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User:Cdivizia

Claudio Divizia is an architect. He is a member of the PostPop Architects http://www.postpop.co.uk

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

title: User:Cdivizia


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Talk:Council of Elders

Forgive me if I have an anarchonistic memory, but isn't this term part of the Ancient Spartan government? -- Natalinasmpf 09:37, 29 September 2005 (UTC)

Modern international 333 organization
I recently watched something on television that stated Richard Branson, with some world leaders including Nelson Mandela, started a group which was referred to as a 'Council of Elders' for international rights, 12 of them or so, this group was started on Branson & Mandela's shared birthday apparently. Nagelfar 00:39, 30 July 2007 (UTC)

title: Talk:Council of Elders


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Talk:Kamba language

Information page on Kamba language on Ethnologue.
Found a page on Ethnologue that has more info, that claims many more native speakers than reported in the article. http://www.ethnologue.com/show_language.asp?code=kam — Preceding unsigned comment added by 97.117.86.138 (talk) 18:22, 3 December 2011 (UTC)

Kikamba language template
If you are a native speaker of Kikamba then you can help translate this template into your own language:

Edit

--Amazonien (talk) 22:30, 20 January 2009 (UTC)

title: Talk:Kamba language


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Talk:Bar-hopping

Should this be merged with pub crawl? Ben Finn 09:38, 29 September 2005 (UTC)

title: Talk:Bar-hopping


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Glamorous (album)

Glamorous (TC: 艷光四射, SC: 艳光四射) is a Cantopop album by Denise Ho which pays tribute to recording artists of the 80's, including Anita Mui, Leslie Cheung, Danny Chan, Sam Hui, etc. It was her first CD released by East Asia Music.

Songs

 * 1) 序幕 (Opening)
 * 2) 艷光四射 (Glamorous)
 * 3) 如無意外 (What If There's No Accident)
 * 4) 明星夢 (Dream of Being a Superstar)
 * 5) 你是八十年代 (You are the 80s)
 * 6) 花迷戀 (Flower Love)
 * 7) 明目張膽 (Brazenly)
 * 8) 失戀日記 (Diary of Lost Love)
 * 9) 艷光四射 (美艷到不行) (Glamorous (Cannot be More Glamorous))
 * 10) 謝幕 (Closing)
 * 11) 玻璃蒼蠅 (Mandarin) (Glass Fly)
 * 12) 降落之前 (Mandarin) (Before Landing)

title: Glamorous (album)


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User talk:Visitpaul

Hello, and welcome to Wikipedia! We welcome and appreciate your contributions, such as Holley Nethercote Commercial Lawyers, but we regretfully cannot accept copyrighted text or images borrowed from either web sites or printed material. For more information about Wikipedia's policies and guidelines, take a look at our Five Pillars. Happy editing! [ +t,  +c ,  +m  ] 02:53, 29 September 2005 (UTC)

Kingdom Life Church Melbourne
Good question. I'll start with Wikipedia's policy on deletion. Wikipedia isn't just a collection of information; it's a collection of information that "deserves" to be included. For example, Wikipedia is not the place to write about your dog named Spot or your Aunt Sally's fantastic blueberry muffins. It is, however, the place to write about dogs and muffins. The problem is determining what "deserves" to be included and what doesn't. That line is drawn by the Wikipedia community, and at this point, the general consensus among wikipedians is that many churches, in particular those that aren't really "special", don't "deserve" to be included.

Now, all that is well and good, but we can't just have people going around deleting whatever they want. So, we have two deletion processes for articles, namely WP:PROD ("Proposed Deletion") and WP:AFD ("Articles for deletion"). The second of these two involves discussion where the community attempts to determine what everyone thinks about the article (keep or delete). The first involves someone thinking "This is an obvious case where we should delete" and someone else (in this case, me), agreeing.

For now, I've undeleted the article and will let you work on it some more (maybe there are things that make the church particularly special and thus would make it warrant an article), and then I'll put it up for discussion on WP:AFD. That way we can get more opinions, and who knows, the article might be kept. Let me know if you have any more questions. --Spangineer[es] (háblame)  01:36, 19 April 2006 (UTC)

Holley Nethercote Commercial Lawyers
Hi, I've relisted it for discussion - after a day or two, AfD's tend to get forgotten. I appreciate the patience you have shown on this! Dl yo ns 493  Ta lk  16:21, 2 June 2006 (UTC)

title: User talk:Visitpaul


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Talk:Quiz Call

Is the "Controversial?" section really relevent, it seems to be talking about the TV quizzes that are "what sort of animal is Top Cat? a) a dog, b) a cat or c) a brontosaurus". Quiz call does not operate this type of quiz, they actually do have a level of difficulty - indeed even sitting down with the highway code it took me a long while to work out the answers to their "Which road signs are correct" question. And I've always found anagrams fairly hard (then again maybe I'm just thick!) Mr Weeble  Talk Brit tv 09:39, 29 September 2005 (UTC)

The controversial element to Quiz Call is the difficuly level. Some are very very easy, others seem to be almost impossible. If the quiz is hard, they will give clues. I've seen some of the "count the xxx", where after each wrong guess the presenter will say if the correct answer is higher or lower. In fact, I've seen them say that the answer is between 297 and 300, giving you a 50/50 chance. This is not really a quiz. I actually deleted this section several times because it was a personal rant, now it is more factual. Jbattersby 10:19, 1 October 2005 (UTC)

Personally I agree fully with the relevance of the Contraverial bit. In my opinion this show is like a day long version of that annoying crazy frog advert. Its a total con and as it says below a lottery. ALso Mrweeble, they do have that sort of easy quiz as well. Haven't you seen them when they have the answer phone games where for an hour they have a really simple question then get people to leave as many entries on their answerphone as possible?SB1234 17:23, 1 October 2005 (UTC)

Simple Quiz
Today Quiz Call pushed be boundaries of what is a quiz. The quiz was to solve a maths equation. To make it easier, they put four possible answers on screen. The equation was 70 - 20 / $$\frac{1}{2}$$ = with possible answers of a)60, b)30, c)25 and d)100. Amazingly enough, I saw three callers get it wrong - each with a different answer. Jbattersby 14:54, 20 October 2005 (UTC)
 * I get 60. (86.14.253.148 00:19, 17 January 2007 (UTC))
 * I get 100. dreamcatcher23 01:37, 6 May 2007 (UTC)

Help & Discussion forum
Should the link at the bottom "Help & Discussion forum" be left in? It requires an invitation to use the website, most users will not have an invite, making the link of little use?

Ckeene 21:05, 28 January 2006 (UTC)

There's a website called the Phone Quiz Answers Resource with a big searchable database of all the previous answers. Should it be included on the external links / reference or help and discussion section?

Controversy - Better placed in Quiz Channel article?
Reading through the controversy section of the article, I can see it applies to a number of quiz shows and channels, not just to. Wouldn't it be better if the information here was added to the Quiz channel's criticism section with a link within this article and a brief description that, alongside other quiz shows/channels (delete as appliciable) has been investigated for the way they run, for example? --tgheretford (talk) 15:36, 13 August 2006 (UTC)
 * I merged the sections. No-one disputed the proposal on this talk page, and to be honest, there was nothing there in the Quiz Call section that was specifically relevant to the channel anyway. --tgheretford (talk) 13:38, 17 September 2006 (UTC)

Banned Members
Luna got banned from QuizCall, that was funny. Perhaps some should write that in? [AZZA]
 * No it wasn't funny. It was very harsh. And they were rude enough not to provide a reason. Besides, she's happily off to ITV Play winning their pens, so it didn't do too much emotional damage. As for putting it in the article, the answer is no as it is just too specific. J.J.Sagnella 13:05, 3 September 2006 (UTC)

I found it funny. getting banned from a quiz channel. How embarressing. Trws 21:42, 3 September 2006 (UTC)

Removed section
I removed the following section: According to the press (The Times, 29th December 2006) it is estimated that each caller actually has only a 1 in 5000 chance of getting through and winning even the most modest amount of prize money.

This, with a source should be to be added to the Quiz channel article, because it isn't a response to Quiz Call, but to many, if not all quiz channels and shows. --tgheretford (talk) 20:40, 2 December 2006 (UTC)
 * I also removed this section:

The disclosure followed numerous and growing complaints from viewers and executives of Quiz Call and similar channels, as Ofcom starts its review of the sector. Big Game TV is presently being investigated by police for alleged fraud, while Gordon Brown examines whether the stations are actually lotteries masquerading as games of skill, making them liable for a 20% charitable levy.
 * for exactly the same reasons that was given above. --tgheretford (talk) 20:49, 2 December 2006 (UTC)

Common sayings
I have had to edit out some of the common sayings that were copied directly from the roliing promo off-hours (albiet not logged in). Please, will nobody, ever again add these. It's a pain. Bilky asko 19:44, 15 September 2006 (UTC)
 * I have added the following warning to the section (not viewable in the article, but only when you click the edit button) because quotes from the off-air loop being added again and again...

 * Please do NOT add any sayings from the rolling loop from Quiz Call's off-air hours. Please see the talk page (under "Common Sayings").

 * Hopefully this should deter people from adding the quotes again --tgheretford (talk) 21:03, 23 September 2006 (UTC)

Transwiki to Wikiquote
In fact, rather than having to revert changes made every single day by editors, I believe the quotes would be better transwikied to Wikiquote. They don't have encyclopedic value and should be transferred to Wikiquote a.s.a.p. --tgheretford (talk) 10:39, 5 November 2006 (UTC)

Luna
[rant]Has Luna actaully got a job. All she seems to do all day is play games shows. She got banned from one. Which is the fault of her own. Perhaps she should get of the dole and get a job, instead of sitting in front of the TV all day. [/rant] P.S ITV pens are rubbish. DebbieQM 20:19, 26 September 2006

Which gameshow was she banned from? She does need to get a life.

Quiz Call leaving - confirmed by Channel 4
http://community.channel4.com/eve/forums/a/tpc/f/3696002921/m/1950058466

It is to be replaced by Film4+ 1 for the time being, and then by a new entertainment channel. It cannot "move number", as there is no more capacity (not "numbers") to broadcast it (See Digital terrestrial television in the United Kingdom for more). C4 cannot sub-lease to iTouch, although iTouch could attempt to get a timeshare lease with another broadcaster, eg in overnight hours, so please don't keep posting its staying because it is not. C4 cannot sublet their downtime hours of any of their channels as Quiz Call broadcasts 12PM onwards, whereas More4 starts at 1pm, E4 is 24 hours, Film4 starts 3pm (what cop is 3 hours of a channel, especially quiz?), but I daresay they would not want it there because of "brand-association", as rightly said in this article. Marbles333 15:05, 4 November 2006 (UTC)

'''Confirmed on QuizTelly.com that iTouch are expected to announce a new distribution agreement that will see the channel remain on the platform on a different number. - User:QC06 21:13 4 November 2006 (UTC)'''

 * Hmm... will this mean that Quiz Call could be carried part time on another channel, as opposed to being moved to another channel as Marbles333 suggests can't happen (technically speaking, it'll be part of the schedule of another channel, but not a Channel 4 (or indeed the BBC!) operated channel)? That fits with the statement from Channel 4 that Film4 +1 is launching but Quiz Call (if we are to believe the source from Quiztelly.com) may appear as part of the schedule on another channel. --tgheretford (talk) 21:23, 4 November 2006 (UTC)
 * I'd never trust anything that QuizTelly.com says, what do you expect, its a website about Quiz TV so of course its biased. Check out this post which explains exactly why QuizCall cannot return Marbles333 21:27, 4 November 2006 (UTC)

QuizTelly are a very trustworthy source they have never posted false information in the past. Quiz Call could return but on another channel's downtime.- User:QC06 21:28 4 November 2006 (UTC)

 * You may ask yourself "what downtime"?. Please read that link posted above which explains exactly why it cant use another channel's downtime. Marbles333 21:31, 4 November 2006 (UTC)

That post put more thought in than probably iTouch did buying Quiz Call! On a serious note, your probably right I can't see C4 letting QC use their downtime (on Film4 etc) after they have just sold it off, maybe in the future QC may win the Channel 5 contract back off The Great Big British Quiz as Five did prefer Quiz Call. - User:QC06 21:36 4 November 2006 (UTC)

It's official Quiz Call WILL be remaining on Freeview as they are taking over Quiz Night Live's slot (10pm-1am) on Ftn. - User:QC06 18:50 8 November 2006 (UTC)
 * Yes, but its not remaining as as channel, but a mere 3 hour slot (the less the better). At least we're losing the full Quiz Call and Quiz Night Live! I wonder if FTN will go widescreen for it? EDIT: when that comes, it must be pointed out on the Wikipedia article that it is a strand, not the full channel; therefore should not be included in the line-up of the Freeview article. So in the infobox, it must be mentioned 10pm-1am only or something along those lines. Should we then treat it as a programme on FTN or a channel in its own right? QNL was always a programme, and as Quiz Call is taking those hours, should it be classed as a programme then (when referring to Freeview)? Marbles333 20:41, 8 November 2006 (UTC)

Presenters
I added a factual accuracy tag to this section until (as someone put there) there can be some clarity and verifiable evidence of who is at Quiz Call, who has left etc. --tgheretford (talk) 22:24, 6 November 2006 (UTC)

Frederick Fleck
Someone keeps adding Frederick Fleck into the past presenters list. A Google search shows from a number of sources that he was the managing director of Ostrich Media but did NOT do any presenter work on Quiz Call. He should be left off the list until someone can verify from a reliable source that he presented Quiz Call. --tgheretford (talk) 07:24, 16 November 2006 (UTC)

I KNOW for a FACT that Frederik Fleck has NEVER presented Quiz Call. I wtach the channel regulary and would know of this, I too, am getting sick of it being added. Someone verify a source? No chance as there isn't one -- QC06, 22nd November 2006 19:42 (UTC)

Chris Hopkins
Whoever keeps adding "Chris WHATS YA NAME Hopkins" to the presenter list, please stop. I am sick of reverting it back all the time. -- QC06 16/12/06 (UTC)

Use of invalid citations
Can we please use appropriate citiations (i.e. official and not from unofficial websites or discussion boards; eg from a press relase) in this article? If you require help deciding in what you can consider as an appropriate citation, please see WP:CITE. Otherwise that tag at the top of the page will stay there until claims can be appropriately backed up. Also can this article be consistent in the way it cites its sources? Thanks Marbles 13:49, 29 December 2006 (UTC)

This is a fact, I have emailed Liz Fuller who presents on Quiz Call and she herself has also confirmed that Quiz Call has won the Five contract. QuizTelly.com has also announced this but because it was posted within a thread on their discussion boards it was not properly written as a 'news alert.' - QC06 12:34, 30 December 2006 (UTC)
 * I'm afraid it is still classed as an invalid citation - I don't make the rules I just abide by them. Usually Emails are not considered as valid citations; you may need a copy of the email (with dates, without addresses) to consider this an appropriate citation. Plus this is the evidence of an individual, not a company, so for example word from Channel 5 themselves could be more favourable than from someone who works for a television programme. And can you please make sure you are signed in when you sign comments on Wikipedia talk pages so you can ensure that your signature can be automatically verified (i.e. type ~ instead of writing the signature yourself - it proves that you have written this comment yourself and you're not pretending to be someone else) Marbles 15:49, 30 December 2006 (UTC)

I have emailed Five Customer Services and will post the relevant information when I get it, with dates and so on. QC06 20:22, 1 January 2007 (UTC)

Quiz Call to lose Channel Status
Soon as Quiz Call has ceased broadcasting on $ky (mentioned on Digital Spy and a couple of other forums), it has apparently won a contract to broadcast on Channel 5 and will not posess a channel slot altogether (ceased on Sky today, closed on Ftn last night, left Freeview in November, left NTL), which means it should lose its "Channel" status, i.e. on Wikipedia it should have a programme infobox as appose to a channel one, which can be found here. I assume it will be broadcasting on Five US and Five Life (except Freeview - Five Life ends at 11pm sharp), and Five itself (hopefully weekends only) - it will no longer be a "channel". Just to let you know Marbles 19:07, 1 January 2007 (UTC)

Yep, that's correct. Sorry Marbles but Quiz Call will not just be broadcasting on Five at weekends (throughout the week as well). Basically, it will be taking all TGBBQ's current slots. QC06 20:17, 1 January 2007 (UTC)
 * I doubt they'd have anything substancial through the week - Five gets good support for its overnight sports coverage, so perhaps a couple of hours, but it definately won't be like it is at the weekend. The quiz TV fad is slowing now anyway and the market is overflowed plus its controversial, so I can't see it being as beastly as that hellhole of a programme on ITV. Long live Channel 4! Marbles 20:27, 1 January 2007 (UTC)

I agree, Channel 4 did the right thing dumping Quiz Call. I can't believe Quiz Call will be clogging up Five's schedules for the next two years at least, even though I enjoy watching the programme it is a bit of an overload. QC06 13:15, 2 January 2007 (UTC)

Article beyond cleanup
This article is now a total mess with irrelevant information, inappropriate citations, inconsistent along with poor grammar, and I now propose a total re-write as opposed to a simple "cleanup". I cannot spend time on this article myself, therefore it will need to be done by someone else. The more tags there are on a page the less value it will have. Marbles 21:04, 16 January 2007 (UTC)
 * Most of the article is quizcruft and could be deleted outright, because it bears no relevance to an encyclopedia article. The common sayings has had a transwiki to Wikiquote for as long as I can remember (putting the template there!). I will add one more template onto the page - namely one for a complete rewrite of the article! --tgheretford (talk) 21:30, 16 January 2007 (UTC)
 * Whatever happens, it needs to be NPOV as many times has this article been filled with pro-quiz TV people's opinions, which in the end suggest things which are not true. Citing sources is also a big problem on this article also. Marbles 21:46, 16 January 2007 (UTC)

I've tried to clean the article slightly, it's by no means perfect, but it's a darn sight better than what it was.

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title: Talk:Quiz Call


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Jaunpur district

Jaunpur district is a district in the Varanasi Division of the Indian state of Uttar Pradesh. The district headquarters is the city of Jaunpur which is situated on the banks of the Gomti River. It is located 228 km southeast of the state capital Lucknow. 65 km northwest of Varanasi and 732 km southeast of New Delhi. The district has two Lok Sabha seats and nine Vidhan Sabha seats. According to the 2011 census, Jaunpur has a gender ratio of 1,018 females to 1,000 males, the highest in Uttar Pradesh. The most commonly spoken language in the district is Hindi.

Geography
The district of Jaunpur is situated in the northwest part of Varanasi Division. Its attitude varies from 261 ft to 290 ft above sea level.

Rivers
Gomti and Sai are its main parental rivers. Besides these, Varuna, Basuhi, Pili. Mamur and Gangi are the smaller rivers here. The rivers Gomti and Basuhi divide the district into nearly four equal landmasses. Jaunpur district is often affected by the disaster of floods.

Climate
Jaunpur district has a climate consistent with that of the Northern Plain and Central Highlands including the Aravalli range, hot semi-arid eco-region 4.3 and hot dry ecoregion 9.2. The temperature varies between about 4 C and 44 C. The annual normal rainfall is 1098 mm. The monsoon season occurs from the third week of June to the first week of October. Normally, there are 46 rain days per year of which 31 occur in the monsoon season. The district regularly suffers drought and pestilence.

Topography
The topography of the district is a flat plain undulating with shallow river valleys. The main permanently flowing rivers are the Gomti and the Sai. The rivers of Jaunpur flow from northwest to southeast and the land slopes in the same direction. Thus, there is a more elevated area in the northwest and a less elevated area of land in the southeast.

Geology
Beneath the surface of the district of Jaunpur, is a thick mantle consisting of the quaternary sediments (silt, sand and clay) of the Ganga river system. Below is vindhya range bedrock. Mineral deposits are rare but there is limestone as a conglomerate kanker in nodular and block forms. The limestone can be used in building. Earthquakes have been recorded, the largest in 1927 and 1954.

Demographics
In 2011, an official census was made in Jaunpur district. It recorded a population of 4,494,204 of which 2,258,437 were female and 2,217,635 male making it 7th most populated district in whole state. Jaunpur district has population density of 1,113 persons per km2. Between 2001 and 2011, the population of Jaunpur district grew 14.89%. Literacy increased from 59.84 to 73.66 percent. In 2011, 86.06 percent of men were literate and 61.7 percent of women. Children under six years formed 14.37% of the population. 7.71% of the population lives in urban areas. Scheduled Castes made up 22.04% of the population.

Jaunpur ranks seventh in terms of population in the state and ranks first in terms of sex ratio (1,024). There are 663,513 households in the district accounting for 2% of the total households in the U.P. The average size of households in the district is 6.8 persons. Urban population in the district is only 7.7% of total population.

Languages
At the time of the 2011 Census of India, 92.65% of the population in the district spoke Hindi, 3.58% Bhojpuri, 1.90% Urdu and 1.73% Awadhi as their first language.

Divisions
Within the district, there are two national lower house constituencies, Lok Sabha, of which Jaunpur constituency is entirely in the district, and nine state lower house constituencies, Vidhan Sabha. Jaunpur district has six administrative subdivisions (Tahsils).

Tahsils

 * Shahganj
 * Badlapur
 * Machhali Shahar
 * Jaunpur
 * Mariahu
 * Kerakat.

Development Blocks
Jaunpur district is further divided into twenty-one "development blocks".

 * Sondhi (Shahganj)
 * Suithakala
 * Khuthan
 * Karanja Kala
 * Badlapur
 * Maharajganj
 * Sujanganj
 * Baksha
 * Mungra Badshahpur
 * Machhali Shahar
 * Mariahu
 * Barsathi
 * Rampur
 * Ramnagar
 * Jalalpur
 * Kerakat
 * Dobhi
 * Muftiganj
 * Dharmapur
 * Bijor
 * Sirkoni

Thanas
There are also twenty-six police districts (Thanas).

 * Kotwali
 * Sadar
 * Line Bazar
 * Zafarabad
 * KhetaSarai
 * Shahganj
 * Sarpatahan
 * Kerakat
 * Chandwak
 * Jalalpur
 * Sarai Khwaja
 * Gaura Badshahpur
 * Badlapur
 * Khuthan
 * Singra
 * Baksha
 * Sujanganj
 * Maharajganj
 * Mungra Badshahpur
 * Pawara
 * Machhlishahr
 * Meerganj
 * Sikrara
 * Mariahu
 * Rampur
 * Barsathi
 * Nevadhiya
 * Sureri
 * Baserawan
 * Kaserawan
 * Janghai

Economy
The district's main economical activity is agriculture and allied sector. Jaunpur is the fastest developing area in eastern Uttar Pradesh with skill development, quality education and good infrastructure.

Agriculture
The main field crops of Jaunpur district are: rice, maize, pigeon pea, pearl millet, blackgram wheat and chickpea. Other crops are onion and potato and crops for fodder. The crops are grown with both rainfall and irrigation. There are cattle (both local low yielding and crossbred), and local low-yielding buffalo as well as goats, sheep, backyard chickens and pigs and occasional dairy farms. Approximately 29% of Jaunpur's population is employed. Approximately 40% of those employed work in manufacturing, 26% work in trade and commerce, 19% work in other services, 8% work in transport and communication, 4% work in agriculture, 2% work in construction, and 2% are marginal workers. There are 43 government reservoirs and many more private water sources. At Gujartal lake, 2 mi west of Kheta Sarai, pisciculture is conducted.

Industry
There is little heavy industry in Jaunpur. The Varanasi Jaunpur highway allows for some industrial economic development. A cotton mill was operational near Karanja Kala but has now been replaced by a medical college and there are some textile manufacturers. Other manufactured products include perfume (jasmine oil and attar) and incense, furniture, carpets, chemical fertiliser and cement. Tertiary and service industries include repair workshops, print shops and internet cafes. There is a special economical zone located at Allahabad road near Mungra Badshahpur the Sathariya Industrial area or SIDA. Jaunpur has a problem of poor infrastructure development. Like many other districts of eastern Uttar Pradesh, Jaunpur has poor road quality and a lack of electricity supply. National highway number 56 between Lucknow and Varanasi cross from Jaunpur.

Agro-park in Varanasi near Babatpur airport on Varanasi-Jaunpur highway is said to boost the food-processing industry in the region.

Atala Masjid
Firoz Shah III began the construction of the Atala Masjid in 1393. The Atala masjid is model of Indo-Iran architecture. The Atala became a model for other Masjids in the Jaunpur district. Architecturally, it retained and advanced the element of monumentalism. The height of the Atala masjid is over 100 ft. The perimeter is 248 ft. The entrance has three massive stone pylons. The central one consists of a high arch between two sloping towers. These are decorated with arched niches and stone screened windows.

Jhanjhari Masjid
The Jhanjhari Masjid, on the north bank of the Gomti river, was built by Ibrahim in the Sipah locality of Jaunpur township. It was a residence of Ibrahim himself, as well as a place for saints, scholars (pandits) and the army (who kept animals such as elephants, camels, horses and mules). After human destruction and flood damage, only the facade remains. This consists of an arch, 35 ft high and 32 ft wide. Some of the stones from this masjid were used in the construction of the Shahi bridge.

Lal Darwaza Masjid
This Masjid was built in 1447 (as per inscription of this masjid) at Begumganj, 1 mi north of Jaunpur, during the reign of Sultan Mahmud Sharqi, by Queen Bibi Rajyi, dedicated to Maulana Sayyid Ali Dawood Kutubbudin, a celebrated saint (Maulana) of Jaunpur, whose descendants still live in the mohalla bazaar bhua Pandariba Jaunpur and mohalla Namaz Gah laldarwaza. The masjid occupies 212 sqft x 188 sqft and has three entrances and a courtyard. It is also known as the "Red Portal Masjid".

Masjid Jama ash Sharq (Jama Masjid)
The Jama Masjid is another of the Sharqi dynasty period, started by Ibrahim Shah Sharqi and after a number of construction phases, completed by Hussain Shah. It is located on the Shahganj road near the Purani bazaar in Jaunpur City. The size of the masjid interior is 219 ft x 217 ft. 27 steps climb to the top. There are four gates, one at each cardinal point. The eastern gateway was destroyed by Sikander Lodhi. The masjid is decorated with Egyptian style engravings and lotus, sunflower and rose motifs.

Raja Ki Haveli
It is situated on Panchatiya Road. The palace of royal family of Jaunpur was once owned by Raja Yadvendra Dutt Dubey. Now the palace has been converted into Wedding Lawn. The palace also has a Pokhra where events like Ravan Dahan and Dussehra mela takes place every year.

Shahi Qila
In 1462, Firoz Shah III built the Shahi Qila (the imperial fort). The Kerar Kot fort once stood on the same site in Jaunpur township on the north bank of the Gomti river. It contained a mosque and a spacious and stylish set of baths (hammam) installed by Ibrahim, Firoz's brother. The layout of the fort is an irregular quadrangle enclosed in stone walls. The walls surround raised earthworks. Most of the remains of the original structures are buried or in ruin.

The main gates face east. The largest inner gate is 14 m in height. Its external surface is set with ashlar stone. A further, outer, gate was installed during the reign of the Mughal king, Akbar, under the patronage of the governor of Jaunpur, Min'im Khan in the 16th century. It is designed in the shape of a flanking bastion. The spandrels or spaces between the arches of the outer gate were decorated with blue and yellow tiles. Ornamental niches are built into the walls of the outer gate. The two story residential and administrative building or "palace" was built in a square layout. An interior pillared verandah or aiwan overlooked the ground floor from the first. The mosque or masjid is likely the oldest building in Jaunpur township. It was a simple arcade of about 39.40 m x 6.65 m. It was supported by pillars in the Bengali style. There are three low central domes and no minars. (There are two nearby stone pillars instead).

Shahi Pul
The Shahi Pul is a bridge over the Gomti river at Jaunpur township. It was built by Khankhana in 1564 for Akbar. The bridge is 26 ft wide. At each end were pillboxes to house stalls. On a square platform in the middle of the bridge, there is a large sculpture of a lion with an elephant underneath its forepaws. The statue originated in a Buddhist monastery. There is an associated mosque at Idgah on the Allahabad road.

Sheetla Chowkiya Dham
Located at Chowkiya, Panchhatiya, the temple is devoted to goddess Shitala, who resides in the main temple of the complex. There are other temples of god and goddess of mostly of the local deities. There is also a pond.The temple is very much popular among the locals. It is believed that before leaving the district, it's necessary to take blessings of Mata Sheetla for safety and well-being. There is a Neem tree in temple believed to be more than 300 years old.

Roadways
Jaunpur is well-connected to Lucknow, Gorakhpur, Varanasi, Allahabad and other cities like Azamgarh, Ayodhya, Mirzapur, Janghai, Sultanpur, Kerakat, Ghazipur etc. Mariahu NH-56, SH-36 are the roadways connecting all major cities to Jaunpur. The major bus stations are in Jaunpur city and Machhlishahr. Road dividers are also being built to avoid traffic jams.

Railways
Jaunpur is well-connected with all major cities of India thanks to Indian Railways. It has four major railway stations: Jaunpur City Railway Station(JOP) and Jaunpur Junction (JNU), Shahganj Junction (SHG), Janghai Junction (JNH), Kerakat railway station (KCT). Zafarabad (ZBD) also a railway station where's many train routes are diverted i.e. Allahababd, Varanasi, Lucknow Via Sultanpur, Lucknow via Shahganj, Ghazipur via Jaunpur junction. Following is the list of all junctions and halt stations in Jaunpur Districts:

 * Jaunpur Junction
 * Shahganj Junction
 * Zafrabad Junction
 * Janghai Junction
 * Jaunpur City
 * Mahagava Halt
 * Mehrava
 * Mani Kalan Halt
 * Kheta Sarai
 * Yadavendranagar
 * Muftiganj
 * Gangauli
 * Kerakat
 * Dobhi
 * Daudhondha
 * Sirkoni
 * Jalalganj
 * Trilochan
 * Baksha
 * Sarai Harkhu
 * Shri Krishna Nagar
 * Harpalganj
 * Salakhpur
 * Mariyahu
 * Bhannor
 * Barsathi
 * Jarauna
 * Nibhapur
 * Badshahpur

Airways
The nearest airport is Lal Bahadur Shastri Airport in Varanasi, which is roughly 39 km (24 mi) from the city. The other nearest airport to Jaunpur is in Prayagraj which is roughly 142 km (88 mi) away.

Notable people

 * Dinesh Kunwar Patel, developer of world's first homemade humanoid Robot "Shalu" that can speak 47 languages (from Rajamalpur village in Mariahu, Jaunpur)
 * Sharadindu Bandyopadhyay - Indian Bengali language writer and script writer in Bollywood. Creator of the famous detective character Byomkesh Bakshi and also huge number of historical fiction novels and short stories in Bengali language.
 * Ashok Bhushan - Judge at the Supreme Court of India and was 31st Chief Justice of Kerala High Court
 * Muhammad Yunus Jawnpuri, Indian hadith scholar and former Shaykh al-Hadith of Mazahir Uloom, Saharanpur.
 * Ravi Kishan - Actor and MP
 * Mohammad Akram Nadwi - Dean faculty of Islamic studies Oxford University London
 * Acharya Ramamurti - Indian social activist (Gandhian) and educationist
 * Rambhadracharya - Hindu spiritual leader, poet, commentator, educationist, religious and social figure
 * Indu Prakash Singh - Philosopher, economist, politician and former diplomat with the Indian Foreign Service
 * Surendra Kumar Yadav - Special Judge in Demolition of the Babri Masjid case
 * Tufani Saroj - Former Member of Parliament Machhlishahr
 * Lalji Singh - Scientist who worked in the field of DNA fingerprinting technology
 * Rajesh Vivek - Actor
 * Jagmohan Yadav - Former IPS police officer and former Director-General of Uttar Pradesh Police
 * Parasnath Yadava - Former MP and former Cabinet minister of Uttar Pradesh Government
 * Shailendra Yadav Lalai - MLA Shahganj and former minister of Uttar Pradesh Government

title: Jaunpur district


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War and Peace (film series)

War and Peace (Война и мир) is a 1966–1967 Soviet epic war drama film co-written and directed by Sergei Bondarchuk, adapted from Leo Tolstoy's 1869 novel. Released in four installments throughout 1966 and 1967, the film starred Bondarchuk in the leading role of Pierre Bezukhov, alongside Vyacheslav Tikhonov and Ludmila Savelyeva, who depicted Prince Andrei Bolkonsky and Natasha Rostova.

The film was produced by the Mosfilm studios between 1961 and 1967, with considerable support from the Soviet authorities and the Soviet Army which provided hundreds of horses and over ten thousand soldiers as extras. At a cost of 8.29 million Rbls – equal to US$ 9.21 million at 1967 rates, or $60–70 million in 2019, accounting for rouble inflation – it was the most expensive film made in the Soviet Union. Upon its release, it became a success with audiences, selling approximately 135 million tickets in the USSR. War and Peace also won the Grand Prix in the Moscow International Film Festival, the Golden Globe Award for Best Foreign Language Film and the Academy Award for Best Foreign Language Film. Since its release, the film has often been considered the grandest epic film ever made, with many asserting its monumental production to be unrepeatable and unique in film history.

Part I: Andrei Bolkonsky (Война и мир: Андрей Болконский)
In Saint Petersburg of 1805, Pierre Bezukhov, the illegitimate son of a rich nobleman, is introduced to high society. His friend, Prince Andrei Bolkonsky, joins the Imperial Russian Army as aide-de-camp of General Mikhail Kutuzov in the War of the Third Coalition against Napoleon. As Pierre's father recognizes him, Pierre attracts the attention of Hélène Kuragina and marries her, only to learn through rumor that she has been unfaithful and slept with Fyodor Dolokhov, an intimate of Hélène's brother Anatole. Meanwhile, Andrei takes part in the failed campaign in Austria, where he witnesses the Battle of Schöngrabern and the Battle of Austerlitz, is badly wounded and mistaken for dead. He returns to his father's estate just in time to witness his wife Lisa die during childbirth.

Part II: Natasha Rostova (Война и мир: Наташа Ростова)
In the end of 1809, Natasha, the young daughter of a count attends her first ball at age 16. Andrei Bolkonsky falls in love with her and intends to marry her, but his father demands they wait. Andrei travels abroad, and Natasha desperately longs for him. But she then meets the handsome Anatole Kuragin who falls in love with her and follows her with much passion. Overwhelmed Natasha decides she prefers him over Andrei. At the last minute, she regrets her choice and abandons her plans to elope with Anatole. However, Andrei has heard of her plans and declares their betrothal is over. Natasha suffers a nervous breakdown. Pierre, trying to calm her down, suddenly announces he loves her.

Part III: The Year 1812 (Война и мир: 1812 год)
In 1812, Napoleon's Army invades Russia. Field Marshal Kutuzov is appointed by the Tsar to defend the land. Kutuzov asks Andrei to join him as a staff officer, but he requests a command in the field. Pierre approaches the battlefield of the upcoming confrontation between the armies during the Battle of Borodino, he volunteers to assist in an artillery battery. Andrei's unit waits in the reserve, but he is hit by a shell and both he and Anatole suffer severe wounds. The battle involves hundreds of thousands of soldiers, thousands of horses, and hundreds of cannon firing from both sides. The French army forces the Russian army to retreat, leaving Moscow unprotected. Napoleon advances on Moscow.

Part IV: Pierre Bezukhov (Война и мир: Пьер Безухов)
As Moscow is set ablaze by the retreating Russians, the Rostovs flee their estate, taking wounded soldiers with them, and unbeknownst to them, also Andrei. Pierre, dressed as a peasant, tries to assassinate Napoleon but is taken prisoner. As the French are forced to retreat, he is marched for months with the Grande Armée, until being freed by partisans. The French army is defeated by Field Marshal Kutuzov in the Battle of Krasnoi. Andrei is recognized and is brought to his estate. He forgives Natasha on his deathbed. She reunites with Pierre as Moscow is being rebuilt.

Cast

 * Sergei Bondarchuk as Pierre Bezukhov
 * Ludmila Savelyeva as Natasha Rostova
 * Vyacheslav Tikhonov as Andrei Bolkonsky
 * Boris Zakhava as Mikhail Kutuzov
 * Anatoly Ktorov as Nikolai Bolkonsky
 * Antonina Shuranova as Maria Bolkonskaya
 * Oleg Tabakov as Nikolai Rostov
 * Viktor Stanitsyn as Ilya Rostov
 * Kira Golovko as Natalya Rostova
 * Irina Skobtseva as Hélène Kuragina
 * Vasily Lanovoy as Anatole Kuragin
 * Irina Gubanova as Sonya Rostova
 * Oleg Yefremov as Fyodor Dolokhov
 * Eduard Martsevich as Boris Drubetskoy
 * Aleksandr Borisov as Uncle Rostov
 * Nikolai Rybnikov as Vasily Denisov
 * Viktor Murganov as Alexander I of Russia
 * Larisa Borisenko as Mlle. Bourienne
 * Georgy Millyar as Morel
 * Nonna Mordyukova as Anisya
 * Anna Timiryova as old lady
 * Boris Khmelnitsky as Bolkonsky's adjutant
 * Valeri Yeremichev as Alexander Ostermann-Tolstoy
 * Boris Smirnov as Vasili Kuragin
 * Nikolai Tolkachyov as Kirill Bezukhov
 * Dzhemma Firsova as Katishe Mamontova
 * Mikhail Khrabrov as Platon Karataev
 * Nikolay Trofimov as Tushin
 * Vladislav Strzhelchik as Napoleon
 * Jānis Grantiņš as Ludwig von Wolzogen
 * Dz. Eizentāls as Carl von Clausewitz
 * Galina Kravchenko as Marya Karagina
 * Boris Molchanov as Louis-Nicolas Davout
 * Lev Polyakov as Jacques Lauriston
 * Rodion Aleksandrov as Alexander Balashov
 * Anastasiya Vertinskaya as Lisa Bolkonskaya
 * Giuli Chokhonelidze as Pyotr Bagration
 * Vadim Safronov as Francis II
 * Jean-Claude Ballard as Ramballe
 * Yelena Tyapkina as Marya Dmitryevna
 * Sergei Yermilov as Petya Rostov
 * Nikita Mikhalkov as Petya Rostov's body double during hunting (uncredited)
 * Herberts Zommers as Count Benningsen
 * Nikolai Bubnov as Karl Mack von Leiberich
 * Angelina Stepanova as Anna Scherer
 * Erwin Knausmüller as Franz von Weyrother
 * Mikhail Pogorzhelsky as Michael Andreas Barclay de Tolly
 * Leonid Vidavsky as Paisi Kaysarov
 * Nikolai Grinko as Dessalles

Inception
In August 1959, King Vidor's American-Italian co-production War and Peace was released in the Soviet Union, attracting 31.4 million viewers and gaining wide acclaim. The impending 150th anniversary of the 1812 French Invasion, as well as the worldwide success of Vidor's adaptation of the Russian national epic – at a time when the USSR and the United States were competing for prestige – motivated the Soviet Minister of Culture Yekaterina Furtseva to begin planning a local picture based on Leo Tolstoy's novel. An open letter which appeared in the Soviet press, signed by many of the country's filmmakers, declared: "It is a matter of honor for the Soviet cinema industry, to produce a picture which will surpass the American-Italian one in its artistic merit and authenticity." According to Der Spiegel, the film was to serve as a "counterstrike" to Vidor.

During 1960, several leading Soviet directors proposed themselves to head the project, including Mikhail Romm and Sergei Gerasimov. But soon, the only viable candidate remaining was Ivan Pyryev. As his selection to the position seemed secure, several officials in the Ministry of Culture offered it to forty-year-old Sergei Bondarchuk, who had completed his directorial debut, Fate of a Man, in 1959. Bondarchuk had not sought the position and did not know of the proposal until a letter from the Ministry reached him, but he chose to accept it and contend with Pyryev.

Fedor Razzakov wrote that the invitation of Bondarchuk was orchestrated by Pyryev's many enemies in the establishment, who were determined not to let him receive the lucrative project. In early February 1961, a letter endorsing Bondarchuk was sent to the Minister, signed by several prominent figures from the cinema industry. At first, Furtseva decreed that both candidates would each direct a pilot to be screened before a commission. However, Pyryev soon withdrew his bid. Razzakov believed he had done so after realizing his chances were slim: Bondarchuk, whose career began only during the Thaw, represented a generation of young directors promoted by Nikita Khrushchev's Kremlin to replace the old filmmakers from the Stalin era. In the end of February, after Pyryev conceded, the Minister held a meeting and confirmed Bondarchuk as the director.

Development
On 3 April 1961, Vladimir Surin, the director-general of the Mosfilm studios, sent Furtseva a letter requesting to approve the adaptation of a script for a film in three parts based on War and Peace, as well as to allocate 150,000 Rbls in funds. On 5 May the Minister replied, authorizing to begin writing the scenario and granting 30,000 Rbls. On that day, the work on the picture began.

Bondarchuk hired Vasily Solovyov, a playwright, as his assistant for composing the script. The two later changed the earlier premise and decided to make four parts instead of three. They chose to downplay or exclude completely several of Tolstoy's plotlines and themes, in order not to make the film too cumbersome: the episodes concerning Nikolai Rostov and Maria Bolkonskaya were reduced, and Anatole Kuragin received a slightly better treatment. The author's views on philosophy and history were substantially redacted.

The Mosfilm directorate approved the finished script on 27 February 1962. On 20 March, in a plenum in the Ministry of Culture attended by Surin and the State Committee for Cinematography's deputy chairman Basakov, Furtseva approved the scenario and requested all relevant agencies to assist the producers, including the Ministry of Defense, which was deemed central in providing support for the project.

The producers appointed three military advisers: Army General Vladimir Kurasov became the film's chief consultant, and Army General Markian Popov also assisted; Lieutenant General Nikolai Oslikovsky was brought in as an expert on cavalry. The Soviet Army would supply thousands of soldiers as extras during the filming.

More than forty museums contributed historical artifacts, such as chandeliers, furniture and cutlery, to create an authentic impression of early 19th-century Russia. Thousands of costumes were sewn, mainly military uniforms of the sorts worn in the Napoleonic Wars, including 11,000 shakos. Sixty obsolete cannons were cast and 120 wagons and carts constructed for the production.

Anticipating the need for cavalry, line producer Nikolai Ivanov and General Osilkovsky began seeking appropriate horses. While the cavalry formations of the Army were long abolished, several units in the Transcaucasian Military District and the Turkestan Military District retained horse-drawn mountain artillery. In addition to those, the Ministry of Agriculture donated nine hundred horses and the Moscow City Police provided a detachment from its mounted regiment. The producers also needed to arrange hounds for the wolf hunting at the Rostov estate. At first, it was planned to use borzois, as depicted in the novel. Sixteen borzois were obtained from individual private owners, but the dogs had no experience in hunting and were hard to handle. Eventually, scent hounds supplied by the Ministry of Defense chased down the wolves—provided by the zoological department of the State Studio for Popular Science Films—while the borzois caught them.

Casting
Bondarchuk began holding auditions in May 1961. Oleg Strizhenov received the leading role of Prince Andrei Bolkonsky. However, in spring 1962, shortly before the commencing of principal photography, Strizhenov changed his mind after being accepted into the ensemble of the Moscow Art Theatre. Bondarchuk complained to the Ministry of Culture. Furtseva spoke with the actor, but failed to convince him. The director then tried to enlist Innokenty Smoktunovsky, who was supposed to star in Grigori Kozintsev's Hamlet. After deliberations, Smoktunovsky accepted Bondarchuk's offer, but Kozintsev used his influence in the Ministry and received his actor back. As a last resort, Vyacheslav Tikhonov was given the role. He first arrived on the set in mid-December 1962, three months after filming began.

Bondarchuk envisaged the character of Pierre Bezukhov as having great physical strength, in accordance with his description by Tolstoy. Therefore, he had offered the role to Olympic weightlifter Yury Vlasov, and even rehearsed with him. Vlasov soon gave it up, telling the director that he had no acting skills. Bondarchuk then cast himself as the protagonist. His wife, actress Irina Skobtseva, portrayed Hélène Kuragina, Pierre's first wife. During the making of the third and fourth parts in the series, a journalist named Yury Devochkin, who resembled the director, substituted for him in many of the scenes.

Anastasiya Vertinskaya, Lyudmila Gurchenko and other known actresses wanted to portray Natasha Rostova, but Bondarchuk chose the inexperienced 19-year-old ballerina Ludmila Savelyeva, who had just recently graduated from Vaganova Academy of Russian Ballet. Nikita Mikhalkov was cast as Natasha's little brother, Petya Rostov; however, as he was in the age of adolescence and quickly growing up, he had to abandon the role in favor of the younger Sergei Yermilov. Still, Mikhalkov's scenes of riding a horse during hunting were left in the final film.

Tikhonov was the highest-paid member of the cast, and received R22,228 for portraying Bolkonsky. Bondarchuk earned R21,679 for directing and 20,100 for depicting Pierre. Savelyeva got R10,685. Most other actors received less than R3,000.

Cinematography
Before beginning principal photography, the producers resolved to shoot the picture with 70-mm wide-format and high-resolution film instead of the standard 35-mm. Although they considered purchasing it from Kodak or from ORWO in the German Democratic Republic, they eventually decided to use Soviet-made film stock manufactured in the Shostka Chemical Plant, both because of financial shortage and for considerations of national pride. Director of photography Anatoly Petritsky recalled that the Shostka film was "of horrible quality" and that he often would photograph a sequence only to discover that the film was defective. This, as well as the need to cover large crowds from many angles, forced the director to repeat many of the scenes; some of the more elaborate battle sequences were retaken more than forty times. According to Kommersant journalist Yevgeni Zhirnov, Bondarchuk had to re-shoot more than 10% of the footage in the picture due to problems with the film stock; Zhirnov estimated that this raised the cost of production by 10% to 15% or more.

The first cinematographers, husband and wife Alexander Shelenkov and Yu-Lan Chen, quarreled with Bondarchuk on several occasions. On 20 May 1963, half a year after commencing photography, they wrote to Surin, asking to be dismissed from work on the picture and stating that Bondarchuk "dictated without consulting with the crew". Their 31-year-old assistant Petritsky, who had made only one film previously, was appointed in their stead.

The operators pioneered photographic techniques which had never been used before in Soviet cinema. Aerial lifts with cameras were hoisted over sets to create a "cannonball view". When filming Natasha's first ball, an operator with a hand-held camera circled between the dancing extras on roller skates. The crowd scenes were shot using cranes and helicopters. Another new feature was the sound technicians' use of a six-channel audio recording system.

Principal photography
On 7 September 1962, the 150th anniversary of the Battle of Borodino, principal photography began. The first scene to be filmed depicted the execution of suspected arsonists by the French army, and was shot in the Novodevichy Convent. After a few days, the crew moved into the Moscow Kremlin for further work. Later that month, the hunt in the Rostov's estate was filmed in the village of Bogoslavskoye, in the Yasnogorsky District.

On 1 December, Bondarchuk and the production team, with 150 wagons of equipment, traveled to Mukachevo in the Zakarpattia Oblast. The director had only planned to photograph two episodes there: the Battle of Schöngrabern and the Battle of Austerlitz. But due to the harsh winter, none of those could be shot. Bondarchuk revised his plans and decided to film in Zakarpattia 231 scenes that he had planned to make elsewhere, while waiting for the weather to improve. The Battle of Krasnoi episode and its related parts were filmed in the snow, and involved 2,500 Soviet soldiers, allocated as extras, who wore French uniforms and 500 in Russian uniforms. When conditions enabled it, 3,000 soldiers from the Carpathian Military District re-created the Battle of Schöngrabern near the village of Kushtanovytsia. The Battle of Austerlitz was filmed in the vicinity of Svaliava. As the budget had been exceeded due to the weather and film stock problems, Bondarchuk had to refrain from filming several battle sequences. On 17 May, the crew returned to the capital.

On 20 July, the producers went on another expedition, to Dorogobuzh, in order to film the Battle of Borodino and the related parts of the plot. Photography could not be carried out in Borodino itself, mainly because of the many memorials located there. On 1 August, work was commenced. The shooting of the battle itself began on 25 August 1963—its 151st anniversary by the Julian Calendar. 13,500 soldiers and 1,500 horsemen substituted for the historical armies (Several reports in the Western press have put the number of soldiers who participated at 120,000; however, in an 1986 interview to National Geographic, Bondarchuk stated: "That is exaggeration, all I had was 12,000.") The troops were supposed to return to their bases after thirteen days, but eventually remained for three months. 23 tons of gunpowder, handled by 120 sappers, and 40,000 liters of kerosene were used for the pyrotechnics, as well as 10,000 smoke grenades. Tens of thousands of cubic meters of soil were dug out to construct earthworks resembling the Bagration flèches and the Raevsky redoubt. The set was divided to sectors, and a system of loudspeakers was installed—one for each area—to enable the director to coordinate the troops' movements. On 4 November, the session ended and Bondarchuk went back to Moscow.

From the end of December to mid-June 1964, the crew worked in Mosfilm's studios. Most notably, Natasha's debutante ball was photographed there, with five hundred extras. On 15 June, the production team went to Leningrad, where shooting took place in the Hermitage Museum, the Summer Garden, the Peter and Paul Fortress and in Vasilyevsky Island. Upon his return to the studio on 7 July, Bondarchuk was abruptly instructed by his superiors to abandon all other work and focus on preparing the first two parts for the 1965 Moscow Film Festival, contrary to all former designs and while they were far from finished. During the same month, he suffered a major cardiac arrest and was clinically dead for a short while. His first words after regaining consciousness were: "If I die, let Gerasimov finish it". Filming was postponed until late September.

In spite of the tight schedule, the parts Andrei Bolkonsky and Natasha Rostova were completed and were submitted to Mosfilm's directorate on 30 June 1965, less than a week before the festival. The two parts had their world premiere on 19 July 1965, in the Kremlin Palace of Congresses. During July, Bondarchuk suffered another heart attack: this time, he was clinically dead for four minutes. The white wall of light seen by Bolkonsky before his death was inspired by the director's experience.

The work on the remaining episodes of parts 3 and 4 resumed on 9 August. During the next months, the crew filmed in Mozhaysk, Kalinin and Zvenigorod. The final plot line to be shot was the Fire of Moscow; filming began on 17 October 1966. For four months prior to that, a plywood set was built in the village of Teryayevo, next to the Joseph-Volokolamsk Monastery. The entire construction, doused with diesel fuel, was burned to the ground as five fire engines stood nearby. Principal photography ended on 28 October 1966. On 28 December, the edited third part was approved by the studio. Work on the fourth and final part continued until early August 1967.

Budget
In 1962, officials in the Ministry of Culture estimated War and Peace would cost some 4 million roubles, not including support from the Army. In comparison, the most expensive Soviet film until then, the 1952 The Unforgettable Year 1919, cost 1.093 million Rbls in prices adjusted to the 1961 monetary reform. War and Peace remains the costliest picture made in the USSR.

On 20 March 1962, Furtseva set a preliminary budget of 1.395 million Rbls. On 21 May 1963, the Ministry approved a plan for a series in four parts with a budget of 8,165,200 Rbls. On 25 August 1964, the State Committee for Cinematography issued a directive revisiting the terms, authorizing to spend 8.5 million Rbls, of which 2.51 million Rbls were to cover the expenses of the Ministry of Defense. Producer Nikolai Ivanov recalled: "the domestic press later claimed the budget was 18 million Rbls or 25 million Rbls, but they had 8.5 million and managed to reduce expenditures to 7.8 million during principal photography."

Towards the end of post-production, the total cost forecast estimated was 8,083,412 Rbls. However, in August 1967, with all work completed, "the last debit and credit entries were written in the books. According to its financial statements, the film consumed 8,291,712 Rbls." This was equal to US$9,213,013 by the 1967 exchange rate, or to approximately $60–70 million in 2021, accounting for rouble inflation.

Various estimates of the series' budget circulated in the international press. The New York Times reported that it was "the most expensive film ever made... Russians say cost $100 million". This figure was repeated throughout the American press. The New York Times estimated this figure to be equivalent to $700 million upon adjustment for inflation to 2007 levels, a claim it reiterated in 2019. After its release in the United Kingdom in 1969, The Annual Register announced it "reputedly" cost £40 million ($96 million). The 1979 Guinness Book of World Records published a similar figure, claiming that War and Peace was "the most expensive film ever made" based on that "the total cost has been officially stated to be more than $96 million". Other estimates put the cost of production between $25 million and $60 million.

Distribution
The distribution (along with the displaying and later preserving) of such a massive piece of work posed physical difficulties. The whopping 20 canisters of film reels already made transportation a sizable hassle.

Andrei Bolkonsky was screened in two consecutive parts, released in a total of 2,805 copies in March 1966. In the fifteen months afterwards, the first part sold 58.3 million tickets in the USSR, and 58 million of the viewers remained through the intermission. Thus, Bolkonsky became the most successful film of the year. Respectively, its two parts are also the 26th and 27th most watched from among all pictures ever made in the Soviet Union. Natasha Rostova, which opened in July with 1,405 copies disseminated, performed less well and attracted 36.2 million viewers in the same time period, reaching the third place in the 1966 box office, although it would have been ninth if counted in 1967. Admission for the two final parts declined further: 1812, with 1,407 copies released, had 21 million admissions and Pierre Bezukhov sold only 19.8 million tickets; they made it to the 13th and 14th place at the 1967 box office.

Russian film critic Sergei Kudryavtsev assessed that the series' domestic returns were "probably in the range" of 58 million Rbls, while Razzakov assumed that each ticket cost an average price of 25 kopecks. With a total of some 135 million tickets sold, War and Peace was considered a resounding commercial success at the time.

The series was screened in 117 countries around the world, including Spain, Japan, West Germany, Denmark, Belgium, Egypt, and Argentina. In East Germany, the state-owned DEFA studio produced a slightly shorter edition of the series, dubbed into German, which ran for 409 minutes and maintained the four-part arrangement of the original. It featured among others Angelica Domröse, who voiced Lisa Bolkonskaya, and attracted 2,225,649 viewers. In West Germany, a much shorter version was released, totaling 337 minutes. In Poland, it sold over 5,000,000 tickets in 1967. In France, War and Peace had 1,236,327 admissions.

Walter Reade Jr.'s company Continental Distributors purchased the U.S. rights of War and Peace for $1.5 million. Reade's associates shortened the American version of the film by an hour, and added English-language dubbing. This edition was directed by Lee Kresel of Titan Productions and narrated by Norman Rose. Its premiere was held in the DeMille Theater, New York, on 28 April 1968, and attended by actresses Ludmila Savelyeva and Irina Skobtseva, as well as Soviet ambassadors Anatoly Dobrynin and Yakov Malik. Tickets for the picture were later sold for $5.50–$7.50—the highest admission rate ever, breaking the previous $6 record of Funny Girl. On 23 January 1969, Kresel's edition opened in London's Curzon cinema.

The US television network ABC broadcast War and Peace over four days, 12–15 August 1972. The series was broadcast on BBC2 on Christmas Day 1976, split into two 4-hour sections with a 30-minute intermission.

Awards
In July 1965, War and Peace was awarded the Grand Prix at the 4th Moscow International Film Festival together with the Hungarian entry Twenty Hours. Ludmila Savelyeva was presented with an honorary diploma. The readers of Sovetskii Ekran, the official publication of the State Committee for Cinematography, chose Savelyeva and Vyacheslav Tikhonov for the best actress and actor of 1966, in recognition of their appearance in the picture. In the same year, War and Peace also received the Million Pearl Award of the Roei Association of Film Viewers in Japan.

In 1967, the film was entered into the 1967 Cannes Film Festival, out of competition. It was sent there instead of Andrei Tarkovsky's Andrei Rublev, which had been invited by the festival's organizers but was deemed inappropriate by the Soviet government.

In the United States, it won the Golden Globe Award for Best Foreign Language Film in the 26th Golden Globe Awards. The picture was the Soviet entry to the 41st Academy Awards, held on 14 April 1969. It received the Academy Award for Best Foreign Language Film and was nominated for Best Art Direction.

War and Peace was the first Soviet picture to win the Academy Award for Best Foreign Language Film, and was the longest film ever to receive an Academy Award until O.J.: Made in America won the Academy Award for Best Documentary Feature in 2017.

It also won the National Board of Review Award for Best Foreign Language Film and the New York Film Critics Circle Award for Best Foreign Language Film for 1968.

In 1970, it was nominated for the BAFTA Award for Best Production Design in the 23rd British Academy Film Awards.

Critical response
Soviet film critic Rostislav Yurenev wrote that War and Peace was "the most ambitious and monumental adaptation of the greatest work of Russian literature […] set out to convey in tremendous scope the historical conception of Leo Tolstoy, his extraordinarily vivid and profound depiction of humanity". In a second review, he added: "the desire for ever greater depth of penetration into the human character, of every aspect of it […] led to Sergei Bondarchuk's adaptation of Tolstoy. The outcome is truly marvelous."

Frankfurter Allgemeine Zeitung reviewer Brigitte Jeremias stated the film presented history "with great meticulousness and choreographic quality […]. This is a conservative, romantic or perhaps even classical historical film […]. But it strives for authenticity, and is therefore incomparably better than Vidor's adaptation."

French critic Georges Sadoul commented: "more than in the sheer scale of the battle scenes", the film's "merit lies in its sense of the Russian landscape", to continue: "Though perhaps an impressive example of film-making on large scale", it was "ponderous by any standard" and "tediously faithful" to the novel, with "none of its narrative flair or spirit […]. Occasional bravura or touching episodes are not adequate for the dogged pedantry." Claude Mauriac wrote in Le Figaro littéraire that "we have already seen many Soviet films […]. But this is the most beautiful I have seen since, well, since when?" Peter Cowie noted that Bondarchuk brought to his adaptation "the epic sweep that had eluded King Vidor". Joseph Gelmis of Newsday agreed that the film was "superior [to Vidor's] as drama and spectacle. Bondartchouk isn't an innovator. Instead he uses virtually every movie technique extant ... an antiwar film that celebrates life, love, renewal".

Renata Adler of the New York Times wrote that "the characters—including Savelyeva […] who looks a little queasy, and Bondarchuk, too old to play Pierre—are dowdy automata". She added the film was "vulgar in the sense that it takes something great and makes it both pretentious and devoid of life […]. A failure in the sense that it is not even as enjoyable as any number of lesser films." Adler also disapproved of the English dubbing, opining that "although it is remarkable—an outer limit of what can be done—it was a mistake" and "proves once and for all the futility of dubbing". The New Yorker critic Penelope Gilliatt lambasted the process as well: "the decision to tack on alien voices seems madness". Judith Crist wrote in New York Magazine: "Those Russians…! And now, I bet they'll beat us to the moon! Chauvinism be damned—I'm putting Gone with the Wind into historic perspective and second place, for certainly War and Peace is not only […] the finest epic of our time, but also a great and noble translation of a literary masterpiece, surpassing our expectation and imagination."

The Time magazine reviewer wrote that the film "escapes greatness, except in cost and length […] the movie is awesome in war and pusillanimous in peace". In the novel, unlike in the picture, "the war is only the background […]. Pierre and Andrei are only shallow, literal representations of Tolstoy's characters […]. Moreover, the dubbing is disastrous." Richard Schickel of Life noted that the film's American distributors "have cut and dubbed it, ruining any merit it may have had" but the original "had its own deficiencies […]. Missing is Tolstoy's theory of history as well as his Christian message (neither fits Marxist theory very well), and without this underpinning the film lacks power and purpose." Roger Ebert commented that it was "a magnificently unique film […]. Bondarchuk, however, is able to balance the spectacular, the human, and the intellectual. Even in the longest, bloodiest, battle scenes there are vignettes that stand out […]. It is as spectacular as a movie can possibly be and yet it has a human fullness."

Review aggregator website Rotten Tomatoes reports that 100% of 19 reviews were positive, with an average rating of 8.97/10.

Analysis
Ian Aitken regarded War and Peace as "one of the most important" films produced during the 1964–68 transition from the Khrushchev Thaw to the Brezhnev Stagnation. In that period, the liberal atmosphere of the Thaw was still felt, although it was being marginalized as Soviet cinema became more restrained. The picture "departed from the officially sanctioned forms of Socialist realism" and rather, conformed to György Lukács' model of intensive totality in several aspects: it was based on a classic realist novel which itself influenced Lukács; had a complex plot structure, and portrayed the relations of individuals in a social context. Aitken added that at the same time, the picture employed several "overtly modernist" techniques: "symbolic, anti-realist use of color […] disembodied speech, rapid editing […] reflexive, hand-held camera". He believed the film's "chief importance" to lie in its demonstration of how "the Lukácsian model of intensive totality can be given a successful modernist inflection". He also noted that, while it was an example of critical realism rather than socialist realism and had modernist characteristics, War and Peace was "politically innocuous enough" to be celebrated by the Brezhnev government as a great achievement.

Lev Anninsky, on the contrary, viewed Bondarchuk's picture as a symbol of state-approved cinema, writing it was the "antithesis" of and a "total contrast" to Andrei Rublev, which he saw as representing the nonconformist approach in the field. Anninsky commented that War and Peace was imbued with patriotic motifs and "warm Russian tradition, which engulfs the viewer" while Tarkovsky had no such sense of "history as if it is a mother's womb". Mira and Antonin Liehm considered it "foremost" among the early Brezhnevite films which received "official support" in order to bring "Russian classics […] and history to the screen in a manner in line with the official standards of taste". However, they added that "if measured by models and ambitions" it could "stand on its own merits".

David C. Gillespie noted orthodox Soviet messages in the film: "There are ideological touches […]. Russian and Austrian soldiers (but not their officers) show proletarian-like solidarity […]. There is no mention in the film of Pierre's early dalliance with freemasonry, as if contact with a foreign creed might erode some of his Russianness." He wrote that it "remains a paean to Russian military might and the strength of the Russian 'soul.

Restoration
In 1986, Bondarchuk was requested to prepare War and Peace for a television broadcast. A 35-mm. copy of the series, which was filmed in parallel to the main version and had a 4:3 aspect ratio, rather than the 70-mm. 2.20:1, was submitted, after being adapted by a team headed by Petritsky.

In 1999, as part of an initiative to restore its old classics, Mosfilm resolved to restore War and Peace. As the original 70-mm. reels were damaged beyond repair, the studio used the 1988 4:3 version and the original soundtrack to make a DVD edition, in a process that cost $80,000.

In 2006 Karen Shakhnazarov, director of Mosfilm, announced that a new "frame by frame" restoration was being made. Which elements were being used is unclear, but the restoration would, claimed Shakhnazarov, probably be finished by the end of 2016.

The completed restoration was first shown at the Film Society of Lincoln Center in New York City, then in Los Angeles and other major cities. The Criterion Collection released the restoration onto 3-disc DVD and 2-disc Blu-ray sets on 25 June 2019.

title: War and Peace (film series)


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Kenpachi Zaraki

Kenpachi Zaraki (更木 剣八) is a fictional supporting character in the anime and manga series Bleach created by Tite Kubo. He is the captain of the 11th Division within the Gotei 13. His lieutenant is Yachiru Kusajishi.

Character outline
Kenpachi has a wild and aggressive appearance, fitting with his personality. He wears his captain's jacket without sleeves, and with a more ragged look to it. He acquired his Haori from the previous 11th Division captain, whom he defeated and killed in a duel in order to become captain. He styles his hair into liberty spikes with bells at the tips, which, Tite Kubo has remarked, makes his hair one of the most difficult to draw in the series. He also wears a special eyepatch on his right eye lined with a strange creatures mouths; the eyepatch was created by the 12th Division. It absorbs the bulk of his power. Both of these are meant to give enemies an advantage, similar to his habit of fighting one-handed, since in an unhandicapped state he would defeat them so quickly that he would not be able to enjoy himself sufficiently to delve into a state of bloodlust, that being what he treasures most. He has a huge scar on the left side of his face, which was given to him as a child from his first ever battle with Retsu Unohana.

Despite his initial introduction as a lethal foe, Zaraki later begins to play the role of the antihero in Bleach: though still self-centered and violent, his actions tend to be for the best and his relationship with his division and others. This shift is primarily centered around his appearances in the Bleach anime and omake stories, with the exception of the occasional diatribe between himself and Yachiru. He is depicted as having a very poor sense of direction, and is often depicted in omake stories asking his lieutenant Yachiru for directions to a particular place (who then randomly points in a direction even though she herself has a terrible sense of direction as well).

Kenpachi lives for battle (evidenced by his method of attaining his rank) and enjoys a good fight more than anything. He restrains himself in battle in order to prolong and savor the fight. Kenpachi believes that injury and death are nothing more than the price one pays for a good fight. Despite his squad's reputation as the most bloodthirsty of the Gotei 13, they have their own code of ethics, different from the set rules of Soul Society, fitting with Zaraki's portrayal as a free spirit. On various occasions, Kenpachi is seen putting fun before work. Despite his violent tendencies, Zaraki will usually give up on a fight if his opponent is too injured to fight back, claiming that the fight is no longer fun. However, he will unhesitatingly kill his opponent if they refuse to end their fight on his terms as seen during his battles with Tōsen and Nnoitora.

History
Prior to entering the Soul Reaper ranks, Zaraki resided in District 80, the most lawless district surrounding the Soul Society. He became very proficient with swordsmanship, or at least fighting, while he was there, and eventually adopted the district's name, "Zaraki", as his surname. He also took a Zanpakutō still in its "Asauchi" state from a corpse and made the weapon his own, though unable to hear its spiritual embodiment. During that time, he met a kindred spirit in Squad 4's Retsu "Yachiru" Unohana, both leaving their opponent with a scar during their duel. After leaving the district he found a small girl who, despite her young age, did not fear his sword. Since she had no name, unaware that she is actually a manifestation of his Zanpakutō, Zaraki named her "Yachiru" after Unohana while christening himself "Kenpachi", Unohana's title which has been associated with one who has killed many. Yachiru became inseparable from Zaraki from that point further, following him wherever he went, usually clinging to his back.

After some time had passed, Kenpachi found his way into Soul Society and killed the previous captain of the 11th Division, thus gaining his seat in the Gotei 13. As a new captain, Zaraki was begrudgingly forced to learn Kendo, something he hated because it personified his skills, although he did agree on one point: a blade swung with both arms is more powerful than with one arm, such as he made it a point to avoid using it in battle in order to prolong the experience of fighting as long as possible.

In an interview, Tite Kubo noted that he would like to go into more depth about Zaraki.

Plot overview
After Ichigo Kurosaki and his friends arrive in Soul Society, Zaraki begins to hunt for the strongest fighter in their group before finding Ichigo. After a short skirmish, Zaraki stabs Ichigo's sword while stabbing him in the chest, seemingly killing him. as Kenpachi begins to walk away, when Ichigo stands up again, healed by the power of Zangetsu. During the fight, Ichigo becomes enough of a challenge that Zaraki removes his eyepatch, thus releasing the extra power it has been devouring. As they rush at each other, the exchange itself ends in a draw, with Ichigo falling first and Zaraki shortly after, both admitting defeat (though Zaraki's sword breaks in the end, after it is deflected by the sudden manifestation of Ichigo's hollow mask, which spared the latter from death). Zaraki later admits that he lost, but he needs to get stronger and pay Ichigo back. He finds himself happy he found someone strong to fight, before falling unconscious. He then decides to help Ichigo and frees his friends from imprisonment. Much later on, while searching for Ichigo with his friends in tow, they are headed off by 7th and 9th Division members. Zaraki battles their captains Sajin Komamura and Kaname Tōsen respectively, defeating Tōsen and fighting off Komamura before Komamura runs away to find Shigekuni Yamamoto Genryūsai. He does not see Ichigo and his friends off when they leave the Soul Society. He tells Yachiru that he and Ichigo will certainly meet again because they are the only ones who are what they seem to be. Kenpachi also helps fight off the Bount invasion and successfully defeats Maki Ichinose, a former member of his own squad who left after Kenpachi killed the former captain.

During the Arrancar arc, Zaraki appears to Ichigo as his instinct and desire to win, explaining to him that they were both the type of people who live to fight (or fight to live) battle after battle. After Orihime is taken to Hueco Mundo, Zaraki arrives with Byakuya Kuchiki to retrieve Tōshirō Hitsugaya's group and bring them back to Soul Society. Later, in Hueco Mundo, Kenpachi comes to Ichigo's aid during his battle with Nnoitra's Fracción Tesla, dealing the Arrancar a mortal blow with a single strike and then engaging the Espada Nnoitra in battle. Despite having "more fun than he has had in a long time," he suffers enough injuries to realize that he may die if the fight continues. Kenpachi begins to have a few flashbacks to his Kendo training as he would grip his sword with two hands to deal Nnoitra a vicious, incapacitating blow. Unfortunately for Nnoitra during the ensuing fight Zaraki's eye-patch, which is a special seal that strongly 'consumes' his Spirit Pressure (this way battles will last longer allowing him to have more fun), is cut off allowing Kenpachi to fight at full power. When Nnoitra refuses to accept defeat and charges Kenpachi, the latter kills him with another strike. Zaraki then stands over Nnoitra's corpse, telling him their battle "was a blast". He later appears to save Ichigo from the Cero Espada Yammy by cutting off one of his legs, and further engaging him in combat with Byakuya Kuchiki. When it seems that Kenpachi and Byakuya are about to defeat him, Yammy undergoes a new transformation. as Byakuya and Zaraki ultimately defeat their opponent, though Kenpachi thought the fight was quite "boring". He is last seen being reprimanded by the Captain-Commander for losing his captain's haori in battle.

Seventeen months after the fight with Sōsuke Aizen, Kenpachi, along with all the other high-ranking members of the Gotei 13, are ordered to restore Ichigo's reiatsu. as he arrives with Byakuya, Hitsugaya, Ikkaku, Rukia, and Renji to aid in fighting Xcution. Kenpachi is engaged by Giriko Kutsuzawa and quickly slices the Fullbringer in half, finding him "boring".

After these events, a group of Quincy called the Wandenreich appear and send their invading force of Sternritters to take over Soul Society. Zaraki manages to single-handedly kill Berenice Gabrielli, Jerome Quizbatt, and Loyd Lloyd without much difficulty. Kenpachi then confronts Yhwach, who is revealed to be Loyd's twin brother Royd Lloyd in disguise, and is defeated. After the Wandenreich leaves, Zaraki recovers and engages Unohana in what both expect to be a fight to the death in order to train him in dealing with the Wandenreich. Despite being brought to the brink of death several times, and Captain Unohana finally releasing her Bankai, Zaraki ultimately cuts down Unohana, subsequently hearing his Zanpakutō and learning its name: Nozarashi (野晒). During the Wandenreich's second invasion, Zaraki uses Nozarashi's ax-like Shikai form against the Sternritter Gremmy Thoumeaux in an exhausting flight that leaves him at the mercy of a quartet of female Sternritters before Ichigo saves him. After being healed twice, the second time being a consequence of being incapacitated while fighting Pernida, Zaraki joins Hitsugaya and Byakuya against Gerard. During the fight, as Yachiru reveals her true identity and sacrifices herself to awaken his full power, Zaraki manifests his Zanpakutō's Bankai form to overwhelm the Sternritter before his body begins to suffer from the strain caused by using the Bankai. He later helps in holding down Gerard for Hitsugaya and Byakuya to land the death blow. Ten years after the war, having become more composed with Ikkaku as his new vice-captain, Zaraki is last seen getting himself lost while attempting to attend Rukia's captain ceremony.

Appearances in other media
Zaraki appears in the second session of Bleach: Beat Collection, together with Yachiru, Ikkaku, and Yumichika. He has a minor role in the Bleach OVA, and also appears briefly in Bleach: Memories of Nobody, making sport of one of the Dark Ones. He also appears in the second movie, being the first to charge in and attack Sōjirō's new dragon form; he helps out in the final battle as well. In the third movie, he fought an altered Mayuri Kurotsuchi and was consumed by white substance that immobilized him for much of the movie. He was finally released in a fashion and aids in the final battle. Kenpachi also appears in most of the Bleach video games. He also appears in four of the Rock Musical Bleach performances: Dark of the Bleeding Moon, No Clouds in the Blue Heavens, The All, and Live Bankai Show Code 002. He is portrayed by Shōgo Suzuki.

Reception
Kenpachi's love for battles has made the fights he appears in enjoyable for various critics. Calling him the "toughest Soul Reaper in business," IGN comments that "any battle with Kenpachi is always fun to watch just because of the fact that he has so much fun in his battles" and adds "almost every battle seems lopsided in Kenpachi's favor due to the fact that Kenpachi enjoys the battle all the way through". OtakuKart named him the "5th Strongest Captain in Bleach", stating "This guy is total monster who does not even use his Shikai but with bare sword and immense spiritual pressure he was able to defeat Nnoitra. Otaku Nuts ranked him as the "Top 5th Anime Character That Rocks", "Top 4th Anime Anti-Hero", "Top 2nd Best Bleach Character", and his Nozarashi as the "Top 8th Zanpakuto".   HubPages ranked him as the "10th Coolest Male Anime Character" with comments "What makes Kenpachi cool? His overwhelming strength, power, aggressive fighting style, and Yachiru by his side." In IGN article "5 Anime Bad Boys I Always Root For", Kenpachi was placed on 5th place, with comment "It doesn't matter what side Kenpachi is on at any moment- his fights are always sure to entertain." In another article "Top Ten Anime Characters", Kenpachi ranked 9th, with comment "Practically a super saiyen, Kenpachi is an awesome swordsmen who brings out some of the best animated sword fighting because of his lack of a technique." The Robot's Voice named Kenpachi as one of "10 Bleach Characters Far More Interesting Than Ichigo", commenting "This character pretty much defines the anime trope of brutal badass. He just slashes the shit out of whatever gets in his way, which we highly recommend against doing." In Honey's Anime pool "Top 10 Ridiculous Anime Hairstyles", Kenpachi's hairstyle came at 6th place. The same site also ranked his fight with Nnoitra Gilga as the "7th best anime battle/fight", where they stated "If you’ve been watching Bleach long enough, Kenpachi wasn’t given the time to show off his true power. This battle finally showed what he’s capable of and while the animation weren’t that good, the fight showed us what Kenpachi is truly capable of." Orzzzz named Kenpachi as one of the "Anime Characters Who Should Sue Their Stylists" and also ranked him as the "6th Strongest Anime Character Who is Master of Sword", and as the "3rd Most Overpowered Anime Character Who Can Do Something Devastating", calling him "the hardest, strongest, most fanatically combatant of all the Shinigami."   Screen Rant ranked Kenpachi as the "4th Strongest Shinigami", where they commented "His Bankai transforms him into a demon with unparalleled physical abilities in exchange for his sense of reason. His love of combat often leads to his defeat, but Kenpachi is doubtlessly one of the strongest Shinigami in Bleach."

title: Kenpachi Zaraki


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Cerro Autana

Cerro Autana (Autana Mountain) is a geological formation located at the western portion of the Guiana Shield in the Estado Amazonas, Venezuela near the Colombian border. It is characterized by a narrow base, a flat top, and almost vertical walls. Its top is at approximately 1220 m. It belongs to the formations known as tepuis which are characteristic flat-top mountains of the Guiana Shield. Cerro Autana (Wahari-Kuawai ) plays the role of the "tree of life" in the oral history and lore of the Piaroa Indians who inhabit the region.

The first Europeans to visit the region around Cerro Autana were Humboldt and Bonpland in 1800. During 1852-1854 Richard Spruce and Alfred Russel Wallace made numerous observations and botanical collections. Cerro Autana is the landmark of the region of Autana which encompasses the Cerro Autana itself, a smaller adjacent mountain often referred to as the “Autanita”, the Cuao, Autana, and Umaj-ajé rivers and Lake Leopoldo. Cerro Autana was declared a Natural Monument in 1978, including part of the Autana River and Lake Leopoldo. The mountain is also known internationally for big wall climbing and exotic BASE jumping.

Description
Cerro Autana like other table-top mountains in the region is the remains of a large sandstone plateau that once covered the granite basement complex between the north border of the Amazon Basin and the Orinoco, between the Atlantic coast and the Rio Negro. The table-mountain topography is formed as water percolates along joints and bedding planes, the siliceous cement dissolves, quartzite disaggregates, and large blocks collapse which accumulate in the foot of the scarps. The percolating water forms large and intricate cave systems, which frequently emerge in the scarp zone as high waterfalls.

Although composed of nearly horizontal strata of sandstone, Autana contains caves and other karst formations, which are rare in rocks other than limestones. These formations are the result of the dissolution of cemented sandstone which contain parts with certain ratios of limestone and parts with a higher proportion of calcium carbonate. This process leaves large empty spaces which in Cerro Autana form interconnected caverns and a lounge with a domed ceiling. This vaulted living room has two unequal openings that pierce the hill from side to side and lean out as a form of balcony in the vertical walls of the mountain. One of these openings, although elongated, is so small that it is indistinguishable from below. Some of the cavernous passages have collapsed in recent years. A particular alumino-nitrate found in the main cave is sveite, named after the Sociedad Venezolana de Espeleologia whose members collected the first samples.

The caves were first reached by Charles Brewer-Carías and David Nott in 1970 when they landed on the summit by helicopter and descended using ropes and a caving ladder. It was first climbed by Stephen Platt, David Nott, Wilmer Perez, and Carlos Reyes in 1974 via the 2000 ft North Ridge. The ascent took three days and the party spent four days mapping the caves before descending by abseil. A team of skydivers and filmmakers made tandem parachute jumps onto the summit in 1985, producing a documentary called "Skydive to Autana".

Flora and fauna
Typical of other tepui formations, the open rock surfaces are inhabited by collections of plant communities which include algae, lichens, mosses and low herbs. The vertical walls are covered by colonies of bromeliads. The greater portion of the summit is covered mainly by open treeless vegetation, savanna-like in appearance. Some forests with trees varying in height from 2.5–10 meters are scattered along portions of the margins. Despite the relatively small area comprising the summit, a number of different habitats and ecological microclimates are manifest.

Only two species of amphibians are known from the summit: Leptodactylus lithonaetes and Stefania breweri. The latter is endemic to Cerro Autana and is only known from a single specimen collected in 1971.

Mythology
For the Piaroa Indians, the original inhabitants of the area, Autana is a sacred mountain (Wahari-Kuawai in the Piaroan language). It is Kuaimayojo, the stump of 'the sacred tree of the fruits of the world'. Piaroan mythology tells how '-the tree-top went as high as the infinite, and its branches were full of fruits which fell and gave life to the Amazon'. One day Wahari (a God) and his nephew Ruayei, which had been transformed into a lapa (Cuniculus paca), cut down the tree to get all the fruits at once. Ruayei gnawed on the base until the tree fell. The branches that fell to the north formed the forests of the Cuao River; the branches falling to the west made the mountains of Sipapo, Waichij and the Uripikai. Farther away, the course of the waters was changed and a lake (Autana/Leopoldo) was formed on top of the mountains east of Autana. In one of the rivers, a payara fish (Hydrolycus scomberoides) was trapped. Trying to escape, the fish leaped higher and higher, hitting the stump of the Wahari-Kuawai, forming the caves of Autana. Finally, the payara crossed through the mountain and formed the Great Cave, which is also called the Payara Inlet, before leaping free into the Umaj-Ajé River.

title: Cerro Autana


text:
Chuderhüsi Tower

Chuderhüsi Tower (or "Aussichtsturm Gauchern") is a 42-metre observation tower built of wood at Röthenbach im Emmental, Switzerland. The tower was built in 1998, burnt down in 2001 and was rebuilt in 2002.

title: Chuderhüsi Tower


text:
Alvord cutthroat trout

The Alvord cutthroat trout, Oncorhynchus clarkii alvordensis, was a subspecies of cutthroat trout. It was known only from Trout Creek in Oregon and Virgin Creek in Nevada, although it may have lived in several of the larger Alvord Basin streams during recent times. It was native to spring-fed creeks that ran down to Alvord Dry Lake in southeast Oregon, which was a large lake during the ice ages and an isolated drainage, part of the Great Basin today. This is one of the two cutthroat trout taxa considered extinct because all known populations are hybridized with rainbow trout which were introduced into streams in the Alvord basin in the 1920s, resulting in cutbows.

The subspecies name was given in 2002 by Robert Behnke (Trout and Salmon of North America).

In the fall 2005 issue of Trout (Trout Unlimited's Journal of Coldwater Fisheries Conservation), in an article titled About Trout: Ivory-billed trout, Dr. Behnke notes a historical reference that the now "extinct" Alvord Cutthroat Trout had been transplanted into another basin adjacent to the Alvord Basin, and that this transplant occurred prior to the 1928 introduction of rainbows into Trout Creek. Dr. Behnke reflects on which stream these trout may have been introduced into.

In the winter 2007 issue of Trout, in an article titled Toward Definitiveness, Dr. Behnke relates a summer 2006 electrofishing (sampling) project with the Oregon Department of Fish and Wildlife (ODFW). He realized that the stream he'd referenced in 2005 was above the maximum Pleistocene lake level of any downstream flow-connected basins, and thus he doubts that redband trout ever made it to this elevated location.

In the late 1950s and through the 1960s the ODFW had introduced Lahontan cutthroat trout and rainbow trout into this stream, so Dr. Behnke expected to find a hybrid swarm during this sampling project. Yet, during this trip he was pleased to find that all of the trout examined seemed to be of the Lahontan strain; with some trout exhibiting the appearance (phenotype) of the "extinct" Alvord cutthroat trout. In a 2007 publication of the Oregon Chapter of the American Fisheries Society, entitled Redband Trout Resilience and Challenge in a Changing Landscape, Dr. Behnke comments that he believes there is a strong possibility that trout caught in this stream circa World War II (confirmed by local historian Mr. Bruce Gilinski, who had direct experience on the stream just after World War II) were derived from the early transplant of the now extinct Alvord cutthroat. He thus surmises that what remains of the Alvord subspecies is incorporated into the trout now found in this small stream adjacent to the Alvord Basin.

Dr. Behnke has urged the State of Oregon to create a population of trout phenotypically representative of the "extinct" alvordensis by transplanting specimens that most closely resemble alvordensis into presently fishless waters, where they can self-propagate and preserve the phenotype (if not genotype) of the Alvord cutthroat trout.

In April 2013, Shannon Hurn, ODFW Fisheries Biologist, Hines District (SE Oregon) has released a 2013 Management Proposal; which includes the plan to take spawning pairs of cutthroat trout that exhibit the phenotype of the extinct Alvord cutthroat trout, to relocate these pairs to the Klamath Hatchery in Oregon, and to propagate fry (offspring) from these pairs, to rear the trout at Klamath Hatchery, to look for uniformity among the sub-adult trout and to document the phenotype stages, and to ultimately transfer trout with the Alvord (alvordensis) phenotype to a suitable fishless host stream in SE Oregon (preferably in the Alvord Basin - the native realm of the extinct Alvord cutthroat trout).

Unfortunately, the plan for the project was not followed. Instead, based on visual inspection at the parr stage it was assumed by ODFW staff that the trout appeared to be cutthroat x rainbow trout hybrids (prior to the genetic results being completed) and the hatchery program was abandoned. This move proved premature and ill timed, as once the results genetic study were available, it indicated that only ~3% of the genetics were from rainbow trout (Pritchard et al. 2015) Additionally, during the same period as that the hatchery program was initiated Southeastern Oregon was hit by several years of extreme drought. This resulted in an increase in fires along the stream and complete drying of some of the stream reaches. While the hatchery fish could have been returned to the stream to at least help buffer the drought conditions instead hatchery fish were released into Willow Valley Reservoir a body of water that is known for its warm water fisheries and is unlikely suitable for trout.

title: Alvord cutthroat trout


text: Talk:Pratapgarh, Uttar Pradesh

title: Talk:Pratapgarh, Uttar Pradesh


text:
Butterfly Lovers (album)

Butterfly Lovers is an album, by Denise Ho, initially released on September 7, 2005. It is the companion album to Ho's musical stageplay, Butterfly Lovers, starring Endy Chow and herself.

Track listing

 * 1) 蛹 (Cocoon) - 1:41
 * 2) 化蝶 (Becoming A Butterfly) (Live Piano Version) - 4:14
 * 3) 橋上 (On The Bridge) - 0:39
 * 4) 不是吟詩的時候 (Not the Time to Recite Poems) - 4:20
 * 5) 長不大 (Not Growing) - 3:33
 * 6) 汽水樽裡的咖啡 (Coffee In A Soda Bottle) - 5:13
 * 7) 血肉之驅 (Flesh and Blood) - 1:02
 * 8) 十八相送 (Eighteen Send Off) - 4:10
 * 9) 勞斯．萊斯 (Lucy Lois) - 4:30
 * 10) 撲蝶 (Catching Butterfly) - 0:41
 * 11) 有人跟蹤我 (Someone Is Stalking Me) - 2:50
 * 12) 做好準備 (Be Prepared) - 3:55
 * 13) 禁色 (Forbidden Color) - 4:01 (Not in version 1)
 * 14) 小淇 (Qi) - 1:49
 * 15) 樓台會 (Meeting at the Tower) - 2:42
 * 16) 萊斯．勞斯 (Lois Lucy) - 1:16
 * 17) 化蝶 (Becoming A Butterfly) - 4:50
 * 18) 蝴蝶結 (Butterfly Knot) - 1:21

VCD
Included with version 1 only.
 * 1) 化蝶 (Becoming A Butterfly) music video
 * 2) 勞斯．萊斯 (Lucy Lois) music video

DVD
Included with versions 2 and 3 only.
 * DVD running time: 75 Minutes
 * Denise Ho and the music video director - Heart to Heart Talk
 * 化蝶 (Becoming A Butterfly) music video
 * 禁色 (Forbidden Color) music video, featuring Anthony Wong
 * 勞斯‧萊斯 (Lucy Lois) music video (Unseen scenes)
 * 汽水樽裡的咖啡 (Coffee In A Soda Bottle) music video (Director's Cut)

title: Butterfly Lovers (album)