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Aparajito

Aparajito (অপরাজিত Ôporajito; The Unvanquished) is a 1956 Indian Bengali-language drama film written and directed by Satyajit Ray, and is the second part of The Apu Trilogy. It is adapted from the first half of Bibhutibhushan Bannerjee's novel Aparajito. It starts off where the previous film Pather Panchali (1955) ended, with Apu's family moving to Varanasi, and chronicles Apu's life from childhood to adolescence in college.

When Ray started making Pather Panchali, he had no plans of following it up with a sequel. The critical and commercial success of the film prompted him to start making Aparajito. Unlike his previous venture, where he stayed faithful to the novel, Ray took some bold artistic decisions here, such as portraying the relationship between Apu and his mother in a very different manner from the book. As a result, in contrast to its predecessor, the film was not received well locally; Ray recalled that "as for the suburban audience, it was shocked by the portrayal of the mother and son relationship, so sharply at variance with the conventional notion of mutual sweetness and devotion".

Critical reception outside of India, however, was overwhelmingly positive. It won 11 international awards, including the Golden Lion and Critics Award at the Venice Film Festival, becoming the first ever film to win both. Veteran film-maker Mrinal Sen said he considers it to be one of the best Indian movies he had ever seen. Bosley Crowther said that "it is done with such rare feeling and skill at pictorial imagery, and with such sympathetic understanding of Indian character on the part of Mr. Ray, that it develops a sort of hypnotism for the serene and tolerant viewer". The critical acclaim this movie received encouraged Ray to make another sequel, Apur Sansar (1959), which was equally well received, and thus concluded one of the most critically acclaimed movie trilogies of all time, as Roger Ebert later pointed out: "The three films ... swept the top prizes at Cannes, Venice and London, and created a new cinema for India – whose prolific film industry had traditionally stayed within the narrow confines of swashbuckling musical romances. Never before had one man had such a decisive impact on the films of his culture".

Plot
In 1920, Apu and his parents, who have left their home in rural Bengal, have settled into an apartment in Varanasi where his father Harihar works as a priest. Harihar is making headway in his new pursuits: praying, singing, and officiating among the ghats on the sacred river Ganges. Harihar catches a fever and soon dies, however, and his wife Sarbajaya is forced to begin work as a maid. With the assistance of a great-uncle, Apu and his mother return to Bengal and settle in the village Mansapota. There Apu apprentices as a priest, but pines to attend the local school which his mother is persuaded to allow. He excels at his studies, impressing a visiting dignitary, and the headmaster takes special interest in him.

Within a few years, the teenaged Apu has done well enough to receive a scholarship to go to Kolkata for further studies. Sarbajaya feels abandoned and frightened by this, but gives in and lovingly packs his suitcase. Apu travels by train to the city and starts working at a printing press, after school hours, to subsist. He becomes more accustomed to the city life and feels out of place in the village. Sarbajaya expects visits from him, but he visits only a few times. Her loneliness and yearning for her son grow. She becomes seriously ill, but does not disclose her illness to Apu, lest his studies be disturbed. When Apu finally realises her poor health, he returns to the village to find that she has died. Bhabataran, Apu's great uncle, requests that he stay there and perform last rites of his mother. Apu replies that he will perform the last rites in Kolkata and begins his journey back to the city.

Cast

 * Pinaki Sengupta as Apurba "Apu" Roy (boy)
 * Smaran Ghosal as Apu (adolescent)
 * Kanu Banerjee as Harihar Roy, Apu's father
 * Karuna Banerjee as Sarbajaya Roy, Apu's mother
 * Ramani Ranjan Sengupta as Bhabataran, Sarbajaya's uncle and Apu's great uncle
 * Charu Prakash Ghosh as Nanda Babu
 * Subodh Ganguly as Headmaster

Origin and development
Aparajito was based on the last fifth of the novel Pather Panchali and the first third of the novel Aparajito by Banerjee. The novel Pather Panchali is a classic bildungsroman (a type of coming-of-age story) in the canon of Bengali literature. It first appeared as a serial in a Calcutta periodical in 1928 and was published as a book the next year. According to Ray's biographer, Robinson, among the three films of the Apu trilogy, Aparajito bears the closest resemblance with its literary source. Banerjee's depiction of the mother-son relation fascinated Ray. Robinson writes: "Their relationship had some echoes on a purely psychological plane for him". Ray was in particular moved by Banerjee's "daring and profound revelation", that "for some time after Sarbajaya's death Apu becomes familiar with a strange sensation ... his immediate reaction had been one of pleasure, like a surge of release ... a delight in the breaking of bonds ... there was no doubt he loved his mother, but the news of her death had at first brought him pleasure—he couldn't avoid the truth". Ray's wife Bijoya also voiced her concerns when she discovers the plot, asking him "Do you think people in our country will accept a son's relief at having won his freedom at his mother's death?" Ray was aware of the risk, saying "let's see what happens. After all, later Apu was full of regret at his initial reaction upon his mother's death. And as he realized, her death actually came as a very big blow to him".

Script and crew
The novels had a female character named Leela who influenced Apu's alienation from his mother when he was living in Calcutta. After rejecting two aspirants, Ray found one actress to portray the character, but the actress was not allowed to act in the film by her fiancé. Eventually, Ray removed the character from the script reluctantly. Ray himself later commented that he thought Leela, with whom Apu had an understated affair, was a strong reason behind Apu's attraction of Calcutta, and that without Leela's presence in the film, Apu's attraction to Calcutta might seem to some extent artificial: "I'm never sure, whether Apu's attachment to the city without the element of the girlfriend is strong enough, the pull that the city exerts is a bit abstract". However, when he watched the movie later, he did not feel the absence of Leela.

Subrata Mitra, the cinematographer for The Apu Trilogy, made his first technical innovation with this film: the application of bounce lighting on large scale diffusers to match studio sets with location shooting. According to the Internet Encyclopedia of Cinematographers:

"The fear of monsoon rain had forced the art director, Bansi Chandragupta, to abandon the original plan to build the inner courtyard of a typical Benares house in the open and the set was built inside a studio in Calcutta. Mitra recalls arguing in vain with both Chandragupta and Ray about the impossibilities of simulating shadowless diffused skylight. But this led him to innovate what became subsequently his most important tool—bounce lighting. Mitra placed a framed painter white cloth over the set resembling a patch of sky and arranged studio lights below to bounce off the fake sky."

Critical reception
The film has been enthusiastically received by critics. James Berardinelli wrote:

"Aparajito was filmed forty years ago, half way around the world, yet the themes and emotions embedded in the narrative are strikingly relevant to modern Western society (thus explaining why it is called a 'timeless classic'). ... Aparajito is an amazing motion picture. Its rich, poetic composition is perfectly wed to the sublime emotional resonance of the narrative. For those who have seen Pather Panchali, Aparajito provides a nearly-flawless continuation of the journey begun there. Yet, for those who missed Ray's earlier effort, this film loses none of its impact. On its own or as part of the Apu Trilogy, Aparajito should not be missed."

Roger Ebert said that "the relationship between Apu and his mother observes truths that must exist in all cultures: how the parent makes sacrifices for years, only to see the child turn aside and move thoughtlessly away into adulthood. ... It is about a time, place and culture far removed from our own, and yet it connects directly and deeply with our human feelings. It is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray".

During the Venice Film Festival, Penelope Houston, who was among the jury, broke protocol and told Ray personally: "I think it was magnificent". The chairman of the award ceremony, René Clair, was initially reluctant to give it the coveted prize; he eventually acquiesced, but not before saying to Houston: "I hope Ray will go away and learn how to make films!" The Japanese director Akira Kurosawa had an important film entered in that year's festival competition, Throne of Blood (Kumonosu-jō), which lost to Ray's film. However, many years later, Kurosawa's daughter generated a list of 100 films admired by him; this list quoted him as having affirmed the jury's choice as "Absolutely right" (though he misidentified the winning film as Pather Pancheli).

Emanuel Levy said: "Made in 1956 (and released in many countries a year later), 'Aparajito' indicates India's processes of modernization and industrialization and their inevitable impact on both individual and culture. Nonetheless, in his upbeat outlook, Ray suggests that individuals can rise to the occasion and might not be compromised by the corruption that characterizes the society at large". Bosley Crowther, who had earlier given a lukewarm response to Pather Panchali, saying that the film was so amateurish that "it would barely pass for a rough cut in Hollywood", praised it, saying that "Mr. Ray's remarkable camera catches beauty in so many things, from the softness of a mother's sad expression to the silhouette of a distant train, that innuendos take up the slack of drama. Hindu music and expressive natural sounds complete the stimulation of the senses in this strange, sad, evocative film". At Rotten Tomatoes, Aparajito has a 94% fresh rating based on an aggregate of 18 reviews with an average rating of 8.7/10.

Awards and nominations
Aparajito won the Golden Lion at the 1957 Venice Film Festival and, to date, remains the only film sequel to ever win the grand prize at the prestigious Venice, Berlin or Cannes Film Festivals. Along with the Golden Lion, it received the Cinema Nuovo Award and the FIPRESCI Award Critics Award in the process becoming the first movie to win all three.

Ray also won the Golden Gate awards for Best Picture and Best Director at the San Francisco International Film Festival in 1958, along with the Critics Award for this film.

The film won the Bodil Award for Best Non-European Film of the Year at Denmark in 1967.

It won the Selznick Golden Laurel for Best Film at the Berlin International Film Festival.

It also received the FIPRESCI Award and Wington Award at the British Film Institute Awards at London Film Festival.

The film was nominated for the Best Film and Best Foreign Actress at the 1959 British Academy Film Awards.

Accolades and legacy
In 1992, Sight & Sound (the British Film Institute's film magazine) ranked The Apu Trilogy at No. 88 in its Critics' Poll of all-time greatest films, while Aparajito itself was ranked separately at No. 127 on the same list. In 2002, a combined list of Sight & Sound critics' and directors' poll results included Aparajito in its top 160. In 1998, the Asian film magazine Cinemayas critics' poll of all-time greatest films ranked The Apu Trilogy at No. 7 on the list. In 1999, The Village Voice ranked The Apu Trilogy at No. 54 in its Top 250 "Best Films of the Century" list, based on a poll of critics. In 2001, film critic Roger Ebert included The Apu Trilogy in his list of "100 Great Movies" of all time. In 2005, The Apu Trilogy was included in Time magazine's All-Time 100 Greatest Movies list.

Smaran Ghosal who played the role of adolescent Apu, at the age of 14, did only one more film, documentary Rabindranath Tagore (1961), also made by Ray, where he played young Rabindranath Tagore. Smaran died in 2008 in Kolkata, at the age of 64.

Aparajito was preceded by Pather Panchali (1955) and followed by Apur Sansar (The World of Apu) in 1959. Together, the three films constitute the Apu trilogy. Pather Panchali portrays the childhood of Apu in their ancestral house. Apur Sansar depicts Apu's adult life, his reaction to his wife's premature death, and his final bonding with his son whom he abandoned as an infant. Ray did not initially plan to make a trilogy: he decided to make the third film only after being asked about the possibility of a trilogy at the 1957 Venice Film Festival, where Aparajito won the Golden Lion. The film is considered as the richest of three in terms of its characterization. Apur Panchali (2014) is a Bengali film directed by Kaushik Ganguly, which depicts the real-life story of Subir Bannerjee, the actor who portrayed Apu in Pather Panchali.

According to Michael Sragow of The Atlantic Monthly in 1994: "The youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy, which Terrence Rafferty has rightly called 'cinema's purest Bildungsroman'". Across the world, filmmakers such as Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan and Wes Anderson have been influenced by The Apu Trilogy, with many others (such as Kurosawa) praising the work. After Aparajito, Ray went on to make 35 more films, including feature films, documentaries and shorts. He worked on scripting, casting, scoring, cinematography, art direction, editing and designing his own credit titles and publicity material. He developed a distinctive style of film-making based on visual lyricism and strong humanism, as in his Apu trilogy. Thus Ray established himself as an auteur of cinema.

Preservation
The Academy Film Archive preserved the entire Apu Trilogy in 1996, including Aparajito. In 2013, the video distribution company The Criterion Collection, in collaboration with the Academy of Motion Picture Arts and Sciences' Film Archive, began the restoration of the original negatives of the Apu trilogy, including Aparajito. These negatives had been severely damaged by a fire in London in 1993, and all film cans and fragments belonging to the Ray films were sent to the Motion Picture Academy for storage, where they lay unseen for two decades. It was discovered upon reexamination that, although many parts of the films were indeed destroyed by fire or the effects of age, other parts were salvageable. The materials were shipped to a restoration laboratory in Bologna, Italy: L'Immagine Ritrovata. For those parts of the negative that were missing or unusable, duplicate negatives and fine-grain masters from various commercial or archival sources were used. The Criterion Collection's own lab then spent six months creating the digital version of all three films, at times choosing to preserve the distinctive look of the films even at the cost of retaining some imperfections.

title: Aparajito


text:
Jacques-Louis Soret

Jacques-Louis Soret (30 June 1827 – 13 May 1890) was a Swiss chemist and spectroscopist. He studied both spectroscopy and electrolysis.

Career
Soret held the chairs of chemistry (1873-1887) and medical physics (1887-1890) at the University of Geneva.

Soret determined the chemical composition and density of ozone and the conditions for its production. He described it correctly as being composed of three oxygen atoms bound together.

Soret also developed optical instruments. He climbed Mont Blanc, where he was the first scientist to make actinometric measurements of solar radiation. These observations were published in the Philosophical Magazine in 1867.

In 1878, he and Marc Delafontaine were the first to spectroscopically observe the element later named holmium, which they identified simply as an "earth X" derived from "erbia". Independently, Per Teodor Cleve separated it chemically from thulium and erbium in 1879. All three researchers are given credit for the element's discovery.

The Soret peak or Soret band, a strong absorption band at approximately 420 nm in the absorption spectra of hemoglobin, is also named after him.

Death
Jacques-Louis Soret died in Geneva on 13 May 1890. His son was Charles Soret, a recognized physicist and chemist in his own right.

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

title: Jacques-Louis Soret


text: Category:University of Mumbai

title: Category:University of Mumbai


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666 (Aphrodite's Child album)

666 (subtitled The Apocalypse of John, 13/18) is the third and final studio album and only double album by Greek progressive rock band Aphrodite's Child, released in June 1972 by Vertigo Records. An ambitious double-LP concept album, ostensibly an adaptation of Biblical passages from the Book of Revelation, 666 was composed by keyboardist Vangelis and lyricist Costas Ferris.

Conflict within the band and with their record company over the album's uncommercial style led to its release being delayed for more than a year. Though it was eventually released to a lukewarm critical and commercial reception, it later attracted a cult following among fans and musicians and became the group's most acclaimed project. It has appeared on various lists of the greatest progressive rock albums of all time.

Conception and production
The concept for 666 was created by Vangelis and film director Costas Ferris, who served as the project's lyricist. Ferris cited as influences the nonlinear narrative style of the films Intolerance, Rashomon, Citizen Kane and The Killing, as well as the Beatles' Sgt. Pepper's Lonely Hearts Club Band and the Who's Tommy.

The central concept is a countercultural interpretation of the Book of Revelation, in which a circus show based on the apocalypse performs for an audience at the same time that the real apocalypse takes place outside the circus tent, and at the end the two merge into one. Ferris described the result as a "concept book", and stated that he intended for the narration to be looser than Tommy, but more rigid than Sgt. Pepper.

The band commenced work on the album at the Europa Sonor studio in Paris in late 1970. They took just over three months to record it and finished in early 1971. The overall cost of album's recording was estimated as US$80,000 or US$90,000. The recording was marked by tension, as the ambitious nature of Vangelis and Ferris' concept clashed with Demis Roussos, Loukas Sideras and Silver Koulouris' wish to continue with the psychedelic pop direction that had brought them success. Vangelis, Roussos and Sideras were also accompanied by their partners, further adding to the strain. Engineer Roger Roche reported that they enjoyed playing together but would not speak to each other after they finished a take. Vangelis blamed commercial pressures for the tensions, stating, "It was too sophisticated for the group. I realised that I couldn't follow the commercial way anymore, it was very boring."

Giorgio Gomelsky, in France at the time due to his work with Magma and Gong, made several contributions to the album and by his own description served as "a sort of 'acting producer. He believed that his contributions were not enough to warrant a producer's credit. Accordingly, on the album sleeve, he is credited as "passing by". Gerard Fallec, credited on the sleeve with "production coordination", did not play a part in the production process, but became involved during the year-long battle to have the record released. Ferris credited him with suggesting the album's final title and working on its sleeve. Additional contributors to the album included Harris Halkitis, who had filled in for Vangelis when the band toured in support of It's Five O'Clock, horn player Michel Ripoche, Greek painter Yannis Tsarouchis, actress Irene Papas, John Forst and Daniel Koplowitz.

Upon the album's completion, Mercury Records refused to release it, objecting to its uncommercial material and in particular the song "∞". In 1971, the band organised a "one-year anniversary party" at Europa Sonor, to protest the album not being released. According to Ferris, Salvador Dalí was in attendance at the party, and listened to the album. Dalí was highly impressed with the work, stating that it reminded him of the Sagrada Família, and planned an ambitious happening in Barcelona to mark the album's release. The plan was canceled when Dalí angrily broke off further contact after a friend of Ferris' referred to Gala Dalí as "Madame Éluard" during a visit in Rome.

Despite Vangelis editing "∞" from its original 39 minutes to merely five, the band continued to struggle with Mercury's obstruction. During this period, the band drifted apart. Vangelis released his first solo album Fais que ton rêve soit plus long que la nuit. Sideras began work on his own solo album, One Day, which featured arrangements by Koulouris. Roussos released his debut solo album Fire and Ice (also known as On the Greek Side of My Mind), obtaining a hit single in Europe with the song "We Shall Dance".

Eventually, Mercury agreed to release 666 on its progressive rock subsidiary Vertigo Records in June 1972. The album was promoted with one single, "Babylon"/"Break", released in November. Mercury also produced a four-song EP to encourage radio play, and ran a contest where they would give $666 to the first three promoters who could get their market's share of 40,000 sales. Although Melody Maker stated that "Break" "could easily have made the chart if it had been released as a single", neither the album nor single were commercially successful on release, the album failing to chart and the single only entering the Dutch charts at #24. Two years later, Vangelis said that the album sold well in the United States.

Vertigo also released a single vinyl edition of the album in Brazil, titled Break and leaving out most of the album's instrumental songs. An extended vinyl edition of 666 was released in Greece in 1974, containing alternative mixes of songs with music cut from other versions of the album, in a gatefold sleeve displaying the painting originally on the inner sleeve; some of these versions had appeared on the Brazilian release.

Songs
The music of 666 is more ambitious and experimental than previous Aphrodite's Child releases, containing greater use of electronic keyboards, studio experimentation, expanded instrumentation, and influences from genres such as jazz, musique concrète and world music. Reflecting this character, only six of the album's 24 songs have vocals and lyrics, four by lead singer Demis Roussos and two by Loukas Sideras. The rest are either instrumental, instrumentals with narration, or use vocals as an instrument. Although the album's material is often acknowledged as challenging and uncommercial, it has also been described as tuneful, "fun", and retaining elements of pop music. Authors Paul Hegarty and Martin Halliwell interpreted the album as reflecting "the turmoil in Greece at the time", while Vangelis argued that its theme was highly relevant in general, stating in Sounds in 1974, "The answer to the question 666 is today." The Mojo Collection argues that "the album's lush arrangements were as startling as any of the progressive era and have aged better than most", in part due to Vangelis not relying excessively on contemporary synthesizers and the prominent role of guitarist Silver Koulouris.

Side one
The first song on the album, "The System", fades in with a choir chanting "We got the system, to fuck the system!" and a drum roll by Loukas Sideras. The lyric is inspired by Abbie Hoffman's pamphlet Fuck the System.

"Babylon" is an acoustic rock song with an energetic guitar riff that Head Heritage compared to Pete Townshend's work on "Pinball Wizard", melodic bass playing by Roussos, and crowd noise similar to that of Sgt. Pepper. The lyrics introduce the apocalyptic theme by referring to the fall of Babylon the Great from Revelation 18.

"Loud, Loud, Loud" combines a two-chord piano vamp by Vangelis with narration by Daniel Koplowitz, described by a fansite as "the son of [a] diplomat". The title is sung by a choir, who are not credited on the album sleeve. The narration reflects a spirit of countercultural optimism, speaking of "The day young boys will stop becoming soldiers/And soldiers will stop playing war games".

"The Four Horsemen" deals with the Four Horsemen of the Apocalypse, its lyrics mostly paraphrasing the text of Revelation 6. The song's structure is marked by a dynamic contrast, with Roussos singing over an echoed keyboard drone and wind chimes in the verses, and the chorus containing traditional rock instrumentation highlighted by Sideras' drumming. The song culminates in a two-minute wah guitar solo by Koulouris over heavy drumming by Sideras and a repeated "fa fa fa" background chant by Roussos. One of the best known songs of 666, "The Four Horsemen" influenced Beck's "Chemtrails", which has a similar structure, and The Verve's "The Rolling People", which quoted the "fa fa fa" chant. The chorus was also sampled, in a slowed-down fashion, on Daniel Lopatin's "A7", from Chuck Person's Eccojams Vol. 1.

"The Lamb" is a world music-influenced instrumental, featuring vocal chants following the main melody, and sounds reminiscent of traditional Greek instruments.

"The Seventh Seal" is an instrumental with a repeated keyboard and string instrument melody, and British-accented narration by John Forst describing the lamb opening the last of the Seven seals, again based on Revelation 6. The narration does not mention the earthquake that the Book of Revelation attributes to the breaking of the sixth seal, but is otherwise faithful to the biblical description. Forst's line, "And when the lamb opened the seventh seal, silence covered the sky" was sampled in the Enigma song, "The Rivers of Belief".

Side two
Side two begins with "Aegian Sea", an instrumental featuring another lengthy guitar solo by Koulouris, elaborate keyboard work by Vangelis, and wordless vocalising. Narration by John Forst is included under Koulouris' guitar solo, restating the breaking of the two seals in "The Seventh Seal" in first person, and featuring three repetitions of the phrase "They'll no more suffer from hunger, they'll no more suffer from thirst". Forst's narration is slowed down in pitch and panned to the right stereo channel, with echo being heard on the left channel.

"Aegian Sea" is followed by "Seven Bowls", a sound effect-laden piece in which a chorus narrates the effects of the seven bowls (changing the Euphrates drying up and earthquake of the last two bowls to the stars going out and the air turning to poison), which in turn crossfades into the eerie instrumental "The Wakening Beast", which uses reverbed wind chimes. The narration of "Seven Bowls" was sampled on the Enigma song "The Voice and the Snake".

"Lament" begins with a repeated vibraphone note played by Vangelis, followed by Roussos singing a lament for "the human race" over a minimal backing. Vangelis provides additional backing vocals, which reflect his interest in Byzantine music.

"The Marching Beast" is an instrumental piece with a repeated melody played on guitar, bass and saxophone, with a gradually developing arrangement that includes a piano solo and a Jethro Tull-influenced flute trill.

"The Battle of the Locusts" and "Do It" are aggressive rock instrumentals, variously perceived by reviewers as being influenced by jazz and heavy metal. Both begin with Forst reciting their titles, and are played in a power trio format, with intricate drumming and rapid guitar solos. The title of "Do It" comes from Jerry Rubin's book DO IT!: Scenarios of the Revolution. Both songs were compared by Head Heritage to "Ash Ra Tempel meets Santana".

"Tribulation" is a jazz-influenced instrumental with overdubbed saxophone by Harris Halkitis.

"The Beast" has been described as a "bizarre funky singalong". It is the first song with lead vocals by Loukas Sideras, who sings "Who can fight the beast?" in his normal voice and "She's big/She's bad/She's wicked/She's sad" in a deeper, lower voice. The song features a funk-influenced rhythm and studio experimentation, with the first snare hit of the verses having plate reverb applied to it. During recording, Vangelis had a microphone in order to direct the band, and the final mix of the song includes some of his rhythmic scat singing and studio commentary. He says Pame! ("Let's go!") near the song's climax, and Teliounome edho pera, etsi? ("We're closing here, remember?") on the song's final measure. Reviewer Jon Bryan considered the song "a little kooky" but "fun and memorable".

The last song on the second side, "Ofis", is a brief interlude in which Yiannis Tsarouchis recites a line from the shadow puppet play Alexander the Great and the Accursed Serpent with slapback echo applied to his voice. The line, Exelthe ofi katiramene, dhioti an dhen exelthe essy, tha se exelthe ego! Ou! Ou! Ou!, translates to "Come out, cursed serpent, because if you don't come out yourself, I will make you come out!".

Side three
"Seven Trumpets" is a dramatic narration that serves to introduce "Altamont". Head Heritage interpreted it to represent the moment where the "curtain of reality" is torn down, and thus the real apocalypse and the circus show apocalypse begin to intertwine as per Ferris' concept.

"Altamont", chosen as one of the highlights of the album by AllMusic, contains a repetitive funk-influenced groove, Roussos scatting along with the bassline, vibraphone by Vangelis, and overdubbed horns by Halkitis. The second half of the song introduces additional narration, referring to the imagery of previous songs and describing the sight of the apocalypse as "the pictures of what was, of what is, of what is to come". One of the lines of the narration, "We are the people/The rolling people", later inspired the title of The Verve's "The Rolling People".

"Altamont" ends by crossfading into "The Wedding of the Lamb", a world music-influenced instrumental that contains an electronic keyboard melody backed by wordless vocalising and syncopated, rhythmic drumming. The instrumental in turn crossfades into "The Capture of the Beast", a drum solo by Sideras that makes heavy use of toms and percussion instruments, performed over Vangelis' keyboard drones and effects. The songs are linked together by brief spoken lines recited in a halting manner which announce their titles, "That was 'The Wedding of the Lamb'" at the end of the former, and "Now comes 'The Capture of the Beast'" at the beginning of the latter.

"∞" ("Infinity"), the most controversial song on the album, consists of the Greek actress Irene Papas chanting "I was, I am, I am to come" over a sparse percussion track, gradually building into an orgasmic frenzy. Vangelis described the track as conveying "the pain of birth and the joy of intercourse." Ferris originally sought a narrator with a heavy British accent to recite the lyric, in order to create a contrast with the climactic frenzy, but Papas' improvisation was chosen instead because it made a stronger impression. Hegarty and Halliwell describe the song as part of the "increased cacophony" that marks the progression towards the apocalypse. Melody Maker remarked in 1972 that in light of the publicity received by Serge Gainsbourg's "Je t'aime... moi non plus", it was "odd" that the media overlooked 666, but that it would have been a "pity" if it achieved notoriety solely due to Papas' contribution. A sample of Papas taking sharp breaths was used in Enigma's "Principles of Lust".

"Hic et Nunc" (Latin for "here and now") is an upbeat pop song with phased piano, tenor saxophone by Michel Ripoche, a crowd chanting "Here and now!" in the chorus, a reuse of the audience sound effect from "Babylon" and the "We got the system to fuck the system" chant from "The System" during Vangelis' piano solo, foreshadowing the concluding "montage".

Side four
The longest song on the album, "All the Seats Were Occupied" begins as a slow raga-influenced instrumental before incorporating other genres such as funk and culminating in a musique concrète "montage" that incorporates samples from "Seven Trumpets", "The System", "Babylon", "The Four Horsemen", "Loud, Loud, Loud", "The Capture of the Beast", "Ofis", "∞", "Seven Bowls", "The Lamb", "The Wakening Beast", "The Marching Beast", "Altamont" and "The Wedding Of The Lamb". The sentence "all the seats were occupied" was taken from a BBC Teaching English record. The song concludes with a chaotic ending and a sample of Papas' pained groaning from "∞". This track was later included on the compilation album A Monstrous Psychedelic Bubble Exploding in Your Mind: Volume 3.

"Break", the closing song, is a ballad sung by Sideras, backed by piano and organ. Vangelis scat sings backing vocals, meant to make fun of the song's dramatic mood. Ferris' lyrics originally had an additional verse that began the song, starting "Now/Got no place to go", which was left out of the final version. Hegarty and Halliwell describe the last lines, "Fly/High/And then/You make it", as lacking in narrative link to the rest of the album, but ending on a "melancholic high". The song ends with a piano and organ chord, which is followed after 6 seconds of silence by a sample of Forst saying "Do it!", the final sound of the album.

Packaging
The album's sleeve was created by production coordinator Gerard Fallec. Ferris stated that Fallec's initial idea was to have a black cover with "666" printed in white in the middle, inspired by the white background of The Beatles, and created the original design with three plastic car numbers. Ferris and Vangelis liked the idea but preferred a red background with the number printed white on black in the middle, similar to a vehicle registration plate. This became the final design, although several vinyl issues of the album use the original white number on black background sleeve.

Fallec also brought to the band a surreal, Dalí-influenced painting of a car crash that became the inner sleeve. Ferris stated that the band forgot to ask for the name of the artist (although the signature "M. Dubre" appears on the image), and that while Fallec was unsure about the relation of the painting to the work apart from the "car" theme of the cover, he and Vangelis considered it "the absolute representation of the stupidity of man."

The liner notes state "This album was recorded under the influence of Sahlep." Intended as a joke by the band, the statement provoked some controversy at the time of the album's release, as some groups interpreted it to mean that the album was drug-inspired, demonic, or blasphemous.

Release and reception
The Rolling Stone Record Guide dismissed 666 as "pompous and pointless". Colin Larkin's Encyclopedia of Popular Music states that "the album was applauded for its ambition and execution", but it did not attract many contemporary reviews. AllMusic gives it 4½ stars, but notes that "the entire set eventually becomes too overwhelming to sit through".

IGN ranked the album number 3 on their list of Top 25 Prog Rock Albums. In the Q & Mojo Classic Special Edition ‘’Pink Floyd & the Story of Prog Rock’’, the album came number 40 in its list of "40 Cosmic Rock Albums".

Track listing
Although Ferris has been identified as the lyricist, the album explicitly states that all tracks — even the instrumentals — are composed by Vangelis Papathanassiou and Costas Ferris.

Personnel
Aphrodite's Child
 * Vangelis Papathanassiou (Evangelos Odysseas Papathanassiou) – keyboards, organ, piano, vibraphone, bass, flute, percussion, backing vocals on "Lament", "The Beast", "Break"
 * Demis Roussos (Artemios Ventouris Roussos) – lead vocals on "Babylon", "The Four Horsemen", "Lament", "Hic et Nunc", bass, guitar, trumpet, backing vocals
 * Loukas Sideras – drums, lead vocals on "The Beast", "Break", backing vocals
 * Silver Koulouris (Anargyros Koulouris) – guitar, percussion

Additional musicians
 * Harris Halkitis – bass, tenor saxophone, congas, percussion, backing vocals
 * Michel Ripoche – trombone, tenor saxophone on "Babylon", "Hic et Nunc"
 * Irene Papas – vocals on "∞"
 * John Forst – English narration
 * Yannis Tsarouchis – Greek narration on "Ofis"
 * Daniel Koplowitz – narration on "Loud, Loud, Loud"

Production
 * Vangelis – producer
 * Roger Roche – engineer
 * Jean-Claude Conan – assistant engineer
 * Hitoshi Takiguchi – mastering engineer
 * Gilbert Kong – mastering (original US LP)
 * Hans Brethouwer – mastering (1989 European CD reissue)
 * Hitoshi Takiguchi – mastering (2004/2014 Japanese CD reissues)
 * Gerard Fallec – production coordination, sleeve design
 * Giorgio Gomelsky – "passing by" (production assistance)
 * Minoru Harada – product manager
 * Kiyoshi Tokiwa – art coordinator
 * Michel Dubré – inner sleeve painting

title: 666 (Aphrodite's Child album)


text:
George Gekas

George William Gekas (April 14, 1930 – December 16, 2021) was an American politician from Pennsylvania who served as a Republican member of the U.S. House of Representatives for Pennsylvania's 17th congressional district from 1983 to 2003.

Early life and education
George Gekas was born in Harrisburg, Pennsylvania, the son of Mary (Touloumes) and William Gekas. He graduated from William Penn High School in 1948. He received a B.A. degree from Dickinson College in 1952 and a J.D. degree from Dickinson School of Law in 1958. He was a member of the fraternity Sigma Alpha Epsilon. He served in the United States Army from 1953 to 1955.

Career
He worked in a private law practice for two years and then served as assistant district attorney for Dauphin County from 1960 to 1966.

Pennsylvania Legislature
In 1966, Gekas was elected to the Pennsylvania House of Representatives for the 103rd district. He served there until 1974, when he was upset by future Harrisburg mayor Steven Reed in the anti-Watergate Democratic landslide. Gekas served as a member of the Pennsylvania State Senate for the 15th district from 1977 to 1982.

United States House of Representatives
After the 1980 census, Pennsylvania lost two congressional districts. The Republican-controlled legislature drew a new Harrisburg-based district that Gekas won in 1982, becoming the second Greek-American (after Gus Yatron of the neighboring 6th district) elected to Congress from Pennsylvania. Gekas was reelected nine more times.

Gekas was one of the House managers in the impeachment trials of Alcee Hastings and President Bill Clinton.

2002 House Campaign
In a 2002 PoliticsPA feature story designating politicians with yearbook superlatives, he was named "Missing in Action." Pennsylvania lost two districts after the 2000 census and resulting redistricting. One of the districts that was eliminated was the Reading-based 6th District, represented by five-term moderate-to-conservative Democrat Tim Holden. The legislature split the 6th among three other districts, with the largest slice, including Holden's home in St. Clair, going to Gekas' 17th District.

Holden ran in the 17th, even though it was 65% new to him (a small portion of the even more Republican 9th District had been shifted to the 17th). On election night, Holden defeated Gekas by almost 6,000 votes. Gekas was the only Republican incumbent placed in a district with a Democratic incumbent to be defeated for re-election in 2002.

Later life and death
After his electoral defeat in 2002, Gekas returned to Harrisburg, where he established a law practice. He continued to reside in Harrisburg until his death on December 16, 2021, at the age of 91.

title: George Gekas


text:
Talk:Lemon Party

Untitled

 * The following discussion is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page.  No further edits should be made to this discussion.

from VfD (formerly located at Votes for deletion/Lemon Party)

Delete - no reason to exist (not notable); latest modification by anon vandal. A2Kafir 00:46, 12 Dec 2004 (UTC)
 * Change it back to a redirect to shock sites and protect. Enough people have heard of it that it will be recreated if deleted. Kappa 00:57, 12 Dec 2004 (UTC)
 * Nope. This was the Shock site article before User:Kelba aka User:130.13.68.51 vandalized it. I've reversed the damage. --jpgordon∇∆∇∆ 00:59, 12 Dec 2004 (UTC)
 * So, this is a non issue; it is a redirect to Shock site and should be kept as such. Keep - Amgine 05:47, 12 Dec 2004 (UTC)
 * Comment: It's a non-issue for now, but this is a repeat, isn't it? I.e. the article was a silly vandal fest that got turned into a redirect, and now another dweeb editor has overwritten the redirect, and we're reversing it.  Sounds like it might be better as a deleted article so that attempts at recreation can be speedy deleted.  Is that right?  Geogre 13:45, 13 Dec 2004 (UTC)
 * Comment I've changed the redirect to List of shock sites because that actually has some specific information about it. Kappa 18:48, 13 Dec 2004 (UTC)

 * The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page, such as the current discussion page. No further edits should be made to this discussion.

I'm assuming...
This is a joke. This is probably copied and pasted from Encyclopedia Dramatica.  The Doomsday Machine!   (Blastoff!)  22:45, 21 February 2011 (UTC)
 * Per wikipedia verification policy, there should be some links or refs in the article for you to check and see if it's backed up by reliable sources. DMacks (talk) 22:48, 21 February 2011 (UTC)

French name
According to the linked website, the french language name is "Le Parti du Citron Cynique et Cosmique du Canada". Please change it. — Preceding unsigned comment added by DenisQC (talk • contribs) 06:33, 2 March 2011 (UTC)

External links modified
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 * Added archive https://archive.is/20121129185344/http://agora.ulaval.ca/~phauo/en/press06.html to http://agora.ulaval.ca/~phauo/en/press06.html

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title: Talk:Lemon Party


text:
Granados

Granados may refer to:

Places

 * Granados, Baja Verapaz, Guatemala
 * Granados, Sonora, Mexico
 * Granados Municipality, Sonora

People

 * Enrique Granados (1867–1916), Spanish composer
 * Federico Tinoco Granados (1870–1931), president of Costa Rica
 * Jorge García Granados (1900–1961), politician and diplomat from Guatemala
 * Miguel García Granados (1809–1878), president of Guatemala
 * Steven Granados-Portelance, Canadian drag queen

title: Granados


text:
Talk:Ebony (magazine)

Untitled
Obviously this is not NPOV. Lenore

Could you imagine sitting down and reading a Ivory magazine?

Negro Digest was predecessor to Ebony
according to the following source:

http://www.breitbart.com/article.php?id=D8OPVPA00&show_article=1&catnum=1

64.142.13.174 21:24, 29 April 2007 (UTC)Steve P.

Where is "here"?
The article currently says: "Corporations here and abroad have for decades created ...". Perhaps it is worth mentioning where is that "here". 62.220.33.43 (talk) 19:22, 19 August 2009 (UTC)

Short, no?
An absurdly short article for a sixty year old magazine. Looking at the articles for other successful, the Ebony article seems gaunt. Someone who's invested in WikiProject Magazines should plump it up. 66.108.112.76 (talk) 19:10, 12 April 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Ebony (magazine). Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20130127002519/http://newseum.org/news/2010/10/65-years-ago-in-news-history-the-birth-of-ebony-magazine.html to http://www.newseum.org/news/2010/10/65-years-ago-in-news-history-the-birth-of-ebony-magazine.html

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External links modified
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 * Added archive https://web.archive.org/web/20081229000903/http://www.taletela.com/photos/52/1/ebony-the-25-coolest-brothers-of-all-time to http://www.taletela.com/photos/52/1/ebony-the-25-coolest-brothers-of-all-time
 * Added archive https://web.archive.org/web/20120128102645/http://www.theroot.com/buzz/ebony-jet-sells-headquarters-building to http://www.theroot.com/buzz/ebony-jet-sells-headquarters-building

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get back to BET
Sell some of our TV to get back to good credit people Carol Wright gifts for you. Kyle Shanahan 14154649377 my legal help too. Blessedassurance911 (talk) 00:03, 12 December 2018 (UTC)

Additions to article
I would like to add information about the magazine's popularity, the list of 100 Most Influential Blacks, and Ebony's coverage of the Civil Rights Movement in the 1960s. Feel free to edit any of my additions. Jordanbobo92 (talk) 20:01, 9 December 2019 (UTC)

More article additions and revisions
I will be organizing the history section by time period and important events. Once again, feel free to edit any of my revision. Jordanbobo92 (talk) 05:50, 11 December 2019 (UTC)

"Ebony.(Serial)." listed at Redirects for discussion
An editor has identified a potential problem with the redirect Ebony.(Serial). and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 April 22 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Steel1943 (talk) 05:48, 22 April 2022 (UTC)

Controversy?
The "Controversy" subheading includes a single entry with a single source, effectively complaining that a top 100 list doesn't include certain people. This doesn't appear to add anything and scarcely qualifies as a "controversy" in the first place. Phantom Blues (talk) 03:26, 1 May 2023 (UTC)

title: Talk:Ebony (magazine)


text:
User talk:MarySaintJohn

Hi - welcome and thanks for your contributions to Wikipedia. You may have noticed that Wikipedia already has a page for Philip Emeagwali. Your contribution, Philip-Emeagwali, duplicates that. The better solution would be to add to the existing page, instead of creating a new one. Your most recent additions, Philip Emeagwali on Globalization and Slave Trade, Philip Emeagwali on Brain Drain, etc, are not appropriate because they contain complete duplicates of the text you posted on Philip-Emeagwali, along with a speech. Wikipedia is not for original texts like speeches, only for encyclopedia articles. Some original text, like speeches, can be placed on Wikisource, but not here on Wikipedia. Cdc 00:47, 12 Dec 2004 (UTC)

 * Or, more to the point, as you most probably are Philip Emeagwali or one of his associates, you might like to note our policy on vandalism and specifically the section on spamming. --Robert Merkel 01:30, 12 Dec 2004 (UTC)

 * The images you have uploaded are now listed on Possibly unfree images due to their lack of source and copyright status information. Sorry. -- Cyrius|✎ 01:54, 12 Dec 2004 (UTC)

title: User talk:MarySaintJohn


text:
Variable speed of light

A variable speed of light (VSL) is a feature of a family of hypotheses stating that the speed of light may in some way not be constant, for example, that it varies in space or time, or depending on frequency. Accepted classical theories of physics, and in particular general relativity, predict a constant speed of light in any local frame of reference and in some situations these predict apparent variations of the speed of light depending on frame of reference, but this article does not refer to this as a variable speed of light. Various alternative theories of gravitation and cosmology, many of them non-mainstream, incorporate variations in the local speed of light.

Attempts to incorporate a variable speed of light into physics were made by Robert Dicke in 1957, and by several researchers starting from the late 1980s.

VSL should not be confused with faster than light theories, its dependence on a medium's refractive index or its measurement in a remote observer's frame of reference in a gravitational potential. In this context, the "speed of light" refers to the limiting speed c of the theory rather than to the velocity of propagation of photons.

Background
Einstein's equivalence principle, on which general relativity is founded, requires that in any local, freely falling reference frame, the speed of light is always the same. This leaves open the possibility, however, that an inertial observer inferring the apparent speed of light in a distant region might calculate a different value. Spatial variation of the speed of light in a gravitational potential as measured against a distant observer's time reference is implicitly present in general relativity. The apparent speed of light will change in a gravity field and, in particular, go to zero at an event horizon as viewed by a distant observer. In deriving the gravitational redshift due to a spherically symmetric massive body, a radial speed of light dr/dt can be defined in Schwarzschild coordinates, with t being the time recorded on a stationary clock at infinity. The result is
 * $$ \frac{dr}{dt} = 1 - \frac{2m}{r}, $$

where m is MG/c2 and where natural units are used such that c0 is equal to one.

Dicke's proposal (1957)
Robert Dicke, in 1957, developed a VSL theory of gravity, a theory in which (unlike general relativity) the speed of light measured locally by a free-falling observer could vary. Dicke assumed that both frequencies and wavelengths could vary, which since $$ c = \nu \lambda $$ resulted in a relative change of c. Dicke assumed a refractive index $$ n= \frac{c}{c_0} = 1+\frac{2 GM}{r c^2} $$ (eqn. 5) and proved it to be consistent with the observed value for light deflection. In a comment related to Mach's principle, Dicke suggested that, while the right part of the term in eq. 5 is small, the left part, 1, could have "its origin in the remainder of the matter in the universe".

Given that in a universe with an increasing horizon more and more masses contribute to the above refractive index, Dicke considered a cosmology where c decreased in time, providing an alternative explanation to the cosmological redshift.

Subsequent proposals
Variable speed of light models, including Dicke's, have been developed which agree with all known tests of general relativity.

Other models make a link to Dirac's large numbers hypothesis.

Several hypotheses for varying speed of light, seemingly in contradiction to general relativity theory, have been published, including those of Giere and Tan (1986) and Sanejouand (2009). In 2003, Magueijo gave a review of such hypotheses.

Cosmological models with varying speeds of light have been proposed independently by Jean-Pierre Petit in 1988, John Moffat in 1992, and the team of Andreas Albrecht and João Magueijo in 1998 to explain the horizon problem of cosmology and propose an alternative to cosmic inflation.

Gravitational constant G
In 1937, Paul Dirac and others began investigating the consequences of natural constants changing with time. For example, Dirac proposed a change of only 5 parts in 1011 per year of the Newtonian constant of gravitation G to explain the relative weakness of the gravitational force compared to other fundamental forces. This has become known as the Dirac large numbers hypothesis.

However, Richard Feynman showed that the gravitational constant most likely could not have changed this much in the past 4 billion years based on geological and solar system observations, although this may depend on assumptions about G varying in isolation. (See also strong equivalence principle.)

Fine-structure constant α
One group, studying distant quasars, has claimed to detect a variation of the fine-structure constant at the level in one part in 105. Other authors dispute these results. Other groups studying quasars claim no detectable variation at much higher sensitivities.

The natural nuclear reactor of Oklo has been used to check whether the atomic fine-structure constant α might have changed over the past 2 billion years. That is because α influences the rate of various nuclear reactions. For example, 149samarium captures a neutron to become 150samarium, and since the rate of neutron capture depends on the value of α, the ratio of the two samarium isotopes in samples from Oklo can be used to calculate the value of α from 2 billion years ago. Several studies have analysed the relative concentrations of radioactive isotopes left behind at Oklo, and most have concluded that nuclear reactions then were much the same as they are today, which implies α was the same too.

Paul Davies and collaborators have suggested that it is in principle possible to disentangle which of the dimensionful constants (the elementary charge, the Planck constant, and the speed of light) of which the fine-structure constant is composed is responsible for the variation. However, this has been disputed by others and is not generally accepted.

Dimensionless and dimensionful quantities
To clarify what a variation in a dimensionful quantity actually means, since any such quantity can be changed merely by changing one's choice of units, John Barrow wrote:
 * "[An] important lesson we learn from the way that pure numbers like α define the world is what it really means for worlds to be different. The pure number we call the fine-structure constant and denote by α is a combination of the electron charge, e, the speed of light, c, and the Planck constant, h. At first we might be tempted to think that a world in which the speed of light was slower would be a different world. But this would be a mistake. If c, h, and e were all changed so that the values they have in metric (or any other) units were different when we looked them up in our tables of physical constants, but the value of α remained the same, this new world would be observationally indistinguishable from our world. The only thing that counts in the definition of worlds are the values of the dimensionless constants of Nature. If all masses were doubled in value [including the Planck mass mP] you cannot tell because all the pure numbers defined by the ratios of any pair of masses are unchanged."

Any equation of physical law can be expressed in a form in which all dimensional quantities are normalized against like-dimensioned quantities (called nondimensionalization), resulting in only dimensionless quantities remaining. Physicists can choose their units so that the physical constants c, G, ħ = h/(2π), 4πε0, and kB take the value one, resulting in every physical quantity being normalized against its corresponding Planck unit. For that, it has been claimed that specifying the evolution of a dimensional quantity is meaningless and does not make sense. When Planck units are used and such equations of physical law are expressed in this nondimensionalized form, no dimensional physical constants such as c, G, ħ, ε0, nor kB remain, only dimensionless quantities, as predicted by the Buckingham π theorem. Short of their anthropometric unit dependence, there is no speed of light, gravitational constant, nor the Planck constant, remaining in mathematical expressions of physical reality to be subject to such hypothetical variation. For example, in the case of a hypothetically varying gravitational constant, G, the relevant dimensionless quantities that potentially vary ultimately become the ratios of the Planck mass to the masses of the fundamental particles. Some key dimensionless quantities (thought to be constant) that are related to the speed of light (among other dimensional quantities such as ħ, e, ε0), notably the fine-structure constant or the proton-to-electron mass ratio, could in principle have meaningful variance and their possible variation continues to be studied.

General critique of varying c cosmologies
From a very general point of view, G. F. R. Ellis and Jean-Philippe Uzan expressed concerns that a varying c would require a rewrite of much of modern physics to replace the current system which depends on a constant c. Ellis claimed that any varying c theory (1) must redefine distance measurements; (2) must provide an alternative expression for the metric tensor in general relativity; (3) might contradict Lorentz invariance; (4) must modify Maxwell's equations; and (5) must be done consistently with respect to all other physical theories. VSL cosmologies remain out of mainstream physics.

title: Variable speed of light