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Talk:National Intelligence Service (Greece)

Abduction of Pakistanis
The sentence "The abductions, which allegedly took place prior to (and were probably related with security issues concerning) Greece's hosting of the Olympic Games," makes no sense, since the alleged abductions might be because of the terror attacks in Lodon past 911. Please see the greek embassy website statement for a very short mention. —Preceding unsigned comment added by 87.166.229.63 (talk) 23:47, 14 April 2009 (UTC)

History of EYP/NIP
OK, I need to post the DETAILED History of the Hellinic Natial Intelligence Service ever since it's conseption... No offence, but the article seems like it was written from the PR deparment of the NIS...
 * It was. Please don't post anymore negative comments about us, or we will be forced to liquidate you.  Have a nice day.  --Gen. Megalopeos, Director of PR, NIP 04:14, 10 July 2005 (UTC)
 * Posting a DETAILED history is OK by me. Please remember to post only facts that can be verified through reliable independent sources, as per WP:CITE. 85.75.189.202 10:30, 28 April 2007 (UTC)

POV
The historical section abounds with uncited claims. Do some research in order to place proper citations or they will have to go. 84.254.15.97 (talk) 06:56, 13 July 2008 (UTC)

Indeed, the alleged assistance to Bosnian Serbs and abduction of Pakistanis have no references supporting these claims. Unless someone provides some references these section will probably have to go. Walnutjk (talk) 21:34, 14 September 2008 (UTC)

 * Six months were abundant time to substantiate the claims with citations. Since this has not happened, the questionable "historical" section that read like the bastard child of Pravda with Αυριανή was deleted. 85.73.235.229 (talk) 17:52, 17 November 2008 (UTC)

Ioannis Korandis is no more EYP Director, please somebody correct that issue. Thank you —Preceding unsigned comment added by 89.210.92.195 (talk) 14:34, 16 September 2009 (UTC)

Involvement in 1967 Coup?
The Greek military junta of 1967–1974 article states:

"In particular, the newly-founded Hellenic National Intelligence Service (KYP) and the LOK Special Forces (later actively involved in the 1967 coup) maintained a very close liaison with their American counterparts. In addition to preparing for a Soviet invasion, they agreed to guard against a left wing coup. The LOK in particular were integrated into the Gladio European stay-behind network.[2] Although there have been persistent rumors about an active support of the perpetrators of the coup d'état by the US government there is no evidence to support such claims.[3][4] It is however likely that the US military was informed of the coup a few days in advance by Greek liaison officers."

The above information seems relevant to this article. I am not well informed about the issues, so I will leave the update to someone else.

Karl gregory jones (talk) 19:02, 14 October 2009 (UTC)

Precursor Agencies
The article does not state who or what carried out the functions of NIS before its formation. 31.68.5.98 (talk) 17:21, 11 July 2015 (UTC)


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Abandoned railway station

An abandoned (or disused) railway station is a building or structure which was constructed to serve as a railway station but has fallen into disuse. There are various circumstances when this may occur – a railway company may fall bankrupt, or the station may be closed due to the failure of economic activity such as insufficient passenger numbers, operational reasons such as the diversion or replacement of the line. In some instances, the railway line may continue in operation while the station is closed. Additionally, stations may sometimes be resited along the route of the line to new premises – examples of this include opening a replacement station nearer to the centre of population, or building a larger station on a less restricted site to cope with high passenger numbers.

Reasons for abandonment
Notable cases where railway stations have fallen into disuse include the Beeching Axe, a 1960s programme of mass closures of unprofitable railway lines by the British Government. The London Underground system is also noted for its list of closed stations. During the time of the Berlin Wall, a number of Berlin U-Bahn stations on West Berlin lines became "ghost stations" (Geisterbahnhöfe) because they were on lines which passed through East Berlin territory. According to Stefania Ragozino and Stefania Oppido, "The abandonment of the railways network, stations and tollbooth rails is a widespread phenomenon at national and international level, determined by social, economic and technological developments that have changed the local infrastructure systems."

Dereliction and alternative uses
Railway stations and lines which fall into disuse may become overgrown.

Some former railway lines are repurposed as managed nature reserves, trails or other tourist attractions – for example Hellfire Pass, the route of the former "Death Railway" in Thailand. Many former railways are converted into long-distance cycleways, such as large sections of the National Cycle Network in the United Kingdom.

In rural areas, former railway station buildings are often converted into private residences. Examples include many of the stations on the closed Didcot, Newbury and Southampton Railway in England. Architecturally and historically notable station buildings may present a problem if they are protected under building preservation laws but fall into disuse. Such buildings are often simply demolished (such as Broad Street railway station in London), or they may be preserved as part of a heritage railway.

Often, in order to be retained as commercially viable structures within an urban environment, or as part of an urban regeneration project, they may be repurposed for alternative activities. Prominent examples include the ornate Gare d'Orsay in Paris, which was converted into the Musée d'Orsay art gallery; the Manchester Central railway station, which was put to new use first as a car park and later refurbished as the Manchester Central Conference Centre; and Broad Street Station in Richmond, Virginia, which now houses the Science Museum of Virginia. The Ottawa Convention Centre is a former station, as are railway museums Memory Junction in Brighton and Railway Museum of Eastern Ontario in Smiths Falls. In Prescott the rail station houses historical society offices; in Lac-Mégantic and Kingston a former station houses a tourism information office. Stations have also been transformed into restaurants or private residences.

Restoration
Many abandoned railway stations and line are now being brought back into operational service, notably in the UK where environmental policy is driving the reversal of some of the Beeching closures of the 1960s. In London the Docklands Light Railway made use of disused railway infrastructure for much of its construction; in Manchester it is proposed to expand the Metrolink light rail system by re-opening abandoned rail lines; and in Scotland, the Scottish Government has brought the Waverley Line partially back into passenger service.

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

title: Abandoned railway station


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The Firebird

The Firebird (L'Oiseau de feu; Жар-птица) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913).

The Firebird mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando, and flutter-tonguing. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird.

Stravinsky later created three concert suites based on the work: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with new settings or themes. Many recordings of the suites have been made; the first was released in 1928, using the 1911 suite. A film version of the popular Sadler's Wells Ballet production, which revived Fokine's original choreography, was produced in 1959.

Background
Igor Stravinsky began studying composition with Nikolai Rimsky-Korsakov in 1902. He completed several works during his time as a student, including his first performed work, Pastorale (1907), and his first published work, the Symphony in E-flat (1907), which the composer categorized Opus 1. In February 1909, a performance of his Scherzo fantastique and Feu d'artifice in Saint Petersburg was attended by the impresario Sergei Diaghilev, who was intrigued by the vividness of Stravinsky's works.

Diaghilev founded the art magazine Mir iskusstva in 1898, but after it ended publication in 1904, he turned towards Paris for artistic opportunities rather than his native Russia. In 1907, Diaghilev presented a five-concert series of Russian music at the Paris Opera; the next year, he staged the Paris premiere of Rimsky-Korsakov's version of Boris Godunov. By 1909, Diaghilev had connected with Michel Fokine, Léon Bakst, and Alexandre Benois, and gained enough money to start his independent ballet company, the Ballets Russes. Diaghilev commissioned Stravinsky to orchestrate music by Chopin for the ballet Les Sylphides, and the composer was finished by March 1909.

Fokine was a renowned dancer, receiving first prize in his class upon graduation from the Imperial Theatre School in 1898; he subsequently entered the Mariinsky Ballet as a soloist and was promoted to lead dancer of the company in 1904. Fokine was dissatisfied with the ballet tradition of glamorous appeals to the audience and interruptions from viewers; he felt that dramatic dance should be strictly displayed with no interruption of illusion, and that the music should be closely connected to the theme. His 1907 ballets The Dying Swan and Les Sylphides were very successful and established Fokine as a competitor to other prominent choreographers. In 1908, Benois, a member of Diaghilev's Mir iskusstva circle and friend of Fokine's, arranged for the dancer to prepare a repertoire for the Ballets Russes' 1909 season as the company's first lead choreographer; the season was very successful, and Diaghilev began organizing plans for the 1910 season soon after.

Conception
As the Ballets Russes faced financial issues, Diaghilev wanted a new ballet with distinctly Russian music and design, something that had recently become popular with French and other Western audiences (likely due to the glamorous charm of The Five's music). Fokine unofficially led a committee of artists to devise the scenario of this new ballet, including himself, Benois, the composer Nikolai Tcherepnin, and the painter Aleksandr Golovin. Benois recalled that Pyotr Petrovich Potyomkin, a poet and ballet enthusiast in Diaghilev's circle, proposed the subject of the Firebird to the artists, citing the 1844 poem "A Winter's Journey" by Yakov Polonsky that includes the lines: And in my dreams I see myself on a wolf's back Riding along a forest path To do battle with a sorcerer-tsar In that land where a princess sits under lock and key, Pining behind massive walls. There gardens surround a palace all of glass; There Firebirds sing by night And peck at golden fruit. The committee drew from several books of Russian fairy tales, in particular Alexander Afanasyev's collection and Pyotr Pavlovich Yershov's The Little Humpbacked Horse. The immortal king Koschei and the captive Princess were incorporated from a Muscovite anthology of stories, which also helped determine the Firebird's role in the story. Fokine drew on the stark contrast between good and evil in Russian fairy tales while developing the ballet's characters. The choreographer blended fantasy and reality to create the scenario, a trope of romanticism found in many of Fokine's folkish ballets. Originally, Tcherepnin was to compose the music, as he had previously worked on Le Pavillon d'Armide with Fokine and Benois, but he withdrew from the project. In September1909, Diaghilev asked Anatoly Lyadov to compose the ballet; Lyadov expressed interest in the production, but took too long to meet the 1910 season's deadline. After considering Alexander Glazunov and Nikolay Sokolov, Diaghilev asked Stravinsky to compose the score upon encouragement from Tcherepnin and Boris Asafyev.

Stravinsky began work in October or November1909, traveling to the Rimsky-Korsakov household with Andrey Rimsky-Korsakov, the son of Stravinsky's teacher and dedicatee of The Firebird score. Because Stravinsky began work before Diaghilev officially commissioned him, the composer's sketches did not align with the scenario; the full story became known to him when he met with Fokine in December and received the ballet's planned structure. Fokine ensured the creation of the ballet was an equal effort between the producers and the composer, working closely with Stravinsky while developing the choreography. While the composer worked, Diaghilev organized private performances of the piano score for the press. The French critic Robert Brussel, a friend of Diaghilev's, wrote: "By the end of the first scene, I was conquered: by the last, I was lost in admiration. The manuscript on the music-rest, scored over with fine pencillings, revealed a masterpiece."

Development
Despite later lamenting the "descriptive music of a kind I did not want to write", Stravinsky finished The Firebird in about six months, and had it fully orchestrated by mid-May 1910. Stravinsky arrived in Paris around the beginning of June to attend the premiere of his first stage work; it was his first visit to Paris.

Rehearsals began in Ekaterininsky Hall, and Stravinsky attended every rehearsal to help with the music, often explaining the complicated rhythms to the dancers. Tamara Karsavina, who originated the titular Firebird role, later recalled, "Often he came early to the theatre before a rehearsal began in order to play for me over and over again some particularly difficult passage." Stravinsky also worked closely with Gabriel Pierné, who conducted the premiere with the Colonne Orchestra, to "explain the music... [but the musicians] found it no less bewildering than did the dancers". Two dress rehearsals were held to accommodate the dancers, many of whom missed their entrances due to the unexpected changes in the music, "which sounded quite different when played by the orchestra from what it had sounded like when played on a piano".

When the company arrived in Paris, the ballet was not finished, causing Fokine to extend rehearsals; he petitioned Diaghilev to postpone the premiere, but the impresario declined, fearing public disappointment. The Ballets Russes season began on 4 June 1910 with stagings of Schumann's Carnaval, Rimsky-Korsakov's Scheherazade, and short productions from the previous season.

Fokine's style of dance made great use of interpretive movement; he used ideas of expressiveness, naturalism, vitality, and stylistic consistency. The choreographer employed many forms of dance in The Firebird. The titular Firebird danced classically, Koschei and his subjects in a more violent and grotesque manner, and the Princesses in a looser, gentler way. The role of the Firebird differed from that of traditional ballerinas; female dancers often danced princesses, swans, and lovers, but the Firebird was a mysterious and abstract idea, represented as a magical force rather than a person. Her choreography featured exaggerated classical steps, with deep bending at the waist; Fokine wanted her to be "powerful, hard to manage, and rebellious" rather than graceful. This new kind of role for a female character was revolutionary for the ballet scene.

Premiere and reception
Excitement for the premiere was great, particularly in Diaghilev's circle of Mir iskusstva collaborators. The sculptor Dmitri Stelletsky, who helped develop the scenario, wrote to Golovin on 16 June, "I'm staying till Sunday; I must see The Firebird. I have seen your dazzling drawings and costumes. I like Stravinsky's music in the orchestra and the dances tremendously. I think the whole thing together with your sets will look spectacular. Serov has also put off his departure because of this ballet". Diaghilev remarked of Stravinsky during rehearsals, "Mark him well, he is a man on the eve of celebrity".

The Firebird premiered at the Palais Garnier on 25 June 1910, and was very well-received. The cast starred Karsavina as the Firebird, Fokine as Prince Ivan, Vera Fokina as the youngest princess, and Alexis Bulgakov as Koschei. Karsavina later told an interviewer, "With every performance, success went crescendo". Critics praised the ballet for the unity of the decor, choreography, and music. "The old-gold vermiculation of the fantastic back-cloth seems to have been invented to a formula identical with that of the shimmering web of the orchestra", wrote Henri Ghéon in Nouvelle revue française; he called the ballet "the most exquisite marvel of equilibrium" and added that Stravinsky was a "delicious musician". Fokine's choreography was seen as a triumph of his creative genius; the natural miming and many styles of dance displayed were popular with audiences.

Many critics praised Stravinsky's alignment with Russian nationalist music, one saying, "[Stravinsky is] the only one who has achieved more than mere attempts to promote Russia's true musical spirit and style". Michel-Dimitri Calvocoressi hailed the young composer as the legitimate heir to The Mighty Handful. Russian audiences viewed the work less favorably, and the Russian premiere was not well-received; according to a reviewer in Apollon, "Many deserted the Hall of Nobles during the performance of this suite." A fellow Rimsky-Korsakov pupil, Jāzeps Vītols, wrote that "Stravinsky, it seems, has forgotten the concept of pleasure in sound... [His] dissonances unfortunately quickly become wearying, because there are no ideas hidden behind them". Nikolai Myaskovsky reviewed the piano reduction of the full ballet in October 1911 and wrote, "What a wealth of invention, how much intelligence, temperament, talent, what a remarkable, what a rare piece of work this is".

Stravinsky recalled that after the premiere and subsequent performances, he met many figures in the Paris art scene, including Marcel Proust, Sarah Bernhardt, Jean Cocteau, Maurice Ravel, André Gide, and Princesse Edmond de Polignac. Claude Debussy was brought on stage after the premiere, and he invited Stravinsky to dinner, beginning a lifelong friendship between the two composers. According to Sergei Bertensson, Sergei Rachmaninoff said of the music: "Great God! What a work of genius this is! This is true Russia!" Debussy later said of Stravinsky's score, "What do you expect? One has to start somewhere." Richard Strauss told the composer in private that he had made a "mistake" in beginning the piece pianissimo instead of astonishing the public with a "sudden crash". Shortly after he summed up to the press his experience of hearing The Firebird for the first time by saying, "it's always interesting to hear one's imitators". Sergei Prokofiev, who first heard the piano reduction at a gathering, told Stravinsky, "there was no music in [the ballet's introduction] and if there was any, it was from Sadko".

In his 1962 autobiography, Stravinsky credited much of the production's success to Golovin's set and Diaghilev's collaborators; he wrote that Fokine's choreography "always seemed to me to be complicated and overburdened with plastic detail, so that the artists felt, and still feel now, great difficulty in co-ordinating their steps and gestures with the music". The ballet's success secured Stravinsky's position as Diaghilev's star composer, and there were immediate talks of a sequel, leading to the composition of Petrushka and The Rite of Spring.

Subsequent productions
After the success of the premiere, Diaghilev announced an expansion of performances until 7 July 1910, the last of which Stravinsky took his family to from their home in Ustilug. Andrey Rimsky-Korsakov quickly traveled to Paris to see the expanded run, and he later praised the production in a letter to his mother. Following the initial run, Alexander Siloti conducted the Russian premiere on 23 October, performing an early draft of the 1911 suite.The debut London season of the Ballets Russes took place in 1912 at the Royal Opera House. The third ballet on the program was The Firebird, which was well-received. Osbert Sitwell wrote: "Never until that evening had I heard Stravinsky's name; but as the ballet developed, it was impossible to mistake the genius of the composer, or of the artist who had designed the setting." The Ballets Russes revived the production in 1926 with new settings and costumes by Natalia Goncharova, using Fokine's original choreography. The revival was presented at the Lyceum Theatre in London. In 1916, the first productions of The Firebird and Petrushka on the Iberian peninsula took place; the Ballets Russes returned in 1921 for short season in Madrid. Several companies presented their own choreographies and designs of The Firebird from 1927 to 1933, including the Berlin State Opera, the Royal Swedish Ballet, the Royal Danish Ballet, and the Croatian National Theatre in Zagreb. In 1935 and 1940, Wassily de Basil's Ballets Russes de Monte Carlo revived the Ballets Russes production with Fokine's choreography and Goncharova's designs.

Many later revivals modeled their choreography after Fokine's, including Adolph Bolm's 1945 production at the Ballet Theatre and Serge Lifar's 1954 Paris Opera Ballet production. Serge Grigoriev and Lubov Tchernicheva's 1954 Sadler's Wells Ballet staging with Fokine's choreography is considered one of the most important and authentic revivals; Grigoriev and Tchernicheva worked for Diaghilev during the initial run, and the lead dancer, Margot Fonteyn, was coached by Karsavina. The Sadler's Wells staging also used Goncharova's 1926 designs. A film version of the revival was made in 1959.

New York City Ballet's first big hit as a company after their founding in 1948 was its staging of The Firebird the following year, with Maria Tallchief as the Firebird, choreography by George Balanchine, and scenery and costumes by Marc Chagall. Balanchine placed a heavy emphasis on the dancing rather than Stravinsky's score, establishing Tallchief as one of the first celebrity American-born and -trained ballerinas. Balanchine revised it in 1970 with Jerome Robbins, the latter of whom choreographed Koschei and his subjects' dance. The young Gelsey Kirkland danced the title role with a new costume inspired by Chagall's sets. New York City Ballet's production remains the most well-known and longest-lived revival in the United States.

Maurice Béjart's 1971 production differed from the traditional themes of the ballet; it featured a male Firebird, representative of the spirit of revolution, leading an all-male group of partisans clad in blue tunics and dungarees through political turmoil. After the Firebird, dressed in a red leotard, dies in battle, he "rises from the ashes and lives again", as Béjart said in an interview for The New Yorker. In 1970, John Neumeier devised a science-fiction production of the ballet set in a futuristic world but retaining the original plot. In the initial Oper Frankfurt production, Koschei is a large glass robot with CCTV eyes; the Firebird, wearing a white space suit, defeats him by destroying a specific valve in his system. Neumeier was praised by the critic Oleg Kerensky for giving the ballet "new life" and creating a fascinating effect for the audience "which the original Fokine-Golovine [sic] production must have had in Paris sixty years ago". Many other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music. Stagings with new choreography include John Cranko's 1964 production with the Stuttgart Ballet, Glen Tetley's 1981 staging with the Royal Danish Ballet, John Taras's 1982 Caribbean-set rendition with the Dance Theatre of Harlem, Christopher Wheeldon's 1999 production with the Boston Ballet, Krzysztof Pastor's 1999 version with the West Australian Ballet, and Alexei Ratmansky's 2012 production with the American Ballet Theatre.

Legacy
Critics praised the music of The Firebird emotional character. Cyril W. Beaumont wrote that the work "is a supreme example of how music, although having no meaning in itself, can, particularly with a programme hint of its intention, evoke a mood appropriate to the ballet concerned." Robert Craft considered the music "as literal as opera", referring to the "mimetic specificity" with which the music follows the story, a trait Stravinsky later disliked and apologized for. The composer wrote that The Firebird became a centerpiece in his career; his conducting debut was a ballet performance of The Firebird in 1915, and he said that he performed it "nearly a thousand times" more.

Fokine's revolutionary Firebird character was part of an effort to combine new ideas with classical ballet, showing his wide-ranging abilities as a choreographer. He later described his style as a diversion from the "conventional system of gesticulation" and a move towards natural expression through movement. The wide resources and experienced artists that Fokine accessed allowed him to create massive productions like The Firebird. Each character or group had their own unique choreography, creating complex scenes like the "Infernal Dance", where the Firebird enchants Koschei's subjects but they all dance differently. Dance critic Alastair Macaulay called this the "most complex choreography that had ever been attempted in ballet" at the time.

Music
Throughout the score, Stravinsky used leitmotifs (short, recurring musical phrases associated with a particular person, place, or thing) placed in the harmony, a system he later dubbed "leit-harmony". The idea of leit-harmony was likely introduced to the composer through Rimsky-Korsakov's operas The Golden Cockerel (1907) and Kashchey the Deathless (1902). In these works, mortal elements were associated with the diatonic scales while supernatural elements were associated with the chromatic scale. For example, Stravinsky describes Koschei's leit-harmony as consisting of "Magic Thirds"; the harmony begins with a major or minor third, and the lower voice ascends a tritone while the higher voice descends a half step. The title character's leit-harmony uses a chromatic descent of the first four notes of the introduction, then reversing those notes, giving the music an "iridescent sheen", as Eric Walter White described it.

Stravinsky wrote that The Firebird may be the first appearance of "metrical irregularity" in his music. The passage is marked, with barlines dividing measures into sets of one and two. White wrote that the composer's earlier works made use of consistent musical pulses, "which was to be disturbed as little as possible by tempo rubato". Stravinsky remarked that he composed The Firebird in "revolt against Rimsky", and that he "tried to surpass him with ponticello, col legno, flautando, glissando, and fluttertongue effects".

A performance of the full ballet lasts about 45 minutes.

Instrumentation
The work is scored for a large orchestra with the following instrumentation:

 * Woodwinds
 * 2 piccolos (2nd doubles 3rd flute)
 * 2 flutes
 * 3 oboes
 * English horn
 * 3 clarinets in A (3rd doubles clarinet in D)
 * bass clarinet in B♭
 * 3 bassoons (3rd doubles 2nd contrabassoon)
 * contrabassoon
 * Brass
 * 4 horns in F
 * 3 trumpets in A
 * 3 trombones
 * tuba
 * 3 onstage trumpets
 * 2 onstage tenor Wagner tubas
 * 2 onstage bass Wagner tubas
 * Percussion
 * bass drum
 * cymbals
 * triangle
 * tambourine
 * tamtam
 * glockenspiel
 * xylophone
 * piano
 * celesta
 * 3 harps
 * timpani
 * Strings
 * first violins
 * second violins
 * violas
 * cellos
 * double basses

Stravinsky described the orchestra as "wastefully large", but White opined that the orchestration allowed him to use a variety of effects, including horn and trombone glissandi borrowed from Rimsky-Korsakov's parts of Mlada (1872).

Music and plot
The Firebird opens with a slow introduction describing Koschei's enchanted garden, underlined by the low strings presenting the basis of the Firebird's leit-harmony. In the garden are Koschei's enemies petrified into statues. Crescendo and decrescendo phrases in the strings and woodwinds indicate the entrance of the Firebird, being pursued by Prince Ivan. The Firebird's capture by Ivan is depicted with sforzando chords in the horns, and exotic melodies in the oboe, English horn, and viola play as she begs to be released. After the Firebird is freed, Ivan takes one of her feathers, and thirteen enchanted princesses (all captives of Koschei) enter the garden to play a catching game. Ivan introduces himself to the youngest princess, with whom he has fallen in love, and they perform a slow khorovod. The melody for the khorovod is taken from a Russian folk song that Rimsky-Korsakov used in his Sinfonietta on Russian Themes (1879). Offstage trumpets call the princesses back into the palace, but when Ivan pursues them, bells ring out and Koschei appears in front of the gates, signaled by roars in the timpani and bass drum.

Before Koschei can turn Ivan into stone, the prince summons the Firebird with the feather, and she enchants Koschei and his subjects and begins the famous "Infernal Dance". Another Rimsky-Korsakov reference, the melody is borrowed from Rimsky-Korsakov's parts of Mlada, adding syncopation and startling strikes throughout the theme. As the dance winds down with very loud brass glissandos, Koschei and his subjects fall asleep from exhaustion. The bassoon introduces the Firebird's tranquil lullaby. Ivan is instructed to destroy the egg that holds Koschei's soul. The music jostles around as Ivan tosses the egg from hand to hand.

When Ivan crushes the egg, Koschei dies and the scene is surrounded in "Profound Darkness" while his subjects and enemies are freed from their enchantments. The finale opens with a solo horn announcing the break of dawn, another theme borrowed from Rimsky-Korsakov. The theme grows in the orchestra, building into a triumphant celebration among the freed subjects ending in a brass fanfare.

Suites
Shortly after the completion of The Firebird, Stravinsky wrote a piano solo reduction of the whole ballet. The composer later arranged three suites for concert performance, dated 1911, 1919, and 1945.

1911 suite

 * 1) Introduction – Koschei's Enchanted Garden – Dance of the Firebird
 * 2) Supplication of the Firebird
 * 3) The Princesses' Game with Golden Apples
 * 4) The Princesses' Khorovod
 * 5) Infernal Dance of all Koschei's Subjects

The first suite, titled "suite tirée du conte dansé 'L'oiseau de feu'", was composed in 1911 and published by P. Jurgenson the following year. The instrumentation is essentially the same as that of the ballet. The score was printed from the same plates,; only the new endings for the movements were newly engraved. A performance of the 1911 suite lasts about 21 minutes.

1919 suite

 * 1) Introduction – The Firebird and its Dance – Variation of the Firebird
 * 2) The Princesses' Khorovod (Rondo)
 * 3) Infernal Dance of King Kashchei
 * 4) Lullaby
 * 5) Finale

This suite was composed in Morges, Switzerland, for a smaller orchestra. Walsh alleged the suite was composed to re-copyright the work, as Stravinsky sold the new suite to his publisher J. & W. Chester, despite the original ballet still being in copyright. The score contained many errors; Stravinsky wrote in 1952 that "the parts of the 1919 version were in such poor condition and so full of mistakes". Regardless, the 1919 suite remains the most popular today. A performance of the 1919 suite lasts about 26 minutes.

1945 suite

 * 1) Introduction – Prelude and Dance of the Firebird – Variations (Firebird)
 * 2) Pantomime I
 * 3) Pas de deux: Firebird and Ivan Tsarevich
 * 4) Pantomime II
 * 5) Scherzo: Dance of the Princesses
 * 6) Pantomime III
 * 7) Rondo (Khorovod)
 * 8) Infernal Dance
 * 9) Lullaby (Firebird)
 * 10) Final Hymn

In 1945, shortly before he acquired American citizenship, Stravinsky was contacted by Leeds Music with a proposal to revise the orchestration of his first three ballets to recopyright them in the United States. The composer agreed and fashioned a new suite based on the 1919 version, adding to it and reorchestrating several minutes of the pantomimes from the original score. The only instrumentation change was the addition of a snare drum. A performance of the 1945 suite lasts about 28 minutes.

Recordings
Stravinsky received several commissions to transcribe his works for player pianos, some from the London Aeolian Company and some from the Paris Pleyel Company. In 1928, the Aeolian Company published an "Audiographic" piano roll of The Firebird, containing both the piano reduction and comments on the work by Stravinsky. The composer identified many of the leit-harmonies in the opening comments of the roll, providing an invaluable resource for information on the ballet.

The first orchestral recording of The Firebird was released by Columbia Records in 1928 with Stravinsky conducting L'Orchestre des Concerts Straram. The 78 rpm record consisted of the 1911 suite with the Lullaby and Finale from the 1919 suite, as well as a recording of The Rite of Spring. In 1933, Stravinsky and the violinist Samuel Dushkin recorded a reduction of the "Scherzo" and "Lullaby" for His Master's Voice. Stravinsky recorded the 1945 suite with the Philharmonic Symphony Orchestra of New York in 1946, and the complete ballet with the Columbia Symphony Orchestra in 1961. A film version of the Sadler's Wells Ballet revival was made in 1959, with Margot Fonteyn in the lead role.

title: The Firebird


text:
Mosonmagyaróvár

Mosonmagyaróvár (Wieselburg-Ungarisch Altenburg; also known by other alternative names) is a town in Győr-Moson-Sopron County in northwestern Hungary. It lies close to both the Austrian and Slovakian borders and has a population of 32,752.

Mosonmagyaróvár used to be two separate towns, Magyaróvár (Ungarisch Altenburg, Uhorský Starhrad) and Moson (Wieselburg, Mošon). The town of Moson was the original capital of Moson County in the Kingdom of Hungary, but the county seat was moved to Magyaróvár during the Middle Ages. The two towns were combined in 1939, and by now almost all signs of dualism have disappeared, as the space between the two towns has become physically and culturally developed. Due to the name's length, Mosonmagyaróvár is also referred to as Óvár amongst locals and Moson by foreigners. The Hansági Museum is located in Mosonmagyaróvár.

Etymology and names
The name Moson comes from Slavic *mъšьnъ 'mossy', in the wider meaning also 'moss-covered mud, marsh', elided from mъšьnъ (gradъ) 'castle in the marsh' (see also Mšeno, Mszana). The settlement was attested in written sources as Mussun in 1137.

The name Magyaróvár literally means 'ancient Hungarian castle' in Hungarian, although the prefix Magyar- was only added to the name after confusion with a similarly named town in Austria called Deutsch-Altenburg (Németóvár), literally 'ancient German castle'). The "ancient castle" referred to in Mosonmagyaróvár is the ruins of the Roman fortress Ad Flexum. The settlement was attested in written sources as Altenburch in 1271.

The two names were simply combined when the two towns were administratively unified (as with Budapest), rather than being hyphenated as Moson-Magyaróvár.

The city is also known by alternative names in other languages: Wieselburg-Ungarisch Altenburg, Ad Flexum, and Starý hrad.

History
The area around Mosonmagyaróvár has been inhabited since the 5th millennium BC, but settlement of the city proper can only be traced to around the 1st century, which was when the Roman Empire was extended to the Danube, creating the province of Pannonia. The Romans established a camp called Ad Flexum (Latin: "towards the bend") at the site of Mosonmagyaróvár; it is likely that the Hungarians from the Árpád era would name the place Óvár due to the Roman ruins which would still be present during the 11th century. The purpose of Ad Flexum was to defend the Mosoni-Duna, but the security the legions provided also drew civilian settlement, especially since a major east–west trade route ran through the area. Circa 170 AD, Germanic barbarians who lived north of the Danube river attacked the settlement, nearly completely destroying it. The Romans reconquered the area around the 3rd century, and the town once again prospered, likely with a population of three or four thousand people. After the Emperor Valentinianus died in 375, Hunnic invasions drove the populace away.

After the Honfoglalás, King Stephen ordered the building of a castle at Moson to defend the border. Settlers flocked around the wooden and then stone castle, and by the 11th century it was described as a strong fortress and bustling merchant town; by this time, it was also the county seat of Moson. However, in 1030, the Holy Roman Emperor Conrad II was able to conquer the castle on his way to the Rába. During the Crusades, Kálmán, King of Győr and Moson, was able to defeat a Swabian-Bavarian army of 15,000 men from the castle. There was significant industrial and urban development during the 13th century, when Moson once again found itself along a trade route. Mills and churches were built during this time. All advances were destroyed, however, by Ottokar II, a Czech king, when he leveled the castle at Moson in 1271.

Béla IV, King of Hungary at the time, did not consider it worthwhile to try and rebuild the castle at Moson, and thus turned to Óvár as a promising site for a future fortress. The King gave a man named Conrad, who was of the Győr tribe, lands in Moson and funds to be able to accomplish this task. Though he made significant improvements to the castle, he defected to Ottokar II and Duke Albert of Austria. For this impunity, he was deprived of his lands, and from then on Óvár was an estate of the Hungarian queens. The first settlers to Óvár were refugees from the destroyed Moson, and in the 14th century it became a bustling city with new industry and urbanization. Mills along the Lajta became a source of employment and attention, as many were owned by the royal house. In 1354, Queen Elisabeth gave Óvár the title of "queen's town". This gave the townspeople the right to elect their own parish priest, have their own jurisdiction, inherit possessions, and pay no customs in all of Hungary. Later kings recognized these rights, but the townspeople still had to struggle to maintain them. After Louis II's marriage to Mary of Habsburg, Óvár became a key defense on the Austrian border, which would come into play during the Turkish invasion.

In 1529, after the Turks were repulsed at the Siege of Vienna, they destroyed Óvár almost completely, leveling all of its Medieval buildings, including the castle and the Romanesque church. The armies of János Szapolyai and the Archduke Ferdinand also sacked the town. However, once again the inhabitants went about rebuilding it. During the Reformation, the town was almost completely converted to Lutheranism, and the famous preacher Huszár Gal opened a Lutheran school at Magyaróvár in 1555. Counterreformative movements forbade Protestantism in 1672, closing down the school and the Lutheran church. Due to the lax nature of the new statutes, and the rights of the townspeople as enforced by Ferdinand and Archduke Maximilian, however, religion did not become compulsory. During this time, Moson and Óvár alike were attacked by various armies, including Turkish and German mercenaries. After the fall of Győr in 1594, the castle was modernized to withstand a possible future attack by Italian engineers. During the 17th century Magyaróvár enjoyed great urban development and some independence.

In 1683, the new castle was helpless against the retreating Turkish army, which had been repulsed again at Vienna. Both Moson and Magyaróvár were set ablaze. Though the town archives were now completely destroyed, the damage was repaired more quickly this time around, at least quickly enough to allow Rákóczi to use the castle as a base during his war for independence from the Habsburgs. In 1721, after the revolution was crushed, the castle at Magyaróvár lost its strategic importance, and all military materiel was transferred to Bratislava. However, the town prospered greatly after the war, with the establishment of new guilds, a town doctor, and the Piarist school. The Austrian government wished to limit the independence of the town, but the people were able to hold on to a degree of autonomy; an agreement to this effect was signed in 1796 after delegates had been sent to Vienna and Buda. In 1809, Napoleon's army demanded the town's provisions for his wars of conquest, and although this impoverished the people, they saved the town from destruction.

During the revolution of 1848, Magyaróvár and Moson both contributed to the fight for independence. On 23 October of that year, Kossuth Lajos made a recruitment speech in the town. The regiments skirmished with the Austrian troops but were sorely defeated. For the rest of the 19th century, the towns continued to grow. Factories, hospitals, schools, and other social institutions were established. In 1855, a railway station was built on the line from Győr to Bruck an der Leitha. This was a time of relative peace. In 1881 the town of Moson had 4,903 inhabitants, of which 3,583 were ethnic Germans and 933 Hungarians, meanwhile Magyaróvár had 3,427 inhabitants, made up by 2,125 Germans and 998 Hungarians. By 1908 there was already talk of unifying the two towns.

During the First World War, the Austrians maintained an armory in Magyaróvár. As a consequence of the Treaty of Trianon, most of Moson county was lost to non-Hungarian lands and all signs of the Habsburg rule were destroyed. What followed was another period of peace, during which time Moson and Magyaróvár were administratively unified as Mosonmagyaróvár. However, cultural differences, and even rivalry, were to persist well into the later twentieth century. During the Second World War, unemployment plummeted and the town's industry prospered. The town did not suffer much damage during the war; in 1946, its significant German population was deported. In 1948 bus services were created. During the later 1940s most of the town's institutions were nationalized by the communist regime. As many as 50 protesting civilians were killed during the revolution of '56, and the town was slow to recover. During the communist years, a new "town center" was developed between the existing Medieval centers of Moson and Magyaróvár, and there was significant development, including the opening of a university, new schools, and other public projects.

After the reestablishment of the current Representative Parliamentary Democracy in 1989, the Young Democrats controlled the city administration for a few years, expanding tourism and making developments to the gas and sewage infrastructure. Notably, the Piarist school was reopened.

Climate
Mosonmagyaróvár's climate is classified as oceanic climate (Köppen Cfb). The annual average temperature is 10.9 C, the hottest month in July is 21.4 C, and the coldest month is 0.0 C in January. The annual precipitation is 580.3 mm, of which June is the wettest with 66.6 mm, while February is the driest with only 28.8 mm. The extreme temperature throughout the year ranged from -22.0 C on December 28, 1996 to 39.4 C on August 8, 2013.

Dentistry
Dentistry appears to be by far the largest economical activity in Mosonmagyaróvár, with approximately 350 practicing dentists. Worldwide, this is the highest number of dentists in ratio to the total population. The reason for this is found in the demand for low-cost dentistry by Austrians, who have been crossing borders to Hungary for decades. With Vienna nearby, Mosonmagyaróvár is within easy reach and official Hungarian government figures show that 160,000 Austrians cross the border yearly for dental care.

Compared to economically wealthy countries where dental care is expensive, low business overheads in Hungary allow clinics to offer their services at extremely competitive rates. Especially for low-income or uninsured patients, dental tourism makes Mosonmagyaróvár worth visiting.

Due to these factors, dental tourism has greatly grown in Mosonmagyaróvár. In addition to dentists, clinics and guided tour providers, the local hospitality industry as a whole lives off the dental tourist trade. With nearby international airports in Bratislava, Budapest and Vienna, Mosonmagyaróvár even attracts patients worldwide, travelling from as faraway as Greenland, Canada and the United States.

Broadcasting
East of Mosonmagyaróvár at 47.83861°N, 17.29694°W, there is a broadcasting station for AM and FM. The AM transmitter, which works on 1116 kHz with 2.2 kW uses as antenna a 106 m mast radiator, the FM-transmitter a free-standing lattice tower.

Twin towns – sister cities
Mosonmagyaróvár is twinned with:

 * 🇺🇦 Berehove, Ukraine
 * 🇩🇪 Hattersheim am Main, Germany
 * 🇦🇹 Neusiedl am See, Austria
 * 🇸🇰 Olováry, Slovakia
 * 🇸🇰 Pezinok, Slovakia
 * 🇵🇱 Piotrków Trybunalski, Poland
 * 🇸🇰 Šamorín, Slovakia
 * 🇸🇰 Senec, Slovakia
 * 🇷🇴 Sfântu Gheorghe, Romania
 * 🇦🇹 Stockerau, Austria

Notable people

 * Carl Flesch, violinist
 * Richard Hönigswald, philosopher
 * Nikolaus Lenau, poet
 * János Manninger, photographer and director
 * Katalin Pálinger, handball player
 * Antal Pusztai, classical guitarist

title: Mosonmagyaróvár


text: Category:World Heritage Sites in Thailand


text:
ŽVPL

ŽVPL is Slovenia's oldest independent webzine, and was first published on May 18, 1998. It all started out on a drinking crusade which lasted for 42 days, when the editor-in-chief Davorin Pavlica and his friend / programmer Luka Ferlan realized that Slovenia does not have a proper entertainment webzine. They swapped beer for a keyboard, and in only one week, they published a webzine called ŽVPL.

ŽVPL is an acronym for "Party guide to Ljubljana" in Slovenian, and was inspired by Douglas Adams' novel The Hitchhiker's Guide to the Galaxy - the name for the webzine, not the webzine itself. It announces and reviews events, parties, concerts for all Slovenia; you can find domestic and international music news, movie reviews, and much more.

List of ŽVPL's editors
The editors include:
 * Luka Ferlan (editor-in-chief, 1998–1999)
 * Davorin Pavlica (editor, 1998–1999; editor-in-chief, 1999–2013)
 * Gregor Zalaznik (editor, 1999–2013)
 * Mare Vavpotič (editor of photography, 1999–2013)
 * Alja Kink (2013–present)

List of ŽVPL's founders
The founders are Luka Ferlan, Martin Modic and Davorin Pavlica.

title: ŽVPL


text: Category:World Heritage Sites in Germany


text:
Szentes

Szentes is a town in south-eastern Hungary, Csongrád county, near the Tisza river. The town is a cultural and educational center of the region. It is the third most populous town in Csongrad county after Szeged and Hódmezővásárhely.

History
The area around Szentes has been inhabited since the neolithic. The Szegvár-tűzkövesi idol, one of the Neolithic period's only depictions of a male deity, was discovered in the area. During the barbarian invasions, many ethnic groups moved through the region, and there is archeological evidence of hundreds of graves belonging to Iazyges, Sarmatians, Gepids, Huns, and Avars. According to certain accounts, the legendary camp of Atilla the Hun was found in this area, at the confluence of the Tisza and the Körös rivers. The town was first documented about the land-division in 1332 and called "Scenthus". It was said to be inhabited by descendants of the tribe of Ond, one of the seven tribes of Hungary, and it was also documented as containing a stone church dedicated to Andrew the Apostle. According to local tradition, Csongrad castle stood on the town's boundaries until the time of the first Mongol invasion.

Following the Hungary's defeat by Ottoman forces at the battle of Mohács, taxes were levied from Szentes by three different powers, meaning those who were able to leave the area, fled. The region suffered immensely under Ottoman rule, and entire towns were wiped off the map. The region further suffered during the Long Turkish War, with more towns going extinct, and many of Szentes' inhabitants seeking refuge by dwelling in the nearby wetlands. In 1647, Ferdinand III was defeated by Ottoman forces outside Szentes, but the Ottoman forces had to withdraw from the region. In 1693, Szentes and the surrounding region was scorched and pillaged by Crimean Tatars looking for food following their failed attempt to capture Gyula. In 1709, the town suffered an outbreak of the Plague, killing over 1000 of its inhabitants.

The townsfolk played an active role in the Hungarian Revolution of 1848, and it was visited by Kossuth Lajos himself to recruit troops. After the Habsburgs crushed the revolution, many young men were forcibly enlisted in the Imperial Army as punishment, and the mayor was sentenced to hard labour.

Notable people

 * Árpád Balázs (born 1937), classical music composer
 * János Bácskai 1954. november 27, actor
 * János Berkes (born 1946 May 24) opera singer (tenor)
 * István Bugyi (1898–1981) surgeon - The local hospital named after him
 * Dóra Dúró (born 1987), politician
 * Jozsef Gera (born 1937) aircraft engineer, former chief of the Dynamics and Controls Branch at NASA
 * László Gyimesi (born 1948), pianist
 * Mihály Horváth (1809–1878), Roman Catholic bishop
 * Tamás Kecskés (born 1986), footballer
 * Zsolt Koncz (born 1977), footballer
 * László Márkus (1881–1948), drama author, director, member of the Hungarian Opera
 * András Mészáros (born 1941), former cyclist
 * Ibolya Nagy (1864–1946), actress
 * Lajos Őze (1935–1984), actor
 * László Papp (1905–1989), wrestler
 * István Szelei (born 1960), fencer
 * Lajos Szilassi (born 1942), mathematician
 * Konrád Verebélyi (born 1995), footballer
 * Zséda (born 1974), singer
 * László Terney (1947–1998) architect
 * László Ujréti (born 1942) actor, voice actor
 * Péter Szalay (born 1962), quantum chemist, theoretical chemist

Twin towns – sister cities
Szentes is twinned with:

 * 🇷🇸 Bačka Topola, Serbia
 * 🇪🇸 Buñol, Spain
 * 🇷🇴 Dumbrăvița, Romania
 * 🇮🇱 Hof Ashkelon, Israel
 * 🇫🇮 Kaarina, Finland
 * 🇩🇪 Markgröningen, Germany
 * 🇩🇪 Sankt Augustin, Germany
 * 🇷🇴 Sfântu Gheorghe, Romania
 * 🇵🇱 Skierniewice, Poland
 * 🇸🇰 Svätuše, Slovakia

title: Szentes


text: Category:Towns in Slovenia

title: Category:Towns in Slovenia


text:
Deadbolt (band)

Deadbolt is an American rock band from San Diego, California. Fusing rockabilly and surf music with tongue-in-cheek horror-themed lyrics, Deadbolt has called itself the "scariest band in the world", classifying their musical style as "voodoobilly".

History
The band originally formed in 1988 as a trio, featuring guitarist and vocalist Harley Davidson, bassist and vocalist Robert "RA" MacLean and drummer Les Vegas. Both Vegas and MacLean have since left the band. Vegas' departure is chronicled in the song "Po' Boy" on the album Hobo Babylon. The other current members of the band are bassist Gary "3rd Degree" Burns (part of the band's "Wall Of Thunder") and drummer Tank Johnson. Tank Johnson died on January 11, 2015. Former members of the band include The PhanTom (bass and guitar), Claymore Mines (bass), The Coroner (bass), Coffin Boy (bass), Moose Cutter (bass), and Mark Davidson (Harley's brother) aka Lord Von Crappo who still occasionally plays with the band. Vocalist/guitarist Diana Death occasionally contributes.

Three members of the band were also in a short-lived offshoot group called Strangers 1800, which performed music from Spaghetti Western films and TV westerns and released one EP, When Men Were Men and the Sheep Were Scared and one split record with Deadbolt on Goldenrod Records.

Musical style and influences
Bassist Gary Burns described the band's music as "voodoobilly—the darker side of the rockabilly family." The band's music fuses surf music and rockabilly with horror-themed lyrics. Vocalist Harley Davidson performs spoken vocals. Ian Trumbull, writing for AllMusic, compared the band's music to "the Ventures playing spooky surf music behind a dry, Dragnet style narrative". The band has called itself the "scariest band in the world" as part of its tongue-in-cheek humor. The band uses power tools during their live performances, showering their audiences with sparks.

Discography and videography
Albums
 * Creepy World (cassette only) – Mondo Records, 1992
 * Shrunken Head – Cargo/Headhunter Records, 1994
 * Tiki Man – Cargo/Headhunter Records 1994
 * Tijuana Hit Squad – Cargo/Headhunter Records, 1996
 * Zulu Death Mask – Cargo/Headhunter Records, 1998
 * Voodoo Trucker – Cargo/Headhunter Records, 1999
 * Hobo Babylon – Cargo/Headhunter Records, 2002
 * Haight Street Hippie Massacre: The Best of Deadbolt (compilation) – Cargo/Headhunter Records, 2003
 * I Should Have Killed You – Cargo/Headhunter Records, 2005
 * Live at the Casbah – Re:Live, 2005
 * Friday the 13th Massacre (Live) – Hod Rod Surf, 2009
 * Voodoo Moonshiner – Voodoobilly Records, 2010
 * Live In Berlin at The Wild At Heart November 21, 2009 (2 CD & 3 disc album) – Knockout Records (German Import), 2010
 * Buy a Gun – Get a Free Guitar (CD & LP) – Deadbolt Records, 2011

Singles
 * "Down in the Lab" – Smells Like Grease for Peace, Standard Recordings, 1992 (split with Rocket from the Crypt's "Cha Cha Cha")
 * "E Frank" – Trip 3 – Trademark Records, 1993 (split with Creedle's "Bicycle Moto-Cross")
 * "Cockeye" – Goldenrod Records, 1995 (split with Strangers 1800's "Rawhide")
 * "One Day I Will Kill You" / "Rockabilly Funeral" – Ewing Records, 2001
 * "Telephone the Dead" – TKO Records, 2007 (split with Demented Are Go's "Sickness in Truth")

Videos
 * "Down in the Lab" (Shrunken Head) – Director: B. Bosler
 * "Who the Hell is Mrs. Valdez?" (Tiki Man) – Directors: A. Collins and M. Peterson
 * "Last Time I Saw Cole" (Tijuana Hit Squad) – Directors: A. Collins and M. Peterson
 * "The Second Solution (voodoo horror short)" – Director: G. Zuccarini

Compilation albums featuring Deadbolt tracks
 * Staring at the Sun, Vol. 2 (Blindspot Records, 1992) – "Who the Hell is Mrs. Valdez" and "Edie"
 * Musica del Diablo: Live from the Casbah (Cargo Records, 1993) – "You Don't Want to Know Me"
 * Staring at the Sun, Vol. 3 (Blindspot Records, 1993) – "Listen to the Messages"
 * Saint Doug: San Diego Local Music Soundtrack (91-X, 1994) – "I Saw the King"
 * 91-Xmas (91-X, 1994) – "Post Office Christmas Party" and "I'm the One Who Gunned Santa Down"
 * Secret Agent S.O.U.N.D.S. (Mai Tai Records, 1995) – "James Bond Theme/You Only Live Twice"
 * Halloween Hootenanny (Zombie-A-Go-Go Records, 1998) – "Psychic Voodoo Doll"
 * Tigermask: Trash Au Go-Go (Dionysus Records, 1998) – "Magimbu"
 * Hotter Than Hell: An Injection of Psychobilly Madness (Hairball 8 Records, 2000) – "The Interview"
 * Monster Party 2000 (MuSick Recordings, 2000) – "Billy's Dead"
 * That's New Pussycat! Surf Tribute to Burt Bacharach (Om Om Records, 2003) – "Raindrops Keep Fallin' on my Head"
 * Dear Johnny... A Tribute to CASH (Hairball 8 Records, 2004) – "Orange Blossom Special"
 * Kicked out of Purgatory (Hairball 8 Records, 2004) – "Billy's Dead"

title: Deadbolt (band)


text:
Felicjan Kępiński

Felicjan Kępiński (29 April 1885, in Piotrków Trybunalski, Poland – 8 April 1966, in Warsaw) was a Polish astronomer.

Work
In 1903 he graduated from the government secondary school in Piotrków Trybunalski, later the 1st Bolesław Chrobry General Secondary School. In 1905 he took part in a students’ strike. As part of this boycott of Russian universities, he chose to study abroad. He first studied philosophy at the University of Leipzig (1905-1906), then mathematics and astronomy at the University of Göttingen (1906-1909) and the University of Berlin (1909-1912). In March 1913 he received his doctorate in philosophy.

During the First World War he worked at the Berlin-Babelsberg astronomical observatory. In 1918, after Poland regained its independence, he moved to Warsaw. He later became assistant professor at the Astronomical Observatory of the University of Warsaw. He remained in this position until 1927. In 1925 he received his postdoctoral degree at the University of Vilnius. In 1927 he became a professor at the Warsaw University of Technology, where he founded the astronomical observatory, and also acted as its director from 1925 to 1955.

In 1921, he initiated the publication of the Astronomical Yearbook, of which he was an editor for many years.

Felicjan Kepiński was engaged in long-term research on the movement of the comet 22P/Kopffa, and on later used this research as the basis for his papers on the mechanics of heaven. In his work he dealt with issues concerning geodetic astronomy.

In 1979, the International Astronomical Union named the Kępiński crater on the Moon after Felicjan Kępiński.

title: Felicjan Kępiński


text:
Will D. Cobb

William Denight Cobb (July 5, 1876 – January 20, 1930) was an American lyricist and composer. He and a partner, Ren Shields, produced several popular musicals and musical comedies in the early 20th century. Cobb also had a long-run collaboration with Gus Edwards.

Personal life
Cobb was born July 5, 1876, in Philadelphia, and grew up there, but also lived several years in New York City. Cobb graduated 1893 from Girard College in Philadelphia. Before becoming a songwriter, he worked as a salesman in a department store. Cobb died January 20, 1930, in Manhattan, New York City, and was buried in Arlington Cemetery, Drexel Hill, Pennsylvania.

Career
Cobb was a prolific lyricist and composer in the early 1900s. His career spanned from approximately 1901 through the late 1920s. Early in his career, he collaborated with Ren Shields, best known for his hit, "In the Good Old Summer Time". Over the course of his career, he worked with Buddy DeSylva, George Gershwin, Harry Ruby, and Earl Carroll, among others. He joined ASCAP in 1927, his chief musical collaborator was Gus Edwards (vaudeville).

He is responsible for writing the line still sung by schoolchildren in the United States, "School days, school days; dear old golden rule days. Readin' and 'ritin' and 'rithmetic; taught to the tune of a hick'ry stick," which came from his song, "School Days", published in 1907.

In 1897, Cobb wrote the lyrics and Paul Barnes composed the music to the Spanish–American War-era song "Goodbye, Dolly Gray." In the early 1900s, the song was adopted with re-written lyrics, as the theme song for the Australian Football League club, Collingwood.

Broadway

 * Tintypes — Musical revue featuring songs by Will D. Cobb – October 23, 1980 – January 11, 1981
 * The French Doll — Musical with lyrics by Will D. Cobb – February 20, 1922 – June 3, 1922
 * Ziegfeld Follies of 1913 — Musical revue with additional music by Will D. Cobb – June 16, 1913 – September 6, 1913
 * Ziegfeld Follies of 1910 — Musical revue featuring songs by Will D. Cobb – June 20, 1910 – September 3, 1910
 * The Boys and Betty — Musical featuring songs with lyrics by Will D. Cobb – November 2, 1908 – February 6, 1909
 * School Days — musical, lyrics for Sunbonnet Sue by Will D. Cobb – September 14, 1908 – October 10, 1908
 * The-Merry-Go-Round — musical comedy, lyrics to The Shop Window Girls by Will D. Cobb – April 25, 1908 – July 18, 1908
 * ''A Parisian Model – musical comedy with interpolated songs by Will D. Cobb – January 6, 1908 – January 25, 1908
 * His Honor the Mayor — musical comedy revival with music by Cobb and Shields – November 25, 1907 – December 7, 1907
 * The Gay White Way — musical revue featuring Dixie Dan by Will D. Cobb – October 7, 1907 – January 4, 1908
 * Ziegfeld Follies of 1907 — musical revue featuring songs with lyrics by Will D. Cobb – July 8, 1907 – November 10, 1907
 * His Honor the Mayor — musical comedy with music by Cobb and Shields – June 3, 1907 – June 15, 1907
 * A Parisian Model — musical with additional numbers by Mr. Cobb – November 27, 1906 – June 29, 1907
 * ''About Town – musical revue, with additional lyrics by Will D. Cobb – November 15, 1906 – December 29, 1906
 * His Honor the Mayor — musical with Music by Cobb and Shields – September 17, 1906 – September 29, 1906
 * About Town — musical revue with additional numbers by Will D. Cobb – August 30, 1906 – November 10, 1906
 * His Honor the Mayor – musical comedy with additional lyrics by Cobb and Shields – May 28, 1906 – August 25, 1906
 * Woodland — musical, featuring songs with lyrics by Will D. Cobb – November 21, 1904 – Aug 1905
 * Mrs. Black Is Back musical, featuring songs with lyrics by Will D. Cobb — November 7, 1904 – April 1, 1905
 * The Wizard of Oz — songs with Gus Edwards — March 21, 1904 – November 25, 1905
 * The Medal and the Maid — musical comedy – lyrics for "In Zanzibar" by Will D. Cobb – January 11, 1904 – Mar 1904
 * ''Mr. Bluebeard – musical, with additional numbers by Will D. Cobb – January 21, 1903 – May 16, 1903
 * The Wizard of Oz — songs with Gus Edwards — January 20, 1903 – October 3, 1903
 * The Supper Club — musical comedy, music & lyrics by Will D. Cobb – December 23, 1901 – January 25, 1902
 * The Strollers — musical comedy, additional lyrics by Will D. Cobb – June 24, 1901 – August 31, 1901
 * The Supper Club — musical comedy, music & lyrics by Will D. Cobb – December 23, 1901 – January 25, 1902
 * The Strollers — musical comedy, additional lyrics by Will D. Cobb – June 24, 1901 – August 31, 1901

Songs, as lyricist
The Morse Music Company
 * "Goodbye, Dolly Gray" (1897), Paul Barnes (music)

Howley, Haviland & Co.
 * I Couldn't Stand To See My Baby Lose" (1899), Gus Edwards (music)

F. A. Mills Music Publisher
 * "I'll be with you when the roses bloom again" (1901), Gus Edwards (music)
 * "Waltz Me Around Again, Willie" (1906), Ren Shields (music)

T. B. Harms & Francis, Day & Hunter, Inc.
 * "If a Table at Rector's Could Talk" (1913), Raymond Hubbell (music)

M. Witmark & Sons
 * "Good Bye and Luck Be with You Laddie Boy" (1917), Gus Edwards (music)
 * "Welcome Home, Laddie Boy, Welcome Home" (1918), Gus Edwards (music)
 * "On a Lightless Night with You" (1918), Gus Edwards (music)
 * "Private Mike McGee" (1918), Gus Edwards (music)

The Song Review Company
 * "Au Revoir" (1918), Gus Edwards (music)
 * "He's Long and Lean and Lanky" (1918), Gus Edwards (music)
 * "That Grand Old Gentleman (Uncle Sam)" (1918), Gus Edwards (music)
 * "You're Your Mamma's Little Daddy Now" (1918), Gus Edwards (music)

Shapiro, Bernstein & Co.
 * "Keep on A-Going" (1904), Gus Edwards (music)
 * "The Tale of a Cassowary" (1904), Gus Edwards (music)
 * "Johnny I'll Take You" (1904), Gus Edwards (music)
 * "Sunbonnet Sue" (1908), Gus Edwards (music)
 * "Sunbonnet Sue" (1908), Gus Edwards (music)

'''Jos. W. Stern & Co.'''
 * "Mothers of Men" (1917), Gus Edwards (music)

Delmar Music
 * "School Days (When We Were A Couple of Kids)" (1907), Gus Edwards (music)

Other publishers
 * "I Love Only One Girl in the Wide, Wide World" (1903), Gus Edwards (music)

title: Will D. Cobb


text:
Hector Dyer

Hector ("Hec") Monroe Dyer (June 2, 1910 – May 19, 1990) was an American athlete, winner of a gold medal in 4 × 100 m relay at the 1932 Summer Olympics.

Born in Los Angeles, Hector Dyer enrolled at the Stanford University and won the IC4A championships in 220 yd in 1930.

During the 1932 Olympic trials, Dyer tied the world record of 10.4 in the 100-meter dash. He also beat the Olympic record in the 200-meter dash. At the 1932 Summer Olympics, held in Los Angeles, he ran the third leg in the American 4 × 100 m relay team, which won the gold medal with a new world record of 40.0.

In later years, Dyer worked in the oil business. He died in 1990 in Fullerton, California, aged 79. He was the grandson of William Newton Monroe.

title: Hector Dyer


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User:M-Utsuno

Hello, I am a doctoral student at the University of Tokyo. I am majoring in coordination chemistry, and I am studying polypyridine complexes mainly.

title: User:M-Utsuno


text:
Bouie v. City of Columbia

Bouie v. City of Columbia, 378 U.S. 347 (1964), was a case in which the US Supreme Court held that due process prohibits retroactive application of any judicial construction of a criminal statute that is unexpected and indefensible by reference to the law that has been expressed prior to the conduct in issue. The holding is based on the Fourteenth Amendment prohibition by the Due Process Clause of ex post facto laws.

Background
On March 14, 1960, two African-American students from Allen University conducted a sit-in demonstration by sitting down at a booth at the lunch counter restaurant in an Eckerd's drugstore in Columbia, South Carolina. The policy at the store was to allow African-Americans to shop anywhere in the store and to use any facilities except for being served at the restaurant.

After they had sat down, an employee put up a "no trespassing sign," and the two students were asked to leave. Both were arrested on charges of breach of the peace and criminal trespass but convicted only for trespass in violation of the state code. The trespass convictions were upheld by the South Carolina Supreme Court.

Decision
The majority opinion by Justice Brennan noted that the South Carolina trespass statute criminalized entry upon the lands of another after notice from an owner or tenant prohibiting such entry. The South Carolina Supreme Court, in upholding the convictions, had construed the statute as also covering the act of remaining on the premises of another after receiving notice to leave, a construction that had been adopted in another case in 1961.

The Court stated that a judicial construction that has the effect of broadening the activities that constitute a crime and is applied retroactively operates precisely like an ex post facto law. Since an ex post facto application of criminal statutes violates the Due Process Clause of the Fourteenth Amendment, the Court reversed the convictions.

The concurring opinions of Justice Goldberg and Justice Douglas stated simply that they would reverse based upon their opinions in Bell v. Maryland, 378 U.S. 226 (1964), another case involving a sit-in demonstration by African-American students that was announced the same day as Bouie.

The dissenting opinion by Justice Black argued that the conduct of remaining after being told to leave was understood to violate the South Carolina trespass statute, and Bell stated that the Fourteenth Amendment did not require an owner of a restaurant to serve customers.

Critical response
Bouie v. City of Columbia was one of five cases involving segregation protests that were decided on June 22, 1964. The other four cases were Griffin v. Maryland, 378 U.S. 130 (1964), Barr v. City of Columbia, 378 U.S. 146 (1964), Robinson v. Florida, 378 U.S. 153 (1964), and Bell v. Maryland. In none of these cases did the Supreme Court reach the merits of any argument addressing whether private actions of segregation that are enforced by state courts constituted a state action, which violated the Equal Protection Clause of the Fourteenth Amendment. These decisions were announced two days after the Senate ended a filibuster and passed the bill which would become the Civil Rights Act of 1964, which outlawed segregation in public accommodations. It has been suggested that the Supreme Court refrained from reaching the merits in these cases in consideration of the Act; had it done so, it would have eliminated the basis for passage of the legislation.

title: Bouie v. City of Columbia


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Jan Śniadecki

Jan Śniadecki (29 August 1756 – 9 November 1830) was a Polish mathematician, philosopher, and astronomer at the turn of the 18th and 19th centuries.

Life
Born in Żnin, Śniadecki studied at Kraków Jagellonian University and in Paris. He was rector of the Imperial University of Vilnius, a member of the Commission of National Education, and director of astronomical observatories at Kraków (055) and Vilnius. He died at Jašiūnai Manor near Vilnius.

Śniadecki published many works, including his observations on recently discovered planetoids. His O rachunku losów (On the Calculation of Chance, 1817) was a work in probability.

He was brother to Jędrzej Śniadecki.

Honours
The lunar crater Sniadecki and the main-belt asteroid 1262 Sniadeckia were named in his honour.

Works

 * "Rachunku algebraicznego teoria" (1783)
 * "Geografia, czyli opisanie matematyczne i fizyczne ziemi" (1804)
 * "Rozprawa o Koperniku" (Discourse on Nicolaus Copernicus, biography, 1802)
 * "O rachunku losów" (1817)
 * "Trygonometria kulista analitycznie wyłożona" (1817)
 * "O pismach klasycznych i romantycznych", Dziennik Wileński (1819)
 * "Filozofia umysłu ludzkiego" (1821)

title: Jan Śniadecki


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Talk:Single malt whisky

Broader view
This has a slightly broader view but much less depth than Scotch_whisky or Single_malt_Scotch. — Preceding unsigned comment added by 195.157.146.246 (talk) 2004 October 12 (UTC)

Bourbon a single malt?
All Bourbon is technically "Single Malt" so Wiki is wrong all over the place on this issue. — Preceding unsigned comment added by 24.21.99.173 (talk) 2006 March 17 (UTC)

 * The above comment is completely wrong.
 * Bourbon is absolutely NOT single malt as the only rule is that at least 51% of the mash consist of corn and Malted barley is ALWAYS part of the mash bill. Also the corn in Bourbon is NOT malted.
 * The term "Single Malt", without a qualifier, generally refers to Malted Barley UNLESS another grain is specifically mentions: e.g., Single Malt Rye
 * — Preceding comment signed as by Scotchblog (talk • contribs) actually added by Scotchguy (talk • contribs)

 * I believe that the statement saying that malted barley is always part of the mash bill (outside of Scotland) is wrong. If you think you have any proof for that, I'd like to see it.
 * —BarrelProof (talk) 16:57, 1 February 2011 (UTC)

Expanded from a stub
Scotchblog is right. In answer to the first point, it has now expanded from a stub. Buyo 18 June 2007 (UTC)
 * Edited the Scotch Pages link. "Great new" site seemed a bit biased. — Preceding unsigned comment added by 143.166.255.41 (talk) 2007 July 13 (UTC)

Ardbeg the most peated
Ian Dalziel(Undid revision 221050554 by Jonewer (talk) This fule no that Ardbeg is the most heavily peated malt whisky of all!) (undo) Thats quite interesting. My tastebuds would disagree. I confess to having made the change without a source or facts to back me up, just the bottles on my shelf. — Preceding unsigned comment added by Jonewer (talk • contribs) 18:51, 3 July 2008 (UTC)

A source for peat content?
Do you know if there are any sources giving peat content in ppm for Isaly whisky? —Preceding unsigned comment added by Jonewer (talk • contribs) 18:51, 3 July 2008 (UTC)

Malt Whisky Flavor Map.jpg
May be this is of any use for the article? Description (attention: word for word copy) from "Friends of the Classic Malts", FREPOST GW 4296, Glasgow, Scotland, G14 9BR:

"The Flavour Map will help you choose a single malt whisky based on its taste. Independent whisky experts have worked out that - when it comes to flavour in a glass of whisky - all Scotland's single malts can be plotted on a simple grid. The vertical axis show plots how smoky they are (flavours principally from the peat-smoke used in drying the barley, which all single malts are made from) down to Delicate malts that don't use peat-smoke in drying their barley.

On the horizontal axis whiskies are plotted as to how Light (whiskies with freash fruit and green grass flavours) or how Rich they are (flavours ranging from vanilla to nuttiness and dried fruiits).

Now you can see just how similar or different the taste of a whisky might be, allowing you to explore new malts with even greater confidence."

-- Tasma3197 (talk) 14:13, 21 June 2009 (UTC)

competed source, 2012-02-22 -- Tasma3197 (talk) 07:53, 22 February 2012 (UTC)

Connosr
Whisky Connosr is the fastest growing whisky site and it seems only social network dedicated to whisky. Is it worth a mention in this article? —Preceding unsigned comment added by Pieltee (talk • contribs) 11:43, 17 February 2010 (UTC)

 * I suggest not to do that. I don't see how linking to that site would help this article, and I dispute the assertion that the site is anything special. Fastest growing according to whom? What makes a site a social network? Is that the same thing as a discussion forum? —BarrelProof (talk) 13:14, 26 January 2011 (UTC)

Merge of Single malt Scotch to Single malt whisky
Leithp has suggested merging the Single malt Scotch article into the Single malt whisky article.

 * Support: The two articles seem about 95% the same in content. If there are any aspects of single malt whisky that are special about Scotch, they can be handled sufficiently by just adding a sentence or two (or a small subsection) within the single malt whisky article to discuss those aspects. Moreover, it seems like much of the content of the single malt whisky article could be merged into the whisky article, so that this article could just discuss what is unique to single malt whisky. And I really hope there is no intent to create another article about single malt Canadian whisky and another one about single malt American whisky and another one about single malt Japanese whisky and another one about single malt Irish whisky. —BarrelProof (talk) 13:03, 26 January 2011 (UTC)

I have never heard the term "malt scotch", a collocation which only appears in the term "malt Scotch whisky". In my view the articles should be merged under "malt whisky" —Unsigned comment from 93.231.174.150 (talk) 08:16, 1 February 2011 (UTC)
 * More precisely, I believe the more general term is "malt whisky", of which "single malt whisky" is one category, and "single malt Scotch" is one sub-category. —BarrelProof (talk) 17:45, 18 November 2013 (UTC)
 * Agreed, to a large extent. "Malt whisky" is a very generic term, and does seem to include, at least in American regulations, whiskies that are made from a mash that is majority malt, but not necessarily 100% malted barley (though that hasn't been a significant category of American whiskey since Prohibition). That would actually include single pot still whiskey as well, but that is a distinct class that ill fits the common understanding of "single malt". Blended malts would also be "malt whisky", but distinct from single malts. So I oppose any merging of single malt whisky into the broader malt whisky article, as it is a specific subset.
 * That said, I am not opposed to merging single malt scotch into the single malt whisky article, as there are many countries where single malts are made (and indeed every whisky producing country has at least one example). The unique specifics of production in Scotland can be briefly covered here.
 * Scotch-specific details generally seem to be over-represented on Wikipedia. We really don't need individual articles on the regions; each is a near-identical stub with next to no unique information and better served with the overview section of the main Scotch whisky article. oknazevad (talk) 21:26, 18 November 2013 (UTC)

title: Talk:Single malt whisky


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Atlante Internazionale del Touring Club Italiano

The Atlante Internazionale del Touring Club Italiano was a comprehensive world reference atlas first published by the Touring Club Italiano in 1927.

In order to give Italy an extensive reference atlas modelled on foreign examples such as Stielers Handatlas in Germany, shortly after World War I preparatory work to this end began under the direction of Luigi Vittorio Bertarelli (founder of the TCI, 1859–1926) with collaboration of Olinto Marinelli as scientific editor and Pietro Corbellini as chief cartographer. The atlas, in which toponymy was based on the official language of each country, was presented to the public in 1927 as Atlante Internazionale del Touring Club Italiano; it had 169 leaves of maps, large folio format, and contained more than 200,000 entries. The second edition appeared already one year later and received the highest recognitions at the International Geographical Congress in Cambridge. Three more editions were issued up to World War II.

After the war the atlas maintained the same character with relief in the style of the great classic atlases (hachuring), in contrast to newly published works, that used isohypses (contour lines) to indicate altitudes. This, side by side with the superior typography of the hand-drawn type in the Atlante Internazionale, the lettering, gave the maps a very attractive appearance. The seventh edition was issued 1955/56, the last and eighth edition in 1968: an atlas of 50 x 32 centimetres with 94 tables, in total 173 pages of cartographic material, and an index, covering 250,000 geographical names; the map surface consisted of about 18 square metres! The eighth edition was finally reprinted in 1977.


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CINT

CINT is a command line C/C++ interpreter that was originally included in the object oriented data analysis package ROOT. Although intended for use with the other faculties of ROOT, CINT can also be used as a standalone addition to another program that requires such an interpreter. In 2013, CERN switched to the Cling C++ interpreter, so CINT is now distributed standalone by the author.

CINT is an interpreted version of C/C++, much in the way BeanShell is an interpreted version of Java. In addition to being a language interpreter, it offers certain Bash-like shell features such as history and tab-completion. To accomplish the latter, it relies heavily on the reflection support built into ROOT. User classes that follow these interfaces may also take advantage of these features.

The language originally interpreted by CINT was actually something of a hybrid between C and C++, covering about 95% of ANSI C and 85% of C++. The syntax, however, is a bit more forgiving than either language. For example, the operator  can be replaced by   with only an optional warning. In addition, statements on the command line do not need to end with a semi-colon, although this is necessary for statements in macros.

As an alternative to CINT, ROOT also provides Cling which is an REPL application using LLVM's Clang as a C++ JIT compilation environment.

title: CINT


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Talk:Battle of Endor

The Imperial Fleet defending the Second Death Star soon began targeting and firing to the approaching Rebel ships. I removed this since Adm. Piett said that the fleet wasn't allowed to engage the Rebels (which would have crushed them), but prevent them from escaping.- B-101 11:23, 12 Oct 2004 (UTC)

Don't remove the 900,000 number that I put under Imperial casualties. I got the idea for that number since the crew of the first Death Star was 500,000, the crew of the Executor was about 250,000, and the crew of a Star Destroyer is 37,500.- B-101 20:12, 15 Oct 2004 (UTC)

Should it really be "vast majority of Ewok population of the forest moon" As I recall, most of the Ewoks in the movie survived. I'm pretty sure the Ewoks in ROTJ aren't the only tribe on the moon. I guess if you're refering to the Endorian Holocaust, than most Ewoks would die. But even than, the "vast majority of Ewoks" never met any Rebel or Imperial forces, and couldn't be counted as Rebel casualites. -LtNOWIS 04:34, 16 Nov 2004 (UTC)

Nobody responded, so I changed the article. -LtNOWIS 08:06, 27 Nov 2004 (UTC)

fighter numbers
I know this may be hard to do but since numbers of casualties have been attempted, try to add numbers of fighters for the battle. THere's lists of Tie Fighters, X-Wings, etc. It may be a tough job but if someone can go frame by frame counting every ship on screen and noting it down on some diagram on a paper so as to not confuse it again with the same ship, and on account of how many ships can be hangared in the destroyers, cruisers, give at least an estimate of the number of ships in the battle.

Gold Group consists of 23 fighters (five x-Wings, five A-Wings, four B-Wings, eight Y-Wings and the Falcon). If we assume that Red Group had a similar number of ships, say 24, then these two groups suffered nearly 90% casualties by the time they flew inside the death star and a maximum of four survived the Battle of Endor as a further two ships are seen Destroyed on screen. Four out of 47 ships makes for roughly 95% casualties. — Preceding unsigned comment added by BadEwok (talk • contribs) 20:06, 6 October 2014 (UTC)

It would appear that a single group fits in the hold of a mon calamari cruiser. At least eight such ships can be counted on screen as either survivors or being destroyed, which suggests 191 fighters minimum. IF, however, Gold, Green, Grey and Red are the only groups then the sum total are 95 odd fighters.

The Sullust Diversion
I added a small sentence about the failed rebel diversion near Sullust. I say it should be in here due to that being part of the actual battle plan. The small fleet at Sullust was meant to draw Imperial attention away from Endor. However, the Emperor saw through this diversion.

Everyone aboard the Death Star?
Why say everyone aboard the Death Star was killed when it exploded? In my opinion there's just way too much evidence to suggest at least some of the Imperials managed to escape, not the least of which is we clearly see dozens of them running around frantically (to get to escape ships, presumably). If Luke managed to escape despite sitting there for a rather protracted final conversation with his father, then surely those guys we saw running managed to escape before him since they had nothing keeping them there, and they'd remember the fate of the first Death Star. Just my two cents. - Kooshmeister

No More Republic?
Can we get some substantiaion for this last line?

"As for the Alliance to Restore the Republic, they would go on to form the New Republic. This government was very weak and unable to run the affairs and bureaucracy as the Republic did for thousands of years. It collapsed quickly because it traded freedom for order and its control over the galaxy was minimal. The New Republic was cracked by the Yuuzhan Vong invasion of the galaxy."

I didn't know the New Rpublic had offically dissolved.
 * That doesn't even belong in an article about the battle of endor. It should just say "The Alliance would become the Republic" or something like that. We don't need a summary of all post-endor events, lol. Deckiller 00:33, 1 March 2006 (UTC)

Cannae???
The concluding sentence of the opening paragraph asserted that Imperial tactics were analagous to the Battle of Cannae. I have removed this sentence as it appears to be the author's opinion and doesn't make any sense.

The only similarity is that the Rebels got surrounded. At Cannae the Romans outnumbered Hannibal by at least 2 to 1, got themselves enveloped and were slowly and methodically cut to pieces by the inferior forces. Hannibal let his center fall back and his calvalry close off the retreat. It was brilliant opportunism but it wasn't a long term set up.

Endor was a deliberate set up.

The Yavin - Dam Busters correlation is at least well corroborated.--Duke Leto 04:50, 22 August 2006 (UTC)

"Grand Admiral"
I admit I'm unfamiliar with battlebox standards, but should Pellaeon(sp.) be referred to as a Grand Admiral (a rank he later attained) instead of as an executive officer or Acting Captain (his ranks during the battle)? This seems like reading about the French and Indian Wars and seeing they were fought by President George Washington. —The preceding unsigned comment was added by 63.150.229.189 (talk) 01:07, 10 February 2007 (UTC).
 * I changed his rank to Commander, as he was the first officer of the Chimera (However it is spelled) and removed Grand Admiral Thrawn from the list completly considering he wansn't at the battle, even in the EU. 3D jonny 23:39, 13 February 2007 (UTC)

Fair use rationale for Image:Battle of Endor.jpg
Image:Battle of Endor.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 22:56, 31 May 2007 (UTC)

Crew
Who's the weird little Chinese-looking puppet guy who was in the Falcon with Lando during the battle? Scorpionman 02:08, 19 June 2007 (UTC)
 * I'm assuming you mean Nien Nunb. Kirobaito 05:12, 7 August 2007 (UTC)

Fair use rationale for Image:Return of the jedi 4.jpg
Image:Return of the jedi 4.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:49, 5 December 2007 (UTC)

TIE Bombers?
According to Star Wars: Rogue Squadron 2, several squadrons were deployed against the rebel fleet, which is contradicted by this article. The canonicity of the game is uncertain, however... —Preceding unsigned comment added by 99.246.79.105 (talk) 06:54, 15 June 2008 (UTC)

Redirect
I've redirected this article to the movie article. This article was entirely unsourced and consisted mostly of excessive plot summary from the movie. --EEMIV (talk) 14:04, 2 October 2008 (UTC)

title: Talk:Battle of Endor