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Comic opera

Comic opera, sometimes known as light opera, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue.

Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. It quickly made its way to France, where it became opéra comique, and eventually, in the following century, French operetta, with Jacques Offenbach as its most accomplished practitioner.

The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include German singspiel, Viennese operetta, Spanish zarzuela, Russian comic opera, English ballad and Savoy opera, North American operetta and musical comedy.

Italian opera buffa
In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier opera seria (17th-century Italian opera based on classical mythology). Il Trespolo tutore (1679) by Alessandro Stradella was an early precursor of opera buffa. The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the opera buffa genre.

The form began to flourish in Naples with Alessandro Scarlatti's Il trionfo dell'onore (1718). At first written in Neapolitan dialect, these works became "Italianized" with the operas of Scarlatti, Pergolesi (La serva padrona, 1733), Galuppi (Il filosofo di campagna, 1754), Piccinni (La Cecchina, 1760), Paisiello (Nina, 1789), Cimarosa (Il matrimonio segreto, 1792), and then the great comic operas of Mozart and, later, Rossini and Donizetti.

At first, comic operas were generally presented as intermezzi between acts of more serious works. Neapolitan and then Italian comic opera grew into an independent form and became the most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his La serva padrona swept Italy and France, evoking the praise of such French Enlightenment figures as Rousseau.

In 1760, Niccolò Piccinni wrote the music to La Cecchina to a text by the great Venetian playwright, Carlo Goldoni. That text was based on Samuel Richardson's popular English novel, Pamela, or Virtue Rewarded (1740). Many years later, Verdi called La Cecchina the "first true Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision.

The genre was developed further in the first half of the 19th century by Gioachino Rossini in his works such as The Barber of Seville (1816) and La Cenerentola (1817) and by Gaetano Donizetti in L'elisir d'amore (1832) and Don Pasquale (1843), but declined in the mid-19th century, despite Giuseppe Verdi's Falstaff staged in 1893.

French opéra comique and operetta
French composers eagerly seized upon the Italian model and made it their own, calling it opéra comique. Early proponents included the Italian Egidio Duni, François-André Philidor, Pierre-Alexandre Monsigny, André Grétry, François-Adrien Boïeldieu, Daniel François Auber and Adolphe Adam. Although originally reserved for less serious works, the term opéra comique came to refer to any opera that included spoken dialogue, including works such as Cherubini's Médée and Bizet's Carmen that are not "comic" in any sense of the word.

Florimond Hervé is credited as the inventor of French opéra bouffe, or opérette. Working on the same model, Jacques Offenbach quickly surpassed him, writing over ninety operettas. Whereas earlier French comic operas had a mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was Charles Lecocq.

German singspiel and Viennese operetta
The singspiel developed in 18th-century Vienna and spread throughout Austria and Germany. As in the French opéra comique, the singspiel was an opera with spoken dialogue, and usually a comic subject, such as Mozart's Die Entführung aus dem Serail (1782) and The Magic Flute (1791). Later singspiels, such as Beethoven's Fidelio (1805) and Weber's Der Freischütz (1821), retained the form, but explored more serious subjects.

19th century Viennese operetta was built on both the singspiel and the French model. Franz von Suppé is remembered mainly for his overtures. Johann Strauss II, the "waltz king", contributed Die Fledermaus (1874) and The Gypsy Baron (1885). Carl Millöcker a long-time conductor at the Theater an der Wien, also composed some of the most popular Viennese operettas of the late 19th century, including Der Bettelstudent (1882), Gasparone (1884) and Der arme Jonathan (1890).

After the turn of the 20th century, Franz Lehár wrote The Merry Widow (1905); Oscar Straus supplied Ein Walzertraum ("A Waltz Dream", 1907) and The Chocolate Soldier (1908); and Emmerich Kálmán composed Die Csárdásfürstin (1915).

Spanish zarzuela
Zarzuela, introduced in Spain in the 17th century, is rooted in popular Spanish traditional musical theatre. It alternates between spoken and sung scenes, the latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal to the general public. There are two main forms of zarzuela: Baroque zarzuela (c. 1630–1750), the earliest style, and Romantic zarzuela (c. 1850–1950), which can be further divided into the two subgenres of género grande and género chico.

Pedro Calderón de la Barca was the first playwright to adopt the term zarzuela for his work entitled El golfo de las sirenas ("The Gulf of the Sirens", 1657). Lope de Vega soon wrote a work titled La selva sin amor, drama con orquesta ("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but Los celos hacen estrellas ("Jealousies Turn Into Stars") by Juan Hidalgo and Juan Vélez, which premiered in 1672, survives and gives us some sense of what the genre was like in the 17th century.

In the 18th century, the Italian operatic style influenced zarzuela. But beginning with the reign of Bourbon King Charles III, anti-Italian sentiment increased. Zarzuela returned to its roots in popular Spanish tradition in works such as the sainetes (or Entr'actes) of Don Ramón de la Cruz. This author's first work in this genre was Las segadoras de Vallecas ("The Reapers of Vallecas", 1768), with music by Rodríguez de Hita.

Single act zarzuelas were classified as género chico (the "little genre" or "little form") and zarzuelas of three or more acts were género grande (the "big genre" or "big form"). Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the Teatro Apolo, was opened for zarzuela grande, which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to género chico.

Russian comic opera
The first opera presented in Russia, in 1731, was a comic opera (or "commedia per musica"), Calandro, by an Italian composer, Giovanni Alberto Ristori. It was followed by the comic operas of other Italians, like Galuppi, Paisiello and Cimarosa, and also Belgian/French composer Grétry.

The first Russian comic opera was Anyuta (1772). The text was written by Mikhail Popov, with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera, The miller who was a wizard, a cheat and a matchmaker, text by Alexander Ablesimov (1779), on a subject resembling Rousseau's Devin, is attributed to Mikhail Sokolovsky. Ivan Kerzelli, Vasily Pashkevich and Yevstigney Fomin also wrote a series of successful comic operas in the 18th century.

In the 19th century, Russian comic opera was further developed by Alexey Verstovsky who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later, Modest Mussorgsky worked on two comic operas, The Fair at Sorochyntsi and Zhenitba ("The Marriage"), which he left unfinished (they were completed only in the 20th century). Pyotr Tchaikovsky wrote a comic opera, Cherevichki (1885). Nikolai Rimsky-Korsakov composed May Night 1878–1879 and The Golden Cockerel 1906–1907.

In the 20th century, the best examples of comic opera by Russian composers were Igor Stravinsky's Mavra (1922) and The Rake's Progress (1951), Sergey Prokofiev's The Love for Three Oranges (1919) and Betrothal in a Monastery (1940–1941, staged 1946), and Dmitri Shostakovich's The Nose (1927–1928, staged 1930). Simultaneously, the genres of light music, operetta, musical comedy, and later, rock opera, were developed by such composers as Isaak Dunayevsky, Dmitri Kabalevsky, Dmitri Shostakovich (Opus 105: Moscow, Cheryomushki, operetta in 3 acts, (1958)), Tikhon Khrennikov, and later by Gennady Gladkov, Alexey Rybnikov and Alexander Zhurbin.

The 21st century in Russian comic opera began with the noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan (Царь Демьян) – A frightful opera performance. A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg, Iraida Yusupova and Vladimir Nikolayev from Moscow, and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan, and the work premiered on June 20, 2001, at the Mariinski Theatre, St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002".

The Children of Rosenthal (Дети Розенталя), an opera in two acts by Leonid Desyatnikov, with a libretto by Vladimir Sorokin. This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of the opera was accompanied by juicy scandal; however it was an enormous success.

English ballad and Savoy opera
England traces its light opera tradition to the ballad opera, typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley, was expressly described as "a comic opera".

By the second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque, as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed, beginning in 1855, and a number of other Britons, deplored the risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote,

"The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers."

Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and 1870s, including Les Cloches de Corneville, Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece. F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box, to write several comic operas on English themes in the 1860s and 1870s.

In 1875, Richard D'Oyly Carte, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as a countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert, and the promising young composer, Arthur Sullivan, to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole. The result was Trial by Jury; its success launched the Gilbert and Sullivan partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq. Eager to liberate the English stage from risqué French influences, and emboldened by the success of Trial by Jury, Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera, The Sorcerer, starting the series that came to be known as the Savoy operas (named for the Savoy Theatre, which Carte later built for these works) that included H.M.S. Pinafore, The Pirates of Penzance and The Mikado, which became popular around the world. The D'Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982.

The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in Dorothy), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically the sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings.

North American operetta and musical comedy
In the United States, Victor Herbert was one of the first to pick up the family-friendly style of light opera that Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with Prince Ananias in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half a dozen hits, were Babes in Toyland (1903) and Naughty Marietta (1910).

Others who wrote in a similar vein included Reginald de Koven, John Philip Sousa, Sigmund Romberg and Rudolf Friml. The modern American musical incorporated elements of the British and American light operas, with works like Show Boat and West Side Story, that explored more serious subjects and featured a tight integration among book, movement and lyrics.

In Canada, Oscar Ferdinand Telgmann and George Frederick Cameron composed in the Gilbert and Sullivan style of light opera. Leo, the Royal Cadet was performed for the first time on 11 July 1889 at Martin's Opera House in Kingston, Ontario.

The line between light opera and other recent forms is difficult to draw. Several works are variously called operettas or musicals, such as Candide and Sweeney Todd, depending on whether they are performed in opera houses or in theaters. In addition, some recent American and British musicals make use of an operatic structure, for example, containing recurring motifs, and may even be sung through without dialogue. Those with orchestral scores are usually styled "musicals", while those played on electronic instruments are often styled rock operas.

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Safet Sušić

Safet "Pape" Sušić (born 13 April 1955) is a Bosnian professional football manager and former player. He was a gifted midfielder known for his dribbling skills and technical ability, and is strongly reputed to have been one of the finest European players of his generation. Sušić played for Yugoslavia in two FIFA World Cups, 1982 and 1990, and at UEFA Euro 1984. As a manager, he qualified the Bosnia and Herzegovina national team to the 2014 FIFA World Cup.

Sušić played as an attacking midfielder, often in a role of trequartista or fantasista (i.e. a creative playmaker) and rarely as a second striker for Sarajevo, Paris Saint-Germain and Red Star, and internationally for Yugoslavia. Even more later during his career, he was utilized more in a role of a deep-lying playmaker, both for club and national team. In 2010, France Football voted Sušić as Paris Saint-Germain's best player of all time and the best foreign player of Ligue 1 of all time, with his compatriot and friend who also had a spell with PSG, Vahid Halilhodžić, being voted seventh. As part of the UEFA Jubilee Awards in 2004, the Football Association of Bosnia and Herzegovina chose Sušić as the nation's greatest ever player.

Following his retirement from playing, Sušić started working as a manager. He worked for a number of club sides: Cannes, İstanbulspor, Al Hilal, Konyaspor, Ankaragücü, Çaykur Rizespor, Ankaraspor, Évian, Alanyaspor, Akhisarspor and the Bosnia and Herzegovina national team. Sušić won his only trophy as manager with Akhisarspor, the 2018 Turkish Super Cup.

Early career
Born in Zavidovići, FPR Yugoslavia, present-day Bosnia and Herzegovina, Sušić started playing football in the youth team of his hometown club Krivaja. In 1972, he joined the youth team of Sarajevo.

Sarajevo
Sušić made his senior debut for Sarajevo in 1973, one year after joining the youth team. During the 1979–80 season, he was the top scorer in the Yugoslav First League with 17 goals. In 1979, he was honoured as the Yugoslav Footballer of the Year, also being selected as the best athlete hailing from SR Bosnia and Herzegovina. In 1981, Sušić was awarded the Sixth April Award of Sarajevo.

Paris Saint-Germain
In 1982, Sušić signed with Paris Saint-Germain, where he became a star on the European stage. During his first season with the club, Sušić helped PSG to win the 1982–83 Coupe de France, scoring three goals over two legs in the semi-final against Tours, and once in 3–2 victory over Nantes in the final. During the 1985–86 season, Sušić scored ten goals as the Parisiens won their first ever national league title.

Overall, Sušić scored 85 goals and made a record 95 assists for PSG between 1982 and 1991. He is fifth in the club's all-time appearance list with 344 appearances, tied with Paul Le Guen. On 22 September 1984, in a 7–1 home drubbing of Bastia, he assisted on five of the side's goals. At 36, Sušić went to the second Paris-based club for a final year with Red Star.

On 5 February 2010, France Football chose Sušić as the best player in the history of Paris Saint-Germain, ahead of players such as Carlos Bianchi, Mustapha Dahleb, Ronaldinho, George Weah, Joël Bats, Raí and Luis Fernández.

Red Star
In his only season with Red Star, he played in Ligue 2, the second division of French Football. He played in 17 league games for the club in that season campaign, scoring 3 goals in the process. Shortly after leaving Red Star, Sušić announced his retirement from football in 1992.

International career
During Sušić's playing career, Bosnia and Herzegovina was part of SFR Yugoslavia and thus he represented the Yugoslavia national team at international level.

Between 1977 and 1990, Sušić appeared 54 times for Yugoslavia, scoring 21 times. He debuted for his country in 1977 and scored his first goals for the team against Hungary in October of that year. A month later, he scored a hat-trick in a 6–4 victory against Romania during the 1978 FIFA World Cup qualification. However, this was Yugoslavia's only victory of their group and they failed to qualify for the tournament finals.

In June 1979, Sušić scored his second international hat-trick as Yugoslavia beat Italy 4–1 in a friendly match held in Zagreb. In September, he again scored three times in a 4–2 win over world champions Argentina.

Sušić was a member of the Yugoslav team that qualified for the 1982 FIFA World Cup, scoring once in a 5–0 win against Luxembourg.

Sušić was top scorer of Yugoslavia in qualification for UEFA Euro 1984. His two goals in a 3–2 win over Bulgaria in the final qualification fixture helped Yugoslavia to finish three points ahead of the Bulgarians and one point ahead of Wales and advance to the tournament finals. Yugoslavia ultimately finished bottom of their group in France, losing all three matches.

At the age of 35, Sušić made his second appearance at a World Cup finals as a member of Yugoslavia's squad for the 1990 FIFA World Cup in Italy. He scored his only World Cup goal in the team's 4–1 win against the United Arab Emirates during the group stage. He played 61 minutes before being substituted for Dejan Savićević in the penalty shootout loss to eventual runners-up Argentina at the quarter-final stage. His final international was a November 1990 European Championship qualification match away against Denmark.

In 2004, to celebrate UEFA's Jubilee, Sušić was selected as the Golden Player of Bosnia and Herzegovina by the Football Association of Bosnia and Herzegovina as their most outstanding player of the past 50 years.

His former international teammate, Darko Pančev declared: ""It's well known how much I valued and still do value Safet Sušić. For me he's unsurpassable, the best Yugoslavia had. Probably one of the best in the world. I was often known to say that us other players should have to pay to play in the same team as Pape. At least I always talked and thought like that. Pape was a treasure for every forward. His crosses were unbelievable. Sometimes his ball would hit me without me even being aware of it. A wonderful player.""

Early career
Sušić first managed French club Cannes during the 1994–95 season and the beginning of the 1995–96. From 1996 until 1999, he managed İstanbulspor, then Al Hilal in 2001, Konyaspor from 2004 to 2005, Ankaragücü from 2005 until 2006, Çaykur Rizespor on two occasions, first in 2006 and the second time from 2007 to 2008. Sušić was then hired by Ankaraspor in March 2008. He left Ankaraspor in June 2008.

UEFA Euro 2012 qualifying
On 28 December 2009, Sušić was named head coach of the Bosnia and Herzegovina national team. His debut was a friendly match against Ghana in Sarajevo. Bosnia and Herzegovina won the game 2–1 after goals from Vedad Ibišević and Miralem Pjanić. After only 2 wins in Sušić's 6 first matches in charge of the national team, including an important 2–0 loss against France in the UEFA Euro 2012 qualifying, Sušić came under a lot of criticism from several journalists and columnists who called for his head. Sušić recorded a 1–1 draw against France during a second game in Paris and ensured Bosnia and Herzegovina qualified for their second consecutive qualification play-off berth for UEFA Euro 2012 which was played against Portugal in November of that year.

2014 FIFA World Cup

From August 2012 to August 2013, Sušić's Bosnia and Herzegovina side was on a nine-game unbeaten streak run. On 8 August 2013, the Bosnia and Herzegovina national team achieved their highest ever FIFA ranking, 13th place. On 15 October 2013, the country qualified for the 2014 FIFA World Cup in Brazil, their first major tournament in the country's history as an independent nation. Sušić's side fared well in their first World Cup match against Argentina despite losing 2–1. An unlucky own goal and some brilliance from football legend Lionel Messi saw them to a defeat. However, highs taken from the match were the good play the team demonstrated and the materialisation of their first World Cup goal scored by Vedad Ibišević. The team however controversially exited the competition at the group stage of the tournament after their second game against Nigeria having an equaliser scored by Edin Džeko wrongly disallowed for offside. This revitalised the calls for reformation of the FIFA governing body and the replacement of linesmen with technology so as to remove human error from lines decisions. Bosnia and Herzegovina won their last game in the competition against Iran with a healthy 3–1 victory which would've seen them through instead of Nigeria, who incidentally failed to defeat Iran, to a round of 16 match with France.

Contract extension and sacking
In July 2014, Sušić signed a two-year contract to continue as head coach, after he withdrew his resignation. On 17 November 2014, the Football Association of Bosnia and Herzegovina and Sušić parted ways after poor showing of the national team in the first four games of the UEFA Euro 2016 qualifying.

Évian
On 13 July 2015, Sušić was named manager of French Ligue 2 club Évian. On his debut he registered a draw. After the first four rounds, his new side registered four drawn games.

On 11 January 2016, Sušić was sacked by Évian due to a run of poor results at the club. After 20 rounds, the club was placed 13th on the table and were eliminated from the Coupe de la Ligue at the third round. He was replaced by Romain Revelli.

Alanyaspor
On 27 January 2017, Sušić signed a contract with Alanyaspor until June 2018. He was sacked on 25 December 2017 because of a string of poor results.

Akhisarspor
On 30 June 2018, Sušić was named new manager of Turkish Cup winner Akhisarspor.

After about a month and a half, Akhisarspor as cup winners, participated in the Turkish Super Cup match against league champions Galatasaray. The result after full-time was 1–1, but Akhisar won 5–4 on penalties. That was Akhisar's second mayor trophy in the club's history and the first in Sušić's managerial career.

On 17 September 2018, after only collecting two points in five games in the league, Sušić was sacked.

Legacy

Safet Sušić Pape is a bestseller novel written by Bosnian novelist Zlatko Topčić, and published in 2007. Popular Sarajevo sketch comedy and variety TV series, Top Lista Nadrealista, also on occasion treated a subject of football and popular sportsmen-women in their program, with songs dedicated to Sušić and Yugoslav national football team under management of another Sarajevan, Ivica Osim, being prominent feature of couple episodes.

Personal life
Sušić comes from a sporting family. Sead Sušić, a former footballer, is Safet's older brother. Safet's nephew, Tino-Sven Sušić, is also a footballer, formerly even a player of Sarajevo who also alongside Safet appeared at the 2014 FIFA World Cup in Brazil. Safet's mother Paša died on 28 April 2018 at the age of 96.

International goals

 * Scores and results list Yugoslavia's goal tally first, score column indicates score after each Sušić goal.

Player
Paris Saint-Germain
 * French Division 1: 1985–86
 * Coupe de France: 1982–83

Individual
 * Sport Ideal European XI: 1979
 * ADN Eastern European Footballer of the Season: 1979, 1984
 * Ligue 1 Foreign Player of the Year: 1982–83
 * Yugoslav Footballer of the Year: 1979
 * UEFA Jubilee Awards – Greatest Bosnian Footballer of the last 50 Years: 2003
 * Yugoslav First League Top Goalscorer: 1979–80 (17 goals)

Manager
Akhisarspor
 * Turkish Super Cup: 2018

Individual
 * Bosnia and Herzegovina Manager of the Year: 2013

Awards

 * Sixth April Award of Sarajevo: 1981

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

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Talk:Butterfly effect

Henri Poincaré Prediction on Metereology's relation w/ Chaos Theory
Hello all, I am not a usual participant in editing Wikipedia, but I thought I'd help citing the claim that Poincaré did in fact foresee the relation which Lorenz proved in the 60s.

“A very small unknown cause determines a considerable effect which we cannot understand. We therefore say that the effect is due to chance. If we knew exactly the laws of nature and the situation of the universe at the initial moment, we could predict exactly the situation of that same universe at a succeeding moment. but even if it were the case that the natural laws had no longer any secret for us, we could still only know the initial situation approximately. If that enabled us to predict the succeeding situation with the same approximation, that is all we require, and we should say that the phenomenon had been predicted, that it is governed by laws. But it is not always so; it may happen that small differences in the initial conditions produce very great ones in the final phenomena. A small error in the former will produce an enormous error in the latter. Prediction becomes impossible, and we have the fortuitous phenomenon.”

"Why do meteorologists have such a hard time in foreseeing the weather with a reasonable degree of precision? Why do showers and storms seem to occur at random, so that many people find it absolutely natural to pray for rain or good weather while they would praying for an eclipse utterly ridiculous? We see that great perturbations generally occur in regions where the atmosphere is unstable. Meteorologists are well aware of the instability of the equilibrium and that somewhere there will be a hurricane, but where? They cannot tell, because a tenth of a degree more or less at any point will determine a hurricane here instead of there, and there will be devastations in areas that would have been spared. If one had known this tenth of a degree one could have foreseen the event, but observations were neither sufficiently frequent nor sufficiently precise, and for this reason everything seems to be due to the intervention of hazard. "

Poincaré Science et méthode  1903

I really hope I helped!

The real source of the term, "butterfly effect."
The source of the "butterfly effect" is not some chaos theorist/weatherman in the 1980s. The source is Ray Bradbury's short story, "The Sound of Thunder," first published in 1952. I have added that story to the Further Reading list for this article. If you can't find a copy of the story, read the Wikipedia entry for it at https://en.m.wikipedia.org/wiki/A_Sound_of_Thunder Wpbrown46 (talk) 06:01, 10 July 2020 (UTC)

Unfortunately, Dr. Lorenz has passed away so, unless he told someone, or wrote it down, we will not know whether Bradbury's story inspired him to call it "butterfly effect" instead of "bumblebee effect" or something else entirely. Also, 1980s in the OP should be 1960s Wpbrown46 (talk) 06:11, 10 July 2020 (UTC)

Excuse me, does someone know whether Kelvin should be actually credited for “mosquito effect” or is it a misinterpretation? Because, as correctly pointed out by a user (last change), the question is dodgy. But I also found this source from an official physics journal, which points to Kelvin: https://physicstoday.scitation.org/doi/abs/10.1063/1.2807966?journalCode=pto In any case, it shows that butterfly effect was already devised in 1903 … — Preceding unsigned comment added by 87.14.80.242 (talk) 17:38, 23 December 2021 (UTC)

lack of link or even full name
The description has a minor grammar error but more importantly fails to properly name the person in question 2001:9E8:176D:F800:C111:C922:612A:C57C (talk) 11:44, 16 March 2024 (UTC)

title: Talk:Butterfly effect


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Operation Desert Lion

Operation Desert Lion began on 27 March 2003. Soldiers from the U.S. 505th Parachute Infantry Regiment and 82nd Airborne Division launched the operation in the Kohe Safi Mountains and surrounding areas in the Kandahar province of Afghanistan, near Bagram Air Base. Their mission was to hunt for supplies and members of the Taliban and Al-Qaida. The action began with soldiers debouching from Chinook and Black Hawk helicopters. The soldiers found two caches of weapons that included 107mm rockets, mortar rounds, recoilless rocket rounds, and cases of machine-gun ammunition just five kilometers from the air base. Disposal experts blew up the caches in place.

Combined Joint Task Force 180 spokeswoman Capt. Alayne Cramer said coalition troops had searched the area before. "Intelligence sources and tips from local Afghans suggested we revisit the area," Cramer said.

On 29 March 2003 forces engaged in Operation Desert Lion received air support from two Norwegian F-16 fighter bombers flying on a routine patrol over the area. Operation Desert Lion was concluded on 30 March 2003.

title: Operation Desert Lion


text:
Zabranjeno Pušenje

Zabranjeno Pušenje is a Bosnian rock band formed in Sarajevo in 1980. The group's musical style primarily consists of a distinctive garage rock sound with folk influences, often featuring innovative production and complex storytelling. Currently, the band consists of founding member, vocalist and guitarist Sejo Sexon, longtime drummer Branko Trajkov, guitarist Toni Lović, bassist Dejan Orešković, and violinist and keyboardist Robert Boldižar.

The band was formed contrary to the then prevalent Yugoslav punk rock and new wave, closely associated with the New Primitivism cultural movement and the radio and television satire and sketch comedy show Top lista nadrealista. They were one of the most popular musical acts of the 1980s in Yugoslavia, selling hundreds of thousands of records. Many times they got in trouble with the authorities for their, usually mild and sympathetic, criticism of the socialist system, and the habit of making light of issues considered sensitive at the time. The band's first lineup, originally named Pseudobluz bend Zabranjeno Pušenje, featured guitarist Sejo Sexon and vocalist Nele Karajlić, alongside drummers Fu-Do then Šeki Gayton, bassist Munja Mitić, keyboardist Seid Mali Karajlić, saxophonist and flutist Ognjen Gajić, guitarist Mustafa Čengić, and synthesizerist Zoran Degan. Their debut studio album Das ist Walter (1984) was initially released in limited circulation; the final count was 100,000 copies sold, setting a record for exceeding the initial release by 30 times. Their subsequent album Dok čekaš sabah sa šejtanom (1985), also released through Jugoton, was boycotted by the mainstream media due to troubles with Communist authorities. In 1986, Šeki Gayton, Mitić and Čengić chose to leave the group, while drummer Faris Arapović, bassist Darko Ostojić, guitarist Kowalski and keyboardist Dado Džihan joined in. During the second half of 1980s with the new lineup of the band released two albums Pozdrav iz zemlje Safari (1987) and Male priče o velikoj ljubavi (1989) through Diskoton.

During 1992, the band split followed the Bosnian War, Nele Karajlić continued working in Belgrade under the names Nele Karajlić & Zabranjeno Pušenje and Emir Kusturica & The No Smoking Orchestra, while Sejo Sexon and other members rejoined in Sarajevo, using the original name, continuing the band's career released the fifth studio album Fildžan viška (1997) with the changed lineup. The band's 1990s lineup alongside Sejo Sexon featured the leader of the New Primitivism movement Elvis J. Kurtović, vocalist Marin Gradac, a guest on the 1987 album bassist Dragan Bobić, guitarist Sejo Kovo and violinist Bruno Urlić. After one temporary drummer, Branko Trajkov joined the group in 1996. The same lineup recorded the album Agent tajne sile (1999). In 2000, Kurtović, Kovo, and Gradac left the group, while guitarist and producer Dragianni joined the group and played on their subsequent album, Bog vozi Mercedes (2001). That album was followed five years later by Hodi da ti čiko nešto da (2006). In the mid-2000s, Dragianni, Bobić, and Urlić chose to leave the group, while guitarist Toni Lović, bassist Dejan Orešković, and violinist Robert Boldižar came to their seats. The band's ninth studio album, Muzej revolucije (2009), was released on the Anniversary of the October Revolution in almost all former Yugoslav countries, on the same day. The band released their tenth studio album, Radovi na cesti, in 2013. Their eleventh studio album was released in 2018, titled Šok i nevjerica. The twelfth and another double studio album Karamba! was released in 2022.

Background
What would eventually become Zabranjeno Pušenje was started in 1979 by sixteen-year-old Nenad Janković (later to become known as dr. Nele Karajlić) and eighteen-year-old Davor Sučić (later Mr. Sejo Sexon), two teenage friends and neighbors who had been attending Sarajevo Second Gymnasium secondary school while residing in the same apartment building on Fuad Midžić Street in the Sarajevo neighborhood of Koševo. Already infatuated with and deeply immersed in rock and roll, the two fanatically absorbed various musical influences from Yugoslavia and abroad, all the while desperately trying to achieve a basic level of technical proficiency on their instruments—at this stage, Nele Karajlić played the piano, an instrument he had previously studied in music school for a short time before dropping out, while Sejo Sexon played the guitar. Both possessing very limited musical knowledge, despite displaying boundless enthusiasm, the duo struggled with everything from simply tuning their instruments to producing the simplest of melodies.

Sexon and Karajlić soon expanded their setup by adding Ognjen Gajić, another neighborhood teenage friend who possessed some basic musical knowledge having attended a music school. Though by Karajlić's own admission, Gajić played the piano better than him, Gajić decided to switch over to flute as an homage to his favorite band Jethro Tull. He managed to become comfortable on a new instrument fairly quickly, soon becoming a bit of a musical authority among this now three-piece.

Since each of the three teenage members of the group (by now informally known as Pseudobluz bend) lived with their parents, the band rehearsals also took place in their parents' apartments, mostly Karajlić's and Gajić's.

Before long, Sexon brought in Zenit Đozić (a.k.a. Zena, later to become known as Fu-Do), his new classmate at Second Gymnasium who had recently moved to Sarajevo from Bugojno, to be the band's drummer. Adding percussions, that actually consisted of pots and pans, to their setup created new problems as the noise during rehearsals became unbearable for Karajlić's parents and Gajić's mother so the members set about looking for a suitable rehearsal space.

1980–1983: Early years
In fall 1980, in accordance with the newly-passed Yugoslav law requiring high school graduates to immediately report for their compulsory military service in the Yugoslav People's Army, nineteen-year-old Sexon left Sarajevo and was away from the band for a whole year. With Sexon temporarily gone, the band got a new member – Mustafa Čengić (a.k.a. MuČe or Mujo Snažni) who, in turn, brought in Mladen Mitić (a.k.a. Munja or Mitke) on bass guitar. They were occasionally accompanied by Mirko Srdić (later to become known as Elvis J. Kurtović), Zoran Degan, Boris Šiber, Samir Ćeremida, etc. In December 1980, MuČe and Munja managed to get the band on the bill of a Želimir Altarac Čičak-organized new music showcase at Sarajevo's Dom mladih, held under the "Nove nade, nove snage" ('New Blood, New Hopefuls') mantra. The event would be the band's first-ever live public performance though they did play a small show at Sarajevo's Fifth Gymnasium for their social circle a few days earlier on 30 November 1980 as preparation for the Dom mladih gig. Shortly before Čičak's show at Dom mladih, the band changed its name to Pseudobluz bend Zabranjeno Pušenje. Over time, they dropped the first part and continued as just Zabranjeno Pušenje for brevity.

Their first recording, song "Penzioneri na more idu zimi", was made for Radio Sarajevo in early 1981. Additionally, from May 1981, Karajlić and occasionally a few other band members became involved with the Top lista nadrealista radio segment, which aired weekly as part of the Primus program on Radio Sarajevo's channel two. "Penzioneri na more idu zimi" began getting some modest airplay on Radio Sarajevo throughout the year, leading to an increasing number of youths in the city making the connection between the band and the weekly comedy radio segment. In early fall 1981, along with a number of upstart Sarajevo bands such as Zov (band), Formula 4 (band), Ema, COD (band), Rezonansa, Super 98, Negra, Žaoka, Ozbiljno Pitanje, Linija Života, Lucifer, Tečni Kristal, Tina, and Bedž, Zabranjeno Pušenje were booked for a multi-act gig as opening acts for headliners Indexi, Bulevar, Paraf, Zana, Aerodrom, Laboratorija Zvuka, and Bijelo Dugme – all part of the 'Mladost Sutjeske' event commemorating and celebrating the Battle of Sutjeska from World War II. Held at Skenderija sports arena on 3 October 1981, it was the band's biggest show to date and the youngsters left a memorable impression as singer Karajlić and drummer Đozić were about to leave for their mandatory army services just as guitarist Sexon was completing his.

1984–1989: Breakthrough and rising fame in Yugoslavia
The band performed around Sarajevo for two years before beginning to record material for a debut album during Fall 1983 in producer a modest studio owned by "Paša" Ferović. The shambolic recording process took seven months before the album named Das ist Walter got released by Jugoton in April 1984 in the small print of 3,000 copies, clearly indicative of the label's extremely low commercial expectations. The line-up was altered and now Nenad Janković's younger brother keyboardist Dražen Janković (a.k.a. Seid Mali Karajlić) and drummer Predrag Rakić (a.k.a. Šeki Gayton). Though the album was initially released in the small print, the final count was 100,000 copies sold, setting a record for exceeding the initial release by 30 times. In Autumn 1984, they embarked on a 60-concert nationwide concert tour, making them one of the biggest Yugoslav rock attractions after just one album.

During that tour, at their concert in Rijeka on November 27, 1984, Nele Karajlić declared, referring to an amplifier that had just broken down, "Crk'o Maršal. Mislim na pojačalo." , which was recognized as a pun on Marshal Tito's death, landing the band in trouble. They were criticized by the media and a campaign against them resulted in the canceling of their concerts and the removal of Top lista nadrealista from the air. The affair got attention of the Yugoslav Security Administration (UDBA), as well. They were rescued by some leading liberal intellectuals, and magazines such as Polet, Mladina and Slobodna Dalmacija, who raise their voices in the defense of the group members and that affair snaps without prison sentences. Later, Sexon said that their amplifiers weren't even Marshall, and that it was a joke.

In this atmosphere, the band recorded their second, double album Dok čekaš sabah sa šejtanom in the infamous SIM studio and released it in July 1985. The album has received widespread acclaim from critics, but was boycotted by the media. Following promotional tour had extreme difficulties due to concern of the concert hosts and the enormous presence of the state police, as a reflection of the Marshall Affair. Despite several top concerts such as at Pionir Hall in Belgrade, Poljud in Split or Dom Sportova in Zagreb, tens of thousands sold tickets, the tour had a rather disappointing conclusion as the following year Šeki Gayton and Mustafa Čengić left the band in search of a more secure means of making a living. Mladen Mitić left in late 1986 after contributing to the development of the third album.

The rest of the band was working on a subsequent album and slowly assembled a new band lineup, featured drummer Faris Arapović and guitarist Predrag Kovačević (a.k.a. Kova or Kowalski) and bassist Emir Kusturica. At the time, Kusturica was notable filmmaker who won the Palme d'Or at the 1985 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film with the When Father Was Away on Business. This refreshed lineup, in collaboration with some studio musicians such as bassist Dragan Bobić and back-vocalists Dado Džihan and Darko Ostojić, released Pozdrav iz zemlje Safari through Diskoton in 1987. Diskoton censors had some objections and the song "Our Proposal for the Eurovision Song Contest" had to be renamed, since the song included comments on the depressed state of the economy and the lack of freedom of expression. The album again included a number of hit songs, such as "Pišonja i Žuga", "Hadžija ili bos", "Fikreta", "Dan Republike", and returned the band to stardom. The album was recorded in Sarajevo and mixed in London, UK, while the record producer was Sven Rustempašić, a Seattle-based producer born in Sarajevo. The following tour, which included 87 concerts, was the largest Zabranjeno Pušenje tour thus far and the band was by that time regarded as one of the Yugoslav rock powerhouse alongside Azra, Bijelo Dugme and Parni Valjak. In January 1988, the band received a gold record for 100,000 copies sold.

In October 1988, the band released their fourth album Male priče o velikoj ljubavi. The songs were mostly written and produced by Sejo Sexon. The album featured opera singer Sonja Milenković, violinist Dejan Sparavalo and Goran Bregović as backing vocal and guitar player. The album was an average success. The band embarked on the tour with Bombaj štampa and the rest of Top lista nadrealista crew (those who didn't play in the band already). The tour (a combination of theatre and rock and roll, an idea by Sejo Sexon, was a great success and regarded as the best tour of 1989 with around 60 concerts and more than 200,000 visitors.

1990–1995: Band split and transitional period
Nele Karajlić and Sejo Sexon, the band's leading duo, were getting on increasingly colder terms and the Yugoslavia-wide tour with Bombaj Štampa and Top lista nadrealista during early 1990, though hugely commercially successful, only exacerbated their fractured business and personal relationship. The band broke up in late summer 1990 when Sejo Sexon informed Karajlić about no longer being interested in playing with him. Sejo Sexon, Darko Ostojić and Faris Arapović left the band due to different views on the band vision more than the political differences in Yugoslav leadership in the late 1980s. In that time, Sejo Sexon and Ostojić worked on their solo record for Diskoton, but that studio album went unreleased due to the start of the Bosnian War. Arapović joined the Sarajevo-based alternative rock band Sikter.

In April 1992, the Bosnian War began. Nele Karajlić had fled to Belgrade and continued working under the name Nele Karajlić & Zabranjeno Pušenje, later better known as Emir Kusturica & The No Smoking Orchestra. Sejo Sexon, along with Elvis J. Kurtović, Zenit Đozić, Boris Šiber and the band's album cover designer Srđan Velimirović, remained in besieged Sarajevo, taking part in the wartime spinoff of Top lista nadrealista. In late June 1992, Top lista nadrealista crew started to work on a 15-minute weekly radio shows. In August 1993, after 50 odd shows on radio, the group shot and aired four television episodes. Sejo Sexon produced a soundtrack for TV series and a theater play Top lista nadrealista. After the Bosnian War Sejo Sexon moved to Zagreb, Croatia where he lived for some time. Later he came back to Sarajevo and together with Elvis J. Kurtović, who occasionally worked on the band's recordings, restored Zabranjeno Pušenje. After reunion of the band in 1996, Sejo Sexon and Elvis J. Kurović had more than 300 occasions where then performed live Top lista nadrealista across Bosnia and Herzegovina, Croatia, Slovenia, Germany, Austria, Denmark, and Switzerland. That tour was supported by the USAID office in Sarajevo.

1996–2001: New beginnings in the post-Yugoslav area
In 1996, Sejo Sexon and Elvis J. Kurović accompanied with members of the Top lista nadrealista pit orchestra such as Sejo Kovo, Đani Pervan, Dušan Vranić, and Samir Ćeremida had become the core of the renewed band's lineup. During that time, the band works on their new studio album. The fifth album of Zabranjeno Pušenje Fildžan viška is released through Dallas Records and Nimfa Sound in 1997. Sejo Sexon produced the album and wrote all songs with some help of Elvis J. Kurtović. Fildžan viška was produced four singles; "Možeš imat' moje tijelo", "Mile Hašišar", "Pubertet" and "Fildžan viška". Music videos for those single are produced by the band members. Production know-how from Top lista nadrealista has proven to be valuable in recording music videos, which were rated very well in Croatia, Bosnia and Herzegovina and Slovenia where the band performed regularly. Touring musicians were Sejo Sexon, Elvis J. Kurtović, Predrag Bobić, Zoran Stojanović, Nedžad Podžić, Marin Gradac, Bruno Urlić and Branko Trajkov, while Samir Ćeramida and Đani Pervan performed occasionally. The same lineup released the first live album Hapsi sve! through Croatia Records and A Records in 1998. The songs are recorded over two nights at Dom Sportova, in Zagreb on July 10, 1997, and at the Metalac schoolyard in Sarajevo on September 25, 1997. In the same time, the band had two guest appearances of Rambo Amadeus at their concerts for the Fildžan viška album promotion in Sarajevo. Those appearances were the first post-war performance by a Serbian-Montenegrin artist to the Bosnian Federation. In early 1997, Dario Vitez became executive producer, public relations manager and tour manager of the band.

The writing and formation of the band's next album, Agent tajne sile began immediately following the culmination of the promotional tour for Fildžan viška, in the start of 1999, at the Bjelolasica Olympic Centre in Gorski kotar, Croatia. The album was recorded in Rent-A-Cow Studio in Amsterdam, the Netherlands in March 1999 and produced by Sejo Sexon and Zlaja Jeff Hadžić. Agent tajne sile is released in June 1999 through TLN-Europa, an independent record label founded and own by Sejo Sexon. The record produced four singles; "Pos'o, kuća, birtija", "Agent tajne sile", "Jugo 45" and "Pupoljak". The record's third single, "Jugo 45", was the band's fastest-selling single, debuting on top of the Bosnian and Croatian charts. The band began another tour in support of Agent tajne sile in 1999, beginning with promotional concerts in Bosnia and Croatia with the touring lineup: Sejo Sexon, Marin Gradac, Elvis J. Kurtović, Predrag Bobić, Bruno Urlić, Dragomir Herendić, and Branko Trajkov. In a short while, Marin Gradac and Elvis J. Kurtović chose to leave the group due to other commitments. Gradac went to finish Sarajevo Music Academy and joined Radio Sarajevo Orchestra, while Elvis J. Kurtović began writing his solo album. In early 2000, the band came back to the Bjelolasica Olympic Centre to work on the band's seventh album. In the meantime, the band got a new member; world-class percussionist Albin Jarić, better known as Jimi Rasta, who worked previously with musicians such as Dave Stewart and Eric Clapton. Bog vozi Mercedes was record by home made production in improvised studios in Bjelolasica and Ivanić Grad from March to June 2001. This record was planned to be a noncommercial break from the major music projects. No one expected that it would become one of the most selling Zabranjeno Pušenje albums. The album is released in December 2001 through TLN-Europa and Menart Records, and went on to sell more than 35,000 copies. Sejo Sexon wrote and produced four music videos, out of six released. For the song "Arizona Dream" the band won the 2002 Davorin Award for the best rock song. The concert tour by the band in support of their seventh studio album had 250 concerts.

In 2001, the band members took a part in a social responsibility project in which they organized music workshops for children and youth who were victims of land mines. Project was supported by embassies of Canada, Norway and the U.S. in Zagreb.

2002–2011: Continued success
In 2002, the band went on the North American tour. On May 26, they had recorded the band's second live album at the Casa Loma Ballroom in St. Louis, Missouri. In 2004, the band released Live in St. Louis. This live album featured two new music videos, "Zenica Blues" and "Posljednja oaza (Fikreta)". They made the video for their 1980s hit Zenica Blues following the 20th Anniversary of the song's release. The video was shot in the Zenica prison. In 2003, Zabranjeno Pušenje was awarded for their outstanding live performance on the Baščaršija Nights festival in Sarajevo. During 2004, Albin Jarić, Bruno Urlić and Dragomir Herendić left the group due to other commitments. Jarić devotes himself to family life in Kranj, Slovenia. Herendić completed his own studio in Ivanić Grad and get focused on his production career. Urlić took over band-leadership of the Macedonian folk band Ezerki & 7/8 from Zagreb. and started his studio music and production career.

In a short period without guitarists and violinists, Sejo Sexon, Trajkov, and Bobić began the writing and formation on sketches of something that will evolve in three years to the double-full-length studio album. In a short period of time, violinist Robert Boldižar and guitarist Toni Lović joined in. Boldižar was touring musician in 1997, while the band's violinist Urlić was on leave to Paris, France. The new lineup immediately began to wrap up music for the next album and went on a short tour. Meanwhile, keyboardist Paul Kempf step in the empty seat. In 2005, right after record producer Denis Mujadžić (a.k.a. Denyken) joined the record project, Sejo Sexon got the opportunity to write a film score for the 2006 Bosnian action comedy film Nafaka directed by Jasmin Duraković. On that project he got an opportunity to collaborate with prominent musicians of different genres, such as: Halid Bešlić, Arsen Dedić, Lucija Šerbedžija, and the Mosque Choir Arabeske. On June 26, 2006, the song "Nema više", the first single from their upcoming album and Nafaka Soundtrack as well, was released and became a hit single. Sejo Sexon wrote this song with a Bosnian prose writer and playwright Nenad Veličković. On November 16, 2006, the band released their eighth studio album Hodi da ti čiko nešto da!, their first double album since Dok čekaš sabah sa šejtanom (1985).

Although the concert tour was truly enviable as in the time before, the period after the 2006 album release, next to the Australian Tour and the concerts in Paris and London, brought two great disappointments to the band, cancellations of the significant concerts in Belgrade and Sarajevo. At the first, there was a cancellation of the Sarajevo Concert as a result of the voracity of the Sarajevo Film Festival Board, who managed to redirect the concert's sponsorships to the Festival's budget. Next hit was wresting the 29 November Concert in Belgrade by former band members settled in Belgrade and gathered around The No Smoking Orchestra. The band had the Day of the Republic project in which 29 November should become the traditional concert date for Belgrade fans.

In September 2008, a longtime bassist Predrag Bobić left the bend after a farewell concert at Zagreb's lake Bundek. Afterwards, guitarist Dejan Orešković, former bassist of Divlje jagode, joined the group and played on their subsequent album.

The ninth studio album Muzej revolucije is released on November 7, 2009, on the 92nd anniversary of the October Revolution. The album is released on the same day through various record labels in Bosnia and Herzegovina, Croatia, Montenegro, Serbia and Slovenia. The record produced five singles; "Modni Guru", "Kladimo se", "Kada Sena pleše", "Tvoja bosa stopala" and "Samir-time". In 2011, Sejo Sexon directed a music video for the third single of Muzej revolucije, entitled "Kada Sena pleše". It was his directorial debut. Also, he wrote the script for the same music video. On June 25, 2012, the band released the video for "Samir-time", the fifth and last single of Muzej revolucije.

2012–present: Tenth studio album and recent years
In 2012, Sejo Sexon and Toni Lović entered the studio to begin writing for their tenth studio album. On October 10, 2013, Radovi na cesti was released through Croatia Records and Dallas Records. The album was met with mostly positive reviews from the critics. The record produced six singles; "Boško i Admira", "Ti voliš sapunice", "Tri kile, tri godine", "U Tvoje ime", "Klasa optimist" and "Kafana kod Keke".

On December 28, 2013, Sejo Sexon and Zabranjeno Pušenje celebrated 30th Anniversary of the band with their fans on a concert in Skenderija, Sarajevo. In January 2016, saxophonist and flautist Lana Škrgatić joined the band. As a new band member, she appeared for the first time in the 2016 music video for the fifth Radovi na cesti single "Klasa optimist". Keyboardist Paul Kempf left the band in early 2017. The band appeared on two biggest Serbian music festivals in 2017, they performed live at the EXIT Summer of Love 2017 in Novi Sad, and at the Belgrade Beer Fest.

On October 31, 2018, the band released their eleventh studio album Šok i nevjerica. The songs were mostly written and produced by Sejo Sexon and Toni Lović. The album featured Bosnian rapper Sassja and Bosnian singer and composer Damir Imamović. In November 2019, Lana Škrgatić parted ways with the band to join a female music band.

In 2020 and 2021, during the COVID-19 pandemic, band members recorded 16 new songs for the new studio album. All songs were written and produced by Sejo Sexon and Toni Lović, while the arrangement is jointly signed with other band members. For the first time in 15 years, they collaborated with Elvis J. Kurtović, a former band member. Thus, in June 2020, they released a single and a music video for the song "Korona hit pozitivan", which was made in collaboration with Kurtović. In April 2022, the third live album Live in Skenderija Sarajevo 2018 was released. The new studio album, the twelfth and the double, Karamba!, was released on June 3, 2022. The album was announced with the song "Ekrem" and its new music video, directed by Tomislav Fiket, and in the title role of Ekrem was the actor Asim Ugljen.

Musical style
In the early 1980s, when the rest of the Yugoslav popular music scene followed the trends in Europe of the early 1980s, chiefly punk rock and new wave, Zabranjeno Pušenje were part of a unique rock movement centered in Sarajevo that forged its own path. This movement, for the most part, centered on simple, youthful, garage rock, with folk influences and a distinctive Sarajevo urban feel called New Primitivism.

The songs range from punk rock to rock, frequently arranged to feature trumpets and saxophones, adding to the band's unique sound, along with many samples and soundbites from the period. Zabranjeno Pušenje captured the feel of Sarajevo, its idols and local heroes along with tales of love and loss, in a distinctive and often humorous way. Very visual and cynical, the band's lyrics were progressive enough to show the last stages of Yugoslav socialism (songs "Dan republike", "Srce ruke i lopata", "Abid", "Guzonjin sin"), alternate clubs ("Pišonja i Žuga u paklu droge", "Javi mi"), as well as providing morbid hints for the Yugoslav Wars ("Kanjon Drine", "Zvijezda nad Balkanom").

Current
Source: Zabranjeno Pušenje
 * Davor Sučić (a.k.a. Sejo Sexon) – guitar, lead vocals, backing vocals (1980–1990; 1995–present)
 * Branko Trajkov (a.k.a. Trak) – drums, percussion, acoustic guitar, backing vocals (1996–present)
 * Toni Lović – electric guitar, acoustic guitar (2004–present)
 * Robert Boldižar – violin, keyboards, backing vocals (2004–present)
 * Dejan Orešković (a.k.a. Klo) – bass (2008–present)

Former

 * Faris Arapović – drums (1987–1990)
 * Kristina Biluš – backing vocals (1999)
 * Predrag Bobić (a.k.a. Bleka) (credited as Dragan Bobić) – bass (1996–2008)
 * Mustafa Čengić (a.k.a. Mujo Snažni) – guitar, backing vocals (1980–1986)
 * Samir Ćeremida – bass (1996–1998)
 * Zoran Degan (a.k.a. Poka) – keyboards (1980–1983)
 * Zenit Đozić (a.k.a. Fu-do) – drums, percussion, backing vocals (1980–1983; 1985)
 * Dado Džihan – keyboards (1987–1990)
 * Ognjen Gajić – saxophone, concert flute, keyboards (1980–1987)
 * Marin Gradac (a.k.a. Mako) – trombone, vocals (1996–1999)
 * Dragomir Herendić (a.k.a. Dragianni) – lead guitar (1999–2004)
 * Dražen Janković (a.k.a. Seid Mali Karajlić) – keyboards, backing vocals (1980–1981; 1984–1987)
 * Nenad Janković (a.k.a. Dr. Nele Karajlić) – lead vocals, keyboards (1980–1990)
 * Albin Jarić (a.k.a. Jimi Rasta) – percussion (2001–2004)

 * Paul Kempf (a.k.a. Pavo) – keyboards (2005–2017)
 * Predrag Kovačević (a.k.a. Kova / Kowalski) – guitar (1986–1990)
 * Sead Kovo (a.k.a. Sejo) – guitar (1996–1999)
 * Emir Kusturica – bass (1987)
 * Mladen Mitić (a.k.a. Munja) – bass, backing vocals (1980–1986)
 * Darko Ostojić (a.k.a. Ogi) – bass (1987–1990)
 * Đani Pervan – drums (1996)
 * Nedžad Podžić (a.k.a. Počko) – keyboards, backing vocals (1996–1998)
 * Predrag Rakić (a.k.a. Šeki Gayton) – drums (1983–1986)
 * Mirko Srdić (a.k.a. Elvis J. Kurtovich) – backing vocals (1996–1999)
 * Zoran Stojanović – electric guitar (1996–1998)
 * Lana Škrgatić – saxophone, concert flute, backing vocals (2016–2019)
 * Bruno Urlić (a.k.a. Prco) – violin, viola, keyboards, backing vocals (1997–2004)
 * Dušan Vranić (a.k.a. Duco) – keyboards, backing vocals (1996–1997)

Awards and nominations

 * rowspan="2" | 2002 || "Arizona Dream"
 * Best Rock Song
 * Davorin Awards
 * Won
 * Bog vozi Mercedes
 * Bog vozi Mercedes
 * Best Album Cover Design
 * Davorin Awards
 * Won
 * Dario Vitez & Srđan Velimirović
 * rowspan="2" | 2003 || www.zabranjeno-pusenje.com
 * Best Artist Website Design
 * Davorin Awards
 * Won
 * Dario Vitez
 * Zabranjeno Pušenje
 * Outstanding Live Performance
 * Baščaršija Nights
 * Won
 * 2004 || 20th Debut Album's Anniversary
 * Honorary Award "50 Years of Popular Music"
 * Davorin Awards
 * Won
 * 2005 || Live In St. Louis
 * Best Live Album
 * Davorin Awards
 * Won
 * rowspan="9" | 2007 || Hodi da ti čiko nešto da
 * Rock Album of the Year
 * Davorin Awards
 * Nominated
 * rowspan="2" |"Dobro dvorište"
 * Rock Song of the Year
 * Davorin Awards
 * Nominated
 * Hodi da ti čiko nešto da
 * Rock Music Video of the Year
 * Davorin Awards
 * Nominated
 * Hodi da ti čiko nešto da
 * rowspan="2" |"Nema više"
 * Rock Song of the Year
 * Davorin Awards
 * Nominated
 * Hodi da ti čiko nešto da
 * Rock Music Video of the Year
 * Davorin Awards
 * Nominated
 * Hodi da ti čiko nešto da
 * Zabranjeno Pušenje
 * Rock Performer of the Year
 * Davorin Awards
 * Won
 * Sejo Sexon
 * Best Male Singer
 * Davorin Awards
 * Nominated
 * Zabranjeno Pušenje & Arsen Dedić
 * Collaboration of the Year
 * Davorin Awards
 * Nominated
 * Toni Lović
 * Best Pop/Rock/Urban Guitarist
 * Status Awards
 * Nominated
 * rowspan="2" | 2010
 * Dejan Orešković
 * Best Pop/Rock/Urban Bassist
 * Status Awards
 * Nominated
 * Robert Boldižar
 * Best Pop/Rock/Urban Violinist
 * Status Awards
 * Nominated
 * 2015
 * Dejan Orešković
 * Best Pop/Rock/Urban Bassist
 * Status Awards
 * Nominated
 * rowspan="2" | 2017
 * Toni Lović
 * Best Guitarist
 * Mega Muzika Fender Awards
 * Won
 * Zabranjeno Pušenje
 * Best Band
 * Mega Muzika Fender Awards
 * Won
 * Zabranjeno Pušenje & Arsen Dedić
 * Collaboration of the Year
 * Davorin Awards
 * Nominated
 * Toni Lović
 * Best Pop/Rock/Urban Guitarist
 * Status Awards
 * Nominated
 * rowspan="2" | 2010
 * Dejan Orešković
 * Best Pop/Rock/Urban Bassist
 * Status Awards
 * Nominated
 * Robert Boldižar
 * Best Pop/Rock/Urban Violinist
 * Status Awards
 * Nominated
 * 2015
 * Dejan Orešković
 * Best Pop/Rock/Urban Bassist
 * Status Awards
 * Nominated
 * rowspan="2" | 2017
 * Toni Lović
 * Best Guitarist
 * Mega Muzika Fender Awards
 * Won
 * Zabranjeno Pušenje
 * Best Band
 * Mega Muzika Fender Awards
 * Won
 * 2015
 * Dejan Orešković
 * Best Pop/Rock/Urban Bassist
 * Status Awards
 * Nominated
 * rowspan="2" | 2017
 * Toni Lović
 * Best Guitarist
 * Mega Muzika Fender Awards
 * Won
 * Zabranjeno Pušenje
 * Best Band
 * Mega Muzika Fender Awards
 * Won
 * Zabranjeno Pušenje
 * Best Band
 * Mega Muzika Fender Awards
 * Won
 * Mega Muzika Fender Awards
 * Won

Studio albums

 * Das ist Walter (1984)
 * Dok čekaš sabah sa šejtanom (1985)
 * Pozdrav iz zemlje Safari (1987)
 * Male priče o velikoj ljubavi (1989)
 * Fildžan viška (1997)
 * Agent tajne sile (1999)
 * Bog vozi Mercedes (2001)
 * Hodi da ti čiko nešto da (2006)
 * Muzej revolucije (2009)
 * Radovi na cesti (2013)
 * Šok i nevjerica (2018)
 * Karamba! (2022)

title: Zabranjeno Pušenje


text:
Wikipedia:Articles for deletion/3D-program

I can't believe there is anything here that isn't better covered somewhere else. At most, we should find the right article to make this a redirect to, and in the unlikely event that anything here is not covered there, merge it. -- Jmabel 03:24, 30 May 2004 (UTC)


text:
Sergej Barbarez

Sergej Barbarez (Сергеј Барбарез; born 17 September 1971) is a Bosnian professional football manager and former player who is the manager of the Bosnia and Herzegovina national team.

A forward, Barbarez played for several clubs in the German Bundesliga. He is considered one of the all-time greatest players of Hamburger SV where he scored 65 goals in 174 Bundesliga games. Mainly used as a second striker, Barbarez also played as an attacking midfielder or left winger. In the 2000–01 Bundesliga season while playing for Hamburger SV, he was joint top scorer with 22 goals with Ebbe Sand of Schalke 04 at the end of the season.

Barbarez made his senior international debut for the Bosnia and Herzegovina national team in 1998, earning 47 caps and scoring 17 goals until 2006. He was the captain of the national team between 2004 and 2006.

Early life
Barbarez was born in Mostar, SR Bosnia and Herzegovina, SFR Yugoslavia, present-day Bosnia and Herzegovina to a Bosnian Serb father and a half-Croat and half-Bosniak mother.

As a young child, he was actually not very interested in football but in basketball and athletics. However, at the age of eleven, Barbarez started playing football though mostly for fun with friends after school.

Club career
In 1984, Barbarez took a step further and started playing football for the youth team of Velež in his native city of Mostar.

Some six years later, he signed with the first team of Velež at the age of 19. However, briefly after, Barbarez served in the Yugoslav People's Army in Zagreb in 1991 before returning to Mostar to continue his career. In 1991, he returned to Velež and soon after everyone realized that Barbarez was a true talent.

The same year, he visited his uncle who was living in Germany. Some time later, Barbarez was preparing to return to Mostar but his uncle surprised him by extending his stay in Germany for two weeks. The uncle had arranged for him a two weeks try-out practise with Hannover 96. The coach of Hannover 96 was so impressed by Barbarez that he signed him for the club. During those same two weeks the political situation throughout former Yugoslavia was deteriorating by the minute and fighting was even occurring in some places. So Barbarez came to an agreement with his father to stay with his uncle in Germany for the near future.

In April 1992, the Bosnian War escalated in the city of Mostar. A month prior of the actual war, the father and sister of Barbarez fled with his high school sweetheart Ana to the city of Hanover in Germany. His mother Zlata stayed in Mostar throughout the whole war.

Barbarez played for Hannover 96 during the second half of the 1991–92 and the whole 1992–93 season. Between 1993 and 1996, he played for Union Berlin at the third level before signing with Hansa Rostock. Barbarez played there between 1996 and 1998.

In 1998, he signed with Borussia Dortmund and played there until joining Hamburger SV in July 2000.

During the first season with Hamburger SV, Barbarez became the top scorer for his club with 22 goals and joint top scorer of the Bundesliga with Ebbe Sand. Though, he could not help Hamburg's elimination from the 2000–01 UEFA Champions League at the group stages despite his two goals, when the club qualified for that competition for the first time, after a third place in the previous domestic Bundesliga season.

On 17 May 2006, Barbarez signed a two-year deal with Bayer Leverkusen. He finished his career at Bayer after his contract with the club expired in June 2008.

International career

On 14 May 1998, Barbarez made his debut for the Bosnia and Herzegovina national team against Argentina in a friendly match.

Barbarez scored two goals against Liechtenstein in a World Cup qualification match on 28 March 2001. He was denied a hat-trick as his second-half penalty was saved by Lichtenstein goalkeeper Peter Jehle.

Before retiring from international football in October 2005, Barbarez was the captain of the Bosnian national team.

On 2 December 2005, he announced his comeback to the national team and played in the UEFA Euro 2008 qualifiers. He became captain of the team once again.

On 12 October 2006, Barbarez officially stepped down from playing for the Bosnia and Herzegovina national team and retired permanently from professional football in June 2008. His final international was an October 2006 European Championship qualification match against Moldova.

Managerial career
Barbarez announced on 14 December 2009 that he wanted to be the head coach of the Bosnia and Herzegovina national team in the UEFA Euro 2012 qualifiers. However, the Football Association of Republika Srpska blocked his entry and later on, Safet Sušić was selected as the new head coach of the Bosnia and Herzegovina national team.

On 5 January 2011, Barbarez received his UEFA Pro Licence in the Football Association of Bosnia and Herzegovina's educational facility in Jablanica.

On 19 April 2024, Barbarez was appointed as the new head coach of the Bosnia and Herzegovina national team, signing a four-year contract with the Bosnian FA.

Personal life
Barbarez is married to his high-school sweetheart Ana, who is also from Mostar. They have two sons together, Filip-André (born 1994) and Sergio-Luis (1999). Barbarez was a member of the board of directors of Hamburger SV between 25 January 2009 and 28 May 2010.

International

 * Scores and results list Bosnia and Herzegovina's goal tally first, score column indicates score after each Barbarez goal.

Player
Hamburger SV
 * DFB-Ligapokal: 2003
 * UEFA Intertoto Cup: 2005

Individual
 * Bosnian Footballer of the Year: 2001, 2002, 2003
 * Bundesliga top goalscorer: 2000–01 (shared)

title: Sergej Barbarez


text:
Harmonious coloring

In graph theory, a harmonious coloring is a (proper) vertex coloring in which every pair of colors appears on at most one pair of adjacent vertices. It is the opposite of the complete coloring, which instead requires every color pairing to occur at least once. The harmonious chromatic number $χH(T7,3) = ⌈(3/2)(7+1)⌉ = 12$ of a graph $G$ is the minimum number of colors needed for any harmonious coloring of $G$.

Every graph has a harmonious coloring, since it suffices to assign every vertex a distinct color; thus $χH(G)$. There trivially exist graphs $G$ with $χH(G) ≤ |V(G)|$ (where $χH(G) > χ(G)$ is the chromatic number); one example is any path of length > 2, which can be 2-colored but has no harmonious coloring with 2 colors.

Some properties of $χ$:
 * $$\chi_{H}(T_{k,3}) = \left\lceil\frac{3(k+1)}{2}\right\rceil,$$

where $χH(G)$ is the complete $k$-ary tree with 3 levels. (Mitchem 1989)

Harmonious coloring was first proposed by Harary and Plantholt (1982). Still very little is known about it.

title: Harmonious coloring


text:
Gbadolite

Gbadolite or Gbado-Lite (pronounced ) is the capital of Nord-Ubangi Province in the Democratic Republic of the Congo. The town is located 12 km south of the Ubangi River at the border to the Central African Republic and 1150 km northeast of the national capital Kinshasa. Gbadolite was the ancestral home and residence of Joseph-Désiré Mobutu, later self-styled as Mobutu Sese Seko where airport, colleges, malls, supermarkets and libraries were built by the President in a program of modernization. Gbadolite is where Mobutu led the summit that would produce the Gbadolite Declaration, a short lived ceasefire in the Angolan Civil War, in 1989.

History
Mobutu built Gbadolite into a luxurious town often nicknamed "Versailles of the Jungle". He built a hydroelectric dam on the nearby Ubangi River in Mobayi Mbongo, an international airport, Gbadolite Airport, which could accommodate a Concorde, and three large palaces. As a result, the people of the town had no trouble finding jobs. During Mobutu's regime, Gbadolite also had companies such as CDIA Zaire for farming productions, SOZAGEC for road construction, and SAFRICAS for house construction. The town had a general hospital with high tech facilities, supermarkets or malls, which were destroyed in 1997. Gbadolite had also College Presidentiel, a high school famous for its academic excellence and administered by Jesuit Fathers to whom Mobutu gave the school. This school had a chemistry lab, physics lab, computer lab, Olympic game facilities, and band instruments of all kinds. The town was also famous for its Chapelle Marie la Misericorde, a luxurious church in which Mobutu buried his first wife, Mama Mobutu.

Two palaces were built outside Gbadolite at Kawele. One was an elaborate complex of Chinese pagodas, while the other was a modern mansion. Both were used as residences for Mobutu and guests. The three-story palace in Gbadolite was used primarily for public functions.

Mobutu also built a nuclear bunker that could house more than 500 people and was the largest in Africa; this was the only nuclear bunker in Central Africa. The bunker was connected to the Ubangui River by a secret tunnel, giving access to the military harbour at the village of N'dangi.

When Laurent Kabila successfully led a rebellion and ousted Mobutu in 1997, Gbadolite was raided, and most of what was in the palaces was looted. The palaces are now being overrun by vegetation.

In 1998, the Ugandan backed MLC (Mouvement de Libération du Congo) rebel group, led by Jean-Pierre Bemba, captured Gbadolite from Kabila's government and it became the MLC's headquarters.

title: Gbadolite


text:
Amy Acker

Amy Louise Acker (born December 5, 1976) is an American actress. She is best known for starring as Winifred Burkle and Illyria on the supernatural drama series Angel (2001–2004), as Kelly Peyton on the action drama series Alias (2005–2006), and as Root on the science-fiction drama series Person of Interest (2012–2016). From 2017 to 2019, she starred as Caitlin Strucker on the superhero drama series The Gifted, based on Marvel Comics' X-Men.

Early life
Amy Louise Acker was born and raised in Dallas, Texas, to a homemaker mother and a lawyer father. She studied ballet and modern dance for 14 years. She underwent knee surgery while in high school, ending her ballet career. Acker graduated from Lake Highlands High School in Dallas in 1995. She subsequently earned a bachelor's degree in theater from Southern Methodist University in 1999.

In her junior year of college, Acker modeled for the J. Crew catalog. She received a Bachelor of Fine Arts degree in the same year. She worked as a stage actress for several seasons, including a stint at American Players Theatre in Spring Green, Wisconsin.

Career
Acker made her major television debut when she starred as Winifred "Fred" Burkle in Angel (seasons 2–5), and also as the character of Illyria for part of the show's fifth and final season. She won the 2003 Saturn Award for Best Supporting Actress on Television for her portrayal.

Acker joined the cast of Alias in 2005 for its final season, playing villainess Kelly Peyton. Acker graduated from guest star to cast member as the show entered the final episodes in April and May 2006. Also in 2005, Acker provided voice acting for the character of Huntress (Helena Rosa Bertinelli) on the animated series Justice League Unlimited. She went on to make a guest appearance on How I Met Your Mother, in which she was reunited with Angel co-star Alexis Denisof (the real-life husband of HIMYM star Alyson Hannigan), who had a recurring role on the show.

Acker portrayed Dr. Claire Saunders/Whiskey, a recurring character, on Joss Whedon's Dollhouse. She guest-starred in 10 of the 13 episodes of the first season and three episodes of the second.

In 2010, Acker was a series regular in the ABC drama Happy Town, portraying the character Rachel Conroy. That same year, she starred in the season-one finale of the Fox series Human Target as the mysterious Katherine Walters. On May 25, 2010, she appeared on CBS's The Good Wife. She appeared in the horror movie The Cabin in the Woods, released April 13, 2012. In 2012, she made guest performances in Warehouse 13, Once Upon a Time, and Grimm. Also in 2012, she starred as Beatrice in Joss Whedon's film Much Ado About Nothing.

Acker appeared in season three of the sitcom Husbands as Claudia, Brad Kelt's ex-fiancée of who unexpectedly shows up. In March 2014, Acker was cast as Audrey Nathan, a former lover to Phil Coulson in an episode of Agents of S.H.I.E.L.D.

Between 2012 and 2016, Acker portrayed Samantha "Root" Groves on the CBS drama Person of Interest; Groves became a regular character starting in the series' third season. Starting with the series' 100th episode, Acker took on the voice role of the Machine. In the series finale, she also appeared as the visual manifestation of the Machine.

In March 2017, Acker was cast as Caitlin Strucker in the pilot for the prospective Fox television series The Gifted, which was picked up to series in May 2017. The Gifted began airing on October 2, 2017, and Fox canceled the series after two seasons on April 17, 2019.

In 2019, Acker appeared in What Just Happened??! with Fred Savage, a parody of aftershows. She plays Dr. Rachel Layne in the "show-within-a-show", a fictional drama series called The Flare.

Personal life
On April 25, 2003, Acker married actor James Carpinello in California. They have a son, born in 2005, and a daughter, born in 2006.

title: Amy Acker


text:
Complete coloring

In graph theory, a complete coloring is a (proper) vertex coloring in which every pair of colors appears on at least one pair of adjacent vertices. Equivalently, a complete coloring is minimal in the sense that it cannot be transformed into a proper coloring with fewer colors by merging pairs of color classes. The achromatic number $ψ(G)$ of a graph $G$ is the maximum number of colors possible in any complete coloring of $G$.

A complete coloring is the opposite of a harmonious coloring, which requires every pair of colors to appear on at most one pair of adjacent vertices.

Complexity theory
Finding $ψ(G)$ is an optimization problem. The decision problem for complete coloring can be phrased as:

 * INSTANCE: a graph $G = (V, E)$ and positive integer $k$
 * QUESTION: does there exist a partition of $V$ into $k$ or more disjoint sets $V1, V2, …, Vk$ such that each $Vi$ is an independent set for $G$ and such that for each pair of distinct sets $Vi, Vj, Vi ∪ Vj$ is not an independent set.

Determining the achromatic number is NP-hard; determining if it is greater than a given number is NP-complete, as shown by Yannakakis and Gavril in 1978 by transformation from the minimum maximal matching problem.

Note that any coloring of a graph with the minimum number of colors must be a complete coloring, so minimizing the number of colors in a complete coloring is just a restatement of the standard graph coloring problem.

Algorithms
For any fixed k, it is possible to determine whether the achromatic number of a given graph is at least k, in linear time.

The optimization problem permits approximation and is approximable within a $$O\left(|V|/\sqrt{\log |V|}\right)$$ approximation ratio.

Special classes of graphs
The NP-completeness of the achromatic number problem holds also for some special classes of graphs: bipartite graphs, complements of bipartite graphs (that is, graphs having no independent set of more than two vertices), cographs and interval graphs, and even for trees.

For complements of trees, the achromatic number can be computed in polynomial time. For trees, it can be approximated to within a constant factor.

The achromatic number of an n-dimensional hypercube graph is known to be proportional to $$\sqrt{n2^n}$$, but the constant of proportionality is not known precisely.

title: Complete coloring


text: Talk:Soldier X

title: Talk:Soldier X


text:
Talk:Bounty (chocolate bar)

Ignorance concerning the "Karim-Bountybar"
What's this? Nobody here has ever heard of the delicious creamy Karim-bar? You should all be ashamed of yourself and I would like it if the admins stopped editing the facts in their favour. This is starting to look like China!

Suitability for Vegetarians
Bounty is made using whey containing the enzyme rennet. Rennet is derived from a calf's stomach. This means that Bounty is unsuitable for vegetarians.

 * According to the wiki article on Rennet up to 80% of the global market share of the enzyme rennet is produced by the genetically engineered chymosin (the active enzyme in rennet) using bacteria, fungi or yeast. If Bounty uses this GE chymosin, then it can be called vegetarian. The question is does Bounty uses it? And with an international product like this, is every recipe the same? I'm considering contacting the manufacturers here (in Canada) to see if they can tell me since I'm a vegetarian and would like to know for my own personal benefit. I don't know if an answer provided in an email from them would be admissible as reliable source for the article though. Elnauron (talk) 18:46, 13 December 2011 (UTC)

Alternate market trade name
Would this product happen to be known in North America as the Peter-Paul Mounds bar? - knoodelhed 06:40, 30 May 2004 (UTC)

 * The Bounty is made by Mars while the Mounds is made by Peter Paul. Also the Bounty seems to be available covered in milk chocolate, while Mounds is (always?) dark chocolate. But I think they are otherwise similar. Peter Paul merged with Cadbury USA which merged with Hershey; Mars I think is still separate. - Nunh-huh 06:55, 30 May 2004 (UTC)

 * Bountys actually were available in the U.S. in the early 90's. They taste very different from Mounds (much better, IMO--the coconut is fresher and not dry like Mounds's). Nunh-huh is correct that Mounds is always dark chocolate--the milk chocolate version is Almond Joy which, of course, has almonds. There's really no exact American equivalent of the milk chocolate Bountys. --Chowbok 23:38, Apr 9, 2005 (UTC)
 * Bountys are indeed avaliable in the United States as of now (late 2006), and have been for some time. I know, because I can't help myself. They are great. And the above writer is correct: they are much better than Peter Paul Mounds (which used to be my fave [and only] candy bar, until I tasted a Bounty). Perhaps they do have to be imported from abroad--and they are difficult to find--but they are obtainable here. 66.108.105.21 07:38, 29 November 2006 (UTC) Allen Roth

Hmm - Bountys are available in several countries in Canada, but nonetheless must be imported from Europe or the Middle East if one wishes to have one in the US? - Joel

I like bounty - Scotty

 * "When former President of Iraq Saddam Hussein was captured by American forces in 2003, several Bounty bars (accompanied only by hot dogs and 7 Up) were found in the refrigerator of the farm house in which he was hiding". (An extract from the main article).

-- Is this definately a true fact. Hot Dogs are made from pork, which is forbidden by Islam. Surely a Muslim dictator wouldn't eat pork? Is it possible that this is supposed to be a vague insult to Saddam Hussein and Islam? --Zestos 20:04, Nov 1, 2006 (GMT)
 * No, I don't think it's intended as an insult to anyone. Anyhow, not all hot dogs are made of pork; many popular brands of hot dogs around the world are made from chicken or beef. --Kuzaar-T-C- 20:11, 1 November 2006 (UTC)
 * It's been confirmed by more than one news source. I hate to break this to you, but Saddam probably wasn't the most devout Muslim. —Chowbok 20:46, 1 November 2006 (UTC)

 * Hate to break "this" to me? That sounds a little patronising, but maybe I'm misinterpreting your tone. I don't support Hussein and I'm not a Muslim. I don't like people acusing things of being 'racist' with no or little evidence - perhaps my query sounded like I was doing this, but it wasn't intended to. Thanks Kuzaar for clearing this up. I don't like hot dogs, so I'm no expert at what meat goes into them. Anyway, I was just making sure that this information was accurate. Thanks again Kuzaar. —Zestos 20:11, 2 November 2006 (GMT)
 * I think hotdog sausages are usually a tasteful blend of squirrel and matress foam.--Jeffro77 10:58, 25 September 2007 (UTC)

Availability in US
The article currently states that Bounty is not available in the United States, and then lists (inappropriately located) in the Trivia section, that they are available in the "states". Not only should "states" be capitalised, but it is too informal to just say "the states". If they are indeed available in the US, which I can't verify, the main section of the article should be updated accordingly, and the item should be removed from the Trivia section.--Jeffro77 10:58, 25 September 2007 (UTC)
 * Actually, they are available in the US...there's a whole case of them sitting on the shelf at the supermarket around the corner from where I live. I don't know how to go about verifying this, but if someone would like to try, check the grocery isle that has international foods or something to that effect, and they're with the imports from England.Ohnoitsthefuzz (talk) 14:53, 7 April 2008 (UTC)

 * Well, it is sold by amazon in the U.S., see here, so there... --24.44.60.9 (talk) 21:29, 1 August 2008 (UTC)

 * Why is the World Market called out on this page? Seems almost advertise-y. I didn't edit it because it looks like it's been there from the earliest revision, but it seems wrong to me. I'd suggest it just say that it's available in many international markets or sections of grocery stores. Thoughts? Sujal (talk) 20:23, 27 January 2017 (UTC)
 * Bounty Bars are actually still available at World Market stores in the United States. Dose not mean there no longer available in the United State when you can still get them at World Market stores, so there. SECREngineNo592 (talk) 09:06, 13 November 2023 (UTC)

Cherry Bounty back in Australia
I happen to know that the Cherry Bounty is going to be available again in Australia soonish, with apparently a different recipe. FriskyBusiness (talk) 00:50, 19 January 2008 (UTC)

Bounty Bars are still at World Market stores in the US
I went to a World Market (store) in my hometown on Friday Nov 10th. Even thought Bounty is no longer domestically sold within the US, World Market stores in the US still currently sell Bounty Bars, it's not just available on via import sales. SECREngineNo592 (talk) 03:22, 13 November 2023 (UTC)

 * According to its Wikipedia article World Market is an American chain of specialty/import retail stores, selling [...] international food products, so it is not remarkable that it sells chocolate bars from the UK/Canada, there's no reason to single it out by name in this article. Belbury (talk) 09:42, 13 November 2023 (UTC)

title: Talk:Bounty (chocolate bar)


text:
Exact coloring

In graph theory, an exact coloring is a (proper) vertex coloring in which every pair of colors appears on exactly one pair of adjacent vertices. That is, it is a partition of the vertices of the graph into disjoint independent sets such that, for each pair of distinct independent sets in the partition, there is exactly one edge with endpoints in each set.

Complete graphs, detachments, and Euler tours
Every n-vertex complete graph Kn has an exact coloring with n colors, obtained by giving each vertex a distinct color. Every graph with an n-color exact coloring may be obtained as a detachment of a complete graph, a graph obtained from the complete graph by splitting each vertex into an independent set and reconnecting each edge incident to the vertex to exactly one of the members of the corresponding independent set.

When k is an odd number, A path or cycle with $$\tbinom{k}{2}$$ edges has an exact coloring, obtained by forming an exact coloring of the complete graph Kk and then finding an Euler tour of this complete graph. For instance, a path with three edges has a complete 3-coloring.

Related types of coloring
Exact colorings are closely related to harmonious colorings (colorings in which each pair of colors appears at most once) and complete colorings (colorings in which each pair of colors appears at least once). Clearly, an exact coloring is a coloring that is both harmonious and complete. A graph G with n vertices and m edges has a harmonious k-coloring if and only if $$m\le\tbinom{k}{2}$$ and the graph formed from G by adding $$\tbinom{k}{2}-m$$ isolated edges has an exact coloring. A graph G with the same parameters has a complete k-coloring if and only if $$m\ge\tbinom{k}{2}$$ and there exists a subgraph H of G with an exact k-coloring in which each edge of G − H has endpoints of different colorings. The need for the condition on the edges of G − H is shown by the example of a four-vertex cycle, which has a subgraph with an exact 3-coloring (the three-edge path) but does not have a complete 3-coloring itself.

Computational complexity
It is NP-complete to determine whether a given graph has an exact coloring, even in the case that the graph is a tree. However, the problem may be solved in polynomial time for trees of bounded degree.

title: Exact coloring


text:
Thabana Ntlenyana

Thabana Ntlenyana is the highest mountain in southern Africa. It stands 3482 m tall within the lofty Maloti Mountains that crest Lesotho, a small landlocked nation surrounded by South Africa. The peak's name means "beautiful little mountain" in the Sesotho language, from thaba (mountain), the diminutive -na, and ntlenyana (beautiful).

Geography
Thabana Ntlenyana is situated on the Mohlesi ridge, north of the treacherous Sani Pass. The peak is climbed as part of a "Grand Traverse" of the Maloti, which follows a large system of peaks within the Maloti (Maluti) and the broader Drakensberg. Thabana Ntlenyana, like the broader highlands around it, is made of amygdaloidal flood basalt that formed during the Upper Triassic and Lower Jurassic epochs. Nearby the mountain are the headwaters of the Orange River, which runs approximately 1300 km to the west before draining into the Atlantic Ocean. Together with its main tributary, the Vaal River, the Orange River's catchment spans around 855,000 km2 of land across Southern Africa.

Ecology
The high-elevation treeless areas in the Drakensberg like Thabana Ntlenyana are categorized by the World Wide Fund for Nature as part of the Drakensberg alti-montane grasslands and woodlands ecoregion. This ecoregion is characterized by high elevation and high rainfall, but also by cooler temperatures than more equatorial montane areas. Rainfall comes in summer, often exceeding 1000 mm per year. Snowfall can occur in winter. Temperature varies from -8 C to 32 C, with an average of 13 C.

Vegetation in the Maloti is known to vary with the surface geomorphic features beneath it, such as the soil's grain size, carbon content, and depth. Flora communities are composed largely of tussock grasses and ericoid shrubs. Some of the most prevalent grass, sedge, and ericoid species are Merxmuellera disticha, M. drakensbergensis, Poa banana, Carex clavata, and Scirpus falsus.

The unique faunal communities of the Drakensberg grasslands have not yet been fully described by the scientific community. However, a 2001 study surveyed avian populations on Thabana Ntlenyana in particular. It found relatively low species diversity (23 spp.), with about a dozen living at the summit and more living in the peak's foothills. The majority of breeding pairs recorded were insectivores, with the remaining mostly being granivores. The most dominant species across Thabana Ntlenyana was the Cape bunting (Emberiza capensis). At the summit, the African stonechat (Saxicola torquata), sickle-winged chat (Cercomela sinuata), and African pipit (Anthus cinnamomeus) dominated, while the lower foothills were home to more of the sentinel rock thrush (Monticola explorator), Drakensberg siskin (Pseudochlor. symonsi), and Drakensberg rockjumper (Chaetops aurant.).

Access
The peak is often climbed from Sani Top Chalet or from Vergelegen Nature Reserve. The first ascent of the mountain was probably in the deep past, as shepherds are known to visit the summit regularly and likely have done so for thousands of years. The first recorded ascent by Western-tradition mountaineers was achieved in March 1951 by a South African-English team of leader Desmond Watkins, surveyors Barry Anderson and Roy Goodwin, mountaineer C. W. Jorgensen, and least three other assistants, described by Jorgensen only as "cooks, bottlewashers and scarecrows."

Resources

 * Fresh Water Ecoregions of the World

title: Thabana Ntlenyana


text: Talk:Thabana Ntlenyana

title: Talk:Thabana Ntlenyana


text: Category:Mathematics

title: Category:Mathematics


text:
Playback

Playback or Play Back may refer to:

Film

 * Playback (1962 film), a British film in the Edgar Wallace Mysteries series
 * Playback, a 1996 film starring Shannon Whirry
 * Playback (2012 film), an American horror film by Michael A. Nickles
 * Play Back, a 2021 Indian Telugu-language film
 * Playback (2019 film), an Argentine documentary

Literature

 * Playback (magazine), a Canadian film, TV, and new media trade publication
 * Playback (novel), by Raymond Chandler, also a screenplay

Music

 * Gapless playback, uninterrupted play of audio tracks
 * Playback singer, a singer in films whose singing is prerecorded, who lip syncs (see also lip-synching in music)

Performers

 * Playback (South Korean group), a girl group
 * Playback, an American boyband that competed in season 2 of the U.S. X Factor
 * Playback, credited performers in the U.S. of the 1979 Player One song "Space Invaders"

Albums

 * Playback (The Appletree Theatre album), 1968
 * Playback (Phi Life Cypher album), 2006
 * Playback (Sam Lazar album), 1962
 * Playback (SSQ album), 1983
 * Playback (Tom Petty and the Heartbreakers album), 1995
 * Playback: The Brian Wilson Anthology, 2017

Songs

 * "Playback", by Carlos Paião, representing Portugal at the Eurovision Song Contest 1981
 * "Playback", by NCT 127 from 2 Baddies, 2022

Other uses

 * Playback (technique), a chaos magic technique
 * Playback attack, or replay attack, a type of network attack
 * Playback FM, a fictional radio station in the video game Grand Theft Auto: San Andreas
 * Playback Theatre, a form of improvisational theatre

title: Playback