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Jean-Michel Jarre

Jean-Michel André Jarre (born 24 August 1948) is a French composer, performer and record producer. He is a pioneer in the electronic, ambient and new-age genres, and is known for organising outdoor spectacles featuring his music, accompanied by vast laser displays, large projections and fireworks.

Jarre was raised in Lyon by his mother and grandparents and trained on the piano. From an early age, he was introduced to a variety of art forms, including street performers, jazz musicians and the artist Pierre Soulages; but his musical style was perhaps most heavily influenced by Pierre Schaeffer, a pioneer of musique concrète at the Groupe de Recherches Musicales.

His first mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his home, the album sold an estimated 18 million copies. Oxygène was followed in 1978 by Équinoxe, and in 1979, Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since broken three times. More albums were to follow, but his 1979 concert served as a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events.

As of 2004, Jarre had sold an estimated 80 million albums and singles. He was the first Western musician officially invited to perform in the People's Republic of China and held the world record for the largest-ever audience at an outdoor event for his Moscow concert on 6 September 1997, which was attended by 3.5 million people.

Early life, influences, and education
Jean-Michel Jarre was born in Lyon on 24 August 1948, to Francette Pejot, a French Resistance member and concentration camp survivor, and composer Maurice Jarre. His grandmother was Jewish. When Jarre was five, his parents separated and his father moved to the United States, leaving him with his mother. He did not see his father again until reaching the age of 18. For the first eight years of his life, Jarre spent six months each year at his maternal grandparents' flat on the Cours de Verdun, in the Perrache district of Lyon. Jarre's grandfather was an oboe player, engineer and inventor, designing an early audio mixer used at Radio Lyon. He also gave Jean-Michel his first tape recorder. From his vantage point high above the pavement, the young Jarre was able to observe street performers at work, an experience he later cited as proving influential on his art.

Jarre struggled with classical piano studies, although he later changed teachers and worked on his scales. A more general interest in musical instruments was sparked by his discovery at the Saint-Ouen flea market, where his mother sold antiques, of a Boris Vian trumpet violin. He often accompanied his mother to Le Chat Qui Pêche (The Fishing Cat), a Paris jazz club run by one of her friends from her resistance years, where saxophonists Archie Shepp and John Coltrane, and trumpet players Don Cherry and Chet Baker were regular performers. These early jazz experiences suggested to him that music may be "descriptive, without lyrics". He was also influenced by the work of French artist Pierre Soulages, whose exhibition at the Musée d'Art Moderne de la Ville de Paris he attended. Soulages' paintings used multiple textured layers, and Jarre realised that "for the first time in music, you could act as a painter with frequencies and sounds." He was also influenced by classical, modernist music; in a 2004 interview for The Guardian, he spoke of the effect that a performance of Stravinsky's The Rite of Spring had upon him:

"This is where Stravinsky created it in 1913, and it was a huge shock. I also saw the last concert by the great Arabic singer Om Khalsoum. She is the goddess, the Maria Callas of the Orient. Then I heard 'Georgia on My Mind' by Ray Charles, and I realised that music can talk to your tummy. I was so impressed by the organic sensuality coming from Ray Charles's music – there was no intellectual process and it was great."

As a young man Jarre earned money by selling his paintings, exhibiting some of his works at the Lyon Gallery – L'Œil écoute, and by playing in a band called Mystère IV. While he studied at the Lycée Michelet, his mother arranged for him to take lessons in harmony, counterpoint and fugue with Jeannine Rueff of the Conservatoire de Paris. In 1967 he played guitar in a band called The Dustbins, who appear in the film . He mixed instruments including the electric guitar and the flute with tape effects and other sounds. More experimentation was followed in 1968, when he began to use tape loops, radios and other electronic devices, in 1969 he joined the Groupe de Recherches Musicales (GRM), founded and led by Pierre Schaeffer, inventor of musique concrete. Jarre was introduced to the Moog modular synthesizer and spent time working at the studio of influential German composer Karlheinz Stockhausen in Cologne.

In the kitchen of his apartment in Rue de la Trémoille, Jarre set up a small makeshift recording studio. It included his first synthesiser, an EMS VCS 3, and an EMS Synthi AKS, each linked to Revox tape machines. For a 1969 exposition at the Maison de la Culture (Cultural House) in Reims, Jarre wrote the five-minute song "Happiness Is a Sad Song". That same year he composed and recorded "La Cage/Erosmachine", a mixture of harmony, tape effects and synthesisers, which was released in 1971.

1970s
In 1971 Jarre was commissioned by choreographer Norbert Schmucki to perform a ballet called AOR (in Hebrew, "the light"), at the Palais Garnier. He also composed background music for ballet, theatre, television programs, department stores, and advertising jingles for Pepsi-Cola, Nestlé and RTL. The music for airports, and North America libraries was composed with the VCS 3 and an Farfisa professional organ. From 1972 to 1975, Jean-Michel wrote music and lyrics for artists like Françoise Hardy, Gérard Lenorman, Christophe and Patrick Juvet. In 1972 collaborated in Olympia show, and wrote music for the International Festival of Magic. That year he also released his first solo album, Deserted Palace, and composed the soundtrack for Les Granges Brûlées (English: The Burned Barns).

Jarre's 1976 low-budget solo album Oxygène, recorded at his home studio, made him famous internationally. The music was made with analog synthesizers like the EMS VCS 3 and the EMS Synthi AKS, and recorded with a Scully 8-track recorder. Jarre initially was turned down by several record companies, until Jean-Michel decided to meet with Francis Dreyfus, the head of the Disques Motors label, to see if he could release the album, to which he accepted. The first pressing of 50,000 copies was promoted through hi-fi shops, clubs and discos, and by April 1977 had sold 70,000 copies in France. When interviewed in Billboard magazine, Motors's director Stanislas Witold said, "In a sense we're putting most of our bets on Jean-Michel Jarre. He is quite exceptional and we're sure that by 1980 he will be recognised worldwide."

Jarre's follow-up album, Équinoxe, was released in 1978, though its sales were still healthy, it had less of an impact than Oxygène, but the following year Jarre held a large open-air concert on Bastille Day, at the Place de la Concorde. The free outdoor event set a world record for the largest number of spectators ever at an open-air concert, drawing more than 1 million spectators. Although it was not the first time he had performed in concert (Jarre had already played at the Paris Opera Ballet), the 40 minute-long event, which used projections of light, images and fireworks, served as a blueprint for Jarre's future concerts. Its popularity helped create a surge in sales—a further 800,000 records were sold between 14 July and 31 August 1979—and the Frenchman Francis Rimbert featured at the event.

1980s
By the time Les Chants Magnétiques was released on 20 May 1981, Oxygène and Équinoxe had achieved global sales of about 6 million units. In its first two months the then new album sold a reported 200,000 units in France alone. The album uses sounds from the Fairlight CMI, a new instrument of which Jarre was a pioneer. Its digital technology allowed him to continue his earlier sonic experimentation in new ways.

In that same year, the British Embassy gave Radio Beijing copies of Oxygène, Équinoxe, and Les Chants Magnétiques, which became the first pieces of foreign music to be played on Chinese national radio in decades. The Republic invited Jarre to become the first western musician to play in post-Mao Zedong China. The performances were scheduled to run from 18 October to 5 November 1981. However, only 5 concerts were given in total, two in Beijing and three in Shanghai. The first, in Beijing, was initially attended mostly by officials, but before the concert began technicians realised that not enough power was available to supply the stage and auditorium. Chinese officials solved the problem by temporarily cutting power to the surrounding districts.

The stadium was almost full when the concert began, but as Beijing's buses stopped running at about 10 o'clock, about half the audience left before it finished. To boost the audience attendance for the second night, Jarre and his production team purchased some of the concert tickets and gave them to children on the streets (Jarre originally wanted the concerts to be free, but the Chinese authorities decided to charge between £0.20 and £0.50 per ticket). Recordings of the concerts, which featured one of Jarre's signature electronic instruments, the laser harp, were released as a double-disc LP in 1982.

Between February and May 1983, Jarre recorded a single LP copy of an album entitled Musique pour Supermarché (English: Music for Supermarkets) whose objective was to be the soundtrack of a show called Orrimbe, to later be auctioned with the master tapes and plates destroyed. The album was later broadcast exclusively on Radio Luxembourg with Jarre encouraging listeners to record the broadcast.

In 1984, he released seventh studio album Zoolook, in this album was expanded the sample-based approach which had been initiated on Les Chants Magnétiques and continued on Music for Supermarkets, the album was based around multiple fragments of human voices pronouncing words and speeches in different languages from all over the world, recorded digitally by Jarre and then played back and edited on the Fairlight CMI.

In 1985, Jarre was invited by the musical director of the Houston Grand Opera to perform a concert celebrating Texas's 150th anniversary on 5 April 1986. Although he was busy with other projects and was at first unimpressed by the proposal, on a later visit to the city, he was immediately impressed by the visual grandeur of the city's skyline and agreed to perform. Also, 1985 marked the 25th anniversary of the foundation of the Lyndon B. Johnson Space Center; and NASA asked Jarre to integrate the anniversary into the concert.

Jarre worked with several Houston-based astronauts, including Bruce McCandless II and Ronald McNair, an accomplished musician who was to have played the saxophone on "Rendez-Vous VI", recorded in the weightless environment of space. The live performance was curtailed by McNair's death in the Space Shuttle Challenger disaster on 28 January 1986. Consideration was given to the cancellation of the concert; but McCandless contacted Jarre and urged him to proceed, in memory of the shuttle's crew. McNair's saxophone piece was recorded by French saxophonist Pierre Gossez and retitled "Ron's Piece". At Jarre's giant concerts in Houston and Lyon, the part was performed by McNair's friend, American saxophonist Kirk Whalum:

"I remember just before take-off, Ron calling me in Paris saying 'Everything's ready, see you in a week's time, watch me on television for the take-off' ... I will really, keep always, the bit of Ron's smile and Ron's face in my heart."

About 2,000 projectors shone images onto buildings and giant screens up to 1200 ft high, transforming the city's skyscrapers into spectacular backdrops for an elaborate display of fireworks and lasers. Rendez-vous Houston entered the Guinness Book of Records for its audience of over 1.5 million, beating his earlier record, set in 1979. The display was so impressive that a nearby freeway was blocked by passing vehicles, forcing the authorities to close it for the duration of the concert. Several months later he performed to an audience of about a million at his home city of Lyon, in celebration of a visit by Pope John Paul II. Watching from Lyon Cathedral, the Pope began the concert with a good-night blessing, a recording of which appears on Cities in Concert – Houston/Lyon.

In 1988, Jarre released his ninth studio album Revolutions, and in same year, a concert called Destination Docklands was planned for September, to be held at the Royal Victoria Dock in east London. Close to the heart of London, the location was chosen in part for its desolate environment, but also because Jarre thought the architecture was ideally suited for his music. Early in 1988 Jarre met with local officials and members of the community, but Newham Borough Council delayed their decision until 12 September, the month in which the show was due to take place. The local fire service were also concerned about access in the event of a fire. Site work continued as Jarre's team searched for alternative locations in which to stage the concert, but following improvements to both on and off-site safety Jarre eventually won conditional approval on 28 September to stage two separate performances, on 8 and 9 October.

The floating stage on which Jarre and his musicians performed was built on top of four large barges. Large purpose-built display screens were built, and one of the buildings to be used as a backdrop was painted white. One large mirror ball being transported to the event fell onto the roadside, causing a degree of confusion as some people mistook it for a fallen satellite. World War II searchlights were installed, to illuminate the sky and surrounding architecture. Along with thousands in the surrounding streets and parks, 200,000 people watched Jarre and guests such as guitarist Hank Marvin perform in less than ideal conditions. Inclement weather had threatened to break the stage from its moorings, putting paid to the original plan to float the stage across the Royal Victoria Dock. Wind speeds were so high that television cameras were blown over. On the second evening the audience, which included Diana, Princess of Wales, was soaked by rain and wind.

1990s
In 1990, Jarre released En Attendant Cousteau (Waiting for Cousteau), a tribute to the French oceanographer Jacques-Yves Cousteau. On Bastille Day he performed a concert at La Défense in Paris, attended by a record-breaking audience of about two million people, again beating his earlier world record. He later promoted a concert near the Pyramids of Teotihuacan in Mexico, to be held during the solar eclipse of 11 July 1991. However, with only weeks to go, important equipment had not arrived and the sinking in the Atlantic Ocean of a cargo ship containing the purpose-built pyramidal stage and other technical and financial problems made staging the concert impossible. Jarre's disappointment was such that he "could not cope with Mexican food for two years".

About two years later he released Chronologie, an album that features Jarre's traditional collection of instruments like the ARP 2600 and Minimoog, as well as newer synthesisers such as the Roland JD-800 and the Kurzweil K2000.

"In the state of mind I did Chronologie, it's quite close to what I did for Oxygène, using a lot of the old synthesizers of the '70s, like the Moog synthesizer — which I consider to be the Stradivarius of electronic music — mixed with the digital sound and the beat of the dance scene of the '90s. In a sense, Chronologie is a kind of mixture between the sounds of the '70s and the sounds of the '90s."

Jarre was invited to the inaugural celebrations of the Palace of the Lost City, a hotel located within the Sun City in South Africa. Three concerts were held on 1, 2 and 3 December 1992, in which more than 45,000 people attended.

Chronologie was performed at a series of 16 performances across Europe called Europe in Concert. These were on a smaller scale than his previous concerts, featuring a miniature skyline, laser imaging and fireworks. Locations included Lausanne, Mont St Michel, London, Manchester, Barcelona, Seville and the Versailles Palace near Paris. A concert was also held in Hong Kong in March 1994, to mark the opening of the city's new stadium. Jarre performed many of his most well-known hits at the Concert for Tolerance on Bastille Day in 1995, celebrating the 50th anniversary of the United Nations. The Eiffel Tower was specially lit for the occasion, prompting the installation of a more permanent display. The following December, he created the website "A Space for Tolerance", which featured music from En Attendant Cousteau, played while the user browsed a variety of "visual worlds".

In 1997, Jarre returned to the analogue synthesisers of the 1970s with Oxygène 7–13, dedicated to his mentor at the GRM, Pierre Schaeffer, who had died two years before. In September that year he set his fourth record for the largest-ever outdoor-concert audience with a performance at the Moscow State University, celebrating the 850th anniversary of Moscow. The event was viewed by an audience of about 3.5 million.

On September 18th 1998, during the 15th Paris Apple Expo's iMac Night, Jarre, Apple brand ambassador and friend of Steve Jobs' created the first 3D concert, Electronic Odyssee, to mark the 50th anniversary of electronic music and the launch of the Apple iMac computer. It was enjoyed by 6000 spectators wearing special 3D glasses.

Another large-scale concert followed on 31 December 1999, in the Egyptian desert near Giza. The Twelve Dreams of the Sun celebrated the new millennium and offered a preview of his next album, Métamorphoses (released the following year). The show featured performances from more than 1,000 local artists and musicians, and was based on ancient Egyptian mythology about the journey of the Sun and its effect upon humanity. In 1998, British commercial broadcaster ITV used a remixed version of "Fourth Rendez-Vous" (called Rendez-Vous 98) for their television coverage of the 1998 FIFA World Cup in France. British group Apollo 440 were credited alongside Jarre for the remix.

2000s
In 2001, he released Interior Music, an album of 1,000 copies created for use by the Danish audio-visual company Bang & Olufsen stores. The album consists of two long-form pieces: "Bonjour Hello", is a 25 minute audio collage of sounds with voices saying short sentences in French, English and Danish. The second piece, "Whispers of Life", is an instrumental version of the first, with the voices removed.

The same year he composed, with Francis Rimbert arrangements, the music for the short-lived French channel Match TV. On 7 September 2002, Jarre held a very wet and muddy concert at the near the city of Aalborg in Denmark, with 40,000 spectators (including 5,000 VIPs). Danish band Safri Duo featured on the track "Aero", which in fact was Bourges 2 from the performance earlier that year, and Rendez-Vous 4. The concert was broadcast live on various TV stations around the world and a shortened one-hour version was made available for rebroadcast.

By no fault of Jarre, due to 22 millimeters of rain and lack of proper preparation for and execution of the event, it took several hours for all people to be able to leave the area, and many cars were stuck until the next day. The problems subsequently became a big issue in Danish media, since, had there been an accident, it would be extremely difficult for help to get to the location. Two years previously, nine people were killed at Roskilde Festival, which had brought focus on security at large concerts. Preparations for AERO were later proven to have been lacking, and the police investigation concluded, in part, that permission for the concert should not have been granted. Reactions from spectators were mixed, some claiming it was unsafe, and others saying it was a case of overreacting.

A concert in September of that same year at a wind farm near Aalborg in Denmark proved problematic when 22 mm of rain fell on the venue, causing long delays for spectators. It also marked a change in direction in Jarre's live concerts; from Rendez-vous Houston onwards he had been accompanied by a full complement of live musicians, but at Aalborg he was accompanied only by Francis Rimbert, and having guests like the Klarup Girls Choir, Safri Duo and the Aalborg Symphonic Orchestra.

In 2003 he released Geometry of Love on Warner Music label, it was commissioned by Jean-Roch as soundtrack for his 'V.I.P. Room' nightclub in France. The physical CD was a long time out of print, but in 2018 remastered reissue was released on CD again. The album cover is a pixelated and turned counter-clockwise photo of Jarre's girlfriend at the time, Isabelle Adjani.

In October 2004 he returned to China to open its "Year of France" cultural exchange. Jarre gave two performances, the first at the Meridian Gate of the Forbidden City, and the second in Tiananmen Square. More than 15,000 spectators watched the concert at the Meridian Gate, and each concert was transmitted nationwide on live television. Jarre collaborated with musician Chen Lin. Accompanying his traditional musical repertoire, 600 projectors shone coloured light and images across various screens and objects.

In September 2004, Jarre released both a DVD and a CD in one package AERO. A compilation album made in 5.1 surround sound, it contains re-recorded versions of some of his most famous tracks, including tracks from Oxygène and Équinoxe. Accompanying the audio, the DVD features a visual image of Anne Parillaud's eyes, recorded in real time as she listened to the album. Jarre used the minimalist imagery to reinforce the audio content of the DVD. In his role of UNESCO Goodwill Ambassador, Jarre performed a concert named Water for Life in Morocco, on 16 December 2006, to celebrate the United Nations Year of Desertification in the world. The performance was in front of the Erg Chebbi Dunes of Merzouga, in the Sahara. A free event, it was attended by about 25,000 people. Images of water and the environment were projected onto nine vertical screens, held in place by sand which was watered to keep it hard. Several permanent drinking fountains were built on the site, along with a permanent electricity installation. Jarre was accompanied by over 60 Moroccan artists. Jarre released Téo & Téa in 2007, a studio album that described the different stages of a loving relationship.

In that same year released on EMI label a new recording of his 1976 album named Oxygène: New Master Recording. Jarre performed 10 concerts (Oxygène Live) in December 2007, held in the Théâtre Marigny, located in the Champs-Élysées, Paris. Later in 2008 Jarre performed several concerts to celebrate the 30th anniversary of Oxygène, in theaters in Europe. Following one such performance at the Royal Albert Hall Jarre met Queen guitarist Brian May, who proposed he create a concert in Tenerife for the International Year of Astronomy, but a lack of sponsorship meant that the concert did not take place. In 2009 he was selected as the artistic director of the World Sky Race, and also accepted a role as Goodwill Ambassador for the International Year of Astronomy. In 2009 he started an indoor tour in arenas throughout Europe.

2010s
On 1 March 2010, Jean-Michel Jarre started the second leg of his 2009–10 Indoors tour; on 10 June, he was presented with a Lifetime Achievement Award by Mojo magazine. On 1 July 2011, Jarre performed a large-scale concert in Monaco to celebrate the marriage of Prince Albert and his bride Charlene. A later concert was held at Carthage during the city's 12 August 2013 musical festival.

In June 2013, Jarre was elected as president of the Confédération Internationale des Sociétés d´Auteurs et Compositeurs (CISAC). In Spring 2015, Jarre released the first music from a new studio album, released in October 2015, following around four years of work. The album, Electronica 1: The Time Machine (working title: E-Project), comprises a number of collaborations with other artists. The first of these to be released was the collaboration with Gesaffelstein entitled Conquistador, followed by Glory, with M83. The track was also featured as part of the soundtrack of a short film entitled EMIC.

Other collaborations on the album include Tangerine Dream for Zero Gravity; Armin van Buuren for "Stardust", John Carpenter for "A Question of Blood", Little Boots for If..! and Pete Townshend for Travelator, Pt. 2. The album became Jarre's first album in over 25 years to make the UK Top 10 at No. 8. In December 2016, the album was nominated for the Grammys 2017 Awards in the "Best Dance/Electronic Album" category. In June 2015, in collaboration with Jean-Michel Jarre, the transmedia project Soundhunters was released on the platform of the Franco-German channel ARTE. The transmedia conceptualized by the Blies brothers (Stéphane Hueber-Blies and Nicolas Blies), François Le Gall and Marion Guth of the Luxembourg production company a_BAHN, is openly inspired by the album Zoolook to which it pays tribute.

On 5 October 2016, Democracy in Europe Movement 2025 announced that Jarre would be a member of its advisory panel. The transmedia is composed of a web documentary using Zoolook's creative process involving 4 international artists (Simonne Jones, Mikael Seifu, Daedelus and Luke Vibert); a 52' documentary film directed by Beryl Koltz broadcast in September 2015 on ARTE (with the participation of Chassol, Matthew Herbert, Blixa Bargeld, Jean-Michel Jarre, Matmos, Kiz, Joseph Bertolozzi); and finally a participatory tribute music album whose tracks were chosen by Jean-Michel Jarre, entitled Zoolook Revisited. Soundhunters won the Fipa d'Or 2015 in Biarritz. Soundhunters was also presented in conference at SXSW and Convergence NYFF 2016.

In 2016, Electronica 2: The Heart of Noise was released with 15 more collaborators, including Pet Shop Boys, Hans Zimmer, Yello and Gary Numan. One track (8 "Exit") includes speech by Edward Snowden. Electronica 2 has been nominated in the Album de musiques électroniques ou dance category for the Grammy 2017 in USA & Victoires de la Musique 2017 awards in France. On 11 April 2016, it was revealed that Jarre worked in collaboration with British virtual band Gorillaz on their fifth studio album Humanz. He also composed during 2016 the soundtrack for the French news network France Info. This soundtrack was released as Radiophonie Vol. 9 on 13 January 2017.

In 2017, he performed a concert near the fortress of Masada, for the purpose of saving the Dead Sea and to highlight "the anti-environmental policies of Donald Trump." He also performed a special concert for the opening of the Año Jubilar (Jubilee year) at the Monasterio de Santo Toribio de Liébana, in Spain. Both concerts were heavily based in the Electronica Tour concept. During May 2017, Jarre toured in Canada and USA for the first time in his career, and in July 2017 another leg of the tour was held in Europe.

In March 2018, Jarre performed in South America for the first time as part of his Electronica Tour in Buenos Aires and Santiago de Chile. These concerts were originally scheduled for November 2017, but problems with the production company caused the rescheduling. The 2018 leg of the tour continued in Canada and the United States during April, including the presentation of the Electronica show with a reduced track list in the Coachella Valley Music and Arts Festival, ending with a one-off concert at Riyadh to celebrate the 88th Saudi National Day (23 September). This concert was called "The Green Concert", and involved laser projections on the skyscrapers of the financial center of Riyadh. In September 2018, a studio compilation album entitled Planet Jarre – 50 Years of Music, consisting of forty-one songs in "four quite different styles of composition", was released.

On 26 November 2018, Jarre and Scott Kirkland of The Crystal Method announced that they would be collaborating on a track on Jarre's next Electronica album. In January 2019, HSBC revealed their new musical identity, composed by Jarre. On 3 October 2019, French editor Robert Laffont published Melancolique Rodeo, Jarre's autobiography. Jarre started a promotional tour for his book. On 7 November 2019, Jarre announced the release of an application for the iOS operating system named EōN. This application contains morphing graphics created by an algorithm developed by Alexis André of Sony Computer Science Laboratories, and music generated from 7 hours of recorded material by Jarre. This music is always different on every device. The AI algorithm which composes on the fly based on the rules set by Jarre was developed by BLEASS. A limited deluxe box set was later released with excerpts from the application.

2020–present
On 31 December 2020, Jarre held a virtual New Year's Eve concert online. He performed from a studio in Paris, but it appeared virtually from a Notre Dame setting. The show has had over 75 million viewers as of 5 January 2021. The show was done in support of his new album Welcome to the other side, which features 12 tracks from his previously released music. The recording of the concert was released on CD, LP and Blu-ray in September 2021. VR Concert created by VRROOM received 2 Webby Award Honoree, Crystal Owl Award for the Best Live Entertainment, and Social Music Award.

On 21 June 2021, Jarre was awarded Commander to the Legion of Honour by French president Emmanuel Macron at the Elysée presidential palace in Paris. After the ceremony he performed at the same venue as part of the Fête de la Musique. In March 2022 Jarre presented a live project, Oxymore, at Radio France's Hyper Weekend Festival located at Paris. His twenty-second studio album Oxymore was released on 21 October 2022 by Sony Music and Menart Records as a tribute to Pierre Henry. Some songs were accompanied by a remix created by different artists such as Brian Eno, Nina Kraviz, Armin van Buuren, the first single from the album, "Brutalism", was released along with a remix made by Depeche Mode member Martin Gore. OXYMORE was created as multiformat concert in VR by VRROOM Team and received Webby People's Voice Award in 2023 and Webby Nomination and Honoree in 2022, Crystal Owl Award for Best Production Design, Raindance Immersive Honourable Jury Mentioning, as well as nomination for the Producers Guild of America's Innovation Award. In July 2022, his music publishing catalog was acquired by BMG Rights Management.

On 25 December 2023, Jarre held a concert in the Hall of Mirrors of Versailles to celebrate the 400 years of the palace.

Flying aircar mission
On April 23, 2024, Jean-Michel Jarre became the world’s first passenger to take off in Klein Vision’s flying AirCar.

Personal life
Jarre was married to Flore Guillard from 1975 until 1977. He met his second wife, actress Charlotte Rampling, at a dinner party in Saint-Tropez in 1976. The two married, and Jarre gained custody of his daughter Émilie Charlotte, while Rampling got the same of her son Barnaby; together Jarre and Rampling had a son, David. Jarre and Rampling separated in 1996 and divorced in 2002. He had a brief relationship with Isabelle Adjani, and married French actress Anne Parillaud in May 2005. In November 2010 the couple announced their divorce.

Jarre started dating Chinese actress Gong Li in 2016. They got married in 2019, and have kept the relationship private.

Jarre has a half-sister, Stéphanie Jarre, from one of Maurice Jarre's other marriages. His stepbrother, Kevin Jarre, died in 2011. Although Maurice and Jean-Michel remained estranged, following Maurice's death in 2009, Jarre paid tribute to his legacy.

Jarre said about his father: "My father and I never really achieved a real relationship. We probably saw each other 20 or 25 times in our lifetime. When you are able, at my age, to count the times you have seen your father, it says something. (...) I think it's better to have conflict, or, if you have a parent who dies, you grieve, but the feeling of absence is very difficult to fill, and it took me a while to absorb that".

Honours

 * 1976 – Grand Prix du Disque by L'Académie Charles Cros, for Oxygène
 * 1976 – "Personality of The Year" by People magazine (U.S.)
 * 1978 – Midem award
 * 1979 – Guinness Book of Records entry for the biggest concert ever (La Concorde)
 * 1981 – Honorary member of the Beijing Conservatory of Music.
 * 1984 – Grand Prix du Disque by L'Académie Charles Cros, for Zoolook.
 * 1985 – Instrumental album of the year, at the Victoires de la Musique in France, for Zoolook
 * 1986 – Instrumental album of the year, at the Victoires de la Musique, for Rendez-vous
 * 1986 – Musical spectacle of the year, at the Victoires de la Musique, for the Rendez-Vous Houston concert
 * 1987 – New Guinness Book of Records entry for the biggest concert ever (Rendez-Vous Houston)
 * 1987 – "European musician Person of the Year" by People magazine
 * 1990 – An asteroid, 4422 Jarre, is named in his honour.
 * 1990 – New Guinness Book of Records entry for the biggest concert ever (Paris La Défense: A City in Concert)
 * 1993 – UNESCO Goodwill Ambassador
 * 1994 – Victoire de la Musique for Chronologie.
 * 1994 – Victoire de la Musique for Europe in Concert.
 * 1995 – Awarded Chevalier de la Légion d'Honneur from the French Government.
 * 1997 – New Guinness Book of Records entry for the biggest concert ever with 3.5 million watching at Moscow's 850th anniversary
 * 1998 – IFPI's Platinum Europe Award
 * 2005 – HCA Ambassador for the Hans Christian Andersen 2005 Bicentenary Festival
 * 2006 – Polish Television Academy's "Super Wiktor" award for "Space of Freedom"
 * 2006 – Gdańsk's Man of the Year 2005 Award
 * 2007 – Eska Music Awards Special Award
 * 2008 – Doctor Honoris Causa by the Mendeleev Russian University of Chemistry and Technology
 * 2010 – MOJO Lifetime Achievement Award.
 * 2010 – Grand Prix des Musiques Electroniques SACEM
 * 2010 – Honorary citizen of Gdansk.
 * 2011 – International Cavalchina Award.
 * 2011 – Awarded Officier de la Légion d'Honneur from the French Government.
 * 2012 – Awarded the "Miembro Honorífico del Claustro Universitario de las Artes" (Honorary Fellow of the University Senate of the Arts) by the University of Alcalá and the Society of Artists of Spain (AIE).
 * 2013 – Awarded the Steiger Award in Germany.
 * 2013 – Elpida Award.
 * 2014 – Q Innovation of Sound award.
 * 2014 – INA Distinction Numérique Award.
 * 2015 – GQ Man of the Year.
 * 2017 – Roland Lifetime Achievement Award.
 * 2017 – SPA medal of honor.
 * 2017 – Stephen Hawking Medal for Science Communication by the Starmus Festival and Stephen Hawking.
 * 2018 – Honorary president of INA GRM.
 * 2018 – Honorary member of Polish Authors Society Zaiks.
 * 2019 - Hungarian Music Award for Best Foreign Electronic Recording (Equinoxe Infinity) (nominated)
 * 2021 – Commander of the Legion of Honour by President Macron
 * 2024 - Special award of the Slovak Copyright Association for contribution in the field of copyright protection

Discography

 * 1973 – Deserted Palace
 * 1973 – Les Granges Brûlées
 * 1976 – Oxygène
 * 1978 – Équinoxe
 * 1981 – Les Chants Magnétiques
 * 1982 – Les Concerts en Chine
 * 1983 – Musique pour Supermarché
 * 1984 – Zoolook
 * 1986 – Rendez-Vous
 * 1988 – Revolutions
 * 1990 – En attendant Cousteau
 * 1993 – Chronologie
 * 1997 – Oxygène 7–13
 * 2000 – Métamorphoses
 * 2001 – Interior Music
 * 2002 – Sessions 2000
 * 2003 – Geometry of Love
 * 2007 – Téo & Téa
 * 2007 – Oxygène: New Master Recording
 * 2015 – Electronica 1: The Time Machine
 * 2016 – Electronica 2: The Heart of Noise
 * 2016 – Oxygène 3
 * 2018 – Equinoxe Infinity
 * 2021 – Amazônia
 * 2022 – Oxymore
 * 2023 – Oxymoreworks ''

title: Jean-Michel Jarre


text:
Talk:Elián González

Birthday?
His birthday is also listed on January 19th. ???

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

title: Talk:Elián González


text:
Animal Crackers (1930 film)

Animal Crackers is a 1930 American pre-Code Marx Brothers comedy film directed by Victor Heerman. The film stars the Marx Brothers, (Groucho, Harpo, Chico, and Zeppo), with Lillian Roth and Margaret Dumont, based on the Marxes’ Broadway musical of the same name. Mayhem and zaniness ensue during a weekend party in honor of famed African explorer Captain Jeffrey T. Spaulding. A critical and commercial success upon its initial release, Animal Crackers was shot at Paramount's Astoria Studios in Astoria, Queens, the second film the Brothers would make in New York City.

Animal Crackers was adapted from the successful 1928 Broadway musical of the same title by George S. Kaufman and Morrie Ryskind, also starring the Marx Brothers and Margaret Dumont. Also reprising their Broadway roles were Margaret Irving as Mrs. Whitehead and Robert Greig as Hives, the butler. Greig appeared with the Marx Brothers again in Horse Feathers (1932).

Plot
A newspaper headline explains that society matron Mrs. Rittenhouse is holding a lavish party at her home on Long Island. The party will host renowned explorer Captain Geoffrey (or Jeffrey) T. Spaulding, just returned from Africa, as the guest of honor. Also, revered art collector Roscoe W. Chandler will unveil his recently acquired painting, After The Hunt, by a famous fictional artist named Beaugard.

Hives instructs his six footmen on preparations for the party ("He's One of Those Men"). Chandler arrives with the Beaugard and proceeds to flirt with Mrs. Rittenhouse. Capt. Spaulding's secretary, Horatio Jamison, announces the Captain's arrival ("I Represent The Captain") ("Hooray for Captain Spaulding, Part I"). Capt. Spaulding makes a grand entrance and announces that he cannot stay and must leave immediately ("Hello, I Must Be Going"). Mrs. Rittenhouse begs him to stay, and the guests declare their admiration for the Captain, and he decides to stay ("Hooray for Captain Spaulding, Part II"). Soon after, Signor Emanuel Ravelli, hired to provide music for the party, arrives followed a few moments later by his "partner" the Professor, hired to provide music for the weekend event. After an elaborate introduction, The Professor alarms the guests after he begins firing off Spaulding's guns. The Professor soon takes off chasing after an attractive blonde party-goer.

Arabella Rittenhouse devises a scheme to win Chandler's interest in her fiancé John Parker's work: they'll replace the Beaugard with an almost perfect copy of it John painted as an art student, since they can find no obvious differences. After the painting is unveiled at the party, they will surprise everyone and hopefully convince Chandler that John is a talented artist. Arabella asks Ravelli to switch the paintings. Meanwhile, another weekend party guest, Grace Carpenter thinks up the very same idea with her older sister, Mrs. Whitehead, as a means of humiliating Mrs. Rittenhouse. Grace also copied the painting as an art student and asks Hives to replace the Beaugard with Grace's poor copy, unaware that they are removing John's copy.

Ravelli catches the Professor chasing after the blonde girl and scolds him. Soon, Mrs. Rittenhouse and Mrs. Whitehead enter and after the Professor is finished brutally assaulting Mrs. Rittenhouse, the four proceed to play an absurd variation of Bridge. Ravelli and the Professor run into Chandler and recognize him as Abie the fish peddler from Czechoslovakia. Chandler tries to bribe the two in order to keep them quiet, but they end up taking his money, tie and garters as well as, miraculously, Chandler's birthmark which is transferred to the Professor's arm. After a series of strange interludes while speaking with Mrs. Rittenhouse and Mrs. Whitehead, Capt. Spaulding has a debate on art and the economy with Chandler after his encounter with Ravelli and the Professor. Later that night, a thunderstorm has put out the lights and Ravelli and the Professor attempt to replace the Beaugard. In the middle of the job, Capt. Spaulding and Mrs. Rittenhouse wander in. The Captain finds the Professor's lost fish in the sofa. Ravelli and the Professor succeed in replacing the painting. During the party, Spaulding gives a ridiculous and absurd account of his adventures in Africa. Signor Ravelli is invited to play some selection on the piano. Chandler invites the guests into the parlor, so he can unveil the Beaugard. Once the painting is revealed, Chandler immediately notices the poor quality and realizes someone has stolen his painting and replaced it with a cheap imitation. John feels discouraged, thinking the painting is still his copy. Suddenly the lights go out again, and when restored, the imitation Beaugard is missing as well. The guests, now in an uproar, scatter and attempt to find the stolen painting, led by Capt. Spaulding. John and Arabella discuss the excitement of the situation and their love for each other ("Why Am I So Romantic?").

The next day, the police arrive to search for the missing painting. Realizing that they may have gone too far, Mrs. Whitehead and Grace ask Hives to return the Beaugard but he can't find it anywhere. Mrs. Whitehead deduces the Professor must have stolen it. After confronting him, she gets Grace's copy back. Later, John finds Grace's copy of the Beaugard and reveals to Arabella that someone else must have had the same idea to switch paintings. Realizing that Chandler never actually saw John's copy, they become more hopeful. Soon after, John realizes the copy he found is now missing. Captain Spaulding, Jamison, and Ravelli discuss how they might go about finding the missing painting. After getting the painting back from the Professor, John and Arabella bring it to Capt. Spaulding. They deduce that the Professor must have stolen the paintings, and enlist the police to help find him.

After a brief altercation, Spaulding, Ravelli, and Jamison enter with the Professor ("My Old Kentucky Home"). The Professor is apprehended, and the three paintings are returned. Chandler momentarily mistakes John's copy for the genuine Beaugard. Realizing his talent, Chandler hires John to do a series of portraits for him. After momentarily letting the Professor go free, the police sergeant tries to apprehend him. To escape arrest, the Professor sprays the guests with a knockout substance from a Flit can. After everyone is laid out on the floor and fully subdued, the film concludes with the Professor knocking himself out next to the pretty blonde he has been chasing at intervals during the film.

Cast

 * Groucho Marx as Captain Jeffrey Spaulding
 * Harpo Marx as The Professor
 * Chico Marx as Signor Emanuel Ravelli
 * Zeppo Marx as Horatio Jamison
 * Lillian Roth as Arabella Rittenhouse
 * Margaret Dumont as Mrs. Rittenhouse
 * Louis Sorin as Roscoe W. Chandler
 * Hal Thompson as John Parker
 * Margaret Irving as Mrs. Whitehead
 * Kathryn Reece as Grace Carpenter
 * Robert Greig as Hives, the butler
 * Edward Metcalf as Inspector Hennessey
 * The Music Masters as Six Footmen

Jokes
Four of Groucho's best-known quips:
 * "One morning I shot an elephant in my pajamas. How he got in my pajamas, I don't know."
 * (The American Film Institute listed this at number 53 in the 100 Greatest Movie Quotes of All Time.)

 * "Then, we tried to remove the tusks, ... but they were embedded in so firmly, we couldn't budge them. Of course, in Alabama the Tusk-a-loosa. But that's entirely ir-elephant to what I was talking about."
 * "Africa is God's country – and He can have it."
 * "We took some pictures of the native girls, but they weren't developed. But we're going back again in a couple of weeks!"

Other quotes from Groucho:
 * "Ever since I met you, I've swept you off my feet."
 * "You mind if I don't smoke?"
 * "There's one thing I've always wanted to do before I quit: Retire."
 * "I was outside the cabin smoking some meat. There wasn't a cigar store in the neighborhood!"
 * "Didn't you ever see a Habeas Corpus?" Chico: "No, but I see Habeas Irish Rose."

The film also contains the well-known Chico–Harpo scene in which Chico keeps asking Harpo for "a flash" (meaning a flashlight), and Harpo – not understanding – produces from his bottomless trenchcoat and baggy pants a fish, a flask, a flute, a "flit", a "flush", etc.

Zeppo figures in a well-known scene in which Groucho dictates a letter to his lawyers in rambling pseudo-legalese. Zeppo gets to one-up Groucho: When asked to read the letter back, Zeppo informs him, "You said a lot of things I didn't think were very important, so I just omitted them!" whereupon a minor skirmish ensues: what he's omitted is the body of the letter. (Joe Adamson, in Groucho, Harpo, Chico, and Sometimes Zeppo, observed that this scene disproved the common notion that Zeppo was the least of the Marx Brothers: "It takes a Marx Brother to pull something like that on a Marx Brother and get away with it.")

One more complex running joke has Groucho turning the dialogue into a scene out of the Eugene O'Neill play, Strange Interlude, in which the characters continually spoke asides that convey their thoughts. Groucho's voice becomes deep and droning as he steps apart from the other characters to comment on the scene"Living with your folks. Living with your folks. The beginning of the end. Drab dead yesterdays shutting out beautiful tomorrows. Hideous, stumbling footsteps creaking along the misty corridors of time. And in those corridors I see figures, strange figures, weird figures: Steel 186, Anaconda 74, American Can 138 ..." The comedy, thus, is in the unpredictable shifting of the scene's meaning, from two socialite ladies and a world-famous explorer mingling at a party, to a parody of O'Neill's work, to a mimicking of a man reading out stock prices. Incidentally, Groucho had heavy investments in Anaconda Copper and after having lost everything in the stock market crash of 1929 experienced a bout of depression as well as insomnia.

In the final scene, Harpo uses a Flit gun to pacify an entire crowd, finally spraying Groucho, who falls unconscious to the ground. The current prints of the film have the "Flit" name blotted out, since Paramount Pictures didn't get permission to use the trademarked name.

Musical numbers
Groucho's songs, "Hello, I Must Be Going" and "Hooray for Captain Spaulding", both written by Bert Kalmar and Harry Ruby, became recurring themes for Groucho through the years. The latter song became the theme of Groucho's radio and TV game show You Bet Your Life. It referred to a real Captain Spaulding, an army officer arrested a few years earlier for selling cocaine to Hollywood residents. The original full version of "Hooray for Captain Spaulding" was edited in compliance to the Hays Code when it was re-released in 1936: the sexually suggestive line "I think I'll try and make her" was removed – it came after Mrs. Rittenhouse's line: "He was the only white man to cover every acre." It was long believed that this footage had been lost forever, until a pre-Hays Code print was discovered in the archives of the British Film Institute. This forms the basis of Universal's Blu-ray restoration, released in October 2016.

Ironically, Groucho used an even more risqué line in introducing Chico's piano sequence: "Signor Ravelli's first selection will be, 'Somewhere My Love Lies Sleeping', with a male chorus." Chico's own piano composition "I'm Daffy over You" would be played again in their next feature film, Monkey Business, in the film's score and by Harpo on the harp.
 * He's One of Those Men (Hives and Footmen)
 * I Represent the Captain (Zeppo)
 * Hooray for Captain Spaulding Part I (The Cast)
 * Hello, I Must Be Going (Groucho)
 * Hooray for Captain Spaulding Part II (Cast)
 * Why Am I So Romantic? (Arabella and John, and as a harp interlude with Harpo)
 * I'm Daffy over You (Chico; the refrain is sometimes confused with the 1950s song "Sugar in the Morning")
 * Silver Threads Among the Gold (Chico)
 * Brief piano interlude (Harpo)
 * Gypsy-chorus (a.k.a. Anvil Chorus) (Chico)
 * My Old Kentucky Home (Marx Brothers)

Releases
The original 1930 film release ran 99 minutes. In 1936, the film was reissued with several small cuts to accommodate the Production Code. This version ran about 98 minutes.

In December 1973, UCLA student and Marx Brothers fan Steve Stoliar drove to Anaheim, California, to view a rare screening of Animal Crackers at the Old Town Music Hall theater. The print shown there was old and of poor quality, probably because the film had not been distributed for theatrical release since the early 1950s. Paramount Pictures had allowed its licenses to expire, and rights had reverted to the authors of the Broadway stage play: the playwrights George S. Kaufman and Morrie Ryskind, the composer Harry Ruby, and the lyricist Bert Kalmar. Although MCA/Universal had acquired most of Paramount's pre-1950 sound feature film library in 1958, Animal Crackers evidently was regarded as a legal mess best left untouched. Stoliar impulsively contacted Groucho Marx to enlist Groucho's support for an unlikely campaign to attempt to persuade — or pressure — Universal to re-release the film. Groucho agreed to appear at the UCLA campus for a publicity event.

On February 7, 1974, Groucho and his assistant, Erin Fleming, visited UCLA under the aegis of Stoliar's newly formed "Committee for the Re-release of Animal Crackers" (CRAC). The event drew around 200 students, over 2,000 signatures on re-release petitions, and several reporters. Universal scrambled to appear responsive: a spokesman told a UCLA Daily Bruin reporter that the studio was "delighted" by the interest, and that "we have negotiated with the heirs of the writers (Morrie Ryskind and George S. Kaufman), but they were asking much more than we wanted to spend. Just recently we reached an agreement, and we're waiting to sign the contracts." (Not quite: Ryskind was still in the pre-heir stage – he lived until 1985. The songwriter Harry Ruby was also alive, though he died only two weeks later, aged 79.) The spokesman added that he expected the film would soon be released. As the Daily Bruin put it, "The rest of the day belonged to Groucho, as he showed surprising flashes of his old brilliance." Asked to name his favorite comedian, he said: "Me." He also said that "Animal Crackers is the best of our movies."

Groucho's UCLA appearance generated national press coverage. An appearance on the nationally syndicated Merv Griffin Show soon followed. In April 1974, Groucho and Stoliar "received an answer from Universal. According to Vice President Arnold Shane, they were 'delighted with the response of the students.'" On May 23, 1974, attempting to gauge public interest, Universal screened a sharp new print of the film at the UA Theater in Westwood, just south of the UCLA campus. Groucho made a personal appearance and walked unescorted into the theatre on the left aisle. People in the audience stood up and started applauding and soon the entire theater joined in. Encouraged by the response there – the lines stretched around the block for months — on June 23 the studio screened the film at the Sutton Theater in New York. Groucho attended the New York premiere. A near-riot broke out and a police escort was summoned. From there Animal Crackers went into national release.

Because of these rights issues, Animal Crackers had never been seen on television until July 21, 1979, when CBS broadcast a special showing of the film.

The complete, uncut Animal Crackers, which had only been available for decades in a version cut for the 1936 reissue, was restored from a 35mm duplicate negative held by the British Film Institute and released by Universal Pictures in 2016 in DCP format for theatrical distribution and Blu-ray for home video as part of The Marx Brothers Silver Screen Collection. The restored edition features an optional commentary track by film historian Jeffrey Vance.

Reception
Like its predecessor The Cocoanuts, Animal Crackers was a financial success. By June 1932, the film had earned $1.5 million in worldwide theatrical rentals.

Multicolor clip
In the 1990s, a 15-second clip filmed in Multicolor during the rehearsal of a scene in Animal Crackers was found and aired as a part of the Turner Classic Movies documentary Glorious Technicolor (1998). The clip is significant because it is the earliest known color footage of the Marx Brothers, and also for an appearance by Harpo without his usual costume and wig.

References in popular culture

 * Captain Spaulding is mentioned in the song "Lydia, the Tattooed Lady" written by Harold Arlen and Yip Harburg. Groucho performs the song in the Marx Bros. film, At the Circus (1939); Virginia Weidler also sings it in The Philadelphia Story (1940).
 * "Hello, I Must Be Going" became a theme in Oliver Stone's miniseries Wild Palms. It was the title of the final episode, and sung by villain Senator Kreutzer (Robert Loggia) as he died.
 * British musician Phil Collins titled his 1982 album after the song "Hello, I Must Be Going".
 * The song "Hello, I Must Be Going" also accompanies the opening credits of Woody Allen's Whatever Works (2009).
 * "Captain Spaulding" is one of many Marx Brothers character-related pseudonyms for Sid Haig's murderous clown character, John Cutter, in Rob Zombie's House of 1000 Corpses and its sequel The Devil's Rejects.
 * The film is referenced in Murray Takes a Stand, a 1976 episode of The Mary Tyler Moore Show.
 * In the TV series M*A*S*H, in which actor Alan Alda's portrayal of Hawkeye Pierce is inspired by Groucho, early episodes featured  a character named Captain Calvin Spalding, played by musician Loudon Wainwright III.
 * "Hooray For Captain Spaulding" is performed in English and in French in a scene toward the end of Woody Allen's 1997 movie musical Everyone Says I Love You at a party scene in Paris where all the guests are dressed as Groucho Marx.
 * The Groucho-hosted quiz show You Bet Your Life used an instrumental version of "Hooray For Captain Spaulding" as the theme for most of its run.

title: Animal Crackers (1930 film)


text:
Snark

Snark may refer to:

Fictional creatures

 * Snark (Lewis Carroll), a fictional animal species in Lewis Carroll's The Hunting of the Snark (1876)
 * Zn'rx, a race of fictional aliens in Marvel Comics publications, commonly referred to as "Snarks"
 * Corporal Snark, a minor character in Catch-22 (1961) by Joseph Heller
 * A species of creature in The 100 Lives of Black Jack Savage
 * The Snark, fictional alien machine that visits Earth in the novel In the Ocean of Night (1977) by Gregory Benford
 * A fictional creature from the TV series The Troop
 * A fictional creature from the book series A Song of Ice and Fire, fictional even in the fictional world
 * A beetle-like creature from Half-Life which doubles as a biological weapon.

Aircraft and missiles

 * SM-62 Snark, an American intercontinental nuclear cruise missile
 * Sopwith Snark, a British experimental fighter plane
 * Barber Snark, a New Zealand kit-built tandem-seater light aircraft

Ships

 * Snark, an experimental rescue submersible in the film Gray Lady Down (1978)
 * The Snark, a yacht described in Jack London's book The Cruise of the Snark (1911)
 * Snark sailboat, a small, inexpensive, and lightweight sailboat
 * MV The Second Snark, historically a shipyard tender, now in service as a cruise boat and ferry
 * USS Snark (SP-1291), a United States Navy patrol boat in commission from 1917 to 1919

Other

 * Snark (graph theory), a type of graph
 * SNARK (theorem prover), a computer program
 * zk-SNARK, zero-knowledge Succinct Non-interactive ARgument of Knowledge, a cryptographic tool for producing short proofs of statements without revealing any additional information
 * Snark, an Open Source BitTorrent client
 * Snark (2009), a book by film critic David Denby
 * Snark, a glider reflector in Conway's Game of Life
 * Snark, a late 70s moped produced by F.I.V. Edoardo Bianchi
 * Snark, snarky, or snarkiness, terms referring to sarcastic remarks

title: Snark


text:
The Hunting of the Snark

The Hunting of the Snark, subtitled An Agony, in Eight fits, is a poem by the English writer Lewis Carroll. It is typically categorised as a nonsense poem. Written between 1874 and 1876, it borrows the setting, some creatures, and eight portmanteau words from Carroll's earlier poem "Jabberwocky" in his children's novel Through the Looking-Glass (1871).

The narrative follows a crew of ten trying to hunt the Snark, a creature which may turn out to be a highly dangerous Boojum. The only crewmember to find the Snark quietly vanishes, leading the narrator to explain that the Snark was a Boojum after all. The poem is dedicated to young Gertrude Chataway, whom Carroll met in the English seaside town Sandown on the Isle of Wight in 1875. Included with many copies of the first edition of the poem was Carroll's religious tract, An Easter Greeting to Every Child Who Loves "Alice".

The Hunting of the Snark was published by Macmillan in the United Kingdom in March 1876, with illustrations by Henry Holiday. It had mixed reviews from reviewers, who found it strange. The first printing of The Hunting of the Snark consisted of 10,000 copies. There were two reprintings by the conclusion of the year; in total, the poem was reprinted 17 times between 1876 and 1908. Carroll often denied knowing the meaning behind the poem; however, in an 1896 reply to one letter, he agreed with one interpretation of the poem as an allegory for the search for happiness. Henry Holiday, the illustrator of the poem, considered the poem a "tragedy". Scholars have found various meanings in the poem, among them existential angst, an allegory for tuberculosis, and a mockery of the Tichborne case. The Hunting of the Snark has been adapted for musicals, opera, plays, and music.

Setting
The Hunting of the Snark shares its fictional setting with Lewis Carroll's earlier poem "Jabberwocky" published in his 1871 children's novel Through the Looking-Glass. Eight nonsense words from "Jabberwocky" appear in The Hunting of the Snark: bandersnatch, beamish, frumious, galumphing, jubjub, mimsiest (which previously appeared as mimsy in "Jabberwocky"), outgrabe, and uffish. In a letter to the mother of his young friend Gertrude Chataway, Carroll described the domain of the Snark as "an island frequented by the jubjub and the bandersnatch – no doubt the very island where the jabberwock was slain."

Characters
The crew consists of ten members, where all but one description of the members begin with the letter B: a Bellman, the leader; a Boots (the only member of the crew without an illustration); a maker of Bonnets and Hoods (the only description which does not begin with the letter B); a Barrister, who settles arguments among the crew; a Broker, who can appraise the goods of the crew; a Billiard-marker, who is greatly skilled; a Banker, who possesses all of the crew's money; a Beaver, who makes lace and has saved the crew from disaster several times; a Baker, who can only bake wedding cake, forgets his belongings and his name, but possesses courage; and a Butcher, who can only kill beavers.

Summary

After crossing the sea guided by the Bellman's map of the Ocean (a blank sheet of paper) the hunting party arrives in a strange land, and the Bellman tells them the five signs by which a snark can be identified. The Bellman warns them that some snarks are highly dangerous boojums; on hearing this, the Baker faints. Once revived, the Baker recalls that his uncle warned him that if the Snark turns out to be a boojum, the hunter will "softly and suddenly vanish away, and never be met with again". The Baker confesses that this possibility terrifies him.

The hunt begins: They sought it with thimbles, they sought it with care; They pursued it with forks and hope; They threatened its life with a railway-share; They charmed it with smiles and soap. Along the way, the Butcher and Beaver, previously mutually wary, become fast friends after they hear the cry of a jubjub bird and the Butcher ends up giving the Beaver a lesson on maths and zoology. The Barrister, meanwhile, sleeps, and dreams of witnessing a court trial of a pig accused of deserting its sty, with a snark as its defence lawyer.

During the hunt, the Banker is attacked by a bandersnatch, and loses his sanity after trying to bribe the creature.

The Baker rushes ahead of the party and calls out that he has found a snark, but when the others arrive, he has mysteriously disappeared. They hunted till darkness came on, but they found Not a button, or feather, or mark, By which they could tell that they stood on the ground Where the Baker had met with the Snark.

In the midst of the word he was trying to say, In the midst of his laughter and glee, He had softly and suddenly vanished away— For the Snark was a Boojum, you see.

Development
Two explanations of which event in Carroll's life gave rise to The Hunting of the Snark have been offered. Biographer Morton N. Cohen connects the creation of The Hunting of the Snark with the illness of Carroll's cousin and godson, the twenty-two-year-old Charlie Wilcox. On 17 July 1874, Carroll travelled to Guildford, Surrey, to care for him for six weeks, while the young man struggled with tuberculosis. The next day, while taking a walk in the morning after only a few hours of sleep, Carroll thought of the poem's final line: "For the Snark was a boojum, you see."

Fuller Torrey and Judy Miller suggest that the event that inspired the poem was the sudden death of Carroll's beloved uncle, Robert Wilfred Skeffington Lutwidge, caused by a patient in 1873 during Lutwidge's time as an inspector of lunatic asylums. They support their analysis with parts of the poem, such as the Baker's uncle's advice to seek the snark with "thimbles, forks, and soap", which, according to Torrey and Miller, were all items the lunatic asylum inspectors checked during their visits.

Holiday and Carroll had some disagreements on the artwork. Carroll initially objected to Holiday's personification of hope and care, but agreed to the change, when Holiday explained that he had only intended to add another layer of meaning to the word "with". However, Carroll refused his illustration of the boojum, preferring that the creature go without a depiction, and made him change his initial portrayal of the Broker, as it could have been perceived as antisemitic.

When finally published, the poem comprised 141 stanzas of four lines each, with internal rhymes in the first and third lines of irregular stanzas appearing in the poem from the second fit onwards. Martin Gardner annotated to The Hunting of the Snark that Elizabeth Sewell pointed out in The Field of Nonsense (1973) that a line in Carroll's poem has a similarity to a line in a limerick ("There was an old man of Port Grigor...") by Edward Lear.

Illustrations
To illustrate the poem Carroll chose Henry Holiday, whom he had met in 1869 or 1870. At the time Carroll approached him to ask if he could create three illustrations for the poem, Carroll had completed three "fits", as he called the parts of his poem – fit can mean either canto or convulsion – "The Landing", "The Hunting", and "The Vanishing". He intended to title it The Boojum and include it in his fantasy novel Sylvie and Bruno, which was unfinished at the time. However, in late October 1875, Carroll thought about having it published during Christmas; this proved impossible, as the wood engraving for the illustrations needed three months to be complete. By the time Holiday had completed the sketches and sent them to Carroll, Carroll had already created a new fit requiring an illustration. They worked this way until Holiday had created nine illustrations as well as the front cover and the back cover of the book. Thus, among the ten illustrations shown below, one illustration is not by Holiday. The "Ocean Chart" is typographic art whereas electrotypes made from Joseph Swain's woodblock engravings were used to print Holiday's illustrations.

There is no depiction of the Snark, nor of Boots. However, based on a draft by Carroll, the snark was allowed to show up in an illustration by Holiday, where it appeared in a dream of the Barrister.

The illustration to the chapter The Banker's Fate might contain pictorial references to the etching The Image Breakers by Marcus Gheeraerts the Elder, to William Sidney Mount's painting The Bone Player and to a photograph by Benjamin Duchenne used for a drawing in Charles Darwin's 1872 book The Expression of Emotions in Man and Animals.

Publication history
Upon the printing of the book on 29 March 1876, Carroll gave away eighty signed copies to his favourite young friends; in a typical fashion, he signed them with short poems, many of them acrostics of the child's name. He dedicated The Hunting of the Snark to Gertrude Chataway, whom he had befriended in summer 1875 at the English seaside town Sandown on the Isle of Wight. He finished the dedication a month after befriending her, a double acrostic poem that not only spelled out her name, but contained a syllable of her name in the first line of each stanza. The stanza of his first draft concluded "Rest on a friendly knee, the tale to ask / That he delights to tell." The poem was printed in The Hunting of the Snark with permission from Chataway's mother.

Included with many copies of the first edition of The Hunting of the Snark was Carroll's three-page, religious tract to his young readers, An Easter Greeting to Every Child Who Loves "Alice". Largely written on 5 February 1876, An Easter Greeting explores the concept of innocence and eternal life through biblical allusions and literary allusions to Romantic writers William Blake and William Wordsworth. Gardner suggests that Carroll included the tract as a way of balancing the dark tone of the poem. Scholar Selwyn Goodacre speculates that, as many copies of first-edition of the poem contain the tract, there is a possibility that all first editions originally had a copy of An Easter Greeting.

Reception and legacy
The first printing of The Hunting of the Snark consisted of 10,000 copies. By the conclusion of 1876, it had seen two reprints, with a total of 18,000 or 19,000 copies circulating. In total, the poem was reprinted seventeen times between 1876 and 1908.

The Hunting of the Snark received largely mixed reviews from Carroll's contemporary reviewers. The Academy's Andrew Lang criticised Carroll's decision to use poetry instead of prose and its too appealing title. The Athenaeum described it as "the most bewildering of modern poetry", wondering "if he has merely been inspired to reduce to idiotcy as many readers and more especially reviewers, as possible". According to Vanity Fair, Carroll's work had progressively worsened after Alice's Adventures in Wonderland (1865), with The Hunting of the Snark being the worst of his works and "not worthy [of] the name of nonsense". While The Spectator wrote that the poem's final line had the potential to become a proverb, it criticised the poem as "a failure" that might have succeeded with more work from the author. The Saturday Review wrote that the poem offered "endless speculation" as to the true identity of the Snark, although the unnamed reviewer felt that the familiar nature of Carroll's nonsense weakened its effect for the reader. Conversely, The Graphic praised the poem as a welcome departure from the Alice books, and called it "a glorious piece of nonsense", that could appeal to all Alice fans.

"The Hunting of the Snark" has in common some elements with Carroll's other works. It shares its author's love of puns on the word "fit" with Alice's Adventures in Wonderland, and mentions of "candle-ends" and "toasted cheese" with his supernatural poem Phantasmagoria. Additionally all three works include the number "42". Another of Carroll's children's novels, Sylvie and Bruno Concluded (1893) makes a reference to the Boojum.

Other illustrators of The Hunting of the Snark include Peter Newell (1903), Edward A. Wilson (1932), Mervyn Peake (1941), Aldren Watson (1952), Tove Jansson (1959), Helen Oxenbury (1970), Byron Sewell (1974), John Minnion (1974), Harold Jones (1975), Ralph Steadman (1975), Quentin Blake (1976), Frank Hinder (1989) and Brian Puttock (1997).

Cultural impact

The Hunting of the Snark has seen various adaptations into musicals, opera, theatre, plays, and music, including a piece for trombone by Norwegian composer Arne Nordheim (1975) a jazz rendition (2009), and (in French translation – La chasse au Snark) with music by Michel Puig for five actresses, eight actors and an instrumental ensemble of five players, premiered at the Festival d'Avignon in 1971. The poem was turned into a £2 million budget West End musical The Hunting of the Snark by Mike Batt. In 2023 a film was released by Simon Davison.

The poem has inspired literature, such as Jack London's The Cruise of the Snark (1911), the science-fiction short story "Chaos, Coordinated" (1947) by John MacDougal, Elspeth Huxley's With Forks and Hope (1964) and the title of Kate Wilhelm's novella "With Thimbles, with Forks and Hope." American author Edith Wharton (1862-1937) was fond of the poem as a child.

Additionally, it has also been alluded to in

 * fiction, such as Perelandra (1943) by C. S. Lewis; and Stand on Zanzibar by John Brunner; in the sci-fi novel Startide Rising (1983) and its sequels the spaceship Streaker is described as a Snarkhunter-class exploration vessel. In the Ocean of Night Benford it is rather prominent. In the 1966 short story "Jonah" ("Jonas" in French) by Gérard Klein, "snark" is a term used for bioships that go berserk.
 * television, such as "The Soul of Genius" episode of the British TV crime drama Lewis
 * court rulings, such as in Parhat v. Gates (2008)

 * a phenomenon in superfluidity
 * graph theory
 * hydrology, with a group of French hydrologists publishing in a well-known scientific journal a prose analogue to Carroll's poem, mocking the rivalries existing in the academic community

 * geography, a Snark Island and Boojum Rock exist in the Andaman and Nicobar Islands in the Bay of Bengal
 * botany, the Boojum tree in Baja California, Mexico
 * Japanese animation, such as Ghost Hound (2007–08)
 * video games, such as Half-Life (1998) and American McGee's Alice (2000)
 * A song, "Nine Funerals of the Citizen King", by Henry Cow.

Analysis

Various themes have been suggested by scholars. According to biographer Florence Becker Lennon, the poem's "motif of loss of name or identity" is typical of Carroll's work. Richard Kelly writes that the poem contains a "theme of annihilation". Furthermore, Edward Guiliano feels that the Snark is within the nonsense tradition of Thomas Hood and, especially, W. S. Gilbert, the librettist of the famous Gilbert and Sullivan team. According to him, a case can be made for a direct influence of Gilbert's Bab Ballads on The Hunting of the Snark, based on the fact that Carroll was well-acquainted with the comic writing and the theatre of his age.

In response to various letters asking for the meaning of the poem, Carroll often replied that he did not know. However, in an 1896 reply to one letter, he agreed with one interpretation of the poem as an allegory for the search for happiness.

Widely varying interpretations of The Hunting of the Snark have been suggested: an allegory for tuberculosis, a mockery of the Tichborne case, a satire of the controversies between religion and science, the repression of Carroll's sexuality, and a piece against vivisection, among others. According to Cohen, the poem represents a "voyage of life", with the Baker's disappearance caused by his violation of the laws of nature, by hoping to unravel its mysteries. Lennon sees The Hunting of the Snark as "a tragedy of frustration and bafflement", comparable to British actor Charlie Chaplin's early comedies.

According to Kelly, The Hunting of the Snark is "Carroll's comic rendition of his fears of disorder and chaos, with the comedy serving as a psychological defense against the devastating idea of personal annihilation." Kelly writes that the Bellman's Rule of Three ("What I tell you three times is true") and starting each character's name with the letter B are "notable attempts to create a sense of order and meaning out of chaos".

F.C.S. Schiller, writing under the pseudonym "Snarkophilus Snobbs", interprets the poem as an allegory of Man's attempt to understand "the Absolute", and the members of the crew as representing different cultural approaches to the problem. His interpretation of the Sixth Fit, "The Barrister's Dream" is particularly notable: He reads the trial of the pig for deserting its sty as symbolizing the ethical debate about whether suicide should be condemned as an immoral or culpable action. The pig who deserts its sty represents the suicidal person who abandons life. (Like the pig, he's guilty – but being dead, is not punishable.)

Martin Gardner sees the poem as dealing with existential angst, and states that the Baker may be Carroll's satire of himself, pointing to the fact that the Baker was named after a beloved uncle, as was Carroll, and that the two were around the same age at the time of the writing of the poem. Alternatively, Larry Shaw of the fan magazine Inside and Science Fiction Advertiser suggests that the Boots, being the Snark, actually murdered the Baker.

Darien Graham-Smith suggests that The Hunting of the Snark stands for science (e.g. Charles Darwin's research), where the Boojum stands for religiously unsettling results of scientific research (e.g. Charles Darwin's findings).

Also references to religious issues had been suggested, like the Baker's 42 boxes being a reference to Thomas Cranmer's Forty-Two Articles with a focus on the last article on eternal damnation, and Holiday's illustration to the last chapter containing a pictorial allusion to Cranmer's burning.

title: The Hunting of the Snark


text:
David Zindell

David Zindell (born November 28, 1952) is an American science fiction and fantasy epics writer.

Writing career
Zindell's first published story was "The Dreamer's Sleep" in Fantasy Book in 1984. His novelette Shanidar, which shared a background with his first novel Neverness, won the Writers of the Future contest in 1985. He followed Neverness with a sequel trilogy called A Requiem for Homo Sapiens.

Zindell's fantasy series The Ea Cycle has as a theme the evolution of consciousness, through the method of fantasy. The plot concerns a prince named Valashu Elahad searching for a relic called the Lightstone to stop the immortal Morjin, Lord of Lies, who seeks to create a world filled with madness.

In 2015 he published Splendor, a nonfiction book, and in 2017 he published The Idiot Gods, a novel told from the point of view of intelligent killer whales.

Style and themes
John Clute wrote that Zindell was a "romantic, ambitious, and skilled" writer. Zindell has described his style as an attempt to communicate the connectedness of things, the connection between mysticism and evolution, and the possibilities of life, and his fiction as an attempt to heal false dichotomies such as materialism and spirituality.

Personal life
Zindell was born in Toledo, Ohio, and resides today in Boulder, Colorado, where he works as a test coach; he received a BA in mathematics and minored in anthropology at the University of Colorado at Boulder.

Neverness Universe

 * "Shanidar", Writers of the Future (March 1985); online reprint at infinity plus
 * Neverness (New York: D. I. Fine, 1988)
 * A Requiem for Homo Sapiens (trilogy):
 * The Broken God (HarperCollins, 1992); US ed., Bantam, 1994
 * The Wild (Harper Voyager, 1995); US ed., Bantam, 1996
 * War in Heaven (Voyager, Bantam, 1998)
 * The Remembrancer's Tale (Harper Voyager, 2023)

Ea Cycle

 * The Lightstone (London: Harper Voyager, August 2001); also published as two volumes, The Ninth Kingdom and The Silver Sword (Voyager, 2002)
 * The Lightstone, revised edition (Tor Books, June 2006) – first American ed. of volume one
 * The Silver Sword (Tor, 2007) – American sequel
 * The Lord of Lies (Voyager, 2003); US ed., Tor, 2008
 * Black Jade (Voyager, 2005); not released in U.S.
 * The Diamond Warriors (Voyager, 2007); not released in U.S.

Other novels

 * The Orca's Song (originally published as The Idiot Gods, Harper Voyager, July 2017)

Other short stories

 * "The Dreamer's Sleep", Fantasy Book, December 1984
 * "Caverns", Interzone (UK), Winter 1985/86
 * "When the Rose Is Dead", Full Spectrum 3, June 1991

Essays

 * Read This (1994)
 * Splendor (Bhodi Books, 2015)

title: David Zindell


text:
Congruence

Congruence may refer to:

Mathematics

 * Congruence (geometry), being the same size and shape
 * In modular arithmetic, having the same remainder when divided by a specified integer
 * Ramanujan's congruences, congruences for the partition function, $p(n)$, first discovered by Ramanujan in 1919
 * Congruence subgroup, a subgroup defined by congruence conditions on the entries of a matrix group with integer entries
 * Congruence of squares, in number theory, a congruence commonly used in integer factorization algorithms
 * Matrix congruence, an equivalence relation between two matrices
 * Congruence (manifolds), in the theory of smooth manifolds, the set of integral curves defined by a nonvanishing vector field defined on the manifold
 * Congruence (general relativity), in general relativity, a congruence in a four-dimensional Lorentzian manifold that is interpreted physically as a model of spacetime or a bundle of world lines
 * Zeller's congruence, an algorithm to calculate the day of the week for any date
 * Scissors congruence, related to Hilbert's third problem

Mineralogy and chemistry
In mineralogy and chemistry, the term congruent (or incongruent) may refer to:

 * Congruent dissolution: substances dissolve congruently when the composition of the solid and the dissolved solute stoichiometrically match
 * Congruent melting occurs during melting of a compound when the composition of the liquid that forms is the same as the composition of the solid
 * Incongruent transition, in chemistry, is a mass transition between two phases which involves a change in chemical composition

Psychology

 * In Carl Rogers' personality theory, the compliance between ideal self and actual self-see Carl Rogers
 * Mood congruence between feeling or emotion (in psychiatry and psychology)
 * Incongruity theory of humor

title: Congruence


text:
User:Marian

List of Wikipedia contributions

 * UI design proposal for Wikipedia (March 2002, read below)
 * Added german article Wochenschau
 * Added german article Michel Gondry
 * Minor changes on various german pages

A UI design proposal for Wikipedia
DISCLAIMER: The UI design proposal has been made in March 2002 as part of my preparations for my intermediate exams. I leave it here for the sake of future reference. German language are invitet to take a look at my short thesis about [Design für Open Source Projekte].

As you can read below I feel that it is possible to make Wikipedia an even better experience for it's users. A great part could be done through a new UI design.

To be as constructive as I possibly can, I made an initial design proposal to throw it in the circle and gather some thoughts from you all who care.

http://kisd.de/~marian/wikipedia/redesign_article_1_thumb.png

[Click here] for full size image (PNG format).

What you can see on the screen is a mockup of a short article page (Genome) that shows the overall look and feel of the site.

Here are some thoughts:

 * The appearance could be considered very calm, quiet, friendly, subtle, bright.
 * The visual design opts for ease of use, speed, compatibility. (Call it a Googleish design, if you want.)
 * Ease of use means: Newbies and experts find their way and get the work done quickly.
 * Speed means: The HTML would be lightweight as it is right now.
 * Compatibility means: The template would of course technically support all browsers, but also optically support the huge range of content styles in the articles. Thats the reason why color is very reduced and the use of type is subtle.
 * The appearance is not designed towards originality or web design awards.
 * The logo... I consider the current logo good, but too detailed for use on all pages. That's why I would propose to use a simplified version on all pages. A "text ball" version could be used on the main page, though. (and for merchandise... ;-)
 * My preferred type order for text would be "Verdana, sans-serif". Verdana is the most legible type for the screen. As Wikipedia is 99,9% text, we should care about this.
 * The article headline is not Verdana, because Verdana doesn't look nice in larger sizes. It's Helvetice here, so in terms of CSS just call it "sans-serif".
 * Probably the most important thoughts are in the organization of the page items. As you can see. In detail:
 * The search input (titled "Find", because "Find" is more optimistic than "Search" ;-)), probably the most important interface to Wikipedia, has a central position.
 * Distinguished from the Find input are the "Browse" links to the content. I sorted by what I guess could be most important to the majority of users.
 * General Editing (File Upload) and Personalized links to personalized specials are below.
 * important site-wide links are in the blue bar at the top right
 * the article, of course, goes to the middle
 * and functions and information related to the article is positioned right hand side from the article.
 * The page scales t a 100% browser width,just as the current template does.
 * The template would need either one or two images, not more.

Article ToDos

 * Map - add mentioning of a more conceptual understanding of "map" (like web site maps). The article seems to be too narrow on geographical maps. Maybe get some viewpoints together from literature. Genome uses the term "map" in the wider way already, but cannot usefully be linked in the current way.

title: User:Marian


text:
Talk:Black's Law Dictionary

yada,yada
objection. a reason in support of the contention that the matter or proceeding is improper. Talk page - discussion of encyclopedia entry. In this case, Black's Law Dictionary. Expansion of 44th most popular page, good call, 2nd edition search, also good call, note response link, some online legal dictionaries, good call to move, Software, good call, the rest of this page, garbage. As a research tool, the entry should be positive and informative. Suijur (talk) —Preceding undated comment added 13:40, 6 January 2019 (UTC)
 * supreme court cases needs citation tag removed, citation of PATTERSON v WALGREEN CO. added. Suijur (talk) 14:46, 6 January 2019 (UTC)
 * how to win against the department of child safety WPTTR (talk) 06:12, 23 February 2023 (UTC)

44th Most Popular Page, Needs EXPANSION
This page is the 44th most popular page in Wikipedia. It really needs more content. I however, am only in a position to complain, unfortunately. Aldie 13:23 Oct 24, 2002 (UTC) If justice is defined as the fair, impartial consideration of opposing interests,are law opposing interests, are law and justice the same thing —Preceding unsigned comment added by 69.139.237.146 (talk) 00:15, 14 January 2008 (UTC) Adding my voice to this: if there are Wikipedians out there with legal training, this article could really use some attention. I am going to try to do a little bit for it, but, as the cliché goes, I am not a lawyer, so I don't think I'm really the right person to step up and take leadership, since I would be amateurishly trying to figure out things in an area where I expect there are plenty of people with real expertise. (I am a big fan of dictionaries, though; at a minimum, I'll try to contribute the results of the research question that brought me here.) Really, though, given the significance of the book, I'm sure there's a whole lot more to be said about it than is in the article now. LiberalArtist (talk) 20:29, 16 March 2015 (UTC)

2nd Ed. Search
Can someone please find an online version of the 2nd edition? True 15:27, 26 May 2006 (UTC)
 * https://www.freelawdictionary.org/ Suijur (talk) 13:09, 6 January 2019 (UTC)

3.1, "Some online legal dictionaries"
Is section 3.1, "Some online legal dictionaries," appropriate content for the Black's Law Dictionary page? Wouldn't it be better suited for the generic Law Dictionary page?

Actually, that's rhetorical, I'm just going to move it. I will, however, add a "See Also" section. For now, only the "Law Dictionary" page will be included, but I would appreciate it if others would help expand it. 24.175.54.43 15:09, 20 June 2006 (UTC)

Software
Black's Law Dictionary is now available in a software format. -- Toytoy 19:34, 26 January 2007 (UTC)

Hoax?
Shouldnt we put how it was founded as a hoax? —Preceding unsigned comment added by 70.107.16.114 (talk) 03:19, 24 April 2008 (UTC)

According to this contemporaneous UseNet post, the hoax claim in 2003 is a hoax: http://groups.google.com/group/misc.legal/msg/874d0f4dccfda18e —Preceding unsigned comment added by 63.225.104.198 (talk) 18:26, 24 April 2008 (UTC)

To Which Juristictions Does Black's Law Dictionary Apply?
Is BLD only relevant to the United States of America (the only country currently mentioned in the article) or do the definitions contained within also apply in other countries? Some idea of scope would put the dictionary's relevance around the world into better context as it is currently unclear. 79.87.202.89 (talk) 17:26, 21 November 2009 (UTC)

It depends if the other countries have adopted roman law... Roman Maxim; For he that would be decieved, let him. - So probs the UK, Canada, Australia and New Zealand. Some Lawyers and courts certainly in the UK. Anonymous 573462i (talk) 11:56, 19 December 2015 (UTC)

 * We really can't say it "applies" to any jurisdiction. It draws from many sources and simply defines legal-related terms. Examples: "abavus" is from civil law (Latin source) and means "A great-great-grandfather"; "abbess" comes from ecclesiastical law and means "A female spiritual superior of a convent." As BLD is an English language dictionary it is useful to all English language users. But trying to explain this in the article would be difficult. – S. Rich (talk) 06:22, 20 December 2015 (UTC)

Have you looked at the terms for "EVIDENCE" and "RIGHT" in black's dictionary edition 2? The book is clearly a scam as others have pointed out... anything in capital letters is a contract also so would require an offer, acceptance and consideration to be lawfully applicable in a court. There are thousands of these around the place also, it doesn't take much time, like "ARTIFICIAL PERSON"... although out of amazement this was later adopted as "Corporation or CORPS"... this is still legal fiction which moral philosophers oppose and many people do not comply with... they're not really acceptable in law. It's like using "God" as a middle-man when making terms and saying that they have all the authority and represent one of the parties... whether you believe in a "God" or not it should be simple to most people that no one can know what that "God" wants directly and without explaination aswell as all sorts of factors which is a huge topic. Anonymous 573462i (talk) 12:43, 20 December 2015 (UTC)

 * Dear Anonymous 573462i: Anything in "capital letters" is a "contract"? You've been reading silly stuff on the internet.

 * Black's Law Dictionary is not a "scam." It's a legal dictionary. It is what we call secondary authority. It does not "apply" to any "jurisdiction" in particular. For individuals not trained in the law, it should be used with special care.

 * More to the point: This talk page is here to discuss ways to improve the article, not to post nonsense. Stay on task. Famspear (talk) 19:01, 20 December 2015 (UTC)

See U.C.C. 201 (10), Birth Certificates, Wills and Deeds are written in capital letters... BC's as so when making someone's name in a statement within reference to their BC, this is to make sure the statements don't get confused with the actual individual, Wills because when you write one, you're contracting with the state in trust to delivery what is in the Will to the people specified, and Deeds because they're a contractual document (you own it you own the house as a settlement)... there are many of faculties like this... another is tresspass warnings (in which, by reading the warning or having the opportunity to read you are agreeing to them being fully aware that you're on someone else's property at which no contract was made with the owner to do so). Black's Law Dictionary was without a doubt used as a scam upon people who did not know it specified contracts and there are so many loops for a judge to put an individual in cuffs and in jail before they could even make an alibi. The book itself was just a way to create an ultra vires proceeding. Anonymous 573462i (talk) 08:11, 21 December 2015 (UTC)

 * Goodness, what a load of gibberish. No, neither UCC 201(10), nor wills, nor deeds, are written in capital letters -- unless you want to print them that way. Some computer-generated copies of birth certificates are, and others are not. No, when you write a will, you are not contracting with the state or anyone else. A deed is not a contractual document. A deed is a conveyance instrument. None of these things are "contracts." Further, whether something is written in all capital letters has nothing to do with whether it is a "contract." Anonymous 573462i, you need to leave the legal opinions to the lawyers. Again, the purpose of a talk page for an article is to discuss ways to improve the article. Famspear (talk) 13:41, 21 December 2015 (UTC)

 * PS: The citation you are trying to use is UCC section "1.201(10)", not UCC "201(10)". Famspear (talk) 13:47, 21 December 2015 (UTC)

Shortly I shall then respond with; I was refering to the title's which there my claim stands true of CAPS... you can just google them and see pictures. conspicuous -> attracting notice or attention. <- Capital letters falls in this category. UCC 1.201(10) "Conspicuous", with reference to a term... these stand under a contract. We can agree to disagree if you disagree.Anonymous 573462i (talk) 15:41, 21 December 2015 (UTC)

 * This editor seems to have a Freemen on the land pov. They have an obsession with capital letters and their significance. Doug Weller (talk) 16:24, 21 December 2015 (UTC)

 * Dear Doug Weller: Yes, the "capital letters" nonsense, the irrelevant references to provisions of the UCC (the Uniform Commercial Code), and the references to things that aren't "contracts" as somehow being "contracts" are the kinds of things found in the writings of people who espouse tax protester, "freemen on the land," and sovereign citizen nonsense.

 * Dear Anonymous 573462i: No, your "claim" does not stand true. And, I don't need to google anything. You're referring to the UCC provision you mentioned earlier. That provision is a definition of the word "conspicuous" as that term is used in the UCC, and the definition mentions the use of capital letters. Printing with capital letters is one way of making something in a document covered by the UCC to be considered "conspicuous." However, you don't seem to understand what you are reading. Under the UCC, merely writing something in ALL CAPITAL LETTERS LIKE THIS -- whether in a deed, a birth certificate -- does not make the document a "contract."

 * Not only that, but the UCC does not govern wills, or deeds, or birth certificates. Again, leave the legal analysis to the lawyers. Famspear (talk) 16:47, 21 December 2015 (UTC)

 * Thanks. Doug Weller (talk) 17:06, 21 December 2015 (UTC)

 * And if anyone here knows anything about the Constitution of the United Kingdom could they please check my recent reversion of this editor? Doug Weller (talk) 17:17, 21 December 2015 (UTC)

No Doug weller I don't have a freeman pov, it's called an open mind to all pov's you should try it... it's about time someone said it, the deal here is that you're philosophically straw-manning me... then you're pre-empting to pull a confirmation bias... it's the same as witch hunting and/or red scare. Even if someone were that's an ad hominem attack so catch-22... damned if I do point that out, damned if I don't.. you obviously have a personal problem with people who can agree with protesters on some level.

Other goals of the UCC were to modernize contract law and to allow for exceptions from the common law in contracts between merchants. - I just copied this from wiki's own U.C.C. You can get your will's, deed's and birth certificates changed... it's trust law (contract)... See English trust law; e.g. transfers of land, shares, for wills... I'm sorry Famspear but you seem to be lacking in this department of law. I copied that from the wiki entry... Search those words from e.g. Birth Certificates are not on there, perhaps I'm wrong about that one but it still operates similarly since we don't own our birth cerficiates which are entrusted with the state which we are able to have the names changed. -.- This is why I said agree to disagree but it seems I've touched a judgemental nerve with Doug he's going on a harass scheme calling me a freeman for a while. I really gave up on the conversation ages ago. I'll be at Criticisms of Wikipedia pages for my own sanity on this... perhaps I'll be listing the ones relivent to Doug directly to him, who knows. Anonymous 573462i (talk) 18:08, 21 December 2015 (UTC)

 * Sorry if I've missunderstood you, I was careful to say "seem" however. Are you saying that you aren't sympathetic to their viewpoint AND that you didn't pick up the bit about capital letters from them or sovereign citizens? And please note Famspear's comment below about concentrating on the article when posting to talk pages, not the subject of the article. Doug Weller (talk) 20:06, 21 December 2015 (UTC)

But yeah, maybe I don't have english trust law completely understood... as far as I see it, it acts like contract law; the difference being that deeds, wills and birth certificates can change; say for a house or plot of land; in trust there is an inalienable contract marking that land; you can opt in or out at any time as the individual; but the states records it as existing for the time being whether someone lives there or not; birth certificates can change in a similar manner, not all people have one... and as for wills not everyone creates one. It doesn't matter on the exactness of the details... these things are still entrusted with the state. Anonymous 573462i (talk) 18:28, 21 December 2015 (UTC)

As for adding Christophers slades judgement I'm not sure how to word it perfect within context to the whole paragraph... it's reasonably difficult... I believed the edit was fine and can't see where you're unhappy with it... it's a matter of subsidiarity, if you solely presume the national level of government has full power over the local level... then the local can't operate in conjuction to it's citizen's... hence he stated a convention of sorts. It's just as bad if all power goes to the bottom level... but this web seems to be filled with peeps make-believing the national supreme yet that court case rectifies a convention. Rather than ostracizing me Doug try and help me where it's difficult instead please. Anonymous 573462i (talk) 19:13, 21 December 2015 (UTC)

 * Dear Anonymous 573462i: No, I don't seem to be lacking in any department of law. Further, the rest of us don't need any lessons in the law, and you're in no position to provide lessons on the law. Leave the lawyering to the lawyers. Focus on ways to improve the article, and look for reliable, previously published third party sources. Famspear (talk) 19:28, 21 December 2015 (UTC)

I don't think you're a qualified philosopher to be making those decisions, and since I rebuted your claims I'll decide for myself. Thanks... I'm not replying anymore to this thread so at ease with what you want to say. Anonymous 573462i (talk) 20:07, 21 December 2015 (UTC)

 * Dear Anonymous 573462I: I haven't made any "claims," and no you haven't rebutted anything.

 * And, what you personally "think" about whether I am a qualified philosopher to be making "those decisions" (whatever that means) is not important. Further, whatever you "decide for yourself" is unimportant.

 * Since you yourself brought up this subject, I'll point out that in the United States, I am in fact designated as a qualified philosopher on the subject of law -- which is essential to the subject at hand. And, my designation actually counts in the real world. I have a Doctor of Jurisprudence degree, and I am licensed as an attorney and counselor at law. In this context, the term Doctor means teacher. The term Jurisprudence means the Philosophy of Law. The term Doctor of Jurisprudence means teacher of the philosophy of law.

 * Leave the lawyering to the lawyers, and focus on the purpose of this talk page -- to discuss ways to improve the article. Famspear (talk) 21:41, 21 December 2015 (UTC)

== There exists some unstated criteria which requires a person to have reached a certain age in order to access any online instance of a version of Black's Law Dictionary, which has passed into the public domain? ==

In § 'Availability', the sentence below seems to state that some unnamed rule or criteria precludes access, by individuals younger than some unspecified age, to digitized versions, hosted online, of editions of Black's Law Dictionary, which have passed into the public domain. This is expressed in the final, independent clause, where 'one' is the subject which must reach a certain age. The dependent, infinitive clause, which precedes the independent clause in the same sentence, provides a description of what the mandate in the independent clause ('reach a certain age') permits, i.e., acquiring the ability to use an online version of editions in the public domain. 'One' is acting as a pronoun, and its only conceivable antecedent is the implied subject in the infinitive clause, which generates the interpretation I suggested.

"'The second edition of Black's Law Dictionary (1910) is now in the public domain and could be read online for free (see External Links below). However, to be able to use this online, one must reach a certain age'" — Preceding unsigned comment added by Fitzws (talk • contribs)

 * I agree; that part stood out to me as well. At least one of the links (thelawdictionary.org) has no sign of any such requirement, not even the often-unenforced terms-of-use boilerplate you see on a lot of sites. I've gone ahead and removed that part.  flarn 2006  [u t c] time: 21:43, 8 July 2021 (UTC)

title: Talk:Black's Law Dictionary