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Talk:Xenophon

Mercenary
The introduction to The Expedition of Cyrus (Oxford World's Classics, 2005, page xiv), quotes Xenophon saying he had come as philos to Cyrus not as  general, company commander or a soldier - ranks whose pay he had described shortly before. That is not in a relationship of "service for cash". In this context is it correct to describe Xenophon as a mercenary?

All the best: Rich Farmbrough, 21:57, 28 February 2017 (UTC).

Move discussion in progress
There is a move discussion in progress on Talk:Polity of the Lacedaemonians which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 07:01, 19 March 2018 (UTC)

Relations between Medes and Persians in Cyropaedia
I removed a large section on the relationship between Medes and Persians in the Cyropedia. The section was originally added (in essentially the same form as now) in this edit by a user who was explicitly arguing for the reliability of the Cyropaedia as historical beyond what most scholars would advocate; they simultaneously added a similar, much longer section to the Cyropaedia article, which was soon removed at that article with an edit note describing it as "almost entirely ORIGINAL RESEARCH." It's also mentioned on the talk page of that article, with a note that the sources (which are the same as cited in the section here) do not support what is actually said, (Olmstead is specifically singled out there, and is one of the sources used in the exact same way in this article).

It's worth noting that the current version of that section (in addition to being largely original research/synthesis) explicitly refers readers to the now deleted section of the Cyropaedia article (that's actually how I came across the above history, by going to that article from here and seeing it didn't have that section anymore and seeing on its talk page what happened to it). Even if the material could be reworked in some form (and I'd want it based on sources that specifically talk about Xenophon's portrayal of the Medes and the Persians' relationship, not just sources that talk about the Medes in general), that explicit "see there" sentence should be removed. — Preceding unsigned comment added by Just a Rube (talk • contribs) 11:41, 14 January 2020 (UTC) Just a Rube (talk) 11:46, 14 January 2020 (UTC)

 * Valid sounding points, but I think you need to handle this concern in a more refined way. Thank you for posting here after the edit/revert. My concern when I reverted was that a lot of the material deleted was uncontroversial and very clearly sourced, even including direct quotations. There is clearly a red flag any such massive deletion is going to concern, that we are throwing the baby out with the bath water. Your problem is common and normal on Wikipedia, and the solution is to go through the section step by step, making edits to specific issues. Concerning the biggest concern you seem to have, of "due balance", there are also common ways to get around concerns: (1) you can, if necessary, attribute controversial opinions to specific authors or groups of authors, rather than leaving it in "Wikipedia voice" which should be reserved for uncontroversial opinions that the whole field agrees with; (2) when you do that, remember to ALSO post sources for the other side of the controversy, in order to prove there really is controversy.--Andrew Lancaster (talk) 16:58, 14 January 2020 (UTC)
 * This is going to involve a wall of text as I examine the section in detail, but the TL/DR is: the whole thing is undue, and none of it should be included, as it misrepresents its alleged sources in order to push a fringe claim that mainstream historians have been unfairly critical of the historical accuracy of the Cyropaedia, and that in reality Cyrus never conquered the Medes.
 * First off, this section is located within the part of this article which discusses Xenophon's political philosophy, and how it is reflected in his various works. The role of the Medes in Cyrus's empire is maybe relevant to that, but this section doesn't discuss it, being really a thinly veiled excuse to attack Herodotus's credibility in favor of Xenophon's.
 * With that said, let's look at the text as a whole (which I've copied and pasted from the current version of the main article)
 * "Xenophon wrote the Cyropaedia to outline his political and moral philosophy. He did this by endowing a fictional version of the boyhood of Cyrus the Great, founder of the first Persian Empire, with the qualities of what Xenophon considered the ideal ruler. Historians have asked whether Xenophon's portrait of Cyrus was accurate or if Xenophon imbued Cyrus with events from Xenophon's own life. The consensus is that Cyrus’s career is best outlined in the Histories of Herodotus. But Steven Hirsch writes, 'Yet there are occasions when it can be confirmed from Oriental evidence that Xenophon is correct where Herodotus is wrong or lacks information. A case in point involves the ancestry of Cyrus.'[19]"
 * This is the only part that I considered maybe keeping, and the main reasons I didn't were that it's dubiously relevant to the question of Xenophon's political philosophy, and not at all relevant to the question of the role of the Medes in Cyrus's empire (which this section is supposed to be about). The other objection is that I don't have access to the Hirsch source, and, as we shall see, every other source in this section is misrepresented, which (since this section was essentially written as a block 5 years ago and left more or less untouched since) makes me hesitant to leave this one here simply because I can't check it. That said, the basic idea, that Xenophon was writing the Cyropaedia as a political allegory, that Herodotus is generally more reliable, but that there are some instances where Xenophon should be prefered (specifically the ancestry of Cyrus) is a reasonable summary of my (very nonexpert) understanding of the state of things. Again, however, nothing in this section has to do with the issue of the role of the Medes in Cyrus's empire nor how it reflects his political philosophy, the ostensible purpose of this section. Also worth noting, the 1985 Hirsch source is literally the only source in this section written within the last 50 years, and one of only 2 written in the past two thousand.

 * "Herodotus contradicts Xenophon at several other points, most notably in the matter of Cyrus’s relationship with the Median Kingdom. Herodotus says that Cyrus led a rebellion against his maternal grandfather, Astyages king of Media, and defeated him, thereafter (improbably) keeping Astyages in his court for the remainder of his life (Histories 1.130). The Medes were thus 'reduced to subjection' (1.130) and became 'slaves' (1.129) to the Persians 20 years before the capture of Babylon in 539 BC. The Cyropaedia relates instead that Astyages died and was succeeded by his son Cyaxares II, the maternal uncle of Cyrus (1.5.2). In the initial campaign against the Lydians, Babylonians and their allies, the Medians were led by Cyaxares and the Persians by Cyrus, who was crown prince of the Persians, since his father was still alive (4.5.17). Xenophon relates that at this time the Medes were the strongest of the kingdoms that opposed the Babylonians (1.5.2)."
 * Two things to note here. First off, this entire text is cited to Xenophon and Herodotus, not to more recent interpreters of these (not remotely obscure, and subject to literally thousands of years of commentary) sources. That's particularly important, because this section misrepresents (in Wikipedia's voice) what Herodotus actually says. The comment about the Medes becoming slaves isn't said by Herodotus's narration, but Herodotus puts it in the mouth of the Median king denouncing those who have betrayed him to the Persians by claiming that they will make the Medes slaves to Persian rulers instead of being slaves to another Median ruler. There is actually a lot of dispute in the literature about how Herodotus deals with ethnicity, but my (admittedly cursory) JSTOR search didn't come up with any articles supporting the idea that Herodotus portrays the post-conquest Medes as oppressed slaves, which is what this passage is arguing (indeed, what I did find argued quite the opposite, that Herodotus if anything exaggerates the role of Median practices in the Persian empire). So this section has to go as well, as it is utterly unsupported by sources and makes an argument that is both pure original research and not really relevant to Xenophon or his political philosophy.
 * "There is an echo of this statement, verifying Xenophon and contradicting Herodotus, in the Harran Stele, a document from the court of Nabonidus.[20] In the entry for year 14 or 15 of his reign (542-540 BC), Nabonidus speaks of his enemies as the kings of Egypt, the Medes, and the Arabs. There is no mention of the Persians, although according to Herodotus and the current consensus the Medians had been made 'slaves' of the Persians several years previously. It does not seem that Nabonidus would be completely misled about who his enemies were, or who was really in control over the Medes and Persians just one to three years before his kingdom fell to their armies."
 * Don't be fooled by that citation, it's to a collection of ancient texts saying that the Harran Stele exists and its text, not a source that says anything about the relative accuracy of Herodotus or Xenophon, much less how it informs our knowledge of Xenophon's political philosophy (unsurprising, since at 540 BC, it predates the birth of either one of them). Which is to be expected, since again this section is being used to refute a claim (Medes were treated as slaves) that Herodotus never makes. Again, there is a lively discussion in the literature of how Herodotus deals with ethnicity, but that belongs in an article about Herodotus, not here. Likewise, there is discussion of the Babylonian understanding of ethnicity and how it is portrayed in various documents, but again, that's not remotely relevant to this article.
 * "Other archaeological evidence supporting Xenophon’s picture of a confederation of Medes and Persians, rather than a subjugation of the Medes by the Persians, comes from the bas-reliefs in the stairway at Persepolis. These show no distinction in official rank or status between the Persian and Median nobility. Although Olmstead followed the consensus view that Cyrus subjugated the Medes, he nevertheless wrote, 'Medes were honored equally with Persians; they were employed in high office and were chosen to lead Persian armies.'[21] A more extensive list of considerations related to the credibility of the Cyropaedia’s picture of the relationship between the Medes and Persians is found on the Cyropaedia page."
 * While we have a 20th century source here, it's a general history of the Persians from 1948. Not only has a massive amount of research been done since then, however, it again doesn't actually support the case it's being used for. As the article itself notes "Olmstead followed the consensus view that Cyrus subjugated the Medes," however the article then goes on to note that at one point he says Medes had a prominent and honored role in the Persian empire, which again, is only a contradiction if you attribute to Herodotus the argument that Cyrus enslaved the Medes, which, again, is an argument he doesn't make, Olmstead doesn't say he made, and still has nothing to do with Xenophon or his political philosophy.
 * "Both Herodotus (1.123,214) and Xenophon (1.5.1,2,4, 8.5.20) present Cyrus as about 40 years old when his forces captured Babylon. In the Nabonidus Chronicle, there is mention of the death of the wife of the king (name not given) within a month after the capture of Babylon.[22] It has been conjectured that this was Cyrus’s first wife, which lends credibility to the Cyropaedia’s statement (8.5.19) that Cyaxares II gave his daughter in marriage to Cyrus soon (but not immediately) after the fall of the city, with the kingdom of Media as her dowry. When Cyaxares died about two years later the Median kingdom passed peaceably to Cyrus, so that this would be the true beginning of the Medo-Persian Empire under just one monarch."
 * Again, this citation is just to the original Babylonian document from the 500s BC. None of the following statement (that the death of the king's wife might have been the occasion of the marriage of a Median princess to Cyrus, that the Median kingdom was her dowry, or that Cyrus never conquered the Medes but inherited their land peacefully from his father-in-law) is supported by the citation, nor would it be particularly relevant to a discussion of Xenophon's political philosophy.
 * Again, I apologize for the wall of text, but since I was challenged to "rewrite it" to avoid "throwing out the baby with the bathwater," this line-by-line analysis seems like the easiest way to demonstrate that there's no baby there, just a lot of bathwater.Just a Rube (talk) 22:16, 14 January 2020 (UTC)

So you really think deleting the whole thing is appropriate? Maybe I should ask a different question: is there any published and serious discussion about Xenophon possibility getting some things more right than Herodotus?--Andrew Lancaster (talk) 23:30, 14 January 2020 (UTC)
 * Again, I am not an expert. Obviously there is discussion of the reliability of Xenophon's works, as there is of any classical source. There are some things that Herodotus is seen as getting wrong that Xenophon is getting right; Cyrus's father's status is one in particular that I am aware of (it's mentioned in the Hiersch quote, but also in some more recent articles I came across in what, again, was a fairly cursory JSTOR search). I didn't see anything comparing Herodotus's treatment of the status of the Medes unfavorably with Xenophon's, but again I am not remotely an expert and am basing this off of a fairly limited search. Certainly the argument as it currently is given utterly misrepresents the scholarly discussion. But more broadly, the accuracy of Xenophon's sources in the Cyropaedia (which, a significant school of thought argues, wasn't really meant to be seen as an accurate history at all) doesn't really strike me as particularly important for an overview of Xenophon's entire life, and certainly not his political philosophy (which is where this section is currently located).
 * If we had a section on assessing Xenophon as a historian or a writer (not a bad idea, but not one I feel remotely competent to write), it might be relevant (although, again, I'm not sure the relative accuracy of the Cyropaedia, as opposed to his other works, should really be the focus). But it should be written entirely from scratch and reliant on secondary sources/commentaries (of which there are a plethora), and focused on Xenophon, not the current "Herodotus says X, Xenophon says Y" format. A more detailed analysis of the accuracy of individual strands of the Cyropaedia compared with Herodotus would presumably be more appropriate for the article on the Cyropaedia itself, rather than the overview of Xenophon as a whole. But again, here I am treading more in the area of opinion and style, which I hesitate to delve too deeply into. I am confident, however, in saying that the current section is extremely misleading to the extent that removing it would be a better service to the readers.Just a Rube (talk) 02:27, 15 January 2020 (UTC)

 * Leaving some sort of careful mention of the topic would be better than deleting the whole section though. I think deleting a whole section because it was badly done is seen as the wrong approach on Wikipedia for practical reasons: it often leads to there being no mention at all of an issue of real interest, and secondarily it can lead to some future editor once again installing poor material because there was nothing.--Andrew Lancaster (talk) 06:47, 15 January 2020 (UTC)
 * I suppose I can see that argument, although I do think that leaving an utterly misleading version like this is worse than nothing, and the fact that basically no one has touched it in the past 5 years (beyond adding an admittedly pretty picture of Median and Persian soldiers from a carving) is a good sign that it is actually a barrier to improvement. Certainly a section on "Relations Between Medes and Persians in the Cyropaedia" is not appropriate, because that isn't a topic that gets coverage in reliable sources, so there is nothing that can really be added (which again, is why it hasn't been really touched in the last 5 years), as there are no sources to add.
 * That said, I do agree that a section on Xenophon's reliability would be potentially useful. Again, I am not the right person to write it, however. Would leaving just the first couple lines of that section (basically, everything until the end of the Hiersch quote) strike you as an acceptable compromise? The basic gist seems a reasonable summary, and my main objection to it was that I don't have access to it, and given that every other source in that section is distorted to make an argument it doesn't make, I was uncomfortable assuming the only one I couldn't check wasn't similarly distorted (especially as it is essentially being used as a quote to have Hiersch criticize mainstream historians). Get rid of the subsection title (on Medo-Persian relations) and just have it as an introduction to the section on Xenophon's political thought in the Cyropaedia?Just a Rube (talk) 12:37, 15 January 2020 (UTC)

 * If you are able to find sourcing which makes you confident enough to delete a whole section for not being accurate, then you must have gathered enough information to put something back in as a place holder for future work?--Andrew Lancaster (talk) 13:40, 15 January 2020 (UTC)
 * If you mean, like a paragraph that says (with a couple of citations) essentially "Xenophon didn't mean the Cyropaedia to be historical, and freely invented and altered characters and events such that they had no relationship with the historical record in order to suit his narrative and philosophical purpose, to which any remaining accurate facts were incidental" sure, I can do that. If you want to preserve some version of the current section arguing in favor of the Cyropaedia's picture of a peaceful of inheritance and union of the Medes and Cyrus is accurate, then no, I actually have at least two citations explicitly using that as a prototypical example of how Xenophon made stuff up to suit his narrative.Just a Rube (talk) 22:44, 15 January 2020 (UTC)
 * Concerning the one sentence you propose, maybe we already have something like that? On the other hand, we need to be careful not to suggest that all parts of his Cyropedia have no connection to reality. What does the word "historical" mean in this sentence? Concerning details about the Medes, no I would not say this needs special discussion if our sources don't give it any. But thirdly, is there no published discussion about Xenophon getting anything correct in the Cyropedia?--Andrew Lancaster (talk) 07:41, 16 January 2020 (UTC)

Looping back down before we indent off the side of the screen. As I said yesterday, I wouldn't object too much to leaving the couple of sentences that more to less say that; I'm mostly concerned to hang it all on Hirsch without having seen his original article to verify it, as that section actively misuses every other source it cites. But more broadly, the sources I've seen basically treat it as Xenophon writing the Cyropaedia (as opposed to his other works) as an intentional work of fiction designed to illustrate his view of an ideal ruler/philosophy/etc. (there is enough disagreement in the literature on the exact specifics of what he is trying to do that I feel uncomfortable trying to summarize). There is agreement, however, that he regularly invents characters and incidents that don't exist and never happened; when he does use names and events that did exist, he alters them such that they have little relationship either to how they are attested in his known sources or other sources that we have. While he occasionally gets things right that Herodotus gets wrong (for instance, Herodotus doesn't represent Cyrus as the son of a king, while Xenophon has his father already being a king of a minor Persian state, which we know from inscriptions to actually be the case), any facts are generally seen as incidental to his purposes and subordinate to his narrative needs (and I can throw in citations to explicitly say that). As well (just my observations from articles that I have read, not something I feel confident stating) in general, when Herodotus gets something wrong that the Cyropaedia gets right, the focus of most historical analysis I've seen tends to be "why did Herodotus (or his sources) get this wrong" (for instance, there's discussion of the deemphasis of Cyrus's paternal ancestry in Herodotus possibly representing the influence of later propaganda by Darius, who was not the son of a king, but again that's more seen as a commentary on Herodotus and his sources, with Xenophon's correctness in this case getting a brief a mention as evidence that alternative traditions circulated). And more broadly, I'd argue that a discussion of the nitty-gritty details of Xenophon's historical sources for the Cyropaedia belongs in that article, rather than this one about Xenophon more broadly (and certainly not where it's currently placed, which is smack-dab in the middle of a section on how his various works reveal his overall political philosophy of governance). A simple statement that the Cyropaedia was not meant to be a factual narrative of Cyrus's life, but one that describes Xenophon's ideal ruler is really all that we need here (especially as that statement probably doesn't apply to the rest of Xenophon's more historically-focused work, again it's mostly specific to the Cyropaedia specifically as far as I can tell).Just a Rube (talk) 12:56, 16 January 2020 (UTC)

Many problems
This article presents scholarly argument as simple fact (e.g. that Xenophon was "pro-oligarchic," which is disputed; that the Education of Cyrus was written "to outline his political and moral philosophy. He did this by endowing a fictional version of the boyhood of Cyrus the Great, founder of the first Persian Empire, with the qualities of what Xenophon considered the ideal ruler"-- this is pure interpretive argument, and not anywhere set out in the text, etc., and certaintly does not reflect the rich range of arguments about what Xenophon is doing in the Cyropaedia. An encyclopedic article on Xenophon should present a balanced, comprehensive view of various scholarly interpretations and argument of his work, etc., along the NPOV guidelines, and not simply take the arguments of one scholar, or possibly one editor, as the fact of the matter. — Preceding unsigned comment added by Claroche (talk • contribs) 23:54, 25 April 2020 (UTC)
 * You may well be right, but just as a first step I propose (1) reversing the small deletion you down, which we can re-reverse later, and (2) calling for sources to support various ways of handling this topic. I propose this partly because it is clear that you are also clearly aware that SOME scholars think he was pro oligarchic and pro Spartan. I think in the end we will need a new paragraph summarizing both sides of that old argument. WP policy tells us to simply report such arguments, but definitely not to ignore tham (which is done in some types of encyclopedia).--Andrew Lancaster (talk) 15:04, 26 April 2020 (UTC)

Xenophon as a Thucydides co-author
@Paul August regarding your revert of the "co-author", Encyclopedia Britannica lists Xenophon as an editor of Thucydides's work referencing Diogenes Laertius (ii. 6, 13). Doesn't it make Xenophon a co-author? Artem Veremey (talk) 05:29, 23 January 2023 (UTC)

 * An editor is not a co-author; those are distinct terms for different roles. What's more, the 1911 Encyclopedia Britannica is scathing about Laertius's suggestion that Xenophon edited Thucydides' work and struggles to explain how Laertius might have come up with it, while the Legacy and assessment section of our article on Laertius indicates modern views of his reliability. The current Britannica does not include the suggestion. NebY (talk) 11:21, 23 January 2023 (UTC)
 * Yes. Paul August ☎ 14:35, 23 January 2023 (UTC)
 * The facts are following:
 * - There is a long tradition (that can be traced to at least 3rd century AD) to recognize Xenophon's influence on Thucydides's work.
 * - The writing attributed to Thucydides does not cover many essential events of the Peloponnesian Wars. Thucydides' works cannot be considered the sole source of Peloponnesian War history.
 * - Xenophon's Hellenica picks up exactly where Thucydides's writing left off and aligns with Thucydides's style.
 * - Thucydides and Xenophon combined together create a comprehensive account of the Peloponnesian Wars.
 * - Both Thucydides and Xenophon took an active part in the Spartan and Athenian conflict as politicians and military leaders.
 * The above facts make Xenophon Thucydides's co-author of the history (note the lower case) of the Peloponnesian Wars.
 * Encyclopedia Britannica may remove the suggestion, but Diogenes Laertius still has it. Artem Veremey (talk) 16:28, 23 January 2023 (UTC)
 * One is usually called a co-author, if one collaborates with another person in the writing of a one particular work. Thucydides's, History of the Peloponnesian War, and Xenophon's Hellenica are, of course, two different works. As for the "history (note the lower case) of the Peloponnesian Wars", I don't think such a thing qualifies as something one could be a co-author of. Moreover the current wording seems perfectly adequate. Paul August ☎ 17:23, 23 January 2023 (UTC)
 * The current wording listing important historical points of view was completely removed. @NebY seems to have very subjective issues with it.
 * Whether Thucydides and Xenophon represent a single work is at least a discussion topic with multiple points of view. Shouldn't all points of view be covered? For millennia, Thucydides and Xenophon have been read together. Thucydides did not publish his work himself because of an abrupt death. It is unclear who published Thucydides's works, but historical tradition mentions Thucydides' daughter and Xenophon. Whether Thucydides and Xenophon directly collaborated is unknown. Would Thucydides and Xenophon actually collaborate if not for Thucydides's abrupt death? To what extent Xenophon edited Thucydides's work is actively debated. Both works are written in the same Greek dialect, perfectly match the timeline, and have very similar styles. Xenophon lived to publish his works, and he influenced and maybe even published the work of Thucydides. For the 4th century BC, if that is not a collaboration, what is? Artem Veremey (talk) 17:54, 23 January 2023 (UTC)
 * We could argue your points one by one, for example:
 * - Who, apart from Laertius, asserts Xenophon's influence on Thucydides's work and are any of them modern scholars?
 * - There's much more we'd like to know about the war than Thucydides tells us directly. That doesn't make any other historian of the war, ancient or modern, Thucydides' co-author.
 * - Ancient historians read their predecessor's works and often began their narrative after another's. That doesn't make them co-authors, any more than Thucydides is a co-author of the history of Greece with Herodotus, or any of the writers of sequels to Pride and Prejudice, retellings of it from different viewpoints, or versions with added zombies, are Jane Austen's co-authors.
 * - Xenophon's style is plain Attic, Thucydides' style has fascinated and confounded readers for millennia (you might enjoy Dionysius of Halicarnassus's criticism of him, or the opening of Beard's review of Kagan, Thucydides wrote his History of the Peloponnesian War in almost impossibly difficult Greek and her expansion on that.).
 * - A couple of commonalities in careers do not make people co-authors. For example, many generals have engaged in politics and written histories or memoirs; that doesn't make them co-authors, not even those that have written in the same language about the same period.
 * - You write that it is unclear who published Thucydides's works, you say that Xenophon maybe even published the work of Thucydides. That's speculation and not a basis for claiming co-authorship.
 * But ultimately such points and the conclusions you draw from them don't matter, because this is Wikipedia and we have a policy, No original research. In a nutshell: Wikipedia does not publish original thought. All material in Wikipedia must be attributable to a reliable, published source. Articles must not contain any new analysis or synthesis of published material that serves to reach or imply a conclusion not clearly stated by the sources themselves. Please, cite a modern, secondary reliable source that says Xenophon was a co-author with Thucydides. NebY (talk) 18:37, 23 January 2023 (UTC)
 * @NebY your argument is very biased towards using selective modern sources exclusively. You are editorializing the discussion by picking which sources to list and which source to omit. You are ignoring another Wikipedia policy Wikipedia:Neutral point of view.
 * I am simply documenting the points of view I came across. You are taking a very specific one-sided position. Xenophon's influence on Thucydides is documented by plenty of modern scholars. Artem Veremey (talk) 19:01, 23 January 2023 (UTC)
 * We need you to cite those modern scholars so that we can follow Neutral point of view, otherwise we'd be relying only on your above reasoning, in breach of WP:OR. NebY (talk) 19:08, 23 January 2023 (UTC)
 * I am trying to site source to the best of my ability.
 * The opinion questioning reliability of Diogenes Laertius should not be presented as a fact. All ancient historians have been questioned by modern scholars in one way or another. Opinions of modern historians do not make ancient works any more or less reliable/significant.
 * I list Diogenes Laertius because that is the oldest and extremely influential source. Ignoring Diogenes Laertius and maintaining neutrality is impossible.
 * Marcellinus is another ancient source that references Thucydides's daughter and Xenophon.
 * Letronne references Xenophon as an editor of Thucydides.
 * Modern sources are far too numerous and only represent an option. Here are a few examples. Peter J. Rahn in "Xenophon's Developing Historiography" explores the connection between Xenophon and Thucydides by analyzing Xenophon's text. "The Oxford Handbook of Thucydides" (2017) ISBN 9780199340385 explores Xenophon and Thucydides connection. Aggelos Kapellos explores intertextual relationship of Xenophon to Thucydides in "Xenophon's Peloponnesian War. Trends in classics" (2019) ISBN 9783110660654.
 * All of the above are discussions and should be included as discussions and not as facts. Drawing conclusions based on these discussions is the original research you yourself are objecting to. Artem Veremey (talk) 20:15, 23 January 2023 (UTC)
 * Thank you for looking those up. Which of those modern sources describes Xenophon as a co-author of Thucydides? NebY (talk) 23:54, 23 January 2023 (UTC)

Wikipedia policy itself is "biased" towards using selective modern sources so that is not a good argument here. Maybe it is worth mentioning that the dubious suggestions of classical authors are sometimes worth mentioning for their notability (WP:NOTE), and not because modern academics agree with them.--Andrew Lancaster (talk) 18:56, 24 January 2023 (UTC)

 * Yes indeed. Of course then we need reliable sources for the influence, notoriety, comedy value or whatever of the dubious suggestions being so great we should mention them. It's not quite turtles all the way down, but we do need our turtles. NebY (talk) 20:19, 24 January 2023 (UTC)

title: Talk:Xenophon


text:
Malden Center station

Malden Center station is a Massachusetts Bay Transportation Authority (MBTA) intermodal transit station in Malden, Massachusetts. Located on an elevated grade above Pleasant Street in downtown Malden, it serves the rapid transit Orange Line and the MBTA Commuter Rail Haverhill Line. The station has one island platform for the two Orange Line tracks and a single side platform for the single commuter rail track. Two busways are used by MBTA bus routes.

The Boston and Maine Railroad opened through Malden in 1845. The original station was replaced in 1871, then again by a brick structure in 1892. The station building was sold for private use in 1958, but commuter trains continued to stop until the modern station opened in December 1975. Commuter trains stopped at the modern station from 1977 to 1979, and have stopped since 1985. A renovation in 2003–2005 added two elevators, making the station accessible.

Station layout
Malden Center station is located on an embankment on the west side of downtown Malden. The Orange Line is on the west side of the station, with two tracks and an island platform. The Western Route, used by the Haverhill Line, has one track and a single side platform. The fare lobby is under the center of the platforms, with entrances from both sides of the tracks. Malden Center is a major MBTA bus terminal serving routes. A two-lane busway used by most routes is located on the east side of the station, with a one-lane busway on the west side.

History
The Boston and Maine Railroad (B&M) opened through Malden in July 1845. The first station was a two-story wooden depot on the east side of the tracks at Pleasant Street; it was replaced by a smaller station on the west side in 1871. In May 1891, the B&M began construction of a new station as part of a grade crossing elimination project. The new station opened in 1892. In 1958, the station building was purchased from the B&M for just $1,000. It was renovated for use as a restaurant and banquet hall, which opened by 1962.

Malden Center station opened on December 27, 1975, as part of the MBTA's Haymarket North Extension of the Orange Line. Expansion to Malden had been a long-time goal of the Boston Elevated Railway, and the Everett extension of the Charlestown Elevated was originally planned to go past Everett and into Malden and Reading via Main Street. However, residents of Malden were opposed to the elevated railroad structure that was planned, and prevented the extension. The 1975 extension was built along the existing Western Route embankment rather than Main Street.

The former station platform closed simultaneously with the opening of the Orange Line station. A high-level platform - the first on the MBTA system - was installed along the Reading Line track, but Reading Line trains did not stop. The platform opened for regular service on May 1, 1977, but closed again on September 1, 1979. On January 20, 1984, a fire destroyed the approach trestle to the Charles River Bridge at North Station; Haverhill Line trains were run to Oak Grove. North Station reopened on April 20, 1985; the commuter platform at Oak Grove closed but the platform at Malden was reopened. The switch may have been made due to a request by John A. Brennan Jr., who was then constructing a large development near Malden Center station.

Because of its Orange Line connection, Malden Center can serve as a temporary inbound terminus for the Haverhill Line when commuter rail service is disrupted between Malden and Boston's North Station. It served this role in 2016 during reconstruction work on the Woods Memorial Bridge, which carries the Revere Beach Parkway over the rail lines and the Malden River. Oak Grove station is usually used during weekday disruptions, as it is closer to the double-track section of the line in Melrose.

Renovations
Unlike most MBTA stations, air rights over the station are owned by the city rather than by the MBTA. By 1983, the city planned to build a footbridge to connect the station to nearby developments. In 1989, the MBTA studied a possible accessible footbridge at the station, which would have cost $2.8 million and opened in 1991.

The station was not initially accessible, but it was built with provisions for a future elevator. The MBTA began a renovation of the station, then estimated to cost $6 million, in 2003. It was originally to be completed in 2003, but was substantially delayed by changes to building codes. Completed in 2005, the ultimately-$10 million project added a second exit stairwell and two elevators, making the station accessible. In 2002, as part of its public art program, the MBTA added panels with artworks by local schoolchildren at Sullivan Square and Malden Center. The station also has two benches in the lobby painted by local arts students.

Changes to wayfinding signage, lighting, and other station improvements were completed by May 2021. The entire Orange Line, including Malden Center station, was closed from August 19 to September 18, 2022, during maintenance work. The Haverhill Line continued to stop at Malden Center during that time. Rail service on the inner Haverhill Line was suspended from September 9 to November 5, 2023, to accommodate signal work.

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title: Malden Center station


text:
A Wizard, a True Star

A Wizard, a True Star is the fourth studio album by American musician Todd Rundgren, released on March 2, 1973, by Bearsville Records. It marked a departure from his previous album, Something/Anything? (1972), featuring fewer straightforward pop songs, a development he attributed to his experimentation with psychedelic drugs and his realization of "what music and sound were like in my internal environment, and how different that was from the music I had been making."

The album was produced, engineered, and largely performed by Rundgren alone. He envisioned it as a hallucinogenic-inspired "flight plan" with all the tracks segueing seamlessly into each other, starting with a "chaotic" mood and ending with a medley of his favorite soul songs. At the time of release, he stated that Wizard intended to advance utopian ideals; later, he said that the album had no definite meaning. No singles were issued from the album, as he wanted the tracks to be heard in the context of the LP. With 19 tracks, its nearly 56-minute runtime made it one of the longest single-disc LPs to date.

Upon release, A Wizard, a True Star received widespread critical acclaim, but sold poorly, reaching number 86 on the U.S. charts. According to Rundgren, "the result was a complete loss of about half of my audience at that point." Rundgren formed Utopia, his first official band since the Nazz, to tour in support of the album. Their technologically ambitious stage show was cancelled after about two weeks on the road. A Wizard, a True Star has since been recognized for its influence on later generations of bedroom musicians.

Background
In February 1972, Something/Anything? was issued as Todd Rundgren's third solo album, and his first credited under his own name rather than the sobriquet "Runt". It included many songs that would become among his best-known, as well as extended jams and studio banter. After the album's success, critics hailed Rundgren as the spiritual successor to the 1960s studio experiments of the Beatles and the Beach Boys' Brian Wilson; Rundgren became uncomfortable when these descriptions also came to include "the male Carole King" in reference to the album's singles "I Saw the Light" and "Hello It's Me". "With all due respect to Carole King," he said, "It wasn't what I was hoping to create as a musical legacy for myself."

Rundgren returned to New York, and for the first time in his life, started experimenting with psychedelic drugs. To his recollection, this included DMT, mescaline, psilocybin, and possibly LSD. He began to think that the writing on Something/Anything? was largely formulaic, and sought to create a "more eclectic and more experimental" follow-up album. His music tastes also had started to lean toward the progressive rock of artists such as Frank Zappa, Yes, and Mahavishnu Orchestra. He explained, "It wasn't like I suddenly threw away everything that I was doing before and decided that I was going to play the music of my mind", rather, the experiences allowed him "to actively put some of [my songwriting habits] away and to absorb new ideas and to also hear the final product in a different way." However, he "wasn't really aware, at that time, that I'd make such a radical shift".

Production
The sound and structure of Wizard was heavily informed by Rundgren's hallucinogenic experiences. He said, "It was very ADD ... and I wouldn't dwell on whether a musical idea was complete or not." Rundgren and keyboardist Moogy Klingman established a professional recording studio, Secret Sound, to accommodate the Wizard sessions. Located at Manhattan's 24th Street, the studio was designed to Rundgren's specifications and was created so that he could freely indulge in sound experimentation without having to worry about hourly studio costs. To this effect, he said, "I had the idea that a synthesizer was supposed to sound like a synthesizer, instead of sounding like strings or horns."

Two or three months were spent building the studio; the expenses were ultimately paid by the royalties gained from Something/Anything? and the $10,000 advance given to Klingman for his second solo album (Moogy II, co-produced by Rundgren). Rundgren remembered: "I have to say that, in some sense, A Wizard, a True Star was kind of rushed through because the studio wasn't finished. ... a lot of it seemed sorta ad hoc." According to Klingman, the studio equipment "was breaking down all the time" and was "barely held together with band-aids and bubble gum." The two differed in their recollection of the first song recorded for the album; Rundgren thought it was "Sometimes I Don't Know What to Feel", whereas Klingman believed it was "International Feel".

Rundgren provided a host of instruments and equipment, including vibraphones, organs, keyboards, Fairchild equalizers, and a Stephens 16-track tape recorder. Depending on the track, he either played all of the instruments alone or with assistance from Moogy & the Rhythm Kingz, a band that included Klingman, drummer John Siomos, keyboardist Ralph Schuckett, and bassist John Siegler. Rundgren encouraged the musicians to contribute any ideas they felt would benefit the music. According to Siegler, "when Todd needed guys to play on his record, we were already there. It was like a club. Secret Sound was our clubhouse, and suddenly Todd was the leader of the club." He said a typical session involved Rundgren arriving with a piece of music, written on piano or guitar and often untitled, which the band would learn by ear and create charts for if necessary. Vocals were not recorded until after a basic track was completed. Rundgren was also the sole engineer; as Klingman recounted, "he would go in the control room and set levels and come out and then he would run back in and adjust the levels. It was astonishing to watch, but that's how he liked to work."

Wizard was one of the longest single-disc LPs ever cut, and its 55:56 playing time stretched the technical limits of how much music could fit on a vinyl record. As each side was much longer than a typical album side, the groove spacing on the vinyl album had to be narrower, causing a significant drop in volume and sound quality. Rundgren acknowledged this issue on the album's inner sleeve and advised listeners to turn up the volume on their speakers to compensate. All of the album's recording was at Secret Sound, except for the closing track, "Just One Victory", which was recorded earlier at Advantage Studios.

Style and concept
A Wizard, a True Star incorporates elements of progressive rock, psychedelic rock, show tunes, bubblegum pop, and Philadelphia soul. Other influences were drawn from jazz and funk; Schuckett said that Rundgren often spoke of Maurice Ravel as his favorite classical composer at the time before adding, "I don't think Todd really listened to much funk, so [me and Moogy] were kind of showing him that stuff." Overall, music writers have described Wizard as a work of progressive pop, psychedelia, avant-pop, and R&B.

In the original liner notes, Rundgren explained of the album's title that he was "not a real star ... just a musical representative of certain human tendencies: the Quest for Knowledge and the Quest for Love." Although he denied that the record should be considered a concept album, Wizard was envisioned as a "flight plan" with all the tracks seguing seamlessly into each other, starting with a "chaotic" mood and ending with a medley of his favorite soul songs.

The album's first side is titled "The International Feel (In 8)". Its tracks pivot radically between different musical moods and includes Rundgren's rendition of "Never Never Land", from the 1954 musical adaptation of Peter Pan, as well as "Rock and Roll Pussy", a song criticizing the attitudes of John Lennon and other so-called "limousine radicals". The other side, "A True Star", is mostly occupied by ballads, including a medley of the soul songs "I'm So Proud" by the Impressions, "Ooh Baby Baby" by the Miracles, "La La Means I Love You" by the Delfonics, and "Cool Jerk" by the Capitols. Rundgren explained the meaning of the medley: "It's like opening up a hole in your memory and suddenly these memories – soul records you loved, say – start leaking out from who knows where. That's another aspect of psychedelic drugs sometimes, hearing and seeing things that wouldn't be familiar to you if you weren't so psychedelic. You suddenly see them differently and they convey a different meaning."

Musicologist Daniel Harrison likened Wizard to late 1960s Beach Boys work such as Smiley Smile, specifically in that the albums shared musical aspects such as "abrupt transitions, mixture of various pop styles, and unusual production effects." Harrison added that few artists in this period chose to emulate the Beach Boys' experiments due to the band's poor commercial standing. However, Rundgren said that adapting his sound to meet commercial expectations was never an issue for him since he already made "so much money from production", a rare luxury for an artist. He recalled that Bearsville owner Albert Grossman, however, was "surprisingly" encouraging of Wizard. Klingman remembered Grossman walking in on a session of "Da Da Dali" to find Rundgren singing like Al Jolson while the band played "all wrong notes", and yet "Albert didn't miss a beat. ... He just kept silent and nodded like everything was fine."

In a 1973 interview, Rundgren suggested that he aimed to advance utopian ideals with the album, and that Wizard was the first album not to rely on "complete songs" to determine feel, pacing, length, or mood. He then predicted that the public may eventually "take rock and roll musicians more seriously than they take politicians." Elsewhere, in 1972, he claimed that "what I'm doing isn't even really music, because deep inside of me, what I want to do is much greater than music. Music is the way I understand how to communicate now ... but it will eventually have to go beyond that." Music writer Bob Stanley commented that, with Wizard, Rundgren combined all his musical passions, such as "bits of Gershwin, Weimar cabaret and a fight between electronic dogs", into "a red-blooded synth stew".

Packaging

Wizard was packaged in an unconventionally-shaped album cover. The surrealistic painting on the front cover was designed by Arthur Wood. He included coded messages in the image, which Rundgren referenced in a 2009 interview:

"He had this little language that he invented, and there are these sort of rhythm-like things coursing through the artwork, there's this runic sort of stuff in there. I think it was secret love messages to his girlfriend or something like that, nothing really earth-shattering. He never explained to me what they really meant, so I wouldn't know. I just pretty much saw a painting of his in a gallery window, and I liked the combination of this sort of old classical style with a bizarro symbolically almost Dali-esque symbology. I also liked the way he drew two perspectives at once, the front perspective and the profile at the same time. The whole thing to me just represented graphically what I was going for musically, and I sat for him for a couple of sessions, and he essentially just painted it, and I didn't instruct him at all what it was supposed to resemble."

Also included within the die-cut album cover was a poem by Rundgren's friend Patti Smith, "Star Fever", written on an enlarged Band-Aid facsimile. It also included a postcard that asked the listener to "send this card in and we'll put your name on the next record." Rundgren credited both of these features as Grossman's ideas.

Release and Utopia tour

A Wizard, a True Star was released on March 2, 1973 and charted at number 86 on the Billboard 200. At Rundgren's behest, no singles were issued from the album, as he wanted the tracks to be heard in the context of the LP. Its release coincided with the success of the "Hello It's Me" single. Bearsville executive Paul Fishkin spoke about the label's "bad luck with timing" and explained "Todd was off on his psychedelic adventure, and then a year later 'Hello' becomes a hit. At which point, we're up against Todd in a completely different mindspace ..." Rundgren refused to issue five more potential singles from Something/Anything?. The album failed to chart in the UK.

Wizard marked the beginning of more experimental ventures that Rundgren further explored with the band Utopia. As the album was scheduled for release, he prepared a technologically ambitious stage show with the newly formed group, his first official band since the Nazz. The tour began in April and was cancelled after only a couple weeks on the road.

Once Rundgren was finished with other production duties, he began formulating plans for an improved configuration of Utopia, but first returned to Secret Sound to record the more synthesizer-heavy double album Todd, which was more material drawing on his hallucinogenic experiences. "A Dream Goes on Forever", a song originally written for Wizard, was recorded for Todd.

Critical reception
Despite poor sales, Wizard received widespread critical acclaim. Patti Smith wrote in her review for Creem: "Blasphemy even the gods smile on. Rock and roll for the skull. A very noble concept. Past present and tomorrow in one glance. Understanding through musical sensation. Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation." NME's Nick Kent wrote that it was "a great record", praising its "versatility", and ended his review by saying it was "already destined to be one of my ten best-dressed of '73, and you deserve a kick in the pants if you don't purchase it." Ron Ross of Phonograph Record deemed "Zen Archer" to be "Todd's most gorgeous single achievement yet" and said that the album "should stand as a final testament to the powerful musical and emotional emancipations of the 60s." Playboy described it as "the usual maddening Rundgren smorgasbord", however, "[t]he first side is even more weird, incoherent, funny and, somehow, brilliant. Todd is surely not, as one of his titles would have it, 'Just Another Onionhead.'" Jerry Gilbert of Sounds said the album was "truly amazing".

The record elicited some mixed reactions. Billboard wrote: "Certainly an unusual LP from the singer/writer/producer, filled with varying vocal styles, strange sounds courtesy of Moogs and other exotic instruments, and fine songs from Rundgren and others. Set takes some time to grow, but ... FM stations should have a ball with this one. Somewhat less favorably, Creems Robert Christgau deemed Rundgren "a minor songwriter with major woman problems who's good with the board and has a sense of humor". Rolling Stones James Isaacs gave a mixed review of the album, calling it the artist's "most experimental, and annoying, effort to date ... I doubt that even the staunchest Rundgren cultists will want to subject themselves to most of the japery on side one, which would be better suited for a cartoon soundtrack. On the other hand, side two's restraint, its brimming good humor and its ambience of innocence is irresistible, and helps save A Wizard, A True Star from total disaster."

Among retrospective assessments of Wizard, music journalist Barney Hoskyns called the record "the greatest album of all time ... a dizzying, intoxicating rollercoaster ride of emotions and genre mutations [that] still sounds more bravely futuristic than any ostensibly cutting-edge electro-pop being made in the 21st Century." In MusicHound Rock (1996), Christopher Scapelliti described Wizard as "a fascinating sonic collage that skews his pop-star image 180 degrees". Evan Minsker of Pitchfork called it "a trippy, constantly moving album that's as psychedelically detailed as it is (intentionally) creepy—not unlike the Sparks record [Rundgren] had recently helmed." Sam Richards of The Guardian called the album "harmonically richer and more ambitiously deranged than The White Album" and claimed that it "prefigured Prince's Purple Rain by a decade." Mojo magazine's editors deemed it "his finest hour." In 2006, the album was included in the book 1001 Albums You Must Hear Before You Die.

Conversely, Ben Sisario wrote in The Rolling Stone Album Guide (2004) that Wizard was "an endurance test of stylistic diversity, with just three fully realized songs ('Sometimes I Don't Know What to Feel,' 'International Feel,' and 'Just One Victory') stranded in the midst of so much half-baked sonic decoration."

Influence and legacy
In 2017, Rundgren delivered a commencement speech at Berklee College of Music in which he reflected on Wizard: "I made this crazy record called A Wizard, a True Star, in which I threw out all the rules of record making and decided I would try to imprint the chaos in my head onto a record without trying to clean it up for everyone else’s benefit. The result was a complete loss of about half of my audience at that point. But … Trent Reznor and other artists have cited that as being a major influence on them and so I have a special pride for what essentially was my act of tyranny after having achieved commercial success. This became the model for my life after that."

Admirers of the album include Tame Impala, Simian Mobile Disco, Daft Punk, and Hot Chip. According to Stanley, the album's effervescent sound "predicted Prince in its playful R&B fizz, and a swathe of twenty-first-century electropop acts from the Avalanches to Hot Chip". "International Feel" was prominently featured in the opening scene of Daft Punk's 2006 film Electroma. In 2018, Pitchfork's Sam Sodomsky noted that the "fingerprints" of Wizard remain "evident on bedroom auteurs to this day, from Ariel Pink to Frank Ocean, who sampled its synths on 2016's Blonde." Jellyfish and Imperial Drag co-founder Roger Joseph Manning Jr. praised the record for its unusual sound: "Stuff is distorting. Parts are panned all crazy; there’s so much nuttiness going on, but it ends up enhancing his songs because it adds that much more charm and character."

There was no consideration to perform the album in its entirety at the time of release due to the difficulty in reproducing many of its sounds. "Just One Victory" did become a staple of Rundgren's concert performances as a set closer; he later remarked that "People get pissed if we don't do it." In 2009, he toured Wizard for the first time, playing the album in its entirety. The concerts featured elaborate theatrical effects and numerous costume changes. A second tour of the album was scheduled for 2020.

Personnel
Moogy & the Rhythm Kingz Other musicians
 * Todd Rundgren – vocals, guitars, keyboards, synthesizers, bass guitar, drums, percussion, saxophone, electronics, production
 * Mark "Moogy" Klingman – keyboards
 * Ralph Schuckett – keyboards
 * John Siegler – bass guitar, cello
 * John Siomos – drums
 * Jean-Yves "M. Frog" Labat – synthesizer
 * Rick Derringer – guitar
 * Michael Brecker – saxophone
 * Randy Brecker – trumpet
 * Barry Rogers – trombone
 * David Sanborn – saxophone
 * "Buffalo" Bill Gelber – bass guitar
 * Tom Cosgrove – guitar

Credits adapted from Mojo.

title: A Wizard, a True Star


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text: Category:Transport in Staffordshire

title: Category:Transport in Staffordshire


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title: User talk:168.122.214.232


text: Category:Tourist attractions in Staffordshire


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Bluebird Compartment Car (New York City Subway car)

The Bluebird, formally dubbed Compartment Car by its purchaser, the Brooklyn–Manhattan Transit Corporation (BMT), was an advanced design PCC streetcar-derived subway and elevated railway car built by the Clark Equipment Company from 1938 to 1940 and used on the New York City Subway system from 1939 to 1955. A total of six units were built, with one prototype and five production units. They were among the last cars to be ordered by the BMT before the city takeover in 1940.

The cars were designed to operate on both elevated and subway lines; its lightweight design allowed it to run on the oldest elevated lines without the need to upgrade them to handle heavier cars, while its aluminum alloy body also allowed it to run in the newer subway tunnels, where wooden cars were strictly prohibited. The prototype Bluebird entered service in 1939. While the BMT ordered 50 production Bluebirds, only five were built, due to the New York City Board of Transportation cancelling the order when it took over operations of the BMT in 1940. The cars were in service until being retired in 1955. None were preserved.

Design
The articulated unit, 80 ft long, 10 ft wide and 12 ft high, consisted of three compartments placed on four trucks, connected by fully enclosed, hinged passageways. The Bluebird was an example of Art Deco industrial design, presenting a clean and mildly streamlined appearance. The Bluebird was designed during the Great Depression as a fast, physically attractive, and comfortable mass transit vehicle that would attract passengers, while instituting significant economies in production, operation, and maintenance.

The car's lightweight body and running gear, combined with its short truckbase and segmented body, permitted it to operate on the oldest elevated structures, with their light loading tolerance and sharp curves, as well as in tunnel sections, where policy prohibited the use of the wooden cars typically used on elevated lines.

A single Bluebird unit, numbered 8000A/B/A1, was purchased by the BMT as a prototype for a planned fleet of equipment that could operate universally on both standard subway lines and older elevated lines. The BMT expected the Bluebird to preserve its investment in its elevated railway lines without expensive upgrading for heavier subway equipment, while attracting passengers with its interior comforts. Tests demonstrated that its greatly improved operating parameters could have cut significant time from existing elevated train schedules.

Bluebirds were the first PCC-derived rapid transit cars utilizing the advanced running gear originally created for new-design streetcars. In addition to quick acceleration and braking (4 mph/s), the use of PCC technology meant that Bluebirds could share a significant part and maintenance base with the Brooklyn transit company's planned PCC trolley fleet, achieving economies of scale and efficiency.

The Bluebirds were built by Clark Equipment Company of Battle Creek, Michigan, maker of PCC running gear. They were the only rapid transit cars ever built by Clark, and the only passenger rail equipment ever built by the company, other than one PCC streetcar.

Fleet history
Satisfied with tests on unit 8000, the BMT placed an order for an additional 50 units, which could replace 80 old elevated cars. However, the order was cancelled after the city government purchased the BMT in June 1940. The New York City Board of Transportation, already the operator of the Independent Subway System, was one of the most conservative transit operators in the United States, and had no interest in the former BMT's aggressive technology planning.

Five more Bluebirds were in the process of construction at the time of cancellation, and the City decided to accept these, numbering them 8001–8005A/B/A1. They could not interoperate with unit 8000, which had no couplers or multiple unit trainline connections. Unit 8000 spent much of its service life on the Franklin Avenue Shuttle, home of many pieces of orphaned equipment, while units 8001–8005 operated regularly on the 14th St.–Canarsie Line. On occasion, they also operated in Brighton–Franklin Avenue Local service and on the Fourth Avenue Local. In those instances, it typically operated as an extra behind a regular interval.

After delivery of the Bluebirds, New York City never again purchased any lightweight or PCC-technology rail equipment, nor did it purchase equipment to sustain the elevated lines incapable of operating heavier subway cars. Most of the elevated lines were dismantled between 1938 and 1990.

The single unit Bluebird 8000 was withdrawn from service for lack of available parts in 1945. The Bluebird train 8001–8005 continued in service until March 1955, replaced by the R16s. All of the Bluebird units, the single unit and the 5 unit train, were scrapped in 1957.


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text: Category:History of Staffordshire

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text:
Todd (album)

Todd is the fifth studio album (and second double album) by American musician Todd Rundgren, released in February 1974 on Bearsville Records. It is the follow-up to the previous year's A Wizard, a True Star and features a comparatively heavier reliance on guitar playing and synthesizers. About half of the tracks were performed by Rundgren alone, with the other half recorded with varying configurations of musicians. In the US, the album peaked at number 54, while lead single "A Dream Goes On Forever" reached number 69.

Background
In March 1973, Rundgren's fourth album A Wizard, a True Star was released. Recorded at his newly built Secret Sound Studios in Manhattan, Wizard's sound and structure was heavily informed by his recent experiments in psychedelic drugs. Critical reception to Wizard was mixed, and according to Rundgren, the album was generally regarded as "professional suicide". In the weeks following the album's release, he produced the New York Dolls' self-titled debut album and Grand Funk Railroad's We're an American Band. Rundgren also prepared a technologically ambitious stage show with a new band, Utopia, his first official group since the Nazz. The tour began in April and was cancelled after only a couple weeks on the road due to its extensive technical demands.

Once Rundgren was finished with his production duties, he began formulating plans for an improved configuration of Utopia, but first returned to Secret Sound to record the songs that became Todd, which was more material drawing on his hallucinogenic experiences. This time, he had also formed a fascination with religion and spirituality, reading works by authors such as Helena Blavatsky, Rudolf Steiner, and Jiddu Krishnamurti that he had found at an occult book store in Lower Manhattan. He said he "started to have a great curiosity about where that psychedelic experience fits into not just my own personal history but the larger history of people's quest for meaning."

Style and production
Compared to Wizard, Todd features synthesizers more heavily, although it still employs Rundgren's usual selection of guitar, piano, and found sounds. Its musical contents range from Gilbert and Sullivan-style show tunes to fusions of Philadelphia soul and progressive rock. Due to the success of "Hello It's Me", Rundgren was primarily known for singer-songwriter ballads. In March 1974, he penned an article for Phonograph Record in which he compared Todd to his previous work: "Todd has the least number of ballads, I think, of all the albums I’ve done. It also has more guitar playing. It varies… I do what I feel inspired to do. If I don’t feel like playing that much rock ‘n roll, I don’t need another outlet — another band to play rock and roll." Further, he explained the concept of the record:

"The whole record (Todd) is about states of consciousness. The Wizard album marked a beginning of new forms of communication — basing my musical ideas on responses other than just purely physical or material. In the Wizard album I was just discovering a different language. In the new album, it is more of a discourse in this new language — telling what I’ve discovered with this new attitude — that is, out of directing my attention to things other than material – to other states on consciousness. ... I did the Wizard album where the song ideas ranged from 15 seconds to 10 minutes. A further refinement of that idea is represented in Todd, and the refinement is that I’m breaking down all these barriers — removing the six spirals – just saying there are no limitations as to what is sung about or what the music sounds like, or how long it is… or whether it is even music at all."

Recording for the album lasted from July to August 1973. About half of the tracks were performed by Rundgren alone, with the other half recorded with varying configurations of musicians. It was envisioned as a single-disc album, but became a double album due to the unexpectedly large amount of material that was recorded. During the making of Todd, Rundgren took note of the "fusion jazz sensibility" between session musicians Kevin Ellman (drums) and John Siegler (bass). Rundgren chose them, along with Moogy Klingman and keyboardist Ralph Schuckett, to form the new configuration of Utopia. This line-up performed their first show at Central Park on August 25, 1973, sharing the bill with the Brecker Brothers and Hall & Oates. The purpose of this show was to record the track "Sons of 1984"; another show was carried out at Griffith Park in Los Angeles to accentuate the recording with overdubs. According to Rundgren: "We went in and taught the audience the lyrics and they sang it. I guess I was a little surprised that it really worked out. ... We were considering doing a whole record that way, as part of our touring show. Teach the audience a song, then record it, and you have a whole album’s worth of these songs from different cities."

Later, he commented of the album, "my psychedelic adventures were more a part of a spiritual quest to have a greater understanding about the nature of things. As a result, Todd is naturally more orderly, but it also dealt with alternative concepts such as empathy to the point of telepathy. So, on 'I Think You Know,' it's also saying, 'I think at the same moment that you know,' which is the formula for telepathy."

Release
Originally scheduled for release in December 1973, Todd was delayed to the next February due to a vinyl shortage caused by the 1973 oil crisis. The sleeve included a list of names of fans that had sent back the postcard included within the sleeve of A Wizard, a True Star. Utopia played more shows throughout November and December, performing material from Something/Anything? and Wizard after a solo opening set by Rundgren on piano playing along to a pre-recorded track. These shows resumed in March 1974, in support of Todd's release, and lasted until May. "A Dream Goes on Forever", a song originally written for Wizard but recorded for Todd, was issued as lead single.

Reception
Robert Christgau of Creem reviewed: "I've been giving Todd the benefit of the doubt, so now he has to bear a burden of suspicion. On sides one and four ... the useful moments are buried in a mess of electronic studio junk, and even though they manage to pick themselves up from the rubble on sides two and three, that ratio is both uneconomical and unecological. This may well have honest ambitions, which are welcome, but it's too bad they're so self-deluded." Writing in the NME, Nick Kent said, "On first hearing, the album is the most annoying creation I've encountered in an age — all unrelated electroid scribbling, punctuated by a series of songs that sag next to seemingly similar work on Something/Anything and, to a lesser extent the Wizard album." Creem's Wayne Robbins similarly felt that the record was too esoteric for most listeners, concluding, "I think through all the noise and the occasional overplayfulness in place of composition, Todd has basically found his tongue. ... He's created a Grand Bouffe for the ears, which is as creatively rewarding to some as it is repulsive to others."

Reviewing the album for Zoo World, Jon Tiven wrote that "for those who claim that Todd's evolution since Something/Anything? has been one long and tedious descent, this critic suggests you give Todd many a listening before you pass judgement. It's an extremely complex and confounding album in terms of both structure and production, and although there may be an unnecessary surplus of wasted space, there's an awful lot of fine material to be found on it." Andrew Tyler, also from NME, felt that Todd was not as good as Wizard and explained, "In some ways Todd is as decisive and brainstorming as Wizard but it's fraught, almost evil ... as though Rundgren bummed out on the whole space celebration riff and wasn't sure what came next. Again we're out in the blue void, but this time you feel like your frozen with no way back."

Retrospectively, Stephen Thomas Erlewine wrote for AllMusic: "These are some major additions to his catalog, but the experiments and the excesses are too tedious to make Todd a necessary listen for anyone but the devoted. But for those listeners, the gems make the rough riding worthwhile." Nicholas Olivier, writing in The Rough Guide to Rock (2003), was less favorable: "One of the dullest double albums ever made, it covered a Gilbert And Sullivan song alongside a 3000-strong chorus for 'Sons of 1984', and suggested our hero was taking himself far too seriously."

XTC guitarist Dave Gregory became a lifelong Rundgren fan after hearing "The Last Ride" on BBC Radio. As he remembered: "I loved the maverick spirit of the guy. ... He was talented enough to stick a finger up to the industry and say 'This is my record – take it or leave it.'" Rundgren would later produce XTC's 1986 album Skylarking. "Izzat Love?" was prominently sampled in Neon Indian's "Deadbeat Summer", while both "The Spark of Life" and "A Dream Goes On Forever" were sampled in Charli XCX's "So Far Away". In 2000, Todd was voted number 1000 in the third edition of Colin Larkin's All Time Top 1000 Albums.

Live performances
In 2010, Rundgren performed Todd and his 1981 album Healing live in full for the first time. A large video display and lasers were on display throughout the shows, with Rundgren and the band dressed in various psychedelic costumes.

Personnel
Performers • Todd Rundgren – guitars, lead and backing vocals, synthesizers, electric and acoustic pianos, organ (tracks 2, 5, and 13), bass (tracks 2–3, 5, 7, 11, and 13), drums (tracks 2, 5, and 13), harpsichord (track 7), drum machine, percussion, arrangements, production, engineering

• Moogy Klingman – organ (tracks 6, 9–10, and 14), grand piano (tracks 6 and 8), electric piano (tracks 16–17), harpsichord (track 6)

• Ralph Schuckett – clavinet (tracks 9–10), organ (tracks 8, 16–17)

• Buffalo Bill Gelber – bass (track 8)

• John Siegler – bass (tracks 10 and 17)

• John Miller – bass (tracks 9, 14, and 16)

• Kevin Ellman – drums (tracks 9–10, 14, 16–17)

• Wells Kelly – drums (track 8)

• Peter Ponzol – soprano saxophone (track 8)

• Michael Brecker – saxophone (track 17)

• Randy Brecker – trumpet (track 17)

• Barry Rogers – trombone (track 17)

• First United Church of the Cosmic Smorgasbord, New York and San Francisco chapters - Voices (track 17) Other credits
 * Steve Hammonds – project coordination [uncredited]
 * Paul Lester – sleeve notes [uncredited]
 * Alen MacWeeney – cover photo
 * Bill Klein, Jr. - photography
 * Joel Shapiro - photography
 * Andrew Pearce – mastering [uncredited]
 * Sarah Southin – design [uncredited]

Charts
Todd

"A Dream Goes On Forever"

title: Todd (album)


text:
Chiwetel Ejiofor

Chiwetel Umeadi Ejiofor (born 10 July 1977 ) is a British actor. He is the recipient of various accolades, including a British Academy Film Award, and a Laurence Olivier Award, with nominations for an Academy Award, two Primetime Emmy Awards and five Golden Globe Awards.

After enrolling at the National Youth Theatre in 1995 and attending the London Academy of Music and Dramatic Art, at age 19 and three months into his course, Ejiofor was cast by Steven Spielberg to play a supporting role in the film Amistad (1997) as James Covey.

Ejiofor portrayed the characters Okwe in Dirty Pretty Things (2002), Peter in Love Actually (2003), Lola in Kinky Boots, Victor Sweet in Four Brothers, The Operative in Serenity (all 2005), Luke in Children of Men (2006), Thabo Mbeki in Endgame, Adrian Helmsley in Roland Emmerich's 2012 (both 2009), Darryl Peabody in Salt (2010), Solomon Northup in 12 Years a Slave (2013), Vincent Kapoor in Ridley Scott's The Martian (2015), Karl Mordo in Doctor Strange (2016) and Doctor Strange in the Multiverse of Madness (2022), and Trywell Kamkwamba in The Boy Who Harnessed the Wind (2019). He voiced Dr. Watson in Sherlock Gnomes (2018), Scar in The Lion King (2019), and featured in the fantasy film Maleficent: Mistress of Evil (2019).

For 12 Years a Slave, Ejiofor received Academy Award and Golden Globe Award nominations, along with the BAFTA Award for Best Actor. He was nominated for a 2014 Primetime Emmy Award for Outstanding Lead Actor in a Limited Series or Movie for his performance on Dancing on the Edge. In 2022, he played the lead role in the Showtime science fiction television series The Man Who Fell to Earth.

In 2008, he was appointed Officer of the Order of the British Empire by Queen Elizabeth II for services to the arts. He was elevated to Commander of the Order of the British Empire in the 2015 Birthday Honours.

Early life
Ejiofor was born on 10 July 1977 in Forest Gate in the East End of London, to middle-class Nigerian parents of Igbo descent. His father, Arinze, was a doctor, and his mother, Obiajulu, was a pharmacist. His younger sister, Zain, is a CNN correspondent. His other sister Kandi is a GP doctor.

In 1988, when Ejiofor was 11, during a family trip to Nigeria for a wedding, he and his father were driving to Lagos after the celebrations when their car was involved in a head-on crash with a lorry. His father was killed, and Ejiofor was badly injured, receiving scars that are still visible on his forehead.

He began acting in school plays at his junior school, Dulwich College Preparatory School, where he played the gravedigger in William Shakespeare's Hamlet. Ejiofor continued acting at his senior school, Dulwich College, and joined the National Youth Theatre. He was accepted into the London Academy of Music and Dramatic Art but left after his first year, after being cast in Steven Spielberg's film Amistad. He played the title role in Othello at the Bloomsbury Theatre in September 1995, and again at the Theatre Royal, Glasgow, in 1996, when he starred opposite Rachael Stirling as Desdemona.

1996–2007: Career beginnings and early recognition
Ejiofor made his film debut in the television film Deadly Voyage (1996). He went on to become a stage actor in London. In Steven Spielberg's 1997 film Amistad, he gave support to Djimon Hounsou's Cinque as interpreter Ensign James Covey. In 1999, Ejiofor appeared in the British film G:MT – Greenwich Mean Time. In 2000, he starred in Blue/Orange at the Royal National Theatre (Cottesloe stage), and later at the Duchess Theatre. That same year, his performance as Romeo in William Shakespeare's Romeo and Juliet was nominated for the Ian Charleson Award. Ejiofor was awarded the Jack Tinker Award for Most Promising Newcomer at the Critics' Circle Theatre Awards in 2000. For his performance in Blue/Orange, Ejiofor received the London Evening Standard Theatre Award for Outstanding Newcomer in 2000 and a nomination for the Laurence Olivier Award for Best Supporting Actor in 2001.

Ejiofor had his first leading film role playing Nicky Burkett in Jeremy Cameron's It Was an Accident (2000). In 2002, he starred in Dirty Pretty Things, for which he won a British Independent Film Award for best actor. In the following year, he was part of the ensemble cast of Love Actually, starred in a BBC adaptation of Chaucer's The Knight's Tale and also starred on the BBC series Trust. Also in 2003, he starred in the lead role of Augustus in the radio production of Rita Dove's poetic drama "The Darker Face of the Earth", which premiered on the BBC World Service on 23 August of that year, marking the International Day for the Remembrance of the Slave Trade and its Abolition. He starred alongside Hilary Swank in Red Dust (2004), portraying the fictional politician Alex Mpondo of post-apartheid South Africa.

He played the central role of Prince Alamayou in Peter Spafford's radio play I Was a Stranger, broadcast on BBC Radio 4 on 17 May 2004, and he played the god Dionysus, alongside Paul Scofield's Cadmus and Diana Rigg's Agave, in Andrew Rissik's play, Dionysus, based upon Euripides' Bacchae, also broadcast by the BBC. He also received acclaim for his performance as a complex antagonist The Operative in the film Serenity (2005). Ejiofor played a revolutionary in the film Children of Men (2006). His singing and acting performance in Kinky Boots received a Golden Globe Award and British Independent Film Award nomination. He was also nominated for the BAFTA Orange Rising Star Award in 2006, which recognises emerging British film talent. Ejiofor's performance in Tsunami: The Aftermath received a Golden Globe Award nomination for Best Actor – Miniseries or Television Film in 2007.

In 2007, Ejiofor starred opposite Don Cheadle in Talk to Me, a film based on the true story of Ralph "Petey" Greene (played by Cheadle), an African-American radio personality in the 1960s and 1970s. He performed on stage in The Seagull at the Royal Court Theatre from 18 January to 17 March 2007, then later that year reprised his role as Othello at the Donmar Warehouse, alongside Kelly Reilly as Desdemona and Ewan McGregor as Iago. The production received favourable reviews, with particularly strong praise for Ejiofor. "Chiwetel Ejiofor produces one of the most memorable performances of Othello in recent years." He was awarded the Laurence Olivier Award for Best Actor for his performance. He also narrated the BBC television film Partition: The Day India Burned (2007), which was based on the Partition of India. He starred as Mike Terry in the 2008 cult film Redbelt that received favourable reviews.

2008–2018: International recognition and critical acclaim
Ejiofor was appointed Officer of the Order of the British Empire (OBE) in the 2008 Birthday Honours. In the same year, he made his directorial debut in the short film Slapper, which he also wrote, based on an idea by editor/director Yusuf Pirhasan. Ejiofor appeared alongside John Cusack in the film 2012 (2009). The film went on to gross over $700 million, and is among the list of highest-grossing films of all time and placing 5th of top films of 2009. He played CIA officer Darryl Peabody in Salt (2010), and the Golden Globe Award-nominated leading role of band creator Louis Lester on the BBC Two drama series Dancing on the Edge (2013), which played on Starz in the United States.

In 2013, Ejiofor took on the role of Solomon Northup in 12 Years a Slave. The film was based on Northup's memoir, edited in 1968 by historians Sue Eakin and Joseph Logsdon, of Northup's experience as a free black man in New York, who was kidnapped in 1841 and sold into slavery in Louisiana. On casting, director Steve McQueen said:"Chiwetel Ejiofor was always going to be Solomon Northup for me. I was looking for someone that had that genteelness, that kind of humanity. Knowing that humanity was going to be tested under certain duress and circumstances, I needed a person who could actually keep hold of that, even through periods of extraordinary trying and extraordinary situations where it would be tested to its absolute limit. He was the only person."At the Toronto International Film Festival, Ejiofor said he briefly hesitated about playing Northup. "You wait all your life for a great script to come through the door. You're hassling your agent and all that, and then it comes and you read it and your first reaction surprises you. Your first reaction being, 'Can I do this?'" He accepted the role about 24 hours later. As part of his preparation for the role, Ejiofor learned to play the violin, collected slave stories, maintained a slave's edge up hairstyle, and engaged in some of the physical labour that Northup was subject to, including cotton picking. Since he had not worked with McQueen before, Ejiofor also observed the working dynamic between the director and co-star Michael Fassbender, who worked with McQueen on Hunger (2008) and Shame (2011). On playing Northup, Ejiofor did feel a responsibility, not being American, to get the story of Solomon Northup as current he could, adding "I've been very grateful to show the film to his descendants and see them be so proud of it."

12 Years a Slave opened to wide acclaim, with many critics citing Ejiofor's performance and declaring him an almost-certain Academy Award nominee for Best Actor. From Owen Gleiberman at Entertainment Weekly: "It is Chiwetel Ejiofor's extraordinary performance that holds the movie together, and that allows us to watch it without blinking. He plays Solomon with a powerful inner strength, yet he never soft-pedals the silent nightmare that is Solomon's daily existence." From Christopher Orr at The Atlantic: "Ejiofor has given notable performances in the past (Dirty Pretty Things, Serenity, Talk to Me), but this is by far his most essential role to date. Stoic, watchful, compromising himself just enough to stay alive, he is the point of stillness and decency around which spin the madnesses of the film." In his The Hollywood Reporter review, Todd McCarthy wrote, "Ejiofor is terrific in a demanding character who's put through the wringer physically, mentally and emotionally." On 16 January 2014, Ejiofor was officially nominated for Best Actor for the 86th Academy Awards on 2 March.

As of September 2013, Ejiofor was slated to portray Patrice Lumumba in a film adaptation of Aimé Césaire's A Season in the Congo, a role in which he had performed on stage at the Young Vic. Joe Wright, who directed the play, was to also direct the film.

In 2014, Ejiofor starred in the Nigerian film Half of a Yellow Sun alongside Thandiwe Newton.

It was announced in June 2014 that Ejiofor would play real-life drug dealer Thomas McFadden in film based on the book Marching Powder: A True Story of Friendship, Cocaine, and South America's Strangest Jail, written by McFadden and Australian journalist Rusty Young. In 2016, Ejiofor co-starred with his friend Benedict Cumberbatch and played Karl Mordo in the Marvel Cinematic Universe film Doctor Strange. That same year, it was announced that he would play Peter in the upcoming film Mary Magdalene, written by Helen Edmundson and directed by Garth Davis. On 1 November 2017, he was officially chosen for the role of Scar for the animated remake, The Lion King (2019) directed by Jon Favreau. Played by Jeremy Irons in the 1994 animated film, Ejiofor described Scar as more "psychologically possessed" and "brutalized" than in the original. Ejiofor stated, "especially with Scar, whether it's a vocal quality that allows for a certain confidence or a certain aggression, to always know that at the end of it you're playing somebody who has the capacity to turn everything on its head in a split second with outrageous acts of violence – that can completely change the temperature of a scene." He also said that "[Scar and Mufasa's] relationship is completely destroyed and brutalized by Scar's way of thinking. He's possessed with this disease of his own ego and his own want." Favreau said of casting Ejiofor, "[He] is just a fantastic actor, who brings us a bit of the mid-Atlantic cadence and a new take on the character. He brings that feeling of a Shakespearean villain to bear because of his background as an actor. It's wonderful when you have somebody as experienced and seasoned as Chiwetel; he just breathes such wonderful life into this character." Ejiofor narrated the 2019 documentary film The Elephant Queen.

2019–present: Directorial debut with The Boy Who Harnessed the Wind
In 2019, Ejiofor made his feature directorial debut with The Boy Who Harnessed the Wind, adapted from the memoir of the same name from William Kamkwamba, about a boy who built a wind-powered water pump in Malawi. In 2022, Ejiofor returned to the role of Mordo for the sequel film Doctor Strange in the Multiverse of Madness.

Personal life and legacy
As of 2013, Ejiofor split his time between Clerkenwell, London and Los Angeles.

In 2015, Ejiofor was honoured with a Global Promise Award by The GEANCO Foundation, a non-profit welfare organisation in West Africa, for his charity work in Nigeria.

On 12 September 2016, Ejiofor, as well as Cate Blanchett, Jesse Eisenberg, Peter Capaldi, Douglas Booth, Neil Gaiman, Keira Knightley, Juliet Stevenson, Kit Harington and Stanley Tucci, featured in a video from the United Nations' refugee agency UNHCR to help raise awareness of the global refugee crisis. The video, titled "What They Took With Them", has the actors reading a poem, written by Jenifer Toksvig and inspired by primary accounts of real refugees, and is part of UNHCR's #WithRefugees campaign, which also includes a petition to governments to expand asylum to provide further shelter, integrating job opportunities, and education. Ejiofor is a supporter of Crystal Palace F.C.

Awards and nominations
Ejiofor is the recipient of several awards, including numerous nominations in the Best Actor category for his role as Solomon Northup in the 2013 biographical drama film 12 Years a Slave, of which he won the AACTA International, BAFTA, BET, Black Reel awards, in addition to several critical accolades. His other acclaimed roles include: as Othello in a 2007 Donmar Warehouse production of the play of the same name, which won him the Laurence Olivier Award for Best Actor; as geologist Adrian Helmsley in the 2009 apocalyptic disaster blockbuster 2012, which garnered worldwide commercial success, with a box-office growth of over 769 million dollars (the fifth-highest of any film that year and the highest for its week of release ), which earned him nominations for a Black Reel and NAACP Image Award; as Louis Lester in the BBC miniseries Dancing on the Edge (2013), for which he was nominated for an Emmy, Golden Globe and Satellite award for outstanding lead actor in a miniseries or movie, and won a Black Reel Award in the same category; as the narrator of the 2018 Apple TV+ documentary film The Elephant Queen, for which he was nominated for the Primetime Emmy Award for Outstanding Narrator; and as the director and screenwriter of the 2019 British drama film The Boy Who Harnessed the Wind, which saw him receive nominations for the Black Reel Award for Outstanding Breakthrough Screenwriter, two British Independent Film Awards (Best Supporting Actor and Best Debut Director), the NAACP Image Award for Outstanding Directing in a Motion Picture and the Alfred P. Sloan Prize―winning the latter two.

In 2008, he was appointed Officer of the Order of the British Empire (OBE) by Queen Elizabeth II for services to the arts. He was elevated to Commander of the Order of the British Empire (CBE) in the 2015 Birthday Honours.

In February 2024 Ejiofor was awarded an honorary degree from the School of Advanced Study in recognition of the 25 plus years on stage and screen and dedication to the dramatic arts.

title: Chiwetel Ejiofor


text: Talk:Shands Hospital

title: Talk:Shands Hospital


text:
Minitab

Minitab is a statistics package developed at the Pennsylvania State University by researchers Barbara F. Ryan, Thomas A. Ryan, Jr., and Brian L. Joiner in conjunction with Triola Statistics Company in 1972. It began as a light version of OMNITAB, a statistical analysis program by National Institute of Standards and Technology.

History
Minitab Statistical Software is a statistics package developed at the Pennsylvania State University by researchers Barbara F. Ryan, Thomas A. Ryan, Jr., Brian L. Joiner in 1972. The project received funding from the Triola Statistics Company. It began as a light version of OMNITAB, a statistical analysis program by NIST, which was conceived by Joseph Hilsenrath in years 1962–1964 for the IBM 7090. The documentation for the latest version of OMNITAB, OMNITAB 80, was last published in 1986, and there has been no significant development since then.

Minitab is distributed by Minitab, LLC, a privately owned company headquartered in State College, Pennsylvania. As of 2024, Minitab LLC had subsidiaries in the Netherlands, UK, France, Germany, Hong Kong, Japan and Australia.

Interoperability
Minitab, LLC also produces other software that can be used in conjunction with Minitab; Minitab Connect helps businesses centralize and organize their data, Quality Trainer is an eLearning package that teaches statistical concepts, Minitab Workspace provides project planning and visualization tools, and Minitab Engage is a tool for Idea and Innovation Management, as well as managing Six Sigma and Lean manufacturing deployments.

In October 2020, Minitab launched the first cloud-based version of its statistical software. As of June 2021, the Minitab Desktop app is only available for Windows, with a former version for MacOS (Minitab 19.x) no longer being supported.

title: Minitab


text:
Vladimir Torlopov

Vladimir Alexandrovich Torlopov (Влади́мир Алекса́ндрович То́рлопов; Торлопов Володь Ӧльӧксан, Torlopov Öľöksan Voloď; born 1949) is a Russian politician, who was the head of the Komi Republic, a federal subject of Russia. In December 2001, he won elections with 40% of the vote, defeating incumbent head Yury Spiridonov. Torlopov took office in January 2002 and left on 15 January 2010.

In 1995 he became Chairman of the State Council of the Komi Republic.

On October 6, 2016 it has been under house arrest for the creation and leadership of a criminal association in conjunction with the "grouping" Gayzer and fraud on a large scale using his official position. Torlopov pleaded guilty.

title: Vladimir Torlopov