137.25.15 (talk) 11:20, 21 March 2022 (UTC)
 * The sidebar says that the faint companion, or at least one component of it if it is a binary, is on the main sequence. It describes the primary star (component A) as being a blue supergiant.  Lithopsian (talk) 20:36, 21 March 2022 (UTC)

title: Talk:Rigel


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Mughal-e-Azam

Mughal-e-Azam is a 1960 Indian epic historical drama film produced and directed by K. Asif. Starring Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote, it follows the love affair between Mughal Prince Salim (who went on to become Emperor Jahangir) and Anarkali, a court dancer. Salim's father, Emperor Akbar, disapproves of the relationship, which leads to a war between father and son.

The development of Mughal-e-Azam began in 1944, when Asif read a 1922 play called Anarkali, by the playwright Imtiaz Ali Taj, which is set in the reign of Emperor Akbar (1556–1605). Production was plagued by delays and financial uncertainty. Before its principal photography began in the early 1950s, the project had lost a financier and undergone a complete change of cast. Mughal-e-Azam cost more to produce than any previous Indian motion picture; the budget for a single song sequence exceeded that typical for an entire film of the period. The soundtrack, inspired by Indian classical and folk music, comprises 12 songs voiced by playback singer Lata Mangeshkar along with Mohammed Rafi, Shamshad Begum and classical singer Bade Ghulam Ali Khan, and is often cited among the finest in the history of Hindi cinema.

Mughal-e-Azam had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film, a distinction it held for 15 years. The accolades awarded to the film include one National Film Award and three Filmfare Awards at the 8th Filmfare Awards. Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released on 12 November 2004, was also a commercial success.

The film is widely considered to be a milestone for its genre, earning praise from critics for its grandeur and attention to detail, and the performances of its cast (especially that of Madhubala, who earned a nomination for the Filmfare Award for Best Actress). Film scholars have welcomed its portrayal of enduring themes, but question its historical accuracy. It was the most expensive Indian film made until then.

Plot
Emperor Akbar, who does not have a male heir, undertakes a pilgrimage to a shrine to pray that his wife Jodhabai give birth to a son. Later, a maid brings the emperor news of his son's birth. Overjoyed at his prayers being answered, Akbar gives the maid his ring and promises to grant her anything she desires.

The son, Prince Salim, grows up to be spoiled, flippant, and self-indulgent. His father sends him off to war, to teach him courage and discipline. Fourteen years later, Salim returns as a distinguished soldier and falls in love with court dancer Nadira, daughter of the maid who brought the emperor news of his son's birth, whom the emperor has renamed Anarkali, meaning pomegranate blossom. The relationship is discovered by the jealous Bahar, a dancer of a higher rank, who wants the prince to love her so that she may one day become empress. Unsuccessful in winning Salim's love, she exposes his forbidden relationship with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands.

Salim rebels and amasses an army to confront Akbar and rescue Anarkali. Defeated in battle, Salim is sentenced to death by his father, but is told that the sentence will be revoked if Anarkali, now in hiding, is handed over to die in his place. Anarkali gives herself up to save the prince's life and is condemned to death by being entombed alive. Before her sentence is carried out, she begs to have a few hours with Salim as his make-believe wife. Her request is granted, as she has agreed to drug Salim so that he cannot interfere with her entombment.

As Anarkali is being walled up, Akbar is reminded that he still owes her mother a favour, as it was she who brought him news of Salim's birth. Anarkali's mother pleads for her daughter's life. The emperor has a change of heart, but although he wants to release Anarkali he cannot, because of his duty to his country. He therefore arranges for her secret escape into exile with her mother, but demands that the pair live in obscurity and that Salim is never to know that Anarkali is still alive.

Development
The Urdu dramatist Imtiaz Ali Taj wrote a play about the love story of Salim and Anarkali in 1922, based more on a 16th-century legend than on fact. A stage version was soon produced, and screen versions followed. Ardeshir Irani made a silent film, Anarkali, in 1928, and remade it with sound in 1935. In the early 1940s, the tale of Anarkali inspired producer Shiraz Ali Hakeem and young director K. Asif (Karimuddin Asif) to make another film adaptation which they would title Mughal-e-Azam. They recruited four Urdu writers to develop the screenplay and dialogue: Aman (Zeenat Aman's father, also known as Amanullah Khan), Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi. It is not known how the writers collaborated or shared out their work, but in 2010 The Times of India said that their "mastery over Urdu's poetic idiom and expression is present in every line, giving the film, with its rich plots and intricate characters, the overtones of a Shakespearean drama." As the script neared completion, Asif cast Chandra Mohan, D. K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively. Shooting started in 1946 in Bombay Talkies studio.

The project faced multiple hurdles, which forced its temporary abandonment. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier. The actor Chandra Mohan suffered a heart attack and died in 1949. Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to finance the film because of his interest in the history of Akbar. Production was then restarted with a new cast.

Believing that the film had been cancelled, Kamal Amrohi, one of the scriptwriters who was also a director, planned to make a film on the same subject himself. When confronted by Asif, he agreed to shelve the project. Another unrelated film production based on the same stage play was Nandlal Jaswantlal's Anarkali, starring Bina Rai and Pradeep Kumar, which became the highest grossing Hindi film of 1953.

Casting
Asif had initially rejected Dilip Kumar for the part of Prince Salim. Kumar was reluctant to act in a period film, but accepted the role upon the insistence of the film's producer. According to Kumar, "Asif trusted me enough to leave the delineation of Salim completely to me." Kumar faced difficulty while filming in Rajasthan owing to the heat and the body armour he wore. The part of Anarkali had first been offered to Nutan, who declined it; Suraiya was considered for the role but eventually it went to Madhubala, who had been longing for a significant role. Upon signing the film, Madhubala was advancely paid a sum of ₹1 lakh, which was the highest for any actor/actress at that time. She suffered from congenital heart disease, which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film.

To become the character of Emperor Akbar, Prithviraj Kapoor was reported to have "relied completely on the script and director". Prior to make-up, Kapoor would declare, "Prithviraj Kapoor ab jaa rahaa hai" ("Prithviraj Kapoor is now going"); after make-up, he would announce, "Akbar ab aa rahaa hai" ("Akbar is now coming"). Kapoor faced difficulty with his heavy costumes, and suffered blisters on his feet after walking barefoot in the desert for a sequence. Lance Dane, a photographer who was on set during the filming, recalled that Kapoor struggled to remember his lines in some scenes; he mentioned one scene in particular that Kapoor required 19 takes to get right. At the time of filming, Kapoor who was on a diet, was told by Asif to regain the lost weight for his portrayal of Akbar. Durga Khote was cast as Akbar's wife Jodhabai, and Nigar Sultana as the dancer Bahar. Zakir Hussain, who later became a tabla maestro, had initially been considered for the part of the young Prince Salim, but it became the debut role of Jalal Agha, who later performed on the song "Mehbooba Mehbooba" from Sholay (1975).

Design
The production design of the film, led by art director M. K. Syed, was extravagant, and some sets took six weeks to erect. The film, mostly shot in studio sets designed to represent the interior of a Mughal palace, featured opulent furnishings and water features such as fountains and pools, generating the feel of a Hollywood historical epic of the period. The song "Pyar Kiya To Darna Kya" was filmed in Mohan Studios on a set built as a replica of the Sheesh Mahal in the Lahore Fort. The set was noted for its size, measuring 150 ft in length, 80 ft in breadth and 35 ft in height. A much-discussed aspect was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad. The set took two years to build and cost more than ₹1.5 million (valued at about US$314,000 in 1960), more than the budget of an entire Hindi film at the time. The film's financiers feared bankruptcy as a result of the high cost of production.

Artisans from across India were recruited to craft the props. The costumes were designed by Makhanlal and Company, and Delhi-based tailors skilled in zardozi embroidery stitched the Mughal costume. The footwear was ordered from Agra, the jewellery was made by goldsmiths in Hyderabad, the crowns were designed in Kolhapur, and blacksmiths from Rajasthan manufactured the armoury (which included shields, swords, spears, daggers, and armour). The zardozi on costumes were also stitched by designers from Surat. A statue of Lord Krishna, to which Jodhabai prayed, was made of gold. In the scenes involving an imprisoned Anarkali, real chains were placed on Madhubala. The battle sequence between Akbar and Salim reportedly featured 2,000 camels, 400 horses, and 8,000 troops, mainly from the Indian Army's Jaipur cavalry, 56th Regiment. Dilip Kumar has spoken of the intense heat during filming of the sequence in the desert of Rajasthan, wearing full armour.

Principal photography
Principal photography for Mughal-e-Azam began in the early 1950s. Each sequence was reportedly filmed three times, as the film was being produced in Hindi/Urdu, Tamil, and English. The film was eventually dubbed in Tamil and released in 1961 as Akbar, but that version's commercial failure resulted in the abandonment of the planned English dubbing, for which British actors were considered. Asif was accompanied by an extensive crew, which included his assistant directors S. T. Zaidi, Khalid Akhtar, Surinder Kapoor (assisting primarily for the English version), and five others. Additional crew members included cinematographer R. D. Mathur, choreographer Lachhu Maharaj, production manager Aslam Noori, cameraman M. D. Ayub, editor Dharamavir, makeup artists P. G. Joshi and Abdul Hamid, and sound director Akram Shaikh.

Some film sequences were shot with up to 14 cameras, significantly more than the norm at that time. There were many difficulties with the film's lighting; cinematographer Mathur reportedly took eight hours to light a single shot. In total, 500 days of shooting were needed, compared to a normal schedule of 60 to 125 shooting days at the time. Owing to the very large size of the Sheesh Mahal set, the lighting was provided by the headlights of 500 trucks and about 100 reflectors. The presence of the mirrors on the set caused problems, as they sparkled under the lights. Foreign consultants, including British director David Lean, told Asif to forget the idea since they felt that it was impossible to film the scene under the intense glare. Asif confined himself to the set with the lighting crew, and subsequently overcame the problem by covering all the mirrors with a thin layer of wax, thereby subduing their reflectivity. Mathur also used strategically placed strips of cloth to implement "bounce lighting", which reduced the glare.

A number of problems and production delays were encountered during filming, to the extent that at one point Asif considered abandoning the project. Kumar defended the long duration of filming, invoking the massive logistics of the film and explaining that the entire cast and crew were "acutely conscious of the hard work [they] would have to put in, as well as the responsibility [they] would have to shoulder."

The production also suffered from financial problems, and Asif exceeded the budget on a number of occasions. The final budget of the film is a subject of debate. Some sources state that Mughal-e-Azam cost ₹10.5 million to produce (about US$2.25 million at the time) while others state that it cost ₹15 million (about $3 million). This made Mughal-e-Azam the most expensive Indian film of the period. A number of estimates put the film's inflation-adjusted budget at ₹500 million to ₹2 billion. The budget situation strained the relationship between Asif and Pallonji, while the production also faced troubled relationships among other crew members; differences crept up between Asif and Kumar when the former married the latter's sister. Another source of trouble was the romantic relationship and ultimate break-up of Kumar and Madhubala, who had been dating for nine years.

Post-production
Sohrab Modi's Jhansi Ki Rani (1953) was the first Indian film to be shot in colour, and by 1957, colour production had become increasingly common. Asif filmed one reel of Mughal-e-Azam, including the song "Pyar Kiya To Darna Kya", in Technicolor. Impressed by the result, he filmed three more reels in Technicolor, near the story's climax. After seeing them, he sought a complete re-shoot in Technicolor, angering impatient distributors who were unwilling to accept further delays. Asif subsequently released Mughal-e-Azam partially coloured, although he still hoped to see the full film in colour.

By the end of filming, more than a million feet of negative had been used, necessitating significant editing. A number of songs were edited out owing to the running time, which in the end was 197 minutes. Almost half of the songs recorded for the film were left out of the final version.

Themes
Mughal-e-Azam is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book Filming the Gods: Religion and Indian Cinema, the film highlights religious tolerance between Hindus and Muslims. Examples include the scenes of Hindu Queen Jodhabai's presence in the court of the Muslim Akbar, the singing of a Hindu devotional song by Anarkali, and Akbar's participation in the Janmashtami celebrations, during which Akbar is shown pulling a string to rock a swing with an idol of Krishna on it. Film critic Mukul Kesavan has remarked that he was unable to recall a single other film about Hindu-Muslim love in which the woman (Jodhabai) is Hindu. Scholars Bhaskar and Allen described the film as a tableau vivant of "Islamicate culture", evidenced in its ornate sets, musical sequences such as the qawwali scene, and chaste Urdu dialogues. Throughout the film there is a distinct depiction of Muslims as the ruling class who not only dressed differently but also spoke in complex Persianised dialogue. They are made to appear "distinct and separate from the mainstream."

Film scholar Stephen Teo posits that Mughal-e-Azam is a "national allegory", a stylistic way of appropriating history and heritage to emphasise the national identity. He believes the arrogance of Bahar represents the power of the state and that Anarkali's emotion, which is highly personal, represents the private individual. Teo states that the theme of romantic love defeating social class difference and power hierarchy, as well as the grandeur of the filming, contribute to the film's attractiveness. Author Ashis Nandy has commented on the poetic quality of the dialogue, saying that "the characters of Mughal-e-Azam do not just speak – they refine communication, they distil it, they crystallize it into many faceted glittering gems, they make poetry of ordinary language." Gowri Ramnarayan of The Hindu has also emphasised the power of the dialogues in the film, in that they "create not only the ambiance of this period drama, but also etch character and situation. Every syllable breathes power and emotion."

Philip Lutgendorf, a scholar at the University of Iowa, has stated that while the theme of the conflict between passionate individual love and family duty may be very common in Hindi film making, with endless cinematic permutations, K. Asif's "excessive elaboration of the theme remains in a class by itself." Further, Emperor Akbar struggles between his personal desires and his duties to the nation. Ashis Nandy noted that apart from the conflict between Akbar and his son, there is also an "unwritten alliance" between Akbar and Bahar that compounds the problems of Anarkali. He also thought it highlighted the "idea of justice and the notion of unconditional love" to uphold tradition. The song "Pyar Kiya To Darna Kya" sung by Anarkali was an indication of her defiance of societal norms. A major difference from the original story is that while the earlier Anarakali films based on Imtiaz Ali Taj's story ended as tragedies, K. Asif created a relatively happy ending in that Akbar gives amnesty to Anarkali by allowing her to escape through a secret route of tunnels below a false bottom of her prison wall, although his son is made to suffer in believing her to have perished.

Historical inaccuracies
The film is based on a legend, but it is given credence by at least two texts that assert Anarkali's existence during the historical period of Emperor Akbar (1556–1605). One of the books states that in 1615 a marble tomb was built on Anarkali's grave in Lahore by Salim, when he had become Emperor Jehangir. On the tomb is a Persian inscription that reads: Ta Kiyamat shukr geom kardgate khwesh ra, Aah garman bez benaam roo-e yare khwesh ra ("Ah! could I behold the face of my love once more, I would give thanks to my God until the day of resurrection"). The author of the stage play on which the film is based, Imtiaz Ali Taj, believed that the legend had no historical base, but historians have suggested that Anarkali may have been a painter, a dancer, or a courtesan, or one of Akbar's wives and the mother of Salim's half-brother Prince Daniyal. While an earlier film version of the story, Anarkali (1952), contained a disclaimer stating that the story had no foundation in history, Mughal-e-Azam made no such claim.

Mughal-e-Azam takes numerous liberties with historical fact. Historian Alex von Tunzelmann says that although the real Salim was a heavy consumer of alcohol and opium from the age of 18, he was not necessarily a mischievous boy, as depicted in the film. When the film's Salim returns from his time in the military, he is depicted as a gentle and romantic hero, in contrast to the real Salim, who was documented as a brutal drunk who would often beat people to death. The real Salim did lead a rebellion against his father, tried to replace him as emperor, and had Akbar's friend Abu al-Fazl murdered in 1602, but the film ascribes these actions to his desire to marry Anarkali, which is historically inaccurate. Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, thumri, a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form.

Music
The soundtrack was composed by music director Naushad, and the lyrics were written by Shakeel Badayuni. After conceiving the idea of the film, Asif visited Naushad and handed him a briefcase containing money, telling him to make "memorable music" for Mughal-e-Azam. Offended by the explicit notion of money as a means of gaining quality, Naushad threw the notes out of the window, to the surprise of his wife. She subsequently made peace between the two men, and Asif apologised. With this, Naushad accepted the offer to compose the film's soundtrack. As with most of Naushad's soundtracks, the songs of Mughal-e-Azam were heavily inspired by Indian classical music and folk music, particularly ragas such as Darbari, Durga, used in the composition of "Pyar Kiya To Darna Kya", and Kedar, used in "Bekas Pe Karam Keejeye". He also made extensive use of western classical orchestras and choruses to add grandeur to the music. The soundtrack contained a total of 12 songs, which were rendered by playback singers and classical music artists. These songs account for nearly one third of the film's running time.

Marketing
The painter G. Kamble was lured away from V. Shantaram's Rajkamal Kalamandir to paint the posters. Kamble also created cinema displays at Maratha Mandir theatre. Asif needed to buy all available stocks of Winsor & Newton paint in India at a cost of ₹6 lakh to enable Kamble to produce quality art for his hoardings. Kamble, who was offered a large sum of ₹8 lakh for his work on the stills of Mughal-e-Azam, did not receive any compensation in the end due to fraud.

Release
At the time of the release of Mughal-e-Azam, a typical Hindi film would garner a distribution fee of ₹300,000–400,000 (about US$63,000–84,000 in 1960) per territory. Asif insisted that he would sell his film to the distributors at no less than ₹700,000 per territory. Subsequently, the film was actually sold at a price of ₹1.7 million (US$356,000) per territory, surprising Asif and the producers. Thus, it set the record for the highest distribution fee received by any Hindi film at that time.

The premiere of Mughal-e-Azam was held at the then-new 1,100-capacity Maratha Mandir cinema in Mumbai. Mirroring the nature of the film, the cinema's foyer had been decorated to resemble a Mughal palace, and a 40 ft cut-out of Prithviraj Kapoor was erected outside it. The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur. Invitations to the premiere were sent as "royal invites" shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar. The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry, although Dilip Kumar did not attend the event owing to his dispute with Asif. The film's reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and shehnai.

Box office
The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets. The tickets, the most expensive for a Hindi film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items. They sold for ₹100 (valued at about US$21 in 1960), compared to the usual price of ₹1.5 (US$0.31). Bookings experienced major chaos, to the extent that police intervention was required. It was reported that people would wait in queues for four to five days, and would be supplied food from home through their family members. Subsequently, the Maratha Mandir closed bookings for three weeks.

Mughal-e-Azam was released on 5 August 1960 in 150 cinemas across the country, establishing a record for the widest release for a Hindi film. It became a major commercial success, earning ₹4 million (US$839,000) in the first week, eventually earning a net revenue of ₹55 million (US$11,530,000), and generating a profit of ₹30 million for the producers. Mughal-e-Azam also experienced a long theatrical run, screening to full capacity at the Maratha Mandir for three years. The film thus became the highest-grossing Hindi film by surpassing Mother India (1957), and retained this record until Sholay (1975) surpassed its net revenue. In terms of gross revenue, Mughal-e-Azam earned ₹110 million (US$million).

According to Ziya Us Salam of The Hindu in 2009, Mughal-e-Azam was the highest-grossing Hindi film of all time if adjusted for inflation. According to the online box office website Box Office India in January 2008, the film's adjusted net revenue would have amounted to ₹1327 million, ranking it as an "All-Time Blockbuster". According to Box Office India in June 2017, Mughal-e-Azam may have had more than 100 million footfalls at the domestic box office more than films like Hum Aapke Hain Koun (1994) and Baahubali 2 (2017). According to financial newspaper Mint, the adjusted net income of Mughal-e-Azam is equivalent to ₹13 billion (US$million) in 2017. In 2011, it was ranked as the highest grossing Hindi film by a distance, when adjusted to gold-price inflation by Box Office India with adjusted nett gross of ₹1234.95 crore. The list was compiled using the relative price of gold in different years to arrive at a hypothetical current value of box-office collections of past films, which as per the trade magazine was a more appropriate measure of comparison as compared to official ticket-price inflation rates.

Critical reception
Mughal-e-Azam received universal acclaim from Indian critics; every aspect of the film was praised. A review dated 26 August 1960 in Filmfare called it a "history-making film ... the work of a team of creative artists drawn from different spheres of the art world". It was also described as "a tribute to imagination, hard work and lavishness of its maker, Mr. Asif. For its grandeur, its beauty, and then performances of the artists it should be a landmark in Indian films." Another contemporary review from The Indian Express focused on the acting and dancing "gifts" of Madhubala.

Since 2000, reviewers have described the film as a "classic", "benchmark", or "milestone" in the history of Indian cinema. In 2011, Anupama Chopra called it "the best Hindi film ever made" and "the apotheosis of the Hindi film form", noting specifically the performances, father-son drama and song sequences. Dinesh Raheja of Rediff called the film a must-see classic, saying "a work of art is the only phrase to describe this historical whose grand palaces-and-fountains look has an epic sweep and whose heart-wrenching core of romance has the tenderness of a feather's touch." Sujata Gupta of Planet Bollywood gave the film nine out of ten stars, calling it a "must see" that "has captured interest of people over generations".

K. K. Rai, in his review for Stardust stated, "it can be said that the grandeur and vintage character of Mughal-e-Azam cannot be repeated, and it will remembered as one of the most significant films made in this country." Ziya Us Salam of The Hindu described Mughal-e-Azam as a film people will want to watch over and over again. Raja Sen of Rediff compared the film to Spartacus (1960) and said, "Mughal-e-Azam is awesomely, stunningly overwhelming, a magnificent spectacle entirely free of CGI and nonlinear gimmickry, a gargantuan feat of ... of ... well, of Mughal proportions!" Laura Bushell of the BBC rated the film four out of five stars, considering it to be a "benchmark film for both Indian cinema and cinema grandeur in general", and remarking that Mughal-E-Azam was an epic film in every way. Naman Ramachandran, reviewing the film for the British Film Institute, noted the depiction of religious tolerance and said the film had a tender heart.

Nasreen Munni Kabir, author of The Immortal Dialogue of K. Asif's Mughal-e-Azam, compared the film to the Koh-i-Noor diamond for its enduring worth to Indian cinema. Outlook, in 2008, and Hindustan Times, in 2011, both declared that the scene in which Salim brushes Anarkali with an ostrich feather was the most erotic and sensuous scene in the history of Indian cinema.

Accolades
At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi. In the 1961 Filmfare Awards, Mughal-e-Azam was nominated in seven categories: Best Film, Best Director (Asif), Best Actress (Madhubala), Best Playback Singer (Mangeshkar), Best Music (Naushad), Best Cinematography (Mathur), and Best Dialogue (Aman, Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi), winning the awards for Best Film, Best Cinematography, and Best Dialogue.

Colourisation
Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured and the first to be given a theatrical re-release. The Sterling Investment Corporation, the negative rights owner and an arm of the Shapoorji Pallonji Group, undertook restoration and colourisation of Mughal-e-Azam and assigned Deepesh Salgia as Project Designer and Director. They initially approached Hollywood executives for help, but found the sales quotations, ranging from $12–15 million, too high. In 2002, Umar Siddiqui, managing director of the Indian Academy of Arts and Animation (IAAA), proposed to enhance it digitally at a fraction of the cost. To convince the Shapoorji Pallonji Group, one of India's wealthiest companies, of the commercial viability of the project, the IAAA colourised a four-minute clip and showed it to them. They approved and gave the project the go-ahead. Shapoorji Mistry, grandson of producer Shapoorji Pallonji Mistry, thought it a fitting tribute to complete his grandfather's unfinished dream of colourising the entire film.

The first step towards colourisation was the restoration of the original negatives, which were in poor condition owing to extensive printing of the negative during the original theatrical release. Costly and labour-intensive restoration was essential before colourisation could be carried out. The negative was cleaned of fungal growth, damaged portions were restored, and missing parts of frames were re-instated. After cleaning, each of the 300,000 frames of the negative was scanned into a 10 megabytes-sized file and then was digitally restored. The entire restoration work was undertaken by Acris Lab, Chennai. The dialogues in the original soundtrack were also in a bad state of preservation, which necessitated having the sound cleaned at Chace Studio in the United States. The background score and the entire musical track was recreated by Naushad and Uttam Singh. For the songs, the original voices of the singers like Lata Mangeshkar, Bade Ghulam Ali Khan and Mohammed Rafi were extracted from the original mixed track and the same were recreated with re-recorded score in 6.1 surround sound.

The process of colourisation was preceded by extensive research. The art departments visited museums and studied the literature for background on the typical colours of clothing worn at that time. Siddiqui studied the technology used for the colourisation of black-and-white Hollywood classics. The team also approached a number of experts for guidance and suggestions, including Dilip Kumar, production designer Nitin Chandrakant Desai, and a historian from the Jawaharlal Nehru University in Delhi. To undertake the colourisation, Siddiqui brought together a team of around 100 individuals, including computer engineers and software professionals, and organised a number of art departments. The entire project was co-ordinated by Deepesh Salgia, who partnered with companies including Iris Interactive and Rajtaru Studios to execute the colourisation. The task was controlled and supervised by the producers, who received daily updates and progress reports.

The colourisation team spent 18 months developing software for colouring the frames, called "Effects Plus", which was designed to accept only those colours whose hue would match the shade of grey present in the original film. This ensured that the colours added were as close to the real colour as possible; the authenticity of the colouring was later verified when a costume used in the film was retrieved from a warehouse, and its colours were found to closely match those in the film. Every shot was finally hand-corrected to perfect the look. The actual colourisation process took a further 10 months to complete. Siddiqui said that it had "been a painstaking process with men working round the clock to complete the project." The exact cost of the colourisation is disputed, with a wide variety of estimates ranging from inr 20000000 to ₹50 million, or ₹100 million.

Re-releases
The film's colour version was released theatrically on 12 November 2004, in 150 prints across India, 65 of which were in Maharashtra. The new release premiered at the Eros Cinema in Mumbai. Dilip Kumar, who had not attended the original premiere, was in attendance. The colour version was edited to a running time of 177 minutes, as compared to the original version's 197 minutes. The new release also included a digital reworked soundtrack, produced with the assistance of Naushad, the original composer. The release on the festive Diwali weekend came with three other major releases: Veer-Zaara, Aitraaz, and Naach. It became the 19th highest grossing Hindi film of the year, behind Aitraaz and Veer-Zaara (the top grosser), but ahead of Naach.

Mughal-e-Azam became the first full-length feature film colourised for a theatrical re-release; although some Hollywood films had been colourised earlier, they were only available for home media. It was subsequently selected for seven international film festivals, including the 55th Berlin International Film Festival. Upon release, the film drew crowds to the cinemas, with an overall occupancy of 90 per cent. Subsequently, it completed a 25-week run. While some critics complained that the colours were "psychedelic" or "unnatural", others hailed the effort as a technological achievement. Film critic Kevin Thomas of the Los Angeles Times remarked that while colourising was not a good idea for most black-and-white classics, it was perfect in this particular instance. He compared it to films by Cecil B. DeMille and to Gone With the Wind (1939) for its larger-than-life storytelling. The Guardian said that although the new version was an improvement, "the fake colours tend to look flat and brash, detracting from cinematographer RD Mathur's elegantly composed shots." The BBC's Jaspreet Pandohar, observing that the film was "restored in appealing candy-colours and high quality sound", considered it a "cross between Gone With the Wind and Ben-Hur". Other critics have said that they prefer the black and white version.

In 2006, Mughal-e-Azam became only the fourth Indian film certified for showing in Pakistan since the 1965 ban on Indian cinema, and was released with a premiere in Lahore. It was distributed by Nadeem Mandviwala Entertainment, at the request of Asif's son, Akbar Asif.

Legacy
Mughal-e-Azam is one of only two films directed by Asif; one of his unfinished projects was released posthumously as a tribute. Over time the title has become part of Hindi film vernacular, used to describe a project that is taking too long to complete. Art director Omung Kumar, who has designed sets for major Indian films such as Black (2005) and Saawariya (2007), said that he and others in his field look to Mughal-e-Azam as a source of inspiration for art direction. It has also been used as a model for the perfect love story, requiring directors to ensure lovers overcome obstacles. Following her success in the film, Madhubala could have gone on to land further major roles, but she was advised not to overwork owing to her heart condition, and had to withdraw from some productions that were already underway.

The Guardian in 2013 cited Mughal-e-Azam as a "landmark of cinema" despite its historical inaccuracies, and the BBC stated in 2005 that it is "widely considered one of Bollywood's most iconic films". Imtiaz Ali of The Times of India in 2010 called it the "most proto-typical, high involvement, expensive, passionate piece of work that Hindi cinema has ever produced", one that "set the standard for everything that will ever come after it". It continues to be regarded by critics as the Indian equivalent of Gone with the Wind. Filmmaker Subhash Ghai was quoted in 2010 as saying that a film like this could never be repeated: "Mughal-e-Azam is an all-time classic and has been the ultimate love story in Hindi cinema at all levels. So it will always remain alive for generations to come." To commemorate the film's anniversary, the actor and producer Shah Rukh Khan had his company Red Chillies Entertainment produce a documentary video titled Mughal-E-Azam – A Tribute by a son to his father. Hosted by Khan, it includes interviews with Asif's family and Hindi film stars. Artist M. F. Husain created a series of paintings for the video, in which he re-imagined some memorable scenes. Interested in preserving the film for future generations, Khan noted that his father was originally cast in the film but did not complete it. When asked if Mughal-e-Azam should be remade, he retorted: "It is the mother of all films; mothers cannot be remade". No sequels have been made, but Maan Gaye Mughal-e-Azam (2008) paid tribute with its title and by including in its plot part of the original stage play; it received very poor ratings from critics. In October 2016, producer Feroz Abbas Khan premiered a stage play based on the film with a cast of over 70 actors and dancers at Mumbai's NCPA theatre.

Mughal-e-Azam ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films, and Anupama Chopra's 2009 list The Best Bollywood Films. It is also included in IBN Live's 2013 list of the "100 greatest Indian films of all time". Rotten Tomatoes has sampled 10 reviewers and judged 91% of them to be positive, with an average rating of 7.9 out of 10. It was named the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema by British Asian weekly newspaper Eastern Eye in July 2013. It belongs to a small collection of films including Kismet (1943), Mother India (1957), Sholay (1975), and Hum Aapke Hain Koun..! (1994), that are watched repeatedly throughout India and are viewed as definitive Hindi films of cultural significance. Books and documentaries made about the film include Shakil Warsi's Mughal-E-Azam – An Epic of Eternal Love, published by Rupa in 2009.

title: Mughal-e-Azam


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Semi-locally simply connected

In mathematics, specifically algebraic topology, semi-locally simply connected is a certain local connectedness condition that arises in the theory of covering spaces. Roughly speaking, a topological space X is semi-locally simply connected if there is a lower bound on the sizes of the “holes” in X. This condition is necessary for most of the theory of covering spaces, including the existence of a universal cover and the Galois correspondence between covering spaces and subgroups of the fundamental group.

Most “nice” spaces such as manifolds and CW complexes are semi-locally simply connected, and topological spaces that do not satisfy this condition are considered somewhat pathological. The standard example of a non-semi-locally simply connected space is the Hawaiian earring.

Definition
A space X is called semi-locally simply connected if every point in X has a neighborhood U with the property that every loop in U can be contracted to a single point within X (i.e. every loop in U is nullhomotopic in X). The neighborhood U need not be simply connected: though every loop in U must be contractible within X, the contraction is not required to take place inside of U. For this reason, a space can be semi-locally simply connected without being locally simply connected.

Equivalent to this definition, a space X is semi-locally simply connected if every point in X has a neighborhood U for which the homomorphism from the fundamental group of U to the fundamental group of X, induced by the inclusion map of U into X, is trivial.

Most of the main theorems about covering spaces, including the existence of a universal cover and the Galois correspondence, require a space to be path-connected, locally path-connected, and semi-locally simply connected, a condition known as unloopable (délaçable in French). In particular, this condition is necessary for a space to have a simply connected covering space.

Examples

A simple example of a space that is not semi-locally simply connected is the Hawaiian earring: the union of the circles in the Euclidean plane with centers (1/n, 0) and radii 1/n, for n a natural number. Give this space the subspace topology. Then all neighborhoods of the origin contain circles that are not nullhomotopic.

The Hawaiian earring can also be used to construct a semi-locally simply connected space that is not locally simply connected. In particular, the cone on the Hawaiian earring is contractible and therefore semi-locally simply connected, but it is clearly not locally simply connected.

Topology of fundamental group
In terms of the natural topology on the fundamental group, a locally path-connected space is semi-locally simply connected if and only if its quasitopological fundamental group is discrete.

title: Semi-locally simply connected


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Fratricide

Fratricide ( – the assimilated root of 'to kill, cut down') is the act of killing one's own brother.

It can either be done directly or via the use of either a hired or an indoctrinated intermediary (an assassin). The victim need not be the perpetrator's biological brother. In a military context, fratricide refers to a service member killing a comrade.

The term is often used metaphorically to refer to civil wars.

Religion and mythology
The Abrahamic religions recognize the biblical account of Cain and Abel as the first fratricidal murder to be committed. In the mythology of ancient Rome, the city is founded as the result of a fratricide, with the twins Romulus and Remus quarreling over who has the favour of the gods and over each other's plans to build Rome, with Romulus becoming Rome's first king and namesake after killing his brother.

In Greek mythology, Cassiphone, the daughter of Odysseus and Circe, killed her half-brother and husband Telemachus in revenge after he killed her mother Circe following a quarrell between the two.

Osiris Myth
In ancient Egyptian mythology, the god Osiris is murdered by his brother Set who usurps the throne.

The Mahabharata and the Ramayana
In the Hindu epic Mahābhārata, Karna was killed by Arjuna who was unaware that Karna was his eldest brother.

Roman Empire
The only known fratricides in the Roman Empire are Romulus killing Remus and the reasonably well-known murder of Geta on the orders of his brother Caracalla in 211. The brothers had a fraught relationship enduring many years; upon their father Septimius Severus's death in February 211, they succeeded him as co-emperors. Their joint rule was embittered and unsuccessful, with each of them conspiring to have the other one murdered. In December of that year, Caracalla pretended to be holding a reconciliation in their mother Julia Domna's apartment when Geta was lured to come unarmed and unguarded. A group of Centurions loyal to Caracalla ambushed him upon Geta's arrival, with Geta dying in his mother's arms. It is said that the fratricide would often come back to haunt Caracalla.

Persian Empire
There are many recorded fratricides in Persia, the most famous of which involving Cyrus the Great's sons Cambyses II and Bardiya, the former killing the latter. There are also stories about the sons of Artaxerxes I, Xerxes II, Sogdianus, and Darius II, all of which concern competition for the throne. In addition, there were many fratricides recorded during the Parthian and Sassanid Empires.

Tang Empire
Prince Li Shimin (Prince of Qin), the second son of Emperor Gaozu, was in an intense rivalry with his elder brother Crown Prince Li Jiancheng and younger brother Prince Li Yuanji (Prince of Qi). He took control and set up an ambush at Xuanwu Gate, the northern gate leading to the Palace City of the imperial capital Chang'an. There, Li Jiancheng and Li Yuanji were murdered by Li Shimin and his men. Within three days after the coup, Li Shimin was installed as the crown prince. Emperor Gaozu abdicated another sixty days later and passed the throne to Li Shimin, who would become known as Emperor Taizong.

Ottoman Empire
Fratricide was not originally legal in the Ottoman Empire. The practice of fratricide was legalized by Mehmed II. His grandfather, Mehmed I, struggled over the throne with his brothers Süleyman, İsa, and Musa during the Ottoman Interregnum. This civil war lasted eight years and weakened the empire due to the casualties it inflicted and the division it sowed in Ottoman society. As a result, Mehmed II formally legalized the practice of fratricide in order to preserve the state and not further place strain on the unity as previous civil wars did. Mehmed II stated, "Of any of my sons that ascends the throne, it is acceptable for him to kill his brothers for the common benefit of the people (nizam-i alem). The majority of the ulama (Muslim scholars) have approved this; let action be taken accordingly."

When Mehmed's son, Bayezid II died, his son Selim I immediately assumed the throne and proceeded to execute his two brothers Ahmed and Korkut. The largest practice of fratricide was committed by Mehmed III when he had 19 of his brothers and half-brothers murdered and buried alongside their father. His successor Ahmed I, when faced with public disapproval for the practice of fratricide, decided to outlaw the practice and replace it with seniority ascension system along with imprisonment in the Kafes of any prince who would be a possible threat to the throne.

Mughal Empire
In the Mughal Empire, fratricides often occurred as a result of wars of succession. Shah Jahan had his eldest brother Khusrau Mirza killed in 1622. Shah Jahan also had his brother Shahriyar killed in 1628. Shah Jahan's son, Dara Shikoh was assassinated by four of his brother Aurangzeb's henchmen in front of his terrified son on the night of 30 August 1659 (9 September Gregorian).

Antigone
The events in the Greek tragedy Antigone unfold due to the previous war between the princely brothers, Eteocles and Polyneices, who killed each other in combat. Polyneices had challenged his brother's claim to the throne of the city Thebes, and attacked the city with an army from Argos. Eteocles fought for Thebes to defend the city against Polyneices and his army. The two killed each other by stabbing in the heart.

Ashoka's Empire
Ashoka, also known as Chand-Ashoka (Cruel Ashoka), killed his brothers as punishment for the king's (his father) death and quarrel for the kingdom (war of succession). Later on, Ashoka conquered Greater India entire, before he adopted Buddhism and forsook war.

Zulu Kingdom
Shaka, the Zulu king, was killed by his half-brother Dingane and his brother Mhlangana in 1828. Dingane became the Zulu leader until he was assassinated in 1840 in the Hlatikhulu Forest.

title: Fratricide


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Talk:Senter Location, Michigan

I think this should probably be just "Senter, Michigan"--that how maps.yahoo.com knows it, and is the way two of the three references refer to it. Niteowlneils 19:54, 10 Mar 2004 (UTC)

title: Talk:Senter Location, Michigan


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Church of Saint George, Lalibela

The Church of Saint George (Bete Giyorgis) is one of eleven rock-hewn monolithic churches in Lalibela, a town in the Amhara Region of Ethiopia. Originally named Roha (Warwar), the historical and religious site was named Lalibela after the King Gebre Mesqel Lalibela of the Zagwe dynasty, who commissioned its construction. He is regarded as a saint by the Ethiopian Orthodox Tewahedo Church.

History
The Church of Saint George was carved downwards from a type of volcanic tuff. This is the sole architectural material that was used in the structure. It has been dated to the late 12th or early 13th century AD, and thought to have been constructed during the reign of King Gebre Mesqel Lalibela, of the late Zagwe dynasty. It is among the best known and last built of the eleven churches in the Lalibela area, and has been referred to as the "Eighth Wonder of the World". Lalibela, King of Ethiopia, sought to recreate Jerusalem, and structured the churches' landscape and religious sites in such a way as to achieve such a feat. “The churches at Lalibela are clustered in two major groups, one representing the earthly Jerusalem, and the other representing the heavenly Jerusalem. Located directly between them is a trench representing the River Jordan”. The dimensions of the trench are 25 meters by 25 meters by 30 meters, and there is a small baptismal pool outside the church, which stands in an artificial trench.

According to Ethiopian cultural history, Bete Giyorgis was built after King Gebre Mesqel Lalibela of the Zagwe dynasty had a vision in which he was instructed to construct the church; Saint George and God have both been referred to as the one who gave him the instructions.

Lalibela is a pilgrimage site for members of the Ethiopian Orthodox Tewahedo Church; the church itself is part of the UNESCO World Heritage Site "Rock-Hewn Churches, Lalibela".

On first approach the site appears wholly inaccessible, with sheer drops on every side and no access bridge. It is accessed via a very narrow man-made canyon, spiralling downwards, which changes to a tunnel close to the church, to further conceal its presence.

Pilgrims who died after reaching the site are placed in a simple open tomb on the outer walls.

The hollowed interior contains a simple shrine to St. George and, behind a curtain (forbidden to view apart from priests) lies a replica of the Ark of the Covenant.

Bete Giyorgis was spatially documented in 2005.

title: Church of Saint George, Lalibela


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Feel My Heart

"Feel My Heart" is the debut single by the Japanese J-pop group Every Little Thing, released on August 7, 1996. The track was remixed by the Swiss trance producer, Moogwai, in 2002.

Track listing

 * 1) Feel My Heart — 4:22 (Words & music - Mitsuru Igarashi)
 * 2) Feel My Heart (Daverodgers Euro mix) — 4:33
 * 3) Feel My Heart (Club mix) — 6:24
 * 4) Feel My Heart (instrumental) — 4:22

title: Feel My Heart


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Barbury Castle

Barbury Castle is a scheduled hillfort in Wiltshire, England. It is one of several such forts found along the ancient Ridgeway route. The site, which lies within the Wessex Downs Area of Outstanding Natural Beauty, has been managed as a country park by Swindon Borough Council since 1971. It is on Barbury Hill, a local vantage point, which, under ideal weather conditions, commands a view across to the Cotswolds and the River Severn. It has two deep defensive ditches and ramparts.

History
The site was first occupied some 2,500 years ago, and was then in use during the Roman occupation of the area. Archaeological investigations at Barbury have shown evidence of a number of buildings, indicating a village or military garrison at this time.

In the 6th century the site became part of the Saxon kingdom of Wessex, following the defeat of the Romano-British at the Battle of Beranburgh, Beran Byrig or Beranbyrig in AD 556, the site of which is just north of the castle. Centuries later the area was a favourite haunt of the 19th-century writer Richard Jefferies, who lived an hour's walk away at Coate. The site was designated as a scheduled monument in 1882.

In World War II the War Ministry appropriated the site for US Army Air Force anti-aircraft guns; the bases for these are apparently visible as hollows around the edge of the fort interior.

In 1996, a geophysical survey revealed traces of 40 hut circles inside the castle. A reconstruction of an Iron Age roundhouse was built on the site in 2006 but was destroyed by vandals in October 2008.

In 2009, English Heritage (now Historic England) carried out a National Mapping Programme project which comprised an interpretation, transcription and analysis of all archaeological features visible on aerial photographs in the environs of Barbury Castle.

Location
Barbury Castle is at, about 5 mi south of Swindon and the M4, on the northern edge of the Marlborough Downs within the North Wessex Downs Area of Outstanding Natural Beauty. The site is close to the Ridgeway long-distance footpath, which runs east–west along the edge of the downs. In the surrounding area there are round barrows, Celtic field systems and 18th-19th century flint workings.

title: Barbury Castle


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Bulli, New South Wales

Bulli is a northern suburb of Wollongong situated on the south coast of New South Wales, Australia.

History
Bulli is possibly derived from an Aboriginal word signifying "double or two mountains", but other derivations have been suggested.

Originally inhabited by Dharawal Aboriginal people, European wood cutters worked in the area from about 1815. The area was once abundant in Red Cedars, these are now still seen but thinly. The first permanent European settler was Cornelius O'Brien, who established a farm in 1823 and whose name was given in the pass at O'Briens Road south at Figtree.

Bulli soil is also the primary source of soil and foundation of Sydney Cricket Ground, which makes the SCG being seen traditionally as one of the most spin-friendly international cricket grounds in Australia.

Coal
The Bulli Coal Company opened a mine in 1862 on the escarpment and built cottages to house miners and their families. Coal was transported by rail from the mine to Bulli Jetty at Sandon Point where it was loaded onto ships.

The miners were paid in accordance with production, they were not paid a set wage. The first trade union in the Illawarra region was formed by miners at Bulli in 1879. Management retaliated by firing and evicting union miners and hiring non-union labour.

On 23 March 1887, a gas explosion in the mine killed 81 men and boys, leaving 50 women widows and 150 children without fathers. There was one survivor, a 17-year-old boy who became known as "Boy Cope". A memorial obelisk listing the names of those who perished is situated in Park Road, Bulli, adjacent to the railway line. The mine reopened later in the year. The Bulli Mine Disaster was the worst in Australia's history until surpassed in 1902 by Mount Kembla.

The disaster was first examined by a coroner's inquest. The verdict was delivered by the jury as: "Yes the Jury are of the opinion that William Wade and others came to their death in the Bulli Coalmine on 23rd or March 1887 by a gas explosion". The jury then added a rider: "which was brought about by the disregard of the Bulli Colliery Special Rules and Coal Mines Act, in allowing men to work when gas existed". Following the coroner's inquest a royal commission was established under the chairmanship of Dr. James R. M. Robertson to inquire into the accident.

Air entering the mine was divided into two. One part went to the western district, the other continued down the main tunnel and supplied the Hill End district which was where the explosion occurred. Within the Hill End District the air passed through each of six headings in turn before being ejected by a furnace at the foot of an upcast shaft. Clearly this meant that any firedamp (usually methane) released by the earlier headings was drawn across the later headings where the men were working. Along each heading were the areas where men extracted the coal. They were known as bords. When a bord had been worked out it was simply sealed off, but this meant that any firedamp accumulating there was not promptly removed. Each tunnel was used for three purposes: as a travelling road (for access to parts of the mine), as a haulage road (for bringing coal out) and as a ventilation passage. To control the ventilation doors were used, but they had to be opened for the passage of trains of skips. Each opening disrupted the air currents throughout that section of the mine.

The mine has since long been levelled, with only concrete foundations revealing the location of the old office area and other buildings. Hidden along the cliff behind said foundations can be found the old mine entrances. These have been sealed with up to 12 feet of concrete, with a drainage line set in the concrete. To the east is the remnants of the sorting site, a few scattered foundations and a tar patch.

The old railway line from the mine to the coast has mostly been removed, but as you drive south into Bulli you will see the bridge it was set in, now used as a walkway over the highway after a fatal car accident involving a school child saw it restored. This bridge now features a welcome sign for the historic 'black diamond' district.

Demographics
According to the 2016 census of Population, there were 6,105 people in Bulli.
 * Aboriginal and Torres Strait Islander people made up 2.2% of the population.
 * 80.9% of people were born in Australia. The next most common country of birth was England at 4.8%.
 * 90.3% of people spoke only English at home.
 * The most common responses for religion were No Religion 35.4%, Catholic 24.3% and Anglican 17.5%.

Education
There are two public primary schools named: Bulli Public School and Waniora Public School. There is also one private primary school named St Joseph's Catholic Parish Primary and one public high school in Bulli High School.

Landmarks
Bulli Beach (pictured below) is a popular surfing spot. The northern tip (Sandon Point) is a venue for regular surfing competitions.

Bulli's main historical feature is the railway station, situated between the escarpment and the surf beaches. The station was the first on the south coast and contains a museum which is open every Sunday.

Another historic feature is the Heritage Hotel, which was opened in 1889. This is in the heart of the 'Black Diamond' district.

The Illawarra Grevillea Park is an arboretum and botanic garden which opened in 1993. It houses the repository or living collection of the Grevillea Study Group of the Australian Plants Society (previously SGAP). It is a botanic garden containing plants native to Australia – its collections include grevilleas, prostantheras and rainforest plants. Staffed and run by volunteers, it is open 6 weekends a year.

Behind the Illawarra Grevillea Park is Slacky Flat Park which is home to some reasonably undisturbed remnant rainforest and numerous species of native birds and marsupials.

The town has a small chain of commerce in its central district west of the station, and includes a newsagent and several specialty stores. The town is home to St Joseph's Catholic Primary School (current principal Mrs Luisa Tobin), Bulli Public School, Waniora Public School and Bulli High School, New South Wales.

At Sandon Point and Tramway Creek immediately north of the promontory, there is some remnant bushland including turpentine forest. This is an important migratory bird location and a history walk has been set up along the road were the old railway used to go. This point is also the site of a midden area. For over fifteen years the local community has been campaigning against residential development of this coastal floodplain and wetland. This included over 150 submissions to a Commission of Inquiry which recommended against further major development. Minister for Planning, Frank Sartor, however has overridden his COI to give Stockland and the Anglican Village Retirement Trust approval to add over 1000 residential houses and units.

Heritage listings
Bulli has a number of heritage-listed sites, including:
 * 240 Princes Highway: Heritage Hotel
 * Railway Street: Bulli railway station

title: Bulli, New South Wales


text:
Railroad police

Railroad police or railway police are people responsible for the protection of railroad (or railway) properties, facilities, revenue, equipment (train cars and locomotives), and personnel, as well as carried passengers and cargo. Railroad police may also patrol public rail transit systems.

Their exact roles differ from country to country. In some countries, the powers of railroad police are no different from any other sworn law enforcement officer, while in others they are more like security guards. Some are also given extensive additional authority, while those in other jurisdictions are more restricted. In the United States and Canada, railroad police are employed by the major Class I railroads, as well as some smaller ones. In other countries, this work is typically done by territorial police forces rather than specialized agencies. In the United Kingdom, railways fall under the jurisdiction of the British Transport Police, a national transit police force that is responsible for policing all railways and some public transit systems in Britain.

Brazil
The Brazilian's Federal Railroad Police was created in 1852 by decree of the emperor Dom Pedro II, making it the oldest police agency in Brazil. There are some proposals in the Brazilian Senate to reactivate this police agency, as it is considered important to national security.

Canada
Canadian railways, like those of the United States, aided in nation-building and brought new police agencies into existence. Railway constables are given full police powers within 500 meters of property that the railway company owns, possesses or administers. The Canadian Pacific Railway initially relied on the Dominion Police, and later the North-West Mounted Police during construction of the transcontinental railroad, but by the later 1880s were employing their own police.

The large numbers of navvies recruited to build the railways brought security problems for rail companies. In 1900, the CPR established its Special Service Department. It worked closely with municipal, federal, and provincial police and given a mandate to prevent and investigate pilferage, theft, vandalism, and sabotage as well as policing strikes. The CPR Special Service were also responsible for closely guarding Chinese workers, who were considered "detainees" and virtually treated as prisoners under the Chinese Immigration Act of 1885. The Special Service was dissolved in 1904, following a scandal involving the business practices of a CPR Labour Department agent in Montreal, but was resurrected in 1913 as the railway's Department of Investigation.

The Canadian Pacific Police Service, Canadian National Police Service, and VIA Rail Canada Police Service are the only federal railway police services operating in Canada. Police officers for the railways are federally sworn under the Railway Safety Act. This act allows a superior court (federal) judge to appoint a person as a police constable. These officers are employed by the railway and are in place strategically within Canada's rail infrastructure with a primary focus on reducing deaths and injuries along each railway's network of operations. These officers typically work on investigations involving criminal and provincial violations, such as traffic enforcement and accident investigations, and working to educate the public about the dangers of rail operations and consequences that can result from complacency.

These police officers are also appointed or sworn provincially to provide additional police powers as it relates to each province's interest. The primary jurisdictional police are still responsible for all law enforcement in their jurisdiction, and due to reduced manpower and coverage the railway police are considered a secondary response agency. Often the primary jurisdictional police are required to deal with matters that occur on or in relation to railway property. Depending on the seriousness of the incident, railway police may assume jurisdiction, though due to their reduced numbers and capabilities they may require local police to assume control over an incident and act in a supporting role. Railway police also support local police at incidents not in relation to the railway.

Police forces

 * Metro Vancouver Transit Police
 * Canadian Pacific Police Service
 * Canadian National Police Service
 * Via Rail Police Service

Special constables

Other large Canadian transit networks use security officers appointed as special constables or peace officers. As special constables, they typically have full police powers when working on transit property to enforce the Criminal Code of Canada, as well as respective Bylaws. Whilst they carry some police equipment, such as a protective vest, baton, handcuffs and pepper spray, they do not carry a firearm. These officers assist local jurisdiction's police officers in investigations of illegal activity on the transit system.
 * Calgary Transit Public Safety and Enforcement Section
 * Edmonton Transit Protective Services
 * GO Transit Special Constables
 * OC Transpo Special Constable Service
 * Société de Transport de Montréal Sûreté des réseaux
 * Toronto Transit Commission Transit Enforcement Unit
 * Toronto Police Service also has a Transit Patrol Unit to assist TTC special constables and patrol the network.
 * YRT/Viva Special Constable Services

People's Republic of China
The governing body of almost all railroad operations—the Chinese Ministry of Railways, which was also the owner of a great deal of the country's rail network—operated a massive police force that provided security service inside major railroad hubs and stations and outside along the railroads. Their jurisdiction extends to the limit of MoR property, yet occasionally the jurisdiction overlaps with local forces, in case it was an offence that occurred inside MoR facility, or related to MoR operations.

The railroad police of PRC can be considered as the only civil police force under the command of an agency of central government, more precisely the MoR. Its branches distribute in parallel to the railway bureaus of MoR, and for a period of time, it was considered its subsidiary, since the "railway bureau" is an entity of mixed nature: as a government agency as well as a corporation. Consequently, some railroad police agency will cover several regions of operation on a provincial level. For example, the division level Tianjin railroad police force will answer to the prefecture level Beijing railroad police bureau, despite the fact that regular police force of Tianjin is collateral to its Beijing equivalence. While supervised by the Ministry of Public Security, the force was funded exclusively by MoR itself, therefore often was criticized for protecting corporate interest under MoR. Since it is prevalent in PRC that local police force was conscripted as a private army of individuals, such criticism actually reflects the dispute between local and central government at some level.

Germany
Bahnschutzpolizei was the railroad police of Nazi Germany. It was tasked with railway safety and also with preventing espionage and sabotage of railway property. It was not subordinated to Hauptamt Ordnungspolizei, only the Deutsche Reichsbahn.

Bahnpolizei was the name of the former Railway police of West Germany and fell under the jurisdiction of the Deutsche Bundesbahn federal railway company. Bahnpolizei officers investigated trespassing on rail property, assaults against passengers, terrorism threats targeting the railway, arson, tagging of graffiti on railroad rolling stock or buildings, signal vandalism, pickpocketing, ticket fraud, robbery, and theft of personal belongings, baggage, or freight. They also investigated train/vehicle collisions and hazardous materials releases.

In 1992 the railway security mission was transferred to the Bundesgrenzschutz which resulted in the merger of the Bahnpolizei into the Federal Border Guard Force. The BGS had already taken on these duties in 1990 for the territory of the former East Germany, replacing the former East German Transportpolizei. The Bundesgrenzschutz was then renamed the Bundespolizei (Federal Police) on July 1, 2005, and this force is currently responsible for security and passenger checks on the German railway system.

India
The protection of Indian Railways is carried out by the Railway Protection Force and the Government Railway Police. The Mission of the Railway Protection Force includes to protect and safeguard railway passengers, passenger area and railway property and also to ensure the safety, security and boost the confidence of the traveling public in the Indian Railways.

Indonesia
Polsuska (Indonesian:  Pol isi Khu sus K ereta A pi or Railroad Special Police) is a law enforcement unit under the auspices of the Indonesian Railway Company. Polsuska in its role as a special railroad police is tasked to: apply sanctions in accordance with legislation and implement security, prevention of crime, and prevent non-justice actions within the scope of the Indonesian railways as a partner of the national police. Polsuska has the responsibilities relating to law and order including security of railway stations and train users. Polsuska officers wear black as their uniform and wear orange berets pulled to the left. Polsuska is trained by but not part of the Indonesian National Police. Polsuska is under the command of the Indonesian Railway Company's Directorate of Safety and Security.

The Commuter Lines which serve Greater Jakarta maintains its own security force which are categorized as security guards, their uniform are light-brown and wear orange vest and are known as (Petugas Keamanan Dalam/PKD). These are not part of Polsuska.

Every railway station in Indonesia also operates several security guards to assist Polsuska in the field of law and order including security. During peak seasons such as during the last days of Ramadan and other national holidays, Polsuska may be assisted by members from the military and police to provide additional security presence within the Indonesian Railways.

Italy
Policing of Italian State Railways (Ferrovie dello Stato) is carried out by the Polizia Ferroviaria, a branch of Italy's national police force (Polizia di Stato) operating under the authority of the Minister of the Interior.

Pakistan
Pakistan Railways Police, an agency under the Ministry of Railways, is responsible for guarding trains and passengers in the country.

Russia
The MVD Transport Department protects the rail system in Russia. The police is part of the Ministry of Internal Affairs and is responsible for protecting the railway, checking train quality, and maintaining railway safety in the Russian Federation.

Switzerland

Switzerland never had a separate transport police because all rail employees had limited police authority. However, due to the introduction of trains with no conductors in the late 1990s, crime in trains increased and the Swiss Federal Railways rail company trained Bahnpolizei officers for its driver-only commuter trains.

In 2002 the SBB-CFF-FFS merged its Bahnpolizei force with the private security company Securitas AG and the resulting Securitrans is now a separate security agency protecting railroad infrastructures.

Since 2011, the rail police has been reorganised, and the Transport Police of Switzerland (Transportpolizei) are state employees, with all officers attending two years of police academy training with final certification.

Transportpolizei officers are sworn as officers to the Swiss Confederation, and thus have the same power to arrest as any other cantonal police officers. As their state counterparts, they usually carry a SIG Sauer P225 and pepper sprays as weapons, along with handcuffs for restrain options.

United Kingdom
The British Transport Police protects the rail system in Great Britain, due to the nationalisation of the railways in 1948. Prior to this, individual railways had their own police forces.

History

The history of railroad police in the United States traces back to the beginnings of the Pinkerton National Detective Agency. In the mid nineteenth century, the number of U.S. Marshals was insufficient to police the railway lines sprawling across the vast frontier.

Passing through areas far removed from the protective measures available in populated centers left railroad lines and their passengers and freight vulnerable to banditry. Through his detective business, Allan Pinkerton met George B. McClellan, the president of the Ohio and Mississippi Railroad and Illinois Central Railroad, as well as its attorney, Abraham Lincoln. With Lincoln's encouragement, Pinkerton began supplying detectives for the railroad.

Railroad contracts were subsequently a mainstay of Pinkerton's until railroad companies gradually developed their own police departments in the years following the Civil War. After the founding of the Brotherhood of Locomotive Engineers in 1863, Pinkerton's and the new railroad police agencies became instrumental in crushing strikes of rail workers.

Another major concern was pilferage by employees, especially the passenger conductor, who had the greatest authority and freedom on passenger trains and collected ticket fees. Pinkerton began this work for the South Michigan Line in 1854, and on 1 February 1855, he created the North West Police Agency with $10,000 given for the cause by six anxious Midwestern railroads.

Jurisdiction and authority
Some railroad police officers are certified law enforcement officers and may carry full police and arrest powers. The appointment, commissioning, and regulation of railroad police under Section 1704 of the U.S. Crime Control Act of 1990, provides that: "A railroad police officer who is certified or commissioned as a police officer under the laws of any one state shall, in accordance with the regulations issued by the U.S. Secretary of Transportation, be authorized to enforce the laws of any other state in which the rail carrier owns property."

Section 1704 also states that this police authority is to "the extent of the authority of a police officer certified or commissioned under the laws of that jurisdiction". While railroad police officers may have general police officer authority in some states such as California, they are limited to the railroad's property in other states.

The status of railroad police officers varies by state, in that they are commissioned by the governor of the state in which they reside and/or work in and they may carry both state level arrest powers and some interstate arrest powers as allowed by 49 USC 28101. Although railroad police primarily enforce laws on or near the railroad right-of-way, their police officers can enforce other laws and make arrests off of railroad property depending on the state in which they are working.

Depending upon the state or jurisdiction, railroad police officers may be considered certified police officers, deputized peace officers, or company special agents. In Virginia, for example, any railroad may file an application with the circuit court of any county where it operates to allow the president of the railroad to appoint members of its own police force.

Some of the crimes railroad police investigate include trespassing on the right-of-way of a railroad, assaults against passengers, terrorism threats targeting the railroad, arson, tagging of graffiti on railroad rolling stock or buildings, signal vandalism, pickpocketing, ticket fraud, robbery, and theft of personal belongings, baggage, or freight. Other incidents railroad police investigate include derailments, train/vehicle collisions, vehicle accidents on the right of way, and hazardous materials releases.

Joint Terrorism Task Force
Most railroad police agencies are participants in the FBI's Joint Terrorism Task Force.

Private railroad agencies
Private railroad police officers are deputized by individual states. For example, in Massachusetts, railroad and ferry company employees may be appointed as special Massachusetts State Police officers with jurisdiction on company property and vehicles. Federal regulations extend the authority granted by one state to a railroad police officer to all the states in which that railroad has property.

Class I:
 * BNSF Police Department
 * Canadian National Police
 * Canadian Pacific Kansas City Police
 * CSX Transportation Police Department
 * Norfolk Southern Railway Police Department
 * Union Pacific Police Department

Class II and III:
 * AG Valley Railroad Police (Chicago, Illinois)
 * Alaska Railroad Corporation Police Department (Alaska)
 * Boston and Maine Railroad Police Department (subsidiary of Pan Am Railways; also covers ex-Maine Central territory owned by PAR) (Massachusetts and Maine)
 * Central Valley Union Railroad Police (California)
 * Florida East Coast Railway Police (Florida)
 * Great Lakes Central Railroad Police (Michigan)
 * Indiana Harbor Belt Railroad Police (Indiana)
 * Morristown & Erie Railway Police (New Jersey)
 * Napa Valley Railroad Police (Napa Valley, California)
 * Pacific Harbor Line Railroad Police (California)
 * Port Terminal Railroad Association Police (Texas)
 * Seminole Gulf Railway Police (Florida)
 * R.J. Corman Railroad Police Department (Kentucky)
 * Terminal Railroad Association of St. Louis Railroad Police (St. Louis, Missouri)

Public rail transit police agencies
The Amtrak Police Department has its own authority under federal law; others listed here are created by state authority (possibly delegated to local governments).

 * Amtrak Police Department (nationwide)
 * BART Police (San Francisco Bay Area, California)
 * DART Transit Police (Dallas–Fort Worth metroplex, Texas)
 * Massachusetts Bay Transportation Authority Police (Massachusetts)
 * MARTA Police (Atlanta metropolitan area, Georgia)
 * Metra Police Department (Chicago area, Illinois)
 * Metro Transit Police Department (Washington DC, Maryland, Virginia)
 * Metropolitan Transit Police (Minnesota)
 * Metropolitan Transportation Authority Police Department (New York State)
 * New Jersey Transit Police Department (New Jersey)
 * Northern Indiana Commuter Transportation Department Police (NICTD Police) (Indiana)
 * Greater Cleveland Regional Transit Authority Police (RTA Police) (Cuyahoga County, Ohio)
 * SEPTA Transit Police (Pennsylvania)
 * Utah Transit Authority Police Department (Utah)

Vietnam
Department of Traffic Police, part of Ministry of Public Security, includes a Bureau of Instructing and Organizing Safety of Railway. The Bureau is responsible for protecting the railway, checking train quality and maintaining railway safety.

title: Railroad police