text:
Jesi

Jesi is a comune (municipality) in the province of Ancona, in the Italian region of Marche. It is an important industrial and artistic center in the floodplain on the left (north) bank of the Esino river, 17 km before its mouth on the Adriatic Sea.

History
Jesi (Iesi) was one of the last towns of the Umbri when, in the 4th century BC, the Senones Gauls invaded the area and ousted them. They turned it into a stronghold against the Piceni. In 283 BC the Senones were defeated by the Romans. Jesi in 247 BC became a colonia civium romanorum with the name of Aesis.

During the fall of the Western Roman Empire, Jesi was ravaged by the troops of Odoacer (476 AD) and again in 493 by the Ostrogoths of Theodoric the Great. After the Gothic War, Italy became part of the Byzantine Empire, and Jesi became one of the main centers of the new rulers, and a diocese seat. In 751 it was sacked by the Lombard troops of Aistulf, and later was a Carolingian imperial city.

Since 1130, it was an independent commune, gradually expanding its control over its surrounding agrarian region. In December 1194 the future Holy Roman Emperor Frederick II was born here: he later made Jesi a "Royal City". In the 14th century it was captured by the Papal vicar Filippo Simonetti, then by Galeotto I Malatesta (1347–1351), by Braccio da Montone in 1408, and by Francesco I Sforza, who turned it into his family's main stronghold in the Marche. In 1447 Jesi was bought by the Papal States.

Religious buildings

 * Jesi cathedral: duomo built in the 13th-15th centuries. The façade and the Latin cross interior are modern.
 * San Floriano: 18th century convent.
 * San Marco: Gothic, 13th-century church just outside the old city centre. The interior has a nave and two aisles, with a 14th-century fresco by an anonymous Rimini painter.
 * Santa Maria delle Grazie: 15th-century church with 17th-century belltower.
 * San Nicolò: 13th-century church with Romanesque apse and a Gothic portal.

Secular buildings

 * The 14th century walls, built following the line of the Roman ones and mostly rebuilt in the 15th century by Baccio Pontelli and Francesco di Giorgio Martini. Six towers remain today.
 * Palazzo della Signoria, built in 1486–1498 by Francesco di Giorgio Martini. The angular tower was elevated in 1661 and received a dome, but crumbled down a few years later. Notable is the interior courtyard, with two orders of loggias, partially designed by Andrea Sansovino from 1519.
 * Palazzo Balleani, an example of local Baroque architecture, built from 1720 and designed by Francesco Ferruzzi. The façade has a characteristic balcony supported by four atlases (1723). The interior has precious gilded stucco decoration.
 * Palazzo Pianetti: Rococo palace. The wide façade has exactly one hundred windows, while the interior has a noteworthy giardino all'italiana. The palace houses the city's civic art gallery, with a series of paintings by the Venetian artist Lorenzo Lotto.
 * Palazzo Ricci, finished in 1547. The diamond-like bricks of the façade are inspired to famous Palazzo dei Diamanti in Ferrara.
 * Teatro Pergolesi, built in 1790.

Notable people

 * Frederick II, Holy Roman Emperor
 * Giancarlo Alessandrini
 * Giuseppe Balducci, composer
 * Alice Bellagamba
 * Dionisio Cimarelli
 * Angelo Colocci
 * Elisa Di Francisca
 * Giancarlo Falappa
 * Virna Lisi
 * Antonio Magini-Coletti
 * Roberto Mancini
 * Valeria Moriconi
 * Giovanni Battista Pergolesi
 * Paolo Polidori
 * Rafael Sabatini
 * Gabriele Tinti
 * Giovanna Trillini
 * Valentina Vezzali

International relations
Jesi is twinned with:
 * 🇮🇹 Lucera, Italy (since 1970)
 * 🇫🇷 Mayenne, France
 * 🇩🇪 Waiblingen, Germany
 * Galați, Romania (since 2003)

title: Jesi


text: Category:Elections in Bermuda

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

title: Category:Elections in Bermuda


text:
Talk:Tourtière

Etymology
according to the most reliable sources, older French Quebecers La Tourte was what they called the pigeon and the pie was named after the bird that was used almost exclusively until it was extinct due to over killing. Pie was not named after the dish it was the dish that was named after the pie. If the dish was to be named after the pie in general it would be Tarte-iere, Moule a Tarte ora Pie Pan. There is an obvious difference between Tarte-Pie and Tourte-Pigeon. — Preceding unsigned comment added by Carletonite (talk • contribs) 03:34, 9 November 2020 (UTC)

Passenger pigeon pie
The bit about "tourte" being an extinct animal seems to me like a joke. As far as I know, "tourte" just means "tart". Can anybody verify? --PeterNesbitt 21:43, 29 Nov 2004 (UTC)

 * It's actually true... the scientific name of that bird (a tourte) is the ectopistes migratorius.
 * -- Sourcecode 04:31, 30 Nov 2004 (UTC)

 * Wow, you learn something new every day. Thanks for setting me straight, Sourcecode. --PeterNesbitt 19:15, 2 Dec 2004 (UTC)

 * Ectopistes migratorius is the passenger pigeon, aka pigeon migratoire, colombe voyageuse or (in Canada at least) tourte (voyageuse). But there's no reason to think that that has anything to do with the "pie" sense of the word tourte, which is from Latin torta, a round loaf. The pigeon sense is presumably to do with Latin turtur, turtle dove.  So I've removed the puzzling note about the extinct bird. Flapdragon 23:25, 6 September 2005 (UTC)

 * Actually, tourte was used in tourtière before it became extinct. In fact, it is believed overhunting was the cause of the bird's disappearance. The tourte was then replaced by beef or pork. —Preceding unsigned comment added by 206.167.181.29 (talk • contribs), at 02:43, 14 December 2005

 * That may or may not be true but my point was that the name of the dish does not come from the bird as was implied, since the two words are unrelated. Flapdragon 02:26, 14 December 2005 (UTC)

 * It IS true. 69.9.97.207 (talk)

The text needs some reorganisation here. The 1st paragraph says the lac-st-jean tourtière is called pâté à la viande then there is section talking about the lac-st-jean tourtière. which is it?

There is no need to list every canadian province. Saying that it is a traditional dish of most french canadians is clear enough (Lostkiwi 01:53, 4 August 2006 (UTC))
 * So are there any reliable sources that suggest there is a connection between the pigeon and the pie? FunkMonk (talk) 04:02, 18 December 2015 (UTC)
 * FunkMonk, there are several detailed paragraphs on this talk page (few sections down) about this. There is also a reliable source (Casselman) on the article that explains the etymology of tourtiere: it is named after the pan in which it was cooked. There is also an external link on the article that debunks the pigeon/pie belief (CBC-tourtiere debate). The relationship between "tourte" (the pigeon) and tourtiere is a fanciful invention suggested by the similarity of the words (i.e., a false etymology). Richigi (talk) 19:43, 18 December 2015 (UTC)
 * Thanks, because what I needed is a reliable source that specifically debunks this claim, so I can use it on the passenger pigeon page. The most specific one was "Cooksinfo" mentioned on this page, but I don't know if that passes FAC... FunkMonk (talk) 02:55, 19 December 2015 (UTC)

Why I put the subsection back.
(Forgive the lack of accents but pointing and clicking is a pain)

OK, the thing about "regular" tourtiere and tourtiere du lac is that ther latter isn't a variation of the former, it's a completely different thing. What most of the province calls tourtiere is also served in the Saguenay-Lac-Saint-Jean at Xmas next to some turkey and cranberry sauce, it's just called "pate a la viande" instead. This distinction needs mention because otherwise one would be led to believe that the shallow pie filled with ground pork and veal does not exist in the Saguenay and is replaced by the deep dish pie with diced meat and potatoes, which is not the case.--70.81.13.192 15:42, 20 August 2006 (UTC)

It is my understanding, from folks who were born and/or lived around the Lac St-Jean area, that the meat pie that is a regional specialty is called 'ci-paille', not tourtiere. Grandma Roses 20:56, 5 August 2007 (UTC)

 * Cipaille is a different (but similar) thing, that, as far as I know, is specifically layered (meat and potatoes). It appears to be a regional speciality but it is also slowly falling into obscurity, while tourtière (du Saguenay, du Lac St-Jean) is as popular as ever. But the point is that no Saguenéen or Jeannois would ever call the ground pork/ground veal shallow pie tourtière, and that everyone in Québec knows about tourtière du Lac-St-Jean, at least in name (while no other regional recipes either the shallow pie or deep dish pie have such widespread reputation).--Boffob 05:25, 7 August 2007 (UTC)

Debate re: origin of word 'tourtiere' (continued)
Cooksinfo.com, in their article "Tourtiere," states that it is a myth that tourtiere is so named because the original ingredient was pigeon. This appears to have been a fanciful invention of the early 20th century based on the similarity of the name with the French word for dove/pigeon (tourterelle, possibly tourte in Quebecois). Tourtiere is actually the name of the (apparently now obsolete) vessel in which the dish was cooked. The practice of naming dishes after, well, dishes, is well-attested. Since cooksinfo.com is a reliable source, the explanation entirely plausible, and no source reliable or otherwise is given for the alternate explanation, I am revising the sentence in the WP article accordingly. Richigi (talk) 22:03, 11 September 2012 (UTC)

 * RichIgil: the Etymology section of the Passerger Pigeon article here on Wikipedia claims unequivocally that Tourtierre is named due to "tourtes" being a key ingredient. One or both of these articles obviously need to be changed. Its fine to agree that the dish is currently named after the vessel, it is likely true whether the vessel was itself named after the pigeons cooked in it, or after Latin "torta"/loaves as predicted by Flapdragon above. The question is why the Tourtierre pan is called that, and so far no one has brought solid evidence. If it is named after the Passenger Pigeon then it's certainly worth including that fact as its a poignant example of how our traditions can destroy their own materials. I think at minimum the alternate theory is worth mentioning here, though likely the Passenger Pigeon article should alto be edited to indicate the controversy. Jeremyclarke (talk • contribs) 21:29, 15 September 2012 (UTC)
 * Geez the wiktionary entries are very interesting on the subject of tourtière etymology. The | English definition of tourtière Specifically and only mentions the Passenger Pigeon explanation, claiming the word derives from "tourte" which they say comes from The Latin word "turtur" which is derived from imitation of the sound turtle doves make. The | French definition of tourtière agrees that the word is derived from "tourte" but makes no claim about why, just links to the tourte article. The | tourte article in both languages claims two distinct etymologies of the same word, one for the pigeon-sound onomatopoeia and the other from Latin torta/bread. Overall this explains the complexity of the situation, as the double-etymology of tourte makes it much harder to know exactly how the meat pie and/or it's vessel we're named. IMHO the wiktionary articles raise enough etymological doubt that this short article on meat pie has room to explain both possibilities for how tourtière was named.Jeremyclarke (talk)

Jeremy (and other philologists), etymology is definitely a tangled skein to unravel! However, I would like to point out (sympathetically because I too am a lover of words and word origins) that a reliably sourced statement is called for in an encyclopedia article. The source I cited is reliable and easily verified (since it's an online source), whereas no source is given for the "pigeon" origin beyond speculation and personal feelings of the generous contributors. In fact, my source debunks that origin. (Jeremy, it kind of sounds like you did not check out my source!) Wiktionary, while a good starting-place, is scarcely a final word on etymology - unless the wikt. entry is sourced reliably. In short, to support the "pigeon" origin, a reliable non-wp source is in order.

The Passenger Pigeon wp article does cite a reference for its information regarding tourtiere, but it's not a particularly reliable source, certainly not a scholarly one. I suppose a rewrite of this article with respect to etymology could be done, citing both scholarly and less-so sources. As for the Passenger Pigeon article, does the inclusion of tourtiere etymology really add anything to it? I would take it out altogether before pulling it into the discussion which rightly belongs on this page.

Anyway, to do my part, and in the interest of integrity (after all, I call myself Richigi), I will conduct further research and try to get back here with additional reliable sources, for either side of the question as the case may be. Wish me happy hunting! Richigi (talk) 23:37, 28 September 2012 (UTC)

Update. Just for the record, and for future discussions, the word "tourtière" meaning a round covered vessel for cooking — and sometimes serving — pie predates the word "tourtière" meaning the Quebecois specialty. Earliest source I have found so far is Le cuisinier françois (1651) with 5 references to cooking in a tourtière (the recipe for pigeon pie found therein is called tourte de pigeonneaux). There are numerous other sources, many predating the settlement of New France. Also, "tourte" or "torte" meaning a round sort of bread is attested from at least the 13th c. (Godefroy). By the 17th c. (probably earlier) it also means a sort of round pie, and frequently a pie made in a tourtière.

All this is pretty much OR, nor does it particularly belong in the article, since it's only providing support for why tourtiére (the vessel) is not named after a pigeon. I mention it here on the talk page just to supplement the debate. Anyone who wishes to read what I've read, and who can muddle through 17th/18th c. French, can search tourtiere on http://gallica.bnf.fr (the Bibliotheque nationale de France). An array of French etymological dictionaries can also be viewed there, most with an entry tracing the origin of "tourte" the food to the Late Latin "torta." Richigi (talk) 18:02, 1 October 2012 (UTC)

 * My last entry for this topic, I promise. I finally found an online source with etymological credibility for the origin of the word tourtière, and plugged it into the article.  It was thanks to Jeremyclarke's research, actually, that I tracked it down, so thanks Jeremy!  Let me also point out that Jeremy found an excellent article that relates the history of cipaille and tourtière (here: http://www.ameriquefrancaise.org/en/article-454/Lac-Saint-Jean_%C2%ABTourti%C3%A8re%C2%BB.html|).  Anyone who wishes to expand or improve this article would do well to consult that information.Richigi (talk) 19:58, 10 November 2012 (UTC)

This whole article is wrong.
It's time to put an end to the widespread misconception that tourtière is meat pie and meat pie is tourtière. Give back the voluminous dish that includes major ingredients that are not meat its rightful name of TOURTIÈRE and let the seasoned meat pies be called MEAT PIES. They are two very different dishes. You should take example from the French version of this article.70.40.131.78 (talk) 17:15, 11 December 2012 (UTC)
 * This article is about the Canadian dish. The French WP article on Tourtiere du Lac-Saint-Jean clearly describes it as a meat and potato pie--same as this article.  It further gives a variant called Bas-Saint-Laurent that calls for veal, pork, and beef but gives no further ingredients. Perhaps you are suggesting additional articles, as on French WP; i.e., Tourtiere (Limousin) and Tourtiere (Gascogne)? Richigi (talk) 01:14, 22 February 2013 (UTC)
 * I am from this region, and I can confirm that both of you are right, and also wrong, isn't that fantastic? There are four different meals that are frequently mixed up. There is the tourtière, which does not exist anymore. It was a peasant dish, made with passenger pigeons, now extinct. It was replaced by the tourtière du Lac St-Jean, a deep dish pie, served with diced meat, often game birds or pork, or even chicken, but it also includes a variety of veggies, depending on the traditional familial recipe. There is also the meat pie, called in french the pâté à la viande, which is a shallow dish pie made with grounded beef or pork. Last but not least, the cipaille is the meat and potatoes, often layered version of the deep dish pie. Some people also make a shallow dish version of it. Dive83 (talk) 19:35, 13 June 2013 (UTC)

Image of Xmas Tourtiere undone
A nice image was added by Victoriaedwards, but the article is really way too short right now to support more images (I blame the infoboxes). Anyway, I undid it. It's still in the Commons cat on tourtiere (which is linked to the article). The article could easily be longer, and I can think of no objection to adding the image back in when the length of the article should support it. If some editor really thinks it should be in, I invite them to try adding it without making the rest of the article's format look awful. Richigi (talk) 22:17, 10 January 2013 (UTC)

reference 11 doesn’t exist any more
reference 11 doesn’t exist any more 167.248.179.197 (talk) 18:29, 25 December 2021 (UTC)
 * thank you for pointing out the error! The reference does still exist, the page just moved. I have updated the reference. Ivanvector's squirrel (trees/nuts) 17:51, 7 January 2022 (UTC)

The spices used in tourtière
The article says tourtière is seasoned with cinnamon and cloves. Is it possible that instead of those two, the traditional spice for tourtière is actually allspice, possibly in conjunction with cinnamon and cloves?

Two reasons for thinking this might be the case:

1. Allspice is native to the Caribbean area and (one would expect) easier and cheaper to acquire than spices from Indonesia.

2. I once made a recipe for Starbucks-style "ginger molasses" cookies. The result was very close to the Starbucks version, but the taste was just a little off-target. I substituted ¼ tsp of ground allspice for the same amount of ground cinnamon, and all was well. I'm wondering if the cinnamon+clove direction was just a guess based on taste, when the right answer would have been cinnamon+clove+allspice.

Floozybackloves (talk) 23:05, 15 April 2022 (UTC)

 * From my lived experience and what I've read, allspice is an imported spice that is rarely used by anyone here, and it is not a traditional spice in French Canadian cuisine. So the traditional spice for tourtière is not allspice. But, it does sound cool that you say that allspice could potentially be used in tourtière to give it a slightly different flavour. I'd be open to trying it personally   Safyrr  18:42, 14 September 2023 (UTC)

title: Talk:Tourtière


text:
Wikipedia talk:Main Page/test

I like it, but...
I think we should strive for making it absolutely clear that anyone can edit without an account. A lot of people I've introduced to Wikipedia, even after viewing the main page, still struggled with the concept you didn't need an account to edit. It may not seem like much, but it counts; I persuaded a scoutmaster to copyedit Persekutuan Pengakap Malaysia through the fact that an account is unnecessary for editing. Johnleemk | Talk 18:41, 2 Dec 2004 (UTC)

 * Yes, it's vitally important we get across the message that YOU can change this NOW. I suspect Introduction could get that message over a bit better. Tom- 23:00, 2 Dec 2004 (UTC)

 * I am very impressed with Introduction and the changes proposed here. Though maybe the third page of the intro could use a link to the tutorial?  I'd think that some brand new users would still be a bit overwhelmed, even after the intro.  Perhaps adding something like "Still feel a bit overwhelmed?  Take a look at our editing tutorial for more information." would help.  --  TomPreuss 19:46, 19 Dec 2004 (UTC)

 * I originally had a link to the tutorial, but removed it because the tutorial is so long, text-based and unfriendly. I really think it needs rewriting, along with Help:Contents and most of the help, but it's a huge job, and not something that can be done overnight. Tom- 20:06, 19 Dec 2004 (UTC)

Pros and cons
I must admit that this version is much more readable. However, the reduction in links is not without some cost. Especiallly of concern to me is that Welcome, Newcomers is now virtually an orphan save for talk pages. Is this page being phased out? --L33tminion | (talk) 15:35, Dec 23, 2004 (UTC)

'Anyone can edit' vs. 'Is Wikipedia valuable?'
(transplanted to [Talk:Main_Page/intro]])

title: Wikipedia talk:Main Page/test


text:
List of political parties in Bhutan

In Bhutan, political parties need to be registered with Election Commission to contest National Assembly elections. Political parties can only contest National Assembly elections, since being an independent is a requirement for contesting National Council and local government elections.

Besides the official registered parties that came into existence after the democratisation of Bhutan, many Bhutanese parties have been operating in exile since the 1990s. Most of these parties are run by exiled people from the Lhotshampa community from the refugee camps in Nepal.

Official parties
In Bhutan, political parties need to be registered with Election Commission of Bhutan to participate in the Bhutanese elections.

Deregistered parties
In 2018, Druk Chirwang Tshogpa was deregistered by the Election Commission on its own request.

In 2023, the Bhutan Kuen-Nyam Party deregistered after years of low activity. The party had failed to find a new leader after Neten Zangmo resigned the position in 2018.

Other political parties
The following parties are all based in exile.
 * Bhutan Democratic Socialist Party
 * Bhutan Gorkha National Liberation Front
 * Bhutan National Congress
 * Bhutan National Democratic Party
 * Bhutan National Party
 * Bhutan Peoples' Party
 * Bhutanese Movement Steering Committee
 * Communist Party of Bhutan (Marxist–Leninist–Maoist)
 * Bhutan Tiger Force
 * Druk National Congress

The Druk National Congress was formed in exile in Kathmandu, Nepal on June 16, 1994.

On August 26, 2010, Bhutanese political parties in exile formed an umbrella group to pursue a "unified democratic movement led by Rongthong Kunley Dorji, President of the Druk National Congress. The group's offices opened in Kathmandu in November 2010, and it seems to receive some measure of support from the Nepalese government.

title: List of political parties in Bhutan


text:
User talk:Wilkintj

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! -Wolf530 21:44, Nov 29, 2004 (UTC)
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Għar Dalam

Għar Dalam ("Cave of Dalam" (a fifteenth century family name)) is a 144 metre long phreatic tube and cave, or cul-de-sac, located in the outskirts of Birżebbuġa, Malta. The cave contains the bone remains of animals that were stranded and subsequently became extinct in Malta at the end of the Last Glacial Maximum. It has lent its name to the Għar Dalam phase in Maltese prehistory, and is viewed as one of Malta's most important national monuments. Pottery similar to that found in Stentinello was found at Għar Dalam, but lacking details such as stamp decorations.

Dwarf elephant, hippopotamus, giant swan, deer and bear bone deposits found there are of different ages; the hippopotamuses became extinct about 10,000 years ago, whilst the deer species became extinct much later, about 4000 years ago during the Chalcolithic. It is also here that the earliest evidence of human settlement on Malta, some 7,400 years ago, was discovered.

Recent history

The cave was first investigated for its Neolithic remains in 1865, with excavations by Italian palaeontologist Arturo Issel. An excavation was carried out in 1892 by John H. Cooke. The bulk of this material was stored in Malta, while a comparative collection was sent to the British Museum. This material was studied by Forsyth Major in 1902, who isolated a new dwarf species of dwarf hippopotamus, Hippopotamus melitensis, based on these findings.

The cave was included on the Antiquities List of 1925, but was not opened to the public until March 1933. A museum was set up on site by the then-Curator of Natural History, Joseph Baldacchino. Within a year of his appointment as curator in 1935, Baldacchino published a booklet on Għar Dalam, highlighting the main excavations and investigations of the cave. The museum was slowly upgraded, new specimens replacing the old, and a labelling system set in place.

The showcases around the walls of the Għar Dalam museum house skeletal remains found in the cave. These are organised by species and type. The showcases in the centre of the museum's room contain complete skeletons of modern examples of deer, elephant and other species. These were not found in the cave, but imported as reference specimens for the use of scholars working on the fossil examples.

It was used as an air-raid shelter during World War II. In 1980, the most important and irreplaceable relics—such as four tusks of dwarf elephants and the skull of a Neolithic child—were stolen from the museum.

The cave is some 144 m deep but only the first 50 m are accessible to visitors. The museum, which still exhibits a remarkable wealth of finds from animal bones to human artifacts, is the entrance to the whole area.

Għar Dalam Cave and Museum is operated by Heritage Malta. In 2019, a project was announced to improve the physical accessibility between Għar Dalam, Ta’ Kaċċatura, Borġ in-Nadur, and other sites which are in close proximity to one another.

Stratigraphy

The cave consists of six layers.
 * 1) Domestic animal layer (c. 74 cm). This layer has mainly cultivated animals in it, such as cows, horses and sheep/goats. Human remains, like pottery, flints, tools and ornaments or amulets are present here.
 * 2) Calcareous sheet (c. 0.6 cm).
 * 3) Deer Layer (c. 175 cm). The dwarf deer found in this layer are derived from the red deer (Cervus elaphus). Small numbers of carnivores are known from this layer, namely brown bear, red fox and wolf. Also big swans, giant turtles and voles are found.
 * 4) Pebble layer (c. 35 cm). This layer consists completely of small boulders and pebbles. They are indicators of a river that streamed through the cave. The stones are quite large, as it was a fast-flowing river.
 * 5) Hippopotamus layer (c. 120 cm). This layer consists of mainly Hippopotamus melitensis. Other species found are dwarf elephant and the giant dormouse Leithia cartei.
 * 6) Bone-Free clay layer (c. 125 cm). No bones found in this layer, only some impressions of plant material

title: Għar Dalam


text: Category:Elections in Bhutan

title: Category:Elections in Bhutan


text:
John McNair

John McNair is the name of:

 * John B. McNair, Premier of New Brunswick
 * John M. McNair, Senator from New Brunswick
 * John Frederick Adolphus McNair, British civil servant based in India
 * John McNair (congressman), from Pennsylvania
 * John McNair (UK politician), General Secretary of the Independent Labour Party

title: John McNair


text:
User talk:Azure Turtle

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! -Wolf530 21:46, Nov 29, 2004 (UTC)
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title: User talk:Azure Turtle


text:
User talk:Fabrice KURZ

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! -Wolf530 21:47, Nov 29, 2004 (UTC)
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title: User talk:Fabrice KURZ


text:
Mainliner: Wreckage from the Past

Mainliner: Wreckage from the Past is a collection of early recordings by Social Distortion. It was released on July 18, 1995, and contains songs which were recorded in 1981. It is a collection of singles and B-sides that had never appeared on any of the band's full-length albums (except for "Moral Threat" and "All the Answers"). This album was released by Mike Ness' Time Bomb Recordings (distributed by Arista Records) in 1995 along with the re-release of Mommy's Little Monster and Prison Bound.

Track listing
All songs written by Mike Ness unless otherwise noted.
 * 1) "1945" (Posh Boy Version) – 1:52
 * 2) "Playpen" (Posh Boy Version) – 2:40
 * 3) "Mainliner" – 2:30
 * 4) "Moral Threat" – 3:35
 * 5) "All the Answers" – 2:12
 * 6) "Justice for All" – 2:03
 * 7) "Under My Thumb" (Mick Jagger/Keith Richards) – 2:04
 * 8) "1945" (13th Floor Version) – 2:03
 * 9) "Playpen" (13th Floor Version) – 2:58
 * 10) "Mass Hysteria" – 2:41 (Ness/Liles)

"Justice for All" was later rerecorded by Social Distortion in 1988 for their second album, Prison Bound, as "It's the Law".

"Justice For All" and the Posh Boy version of "Playpen" first appeared on the compilation cassette The Future Looks Bright, released by Posh Boy with side A containing Posh Boy produced bands and side B containing SST artists.

The Posh Boy version of "1945" first appeared on the compilation album Rodney on the ROQ, Volume 2.

"Moral Threat" and "All the Answers" were later rerecorded by Social Distortion in 1982 for the band's first album, Mommy's Little Monster.

 * Mainliner: Wreckage from the Past features the only recordings by Social Distortion in which Brent Liles performs vocals

Personnel

 * Mike Ness - guitar, vocals all tracks
 * Dennis Danell - bass guitar and vocals (tracks 1–6), rhythm guitar and vocals (tracks 7–10)
 * John "Carrot" Stevenson- drums, vocals (tracks 1–6)
 * Brent Liles - bass guitar, vocals (tracks 7–10)
 * Derek O'Brien - drums, vocals (tracks 7–10)

title: Mainliner: Wreckage from the Past


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Veer-Zaara

Veer-Zaara is a 2004 Indian Hindi-language epic romantic drama film directed and produced by Yash Chopra, from a screenplay written by his son Aditya Chopra. It stars Shah Rukh Khan and Preity Zinta as the eponymous star-crossed lovers: Veer Pratap Singh (Khan) is an Indian Air Force officer, and Zaara Hayaat Khan (Zinta) is the daughter of a Pakistani politician. Veer is imprisoned on false charges, and 22 years later, a young Pakistani lawyer, named Saamiya Siddiqui (Rani Mukerji), fights his case. Amitabh Bachchan, Hema Malini, Divya Dutta, Manoj Bajpayee, Boman Irani, Anupam Kher and Kirron Kher play supporting roles.

Chopra expressed his desire to make a comeback to the film industry after a gap of seven years, as he was unsatisfied with the scripts he had been offered. It was during this time that Aditya narrated a few scenes from a story he had written, which intrigued Chopra and sparked his interest to direct it. Chopra envisioned the film as a tribute to Punjab, aiming to capture the essence of the region. It was to be titled Yeh Kahaan Aa Gaye Hum, based on an eponymous song from Yash Chopra's Silsila (1981). Set in India and Pakistan, principal photography took place in Punjab and various locations in Mumbai; parts of the film were also shot in Pakistan. The soundtrack album, based on old compositions by Madan Mohan with lyrics by Javed Akhtar, was the highest-selling album of the year in India.

Veer-Zaara was released on 12 November 2004 during the Diwali festival. The film earned over ₹105 crore worldwide, becoming the highest-grossing Indian film of the year in both India and International territories. It received widespread critical acclaim, with high praise directed to the story, screenplay, dialogues, soundtrack, performances and sensitive portrayal of India-Pakistan relations. It was described by analysts as having themes pertaining to a shared Punjabi culture, secularism and feminism, among others. The film is considered as one of the greatest romantic films of Indian film history.

At the 52nd National Film Awards, Veer-Zaara won the Best Popular Film Providing Wholesome Entertainment. At the 50th Filmfare Awards, the film received a leading 15 nominations, and won 4 awards, including Best Film and Best Story (Aditya). At the 6th IIFA Awards, it won a leading 7 awards of its 11 nominations, including Best Film, Best Director (Chopra), Best Actor (Khan), Best Supporting Actress (Mukerji) and Best Music Director (Mohan).

Plot
The government of Pakistan decides to review unsolved cases pertaining to their Indian prisoners as a gesture of goodwill. Saamiya Siddiqui, a budding Pakistani lawyer, is given the defense of prisoner 786 as her first case. The prisoner, documented under the name Rajesh Rathore, has not spoken for twenty-two years. However, when Saamiya addresses him by his real name, Veer Pratap Singh, he breaks his silence and opens up to her about his story.

Twenty-two years earlier, Zaara Hayaat Khan was a lively young Pakistani woman whose family has a political background and is of high standing in Lahore. Her engagement is arranged with Raza Shirazi, a wealthy and influential lawyer. Zaara travels to India to fulfill the last wish of her Sikh nanny: to have her ashes scattered in the Sutlej River. Her bus met with an accident. Veer, then an Indian Air Force pilot and a Punjabi Sikh, rescues Zaara and helps her complete her nanny's final wish. She accompanies him to his village to celebrate the festival of Lohri, where she meets his loving aunt and uncle, who raised him.

The next day, Veer takes Zaara to the train station for her return to Pakistan and is shocked to see her fiancé Raza there to accompany her. Veer confesses that he has fallen in love with her, accepting that they cannot be together. Both depart, believing they will never meet again. Amidst her wedding preparations back home, Zaara realises that she too is in love with Veer. Her mother, however, is against this, as marrying Raza will further her father's political career. Zaara's friend Shabbo secretly calls Veer, begging him to take Zaara away. He promptly quits the Indian Air Force and arrives in Pakistan. Zaara tearfully runs into his arms, causing her father to fall ill with shock and anger.

Zaara's mother begs Veer to leave Zaara, fearing for her father's reputation and health. Veer respects this and attempts to return home but Raza, outraged and jealous, has him arrested by Pakistani police. He blackmails Veer with two choices: be imprisoned for life on charges of being an Indian spy, or walk free knowing that Raza will make Zaara's life a living hell. Veer sacrifices his freedom out of his deep love for Zaara and is imprisoned in Pakistan. Meanwhile, his return bus falls off a cliff, killing all the passengers, so he is presumed dead to the world.

Veer requests Saamiya not to mention Zaara whilst fighting the case, believing that she must be married by now; he does not want to ruin her reputation or make her settled life difficult. Saamiya travels to his village to find someone who can prove his true identity. She is shocked to find Zaara and Shabbo at his home.

Shabbo explains that after Zaara thought Veer died, she broke off the marriage with Raza with her father's support. Her parents and Veer's aunt and uncle all eventually passed away within a few years. With the Hayat Khan family basically perished, Zaara and Shabbo left Pakistan and settled in Veer's village in India to fulfill Veer's dream of developing their village further.

Zaara is shocked to learn that Veer is alive. She accompanies Saamiya back to Pakistan, where the old lovers share an emotional reunion. Her statement and evidence in court prove Veer's innocence and true identity. The judge frees him, apologizing on behalf of Pakistan. Veer and Zaara marry, bid goodbye to Saamiya at the Wagah border crossing, and return home, finally able to live their lives together.

Cast

 * Shah Rukh Khan as Squadron Leader Veer Pratap Singh
 * Preity Zinta as Zaara Hayaat Khan
 * Rani Mukerji as Saamiya Siddiqui, Veer's lawyer
 * Boman Irani as Jehangir Hayaat Khan, Zaara's father
 * Kirron Kher as Mariyam Hayaat Khan, Zaara's mother
 * Divya Dutta as Shabina "Shabbo" Ibrahim, Zaara's friend and househelp
 * Anupam Kher as Zakir Ahmed, prosecution lawyer and Saamiya's ex-mentor
 * S. M. Zaheer as Pakistani Judge
 * Akhilendra Mishra as Jailor
 * Zohra Sehgal as Zahida "Bebe"
 * Tom Alter as Doctor
 * Amitabh Bachchan as Choudhary Sumer Singh, Veer's foster father (special appearance)
 * Hema Malini as Saraswati "Maati" Kaur, Veer's foster mother (special appearance)
 * Manoj Bajpayee as Raza Sharazi, Zaara's fiancee (special appearance)

Development
Yash Chopra was due to return to directing after 7 years since Dil To Pagal Hai (1997). After his son Aditya completed filming for Mohabbatein (2000), they started to look for a new script for Chopra's return as a director. None of the new scripts excited Chopra; he expressed his disdain at the new trend of the films of the time, stating, "I was tired of television promos. All the semi-clad girls look the same." Chopra stated he was as nervous of his return as he was while directing his debut Dhool Ka Phool (1959). He then finalised another script and began casting for roles. Aditya then provided a narration of a few scenes of a new script, but conveyed that he would be unable to direct it. Chopra was interested and began to work on the new project.

According to Aditya, the story of Veer-Zaara was written as a medium for his father to return to his Punjabi roots. Chopra was born in Lahore, Punjab (present-day Pakistan) and later moved with his family to Jalandhar when he was young. He travelled to Bombay (present-day Mumbai) in 1951, when he was introduced to the film industry. Speaking about the film's theme, Chopra said, "Veer-Zaara is a humble tribute to my home in Punjab. It is my tribute to the oneness of people on both sides of the border." In preparation, Chopra watched videos of Pakistani marriages and consulted Nasreen Rehman, a professor of the Cambridge University for the film's portrayal of Pakistani culture, their courts and dialects.

While completing the film, Chopra and Aditya had a discussion about the film's title. Yeh Kahaan Aa Gaye Hum was one of the contenders for the title, but Veer-Zaara was ultimately chosen. Chopra said, "The film's lovers are not bothered with the strife around them. For them, love is the only religion." The title Veer-Zaara was initially hinted to mislead audiences. The film's titled was officially confirmed by Sanjeev Kohli, CEO of Yash Raj Films, who stated that the title was chosen after "much deliberation". Chopra stated that he used to have constant arguments with Aditya while filming Veer-Zaara.

Cast and crew
Shah Rukh Khan was cast in the lead role of Veer. Khan shortly played a 60-year-old man in the film, which he felt was a difficult role for him.

Zaara's role was first offered to Kajol, upon her rejection, the role went to Zinta. According to Chopra, Zinta was a person whose "looks and personality could be transformed." He wanted to break the Western stereotype characters played by Zinta. Zinta was interested in being a part of the film due to Chopra's finesse as a director. She also felt that it was time to move on from war-oriented films with Pakistan, saying, "I thought that was a great message to have in a film and I think what our governments can't do... what our government cannot do, our cinema can do and this film is truly doing that." Zinta had to attend various lessons for improving her diction for speaking Urdu. Though excited at first, she later "got knots in her stomach" worrying about her performance, but Chopra assured her.

Based on the Pakistani human rights activist Asma Jehangir, the role of Saamiya Siddiqui was initially offered to Aishwarya Rai Bachchan and Pakistani actress Nadia Jamil, but upon their refusal, it went to Rani Mukherji. Amitabh Bachchan and Hema Malini were cast as Veer's foster parents. Manoj Bajpayee was cast as Zaara's fiancé, a role which was originally offered to Ajay Devgn. In 2017, while promoting Aiyaary, Bajpayee revealed that Chopra used to often worry about the film's possible failure. Boman Irani was cast in the supporting role of Zaara's father. Real-life couple Anupam Kher and Kirron Kher appear in the film as Saamiya's mentor and Zaara's mother respectively, though they do not share the same frame. Other cast members included Divya Dutta, Zohra Sehgal, Akhilendra Mishra, and Tom Alter. Chopra denied the existence of a rivalry between the co-actors in the film, when asked about it in an interview with The Quint.

In addition to writing the story and screenplay, Aditya co-produced the film along with his father under the banner Yash Raj Films. The film's costumes were handled by Manish Malhotra. Khan's costumes were specifically designed by Karan Johar. Mandira Shukla was the film's costume designer. Anil Mehta, the cinematographer, was requested by Chopra to give the scenes a feel of olden times, in contrast with other films of the time like Kal Ho Naa Ho (2003). Sharmishta Roy, daughter of art director Sudhendu Roy, was chosen as the art director. Saroj Khan and Vaibhavi Merchant were the choreographers. Allan Amin was the action director.

Principal photography
In October 2004, Rediff.com published an exclusive "On The Sets" report for Veer-Zaara. The website reported that the cast members wore expensive costumes, one being Zinta, who wore a flurocent green lungi outfit; Khan was late for the shot. Parts of the film were shot in various locations in Mumbai. In 2004, the National Geographic reported that a folk festival sequence was being shot in Film City, Mumbai. An set that represented Punjab was created and Sikh dancers were brought in, whom, according to the report, look like peacocks due to their colorful turbans. All scenes which featured Khan in a prison were shot in a single day, at a jail in Pakistan. The court scenes were shot in a Pakistani law court.

While filming for an action sequence with Khan, Zinta had a near-fatal experience when she was hanging from a harness for nearly six hours. Zinta labeled it "one of the most humbling experiences of [her] life" and stated that it made her realise the difficulties male actors have to go through. For a sequence involving Khan's character calling Mukherji's character 'daughter', over 10 retakes were taken, and a pack-up was also announced by an "infuriated" Chopra, according to Khan. According to Mukherji, Chopra usually used to refrain from taking retakes as these would make the actors "mechanical".

Veer-Zaara was filmed entirely in sync sound. Khan stated that although he did not have to dub lines for the film separately, he did dub a few dialogues for the film. Saif Ali Khan's palace in Pataudi served as Zaara's mansion. A shoot was carried out in Punjab during a particular season, after which the indoor shooting was completed. Most of the filming was done in secrecy and no official announcements were made. Initially planned to be filmed over a period of 102 days, the film's filming was completed in 72 days. The film's reel length was 17757.61 ft (5412.52 m).

Analysis
In her book Violent Belongings: Partition, Gender and National Culture in Postcolonial India, Kavita Daiya, associate professor of English at the Columbian College of Arts and Sciences feels that Zaara represents secularism in Pakistan. She refers to the encounter between Zaara and Choudhary Sumer Singh, where Zaara persuades Singh to promote women's education as an instance of the theme. Daiya notes that no person faces animosity by being either Indian or Pakistani in the film. Meenakshi Bharat and Nirmal Kumar, authors of the book Filming the Line of Control: The Indo–Pak Relationship through the Cinematic Lens, concur with Daiya and feels this shows maturity on Chopra's part, who ignores the issue of Jammu and Kashmir and was able to "overcome the phobia of Pakistan" usually present in Indian films. They compare it to Chopra's earlier films, where "hate-filled encounters" are generally avoided. Philip Lutgendorf agrees and also notes the influence of Sufi tradition, where Veer's ultimate reward is union with Allah, much like a Sufi pir. Kush Varia, author of the book Bollywood: Gods, Glamour, and Gossip, whilst agreeing with Bharat and Kumar about Chopra, notes that the lovers are reunited as compared to Chopra's earlier romances, where they remain separated.

Daiya establishes that Veer's "Indian masculinity" is shown through his sacrifice of spending 22 years in jail. Nandini Bhattacharya, author of the book Hindi Cinema: Repeating the Subject, differs and instead feels that Veer's character is "partially feminized"–"men are meant to be captors, not captives." Sangita Gopal, associate professor of English at the University of Oregon and author of the book Conjugations: Marriage and Form in New Bollywood Cinema, notes that Veer's identity dies after 22 years and even after reuniting with Zaara, they are too old to reproduce. She perceives this as the transition from "living death to fruitless life". Daiya feels that the Punjabi village in Veer-Zaara acts as a model for India, and Zaara's positive to a song describing India, feeling similarities with Pakistan, exposes an incomplete "utopian" affiliation between the two lovers. Daiya further feels that Veer's poem challenges the differences between the nations of India and Pakistan and establishes resemblance between the nations and citizens. Varia too agrees that the shared heritage of the Punjabis is one of the film's themes, explored in the song "Aisa Des Hai Mera".

Bharat and Kumar feel that Veer-Zaara and Main Hoon Na (2004), also starring Khan, accepts Pakistan's status as a separate entity from India. Rajinder Dudrah, senior lecturer at the University of Manchester, contrasts Veer-Zaara with Main Hoon Na, writing that while the former "explores the pleasures and trials of border crossing", the latter "extols the virtues of overcoming the border through diplomacy and personal actions." He notes that they show different depictions of borders that the protagonists need to overcome. He feels that the central aestic pleasures of the films, especially Veer-Zaara, is the emphasis on border crossing as a "potentially radical act". Bharat and Kumar also compare Henna (1991) with Veer-Zaara; they say that the "urbane, educated, professional characters" of Veer-Zaara replace Henna 's village people referring to "religion straight from the heart" and "responding to [Pakistan] in an unencumbered manner." Henna's brother died in helping Chander across the border; this is contrasted with Saamiya helping Veer in court. Dudrah notes that the ease with which the protagonists move across borders without going through legal procedurings could be a source of criticism.

Gopal feels that the film's dual time and use of old music was the reason for its appeal to masses and its commercial success. She compares the last segment of the title song in which Zaara is shot to the climax of Mani Ratnam's Dil Se.. (1998); both films suggest that the lovers cannot be united. She also feels that the extended ending with the song "Tere Liye" was for a realistic approach. In her book Dreaming in Canadian: South Asian Youth, Bollywood, and Belonging, Faiza Hirji feels that cultural and religious differences were not acknowledged in the film, while noting Pakistani and Muslim traditions were highlighted. She felt that the universality of the maternal habit was highlighted in a sequence between Zaara's mother and Veer. She contrasts the love to Bombay (1995), where religion is an obstacle to love, which is not the case in Veer-Zaara. Comparing the film with Gadar: Ek Prem Katha (2001), Rini Bhattacharya Mehta and Rajeshwari V. Pandharipande (authors of the book Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora) state that while Veer-Zaara manipulates the state's critique to make it appear "progressive" at first glance, Gadar does not. Both Gadar and Veer-Zaara feature a double recovery; only that the latter adopts "similarly duplicitous modes of writing political structures as individual destined whose triumph over nation-state politics drives aground more completely any redemptive plot of neighborly understanding". Bhattacharya agrees and also equates it with Gadar and others like Mother India (1957), where the "identity of the normative citizen" is established.

Music
Veer-Zaara's soundtrack features 11 songs with music based on old and untouched compositions by the late Madan Mohan, as revised by his son Sanjeev Kohli. The vocals are provided by Lata Mangeshkar, Jagjit Singh, Udit Narayan, Sonu Nigam, Gurdas Mann, Roop Kumar Rathod, Ahmed and Mohammed Hussain and Pritha Mazumder. The lyrics were written by Javed Akhtar. The soundtrack was released by YRF Music on 18 September 2004.

Mohan was nominated for the Best Music Director at the 50th Filmfare Awards, and won the Best Music Director at the 6th IIFA Awards. Akhtar got nominated for the Best Lyricist at the 50th Filmfare Awards for "Aisa Des Hai Mera", "Main Yahaan Hoon" and "Tere Liye", winning for "Tere Liye"; he also received a nomination for the IIFA Award for Best Lyricist for "Tere Liye". It was the highest-selling music album of the year in India, with sales of around 3 million units.

Theatrical
Veer-Zaara was released on 12 November 2004 and promoted with the tagline, "A Love Legend". A special screening was conducted in Punjab, Pakistan for Pakistani audiences. Apart from that, it was screened at the Berlin Film Festival, where it received high critical acclaim.

On 26 April 2006, Veer-Zaara had its French premiere at The Grand Rex, the biggest theatre in Paris. It is the first Indian film to premiere in such a large and luxe venue. It was released in 60 prints in the United Kingdom, and in the United States in 88 prints. In 2017, Veer-Zaara was restrained at the Best of Indian film series in the United States.

Home media
On 6 June 2005, Yash Raj Films released the DVD of Veer-Zaara. The film was released on Blu-ray in December 2009. In September 2007, a book based on the making of the film, titled They Said It... The Memoirs of a Love Legend Yash Chopra's Veer-Zaara, was released. The book contains testimonials from members of the film's cast and crew and follows the production stages of the film. The film was made available on Amazon Prime Video.

Box office
Veer-Zaara was commercially successful at the box office. Prior to the film's release, Adarsh predicted that the film would be a commercial success.

India
It was released in 625 screens in India and grossed ₹ 24.6 million nett on its opening day, the year's second highest-opening for a film in India. Veer-Zaara topped the week's highest-grossing films in India in the first week, grossing an average of ₹ 6,85,948 per print. It earned ₹ 175.7 million nett in its first week, the highest first week collection of an Indian film. Since its release, it topped the weekly charts 39 times in India. It also had the highest weekend collection of the year, earning ₹ 97.8 million over the weekend. The film remained at the first position in its second week of release, grossing an average of ₹ 1,89,502 per print. At the end of its theatrical run, it collected ₹ 580 million in India, becoming the highest-grossing film of the year.

Other territories
The film earned ₹ 357 million in the international markets–₹ 152.5 million from the United Kingdom, ₹ 140 million from the United States and ₹ 65 million from other territories–making it 2004's highest-grossing Indian production overseas. In its first week in the United Kingdom, the film collected $900,000, for the fourth position on the local box office chart. The film collected the same amount in North America, 15th on the local box office chart. The film was a blockbuster, with regard to its overseas collection. Veer-Zaara grossed a total of inr 976400000 worldwide, becoming the highest grossing Indian film of the year.

Critical response
Veer-Zaara was highly acclaimed by critics, who praised the film's story, screenplay, dialogues, music, performances and sensitive portrayal of India-Pakistan relations.

On Metacritic, which assigns a weighted average to films, it has a score of 67 based on five critics, indicating "generally favorable reviews". The film featured in the British Film Institute's list of 10 Great Bollywood Romances, with commentary by Rachel Dwyer. Dwyer feels that the film represents the "much-shared culture and history" of the Punjab. She writes, "Their dramatization in the film shows Chopra’s skill with film and music."

India
Taran Adarsh of Bollywood Hungama gave it 4.5 stars out of five and comments, "There's romance, there's a strong dose of emotions, there're songs aplenty, there's drama... But, most important, it has soul, which has been lacking in most movies of late". Writing for India Today, Kaveree Bamzai gave a positive review and compliments Khan's performance, writing, "Khan strides across Aditya Chopra's screenplay with assured ease." Subhash K. Jha gave Veer-Zaara a positive review for Indo-Asian News Service, praising the performances of the leads as "old yet passionate, frail yet sublime" and writes, "The surge of love between two people belonging to entirely different cultures and lands is collected into a quaint and quivering collage of memory and melody."

Jitesh Pillai of The Times of India rates it 3.5 stars out of five, crediting Aditya's writing and its execution. He writes, "Yash Chopra's Veer-Zaara may be woefully long and meandering. But... this one works and grabs us where it matters. VZ is one from the heart." Also writing for Times of India, Nishtha Bhatnagar called it a "must-watch". Deepu Madhavan of NDTV praised the execution of the plot and writes, "the love story of Squadron Leader Veer Pratap Singh and Zaara Hayaat Khan is an ode to ageless romance and timeless love." Avijit Ghosh gave the film 7/10 in The Telegraph and writes, "The film works because the stars shine. Preity's Zaara is both restrained and dignified. This is her most nuanced performance to date." He criticised the film's length and excessive use of Punjabi, but finally writes, "We have an honest-to-the-heart film that remarkably bypasses the bitterness of Indo-Pak relations in a cross-border love story... Veer-Zaara is for all seasons and every reason." Namrata Joshi of Outlook described it as "a good-hearted film wherein the underlying theme is the all-embracing goodness of 'people'."

Chitra Mahesh of The Hindu writes, "Veer-Zaara is inordinately long and sentimental. Certain things like fabulous camera work, art direction, and sensuousness of the moods, are a given. And you would overlook the cliches simply because there are such good performances, especially from Zinta and Mukherji," while also appreciating that Khan "looks good and performs most creditably." Vinayak Chakraborty of Hindustan Times, concurring with Mahesh, wrote that the movie "sticks to all the clichés that the Chopra camp has peddled down the ages," but concluded that it had "a strong script, good performances, and solid direction." Sukanya Varma of Rediff.com criticised Chopra for repeating content from his previous films, while appreciating the performances and finally writes, "if you are a fan of the Chopra factory of filmmaking and looking for plenty of eye-candy, Veer-Zaara promises to make your Diwali a happy one." In another review for The Times of India, Teena Malik heavily criticised it in agreement with Verma for repetition of content, and labelled the film "horrifying".

International
Anita Gates of New York Times writes that Veer-Zaara "would be embraced as fabulously trashy" had it been an American film but credits the cultural impact, writing, "the cultural assumptions of Veer and Zaara add a welcome element of freshness for American audiences. When Zaara's mother reminds her daughter that women always love fully, with heart and soul, she casually adds, "Men don't have the strength to love like that." Derek Elley of Variety observes that while it does not have "technique and production sheen" as recent Hindi films, Veer-Zaara's "in-depth star casting and thorough entertainment values" make it a "must-see" for Indian filmgoers. Maitland McDonagh of TV Guide wrote, "Though Chopra's film is emotionally extravagant even by the standards of India's epically unrestrained cinema, the star-crossed lovers bear the weighty metaphorical significance of their travails surprisingly lightly, particularly Zinta's radiantly lovely Zaara." Jonathan Curiel of San Francisco Chronicle was particularly fond of the film, finding the movie experience "so arresting, its scenes so full of beauty and colors, that the three hours go by almost too fast". He further noted that unlike other Hindi films, it deserves a wider audience for portraying "the humanity in characters who represent 'the other'", done "in a way that's dramatic, funny, fun, silly, musical, stylish, romantic and redemptive".

Carrie R. Wheadon of Common Sense Media gives it four stars out of five and rates it as 11+, writing, "Those who watch can't miss the pleas for understanding and peace between India and Pakistan or the film's strong support of equality for women." She compliments the picturization of the songs, opening, "Even the slower love songs will hold viewers, especially as Zaara dreams about seeing Veer everywhere while she prepares for her wedding." Manish Gajjar of BBC commented, "Veer-Zaara has a great storyline with some unpredictable twists and emotions, keeping you engrossed throughout."

title: Veer-Zaara


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Inner Austria

Inner Austria (Innerösterreich; Notranja Avstrija; Austria Interiore) was a term used from the late 14th to the early 17th century for the Habsburg hereditary lands south of the Semmering Pass, referring to the Imperial duchies of Styria, Carinthia and Carniola and the lands of the Austrian Littoral. The residence of the Inner Austrian archdukes and stadtholders was at the Burg castle complex in Graz.

Geography
The Inner Austrian territory stretched from the northern border with the Archduchy of Austria on the Alpine divide over Upper and Lower Styria down to Carniola, where the Lower and White Carniolan lands (the former Windic March) bordered on the Habsburg Kingdom of Croatia. In the west, the Carinthian lands stretched to the Archbishopric of Salzburg and the Habsburg County of Tyrol, while in the east, the Mur River formed the border with the Kingdom of Hungary.

In the south, the County of Görz, which had passed to the House of Habsburg in 1500, and Duino (Tybein) bordered on the Domini di Terraferma of Venice. The Imperial Free City of Trieste on the Adriatic Coast linked to assorted smaller possessions in the March of Istria around Pazin and the free port of Rijeka (later corpus separatum of Fiume) in Liburnia.

History
The Styrian lands had already been ruled in personal union by the Babenberg dukes of Austria since 1192 and were finally seized with the Austrian lands by the Habsburg king Rudolph I of Germany upon his victory in the 1278 Battle on the Marchfeld. In 1335 Rudolph's grandson Duke Albert II of Austria also received the Carinthian duchy with the adjacent March of Carniola at the hands of Emperor Louis the Bavarian as Imperial fiefs. When in 1365 Albert's son Duke Rudolf IV of Austria suddenly died at the age of 26, Emperor Charles IV enfeoffed his younger brothers Albert III with the Pigtail and Leopold III the Just, who however began to quarrel about the Habsburg heritage. By the 1379 Treaty of Neuberg they finally split late Rudolf's territories: The elder Albertinian line would rule in the Archduchy of Austria proper (then sometimes referred to as "Lower Austria" (Niederösterreich), but comprising modern Lower Austria and most of Upper Austria), while the younger Leopoldian line ruled the Styrian, Carinthian and Carniolan duchies, then subsumed under the denotation of "Inner Austria". At that time their share also comprised Tyrol and the original Habsburg possessions in Swabia, called Further Austria; both collectively referred to as "Upper Austria" (Oberösterreich) in that context, also not to be confused with the modern state of that name.

When Leopold III was killed in the 1386 Battle of Sempach against the Old Swiss Confederacy, the Leopoldian heritage fell to his eldest son Duke William the Courteous, who upon the death of his uncle Albert III in 1395 also raised claims to the Archduchy of Austria against Albert's only son and heir Duke Albert IV. Both sides came to an agreement to maintain the Neuberg division but also to assert the common rule over the Habsburg lands. Therefore, from 1404 William acted as Austrian regent for his minor nephew Albert V. The Tyrolean and Further Austrian lands passed to William's younger brother Duke Leopold IV the Fat. When Duke William died without issue in 1406, the Leopoldian line was further split among his younger brothers: while Leopold IV assumed the regency in Austria, the Inner Austrian territories passed to Ernest the Iron, while the Tyrolean/Further Austrian passed to the youngest brother Frederick of the Empty Pockets.

In 1457 the Leopoldian line again could assume the rule over the Austrian archduchy, when Ernest's son Duke Frederick V of Inner Austria succeeded his Albertine cousin Ladislaus the Posthumous who had died without issue. 1490 saw the reunification of all Habsburg lines, when Archduke Sigismund of Further Austria and Tyrol resigned in favour of Frederick's son Maximilian I. In 1512, the Habsburg territories were incorporated into the Imperial Austrian Circle. The dynasty however was split up again in 1564 among the children of deceased Emperor Ferdinand I of Habsburg. Under the Inner Austrian line founded by his younger son Archduke Charles II, the lands became a centre of the Counter-Reformation, carried out by the Jesuits with great determination. The cadet branch prevailed again, when Charles' son and successor as regent of Inner Austria, Archduke Ferdinand II, was crowned King of Bohemia in 1617, King of Hungary in 1618, and finally succeeded his cousin Matthias in the Archduchy of Austria (as Ferdinand III) and as Holy Roman Emperor in 1619. His intentions to translate the absolutist and anti-reformationist Inner Austrian policies to the Crown of Bohemia sparked the Thirty Years' War.

The Further Austrian/Tyrolean line of Ferdinand's younger brother Archduke Leopold V survived until the death of his son Sigismund Francis in 1665, whereafter all territories ultimately returned to common control with the other Austrian Habsburg lands. The political administration of Inner Austria was centralized at Graz in 1763. Inner Austrian stadtholders went on to rule until the days of Empress Maria Theresa in the 18th century.

Administration from 1748

 * Duchy of Styria
 * Lower Styria
 * Graz District:
 * Marburg District
 * Cilli District
 * Upper Styria
 * Bruck District
 * Judenburg District
 * Duchy of Carinthia
 * Klagenfurt District (Lower Carinthia)
 * Villach District (Upper Carinthia)
 * Duchy of Carniola
 * Laibach District (Upper Carniola)
 * Adelsberg District (Inner Carniola and Istria)
 * Neustadtl District (Lower Carniola)
 * Princely County of Gorizia and Gradisca
 * Görz District
 * Imperial Free City of Trieste
 * Triest District

Leopoldian line
1379–1386 Vienna fourth son of Albert the Wise and Joanna of Pfirt 23 February 1365 Vienna six children Sempach aged 34 1386–1406 Vienna eldest son of Leopold the Just and Viridis Visconti 13 November 1401 Vienna no issue Vienna aged 36 1406–1411 Vienna second son of Leopold the Just and Viridis Visconti 15 August 1393 Vienna no issue Vienna aged 40 1406–1424 Bruck an der Mur third son of Leopold the Just and Viridis Visconti 14 January 1392 Bruck an der Mur no issue (2) Cymburgis of Masovia 25 January 1412 Kraków nine children Bruck an der Mur aged 47 1457–1493 Innsbruck first son of Ernest the Iron and Cymburgis of Masovia 16 March 1452 Rome five children Linz aged 77 Frederick became Archduke of Austria in 1457, Habsburg territories united in 1490.
 * width=auto| Leopold III the Just
 * Leopold III of Austria.jpg
 * 1 November 1351
 * Viridis Visconti
 * 9 July 1386
 * width=auto| William the Courteous
 * width=auto| William the Courteous
 * Wilhelm Austria.jpg
 * c. 1370
 * Joan II of Naples
 * 15 July 1406
 * width=auto| Leopold IV the Fat
 * width=auto| Leopold IV the Fat
 * Leopold IV.jpg
 * c. 1371
 * Catherine of Burgundy
 * 3 June 1411
 * width=auto| Ernest the Iron
 * width=auto| Ernest the Iron
 * Ernest the Iron.jpg
 * c. 1377
 * (1) Margaret of Pomerania
 * 10 June 1424
 * width=auto| Frederick V the Peaceful
 * width=auto| Frederick V the Peaceful
 * Hans Burgkmair d. Ä. 005.jpg
 * 21 September 1415
 * Eleanor of Portugal
 * 19 August 1493
 * }
 * }

Inner Austrian line
1564–1590 Vienna fourth son of Ferdinand I and Anne of Bohemia and Hungary 26 August 1571 Vienna fifteen children Graz aged 50 1590–1637 ''under regency of Ernest of Austria (1590–1593) Maximilian III (1593–1595) Graz second son of Charles II and Maria Anna of Bavaria 23 April 1600 Graz seven children (2) Eleonor Gonzaga 2 February 1622 Innsbruck no issue Vienna aged 58 Ferdinand became Holy Roman Emperor in 1619.
 * width=auto| Charles II
 * Anonym Erzherzog Karl II.jpg
 * 3 June 1540
 * Maria Anna of Bavaria
 * 10 July 1590
 * width=auto| Ferdinand II
 * width=auto| Ferdinand II
 * Kaiser Ferdinand II. 1614.jpg
 * 9 July 1578
 * (1) Maria Anna of Bavaria
 * 15 February 1637
 * }
 * }

title: Inner Austria


text:
Lambay Island

Lambay Island (Reachrainn), often simply Lambay, is an island in the Irish Sea off the coast of north County Dublin, Ireland. The largest island off the east coast of Ireland, it is 4 km offshore from the headland at Portrane, and is the easternmost point of the province of Leinster. Of volcanic origin, it has been inhabited since the prehistoric period and has been the subject of multiple archaeological studies. Lambay has notable populations of seabirds, a range of local fauna, some not found elsewhere in Ireland, and a colony of wallabies, as well as more than 300 plant varieties, and was the subject of major studies of flora and bird, and a major multidisciplinary study of flora and fauna between 1905 and 1907. The island is privately owned by a trust for members of certain branches of the Baring family and managed by the current Baron Revelstoke. It has a very small permanent population and few buildings but hosts some day visitors and short-stay guests, and there is a working farm.

Etymology
The name 'Lambay' comes from Old Norse Lamb ey meaning "lamb island". The name probably originated from the practice of sending ewes to the island in Spring so they could lamb in a predator-free environment. A similar place name is Lamba in Shetland.

The Irish name for the island is Reachrainn, which is also the Irish name for Rathlin Island. The coastal settlement of Portrane faces Lambay and its name comes from Port Reachrann, the "port of Reachrainn".

Geography
Lambay Island is the largest island off the east coast of Ireland. It covers about 2.5 km2. The highest point – a hill known as Knockbane – rises to 126 m. The island's high ground lies to the east and aside from Knockbane includes Heath Hill and Tinian Hill, and in the extreme northeast, Pilot's Hill. Steep cliffs lie along the northern, eastern, and southern coasts of the island, while the western side has low-lying land and gentle slopes. Due to the island's topography and exposure to weather, the western shore is where almost all of the island's buildings are located – the Castle, coastguard cottages and guest residences, and the Catholic chapel – as well as the only harbour, while two cottages exist on hillier ground.

The island has eight named bays and a few narrow inlets, and the easternmost point is Lambay Head. The bays are, running counter-clockwise from the harbour, Talbot's Bay, named for a former owner, Carnoon Bay, Bishop's Bay, Sunk Island Bay, Tayleur Bay, Freshwater Bay, Saltpan Bay and Broad Bay. Inlets include Seal Hole. There is a sandy beach by the harbour, and several small rocky strands on the steeper coasts.

Geology
The island is of volcanic origin, and its basic geology is Lambay Volcanic Formation, mostly igneous rocks. Bedrock is a mix of andesite, tuff (from volcanic ash) and mudstone, as well as breccia, but there are beds of shales and limestones also, and loamy soil. The andesite, present across the whole area of Lambay, is primarily of the specific type Lambay porphyry.

Hydrology
A small number of wells, springs and small streams are fed by aquifers, topped up by rainfall and so varying seasonally. The wells include Trinity Well near the peak of Knockbane, and Raven Well near the central-eastern cliffs; there was also historically a spring near Raven's Well, another near the castle, and a well near Carnoon Bay. A small stream flows down into Carnoon Bay and a slightly larger into Freshwater Bay. There was also a stream to Seal Hole, which at least once had three rivulets meeting, one from Raven Well and two from marshy patches nearby, and finally, there was a flow from the vicinity of the castle to the sea near the harbour.

Demographics
The island of Ireland has 258 sometime-inhabited islands but Lambay is one of only five of these which lie off the eastern coast. The Copeland Islands off the coast of County Down are the only other islands off the east coast which remain inhabited as of 2020. The population has ranged from reports of over 140 to as few as 3. The table below reports data on Lambay's population taken from Discover the Islands of Ireland (Alex Ritsema, Collins Press, 1999) and the census of Ireland. Census data in Ireland before 1841 are not considered complete and/or reliable.

Administration and designations
Lambay Island forms a townland in the civil parish of Portraine, in the barony of Nethercross, within the modern county of Fingal and in the traditional County Dublin.

For electoral purposes, it is in the electoral division of Donabate, within the Swords ward for local authority polls, and the Dublin Fingal constituency for national elections.

The island, a Natura-2000 site, has both Special Protection Area (SPA) and Special Area of Conservation (SAC) designations, as well as being a pNHA. The island is also wholly enclosed by the Rockabill to Dalkey Island SAC which references reef communities and harbour porpoises.

There are, as of 2020, 26 National Monuments (sites on the Record of Monuments and Places), and one possible site.

Flora and fauna
The island was discovered to hold 90 species not seen elsewhere in Ireland, and 5 new to science, when studied in 1905–1906.

Flora
The island is home to 308 plant types. However, surveys have found that 33 are invasive species that have arisen as weeds from agriculture or horticulture.

Fauna
The island supports one of the largest seabird colonies in Ireland, with more than 50,000 common guillemots, 5,000 kittiwakes, 3,500 razorbills, 2,500 pairs of herring gulls, as well as smaller numbers of puffins, Manx shearwaters, fulmars, and greylag geese.

North Atlantic sea mammals such as grey seals annually pup on the island. The island has a substantial population of rabbits. Ireland's most common rodent, the brown rat is present, as is Ireland's only self-sustaining long-term population of the black rat, with the presence of the former keeping the numbers of the latter under control.

Rockabill and Lambay islands are the best places in County Dublin to see harbour porpoises.

The island also possesses some uncommon invertebrates – the major survey in 1905-1906 discovered species new to science. Among these were three species of earthworm (including Henlea hibernica), a bristletail (Praemachilis hibernica) and a mite (Trachyuropoda hibernica). The earthworm aspect of the study found 34 species, of which 18 were previously unseen in Ireland, including the three new to science as a whole, and noted that the average size of specimens was smaller than on the mainland by a material amount. A degree of local variation was also noted, and for example, one type was particularly prominent near the Raven's Well.

Domestic and non-native fauna
There are also non-native red-necked wallabies, introduced by Rupert Baring in the 1950s, and augmented by a surplus from Dublin Zoo in the 1980s, numbering perhaps around 100 in 2017. The wallabies breed well, and some moderate culling is required to keep the population under control. Fallow deer were introduced, and by the mid-2000s formed a herd of about 200. There is also a herd of farmed cattle on the island, and a flock of sheep.

Prehistory
The island was of some significance in the Neolithic period in Ireland as a ground stone quarrying and production site for axes. Two outcrops of andesite, or Lambay porphyry as the specific rock variety is more commonly known, were utilised. The quarry site is unusual in Ireland for being the only Neolithic stone axe quarry with evidence for all stages of production, from quarrying to final polishing.

Classical period
In the 1st century AD the Ancient Roman writer Pliny knew about the island and referred to it as Limnus or Limni. Its Irish name, Reachra, was eventually joined by a Norse name based on the root word ey for island. A number of Iron Age burials were discovered on the island in 1927, during works on the island's harbour. The finds included a number of Romano-British items, and the site has been interpreted as possible evidence for the arrival of a small group of refugees from Brigantia, fleeing the Romans from 71 to 74AD.

Ptolemy's Geography in the 2nd century AD may have been describing Lambay when it mentions Εδρου (Edrou). PIE *sed- 'to sit, settle' had descendants in many languages, including Greek ἑδρα (hedra) 'sitting place' whose many specific uses included 'base for ships'.

Early Medieval
St. Columba is reputed to have established a monastic settlement on Lambay c. 530 AD, which passed to Colman and a line of successor abbots and at least one bishop. The religious settlement was raided by Vikings in 795, resulting in the church and buildings being ransacked and burned. Surveys in the early 20th century found remains of an enclosure to the south of the present chapel, and these, and modern satellite photography, suggested it was a moated site.

Late Medieval
Sitric, a Danish King of Dublin, granted Lambay to Christ Church Cathedral, and in 1181 Prince John granted it to the Archbishops of Dublin. This was reconfirmed by King Edward in 1337 and by King Richard in 1394. A later archbishop gave the rents of the island to the nuns of the Augustine Grace Dieu Abbey and school near Swords for the upkeep of their establishment. He also gave the tithes of Lambay's rabbits to the nuns – at that time the rabbit taxes were worth 100 shillings a year.

In 1467, it was provided by statute that the Earl of Worcester, then Lord Deputy, be granted Lambay to build a fortress for England's protection against the Spaniards, French and Scots. Worcester paid the Archbishop of Dublin 40 shillings per annum and though he had a licence to build a castle on Lambay it is not certain that any fortification was actually built.

Early modern
During the English Reformation in the mid 16th century, George Browne, the English Augustinian Archbishop of Dublin gave Lambay to John Challoner, the first Secretary of State for Ireland, for a rent of £6.13.4. The conditions were that Challoner would within six years build a village, castle and harbour for the benefit of fishermen and as a protection against smugglers. He was to inhabit Lambay "with a colony of honest men". He was a very active man who worked four mines for silver and copper and bred falcons on the island's many cliffs. During this period, Lambay Castle – a small blockhouse or fort – was built on the western side of the island.

Throughout the most of the reign of Elizabeth I, Challoner owned Lambay but in 1611 the island was granted to Sir William Ussher and his heirs. James Ussher, later the Anglican Archbishop of Armagh, took up residence on Lambay in 1626. By 1650 he had moved to London; he was highly respected by Lord Protector Oliver Cromwell and was buried in Westminster Abbey. The island remained in the possession of the Ussher family, renting from the Church of Ireland See of Dublin, under Crown tenure, for 200 years.

During the Williamite war in Ireland, the island was used as an internment camp for Irish soldiers. More than one thousand of them were imprisoned there after the Battle of Aughrim in 1691; some died of wounds and starvation.

In the 17th century, exploratory mining was again undertaken on the island but it did not develop into an industrial activity.

Georgian and Victorian era
In 1805, the leasehold of Lambay was inherited by Sir William Wolseley, and in 1814 it was acquired by the aristocratic Talbot family of Malahide. In the period following the Talbot de Malahide acquisition both a Catholic chapel and a national (primary) school were built.

On 21 January 1854, the iron-hulled RMS Tayleur struck the island's rocks and sank just hours into her maiden voyage from Liverpool to Perth, Australia. It was chartered by the White Star Line and was one of the largest merchant ships of her day. Of the 650 people on board, mostly families emigrating, 380 people died, though most of the 71 crew survived. The ship's crew, only 37 being trained seamen, thought they were sailing south when in fact they were heading west, partly due to problems with the compass and the mass of iron in the ship. There were also language issues, with many of the crew being Chinese with little English, and unable to fully understand the commanding officers.

In 1860 the existing farmers were removed by the Talbot family, who wanted to make the island a dedicated hunting ground, though they were later replaced with English and Scottish tenants. After selling his property, Portrane House, on the mainland nearby, Count James Consedine bought Lambay in 1888 to develop the island as a hunting retreat.

Baring family
In April 1904, Lambay was bought from a Mrs Parr by Cecil Baring, later 3rd Baron Revelstoke, a member of the Baring banking family, and a director in the New York office. Baring, also a classical scholar and naturalist, noticed it advertised for sale in The Field and bought it – for either £5,250 or £9,000 – for himself and his new bride, Maude, daughter of tobacco millionaire Pierre Lorillard IV.

The island's main residence was in poor condition, so Cecil brought the prominent architect Sir Edwin Lutyens to see it in 1905, and later hired him to work on its renovation. Lutyens supervised rebuilding and extension in the Arts and Crafts style, completing the first works by 1910 and became a family friend, returning there throughout the remainder of his life, adding to his architectural designs, and guiding construction and renovation in multiple locations over the course of 30 years or so. Aside from the castle, these works included the dwelling known as the White House and a family mausoleum. Cecil Baring and Lutyens engaged Gertrude Jekyll to work on tree planting, notably of sycamores, and the gardens near the castle.

Cecil Baring, who inherited his brother's title of Lord Revelstoke in April 1929, lived on the island till his death in 1934. He and his wife Maude are buried in the family mausoleum on Lambay, along with their son Rupert Baring, and grandsons John and James Baring. The mausoleum, which was also designed by Lutyens, forms part of the circular rampart wall around the Castle and is engraved with a poem Cecil wrote in memory of Maude when she died.

Rupert Baring was born just after the island residence was completed, in 1911, and Edwin Lutyens was his godfather and a major figure in his childhood, later explaining many of his architectural principles to the future Lord Revelstoke. Rupert, an episode of whose life was filmed as The Duchess of Duke Street, only worked two years in the family business; the branch of the family holding the island had no further involvement with Barings Bank after the 1920s. Rupert managed the island from 1934 to 1994, and in the 1980s he created a family trust to hold the island for his close relatives and descendants. Rupert was succeeded in the title by his two sons in turn: John and James Cecil. James, who had done pioneering work in Internet technology, engaged with a team of consultants to develop a concept for the island as a base for testing of renewable energy technology, including tidal power generation, and for associated education and hospitality business potential.

James was succeeded by his eldest son, Alexander "Alex" Rupert, in 2012. Alexander Baring commented that he was engaged but isolated island life led to a break-off, but he subsequently married and lives there with his wife and small children. The island is managed with the aid of a small staff. Having been overseen by a cousin, Margaret Kelly, from 1994 to 2012, it is now managed directly by Lord Revelstoke and his half-sister Millie (Miranda) Baring.

New strategy, 2011
After a warning about the depletion of its cash funding from the estate trust in 2012, and discussions in 2012 and 2013, a revised plan for the island's operations was put into play. This included a planning application in 2013 for modifications to the castle, which at that time had just one working toilet. The works proposed, noted by the architects as respecting the island's architecture and ambience, included the conversion of two rooms to bathrooms, the installation of a modern heating system, new freshwater and wastewater systems, a new wind turbine and some solar panels. It was noted that limitations on electrical storage capacity meant that there was only power enough for essential lighting, refrigeration and a single washing machine for the island, along with basic communication, and no capacity for most powered kitchen equipment, or even hair-dryers or a tumble-dryer. The application drew objections from several non-resident members of the family, who felt that it was too commercial in nature, and did not take enough account of the conservation needs of the buildings. Following discussions with Fingal County Council, permission was subsequently granted with conditions.

In 2015, a supporting club was launched, and a whiskey project developed. In subsequent years both accommodation and visiting arrangements were relaunched. In September 2018 Prince Edward visited the island and attended a dinner there.

Whiskey project
A special-purpose company for the whiskey project, which in a later phase may lead to the island's first industrial facility, a small distillery, was registered in February 2017. It is a joint venture between the island's holding company and the Camus Cognac family, which also had discussions with the owners of Slane Castle, who also launched a whiskey brand. The whiskey is produced in Ireland, with water added from one of the island's Trinity Well, and some batches are matured on the island. The Lambay Island Whiskey brand was launched on the Irish market, with a boat trip towards Lambay and an event in Howth, in April 2018. The venture posted a 1.2 million euro loss for 2018 but had built up inventory of around 3 million euro, and was distributing through international duty free and national market channels, primarily in the US. Further launches have followed, including in Moscow, Russia, and the brand has also sponsored a local boat race.

Application for planning permission for a micro-distillery for whiskey and gin, for small batch production in spring and autumn when the island's water supply is strongest, was made in 2019, and approved in principle, subject to clarification around waste disposal.

Archaeology
The island has been the subject of archaeological study over decades and on many occasions. One area of special study fell within the Irish Stone Axe project and included digs of between two weeks and two months from 1993 to 2001. This identified a stone axe factory, using Lambay porphyry, near the centre of the island, and also made findings about burial of neolithic pottery and flint.

Multiple human burial sites have also been found and the remains of at least two promontory forts.

Wrecks
There are around fifty wrecks in the waters around Lambay. The RMS Tayleur, under 18 metres of water around 40 metres off the southeastern coast, is the one most often dived, but such dives do require a licence from the National Monuments Branch of the Office of Public Works, as the wreck is over 100 years old. Another notable wreck is that of The Shamrock, under the stream at Freshwater Bay, north of Carrickdorish Rock; sunk in 1916, this ship carried phosphorus shells and explosives, and steps were cut in the rock nearby to facilitate the salvage and removal of these. Other wrecks include, on the northern coast, The Strathey, a steamship lost in 1900, and a 1920s loss just beyond Harp Ear.

Religion
After St Columba (Colmcille) from Ulster reputedly established a monastic settlement on Lambay in the 6th century, he passed its rule to Colman McRoi, later also a saint. Some sources state that Colman, who is venerated by Catholic, Anglican and Orthodox churches, actually founded the monastery on what was then called Reachrain, with Colmcille's blessing. Colman has his feast day on 16 June. The monastery endured for over two centuries and at least one of its abbots also held the rank of Bishop. It was raided in the first recorded attack by Vikings on Ireland, in 795. It ceases to be recorded thereafter.

In 1833, a new chapel was built under the auspices of the Catholic Church at Rush, with the permission of the Talbots of Malahide. The Talbots also contributed financially. The chapel was consecrated in a major local event. Tragically some people died on the return of boats to the mainland after the event. The chapel functioned for all Christians on the island thereafter. It was modified with Doric columns by Edwin Lutyens in the 1910s. It is still attended by the Baring family and other island residents on Sundays.

Lambay Castle
A small late 16th-century fort with battlemented gables, possibly incorporating a 15th-century blockhouse, was transformed by Sir Edwin Lutyens into a romantic castle for the Hon. Cecil Baring, afterwards 3rd Lord Revelstoke. Baring had been working in the US when he fell in love with the wife of one of his co-directors. She divorced her husband and married Baring. He bought the island for £5,250 in 1904 as a place to escape to with his young wife, Maude Louise Lorillard, the daughter of Pierre Lorillard, the tobacco millionaire, and the first American to win The Derby.

The story of Cecil and Maude's early life on the island inspired Julian Slade's musical Free as Air.

Lutyens made the old fort habitable and built a quadrangle of kitchens, bathrooms and extra bedrooms adjoining it, with roofs of grey Dutch pantiles sweeping down almost to the ground. He also built a circular curtain wall or enceinte surrounding the castle and its garden, with a bastioned gateway; this wall serves the practical purpose of a windbreak, enabling trees and plants to grow inside which would not grow outside. Everything is of a silvery grey stone. The rooms in the castle have vaulted ceilings and stone fireplaces; there is a stone staircase with many curves and an underground gallery in the new quadrangle. The work was of high quality but one small omission led to problems after a few years, namely a lack of rainwater channels.

The White House
Close to the harbour is the White House, a roughly horse-shoe shaped house with high roofs and whitewashed walls, which Lutyens designed in the 1930s for Lord Revelstoke's daughters Daphne and Calypso and their families, while the castle and island were left to his only son Rupert Baring.

Coastguard cottages
A row of small cottages, once for guards, and later used by coastguards, is also near the harbour. At least one is, as of 2020, available for rental.

Harbour and approach
Lutyens also designed the approach from the harbour, with curved step-like terraces reminiscent of the now-vanished Ripetta in Rome and a series of ellipses, circles being a long-standing symbol of welcome and also of wholeness. Characteristically, having ascended those Baroque steps, one has to cross an open field to come to the curtain wall, the entrance gateway not being at first visible.

Chapel
On a small cliff-top near the White House is a 19th-century Roman Catholic chapel. It has a portico of tapering stone columns, added by Lutyens, and a barrel-vaulted ceiling. Inside are various religious symbols and artefacts made by members of the family, including the little stained-glass window.

National school
The school building was located within the castle's curtilage, on a path from the castle to the harbour. At peak operations, in the 1840s, it had 40 children enrolled.

Operations today
The island is still privately owned by the Revelstoke Trust, a discretionary Baring family trust. Alex and Brooke Baring and their children and a small staff are, as of 2020, the only permanent residents, sometimes joined by Miranda Baring. There is an estate unlimited company, a company limited by guarantee for the supporting club, and a company for the whiskey project. The estate company has as directors the current Lord and a cousin, the botanist and Director of the National Botanic Gardens of Ireland, Matthew Jebb as well as a House of Lords assistant, while the club company has as directors Alex and Miranda Baring.

The estate includes domestic extensions to the old Castle, farm buildings, a row of former Coast Guard (Revenue Police) cottages, a larger house called the Bothy, the White House (a family guesthouse), the sole harbour with its boathouse, and a distinctive open-air real tennis court, the only one remaining in Ireland (there was one in the old University College Dublin complex on Earlsfort Terrace, adjacent to the National Concert Hall, in the part scheduled to be part of the Experimentation Station). There is a Roman Catholic chapel located on an isolated promontory southwest of the castle. All architecture was either designed or renovated by Sir Edwin Lutyens.

The farm
There is a farm, working without pesticides or chemicals, and with Galloway cows and a flock of sheep. Following previous ventures with sheep, including the Mayo Mule breed, the current flock is a cross of Texan and Blackface Mountain. It meets organic standards except for certain veterinary aspects, and is operated, under a REPS scheme, so as to disturb native flora and fauna as little as possible. It has operated as an agritourism destination, and accepted WWOOFers as volunteers. The farm operation also works with the island's fallow deer and wallabies.

There is a reference to seaweed processing in past times, but no significant use of kelp or seaweed is mentioned in recent times, other than the fallow deer eating it.

Energy
The island has no power or communication cables from the mainland, and about 75% of its energy needs are supplied by solar panels, supported by a wind turbine, and with limited battery capacity and a backup generator system.

Access and guest accommodation
The island is accessible by invitation only, as of 2020 mainly from the marina at Malahide, and occasionally from Rogerstown Estuary, where the Trust owns a pier and associated building at the southwestern edge of Rush, as well as other launching points in Rush, and Skerries Harbour, all lying north of Dublin Bay. There is a half-kilometre airstrip, which can be used by light aeroplanes of up to six seats, and landing places for helicopters.

Since at least 2016 there has been a cottage available to rent, and the White House is available for larger groups known to the family and for retreats and corporate training events.

The Island Club
Around 2015 a supporters club was established. This was for people who believed in the island's importance for heritage and wildlife, and who wanted to meet with like-minded people, and retreat from busy city life. A small group of pioneer members was joined by Irish politician Conor Lenihan. Lenihan had had experience promoting Russia's "constructed technopark" – a sort of mini-Silicon Valley. The club has multiple levels of membership and promotes "think ins" and "off-grid breaks" for members. It has links to the Century Club in Soho, London.

Real tennis
There is a real tennis court on the shore near the harbour. It was built in 1922 and is one of only two remaining in Ireland, and the only accessible one.

Visiting / walking groups
While the island is not open to casual visiting or landing of boats, groups with interests in gardening, architecture and birds are facilitated, weather permitting, and walking tours have been arranged for some years by a boatman operating Skerries Sea Tours with his family.

Aquasports
Due to its deep surrounding waters, the island attracts scuba divers and fishermen, as well as lobster-potters.

Other sports
There is a disused lawn tennis court and there was a small golf course also.

The winners of the 1921 Gordon Bennett Gas Balloon Race managed to land on Lambay after taking off from Brussels, Belgium. Captains Paul Armbruster and Louis Ansermier, from Switzerland, landed on the island after flying 756 km at a maximum altitude of 3600 m during a flight of 27 hours and 23 minutes.

Popular culture
According to the Revelstoke records on the island, Lambay Castle is the location where Michael Powell wrote his screenplay for Black Narcissus (1947).

title: Lambay Island


text: User talk:129.2.222.251

title: User talk:129.2.222.251