text:
Turn On the Bright Lights

Turn On the Bright Lights is the debut studio album by American rock band Interpol. It was released in the United Kingdom on August 19, 2002, and in the United States the following day, through independent record label Matador Records. The album was recorded in November 2001 at Tarquin Studios in Bridgeport, Connecticut, and was co-produced, mixed and engineered by Peter Katis and Gareth Jones. Its title is taken from a repeated line in the song "NYC".

Upon release, the record peaked at number 101 on the UK Albums Chart. It reached number 158 on the Billboard 200 in the United States, as well as spending 73 weeks on the Billboard Independent Albums chart, peaking at number five. The songs "PDA", "Obstacle 1" and the double a-side single "Say Hello to the Angels" / "NYC" were released as singles, with music videos being shot for all except "Say Hello to the Angels".

Music
In a brief interview about the fifteenth anniversary of Turn On the Bright Lights, guitarist Daniel Kessler stated the album's opening track, "Untitled" was written specifically to open the band's live shows. Lead singer Paul Banks described the riff from the song as "signature Daniel".

Promotion and release
The release of Turn On the Bright Lights was preceded by the marketing of the band's self-titled EP Interpol in June 2002, their first release for Matador. The EP contained three tracks: radio single "PDA", future single "NYC", and "Specialist". All three tracks later appeared on the album, with "Specialist" included as a bonus track in Australian and Japanese editions. Further promotion continued at the beginning of the following year, when the band played the 2003 NME Awards Tour alongside the Datsuns, the Polyphonic Spree and the Thrills. The song "PDA" is featured as a playable track in 2008 video game Rock Band 2.

10th anniversary edition
In 2012 a remastered version of the album was released in to commemorate its tenth anniversary. It featured additional material including demo recordings of several tracks, the bonus songs previously available on international releases and a DVD of live performances and music videos. Many of the demo recording tracks had been previously released however the 10th Anniversary Edition also contains five unreleased demo tracks from what is dubbed "Third Demo".

Critical reception
Turn On the Bright Lights was released to critical acclaim. The album holds a score of 81 out of 100 from the aggregate site Metacritic based on 21 reviews, indicating "universal acclaim". Contemporary reviews of the album often noted Interpol's influences and drew comparisons to several other acts. Michael Chamy of The Austin Chronicle cited "melodic Peter Hook-like basslines; the divine shoegazer textures of My Bloody Valentine and Ride; a peppy, Strokes-like bounce; and a singer who's a dead ringer for Ian Curtis." "It's almost as if Ian Curtis never hanged himself," began Blender's review, with critic Jonah Weiner adding that Paul Banks' vocals channeled Curtis' "gloomy moan." NME's Victoria Segal called Joy Division comparisons "obvious and unmistakable, airbourne in the ashen atmospherics," while praising Interpol's take on the "grey-skinned British past". Billboard wrote that Interpol had created an "homage to their particular vision of the '80s that stands proudly alongside the best of its idols." Scott Seward, writing in The Village Voice, remarked: "If I like them because they remind me of eating bad bathtub mescaline in the woods and listening to Cure singles, well, that'll do. You might like them for completely different reasons."

Noel Murray of The A.V. Club opined that Interpol's virtue "lies in the way its music unfurls from pinched openings to wide-open codas", while Rob Sheffield of Rolling Stone wrote that their "sleek, melancholy sound is a thing of glacial beauty". Eric Carr of Pitchfork argued that the band had forged their own distinct sound, "a grander, more theatrical atmosphere with lush production that counters their frustrated bombast", praising Turn On the Bright Lights as "one of the most strikingly passionate records I've heard this year." However, The Village Voice's Robert Christgau, naming it "Dud of the Month" in his Consumer Guide column, felt that Interpol "exemplify and counsel disengagement, self-seeking, a luxurious cynicism," downplaying Joy Division comparisons as "too kind". Q's lukewarm assessment of the album described it as "predictably claustrophobic listening".

At the end of the year, Turn On the Bright Lights featured on several publications' lists of the best albums of 2002, including those of Pitchfork, who named it the year's best album, NME, who ranked it at number ten, and Stylus Magazine, who ranked it at number five. The album placed at number 15 on The Village Voice's year-end Pazz & Jop critics' poll.

Legacy
Hailed as a seminal album of the 2000s,    Turn On the Bright Lights has been cited as an influence on many indie rock bands, including the Killers, Editors,  the xx, the Organ, She Wants Revenge, and others to the extent that many of these bands have been disparagingly referred to as "Interpol clones". Closely associated with 9/11-era New York City, the album has been seen as helping define 2000s indie rock, and Interpol have been cited as helping usher in the New York-born post-punk revival scene, along with contemporaries such as the Strokes, Yeah Yeah Yeahs, and TV on the Radio. Summing up the album's impact in a review of its 2012 re-issue, Matt LeMay of Pitchfork wrote: "Suggesting that this album is simply a product of its time and place is no less naive than suggesting that anyone who has ever been in love could easily write, arrange and record an amazing love song. There were a lot of good bands in New York in 2002, but only one band made this record." In 2017, the band embarked on a worldwide tour to celebrate its 15th anniversary.

In a 2018 interview with Vice, Paul Banks stated: "as far as ease of making it, we had years to write these songs. The longest writing period of any of your records is your debut. We formed in 1997, so it’s five years, and three-and-a-half/four of playing shows and trying out that material. So it went down smoothly in the studio, and then you have all the excitement of it being your first album. It was a good time in our lives." Drummer Sam Fogarino reflected on the album by saying: "we were very naïve, we didn’t know how to make a record together, and we were lucky to have a good snapshot taken of who we were at the time. And we got a little more confident with every record."

At the end of the decade, the album has been featured on numerous lists:

 * {|class="wikitable sortable plainrowheaders"

!scope="col"|Publication !scope="col"|Accolade !scope="col"|Rank ! scope="row"| Pitchfork ! scope="row"| Pitchfork ! scope="row"| Stylus ! scope="row"| Stylus ! scope="row"| NME ! scope="row"| NME ! scope="row"| Rolling Stone ! scope="row"| Under the Radar ! scope="row"| Beats Per Minute ! scope="row"| eMusic ! scope="row"| Lost At Sea ! scope="row"| The Irish Times ! scope="row"| Consequence of Sound ! scope="row"| musicOMH ! scope="row"| The Guardian
 * +Accolades for Turn On the Bright Lights
 * Top 100 Albums 2000–2004
 * align="center"|3
 * Top 200 Albums of the 2000s
 * align="center"|20
 * Top 50 Albums 2000–2005
 * align="center"|6
 * Top 100 Albums of the 2000s
 * align="center"|20
 * 100 Greatest Albums of the Decade
 * align="center"|8
 * 500 Greatest Albums of All Time
 * align="center"|130
 * 100 Best Albums of the Decade
 * align="center"|59
 * Top 200 Albums of the Decade
 * align="center"|3
 * Top 100 Albums of the Decade
 * align="center"|7
 * 100 Best Albums of the Decade
 * align="center"|9
 * 2000–2009: Albums of the Decade
 * align="center"|13
 * Top 20 Albums of the Decade
 * align="center"|10
 * Top 100 Albums of the Decade
 * align="center"|35
 * 21 Best Albums of the 2000s
 * align="center"|12
 * 100 Best Albums of the 21st Century
 * 50
 * }

Personnel
Interpol
 * Paul Banks – lead vocals, rhythm guitar
 * Daniel Kessler – lead guitar, backing vocals
 * Carlos D – bass guitar, keyboards
 * Samuel Fogarino – drums, percussion

Audio engineers
 * All songs recorded by Peter Katis
 * Tracks 1, 2, 4, 5, 7, 9, 10 mixed by Peter Katis
 * Tracks 3, 6, 8, 11 mixed by Gareth Jones
 * Recorded and mixed at Tarquin Studios
 * Mastered by Greg Calbi at Sterling Sound

title: Turn On the Bright Lights


text:
Talk:Soo Line Railroad/to do

 * Add more narrative to cover the history of the railroad and its predecessor, the Minneapolis, Sault Ste. Marie and Atlantic Railway
 * Add Soo Line logos from the railroad's history
 * Expand the timeline to include other acquisitions and key events
 * Add a brief discussion of the railroad's diesel paint schemes (maybe?)
 * Elaborate on the connection to the Canadian Pacific.
 * Create and add a map to show the historical extent of tracks through the Midwest.

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

title: Talk:Soo Line Railroad/to do


text:
User talk:Jennsapplefarm

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:00, Oct 13, 2004 (UTC)

title: User talk:Jennsapplefarm


text:
User talk:Laim com

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:00, Oct 13, 2004 (UTC)

title: User talk:Laim com


text:
Nick News

Nick News (formerly titled Nick News W/5 and later Nick News with Linda Ellerbee) is an American educational television news magazine aimed at children and teenagers. It originally aired on Nickelodeon from 1992 to 2015. It also aired on Nickelodeon's sister network Noggin from 1999 to 2002. Nick News took the form of a news program discussing social, political and economic issues in a format intended to be accessible to both children and adults. In June 2020, the show was revived.

The show is known for allowing normal American teenagers to speak out on their own personal opinions on a number of past and current worldwide issues and topics, including events such as Black History Month.

Linda Ellerbee
Nick News was hosted by former NBC News personality Linda Ellerbee from 1992 to 2015. Ellerbee was one of five candidates auditioned over the course of two weeks. She was chosen because her competitors were "too loud and obnoxious", claimed one of the show's set designers. According to Ellerbee: "I was honored when I was named the host of Nick News. The show will be about kids and their everyday lives." Ellerbee never missed an episode due to illness. The show is officially known as Nick News with Linda Ellerbee. Throughout the years, Nick News has featured special guests of honor, such as Al Gore, Faith Hill, Rosie O'Donnell, Magic Johnson, Bill Clinton, and Dr. Phil.

History
Nick News was originally known as Nick News W/5 until the show's "who, what, when, where, and why" format was dropped.

During its original run, Nick News with Linda Ellerbee was telecast on Sunday nights at 8:00 p.m. and later 8:30 p.m. on Nickelodeon, and ran in repeats at various timeslots. Nick News was #1 in the ratings on Nickelodeon in 1992–1993, and has never gone below #6 in the ratings, making it one of the most consistently highly rated news shows on TV. From 1993 to 1997, the first-run syndicated version of the show—distributed by Viacom Enterprises (now CBS Media Ventures)—aired on local stations—both independent and network-affiliated—all over the United States of America. The show won a Peabody Award in 1994, and Linda Ellerbee won a Personal Award in 1998 for her work on the show.

The show also previously appeared on early weekday mornings, fully commercial-free as a part of the television cable industry's Cable in the Classroom initiative, which urged teachers from schools across the globe to tape episodes of Nick News and show them to their classes during school hours.

The show was a regular part of the lineup on the Noggin channel, one of Nickelodeon's sister networks, from February 1999 until March 2002.

TeenNick aired two episodes of the show in repeats on both October 25, 2010, and February 15, 2011, and also aired once as part of their nightly block The Splat from November 5–6, 2016.

Nick News is well known for many trademarks during its run on Nickelodeon, such as Ellerbee's signature tagline, "If you want to know, ask!"; the only time the sign off was not used was on the finale episode on December 15, 2015, when Ellerbee signed off with the words "And so it goes"; an homage to her previous signoff as anchor of NBC News Overnight decades earlier.

After nearly 25 years on the air, an hour-long finale titled Hello, I Must Be Going: 25 Years of Nick News with Linda Ellerbee aired on Nickelodeon on December 15, 2015. The episode featured clips from older episodes of the series. The final episode was nominated for a Primetime Emmy Award for Outstanding Children's Program, a category for which the series had been nominated 22 times, with nine wins across the series's 23-year history.

Revival
On June 23, 2020, Nickelodeon announced that it would be reviving Nick News in a series of hour-long specials. The first installment, titled Kids, Race and Unity: A Nick News Special, premiered on June 29 and was hosted by American musician Alicia Keys. Kids, Race and Unity was made in direct response to the wave of protests and unrest following the murder of George Floyd, with its purpose being to "amplify the voices and experiences of Black children across the country". A number of special guests appeared on the program, including Black Lives Matter co-founders Patrisse Cullors, Alicia Garza, and Opal Tometi; teen activist Marley Dias, founder of the #1000BlackGirlsBook campaign; 12-year-old singer and viral sensation Keedron Bryant; Ibram X. Kendi, author of Antiracist Baby; Teens4Equality founders Jade Fuller, Nya Collins, Zee Thomas, Kennedy Green, Emma Rose Smith and Mikayla Smith; social media star Tabitha Brown and her family; and family therapist, Dr. George James.

In its current iteration, Nickelodeon has partnered with its corporate sibling CBS News on presentation. On October 6, 2020, 60 Minutes veteran Magalie Laguerre-Wilkinson was tapped as executive producer of the Nick News revival, as well as the newly-developed vice president of news programming for Nickelodeon. CBS News correspondent Jamie Yuccas serves as the host, while reporters Vladimir Duthiers, Enrique Acevedo, and Imtiaz Tab also contribute. Nick News also appears as interstitials during regular Nickelodeon programming to cover current events.

Notable episodes
In 1993, a then-12-year-old Meghan Markle was featured after writing letters to get a company to change a national television commercial she viewed as sexist.

In 1993, there was an episode on global warming entitled "Plan it for the Planet". On December 9, 2007, Nick News had shown another global warming special entitled "A Global Warning From the Kids of the World". Both specials looked at different regions of the Earth like Australia, Alaska, the Netherlands, the Philippines, California and Kenya, showing the changes in the climate and the effects of those changes. During the later part of the December 9, 2007, episode, Nobel Prize winner Al Gore talked to children about the issues that global warming is causing for ordinary people.

In 2002, Nick News celebrated its 10th anniversary, adds with a special called "Happy Birthday, Nick News". It featured many flashbacks from the first 10 years of Nick News.

On June 18, 2002, Nickelodeon showed "Nick News Special Edition: My Family Is Different". This had one of the largest audiences in Nick News' history. The show featured regular children talking about different issues that have had a major effect on their personal lives, including hate crimes, child abuse and sexual harassment. During this episode, openly lesbian parent Rosie O'Donnell appeared on Nick News to talk with the children and Ellerbee about being different, with other well-known people as well. The show has also included children from households across the globe that oppose LGBT rights, as well as conservative commentator Jerry Falwell.

On October 12, 2008, an episode called "Nickelodeon's Kids Pick the President" featured children from across the United States asking political, economic and health care questions of Democrat Barack Obama and Republican John McCain, as part of a way for American children to choose. Obama was chosen as the winner in that year's Kids Pick the President poll.

Neil Young appeared in an episode with his son who was diagnosed with autism and their love of model trains.

title: Nick News


text: User talk:216.63.106.87

title: User talk:216.63.106.87


text:
Talk:Southern Pacific Railroad/to do

 * Add a timeline of important dates in SP history
 * Add a list of the railroad presidents/chairmen
 * Add a photo or two of SP trains in action (got one, need more)
 * Add more narrative on the railroad's history, citing the reasons behind the events
 * Add information on the railroad's named passenger trains
 * Add information on preserved SP equipment still in operation
 * Reconcile the second sentence of the initial paragraph, with the second bullet-point in the time line.

title: Talk:Southern Pacific Railroad/to do


text: User talk:69.110.35.65

title: User talk:69.110.35.65


text: User talk:70.21.13.220

title: User talk:70.21.13.220


text: User talk:129.81.185.52

title: User talk:129.81.185.52


text: User talk:130.49.16.211

title: User talk:130.49.16.211


text:
Talk:Super Chief/to do

I'd like to suggest an edit to the caption in the "Super Chief" article that shows a Diesel locomotive hanging over a retaining wall at Los Angeles Union Station in 1948. The train in question is not the Super Chief, but the El Capitan. At that time, the Super Chief and El Capitan streamliners were operating every-other-day-- on the same identical schedule, but on alternating days. The Super Chief departed each endpoint (and arrived at the opposite endpoint) on even-numbered days of the month, while the El Capitan departed (and arrived) on odd-numbered days of the month. Since this photo was snapped on January 25th (an odd-numbered day), the train in question is the El Capitan, not the Super Chief. In fact, perhaps this photo should be moved from the Super Chief article to the El Capitan article?

The reference below is from a Santa Fe Railway public timetable dated January 1947. The Super Chief is Train 17 (westbound) and 18 (eastbound), while the El Capitan is Trains 21 and 22. There is a marginal note in the columns for these trains, explaining this arrangement.

ATSF1920 (talk) 18:05, 23 December 2016 (UTC)ATSF1920

title: Talk:Super Chief/to do


text:
Talk:Vulcan Iron Works

Should be split up
In my view, each of these works deserves a separate article. At the very least, the UK Vulcans should be split off from the US Vulcans. Thoughts? Plazak (talk) 03:57, 27 July 2015 (UTC)

I have been ask to make a model of the front of the foundly but need drawings 2A00:23C7:4784:3701:A035:1645:F048:566F (talk) 09:04, 3 December 2023 (UTC)

title: Talk:Vulcan Iron Works


text:
User talk:SYS21604

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:03, Oct 13, 2004 (UTC)

Non-free use disputed for Image:TAITO logo.png
Thanks for uploading Image:TAITO logo.png. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:50, 3 July 2007 (UTC)

Disputed fair use rationale for Image:Junglehunt-scene1.png
Thanks for uploading Image:Junglehunt-scene1.png. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 07:13, 1 January 2008 (UTC)

Disputed fair use rationale for Image:Dodokodon ingame.png
Thanks for uploading Image:Dodokodon ingame.png. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 05:14, 2 January 2008 (UTC)

Disputed fair use rationale for Image:OperationThunderbolt(ingame).png
Thanks for uploading Image:OperationThunderbolt(ingame).png. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 18:16, 2 January 2008 (UTC)

Disputed fair use rationale for Image:Opwolf(ingame).png
Thanks for uploading Image:Opwolf(ingame).png. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 18:33, 2 January 2008 (UTC)

Orphaned non-free image File:Taito Corporation.png
 Thanks for uploading File:Taito Corporation.png. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of "file" pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "File" from the dropdown box. Note that any non-free images not used in any articles will be deleted after seven days, as described in the criteria for speedy deletion. Thank you. Sfan00 IMG (talk) 09:09, 4 May 2011 (UTC)

title: User talk:SYS21604


text:
Talk:Vulcan Iron Works/to do

 * Expand the company history
 * Add a photo or two of Vulcan locomotives

title: Talk:Vulcan Iron Works/to do


text: User talk:68.57.183.107

title: User talk:68.57.183.107


text:
Talk:Wisconsin Central Railway/to do

 * Add narrative and detail to the Wisconsin Central Railway section
 * Add timeline to Wisconsin Central Railway section
 * Add narrative to the Wisconsin Central Ltd section
 * Add a photo or two of WCRy and WCL trains in action
 * Add information on the corporate leaders of both railroads (who were the directors, presidents, etc.)
 * Add system map s of both the older railroad s
 * Add financial data for both railroads
 * Add bibliographic data
 * When the two railroads' data becomes too long, split this into three articles: Wisconsin Central (the disambiguation page), Wisconsin Central Railway (to hold the data on the original WC) and Wisconsin Central Transportation Corporation (or maybe Wisconsin Central, Ltd. to match the current subsection heading, to hold the data on the new WC)

title: Talk:Wisconsin Central Railway/to do


text: User talk:69.152.237.141

title: User talk:69.152.237.141


text: User talk:70.25.231.45

title: User talk:70.25.231.45


text:
Talk:Wisconsin and Southern Railroad/to do

 * Add the company logo and a couple photos of current operations (although we could probably add a couple more photos)
 * Expand the narrative
 * Add a system map
 * Name major cities/industries served


text: User talk:81.86.255.223

title: User talk:81.86.255.223


text:
User talk:Bradleyosborn

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:06, Oct 13, 2004 (UTC)

title: User talk:Bradleyosborn


text:
The Forty Days of Musa Dagh

The Forty Days of Musa Dagh (Die vierzig Tage des Musa Dagh) is a 1933 novel by Austrian-Bohemian writer Franz Werfel based on events that took place in 1915, during the second year of World War I and at the beginning of the Armenian genocide.

The novel focuses on the self-defense by a small community of Armenians living near Musa Dagh, a mountain in Vilayet of Aleppo in the Ottoman Empire—now in Hatay Province, part of southern Turkey, on the Mediterranean coast—as well the events in Constantinople (Istanbul) and provincial capitals, where the Young Turk government orchestrated the deportations, concentration camps and massacres of the empire's Armenian citizens. This policy, as well as who bore responsibility for it, has been controversial and contested since 1915. Because of this or perhaps in spite of it, the facts and scope of the Armenian Genocide were little known until Werfel's novel, which entailed voluminous research and is generally accepted as based on historical events.

The novel was originally published in German in November 1933. It achieved great international success and has been credited with awakening the world to the evidence of the persecution and genocide inflicted on the Armenian nation during World War I. The Forty Days of Musa Dagh also foreshadows the Holocaust of World War II due in part to the rise of Adolf Hitler and Nazi Germany, which paralleled the novel's creation. In 2012, David R. Godine, Publisher, issued a revised and expanded English translation of The Forty Days of Musa Dagh that incorporates virtually all of the material left out of Geoffrey Dunlop's 1934 translation. Due to Turkish government efforts to prevent development of a film version, only one film adaptation from 1982 has been produced.

Context
Franz Werfel had served as a corporal and telephone operator in the Austro-Hungarian Army artillery during the First World War on the Russian front and later as a propaganda writer for the Military Press Bureau (with Rainer Maria Rilke and others) in Vienna. The horrors he witnessed during the war, as well as the banality of the civil and military bureaucracies, served him well during the course of writing the book. His reason for writing the novel came as a result of a trip through Egypt, Palestine, Syria, and Lebanon from January through March 1930 and is given in a prefatory note in the novel:

"This book was conceived in March of the year 1929 [sic], during the course of a stay in Damascus. The miserable sight of maimed and famished-looking refugee children, working in a carpet factory, gave me the final impulse to snatch the incomprehensible destiny of the Armenian people from the Hell of all that had taken place. The writing of the book followed between July 1932 and March 1933. Meanwhile, in November, on a lecture tour through German cities, the author selected Chapter 5 of Book One for public readings. It was read in its present form, based on the historic records of a conversation between Enver Pasha and Pastor Johannes Lepsius."

Werfel does not mention here that he rewrote much of the novel in May 1933, responding to events in Nazi Germany and kept revising it up until it was published. Later, speaking to reporters, Werfel elaborated: "The struggle of 5,000 people on Musa Dagh had so fascinated me that I wished to aid the Armenian people by writing about it and bringing it to the world."

Book One: Coming Events
Werfel's narrative style is omniscient as well as having a "polyfocus", in which he moves the perspective from character to character and to the third person perspective. For that reason, the connection between the author's consciousness and that of his characters can almost read seamlessly. This is evident as the novel opens in the spring of 1915, during the second year of the World War I.

Gabriel Bagradian, a wealthy Armenian from Paris, has returned to his native village of Yoghonoluk, one of seven villages in Aleppo Vilayet, now Hatay Province, Turkey. (Bagradian's character was inspired by the figure of, whose Armenian first name was the same as that of the mountain.) His view is dominated by a familiar and looming presence in this paradisiac landscape—Musa Dagh—which means Mount Moses in Turkish (Musa Ler is the Armenian for Mount Moses). He thinks about his return to settle the affairs of his dead older brother and entertains pleasant reveries of his childhood, as well as more serious matters. Bagradian feels both proud and estranged from his Armenian roots, and throughout the novel Werfel develops this theme of estrangement, which is denoted with the book's first sentence, the question: ″How did I get here?″ Bagradian also considers his French wife Juliette and their son Stephan, and how they will adjust to their new environment, given the state of war that now exists and prevents their return.

Other important characters are introduced in Book One: Juliette, Stephan and the many Armenian characters—chief, among them the Gregorian head priest, Ter Haigasun; the local physician, Dr. Altouni; the apothecary–polymath Krikor and the Greek American journalist, Gonzague Maris—all characters drawn from Armenian survivors of the events of 1915, as well as from Werfel's family, friends, acquaintances and himself. Indeed, he personally informs several characters ranging from the assimilated outsider-hero (Bagradian) to self-parody (the schoolteacher Oskanian).

Bagradian considers himself a loyal citizen of the Ottoman Empire, even a patriot, eschewing the more radical Armenian parties, such as the socialist Hunchaks. He had served as an artillery officer in the 1912 Balkan War, had been involved in the progressive wing of Turkish politics and had been a vocal Armenian supporter of the CUP and the Young Turk Revolution of 1908. Being a reserve officer, Bagradian becomes suspicious when he is not called up; learning that Turkish authorities have seized the internal passports of Armenian citizens further fuels his suspicions. So he goes to the district capital of Antioch (now Antakya), to inquire about his military status. In a Turkish bath, he overhears a group of Turks, among them the district governor, the Kaimikam, discussing the central government's plan to do something about its "Armenian problem". Bagradian is alarmed by what he hears and the danger, given the history of atrocities committed on Armenians, whose rise as the empire's chief professional and mercantile class had alarmed Turkish nationalists. The dangers that this poses to his family are corroborated by an old friend of the Bagradian family, Agha Rifaat Bereket, a pious dervish (Sufi Muslim ascetic) who sees the Young Turks as apostates.

Back in Yoghonoluk, Bagradian begins to socialize with the Armenian community. His grandfather had a paternal relationship with the Armenian villages that dot the land around Musa Dagh, a role that Gabriel Bagradian assumes, not intending to be a real leader but rather to help his French wife adapt to what could be a long exile in the Turkish Levant.

Despite the rumors of arrests and deportations, trickling in from Constantinople (Istanbul) and other Ottoman cities, many of Musa Dagh's Armenians remain unconcerned about the outside world. It is not until four refugees arrive in Yoghonoluk in late April, that the full nature of what the Ottoman government is doing becomes clear, for the refugees bring news of the brutal suppression of an Armenian uprising, in the city of Zeitun and the mass deportation that followed. In a long passage, Werfel tells the story of Zeitun and introduces three more important characters of the book, the Protestant pastor Aram Tomasian, his pregnant wife Hovsannah, his sister Iskuhi, a quasi-feral orphan girl named Sato, and a houseboy named Kevork. Kevork, as a child, had suffered brain damage at the hands of the Turks. Iskuhi is the victim of a more recent atrocity: Her left arm is paralyzed from fending off a rape attempt. Despite her deformity, the Armenian girl's beauty and eyes attract Bagradian.

The story the refugees tell causes Bagradian and the Armenians who live around Musa Dagh, to seriously consider resisting the Ottomans. Bagradian steps forward to assess the strengths and weaknesses of the villages and looks to the natural defenses of Musa Dagh and its environs. Ter Haigasun becomes his ally, in convincing the Armenian villagers of the peril.

Book One introduces a German Protestant missionary Johannes Lepsius, a real person, and Enver Pasha, the Ottoman War Minister, who with Talaat Pasha and Djemal Pasha (the Three Pashas), the triumvirate that ruled the Ottoman Empire. The chapter, titled ″Interlude of the Gods,″ reveals the Turkish point of view vis-à-vis the Armenians and the West. Werfel intended his depiction, almost entirely drawn verbatim from Lepsius's published account, to be sympathetic and damning, especially when Enver consults with Talaat on the progress of the deportations.

The remainder of Book One describes which Armenians decide on resistance and which on cooperating with the deportation order. Bagradian camps out with his family and friends on Musa Dagh, to ensure that it is the right place to make a stand. Those who decide to resist, dig up a cache of rifles left over from the revolution of 1908, when they were allies of the Young Turks and subsequently bury their church bells, so that these do not fall into Turkish hands. Eventually, the Ottoman military police, the dreaded saptiehs, arrive led by the red-haired müdir. They instruct the Armenians to prepare for deportations—and then leave after beating Ter Haigasun and Bagradian. Instead of complying, the 6,000 Armenians march with everything they can carry, their animals and their weapons to a plateau on Musa Dagh. Bagradian hangs behind and observes the wailing women and the other graveyard folk—who represent the old ways and sympathetic magic of pagan Armenia—sacrifice a goat. Its meaning is propitious as well as cautionary. The chapter ends with Bagradian helping Krikor carry the last volumes of his magnificent if eclectic library to the Damlayik, the plateau the Armenians have chosen as their refuge.

Book Two: The Struggle of the Weak
Book Two opens during the high summer of 1915, with the establishment of the Armenian encampment and defenses, the Town Enclosure, Three Tent Square, South Bastion, Dish Terrace and other sites on Musa Dagh, that become familiar place names during the course of the novel. A division of labor is established, as to who will fight, who will care for livestock, who will make guns and munitions and so on. A communal society is established, despite the objections of the propertied class. The objective is to hold out long enough to attract the ships of the British and French navies, patrolling the eastern Mediterranean in support of the Allied invasion of Gallipoli.

Characters who will figure in the defense of the mountain also come into more relief, such as the loner and Ottoman Army deserter Sarkis Kilikian (who suffered the loss of his entire family during the pogrom-like Hamidian massacres) and the former drillmaster, Chaush Nurhan. Indeed, Musa Dagh is presented as a microcosm of late nineteenth and early twentieth-century Armenian life, as well as being a test not only of Bagradian's leadership but a test of his marriage and fatherhood.

The Ottoman soldiers and saptiehs seriously underestimate the Armenians and their first engagement results in a Turkish rout. The victory forces the Turks to assemble a larger force; it enhances Bagradian's reputation, reconnects him to his people and isolates him from Juliette and Stephan.

Stephan reconnects with his Armenian roots but the difficulty he experiences because of his Westernized childhood, makes the novel a coming-of-age story, as well as a classic tale of love and war on the scale of Leo Tolstoy's War and Peace. He wants to be an authentic Armenian, like his rival Haik and other boys. To prove himself to them, Stephan organizes a raid on a fruit orchard to replenish the Armenians' stores and to prove himself to Iskuhi, for he is as much bewitched by her as his father. He leaves Musa Dagh to fetch back Iskuhi's bible, left behind in his father's deserted house. (A long passage left out of the first English translation.)

Juliette apprehends the growing estrangement of her husband and son, seeking purpose and solace in nursing the Armenian wounded and in her friendship with Gonzague Maris, which develops into a passionate affair. As the Turks resume their attacks, he tries to convince Juliette to abandon her family and the mountain. The battles include a heroic stand led by Kilikian, as well as Stephan's sniping attack on a Turkish gun emplacement. He and the other boys seize two field guns, a feat that forces the Turks to withdraw.

Book Two features a traditional funeral for the Armenian dead, including the ceremonies of the wailing women, who assist in the birth of Aram Tomasian's son, a difficult delivery that is seen as ominous while conditions in the camp start to deteriorate, for the Armenian victories can only buy time. Jemal Pasha is introduced in Book Two and is portrayed as a resentful member of the triumvirate, pathologically jealous of Enver. The relationship between Bagradian and Iskuhi also comes into focus, as it is conducted openly but only consummated on a spiritual plane. Their love is interrupted by a reinforced Ottoman attack, which is repelled. Bagradian orders a massive forest fire, to surround the Armenian encampment with a no-man's land of fire, smoke, and open terrain. Book Two ends with Sato exposing Juliette and Gonzague making love, Juliette coming down with typhus and Gonzague's escape. Stephan leaves the camp with Haik, on a mission to contact the American envoy in Antioch.

Book Three: Disaster, Rescue, The End
The scene changes to Constantinople and Johannes Lepsius's meeting with members of a dervish order called the ″Thieves of the Heart.″ It was important to Werfel to show that the Young Turks and the Three Pashas did not represent Turkish society. It was also important to show that Enver was right on certain points in regard to the Western powers, which had exploited Turkey and treated it throughout the nineteenth century as a virtual colony. Most of the first chapter of Book Three is written as a dramatic dialogue, during which Lepsius witnesses the Sufi whirling devotions and learns first-hand about the deep resentment against the West—especially Western "progress" as instituted by the Young Turks—and the atrocities in concentration camps set up in the Mesopotamian desert for deported Armenians. He also encounters Bagradian's friend, Agha Rifaat Bereket. The latter agrees to bring supplies to Musa Dagh, purchased with funds collected by Lepsius in Germany. The episode ends with Lepsius witnessing Enver and Talaat being driven past in a limousine. When the car suffers two loud tire punctures, Lepsius at first thinks they have been assassinated (which foreshadows the real deaths of Talaat and Djemal by Armenian assassins).

The chapter that follows resumes with Stephan and Haik. They encounter the inshaat taburi, notorious forced labor details composed of Armenian draftees into the Ottoman Army and travel through a swamp, where Stephan and Haik form a real friendship. It is cut short, when Stephan falls ill; he is cared for by a Turkmen farmer, another of the righteous Muslims that Werfel represents in The Forty Days of Musa Dagh. Too sick to continue on the mission to Antioch, Stephan is returned to Yoghonoluk, which has been resettled by Muslim refugees, from war zones of the Ottoman Empire. Stephan is discovered to be Bagradian's son and a spy and is brutally murdered.

Stephan′s death causes Bagradian to withdraw for a time, during which Turkish soldiers capture the last of the Armenian livestock. This disaster opens rifts in Musa Dagh′s society and resolve. Other setbacks follow; with the arrival of a seasoned Ottoman general from the Gallipoli front, as well as reinforcements from the regular army. The Ottomans begin to tighten the noose around Musa Dagh. Bagradian recovers from his grief, to form guerrilla bands to disrupt the Ottoman advance and buy more time. No ships have been sighted and attempts to contact the Allies or to seek the diplomatic intercession of the United States, still a neutral power, or Turkey's ally, Imperial Germany, come to naught.

Bagradian derives strength and comfort from Iskuhi, who has volunteered to care for Juliette. Iskuhi sees the end coming and the likelihood that their love entails dying together, not a life. When the Agha′s mission arrives, he finds the Armenians starving. He can do little though, since the red-haired müdir has confiscated most of the supplies, that were intended for the Armenians as a humanitarian gesture, approved by Turkey's highest religious authority. The camp, filled with smoke from the forest fires, inspires a vision in him that anticipates the Holocaust and the death camps of World War II.

The Armenian camp and resistance faces its greatest challenge from within, when criminal elements among the Ottoman Army deserters—whom Bagradian allowed to help in Musa Dagh's offense—go on a rampage. As Ter Haigasun prepares to celebrate a mass to ask for God's help, the deserters set the altar on fire and the resulting conflagration destroys much of the Town Enclosure, before the uprising is suppressed by Bagradian's men.

The Ottomans see the fire and prepare for the final assault. Oskanian leads a suicide cult, for those who do not want to die in enemy hands, given the Turks′ reputation for violent reprisals. The little teacher refuses to jump off a cliff, after fending off the last of his followers. Soon after, he discovers the large Red Cross distress flag, the Armenians flew to attract Allied ships and sights the French cruiser Guichen in the fog. It had diverted course after its watch spotted the burning of the Armenian camp on Musa Dagh. As Oskanian waves the flag, the warship begins shelling the coast. Soon more ships come. The Turks withdraw and the Armenians are rescued.

Bagradian remains behind after ensuring that the people he led, Juliette and Iskuhi are safely aboard the French and British ships. His reasons are complex and can be traced throughout the novel to the realization that he cannot leave and go into exile again in an internment camp in Port Said, Egypt. He now imagines that Iskuhi follows him back up Musa Dagh from the sea. On the way, he experiences a divine presence and confronts the cross on his son's grave. He is followed by a skirmishing party of Turkish troops. They approach in a crescent—which alludes to the battle formations of the Ottoman armies of the past—and kill him.

Background
Werfel had previous military experience in Galicia and used his knowledge when writing battle scenes.

Characters

 * Gabriel Bagradian - An Armenian from the local village who was raised in France
 * Juliette Bagradian - Gabriel's French wife. She experiences an illness but survives and is taken on the ship to Port Said.
 * Stephan Bagradian - Gabriel's young son. He defends the village and is killed by Turkish soldiers.
 * Sarkis Kilikian also known as "The Russian"

Initial reception and censorship
The Forty Days of Musa Dagh received much critical praise from Austrian and Swiss reviewers when the book, over 900 pages long, was published in two volumes in November 1933. For several years the novel could be read in Nazi Germany despite book burnings that included Werfel's previous titles and the increasing number of proscribed Jewish authors and their books. In February 1934, with strong pressure by the Turkish government in Ankara, The Forty Days of Musa Dagh was banned in the Third Reich. Das Schwarze Korps, the official newspaper of the SS, painted Werfel as an agent who created the "alleged Turkish horrors perpetrated against the Armenians" and also denounced "America's Armenian Jews for promoting in the U.S.A. the sale of Werfel's book." Through a decree issued by Prime Minister İsmet İnönü in January 1935, the book was banned in Turkey. It was translated into Turkish and published in Turkey only in 1997, by Belge Publishing House under the name Musa Dağ'da Kırk Gün.

Werfel was devastated by the loss of his German readership, but the novel was soon published in an English translation in November 1934, which sold 34,000 copies in the first two weeks. This translation by Geoffrey Dunlop omitted scenes of violence and rape that Dunlop believed would cause anxiety in readers in the United States and the United Kingdom and descriptions of the culture and society of the Armenians. According to Neal Ascherson, Werfel was only interested in collecting the royalties paid from the translations and that otherwise he did not care what happened to the English version, and that the public at the time did not draw attention to the abridgement.

Louis Kronenberger, the editor of the New York Times Book Review described The Forty Days of Musa Dagh as "A story which must rouse the emotions of all human beings ... Werfel has made it a noble novel. Unlike most other important novels, Musa Dagh is richest in story, a story of men accepting the fate of heroes ... It gives us the lasting sense of participation in a stirring episode of history. Magnificent." Kronenberger also recognized the novel's filmic qualities: "If Hollywood does not mar and mishandle it, it should make a magnificent movie." Few realized that the English translation had been abridged to fit one volume and that controversial passages had been omitted, to streamline the narrative and make the book less offensive to readers. Other translations, among the 34 produced were also redacted. The book was never censored in a way that placated the Turkish government, which felt Werfel misrepresented what had happened in 1915. The Forty Days of Musa Dagh posed a small public relations disaster for the modern, secular Republic of Turkey of its president, Mustafa Kemal Atatürk, who sought to distance Turkey from the old Ottoman past and the Young Turks who lost most of the empire during World War I. A film version posed an even greater threat.

Importance to Armenians, Jews, and other victims of genocide
Werfel's novel made him famous among Armenians, according to his biographer, Peter Stephan Jungk. Citing Father Bezdikian, an Armenian priest living in Venice, Italy whose grandfather served and fought during the siege: "Franz Werfel is the national hero of the Armenian people. His great book is a kind of consolation to us—no, not a consolation, there is no such thing—but it is of eminent importance to us that this book exists. It guarantees that it can never be forgotten, never, what happened to our people." Ascherson stated: "For Armenians, it remains unique and precious: for all its minor inaccuracies, it's the one work whose urgency and passion keeps the truth of their genocide before the eyes of a world that would prefer to forget about it."

Many Armenians in the Diaspora read the abridged English edition for years, which lacked many of the scenes of Armenian life. With these scenes restored in the revised and expanded edition of 2012, the novel's meaning to Armenians is all the more poignant, as Vartan Gregorian writes in the preface: "The Forty Days of Musa Dagh was meant as a memorial set against a new historical phenomenon that had been described as the murder of a nation, the extermination of a race, and the assassination of Armenia ... ". The novel, in its expanded form, has even more relevance as a document of genocide. "[I]t is truly remarkable," continues Gregorian, "to consider how closely The Forty Days of Musa Dagh foreshadows the cataclysm that would befall the Jews of Germany and Eastern Europe at the hands of the Nazis." As historian and scholar Yair Auron writes, "The reader of this extraordinary novel will find it difficult to believe that the book was written before the Holocaust."

The surviving Armenian community of Istanbul denounced Werfel's book and burned it in a public ritual, similar to contemporary Nazi book burning ceremonies in Germany and elsewhere. A group of Armenian intellectuals gathered around in the courtyard of Istanbul's Pangalti Armenian Church and set fire to copies of the book. The Jewish community of Istanbul similarly denounced Werfel in 1934. According to Ascherson, the Armenian and Jewish communities in Istanbul were coerced into criticizing the novel.

Jews worldwide welcomed The Forty Days of Musa Dagh and readily saw the parallels Werfel (himself Jewish) had drawn between them and the Armenians, especially the resentment and persecution both societies endured in the nineteenth century, when each benefited and suffered from governmental liberalization policies and the economic success that such policies engendered along with the Industrial Revolution. The old Armenian saying in the novel—"To be an Armenian is an impossibility"—resonated with Jews living in Europe and Palestine.

The novel's importance grew during World War II. Musa Dagh has often been compared to resistance in Jewish ghettos. Marcel Reich-Ranicki wrote that it was the most-read book in the Warsaw ghetto. The Białystok Ghetto population found itself in a similar situation as Musa Dagh, in February 1943, when Mordecai Tannenbaum, an inmate of the Vilna ghetto, was sent with others to organize resistance there. The record of one of the meetings organizing the revolt, suggests that the novel was used as a guide for resistance: "Only one thing remains for us: to organize collective resistance in the ghetto, at any cost; to consider the ghetto our 'Musa Dagh', to write a proud chapter of Jewish Białystok and our movement into history" noted Tannenbaum. Copies of the novel were said to have been "passed from hand to hand" among the ghetto defenders who likened their situation to that of the Armenians. According to extensive statistical records kept by Herman Kruk at the Vilna ghetto library, the book was the most popular among ghetto readership, as is recounted in memoirs by survivors who worked at the library.

Many Jews in the Palestinian Mandate contemplated retreating to Mount Carmel and organizing a defense line, due to prospects of a Nazi invasion of the region. Known alternatively as the "Northern Program", "The Carmel Plan", "The Massada Plan", and the "Musa Dagh Plan", it was envisioned as a bastion against Nazi incursions, to hold out for at least three to four months. Meri Batz, one of the leaders of the Jewish militias who had also read the novel, stated that the community wished to "turn Carmel into the Musa Dagh of Palestinian Jewry ... We put our faith in the power of the Jewish 'Musa Dagh' and were determined to hold out for at least three to four months."

Revised translation
James Reidel revised the Dunlop translation by including all of the material previously removed, and this new edition was published in the United States and the United Kingdom, with UK publishing occurring in 2018. Penguin Books did not include the introduction in the UK edition, something Ascherson criticized.

Historical notes
The Armenian resistance on Musa Dagh lasted, contrary to the book's title, for 53 days. The change of the days by Werfel "called up biblical associations: the flood lasted forty days and nights; Moses spent forty days and nights on Mount Sinai; Israel's time in the wilderness was forty years."

Werfel's account of the French navy's role in the evacuation of Musa Dagh in September 1915 is based on official French diplomatic and naval archives that he secured through contacts at the French embassy in Vienna. Those ships that took part are accurately named, and included the French protected cruiser Guichen under Commander Jean-Joseph Brisson and the armored cruiser Jeanne D'Arc under the command of Vice-Admiral Louis Dartige du Fournet, who received a posthumous medal from the French government in October 2010 for his role in transporting the 4,000 people left on the Damlayik to Port Said, Egypt.

Werfel's Bagradian was inspired by the town's defense leader,. Unlike Bagradian, however, he survived the siege and moved to Beirut, Lebanon several years after the war ended and lived there for the next 70 years, becoming a doctor and serving in Lebanon's government for several decades as a quiet and shy member of Parliament. Derkalousdian died at the age of 99 in 1986.

Objections and obstructions of initial attempts
Before The Forty Days of Musa Dagh was published in English, Irving Thalberg of Metro-Goldwyn-Mayer (MGM) secured the film rights from Werfel's publisher, Paul Zsolnay Verlag and had the novel translated for the studio scriptwriters. Despite reservations on the part of legal counsel, who felt such a film would offend the Turkish government, MGM started pre-production work in 1934 and tentatively cast a rising young star named Clark Gable to play Gabriel Bagradian. When reports surfaced in the Hollywood press about the film late in 1934, Turkey's ambassador to the United States, Mehmed Münir Ertegün, was ordered by his government to prevent it from being made. As the successor state of the Ottoman Empire, Turkey was intent on suppressing any mention of the Armenian Genocide.

Ertegün turned to the U.S. State Department and told it that he "earnestly hoped that [the movie studio] would desist from presenting any such picture, which would give a distorted version of the alleged massacres." The State Department tried to assure Ertegün that the film would not include any material that would offend Turkey but Ertegün remained adamant. The State Department attempted to mollify the Turkish government by presenting it with the final script, although this did not satisfy it either. The scriptwriters offered several watered-down versions but the Turkish government refused to budge.

MGM's production chief was astonished by this level of interference by a foreign power, declaring, ″To hell with the Turks, I'm going to make the picture anyway.″ The fact that MGM planned to move forward with the production further enraged Turkey. Speaking to an MGM official, Ertegün threatened that ″If the movie is made, Turkey will launch a worldwide campaign against it. It rekindles the Armenian Question. The Armenian Question is settled.″ Ertegün′s threats were soon being echoed across the Turkish press. In a September 3, 1935 editorial, colored with anti-Semitic overtones, the Istanbul Turkish-language daily Haber opined:

"We will have to take our own steps in case the Jewish people fail to bring the Jewish company (MGM) to reason . . . The Forty Days of Musa Dagh presents the Turco-Armenian struggle during the World War in a light hostile to the Turks. Its author is a Jew. This means that MGM, which is also a Jewish firm, utilizes for one of its films a work by one of its companions . . . Declare a boycott against pictures by MGM . . . Jewish firms which maintain commercial relations with our country will also suffer if they fail to stop this hostile propaganda."

In the face of this pressure, Louis B. Mayer of MGM, conceded to Turkish demands and the film was scrapped. Michael Bobelian, a lawyer and a journalist, observes that the ″Musa Dagh incident is critical in understanding the evolution of Turkey's campaign of denying the crimes committed by the Young Turks ... The standoff with MGM revealed that Turkey would pressure foreign governments to go along with its policy of denial.″

In the early 1960s, an English publisher, Gordon Landsborough, attempted to produce a film version of the book and wrote a film treatment for it. When he discovered that MGM still held the film rights he attempted to buy them but was unsuccessful as MGM announced their interest in filming it, using a script by Carl Foreman. Landsborough wrote in 1965 of rumours of political pressure holding up that new MGM production. Another movie version was mentioned in the 1967 sales film Lionpower from MGM, as being slated for production in 1968–1969 but nothing came of this version either.

1982 film
In the 1970s, MGM sold its rights to The Forty Days of Musa Dagh and after several abortive attempts, the novel was finally turned into a movie in 1982, directed by Sarky Mouradian with screenplay by Alex Hakobian. It was a low-budget, low-profile production that seriously abridged the original.

Subsequent attempts and adaptations
In 2006, Sylvester Stallone expressed his desire to direct a film about Musa Dagh, according to Professor Savaş Eğilmez of Atatürk University. An e-mail campaign sponsored by the Armenian-genocide denying Foundation for the Struggle Against Baseless Allegations of Genocide (ASİMED), pressured Stallone into not proceeding with the film. In early 2009, reports surfaced that Mel Gibson was also considering directing a documentary and appearing in the adaptation of Werfel's novel but was dissuaded after receiving 3,000 e-mails from a Turkish pressure group.

In 2016, a feature film, The Promise, starring Christian Bale, appeared, which bears some resemblance to Werfel′s novel and draws from the same source material.

title: The Forty Days of Musa Dagh


text:
Talk:Broadway Limited

Untitled
need to cover this: On Oct. 31, 1994, the Broadway Limited began using Conrail's Youngstown line, a former PRR route, to reach Pittsburgh from New Castle.

As for timetable data, does that include the scheduled times or not? I've got them for 1958 and 1964, if that would help.--Foxhound 07:26, 25 January 2006 (UTC)

Consist info
Where would the consist go? I've got some data from either the 1950s or 1960s that would expand that area, so if anyone's got a policy-in-place, let me know.--Foxhound 04:06, 13 September 2006 (UTC)

 * It should go in the section entitled "Equipment used."--Lord Kinbote 04:30, 13 September 2006 (UTC)

Hudson Terminal
I think (under the 1958 Station Stops) someone is reading their 1958 timetable wrong. PRR generally put "Hudson Terminal" in the timetables, but this was not through service by any stretch. Hudson Terminal was the Lower Manhattan loop terminal for the (eventually) PRR-owned Hudson and Manhattan Railroad. H&M's service was later taken up by the Port of New York Authority (now the PA of New York and New Jersey) as PATH, and Hudson Terminal was razed to make way for the World Trade Center. Hudson Terminal passengers would have had to transfer at Exchange Place to the cars that would be added to the Broadway Limited at Newark Penn, or ride the Hudson Tube trains all the way to Newark Penn and meet the Broadway Limited there. H&M trains then, just like PATH trains today, were strictly rapid-transit trains. I'm going to edit the statement in the main article, but I thought I should explain why. Mjj237 20:28, 21 October 2006 (UTC)
 * Someone probably did read their '58 timetable wrong. I appreciate your detailed explanation here, 'cause otherwise, it'd be wrong, and we don't want that. Thanks for correcting my addition. --Foxhound 17:31, 9 March 2007 (UTC)

Nice job
I just wanted to point out that as one who has actually taken this train, I can attest that the editors of this article have done quite a nice job. One thing that you may want to mention is that in the 1970s this was one of two New York-Chicago routes, the other being the Lake Shore Limited. The Broadway Limited was a few hours shorter. You boarded at about 5 pm and arrived in Chicago in the morning, usually several hours late. The Lake Shore Limited, which went north along the Hudson River (as in the film North by Northwest), took a few hours longer. There was Slumbercoach service on the Broadway Limited for a nominal fee, and one passed through what was then the steel mill area of Harrisburg, Pennsylvania in the middle of the night, where one changed engines. Then one awoke in the corn fields of Indiana. Quite an experience. Wish I could contribute more than unusable original research to this. Coretheapple (talk) 00:48, 14 November 2013 (UTC)

Motive power
A raw list of motive power, even if sourced, is probably unencyclopedic and inappropriate for this article. If it is included, it should be done as prose, within the existing Equipment section. See Rocky Mountain Rocket for an example. Mackensen (talk) 17:39, 5 February 2019 (UTC)

title: Talk:Broadway Limited


text:
Wikipedia:Articles for deletion/Apok

Apok
A minor, unimportant aspect of a role-playing game. Rifts itself is just barely popular enough to warrant an encyclopedia article (I created the original Rifts stub). Furthermore, there are very few pages that deal even with major aspects of the game, much less something infinitessimally minor like this character Apok. Fishal 01:07, 13 Oct 2004 (UTC)
 * Delete: Gamecruft. Geogre 01:37, 13 Oct 2004 (UTC)
 * Ugh. Delete. Gamaliel 05:48, 13 Oct 2004 (UTC)
 * Delete. Cruft. Fancruft. Bad. --Improv 14:54, 13 Oct 2004 (UTC)

title: Wikipedia:Articles for deletion/Apok


text:
Wikipedia:Articles for deletion/Jonathan Corporation

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was - kept

Jonathan_Corporation
Fiction: there is a Jonathan Corporation, but it does something to do with shipping. And as The Anome notes, Patrick Bateman is a character from American Psycho. Markalexander100 01:07, 13 Oct 2004 (UTC)
 * Delete: More than some fiction. I believe this was the name of some superunknown company in one or other of the science fiction TV shows.  Doesn't matter, though, because it's just a hoax and possibly a speedy delete candidate. Geogre 01:38, 13 Oct 2004 (UTC)
 * Delete. And I think Luis Carruthers was also a character from American Psycho. —No-One Jones (m) 05:10, 13 Oct 2004 (UTC)
 * Either write a new article about the non-fictional corporation, or delete. -- The Anome 06:51, 13 Oct 2004 (UTC)

 * Keep for the moment, but clean up. I've heard this company named elsewhere quite a long while ago, and from memory it had something to do with recruiting mercenaries along the lines of that better known 1990s 'Sandline' group (and their stuff up in PNG), but more to do with Central Africa. Katanga in the early-mid 1970s might be it. Not sure about Bateman, but the head honcho was a Patrick something-or-other. The Nugan-Hand Bank comes into play too. Any help? User:Pavlvs-rex 11:26, 13 Oct 2004 (UTC)
 * Delete. Not notable. --Improv 14:55, 13 Oct 2004 (UTC)
 * Delete. not notable. -02:59, 2004 Oct 17 (UTC)
 * Delete. Nothing to go on with this. Krupo 06:07, Oct 17, 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Duntroon, Australian Capital Territory

Duntroon is a suburb of the city of Canberra in the Australian Capital Territory.

History
Robert Campbell's property Duntroon was situated on the limestone plains of New South Wales in the area that is now covered by the ACT.

Given government compensation for the loss of his ship the Sydney while under government charter, Robert Campbell, sent James Ainslie to collect 700 sheep from the government flocks at Bathurst and to go southward looking for suitable pasture.

Ainslie reached the Limestone Plains and selected a site on the slopes above the Molonglo River where the Royal Military College now stands. In 1825 Campbell applied for and received his grant, naming it "Duntroon" after the family castle, Duntrune Castle on Loch Crinan in Argyll, Scotland. Duntrune Castle on Loch Crinan in Argyll, Scotland was sold to clan Malcolm in 1792, long before this.

In 1833, Campbell built "Duntroon House" out of stone with wide verandahs. In 1862 Robert's son George added a large two-storey extension. In its final form the house contained twenty rooms and is a great example of colonial architecture. It now serves as the officers' mess for the Royal Military College, Duntroon and is situated in the suburb of Duntroon, Canberra.

"Duntroon House" was the centre of activity for Campbell's station. Gardens were established around the house including many exotic trees and an intricate maze was grown also a conservatory, orchard, vineyard and dairy farm were built in the surrounding area.

Duntroon was recommended as the site for Australia's Military College by Lord Kitchener, who had been commissioned in 1910 to report on the country's defence needs. Initially the government rented Duntroon for two years before obtaining the title to Duntroon and its surrounding 360 acres (1.5 km2) through the creation of the Australian Capital Territory.

On 27 June 1911 the Royal Military College opened at Duntroon.

Prisoner of War National Memorial
The Prisoner of War National Memorial is located at Duntroon. It consists of the Changi Chapel, which was originally constructed by Australian and British prisoners of war in Singapore in 1944. It was dismantled at the end of the war, packed away and taken to a military store in Australia. It was reconstructed using old diagrams and notes from the architect Hamish Cameron-Smith and unveiled in 1988 to commemorate the POWs.

Geology
In the east calcareous shales from the Canberra Formation is overlain by Quaternary alluvium. This rock is the limestone in the original name of Canberra "Limestone Plains". The Narrabundah Ashstone is part of this formation and can be seen in the easternmost corner. In the higher west including Mount Pleasant is grey quartz andesite from the Ainslie Volcanics. Around Australian Defence Force Academy is grey dacite from the Ainslie Volcanics.

Geology of the Australian Capital Territory covers more of the geology of the ACT.

title: Duntroon, Australian Capital Territory


text: User talk:82.52.8.139

title: User talk:82.52.8.139


text:
Internet Storage Name Service

In computing, the proposed Internet Storage Name Service (iSNS) protocol allows automated discovery, management and configuration of iSCSI and Fibre Channel devices (using iFCP gateways) on a TCP/IP network.

Features
iSNS provides management services similar to those found in Fibre Channel networks, allowing a standard IP network to operate in much the same way that a Fibre Channel storage area network does. Because iSNS is able to emulate Fibre Channel fabric services and manage both iSCSI and Fibre Channel devices, an iSNS server can be used as a consolidated configuration point for an entire storage network. However, the use of iSNS is optional for iSCSI while it is required for iFCP. Additionally, an iSNS implementation is not required by the standard to provide support for both of these protocols.

Components
The iSNS standard defines four components:

 * The iSNS Protocol: iSNSP is a protocol that specifies how iSNS clients and servers communicate. It is intended to be used by various platforms, including switches and targets as well as server hosts.

 * iSNS Clients: iSNS clients are part of iSNSP aware storage devices. iSNS clients initiate transactions with iSNS servers using the iSNSP, register device attribute information in a common Discovery Domain (DD), download information about other registered clients and receive asynchronous notification of events that occur in their DD(s).

 * iSNS Servers: iSNS servers respond to iSNS protocol queries and requests made by iSNS clients using the iSNSP. iSNS servers initiate iSNSP State Change Notifications and store properly authenticated information submitted by a registration request in an iSNS database.

 * iSNS Databases: iSNS databases are the information repositories for iSNS server(s). They maintain information about iSNS client attributes; while implementations will vary, a directory-enabled implementation of iSNS, for example, might store client attributes in an LDAP directory.

Services
An iSNS implementation provides four primary services:

 * Name registration and storage resource discovery
 * Discovery domains and login control
 * State-change notification
 * Bidirectional mappings between Fibre Channel and iSCSI devices

Name registration and storage resource discovery
iSNS implementations allow all entities in a storage network to register and query an iSNS database. Both targets and initiators can register with the iSNS database, and each entity can inquire about other initiators and targets. For example, a client initiator can obtain information about target devices from an iSNS server.

Discovery domains and login control
Administrators can use the discovery domains to divide storage nodes into manageable, non-exclusive groups. By grouping storage nodes, administrators are able to limit the login process of each host to the most appropriate subset of targets registered with the iSNS, which allows the storage network to scale by reducing the number of unnecessary logins and by limiting the amount of time each host spends establishing login relationships.

Each target is able to use login control to delegate their access control and authorization policies to an iSNS server. Such delegation is intended to promote centralized management.

State-change notification
The state-change notification (SCN) service allows an iSNS server to issue notifications about each event that affects storage nodes on the managed network. Each iSNS client may register for notifications on behalf of its storage nodes, and each client is expected to respond according to its own requirements and implementation.

Bidirectional mappings between Fibre Channel and iSCSI devices
Because the iSNS database stores naming and discovery information about both Fibre Channel and iSCSI devices, iSNS servers are able to store mappings of Fibre Channel devices to proxy iSCSI device images on the IP network. These mappings may also be made in the opposite direction, allowing iSNS servers to store mappings from iSCSI devices to proxy World Wide Names (WWNs).

title: Internet Storage Name Service


text:
User talk:TomCusters

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:08, Oct 13, 2004 (UTC)

title: User talk:TomCusters


text:
Talk:Broadway Limited/to do

 * Expand the history narrative, noting its competition with New York Central's 20th Century Limited.
 * Add expand the data on the train's consists throughout its operational years
 * Add timetable data
 * Add a route map
 * Add a photo or two of the train in action
 * Add colour photos of the trains streamlined consists. There were two: the 1938 Lowey and the latter "revamp" in 1949.--Jslasher 22:43, 31 March 2006 (UTC)

title: Talk:Broadway Limited/to do


text:
User talk:Cmcasey

Welcome to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful. In addition, you might want to add yourself to the new user log; if you made any edits before getting an account, you may wish to assign those to your username.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~. This will automatically add your name and the time after your comments.

Finally, here are some open tasks:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page! [[User:Neutrality|Neutrality (hopefully!)]] 01:08, Oct 13, 2004 (UTC)

title: User talk:Cmcasey


text:
Talk:DJ Grandmaster Flash

Citation removed
A citation and its source was removed from this article. This is unacceptable. See Cite sources and Verifiability (and Plagiarism). Hyacinth 01:10, 13 Oct 2004 (UTC)

title: Talk:DJ Grandmaster Flash