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Cochabamba

Cochabamba (Quchapampa; Quchapampa) is a city and municipality in central Bolivia in a valley in the Andes mountain range. It is the capital of the Cochabamba Department and the fourth largest city in Bolivia, with a population of 630,587 according to the 2012 Bolivian census. Its name is from a compound of the Quechua words qucha "lake" and pampa, "open plain." Residents of the city and the surrounding areas are commonly referred to as cochalas or, more formally, cochabambinos.

It is known as the "City of Eternal Spring" or "The Garden City" because of its spring-like temperatures all year round. It is also known as "La Llajta," which means "town" in Quechua. It is the largest urban center between the higher capital of La Paz and Santa Cruz de la Sierra in the tropical plains of the east. It sits south-west of the Tunari mountains, and north of the foothills of the Valle Alto. In antiquity, the area featured numerous lakes, which gave the city its name. Many of these lakes have since disappeared to urban development, but Coña Coña and Alalay lakes are extant examples. It has been a populated settlement since the Pre-Inca period, and is today an important cultural, educational, political, and commercial centre.

Pre-Inca and Inca
The valley of Cochabamba has been inhabited for thousands of years due to its fertile productive soils and mild climate. Archaeological evidence suggests that the initial inhabitants were of indigenous ethnic groups: Tiwanaku, Tupuraya, Mojocoya, Omereque, and Inca inhabited the valley at times before the Spanish arrived.

The area got its name from Quechua Kochaj-pampa, as part of the Inca civilization. The area was conquered by Topa Inca Yupanqui (ruled 1471–1493). His son Huayna Capac turned Cochabamba into a large production enclave or state farm to serve the Incas. The local population was possibly depleted during the Inca conquest and Huayna Capac imported 14,000 people, called mitimas, to work the land. The principal crop was maize which could not be grown in much of the high and cold heartland of the Inca Empire. The maize was stored in 2,400 storehouses (qollqas) in the hills overlooking the valley or transported by llama caravan to storage sites in Paria, Cusco, of other Inca administrative centres. Most of the maize was probably used to sustain the Inca army during its campaigns.

Spanish and Bolivian
The first Spanish inhabitant of the valley was Garci Ruiz de Orellana in 1542. He purchased the majority of the land from local tribal chiefs Achata and Consavana through a title registered in 1552 at the Imperial City of Potosí. The price paid was 130 pesos. His residence, known as the House of Mayorazgo, still stands in the Cala Cala neighbourhood.

The city, called Villa de Oropesa, was founded on 2 August 1571 by order of Viceroy Francisco de Toledo, Count of Oropesa. It was to be an agricultural production centre to provide food and wood for the mining towns of the relatively nearby Altiplano region, particularly Potosí which became one of the largest and richest cities in the world during the 16th and 17th centuries — funding the vast wealth that ultimately made Spain a world power. In fact, anthropologist Jack Weatherford and others have cited the city of Potosí as the birth of capitalism because of the money and materialism it provided Spain. Thus, with the silver mining industry in Potosí at its height, Cochabamba thrived during its first centuries. However, the city entered a period of decline during the 18th century as mining began to wane.

In 1786, King Charles III of Spain renamed the city the 'loyal and valiant' Villa of Cochabamba. This was done to commend the city's pivotal role in suppressing the indigenous rebellions of 1781 in Oruro by sending armed forces to Oruro to quell the uprisings. Since the late 19th century it has again been generally successful as an agricultural centre for Bolivia.

The 1793 census shows that the city had a population of 22,305 persons. There were 12,980 mestizos, 6,368 Spaniards, 1,182 indigenous natives, 1,600 mulattos and 175 African slaves.

In 1812, Cochabamba was the site of a riot against the Spanish Army. On May 27, thousands of women took up arms against the Spanish. According to historian Nathaniel Aguirre: "From Cochabamba, many men have fled. Not one woman. On the hillside, a great clamour. Cochabamba's plebeian women, at bay, fight from the centre of a circle of fire. Surrounded by five thousand Spaniards, they resist with battered tin guns and a few arquebuses; and they fight to the last yell, whose echoes will resound throughout the long war for independence. Whenever his army weakens, General Manuel Belgrano will shout those words which never fail to restore courage and spark anger. The general will ask his vacillating soldiers: 'Are the women of Cochabamba present?"

To celebrate their bravery, Bolivia now marks May 27 as Mother's Day.

In 1900, the population was 21,886.

Besides a number of schools and charitable institutions, the Catholic diocese has 55 parishes, 80 churches and chapels, and 160 priests.

Water War
In 1998, the International Monetary Fund (IMF) agreed to give Bolivia a loan of $138 million to control inflation and promote economic growth. However, it only agreed to do so on the condition that Bolivia sell "all remaining public enterprises," including its national oil refineries and the local water company, SEMAPA. In 1999, a group of private investors, specifically the Bechtel Corporation with headquarters in San Francisco, California, United States of America, came together under the name of Aguas del Tunari and bought the rights for the privatization of the city's water. In that same year, the World Bank (WB) refused to subsidize the water to help lower the cost for the people. Then in 2000, the people of Cochabamba began to protest as water priced hiked to a 50% increase that the majority could not afford. The Coalition for the Defense of Water and Life, and its leader Oscar Olivera, started a demonstration in La Plaza 14 de Septiembre also known as La Plaza Principal. The march was meant to be peaceful, but after two days the police used tear gas against the protestors and injured about 175 people and killed 1 and blinded two. Soon after, news reports were made about the protests and the violence. The Defense of Water and Life held an unofficial referendum and 96% of 50,000 people wanted Aguas del Tunari's contract to terminate, but the government refused. The protests only grew and the entire world began to watch forcing Bechtel to leave its contract and return SEMAPA to the public. Bechtel as well tried to sue the Bolivian government for $50 million but it withdrew its claim shortly after. This event was soon labelled as the Water Wars and became a driving force for anti-globalization projects such as the UN's decision to make water sanitation a human right and the privatisation of water as unethical in 2010. Additionally, the Water Wars would help spark the next revolt against the privatisation of natural gases from 2003 to 2005 which would lead to the removal of two presidents, Gonzalo Sánchez de Lozada and Carlos Mesa, and the rise of President Evo Morales in 2006.

In January 2007, city dwellers clashed with mostly rural protestors, leaving four dead and over 130 injured. The first democratically elected Prefect of Cochabamba, Manfred Reyes Villa, had allied himself with the leaders of Bolivia's Eastern Departments in a dispute with President Evo Morales over regional autonomy and other political issues. The protestors blockaded the highways, bridges, and main roads, having days earlier set fire to the departmental seat of government, trying to force the resignation of Reyes Villa. Citizens attacked the protestors, breaking the blockade and routing them, while the police did little to stop the violence. Further attempts by the protestors to reinstate the blockade and threaten the government were unsuccessful, but the underlying tensions had not been resolved.

In July 2007, a monument erected by veterans of January's protest movement in honour of those killed and injured by government supporters was destroyed in the middle of the night, reigniting racial conflicts in the city.

In August 2008, a nationwide referendum was held. The prefect of Cochabamba, Manfred Reyes Villa, was not confirmed by the voters, and he was removed from the position.

Climate
Cochabamba is known for its "Eternal Spring". Neither experiencing the humid heat of Santa Cruz nor the frigid winds of La Paz, Cochabamba experiences a semi-arid climate (Köppen: BSk), bordering on a subtropical highland climate (Köppen: Cwb). The characteristic of the climate is an extended dry season that runs from May until October with a wet season that generally begins in November with the principal rains ending in March.

People and culture
Cochabamba is known as the heart of Bolivia and the gastronomic capital. Traditional cuisine includes: salteñas, chuño, tucumanas, pique macho, silpancho, anticucho, sopa de mani, chicharrón, charke, fricasé, rellenos de papa and many more dishes.

The international street art festival known as the BAU (Bienal de Arte Urbano) has been hosted in Cochabamba every two years since 2011. The festival is organized by, a local cultural centre. In 2011, 2013, 2015, and 2017 the painting was done in the Villa Coronilla, and Geronimo de Osorio neighbourhoods. In 2019 the festival focused on the neighbourhood Esperanza, on the edge of the Alalay Lake. The festival has featured internationally renowned artists such as Blu (Italy) and Inti (Chile).

Commensurate with other large cities in the Andean highlands of South America, Cochabamba is a city of contrasts. Its central commercial districts, Zona Norte, is bounded by Plaza Colón and Plaza 14 de Septiembre, are generally equipped with modern urban amenities and are where the majority of the city's formal business and commercial industries are based. La Cancha, the largest open-air market in South America, is also an active place where locals can buy a range of items. An active nightlife is centered around Calle España and along the broad, tree-lined boulevard, El Prado. In contrast, the Zona Sur, a remote area adjacent to the Wilstermann International Airport is visibly impoverished, with adobe homes and unpaved roads, which is often the first impression visitors acquire while commuting into the city.

In 2009, the government under President Evo Morales created a new constitution that declared Spanish and 36 other indigenous languages as the official languages of the country. However, the most widely spoken languages in Cochabamba are Spanish and Quechua. Although the Spanish that is spoken in the Cochabamba region is generally regarded as rather conservative in its phonetics and vocabulary, the use of Quechua terminology (wawa [child] and wistupiku [mouth or twist lips] ) has been widely incorporated into its standardized form.

As with most cities around the globe, English is increasingly spoken and understood, particularly among business-minded indigenous and repatriated Cochabambinos. English-language instruction has become incorporated into some private schools and universities but is not taught universally, therefore a vast majority of the population does not speak English.

About four-fifths of the population of Bolivia identifies as Catholic.

Like other cities that share the same ethnic group quadrants like Salta or Cuenca, Cochabamba's demographics consist of the following visible groups in order of prevalence: Indigenous (mostly of Quechua and Aymara ethnicity) people, Mestizo, or mixed Indigenous and Spanish European, and people of Spanish (Criollos) and other European descent. As well as a fairly significant population of Afro-Bolivians.

By 2013, the human development index of the Metropolitan region of Cochabamba was 0.801 as a result of a 35% growth in the last 20 years.

Government
Cochabamba, formally the municipality of Cercado, is the capital of Cochabamba department. The city government is divided into executive and legislative branches. The mayor of Cochabamba is the head of the city government, elected by general election for a term of five years. The mayor heads an executive branch, which includes six sub-mayors and a variety of departments comprising 950 functionaries. The 11-member municipal council is the legislative branch.

The current mayor is Manfred Reyes Villa of the Súmate Movement, elected in 2021 for a 5-year term.

Economy
The area where Cochabamba is situated is commonly referred to as the granary of Bolivia. Its climate is milder than that of the Altiplano region to the west and thus permits extensive agriculture, including grains, potatoes, and coffee in the highlands and sugar cane, cocoa beans, tobacco, and fruit in the Chapare tropical lowlands of the South American Amazon region, an area that had been one of the country's main coca-leaf-producing regions.

Cochabamba is also the industrial hub of Bolivia, producing cars, cleaning products, cosmetics, chemicals, and cement. The economy of Cochabamba is characterized by producing goods and services. Recently, the software industry is becoming increasingly important. International companies like GOJA and Assuresoft also have subsidiaries in Cochabamba. Due to this industry growth, Cochabamba is called the "Silicon Valley of Bolivia", with a high demand for professionals immersed in technological careers such as Systems Engineering, Telecommunications and Information Technology.

The airline Boliviana de Aviación has its headquarters in Cochabamba. The defunct airline Lloyd Aéreo Boliviano (LAB Airlines) had its management offices on the grounds of Jorge Wilstermann Airport in Cochabamba. In Cochabamba construction has been rapidly increasing in the last couple of years with more than 750 construction sites per year.

Narcotrafic is now controlled in Cochabamba, which used to be related to cocaine dealers several years ago.

Urban transport
The metropolitan area of Cochabamba (Vinto, Tiquipaya, Quillacollo, Colcapirhua, Cochabamba and Sacaba) has an extensive transportation system, which cover all the districts.

There are almost 70 bus and minibus lines, from A to Z, and dozens of minibuses and fixed-route trufis (T.RU.FI, or "taxi con ruta fija") taxi lines. Most lines have GPS system for monitoring and regulation of hour (line 1, line 16, line L, Line 3V, line 20, line 30, etc.). The T.RU.FI service has at least 60 lines; they are identified by signs on the roof of the vehicle showing the route from the initial stop until the final stop, which is also indicated by the line number to which it belongs. The busiest bus lines are:

 * Line "Q" (CBBA-QLLO)
 * Line "W" (CBBA-QLLO)
 * Line "3V"
 * Line "B" (Airport)
 * Line "K"
 * Line "X-10"
 * Line "36"
 * Line "1"
 * Line "30"
 * Line "13"
 * Line "Z-12" (CBBA-TIQUIPAYA)

And the busiest trufi taxi lines are:

 * Taxi Trufi "110"
 * Taxi Trufi "260" (Cochabamba-Quillacollo Line)
 * Taxi Trufi "270" (Cochabamba-Quillacollo Line)
 * Taxi Trufi "103" (Green line and White Line)
 * Taxi Trufi "106" (Tiquipaya Line)
 * Taxi Trufi "130" (Circular)
 * Taxi Trufi "209" (Circular) (Cochabamba-Quillacollo Line)
 * Taxi Trufi "123"
 * Taxi Trufi "224" (Sacaba Line)
 * Taxi Trufi "240" (Sacaba Line)
 * Taxi Trufi "244" (Sacaba Line)
 * Taxi Trufi "115"

Light rail
Construction on an interurban light rail network known as Mi Tren linking Cochabamba with Suticollo, El Castillo and San Simon University began in 2017. Opening of the Red Line and first phase of the Green Line took place September 13, 2022.

Basic services

 * EMSA, the municipal sanitation company, is responsible for the pickup, transportation, storage and removed from urban waste produced. EMSA covers 88% of the city and collects 400 tonnes of waste produced per day. Through the municipal government of Cochabamba, special containers made available throughout the city for the storage of solid waste common. The municipality's sole disposal facility, the K'ara K'ara waste dump (Botadero K'ara K'ara), has been the centre of a long-running controversy over pollution of the air and groundwater; it is frequently blockaded by neighbouring residents demanding changes.

Print media
There are several newspapers in Cochabamba:
 * Los Tiempos
 * Opinión
 * La Voz
 * Gente

Radio stations
The main radio stations scattered across the department and the capital are:
 * Estrella FM 93,1
 * Centro Ltda.
 * Mega DJ
 * Milenio
 * La Voz del Juno
 * Kancha Parlaspa
 * Bandera Tricolor
 * Cochabamba
 * Gaviota Dorada
 * Del Valle
 * San Rafael
 * La Voz del Valle - Punata
 * Continental
 * Oro
 * Triunfo Morena
 * Epoca
 * La Verdad F.M.100.7
 * M&D Comunicaciones
 * Universal
 * Fantástico 97.1
 * Panorama FM 90.9
 * Punata radio Panorama FM 88.9
 * FM-100 Clásica
 * FM Stereo 98.7 – La voz de América
 * Bethel FFM 95.5
 * Ritmo 97.5
 * La Triple Nueve 99.9
 * La Fabrica de la Musica 107.1
 * Magnal de Capinota
 * Radios Fides Cochabamba, Punata y Chapare
 * CEPRA Pongo Khasa 1,390 AM
 * Sonido Lider 95.9 FM
 * Pio XII FM 97.9
 * Mundial
 * Porvenir
 * Radio Cosmos de Bolivia
 * CEPRA - Centro de Producción Radiofónica
 * CEPRA - Radio Morochota
 * Enlace
 * Radio HIT 105.7
 * Radio Disney Bolivia

Television channels
In the capital and throughout the department there are many television channels that broadcast on local, provincial, national or international all day or part of it. The transmission towers that transmit channels nationally and internationally are in the high Cala Cala, Villa Moscu or Villa Taquiña.

 * Canal 2: Canal 2 Cochabamba Corazón de América (local)
 * Canal 4: Red ATB (national)
 * Canal 5: Red Bolivisión (national)
 * Canal 7: Bolivia TV (Channel of the State)
 * Canal 9: Red Uno de Bolivia (national)
 * Canal 11: :TVU (local)
 * Canal 13: Red Unitel (national)
 * Canal 15: Cristo Viene la Red (Religious Channel)
 * Canal 17: sko TV (local)
 * Canal 18: Radio Televisión Popular (RTP) (national)
 * Canal 20: Piñami de Comunicaciones (provincial)
 * Canal 21: Tele C (local)
 * Canal 24: Red ADVenir Internacional (Christian Channel/International)
 * Canal 26: Metro TV (local)
 * Canal 27: Sistema Cristiano de Comunicaciones (local)
 * Canal 30: 30 TV (local)
 * Canal 36: Cadena A (national)
 * Canal 39: Univalle TV (local)
 * Canal 42: Red PAT (national)
 * Canal 45: Abya Yala Television (national)
 * Canal 48: Red Unitepc (local)
 * Canal 51: MTV Cochabamba(local)
 * Canal 57: RTL Canal de Noticias(local)

Education
The city is the home of the University of San Simón (UMSS, for "Universidad Mayor de San Simón"), one of the largest and most prominent public universities in Bolivia. UMSS is the second best university in Bolivia according to QS World University Rankings in 2013 but measured by the web metric scores as the first one during 2013–2017. Among the private universities in Bolivia ranking in the top ten are the Universidad Privada Boliviana (a prestigious business university), Universidad del Valle (a strong university in medicine with a large enrollment of international students) and Universidad Católica Boliviana "San Pablo". Other universities include Escuela Militar de Ingenieria "Antonio Jose de Sucre", Universidad Simón I. Patiño, Universidad de Aquino Bolivia, Universidad Adventista de Bolivia, Universidad Privada Domingo Savio and Universidad Privada Abierta Latinoamericana (UPAL). Cochabamba became the second recipient city of Brazilian students in Bolivia after the city of Santa Cruz, due to the affordable and good living conditions of the city. Also, Cochabamba is the home of one of the best schools of Bolivia, Colegio San Agustín.

Airport
Cochabamba is served by the modern Jorge Wilstermann International Airport (IATA code CBB), which handles domestic and international flights. It houses the headquarters of Boliviana de Aviación (BOA) Bolivia's national airline and, in the past, of Lloyd Aéreo Boliviano, Bolivia's former national airline. Other domestic airlines that serve the airport include Línea Aérea Amaszonas, Ecojet and Transporte Aéreo Militar.

Neighborhoods
Cochabamba is a steadily emerging market within the Bolivian real estate industry. Since 2010, it became the city with the most surface area in construction in Bolivia overpassing Santa Cruz and La Paz. There are many middle and large buildings under construction by 2012. An annual mild climate, abundant greenery, mountain vistas, and a progressive local economy are factors that have contributed to the city's appeal to Bolivian nationals, expatriates and foreigners alike. Historic and affluent neighbourhoods such as Cala Cala, El Mirador, and Lomas de Aranjuez showcase some of the city's most distinguished residences.

 * Queru Queru - North
 * La Recoleta - North
 * Cala Cala - North
 * Lomas de Aranjuez - North
 * El Mirador - North
 * Las Brisas - North
 * Sarco - Northwest
 * Mayorazgo - Northwest
 * Barrio Profesional - Northwest
 * America Oeste - Northwest
 * Colquiri - Northwest
 * Muyurina - Northeast
 * Tupuraya - Northeast
 * Hippodromo - West
 * Villa Busch - West
 * Temporal - North
 * La Chimba - Southwest
 * Aeropuerto - Southwest
 * Ticti Norte - Fringe North
 * Jaihuayco - South
 * Zona sud - South
 * Ticti - South
 * Valle Hermoso - South

Metropolitan area
Cochabamba is connected with the following towns and cities:
 * Quillacollo
 * Sacaba
 * Vinto
 * Colcapirhua
 * Tiquipaya
 * Cliza
 * Tarata
 * Ironcollo
 * Punata

Additional notes of interest

 * Cochabamba is also mentioned in the documentary The Corporation, about their fight against the privatisation of water by a foreign-owned company, against which the people protested and won. The privatisation had gone to such an extent that even rainwater was not allowed to be collected. Read Cochabamba protests of 2000.
 * Cochabamba has been confirmed to be the seat of a future South American Parliament when it is formed by UNASUR. UNASUR has yet to determine what the composition of the Parliament will be, but existing treaties all agree it will meet in Cochabamba.
 * Cochabamba was the first place rugby union in Bolivia was formally established.
 * Cochabamba was featured as a location in the story in the 1983 film, Scarface. Powerful drug lord Alejandro Sosa resided there, governed large coca plantations and owned cocaine labs whereupon further refining, would be shipped to Tony Montana in Florida.
 * Cochabamba is the setting of the 2010 movie También la lluvia (Even the rain), which takes place during the water war of 2000. It depicts a crew making a movie about the colonization of Latin America when the protests against privatization erupt. The film stars Mexican actor Gael García Bernal, and received positive reviews.
 * Cochabamba is also the site of several major spammers, as confirmed by the watchdog group Spamhaus.

Business people

 * Simón Iturri Patiño (1862–1947), mining magnate
 * Arturo Murillo, hotelier and politicial
 * Educators and intellectuals
 * Jaime Escalante, professor and teacher whose life was dramatized in the 1988 film Stand and Deliver
 * Renato Prada Oropeza, professor, semiologist, writer
 * Thäddeus Haenke (1761-1816), botanist
 * Romina Pérez, sociologist and academic

Musicians

 * Katia Escalera, Soprano
 * Jaime Laredo, (b. 1941), classical violinist
 * Los Kjarkas, Cochabambino folk music group

Literature

 * Nataniel Aguirre (1843–1888), author
 * Adela Zamudio (1874–1925), author and poet
 * Jesús Lara (1898–1975), author and poet
 * Gaby Vallejo Canedo (1941), author, professor of Literature
 * Edmundo Paz Soldán, author
 * Marcelo Quiroga Santa Cruz (1931–1980), author and politician
 * Javier del Granado (1913–1996), poet laureate
 * Julia Urquidi (1926-2010), writer, remembered as Mario Vargas Llosa's first wife
 * Renato Prada Oropeza (1937–2011), novelist and poet
 * Sara Ugarte de Salamanca, poet who had the memorial built to the heroines on 1812
 * Óscar Únzaga de la Vega (1916–1959), journalist and historian

Other

 * Oscar Olivera (1955), environmental activist

Twin towns – sister cities
Cochabamba is twinned with:

 * 🇮🇹 Bergamo Italy, since 2008
 * 🇦🇷 Córdoba, Argentina, since 1989
 * 🇨🇳 Kunming, China, since 1990
 * 🇺🇾 Montevideo, Uruguay since 2005
 * 🇦🇷 Viedma, Argentina, since 2009
 * 🇻🇪 Caracas, Venezuela, since 2009

title: Cochabamba


text:
Talk:LilyPond

Sample .ly file
It would be profitable to add a small sample .ly file (and an image of the generated sheet music) to the article, just to show people how easy it is to write Lilypond music. Perhaps some day a high school teacher will be inspired by this article and start creating music with Lilypond instead of writing it by hand (or buying Finale.) --Ardonik 05:40, Aug 2, 2004 (UTC)
 * Okay, here's my small addition. I hope it's the right size for an example. I have some thoughts about it, though: Right now, it's just a huge commented file. Should the example file be broken into parts and comments put to other places? I hesitated to do that, because it's beautiful to have an example you can copy-paste and run - and there are better tutorials/manuals for Lilypond anyway... --Wwwwolf 17:13, 18 Oct 2004 (UTC)

to start with a real small example, say \relative { \time 6/8 a'16( gis a b c d e4) r8 } which allows viewing and comparing the input and result in one glance. Of course, this is just what the [HowTo] and [Tutorial] are for. -- JCN 30 June 2005 15:32 (UTC)
 * Thanks. I've updated it to 2.6 syntax and simplified some things a bit.  It may be even nicer

 * I agree with the idea of starting with a short sample, if we're describinging the notation. A "demo" on the other hand, would have to be more complex, if we're showcasing the output. It depends on what the emphasis is: method or result.

 * So maybe a simple example or two for the notation, and then a nice-looking demo (which we already have). --Uncle Ed 16:53, 16 March 2007 (UTC)

Just a small thing I would change in the otherwise brilliant example .ly file. Despite the 3/4 time signature it is more conventional to notate a full bar rest with a "semi-breve" rest and lilypond allows this by using a uppercase 'R2.' instead of a lowercase 'r2.' rest for bar 8 in the lower part. --87.194.118.205 (talk) 12:44, 17 September 2008 (UTC)

Objection to Sample .ly file section - it doesn't make sense
This inserted objection is nonsense. Lilypond is a programming language for graphics generation - the graphics of musical notation. All significant programming language articles in Wikipedia that I've ever seen (and I looked at number of them) have coding examples and often output examples. These examples portray the FACTS of language syntax, ease of use, applications for which it's appropriate, and so. Remove these coding examples and essential - I repeat, ""essential"" - information about the language simply disappears. One can talk about it, or show it. Showing is more powerful. Doing both is even more powerful, of course, and good articles do just that.

I strongly object to the notion that this article needs to be "improved" by excising the coding example. It is just an example. It certainly doesn't teach much, and only the naive would think it does.

This is a good article. Leave it be.

Tomcloyd (talk) 01:15, 25 August 2008 (UTC)

Esthetic judgment?
Hi,

I take issue with

 * While it has achieved this, the quality of output from competing commercial packages has improved since the inception of the LilyPond project so that they are now comparable

because it implies that LilyPond can be considered "done" from a typographical POV (which it isn't, IMO). Furthermore, "comparable" is a vague statement: mosquitos and elephants are comparable, and the result of the comparison is that the elefant is bigger. Esthetics aren't well defined, but most printout of Finale and Sibelius still (we're speaking 2006) looks made with a computer.

I think I am not the right person to edit the page itself, though.

Han-Wen (LilyPond Author).

 * Han-Wen, thank you for stopping by Wikipedia and providing your feedback. You may be correct that the comment is unwarranted, though I think you'll agree that Sibelius and Finale have both come a long way, typographically, since their state at the time that you made the first public releases of Lilypond, both in terms of the overall use of white space and in the ability to make tweaks.  I've read through your essay on the "Miss Manners" of music typesetting, and do understand the issues involved.  Do you have some sample scores showing the same musical content printed with Sibelius, Finale, and Lilypond that would highlight some of these differences?  Best regards The Uninvited Co., Inc. 21:50, 26 January 2006 (UTC)

First of all, "the first public release" was made long before the said essay. LilyPond now has improved a lot wrt. versions from then.

I don't own licenses to either Finale or Sibelius, so I can't provide you with any specific samples, but I've seen both in action. I think that pointing out weaknesses of other packages should not be done on the LilyPond page, but rather on the pages of said packages. I think it's better to point out what sets apart Lily, as this is more informative and more objective, eg

 * optical scaling for font: depending on staff size, the design of the font is altered slightly. (This is a Feature that Knuth's Comupter Modern font is well known for too): note heads become rounder, and lines heavier.

 * Optical spacing (see the essay), where stem directions are taken into account for spacing subsequent notes. Note that this is something different from the inaccurately named Optical (tm) Spacing feature of Sibelius.

 * Proportional spacing, where allotted space is exactly equal to durations. No other packages support this out of the box. (you need a recent 2.7 lily, though)

 * Ledger lines that never collide, but are shortened in tight situations.

 * Stem directions on the center follow the directions of surrounding notes. (recent 2.7)

Also, in general, LilyPond does much better on automatically avoiding collisions for ties, slurs, articulation marks, nested tuplets, etc.. For example, if you add an arpeggio to a chord in Finale, Finale just parks it on top of the accidentals, you have to manually tweak things to look ok.

Han-Wen

--213.84.26.127 17:15, 27 January 2006 (UTC)

lilypond in a wiki
This articles features about "WikiTeX, a MediaWiki interface, supports editing LilyPond notation directly in wiki articles", but do you know LilySnap ? it's a plugin for the snipsnap wiki/blog engine, that allows integration of lilypond. Here it is : http://lilysnap.blogdns.net/space/LilySnap

GUI's
You note three free GUI programs that can export sheet music to LilyPond format; however, they are for Linux only. Should the fact be noted that no such programs exist for Windows or even for the Macintosh? Denelson83 06:39, 29 November 2005 (UTC)

 * Of the three, Denemo will work with Macintosh OS X and, indeed, like LilyPond comes with Fink. However, its state of development at present does not leave something to be desired, but instead is absolutely rotten- Not Ready For Prime Time. Unless much has been improved with 0.7.1-11, the .ly files it produces don't contain a version number, crashes are regular experiences... better to just learn how to use LilyPond or for someone to write a proper GUI and adapt it for XDarwin, this still needs to be done after all. Schissel-nonLop! 03:56, 3 December 2005 (UTC)

 * The free software community is sometimes hostile towards commercial operationg systems, but many programs are offered in a Windows or Macintosh version. I'm one of those with friends in both camps: sort of like Bilbo between the dwarves and the elves. --Uncle Ed 16:55, 16 March 2007 (UTC)

Frescobaldi doesn't export lilypond format, it's just a graphical front end to lilypond. — Preceding unsigned comment added by 68.59.48.118 (talk) 15:00, 9 July 2011 (UTC)

 * That's true. I've updated the page. Feel free to make these edits yourself! Pnorcks (talk) 01:17, 11 July 2011 (UTC)

It seems LilyPond's documentation now recommends Frescobaldi for MacOS use, with no mention of LilyPad. &&Hugopoon&& (talk) 08:31, 7 January 2024 (UTC)

Relationship to TeX please
Hi there, can someone please add a few lines about the relationship with TeX/LaTeX? It's pretty clear that the notation is at the very least heavily influenced by TeX, but is there more? From a user perspective, is there a (La)TeX lilypond package for integrating music scores into regular TeX documents? From an architectural perspective, is there any reuse going on? (I would expect Lilypond did not reinvent the TeX-parsing wheel.) Thanks. 205.228.118.62 (talk) 05:14, 20 October 2009 (UTC)

A random look at the CTAN yields this:, so the answer to the first question is probably no. 205.228.104.142 (talk) 05:18, 20 October 2009 (UTC)

 * LilyPond was definitely influenced by TeX and LaTeX, and the default output backend used to be TeX, but for the past six years or so, PostScript has been the primary output medium. In its early stages, IIRC, LilyPond was a preprocessor for MusicTeX. Pnorcks (talk) 21:51, 9 February 2010 (UTC)

emacs
Should a peice of example code really contain encoding information for one particular editor? Does that line have any meaning to lillypond or can it simply be removed? 130.88.108.187 (talk) 12:15, 8 February 2010 (UTC)
 * No, it doesn't have any meaning aside from (maybe) triggering custom syntax highlighting in emacs. Go ahead and remove it.  There are plans of eventually translating the Spanish GNU LilyPond page to English, so this example might be gone in the future anyway. Pnorcks (talk) 21:47, 9 February 2010 (UTC)
 * I've removed this line. Pnorcks (talk) 22:10, 19 February 2010 (UTC)

Why "GNU"?; Proposed move
This article is entitled "GNU LilyPond." But the software package itself is just "LilyPond." See, , , etc. I propose moving it to LilyPond, replacing the redirect that is there, and redirecting GNU LilyPond to it (due to the many internal and potential external links) to it. Objections? TJRC (talk) 00:17, 21 July 2010 (UTC)
 * LilyPond is GNU software, so that's why you occasionally see references to "GNU LilyPond." I am okay with changing it though, because most people leave off the GNU prefix.  Would we have to move the transcluded pages too?  (i.e. Template:Latest stable software release/GNU LilyPond and Template:Latest preview software release/GNU LilyPond) Pnorcks (talk) 17:42, 23 July 2010 (UTC)

templates have bad date math
the templates for the release don't have the right number of days/months. i don't see how to correct that 71.237.23.168 (talk) 01:06, 3 September 2010 (UTC)
 * Are you referring to the counters that display the number of days/months since the last releases? We don't have control over those numbers.  They are always correct right after page modification, but the counters never seem to update on a regular basis; sometimes it happens after a few days, but it looks like the preview release counter hasn't updated in about 9 days, which is unusually long... Pnorcks (talk) 04:34, 3 September 2010 (UTC)

Chapter Design
I propose to add at the end of this chapter: Therefore, numerous programms deliver lilypond output to be processed by lilypond, and can be used as graphical interface. Pipecat (talk) 23:14, 26 September 2010 (UTC)

Simpler example needed
It would be good to have an example of Hello World simplicity. — Preceding unsigned comment added by Deluno (talk • contribs) 03:09, 18 January 2012 (UTC)
 * How about commons:File:Aura Lea excerpt.png? -- SarekOfVulcan (talk) 03:20, 18 January 2012 (UTC)

lack of citations
I see this is up for GAN. It'll run into problems there, though, as it's missing citations for a lot of statements—even whole paragraphs. There seem to be a lot of sources out there you might be able to use: "LilyPond scores beautiful music" at opensource.com, for instance, as well as in other languages (This one in German). The LilyPond website also links to a bunch of reviews. Curly Turkey 🍁 ¡gobble! 04:41, 4 April 2016 (UTC)

Integration into MediaWiki example
, what you've done to this example is not an improvement. The whole point of mediawiki supporting lilypond is that people don't need to know much about the lilypond language to display a simple melody on a page. The original Solfeggio example is much more appropriate here than the incomprehensible mess you have created. Also, WP is not a manual. Here is not the place to be showing off every feature that lilypond provides. Tayste (edits) 17:57, 4 April 2016 (UTC)

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Lilypond as a markup language
Isn't Lilypond a kind of markup language? If yes, can someone incorporate this information into the article? --kupirijo (talk) 08:10, 13 January 2020 (UTC)

 * The definition of a markup language is somewhat vague. LilyPond input files are text files in the sense that they are not in a binary format and can be viewed and changed using any text editor. However, IMHO, it would seem farfetched to me to view them as "annotated documents". (Then again, I for one would not see e.g. an SVG file as a document written in a markup language, even if the format used is based on XML and is therefore – if only by name – an instance of a markup language.) Anyway, I would not view the language defined by LilyPond to describe musical scores as a markup language. – Tea2min (talk) 12:38, 13 January 2020 (UTC)

The definitions are fuzzy, but my own point of view is that markup languages show *the finished product more or less*, with added features in code. To me, a "true" markup language for music would have to be written directly in musical notation. I don't consider note letter names to be the finished product more or less. However, any of the things I've just said may be completely wrong, so don't rely on them. TooManyFingers (talk) 18:19, 20 August 2021 (UTC)
 * WYSIWYG-ish applications such as NoteWorthy Composer "show the finished product more or less" but I doubt anyone would call that a markup language.
 * As the ad hoc librarian of a dance orchestra I have used lilypond to prepare and maintain the group's book. In that use, it behaves more like a compiler than a markup language, in that it accepts modules written in a specialized source language and puts out graphic files such as PDF, far better than the lossy photocopies previously used. Wikipedia now uses lilypond to put bits of music notation into article space, which is more like what a markup language does.
 * How would you suggest it be handled in this article? Just plain Bill (talk) 19:37, 21 August 2021 (UTC)

 * I should have specified more carefully that it seems to me that "the raw code of a file in a markup language" is what should show the finished product more or less - in other words I think a markup language for music isn't currently feasible, but lilypond is not as far from it as WYSIWYG-ish applications are. I don't think it's really necessary or helpful for this article to discuss markup languages. TooManyFingers (talk) 00:30, 22 August 2021 (UTC)

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

title: Talk:LilyPond


text:
Lagitupu Tuilimu

Lagitupu Tulimu is a political figure from the Pacific nation of Tuvalu, who represented the constituency of Nanumea. He served as the acting prime minister, and foreign minister, from 8 December 2000 to 24 February 2001 following the death of incumbent Ionatana Ionatana.

Early political career
He became deputy prime minister and minister of finance in April 1999, when Ionatana Ionatana's government took office. One of the main issues of Ionatana's Government in which Tuilimu served was the country's membership of the United Nations, which Tuvalu assumed in this period.

Acting Prime Minister of Tuvalu
On the death of Ionatana Ionatana on December 8, 2000 Tuilimu served as acting Prime Minister of Tuvalu, until the election of Faimalaga Luka by parliament on February 24, 2001. His assumption of this office came because he had been the deputy prime minister of Tuvalu on the death of Ionatana. This was the first time that a sitting Prime Minister of Tuvalu had died in office.

title: Lagitupu Tuilimu


text:
SDMA

SDMA may refer to:

 * Symmetric dimethylarginine, an exogenous isomer of asymmetric dimethylarginine (ADMA) that is used as a renal function tracer/biomarker to diagnose chronic kidney disease
 * Space-division multiple access, a channel access method used in communication (for instance in MIMO technology)
 * Soft direct memory access, a type of direct memory access (DMA) specific to Xilinx's Multi-Port Memory Controller (MPMC)
 * System direct memory access, a Linux kernel module and userspace library for accessing direct memory access (DMA) using some processors made by Texas Instruments

title: SDMA


text:
List of trumpeters

This article lists notable musicians who have played the trumpet, cornet or flugelhorn.

Classical players

 * Bill Adam
 * Maurice André
 * Ryan Anthony
 * Jean Baptiste Arban
 * Sir Malcolm Arnold
 * Alison Balsom
 * Marco Blaauw
 * James F. Burke (musician)
 * Edward Carroll
 * Herbert L. Clarke
 * Billy Cooper
 * Allan Dean
 * Timofei Dokschitzer
 * Ole Edvard Antonsen
 * Niklas Eklund
 * Dennis Ferry
 * Merri Franquin
 * Thomas Gansch
 * Armando Ghitalla
 * Harry Glantz
 * Claude Gordon
 * Ludwig Güttler
 * Håkan Hardenberger
 * Thomas Harper
 * Tine Thing Helseth
 * Adolph "Bud" Herseth
 * David Hickman
 * Matthias Höfs
 * Harry James
 * Gil Johnson
 * Philip Jones
 * Frank Kaderabek
 * Richard Kelley
 * Uwe Köller
 * Samuel Krauss
 * Marcel LaFosse
 * Manny Laureano
 * Greg London
 * David Longoria
 * John MacMurray
 * Georges Mager
 * Albert Mancini
 * Veniamin Margolin
 * Wynton Marsalis
 * Mauro Maur
 * Nathaniel Mayfield
 * Malcolm McNab
 * Rafael Méndez
 * Ennio Morricone
 * Maurice Murphy
 * Robert Nagel
 * Sergei Nakariakov
 * Geoffrey Payne
 * John Rommel
 * Adolf Scherbaum
 * Max Schlossberg
 * Charles Schlueter
 * Daniel Schwarz
 * Gerard Schwarz
 * Jeffrey Segal
 * Alex Sipiagin
 * Philip Smith
 * Marie Speziale
 * Crispian Steele-Perkins
 * Thomas Stevens
 * Markus Stockhausen
 * Edward Tarr
 * Guy Touvron
 * William Vacchiano
 * Allen Vizzutti
 * René Voisin
 * Roger Voisin
 * Roger Webster
 * Anton Weidinger
 * James R. West
 * Edna White

Jazz and commercial players
Calumet William Portis
 * Greg Adams
 * Nat Adderley
 * Red Allen
 * Herb Alpert
 * William "Cat" Anderson
 * Louis Armstrong
 * Chet Baker
 * Kenny Baker
 * Kenny Ball
 * Guy Barker
 * Alexis Baro
 * Jakob Bänsch
 * Bix Beiderbecke
 * Wayne Bergeron
 * Bunny Berigan
 * Terence Blanchard
 * Buddy Bolden
 * Jean-Claude Borelly
 * Chris Botti
 * Lester Bowie
 * Cindy Bradley
 * Rick Braun
 * Randy Brecker
 * Till Brönner
 * Clifford Brown
 * Ray Brown
 * Miroslav Bukovsky
 * Billy Butterfield
 * Donald Byrd
 * Eddie Calvert
 * John Carisi
 * Ian Carr
 * Benny Carter
 * Bill Catalano
 * Roy Caton
 * Bill Chase
 * Doc Cheatham
 * Don Cherry
 * Buck Clayton
 * Gracie Cole
 * Bill Coleman
 * Ornette Coleman
 * Ken Colyer
 * Zach Condon
 * Alex Cross
 * Ted Curson
 * Dick Cuthell
 * Wallace Davenport
 * Miles Davis
 * Kenny Dorham
 * Dave Douglas
 * Louis Dowdeswell
 * Phil Driscoll
 * Josh Dun
 * Johnny Dunn
 * Jon Eardley
 * Harry Sweets Edison
 * Roy Eldridge
 * Don Ellis
 * Ziggy Elman
 * Howard Evans
 * Jon Faddis
 * Dominick Farinacci
 * Art Farmer
 * Maynard Ferguson
 * Chuck Findley
 * Michael "Flea" Balzary
 * Tony Fruscella
 * Buzz Gardner
 * John Dizzy Gillespie
 * George Girard
 * Bernie Glow
 * Volker Goetze
 * Jerry Gonzalez
 * Dusko Goykovich
 * Conrad Gozzo
 * Bobby Hackett
 * Tim Hagans
 * Roy Hargrove
 * Tom Harrell
 * Michael Harris
 * Jon Hassell
 * El Hefe
 * Dana Heitman
 * Johnny Helms
 * Arve Henriksen
 * Al Hirt
 * Arnett Howard
 * Freddie Hubbard
 * Jeff Hughes
 * Roger Ingram
 * Don Jacoby
 * Harry James Angus
 * Harry James
 * Ingrid Jensen
 * Cui Jian
 * Bunk Johnson
 * Jonah Jones
 * Sean Jones
 * Thad Jones
 * Freddie Keppard
 * George Kid Sheik Cola
 * Harry Kim
 * Mannie Klein
 * Scott Klopfenstein
 * Takuya Kuroda
 * Tommy Ladnier
 * Yank Lawson
 * Booker Little
 * Jens Lindemann
 * David Longoria
 * Lee Loughnane
 * Brian Lynch
 * Ibrahim Maalouf
 * Chuck Mangione
 * Wingy Manone
 * Wynton Marsalis
 * Hugh Masekela
 * Jesse McGuire
 * Mickey McMahan
 * Rafael Méndez
 * Bubber Miley
 * Punch Miller
 * Blue Mitchell
 * Ollie Mitchell
 * Lee Morgan
 * Ennio Morricone
 * James Morrison
 * Fats Navarro
 * Red Nichols
 * Joe "King" Oliver
 * Yoshimi P-We
 * Kye Palmer
 * Nicholas Payton
 * Mark Pender
 * Marvin Peterson
 * Morris Pleasure
 * Herb Pomeroy
 * Charlie Porter
 * Gerard Presencer
 * Louis Prima
 * Dizzy Reece
 * Cynthia Robinson
 * Claudio Roditi
 * Ack van Rooyen
 * Lior Ron
 * Wallace Roney
 * Rashawn Ross
 * Alan Rubin
 * Kermit Ruffins
 * Chase Sanborn
 * Arturo Sandoval
 * Manfred Schoof
 * Carl Hilding "Doc" Severinsen
 * Charlie Shavers
 * Woody Shaw
 * Bobby Shew
 * Jabbo Smith
 * Wadada Leo Smith
 * Lew Soloff
 * Muggsy Spanier
 * Terell Stafford
 * Marvin Stamm
 * Tomasz Stanko
 * Colin Steele
 * Rex Stewart
 * Byron Stripling
 * Tony Terran
 * Clark Terry
 * Charles Tolliver
 * Erik Truffaz
 * Kid Thomas Valentine
 * Allen Vizzutti
 * Cuong Vu
 * Derek Watkins
 * Tavis Werts
 * Kenny Wheeler
 * Pharez Whitted
 * Cootie Williams
 * Johnny Zell

authors: Марко Станојевић

title: List of trumpeters


text:
Talk:Hale Telescope

Source
hello Wikipedia I added a description of the Hale Telescope, partly copied from our website, with permission. Andrew Pickles Associate Director Operations, Caltech Optical Observatories pick@caltech.edu

Mirror
Forty plus years ago I read the educational comic book about the Palomar Observatory and the Hale Telescope. They told about the first attempt at making the mirror, which was the biggest piece of glass Corning had ever made. The heat of the big pot of glass was so hot that the ceiling was damaged and two bricks fell into the mix. A friend of mine saw this piece of glass in Corning about 15 years ago, and she said it looks perfectly clear, but the astronomers rejected it, so a second glass blank was made and shipped to California. This should be in the article.  Randall Bart    Talk   00:36, 7 April 2009 (UTC)
 * Since it's a mirror clarity isn't a concern, just dimensional stability. In any case, the story is true and here's a source:     Will Beback    talk    07:40, 7 April 2009 (UTC)
 * I went ahead and added a bit about the mirror and also about the coating process. GFee free to revise and improve.   Will Beback    talk    08:05, 7 April 2009 (UTC)
 * Great addition. -- Chetvorno TALK 04:56, 9 April 2009 (UTC)

85.24.143.128 (talk) 15:23, 6 January 2010 (UTC) hmm..."2 millionths of an inch", isn't that 50 nm? [Please remove this comment after correction]

I remember reading about 35 years ago that during transport of the mirror by rail it was protected by a bullet-proof case. Upon arrival near the observatory they found dozens of bullet holes in the case! Interesting material but probably not significant enough to place in the article. If someone thinks it might be deserving of inclusion then comment here and I will look up the documentation.Linktex (talk) 19:21, 9 January 2014 (UTC)

Discoveries
Please could somebody add information about important discoveries that have been made primarily with this telescope? Thank you.—RJH (talk) 16:35, 8 October 2009 (UTC)

Mirror redux
Consolidated material about the mirror into section and expanded. Deleted the second paragraph since it is wrong about the 200 inch being the 2 largest single mirror, its about the 8th largest according to List of largest optical reflecting telescopes. The rest of the paragraph is unref'ed and more overall descriptive of large mirrors in general than about the 200 inch. It could be added to Reflecting telescope or some other article dealing with large mirrors. Fountains of Bryn Mawr (talk) 17:10, 23 October 2009 (UTC)

 * Yes, the section should have said that the Hale and BTA-6 are the largest telescopes in the world with traditional rigid mirrors.  It is correct that there are about 8 telescopes with larger single mirrors.  As the deleted text explained, these larger mirrors are too big to hold their shape as they are rotated, so their shape is controlled by moveable mounts with complicated computer controlled actuators that compensate for the sagging of the mirror as it is turned.  These are essentially flexible mirrors.  The Hale and the BTA-6 are notable as the largest telescopes with rigid mirrors that don't require dynamic computer figure correction.  However, as you say the material was unsourced.  I'll try to find sources.  -- Chetvorno TALK 04:30, 24 October 2009 (UTC)

 * Restored deleted paragraph with supporting citations. -- Chetvorno TALK 10:26, 11 November 2009 (UTC)

First light date should not come from Wikidata
The source give the first light date as January 26, 1949, 10:06 pm Pacific Time. Wikidata gives it as 26 January 1949. All dates on Wikidata are Universal Time, according to their data model. So the first light of the Hale telescope was January 27, 1949, 6:06 am Universal Time, and the date in Wikidata is wrong. Jc3s5h (talk) 00:14, 18 June 2017 (UTC)
 * We should really be using UTC to avoid this kind of confusion! I changed the date on Wikidata this eve to match the article, before making the edit that you reverted. I've since undone that change on Wikidata. The details should be covered in the article text, rather than the infobox (which is why I moved the exact time and the reference to the article text). Does that resolve this issue, or how can we change the programming logic to better handle this? Thanks. Mike Peel (talk) 00:24, 18 June 2017 (UTC)

 * UTC IS UNACCEPTABLE BECAUSE IT DID NOT EXIST UNTIL 1960. Since this is an astronomy article, sloppy nomenclature will cast doubt the quality of the entire article. If there is a desire to use a more location-neutral time, it should be Universal Time.

 * The universal custom in English agrees with MOS:TIMEZONE: "Give dates and times appropriate to the time zone where an event took place." In the absence of any time zone indication, readers will naturally assume the date is a Pacific Time date, and thus thus the article misrepresents the statements of the authors of the cited source. If you want to use Universal Time, it should be labelled UT.

 * But since we are talking more about a ceremonial event than an entry in an astronomical data book, I believe the date should be in Pacific Time

 * Furthermore, although the Wikidata data model says they use UT, this requirement is widely violated, and their inability to enter time zones or express times with precision better than a day makes it virtually impossible to obey this requirement. My view is we shouldn't import any dates at all from Wikidata when the precision is better than a month. Jc3s5h (talk) 00:37, 18 June 2017 (UTC)
 * My understanding is that UT and UTC is essential the same, particularly on the scale of days. I would like to see Wikidata record times (and timezones) along with days, but they aren't there yet. I'm trying to figure out what will work best here for now - is there a date that we can set on Wikidata that would be acceptable, or should we locally define that parameter until the timing precision improves there? Are there any problems with the other parameters that I converted to Wikidata in the edit that you reverted, or can they be reinstated? Thanks. Mike Peel (talk) 00:43, 18 June 2017 (UTC)

 * I don't see any problem with the focal length or mounting parameters; when I made my edit I mistakenly thought they were already there and only the order was changed.

 * UT is an umbrella term that can encompass all the varieties of UT, such as GMT, UT0, UT1, UT2, and UTC, when the distinctions among them is unimportant. When you want to indicate differences of a few seconds don't matter, UT is the correct term, especially when UTC is incorrect.

 * I think any date in Wikidata that will be one value if you follow the data model and a different value if you simply copy the value from the source without converting time zones is unstable, as Wikidata goes through the throes of deciding how to fix their broken dates. I wouldn't allow any such date in Wikipedia. Jc3s5h (talk) 01:00, 18 June 2017 (UTC)
 * OK, I've partially reverted your revert, but have left the first light locally defined, I hope that's OK. I would encourage you to raise the date issue for discussion on Wikidata, as it would be good to properly resolve this. I know that there are different definitions of UT, my preference would be that we can define the timestamp accurately and that we use programmed logic to covert between timezones/conventions as appropriate. Thanks. Mike Peel (talk) 01:07, 18 June 2017 (UTC)

 * I raised it years ago; the developers are largely ignoring the date issues. A list of the time and date related bugs is at https://phabricator.wikimedia.org/T87764 Jc3s5h (talk) 01:20, 18 June 2017 (UTC)
 * OK, noted. Hopefully it will be resolved in the long-term, and we can migrate this property to Wikidata properly then. Thanks. Mike Peel (talk) 01:59, 18 June 2017 (UTC)

HR8799
It should be said why the star itself is not in the photograph. — Preceding unsigned comment added by 109.153.143.86 (talk) 14:54, 24 August 2017 (UTC)

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Observations and research
This section, as of February 2022, appears to have two problems. It's missing most of the major discoveries (see this list from the builders of Hale) while containing an assortment of references to relatively minor discoveries. I think this should be cleaned up. The paper THE FIRST 50 YEARS AT PALOMAR: 1949–1999 The Early Years of Stellar Evolution, Cosmology, and High-Energy Astrophysics would form an excellent basis for discoveries up to 1999. LouScheffer (talk) 13:32, 12 February 2022 (UTC)

title: Talk:Hale Telescope


text:
Talk:Hobbit (computer)

Hi, Thanks!
Thanks for entering this info on the Hobbit computer. I didn't even know the machine existed! I have included it in the Sinclair computer listbox. As of this writing, your Hobbit webpage server seems to be down, but I'll return later. Thanks again. :-) --Wernher 05:46, 2 Aug 2004 (UTC)

 * You're welcome! my webpage seems to have been up all the way, according to the logs (and was being hit before and after your post); must have been a netsplit or something in between. Especially for you, given your military+old computers interests combination, here is an advance piece of info that will yet have to make its way to the article page: Dmitry Mikhilov, the inventor, had a very interesting customer coming to our workplace — a Russian nuclear submarine captain that had a Hobbit installed in his cabin! I don't know how true is the claim by the Sinclair User that it was used for help in underwater navigation, but the captain was really an advanced guy, buying the most recent Forth ROM beta burns every time he came in (for games playing he could have just used Hobbit in its Spectrum-compatibility mode...) About the same time as getting acquainted with this guy, or maybe by sheer coincidence, D.M. became a huge fan of the "Silent Service" by Sid Meyer, playing it a lot on his Amiga with great success. BACbKA 23:24, 3 Aug 2004 (UTC)

 * This is great! You see, among my primary military interests along with missiles and WWI/II history, are submarines :) So thanks 1E6 (rubles?) for the anecdote of the nukesub captain. To think of him and his crew perhaps gliding about outside 'my' coast in the 80s, more or less navigating his sub assisted by a Russian Speccy clone running FORTH(!) is nothing less than fascinating :)) I guess the small size of the computer was significant for the captain, given the size of subcabins (or were they roomy in Soviet nukesubs?). --Wernher 16:48, 5 Aug 2004 (UTC)

 * Actually, not 80s but early 90s. As for the cabins size, I haven't been to the sub myself, so I can't tell you how roomy they were :) When I am thinking about him and the crew I have a different image in my mind every time — folks arguing who'll take the next turn in a Spectrum game :-))) But if one day his FORTH navigational code will surface somewhere, that might be priceless! Dunno if the cap'n is alive today — Russian nuclear sub sailors were typically fully bald from radiation by the age of 50... BACbKA 22:36, 5 Aug 2004 (UTC)

 * Heh -- wordplay of the year: "if [the ...] code will surface somewhere"(!) :-))) And, by now the article is really informative -- I must admit that the Hobbit seems to have been a really potent Speccy clone++. --Wernher 21:40, 22 Aug 2004 (UTC)

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 * Added archive https://web.archive.org/web/20040819192801/http://www.ysrnry.co.uk/articles/ragehard0191.htm to http://www.ysrnry.co.uk/articles/ragehard0191.htm
 * Added archive https://web.archive.org/web/20040705021710/http://www.sincuser.co.uk/126/hobbit.htm to http://www.sincuser.co.uk/126/hobbit.htm
 * Added archive https://web.archive.org/web/20040704221222/http://www.sincuser.co.uk/127/hobbit.htm to http://www.sincuser.co.uk/127/hobbit.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:47, 5 November 2017 (UTC)

title: Talk:Hobbit (computer)


text:
User:Benher

Japanese Subculture and Counterculture articles
Wiki is chock full of stubs related to Japan's lesser known but extremely interesting sects of underground culture. Regrettably, many of the more "matured" articles still suffer from poor grammar, inaccuracies, and unobjective fanboyism. I have lived and worked in and around the Japanese underground since 2002 and hope to use my experience in this country to enrich the knowledge contained in these entries.

I am especially interested in the Japanese tattoo or irezumi, the yakuza, bousouzoku and Japanese bike/car culture, all aspects of otaku and mania, politics of the nationalistic Japanese right wing, the history of post-modern Japan, Japanese art from modern day urban graffitti and stenciling to Ukiyo-e woodblock prints of the edo period, and the unique and perverse world of Japanese fetishism.

The Comic Market FAQ
Ever since I heard about comiket on a shoddy 3rd generation videotape in the late 80's, I knew I had to go and see it for myself. At the time "manga" and "anime" were not nearly the household words that they are now in America, let alone "doujinshi," so it was pretty much an uphill climb. And it was worth it. In an effort to make this process easier for others, I decided to write The Comic Market FAQ. There are no "professionals" per se in the world of doujinshi, and thusly I am by no means an expert. However, if by my experience and advice I can help a person to come and enjoy Comic Market... well, that's all I want. I currently live and work in Japan and have been to CM as well as many other smaller doujinshi conventions around Japan. Check out my homepage.

Mission
My purpose for contributing is to acquaint the average gaijin (read: foreigners; non-Japanese people or people with little to no Japanese language skills) with Japan's (and thusly the world's) largest comic convention: Comic Market. It may not be 100% complete, but I hope that it is accurate and helpful to any future would-be CM attendees.

Disclaimer about my contributions to Wikipedia
I wrote my original CM FAQ for fun. I wrote it to help people. I didn't write it to get into debates, fights, flames, or any similar petty undertaking. That being said, I make no promises about the accuracy or effectiveness of neither this FAQ nor the information herein. Naturally, I hope that it has a positive effect and that the information in it is as accurate at possible.

title: User:Benher


text:
Medieval commune

Medieval communes in the European Middle Ages had sworn allegiances of mutual defense (both physical defense and of traditional freedoms) among the citizens of a town or city. These took many forms and varied widely in organization and makeup.

Communes are first recorded in the late 11th and early 12th centuries, thereafter becoming a widespread phenomenon. They had greater development in central-northern Italy, where they became city-states based on partial democracy. At the same time in Germany they became free cities, independent from local nobility.

Etymology
The English and French word "commune" (comune) appears in Latin records in various forms. They come from Medieval Latin communia, plural form of commune (that which is common, community, state), substantive noun from communis (common). Ultimately, the Proto-Indo-European root is *mey- (to change, exchange).

When autonomy was won through violent uprising and overthrow, the commune was often called conspiratio (a conspiracy) (cospirazione).

Origins
During the 10th century in several parts of Western Europe, peasants began to gravitate towards walled population centers, as advances in agriculture (the three-field system) resulted in greater productivity and intense competition. In central and northern Italy, and in Provence and Septimania, most of the old Roman cities had survived—even if grass grew in their streets—largely as administrative centers for a diocese or for the local representative of a distant kingly or imperial power. In the Low Countries, some new towns were founded upon long-distance trade, where the staple was the woolen cloth-making industry. The sites for these ab ovo towns, more often than not, were the fortified burghs of counts, bishops or territorial abbots. Such towns were also founded in the Rhineland. Other towns were simply market villages, local centers of exchange.

Such townspeople needed physical protection from lawless nobles and bandits, part of the motivation for gathering behind communal walls, but also strove to establish their liberties, the freedom to conduct and regulate their own affairs and security from arbitrary taxation and harassment from the bishop, abbot, or count in whose jurisdiction these obscure and ignoble social outsiders lay. This was a long process of struggling to obtain charters that guaranteed such basics as the right to hold a market. Such charters were often purchased at exorbitant rates, or granted, not by the local power, but by a king or by the emperor, who came to hope to enlist the towns as allies in order to centralize power.

The walled city provided protection from direct assault at the price of corporate interference on the pettiest levels, but once a townsman left the city walls, he (for women scarcely travelled) was at the mercy of often violent and lawless nobles in the countryside. Because much of medieval Europe lacked central authority to provide protection, each city had to provide its own protection for citizens - both inside the city walls, and outside. Thus towns formed communes which were a legal basis for turning the cities into self-governing corporations. In most cases the development of communes was connected with that of the cities. However, there were rural communes, notably in France and England, that formed to protect the common interests of villagers. At their heart, communes were sworn allegiances of mutual defense. When a commune formed, all participating members gathered and swore an oath in a public ceremony, promising to defend each other in times of trouble, and to maintain the peace within the city proper.

The commune movement started in the 10th century, with a few earlier ones like Forlì (possibly 889), and gained strength in the 11th century in northern Italy, which had the most urbanized population of Europe at the time. It then spread in the early 12th century to France, Germany, Spain and elsewhere. The English state was already very centralized, so the communal movement mainly manifested itself in parishes, craftsmen's and merchants' guilds and monasteries. State officialdom expanded in England and France from the 12th century onwards, while the Holy Roman Empire was ruled by communal coalitions of cities, knights, farmer republics, prince-bishops and the large domains of the imperial lords. In eastern Europe, the splintering of Kievan Rus' allowed the formation of veche communes like the Novgorod Republic (1136-1478) and the Pskov Republic (1348-1510).

One in four urban communities in France were under the administration of mayors and échevins (Northern France) or consuls and jurats (Southern France) by 1300, and this number increased rapidly in the next 2 centuries due to the financial demands of city wall-building. Many were granted the rights to assembly, and executive power was often concentrated in one elected official, the mayor or first consul, with an advisory body of conseils. Election was often restricted to the wealthy local merchant elite.

In medieval Spain, urban communities were self-governing through their concejo abierto or open council of property-owners. The larger towns delegated authority to regidores (town councillors) and alcaldes (law officers), who managed the town and the surrounding lands as one communidad. After the Middle Ages, selection of officials was changed from election to sortition, in order to resolve factional conflict. In Cantabria, seafaring towns led by Burgos formed the Hermandad de las Marismas (Marsh brotherhood), an organisation similar to the Hanseatic league. In the 1470s the Santa Hermandad or Holy Brotherhood was formed, in which all municipalities sent representatives to a junta general which would coordinate law enforcement to protect trade.

Social order
According to Adalberon, society was composed of the three orders: those who fight (the nobles), those who pray (the clergy), and those who work (the peasants). In theory, this was a balance between spiritual and secular peers, with the third order providing labour for the other two. The urban communes were a break in this order. The Church and King both had mixed reactions to communes. On the one hand, they agreed safety and protection from lawless nobles was in everyone's best interest. The commune's intention was to keep the peace through the threat of revenge, and the Church was sympathetic to the end result of peace.

However, the Church had its own ways to enforce peace, such as the Peace and Truce of God movement, for example. Some communes disrupted the order of medieval society in that the methods the commune used, eye for an eye, violence begets violence, were generally not acceptable to Church or King. There was an idea among some that communes threatened the medieval social order. Only the noble lords were allowed by custom to fight, and ostensibly the merchant townspeople were workers, not warriors. As such, the nobility and the clergy sometimes accepted communes, but other times did not. One of the most famous cases of a commune being suppressed and the resulting defiant urban revolt occurred in the French town of Laon in 1112.

Rural communes
The development of medieval rural communes arose more from a need to collaborate to manage the commons than out of defensive needs. In times of a weak central government, communes typically formed to ensure the safety on the roads through their territory to enable commerce (Landfrieden). One of the more successful of these medieval communities was the one in the alpine valleys north of the Gotthard Pass. This later resulted in the formation of the Old Swiss Confederacy. The Swiss had numerous written acts of alliance: for each new canton that joined the confederacy, a new contract was written.

Besides the Swiss Eidgenossenschaft, there were similar rural alpine communes in County of Tyrol, but these were destroyed by the House of Habsburg. Other such rural communes developed in the Graubünden, in the French Alps (Republic of the Escartons or Briançonnais), in the Pyrenees, in northern France (Roumare), in northern Germany (Frisia and Dithmarschen), and also in Sweden and Norway. The colonization of the Walser also is related.

Pyrenean villages such as Vicdessos, in common with many other montane communities, enjoyed far greater liberties than those enjoyed in the north of France. The Counts of Foix granted these villages charters recognising their right to governance and both civil and criminal justice administered by their own consuls, and exemption from fees on the use of forests, waters, mines, pastures, mountains, meadows and tolls on trading with other villages. They even successfully won their case against payment of taxes to King Philip IV of France. The Vallée d'Aspe was another medieval Pyrenean republic, based in Accous and under the suzerainty of the Viscounts of Bearn. The rights of the republic was confirmed by King Louis XIII when he united Bearn to France. These communities thrived in natural isolation and lack of seigneurial interest in interference, particularly in the Western Pyrenees such as the Vallée d'Aspe (governed by their own jurats), Vallée d'Ossau, as well as the independent legislative assemblies in the Valley of Cauterets, or the Vallée d'Azun. These communities, called beziau, signed treaties with other villages generally meant to govern access to pastures.

Some Southern-European medieval communes were influenced by the Italian precedent, but many northern ones (and even the Swiss communes north of Gotthard Pass) may well have developed concurrently and independently from the Italian ones. Only a few of these medieval rural communes ever attained imperial immediacy, where they would have been subject only to the king or emperor; most still remained subjects of some more or less distant liege.

Evolution in Italy and decline in Europe

During the 11th century in northern Italy a new political and social structure emerged. In most places where communes arose (e.g. France, Britain and Flanders), they were absorbed by monarchical states. But in northern and central Italy, some medieval communes developed into independent and powerful city-states.

The breakaway from their feudal overlords by these communes occurred in the late 12th century and 13th century, during the Investiture Controversy between the Pope and the Holy Roman Emperor. Milan led the Lombard cities against the Holy Roman Emperors and defeated them, gaining independence (battles of Legnano, 1176, and Parma, 1248). Meanwhile, the republics of Venice, Pisa and Genoa were able to conquer their naval empires on the Mediterranean sea (in 1204 Venice conquered three-eights of the Byzantine Empire in the Fourth Crusade). Cities such as Florence, Parma, Ferrara, Verona, Padua, Lucca, Siena, Mantua and others were able to create stable states at the expenses of their neighbors, some of which lasted until modern times. In southern Italy, which then formed the Kingdom of Sicily, autonomous communes were rarer, Republic of Sassari in Sardinia being one example.

In the Holy Roman Empire, the emperors always had to face struggles with other powerful players: the land princes on the one hand, but also the cities and communes on the other hand. The emperors thus invariably fought political (not always military) battles to strengthen their position and that of the imperial monarchy. In the Golden Bull of 1356, emperor Charles IV outlawed any conjurationes, confederationes, and conspirationes, meaning in particular the leagues of towns but also the rural communal leagues that had sprung up. Most leagues of towns were subsequently dissolved, sometimes forcibly, and where refounded, their political influence was much reduced. Nevertheless, some of these communes (as Frankfurt, Nuremberg, Hamburg) were able to survive in Germany for centuries and became almost independent city-state vassals to the Holy Roman Emperors (see Free imperial city).

Communalism
Anarchist Peter Kropotkin argued that the elements of mutual aid and mutual defense expressed in the medieval commune and its guild system were the same sentiments of collective self-defense apparent in modern communism and socialism.

title: Medieval commune


text: User talk:166.121.37.8

title: User talk:166.121.37.8


text:
User:Squash/Templates

This proposal is not really just a proposal to add images to one ot two particular templates, but really a proposal to be able to make NEW templates for the Wikipedia. And the order unorganized For Propostion has been updated since, my post in the the protected template talk page turned into such as fairly long comment :-)

The 'For' Proposition by User:Squash

Editors matter in times of trouble 1. Most of the articles on the Wikipedia doesn't need to be listed for deletion, protection etc. So how can that distract readers. But when the time when there is a page to be deleted and so forth - who is really the article important to now ? ... the editors and so it makes sense to make it usable to the editors and make life easier for them. There is no point in creating a bad speedy delete message for editors to see which the article is soon to be deleted anuway and there is no point for the reader to read the article either! :-)

Text-only messages look like part of article I don't like the text only templates for important site notices. They are distracting and when a person reads an article they have to see the article and people are more likely to confuse it with part of the article itself. The templates below that I have designed (including the icons) are supposed to be plain good. And so when a person sees a notice, they would not confuse it with the text. To many people they may seem too distracting and an annoyance. In opinion they are better then the text only ones because of the previously mentioned.

Help in navigation and usability The images assist in navigation with different colours and depth to make navigation better and easier... they are not distracting, In my opinion I think that making a site notice that looks like part of the article is EVEN more distracting then a site notice. And the minimal designs aren't THAT distracting at all!... The brain processes pictures quicker then text... as they say... a picture is worth [number] of words :-). But they add nothing to the template? ... They do, A person can easier distinguish a site notice from the article itself instead of some text only message and so it adds 'usability' in one meaning or another.

Help non-technically advanced users You may think, it is appropriate for individual templates, what about the techinilogically inadvanced users out there who like the appealing icons and know what to do, if they see something bad in the Wikipedia... do we just lock them out and wondering what to do or ask other people. It would be efficent for the Wikipedia that more people work on articles - whether they are really smart or not. See the logo - Wikipedia - The Free Encyclopedia... what does that mean ? ... I think it means it is open to all users out there not just those who are smart!

squash 22:06, Aug 4, 2004 (UTC)

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Talk:Gene Tyranny

Artists biographied and albums reviewed by Tyranny in All Music Guide or All Classical Guide

 * What is the point of that (badly named) section? Why should an exhaustive list of people whom a single man has reviewed be considered encyclopedic?  A single sentence like "He has reviewed a number of notable figures, including ..." would be sufficient.  I'd remove the section outright, but several people have put some effort into it, so I'll pose the question here first.  --Ardonik 06:01, Aug 2, 2004 (UTC)

 * Remove it. If the excternal website doesn't index by reviewer, why should we? Andy Mabbett 11:53, 2 Aug 2004 (UTC)

 * Done. --Ardonik 21:46, Aug 2, 2004 (UTC)

 * Actually, if the external website did index by reviewer, there would be no need of it anywhere. Hyacinth 22:01, 2 Aug 2004 (UTC)

 * I would still argue that such trivia has no place in an encyclopedia, but there's no harm in keeping the information here. --Ardonik 00:30, 2004 Aug 4 (UTC)

Artists biographied and albums reviewed by Tyranny in All Music Guide or All Classical Guide

 * Maryanne Amacher -
 * Charles Amirkhanian - "Bajanoom" (1990) from Walking Tune: The Music of Charles Amirkhanian (1998)
 * Robert Ashley -
 * Milton Babbitt -
 * Nikhil Banerjee - Immortal Sitar of Pandit Nikhil Banerjee, Ragas: Purabi Kalyan, Zila-Kafi, Kirwa
 * Jean Barraqué - ...Au Dela Du Hasard (...Beyond Mere Luck) (1959), Le Temps Restitu (1968) excerpt from 'La Mort De Virgile' (The Death of Virgil) by Hermann Broch
 * Martin Bartlett (didn't write bio) - Pythagoras' Ghost
 * Eve Beglarian (no bio) - "Overstepping"
 * Henry Brant -
 * Earle Brown -
 * Michael Byron - "Music of Nights Without Moon or Pearl", for ensemble; "Invisible 'Seeds' for James Tenney", for ensemble
 * Nicolas Collins - 100 of the World's Most Beautiful Melodies, "Devil's Music"
 * Philip Corner -
 * Deep Listening Band (didn't write bio) - Troglodyte's Delight, The Ready Made Boomerang
 * William Duckworth -
 * David Dunn - Music, Language and Environment
 * Brian Eno - "Discreet Music"
 * Robert Erickson - Robert Erickson
 * Morton Feldman -
 * David First - "Good Book's (Accurate) Jail of Escape Dust Coordinates, Part 2"
 * Ellen Fullman (did not write bio) - "Body Music", "Staggered Stasis"
 * Tom Hamilton - Pieces for Kohn, Sebastian's Shadow, Off-Hour Wait State
 * Phil Harmonic -
 * Lejaren Hiller -
 * Scott Johnson - John Somebody
 * Carson Kievman - Symphony No. 2 (42)
 * Joan La Barbara - Sound Paintings, 73 Poems (Texts by Kenneth Goldsmith), ShamanSong
 * Annea Lockwood -
 * Jin Hi Kim -
 * Moondog aka Louis Harden -
 * Max Neuhaus - Electronics and Percussion: Five Realizations by Max Neuhaus, Bi-Product, Drive-In Music, Listen, Public Supply, Telephone Access
 * Luigi Nono -
 * Pauline Oliveros (didn't write bio) - Crone, The Roots of the Moment, "Duo for Accordion and Bandoneon with Possible Mynah Bird Obbligato (See-saw)" from Musicworks #70
 * Bob Ostertag (did not write bio) - Sooner or Later (Tarde O Temprano)
 * Alfred Schnittke - String Quartets
 * The Residents - God in Three Persons
 * Dane Rudhyar - Transmutation, Tetragrams
 * William Russell (no bio) - Made in America: The Complete Works of William Russell
 * The Sleepers (no bio) - Sleepers: Doris Hays, Annea Lockwood, Ilhan Mimaroglu, Daniel Goode, Tom Johnson, Pauline Oliveros, Alison Knowles, Ann Silsbee
 * Karlheinz Stockhausen - Helikopter String Quartet (from "Mittwoch" from LICHT), for 4 helicopters & string quartet
 * Louise Talma -
 * Toru Takemitsu -
 * Richard Teitelbaum - Blends
 * James Tenney -
 * David Tudor (didn't write bio) - Microphone (1975), David Tudor Plays Cage and Tudor, Neural Network Plus, Neural Synthesis, Nos. 6-9, Three Works for Live Electronics: Pulsers/Untitled/Phonemes, Rainforest
 * Ralph Shapey
 * Lois Vierk (1951) - Into the brightening air (1994/1999), Blue Jets Red Sprites (1996), River Beneath the River (1993), Simoom (1986), Selected Works, Red Shift (1989), Jagged Mesa (1990)
 * Ivan Alexandrovich Vïshnegradsky - Compositions for String quartet and String trio
 * Claude Vivier (1948-1983) - "Et Je Reverrai Cette Ville Étrange" (1988) from Arraymusic: Strange City
 * Christian Wolff -
 * Various - New Sounds in Electronic Music, CDCM Computer Music Series Vol. 7: Ear Studios at Rensselaer Polytechnic Institute, Tro, Utopia Americana: Compilation Of American Music
 * Various - Flies in the Face of Logic

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Cause of death
What was his cause of death? 173.88.246.138 (talk) 02:16, 3 March 2022 (UTC)

Added. 173.88.246.138 (talk) 02:20, 3 March 2022 (UTC)

Article title
I don't know how to change the title of the article, but I don't think he ever went by "Gene Tyranny," it was always "Blue" Gene Tyranny Jamescube (talk) 02:07, 3 May 2023 (UTC)

 * Correct, but to me he was always just Bob Sheff. I knew his stage name, but not how to spell it. While he was Mills College, I was invited to be an incompetent player of the Star-Spangled Banner in a piece by Marc Grafe and stumbled appropriately. After the concert Bob Sheff got on the stage and played the most amazing set of scales at high speed. WaltPeterson (talk) 13:31, 2 March 2024 (UTC)

title: Talk:Gene Tyranny


text:
Talk:Union State

Link to bad site
Source 48 links/redirects to a porn site. We might want to change this link. 17NOV2021 — Preceding unsigned comment added by 77.248.82.123 (talk) 21:00, 17 November 2021 (UTC)

The war
Russian Army has invided Ukraine form Belarus, probably according to the Union State law. This should be described here. The page informs only about the sanctions, not about the common politics, or Russian control. Xx236 (talk) 08:21, 6 October 2022 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 21:52, 26 October 2022 (UTC)
 * Union State (Crimea and eastern Ukraine disputed).svg

title: Talk:Union State


text:
Expo '98

Expo '98 (1998 Lisbon Specialised Expo) was an official specialised World's Fair held in Lisbon, Portugal from Friday, 22 May to Wednesday, 30 September 1998. The theme of the fair was "The Oceans, a Heritage for the Future", chosen in part to commemorate 500 years of Portuguese discoveries. The Expo received over 10 million visitors in 132 days, while 143 countries and many organizations were represented.

Before
The idea to organize a World's Fair in Portugal originated in 1989 between two Portuguese, António Taurino Mega Ferreira and Vasco Graça Moura, who were in charge of organizing the commemoration of the 500th anniversary of Vasco da Gama's arrival in India in 1498.

Once government support was obtained, Ferreira led the bid at the Bureau International des Expositions, which in 1992 declared Lisbon the winner, against the other contender Toronto, Canada. The state-owned company Parque Expo was formed to make the Fair a self-sustaining event, with revenue coming from admission tickets and, especially, sales of real estate and parcel lots at the Expo's emplacement.

The first Commissioner of Expo '98 (and Parque Expo's CEO) was António Cardoso e Cunha. He was replaced in 1997 by José de Melo Torres Campos, after a general election resulted in a change in government.

The area chosen for the Expo '98 was a 5 km strip that covered 50 ha in Lisbon's east-end alongside the Tagus river. The area had been landscaped in 1942 as a Hydroport, for docking the hydroplanes that crossed the Atlantic to and from the US. When the modern jet planes rendered the hydroplanes obsolete, the place became an industrial park of containers, polluting industries and slaughterhouses which had seen a growing degradation over the decades.

As a result, the Expo '98 was fully built from scratch. Every building was pre-sold for after-Expo repurposing thus ensuring that, after the expo closed, the site would not be left semi-abandoned, as had happened with previous expos, particularly Seville Expo '92. As a reminder of the site's industrial past, only a refinery tower was kept and repurposed.

To support the expected influx of visitors, an extensive access program was devised, including:
 * a new bridge across the river, the Vasco da Gama Bridge (then the longest in Europe)
 * a new line for the Lisbon Metro, with seven stations (five of which were ready for opening day)
 * a new main multi-modal terminal, featuring trains, metro, buses, and taxis, called Gare do Oriente, by architect Santiago Calatrava.

During

Expo '98 opened on 22 May 1998 with 143 countries and 14 international organizations featured in individual pavilions: almost every exhibitor respected the Expo's theme "The Oceans: A Heritage for the Future". There were additional themed pavilions dedicated to Water, Sea Knowledge, Virtual Reality (paid), The Future, Oceans and Oceanophilia; as well as exhibitions: "Leonardo da Vinci@expo98 – La Dinamica dell'Acqua", "Roads of the Porcelain" and "Shells and Man". Additional attractions included a 15,000-seater Utopia Pavilion with a resident theatrical show, Camões Theatre, nautical exhibition, Garcia de Orta tropical gardens, Swatch Pavilion, "World of Coca-Cola" exhibition, Expo Adrenalin, 120-metre-tall observation tower (paid), funicular (paid) and the nightly water-show "Acqua Matrix".

Out of the five major themed pavilions at Lisbon's Expo '98, the Utopia Pavilion was among the most popular. Reflecting the Expo's overall theme of "The Oceans: a Heritage for the Future" and designed by the renowned François Confino and Philippe Genty, the pavilion featured a large-scale multimedia show that presented the oceans as stimulators of imagery, taking visitors on a voyage from the creation of the world to the present day. Combining traditional stage technology with highly innovative special effects and mechanical controls, gsmprjct intégration handled all of the logistics and technical direction of the project. Housed in a custom-built covered stadium with a seating capacity of 10,000, the show was performed over 500 times, making it the first World's Fair show to be seen by over 3 million people.

The Oceania Virtual Reality Pavilion was the biggest hit of Lisbon's Expo '98, attracting over half a million visitors in a four-month period. Even so, the average waiting time for admission was about four hours. It consisted of a virtual submarine voyage to an underwater base where visitors discovered the ruins of a lost civilization and encountered a sea monster before escaping back to the surface in Teleport capsules. Despite being the only pavilion at Expo '98 that required an additional admission fee, visitors spent hours waiting in line for this breathtaking 30-minute thrill ride that made use of seamlessly integrated simulators, virtual reality visors and interactive projections. gsmprjct° was commissioned to design and produce "Oceania", planning the look and feel of the overall experience, in addition to acting as project manager, architectural coordinator, and general contractor. Divided into several rooms, the pavilion featured a 45-person simulated submarine ride and 70 mm film, a 3D stereoscopic viewing system with custom content, and custom-designed motion simulators with audio-visual content.

The pavilion of Portugal hosted the Portuguese national representation during the event. It was designed by Álvaro Siza Vieira. The entrance to the building was covered by a large concrete veil, mimicking a paper sheet linking two main buildings and opening a wide urban space.

The total number of visitors of the Expo '98 reached 10,128,204, for a duration of 132 days. Admission prices (adult) were 5,000 escudos PTE (US$34 at then-exchange rates) for one day, 12,500 escudos ($84) for three non-consecutive days and 50,000 escudos ($334) for three months. The Oceans Pavilion, built to be the Lisbon Oceanarium after the Expo closed, had the longest lines. Other popular pavilions, with lines of up to five hours on busier days, included Portugal, Spain, Sweden, Germany, and Virtual Reality.

Logo, Mascot and Music
The Expo logo symbolizes the Sea and the Sun. It was conceived by Portuguese Augusto Tavares Dias, creative director in an advertising agency, and selected from 1,288 entries.

The Expo mascot was conceived by the Portuguese duo of painter António Modesto and sculptor Artur Moreira. It was selected from 309 entries. It is named Gil, after Portuguese navigator Gil Eanes. The name was chosen by high school student José Luís Coelho, from 765 entries. Gil turned the RTP mascot and can be see on the station main events.

The official music theme for the Expo '98 was called "Pangaea" and was written by Nuno Rebelo. It combined chants and instruments from the five continents over an epic full orchestral score.

After
Expo '98 closed on 30 September 1998. The last day saw more than 300 thousand visitors enter, there to see the closing fireworks show, the largest ever presented in Portugal. The site remained closed until February 1999, when it reopened as Parque das Nações (Park of the Nations), a free-access park, keeping the gardens, Oceanarium (Europe's then-largest aquarium), observation tower, funicular, and the Virtual Reality pavilion. Other buildings were re-purposed for the opening, including:
 * the main entrance (sun door), converted to Centro Vasco da Gama, a regional shopping mall (opened on 27 April 1999)
 * the main exhibition pavilions, converted to Feira Internacional de Lisboa (Lisbon International Exhibition Fair)
 * Utopia Pavilion, converted to Pavilhão Atlântico (now Altice Arena, after the naming rights were sold to a sponsor), Lisbon's main multi-purpose indoor arena
 * Knowledge of the Seas Pavilion, converted to Knowledge Pavilion, a hands-on science museum
 * Territory Pavilion, converted to a bowling alley, but subsequently demolished
 * Future Pavilion, now the Casino Lisboa.

Within Parque das Nações, every other building or vacant parcel lot was sold for office or living space, to offset the Expo's costs. The Virtual Reality Pavilion was closed on 31 August 2002 and later demolished. The area today is thriving, modern, stylish, and safe, attracting 18 million tourists a year to its gardens, museums, commercial areas and modern buildings. It has also become permanent residency for up to 25,000 people and one of Lisbon's premier business centers, with many multinational corporations basing their headquarters in its main avenue.

Parque Expo had lived beyond Expo '98, not just managing the infrastructure of Parque das Nações but, having acquired the know-how in urban conversion and planning, sold its advising and consultancy services to other cities around the world. The company was extinct at the end of 2012 and the former territory of the exposition became a new parish of Lisbon municipality.

title: Expo '98