text:
Talk:Looney Tunes and Merrie Melodies filmography

Special Note on new layout and custom TOC
The filmography has been reformatted into multiple columns and has a custom TOC to save screen space. The series codes and release dates (Beck/Friedwald) from 1935 on will be brought online soon. You can pitch in if you have a decent reference like the B & F.

Schweiwikist 02:05, 16 April 2006 (UTC)

(watch here for updates; this section will be deleted once the whole filmography has been processed.)

Incorrect Info/Vandalism?
What's with the recent edits on this page? There are directors credited with many MM/LT shorts that had nothing to do with WB, like Hanna & Barbera, Takamoto, Nichols, and Deitch. In addition, there are multiple directors credited with cartoons they didn't even work on, like 1963's "Claws in the Lease" (which lists Tex Avery, who was gone from WB by over 20 years at that point!). Something tells me this article should be cleaned up to imdb standards and then locked, because there's some blatantly incorrect info here. Sb2007 (talk) 15:08, 8 March 2008 (UTC)

Unexpected
Somebody redirected my page "List of Looney Tunes VHS Tapes" into this page. It weird! — Preceding unsigned comment added by Alexandharrison (talk • contribs) 18:54, 3 November 2013 (UTC)

Outside References
I was thinking it would be a good idea to put external links to the Big Cartoon Database (http://www.bcdb.com) because all the cartoons have synopsis, characters, and other notes. What is the Wiki-style guide say for that? What do people think? Jeff schiller 19:22, 2004 Oct 19 (UTC)

That's a possibilty. IMDB also lists a lot of these toons individually. --Igor-the-insane 17:50, 15 June 2007 (UTC)

Template Idea
how about a template for each episode?

If by this you mean a stub page for each of the cartoons, I very much agree.

Synopsis
 Year released: yyyy

Characters:
 * character 2
 * character 1
 * character 5

author/animator

Episode Description
ydda yadda yadda

Other info

 * Do you mean a template for each cartoon in the page itself? I personally like the concise list presented here and would not want to break that up...Jeff schiller 19:22, 2004 Oct 19 (UTC)

 * I think this is a great idea, creating a stub page like this for each episode. We could use BCDB.com for help. Cl_ellison 04:52, 2006 July 11

 * In addition to the DVD info, how about the laserdisc info as well ? I have all of th em and would be happy to contribute.--Igor-the-insane 17:50, 15 June 2007 (UTC)

Total number
How many are there in total?--Richy 21:54, 14 March 2006 (UTC)

How many, doc? They made more cartoons than Mel had voices . ..
In the desktop reference to the LT/MM canon, Beck & Friedwald wrote (in April 1989):

 * “...watching over 1,000 WB cartoons is educational. We learned four rules which have enriched our lives and we will never forget:
 * Hippety Hopper is not a giant mouse.
 * Always get a warranty from ACME.
 * Never let Bugs or Daffy shave you!
 * The little light—it stays on!”

I’m working on breaking up the list into more easily edit-able chunks, just to add release months, based on published source(s). It’s an open question whether a capsule article on each title derived from B & F would be appropriate fair use of an out-of-print work, which fetches a steep price "new" on amazon.

Here’s the link to the book, with the customer reviews enabled (nothing very recent):

[http://www.amazon.com/gp/product/customer-reviews/0805008942/ref=cm_rev_prev/104-7081098-2458349?%5Fencoding=UTF8&customer-reviews.sort%5Fby=-SubmissionDate&n=283155&s=books&customer-reviews.start=1 “Looney Tunes. . .” on amazon.com]

Schweiwikist 16:51, 11 April 2006 (UTC)

 * Just making each year it's own sub-section should make it manageable, there aren't that many films each year. Qutezuce 21:00, 11 April 2006 (UTC)

Added UNDERCONSTRUCTION tag for the next few days. ttfn, must file by Sunday. . . ;)

Schweiwikist 19:49, 12 April 2006 (UTC)

Links to top of pages
Do we need links to the top of the page? Does anyone actually use them? I find that they clutter the page up. Qutezuce 21:58, 17 April 2006 (UTC)

Reply
They would be less necessary if this filmography were not so large, and was broken into sub-filmographies (by decade, I suppose.) I took the step of columnizing the format because there was so much wasted space to the right of the titles, but the page is still very tall. Hence the “disclaimer” at the top regarding the volume of titles.

Another purpose I think the page serves as it is, is to see how many (or few) titles have articles, and the LT-MM short “profile” within WP. I was just suprised to accidentally discover there are no Cecil Turtle cartoon articles, but the 3 titles redirect to Cecil Turtle instead.

If there were enough articles overall, then they could be categorized, and WP would generate the lists itself. For example, “Category: 1947 Merrie Melodies shorts”. But till then it’s hard to get a bearing on what’s out there. Right now I find the extra navigation handy to get back to the custom contents section (which I learned to cook up). But I’ll certainly be glad to get rid of them later.

So, to put it succinctly: I use them because I needed them; I’ll trash ’em once they’re redundant. Thanx!

Schweiwikist 20:34, 19 April 2006 (UTC)

Unreleased Doyle Shorts
As far as I know, the shorts listed on the main page never made it off the planning stages and are scrapped. Any more info on these? Jeff schiller 15:36, 28 June 2006 (UTC)

Reply
I just put the reference to the interview about those cartoons on the page. I don't know if they've been scrapped or still in the planning stages. All I know is what I've read in the interview and at the BCDB.com site Charlie Ellison 17:17, 28 June 2006

Regular Shorts vs. Misc. Shorts
I'm just wondering: What's the difference between the regular shorts (i.e. those listed first), and the "Miscelaneous Shorts?" Why can't we just put all of them together? Charlie Ellison 21:22, 03 July 2006

We need to define the difference, so people won't keep moving shorts back and forth between the two sections. I just noticed that someone moved some 1980s cartoons. Can anyone tell which is which and by which criteria? Cl ellison 17:47, 17 October 2006 (UTC)

"Let it Be Me"
This one takes us to the song rather than an entry for the cartoon.

Why the column changes???
Why is someone changing the format that the sorts are listed in the 1960s sections? And why are they putting the year of the short within the parenthases when it's already in a section that has the year? And is anybody even looking at this Talk page anymore? Cl ellison 02:45, 20 October 2006 (UTC)

Because he is an idiot who thought he was doing a good thing. However that idiot has decided to restore the site back and add director credits to the original site. -- the idiot

New Symbols for "Looney Tunes" vs. "Merrie Melodies"
What's the difference between putting the blue L as opposed to the circle symbol; and the note symbol vs. the pink M? Cl ellison 22:42, 7 January 2007 (UTC)

Too many red links
There are far too many red links. Can somebody please fill them in? Angie Y. 01:32, 2 June 2007 (UTC)
 * I can help out! Agtaz 03:12, 2 June 2007 (UTC)
 * I'm filling them in too. Done two so far today Box Car Blues and The Booze Hangs High --Kisholi (talk) 08:42, 16 July 2008 (UTC)

Is the list complete?
Is it safe to say that the article currently lists all LT/MM films to date? Hotdoglives 07:42, 25 July 2007 (UTC)

Who's that!?
Mr 76.188.8.144, who did extensive editing in June, appears to use an IP address registered to the RoadRunner Holding Company! Hmmm... —Preceding unsigned comment added by 130.49.162.58 (talk) 01:48, August 28, 2007 (UTC)

Mr. 76.188.8.144
I am no one special really - I just forget to log in a lot. I did all that editing in June because I wanted to update which shorts were in the golden collections. Beep Beep. —Preceding unsigned comment added by Syst0aac (talk • contribs) 19:25, 13 September 2007 (UTC)

EXACTLY 1000 Regular Films in initial run (1930-69)
I think this point is notable, and should be pointed out here! Problem is, if you count (the decade totals, to make it easier), it is: This adds up to 1003. But three of the films are not considered "regular" run LT/MM's; at least by Beck and Friewald! The Door (7-1-68) was a film produced by someone else that WB bought and added to their distribution. Then, you have Roadrunner A Go go and Zip, Zip Hurry, which are the two 1965 shorts cut out of the Adventures of the Roadrunner special, as noted here. I see they have release dates, but according to B&F, they were unreleased theatrically, and only shown on TV. (Those dates could have been tentative and afterward cancelled). All three of these films are considered specials by B&F, and not listed with the regular run. Just like all of the other productions, such as Private Snafu, Chuck Jones' "Ralph Philips" and other military and Health Dept. PSA's, Philbert, the live action Orange Blossoms for Violet, etc., are not apart of the regular filmography. (the ["LT/MM neutral"], "Cartoon Special" Norman Normal IS considered a regular run short, as it was produced by the studio (Lovy, director), and was not a PSA or other special produced for anyone else.
 * 1930's 270
 * 1940's 307
 * 1950's 278
 * 1960's 148

So that leaves exactly 1000 shorts, until the 80's revival and made for TV shorts. This should definitely be pointed out, but I don't want to delete/(move) those three films without discussing it.Eric B (talk) 00:00, 10 December 2007 (UTC)

Copyright Dates vs. Release Dates
I just checked the copyright year on the opening titles of three different shorts (Duck Dodgers, Rabbit Fire and Rabbit Seasoning) and in each case the year in the title is one less than the year listed here. Was the copyright date generally assigned a year before the film's theatrical release? ~ RedSolstice (talk) 04:18, 15 July 2008 (UTC)
 * Maybe better to go by release date. Baseball Bugs What's up, Doc? 04:27, 15 July 2008 (UTC)
 * Maybe FMAFan1990 can create a section called "Copyright" in his LT/MM filmography. Agtax 04:32, 29 July 2008 (UTC)

Splitting the article
Right now, the article size is 104,777 bytes. This is currently among the top 1000 articles by size (in bytes). So I propose that I split the article like so:

 * Looney Tunes and Merrie Melodies filmography (1929-1939)
 * Looney Tunes and Merrie Melodies filmography (1940-1949)
 * Looney Tunes and Merrie Melodies filmography (1950-1959)
 * Looney Tunes and Merrie Melodies filmography (1960-1969)
 * Looney Tunes and Merrie Melodies filmography (1970-present and miscellaneous)

Each article would be a fraction of the size of the current aritcle. FMAFan1990 (talk) 10:49, 17 July 2008 (UTC)

 * I have already created what would be the first part at User:FMAFan1990/Looney Tunes and Merrie Melodies filmography (1929-1939). FMAFan1990 (talk) 11:41, 25 July 2008 (UTC)
 * Now I have created what would be the second part at User:FMAFan1990/Looney Tunes and Merrie Melodies filmography (1940-1949). FMAFan1990 (talk) 03:33, 29 July 2008 (UTC)
 * What would be the third part is here: User:FMAFan1990/Looney Tunes and Merrie Melodies filmography (1950-1959) FMAFan1990 (talk) 23:27, 31 July 2008 (UTC)
 * User:FMAFan1990/Looney Tunes and Merrie Melodies filmography (1960-1969) (the fourth part) is finally here FMAFan1990
 * Here is the swan song of all my work: User:FMAFan1990/Looney Tunes and Merrie Melodies filmography (1970-present and miscellaneous). FMAFan1990 (talk) 05:30, 7 August 2008 (UTC)
 * I've created 2 more pages: User:FMAFan1990/Looney Tunes and Merrie Melodies filmography and User:FMAFan1990/Template:Looney Tunes and Merrie Melodies filmography. The former would be the new look of this page, and the latter is a template FMAFan1990 (talk) 05:44, 7 August 2008 (UTC)

All I know is that it takes a bloody long time to load on my PC. So splitting it up would benefit me, at least. :) Baseball Bugs What's up, Doc? 03:35, 29 July 2008 (UTC) (talk) 08:49, 4 August 2008 (UTC)
 * That is a good idea. I could fix this up. Agtax 04:20, 29 July 2008 (UTC)

 * Sounds like a good idea to me — let's do it! :) — Cinemaniac ( talk  •   contribs ) 20:36, 29 July 2008 (UTC)

I like the tables; it makes everything a lot cleaner than its current format, and the notes section is useful too. If I could make a suggestion, "To Itch His Own" should have the note of being Carl Stalling's last score. Sb2007 (talk) 13:19, 5 August 2008 (UTC)

Nice work! The tables are a huge improvement. --Kisholi (talk) 10:21, 9 August 2008 (UTC)

With everything all done, what do you think we should do now? FMAFan1990 (talk) 02:29, 10 August 2008 (UTC)

 * Its time to do what you got to do = divide the article. 04:11, 10 August 2008 (UTC)
 * Just about everything is done, now the page histories from each of the userspace articles need to be merged into the mainspace articles. FMAFan1990 (talk) 05:56, 10 August 2008 (UTC)
 * Good job! Well done. Agtax 06:55, 10 August 2008 (UTC)

 * WRONG . . . it was completely WRONG to Split the article. Everything was easily viewable on ONE page.  Now?  Helll-looooo??????  Someone ought to make it all ONE PAGE VIEWABLE AGAIN like it was.  Have the separate articles if you wish, fine, whatever, so long as there's a way to see every listing, like it was before, on ONE page.  Comprende?  —Preceding unsigned comment added by 172.129.89.246 (talk) 11:01, 22 August 2008 (UTC)

 * The article was too long or else was top-heavy with special characters. It took a long time to load. Splitting it was the right thing to do. Baseball Bugs What's up, Doc? 11:04, 22 August 2008 (UTC)

 * Splitting up was NOT the right thing to do without ALSO having a viewer to view it ALL ON ONE PAGE.

Can't people have that option? Yes. It makes sense. When you want to view all years on one page, having to flip back and forth is just plain idiotic when it's not necessary. Keep split, if you desire -- but please, pretty please, allow viewers the option to see everything on one page... like it was before. Thank you. —Preceding unsigned comment added by 172.165.41.47 (talk) 19:13, 28 August 2008 (UTC)
 * I have added links to two complete filmographies all on one page each. One is Jon Cooke's old "Looney Tunes Checklist", and the other is one I did based both on Cooke's and on the old format of this article, with all the info. I don't usually link to my own sites, but it seems people really are demanding the list all on one page, and these are apparently the only two filmographies like that out there.
 * That old list here really was way too big, and would momentarily freeze the browser when loading, so it was truly taxing the memory. Even some of the split decade articles by themselves are slow loading! The links are simple HTML, and do not have all those hundreds of little images to load (the MM, LT bullets, etc), and thus are not as big.Eric B (talk) 23:55, 24 September 2008 (UTC)

Reissues
Can there be a section on what has been re-released on DvD/etc? I am aware of the Looney Tunes Golden Collection, but from internet searches there seem to be other collections too. Which are the latest, and which have been best restored to their original state? I found a site offering the golden collection in widescreen, but they were out of stock and I can't find them elsewhere? The ones I can find are fullscreen, but weren't most of these originally released in theaters? Wouldn't they orginally been in some sort of widescreen format? —Preceding unsigned comment added by 204.62.8.253 (talk) 11:43, 4 September 2008 (UTC)

Fixed width tables
The use of fixed-width tables on these pages makes the tables user-unfriendly as it makes scrolling impossible if you are halfway through a table. is there any rationale behind having the widths fixed? I've removed the fixed widths and the tables are perfectly functional. Any thoughts as to why these were fixed width? Rob Sinden (talk) 11:50, 5 December 2009 (UTC)
 * The reason I had them fixed width is because I don't want any line breaks that aren't forced by  . And I can scroll without any problems if I am halfway through a table, and I'm sure most other users can too. So, it's all in your head. 76.189.169.244 (talk) 22:13, 5 December 2009 (UTC)
 * To add on, it also depends on what text size your browser is set to. 76.189.169.244 (talk) 22:15, 5 December 2009 (UTC)
 * I don't think it's simply all in Rob Sinden's head like 76.189.169.244 has claimed. I have the same issue. In particular, really long tables (like this table here > Looney_Tunes_and_Merrie_Melodies_filmography_(1940–1949)) aren't suited very well for seeing all of the elements of the table. Changing the text size can help, but why not simply have it in a readable format to begin with? But, at the same time, I can also understand that forced line breaks " " can be a pain as well. Does anyone have a solution that can satisfy both issues, or are we stuck taking one advantage but not the other? 98.202.38.225 (talk) 03:25, 6 December 2009 (UTC)
 * Just because 76.189.169.244 doesn't want any line breaks isn't a reason for there not to be any - the point is for wikipedia to be as friendly for everyone, whatever browser or computer you are on. I cannot see the reason for these fixed width tables.  As I mentioned above, when reverted they're perfectly functional as normal tables.  76.189.169.244 seems to want these tables fixed width for personal preference rather than for the good of wikipedia.  Rob Sinden (talk) 08:54, 6 December 2009 (UTC)
 * Okay - As no-one has given a reason as to why the tables SHOULD be fixed, other than the personal preference of one user who states "The reason I had them fixed width is because I don't want any line breaks that aren't forced by  ", which is by no means a reason for other users to be disadvantaged, and as the tables function much better without the limitations of being fixed width, I am, yet again, reverting.  Please do not revert these without giving a reason for the fixed width which isn't down to aesthetics, or personal preference.  If you can explain how making the tables fixed width improves the functionality of wikipedia, and the general wikipedia experience, then maybe there is a case, but it needs to be explained.  Rob Sinden (talk) 10:31, 7 December 2009 (UTC)

I see someone has added additional tables to the 30s page in an attempt to reduce table width. I don't think that that these duplicate tables are the way to go, with long, mostly empty rows, but how about the footnotes system? I've updated the first three entries this way - what does anyone think? Rob Sinden (talk) 11:22, 8 December 2009 (UTC)
 * I have had a change of thought. Initially I said I wanted a compromise, which I now find is silly of me to have written after reading Rob Sinden's additional comments. I agree more with what Rob Sinden says, since the convenience of the viewers of Wikipedia should be first priority. Line breaks may be a problem, yes--it's inconvenient, yet that shouldn't be an excuse to make things inconvenient for potential readers to Wikipedia. I wish I had used a little common more common sense. 98.202.38.225 (talk) 21:14, 8 December 2009 (UTC)
 * What I did was remove the additional tables that someone added on [|this edit] for 1931 and 1932 and replaced with footnotes. This avoids having the additional tables, and stops the tables being so wide by removing the notes columns.  If you look at these two tables now, then you will see that they are annotated "a", "b", "c", etc.  I didn't go any further, in case people disagreed.
 * PS - this is a compromise :) That's the point of wikipedia
 * PPS - have you guys thought of creating logins?

 * Rob Sinden (talk) 08:59, 9 December 2009 (UTC)

Removal of DVD titles from DVD Availability Columns?
I am growing increasingly frustrated by the continued removal of movie DVDs from the DVD Availability column which feature some of the Looney Tunes and Merrie Melodies as special features. One such example is the Cimarron DVD which includes the 1931 Merrie Melody Red-Headed Baby. Another odd set of removals involves the two volumes of "Uncensored Bosko" DVDs. I understand that the Uncensored Bosko DVDs might not be good to list (or maybe not even be allowed to be listed) because they are not official Warner Bros. DVD releases. However, many of these removed movie DVDs with cartoon extras ARE official Warner Bros. DVDs and those should be listed. Can whoever is removing these give everyone a good idea why the removals continue to happen? I want to create a valid list of LTs and MMs included as movie extras for a project I'm working on, and these repeated removals are driving me up a wall.

74.114.36.65 (talk) 17:49, 20 July 2010 (UTC)

January 9 2014 rearrangement
Editor BookDen gave me quite a scare by removing so much content - without comment! But it looks OK, referring to other entries and not leaving this entry overloaded. So please, leave a comment for this vandalism chaser next time...Super48paul (talk) 08:34, 9 January 2014 (UTC)

total number of shorts
this page claims 1004 shorts were released altogether, but if you do the math - 1930s - 270 1940s - 307 1950s - 278 1960s - 146

grand total - 1001 (or 1002 with 1929 pilot, or 1003 with Norman Normal special) - I believe is the correct calculation. Or someone please correct me if i'm wrong. — Preceding unsigned comment added by 99.244.157.53 (talk) 23:10, 22 February 2017 (UTC)

Director credits
The 1950s article cleverly credit directors by the name they were using professionally at the time the cartoons were released, for instance Charles M. Jones or I. Freleng. That follows a common guideline of the Infobox film, recommending not to retrospectively alter screen credits to accommodate name changes at a later date. If I could make a suggestion, we should try to do the same effort in other articles where feasible. What does anyone think? Valdx346 (talk) 18:36, 14 October 2017 (UTC)

External links modified
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Incorrect Changes
There have been a lot of changed to titles (adding or removing hyphens, commas, spaces, etc.) are wrong based on simply looking at the title frames of the shorts, themselves. The titles you originally had were correct, so I don't understand all these nonsensical changes. It's like someone just went through and "prettied them up" without any regard for the actual titles. It makes me wonder about all the ordering changes that were made, too. I'd fix them myself, but knowing Wikipedia, you territorial editors would just change them back, anyways.

Orphaned references in Looney Tunes and Merrie Melodies filmography
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Looney Tunes and Merrie Melodies filmography's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "auto": From 1932: Kershaw, Sir Ian. Hitler Hubris, New York: Norton, 1998, p. 366. From 1950:  From United States Navy:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 22:51, 21 January 2021 (UTC)

HBO Max
Since WB is making the restored shorts available on HBO Max now, as opposed to releasing them on Blu-ray, should a note be added to the HBO Max availability of the shorts? Currently about 400 shorts have been added to the service. Jmj713 (talk) 13:48, 17 March 2021 (UTC)


text:
The Flower Kings

The Flower Kings are a Swedish progressive rock band formed in 1994 by guitarist and singer-songwriter Roine Stolt. The group began as Stolt's touring band to support his third solo album The Flower King. They continued performing after the tour and have gone on to become one of the most prolific studio recording units in progressive rock, having released over twenty hours of music spread across fifteen studio albums. Their music is similar to early symphonic progressive rock groups such as Yes, marked by sharp dynamic changes, polyrhythms, heavy bass, vocal harmonies, abstract and occasionally nonsensical lyrics, and extended song lengths.

Formation
In early 1993, guitarist and singer Roine Stolt had written material for his third solo album The Flower King and sought musicians to perform it. He had wanted to release a progressive rock-style album for a while and felt the time was right to pursue the project. The album features Stolt on vocals, guitar, bass and keyboards; Jaime Salazar on drums; and Hasse Fröberg on vocals. It was recorded in Sweden between May 1993 and January 1994.

In preparation for Stolt's concert tour to support the album's release, Stolt, Salazar, and Fröberg were joined by Stolt's brother Michael on bass and Tomas Bodin on keyboards. The five performed their first gig on 20 August 1994 at an outdoor festival in Uppsala, Stolt's hometown and the city where The Flower King was recorded. After they decided to become a full-time band, they officially adopted the name The Flower Kings, named after Stolt's album. Stolt had produced a list of potential titles for the record, one of which was "The Flower King", and chose it because of its positive meaning and its reference to the hippie era of the 1960s.

Activity
After performing a series of concerts through 1994, the band entered the studio in December 1994 to record their debut album, Back in the World of Adventures. The recording process was gradual, finishing in September 1995.

In 2000, Michael Stolt was replaced by Jonas Reingold. Two years later, Salazar was replaced by Zoltan Csörsz. Daniel Gildenlöw of Pain of Salvation joined the band the same year as a multi-instrumentalist and vocalist.

Other contributors have included Hasse Bruniusson (percussion) and Ulf Wallander (saxophone).

Stolt has written the vast majority of the material the band has recorded, with Bodin contributing most of the rest. The music is best described as symphonic progressive rock, bearing a strong resemblance to the music of Yes, King Crimson, Gentle Giant, and early Genesis, with jazz fusion and blues influences. The band's lyrics are almost uniformly positive and uplifting, affirming such values as love, peace, and spirituality, and furthering their association with Yes.

Their 1999 album Flower Power contains the eighteen-section, almost 60-minute "Garden of Dreams".

In June 2007, they released The Road Back Home, a compilation of remixed songs from 1994 to 2006, plus "Little Deceiver" (a previously unreleased track) and the full version of their cover of "The Cinema Show" by Genesis.

Zoltan Csörsz was replaced by new drummer Marcus Liliequist for one album, but returned for the 2007 album, The Sum of No Evil. He was subsequently replaced by Erik Hammarström in 2008.

In 2008, Ola Heden, previously of Reingold's side project Karmakanic, joined on guitar, vocals and keyboards.

In November 2008, the band were the opening act at the Ecco Prog Fest in Moscow.

After touring in 2008, The Flower Kings were inactive for four years. Stolt felt the band had varied levels of focus in their direction and had started to feel lost. They reunited in 2011 to work on new material after Stolt felt it was the right time and sensed eagerness from the other members to work together. This marked the arrival of German drummer Felix Lehrmann. Banks of Eden, the group's eleventh album, was released in June 2012 and was recorded with analogue recording techniques and styles reminiscent of the height of vinyl records. This was followed by Desolation Rose in October 2013.

The lineup of Stolt, Bodin, Reingold, Fröberg and Lehrmann played together for the last time in 2015. 2016 and 2017 saw the band members busy with other engagements.

In December 2017, the first part of a career-spanning box set titled A Kingdom of Colours was released. This first box, with 10 discs, covers the period from 1995 to 2002 and includes the studio albums from Back in the World of Adventures to Unfold the Future. The second box set, titled A Kingdom of Colours 2 and covering the albums Adam and Eve through to Desolation Rose, was released in June 2018.

In September 2018, Stolt announced a new album named Manifesto of an Alchemist. The album did not feature long-time keyboardist Tomas Bodin, and as such, it is credited to "Roine Stolt's The Flower King" rather than "The Flower Kings".

In August of the same year, Roine Stolt presented a new band called "Roine Stolt and friends play The Flower Kings". The band featured Stolt, Fröberg and Reingold with new keyboard player Zach Kamins and new drummer Mirko De Maio. Roine Stolt stated that he was done being in a group and wanted to tour as a solo artist like Roger Waters or Steven Wilson. Tomas Bodin was not a part of this group and made his displeasure quite public. The band toured with Spock's Beard in November and December 2018 and continued to do shows in 2019, this time under the name "The Flower Kings Revisited".

In July 2019, "Revisited" was removed from the band name, making it clear that this lineup was now "The Flower Kings". The band went on to release the double albums Waiting for Miracles in 2019 and Islands in 2020, the latter having been recorded entirely remotely during the COVID-19 pandemic.

On 24 March 2021, Roine Stolt announced two big projects. The Flower Kings are working on a brand new album "in the same innocence" of Stardust We Are. By the end of 2021, Stolt explained that Jonas Reingold could no longer participate in the touring line-up due to his commitments with Steve Hackett's band, but Reingold still plays some of the songs in the studio.

On January 7, 2022, the band announced their 15th studio album By Royal Decree would be released on 4 March 2022, while also announcing that founding member Michael Stolt returned after more than two decades to contribute bass and vocals, splitting duties with current bassist Jonas Reingold. On 8 April 2022, InsideOut and Roine Stolt announced that Back in the World of Adventures and Retropolis were getting "remastered and partly remixed". The release date for both was placed on 27 May 2022. Stardust We Are and Flower Power were also remixed and remastered in June.

The 16th studio album, Look at You Now, was announced for an 8 September 2023 release, alongside a European tour about to take place in October 2023. In April 2023, Zach Kamins revealed he left the group due to complicating touring logistics and Daniel Lantz joined for the summer shows. In July, the group mentioned that Lalle Larsson will play for the rest of the upcoming European dates.

Personnel
Current members
 * Roine Stolt – vocals, guitar, keyboards, bass guitar (1994–present)
 * Hasse Fröberg – vocals, guitar, acoustic guitar, tambourine (1994–present)
 * Michael Stolt – bass guitar (1994–1999; 2021–present)
 * Mirko DeMaio – drums (2018–present)
 * Lalle Larsson – keyboards (2023–present)

Former members
 * Jaime Salazar – drums (1994–2001)
 * Tomas Bodin – keyboards (1994–2015)
 * Jonas Reingold – bass (1999–2021)
 * Felix Lehrmann – drums (2011–2015)
 * Zoltan Csörsz – drums (2002–2004; 2007–2008)
 * Daniel Gildenlöw – vocals, guitars, keyboards (2002–2004)
 * Marcus Liliequist – drums (2005–2006)
 * Zach Kamins – keyboards (2018–2023)

Guest musicians
 * Hasse Bruniusson – percussion (1995–present)
 * Ulf Wallander – saxophone (1995–present)
 * Håkan Almqvist – sitar 1997
 * Pat Mastelotto – drums (2007)
 * Erik Hammarström – drums (2008)
 * Ola Heden – vocals, keyboards, guitar (2008)
 * Aliaksandr Yasinski – accordion (2022)
 * Marjana Semkina – vocal (2023)
 * Daniel Lantz – keyboards (2023)

Studio albums
Live albums
 * Alive on Planet Earth (2000)
 * Meet the Flower Kings (2003)
 * Instant DeLIVEry (2006)
 * Tour Kaputt (2011)

Official bootlegs
 * Édition Limitée Québec (1998)
 * Live in New York – Official Bootleg (2002)
 * BetchaWannaDanceStoopid!!! (2004)
 * Carpe Diem – The Flower Kings Live in USA (2008)

Fan Club albums
 * Fan Club 2000 (2000)
 * Fan Club 2002 (2002)
 * Fan Club 2004 (2004)
 * Fan Club 2005 / Harvest (2005)

Compilations
 * Scanning the Greenhouse (1998)
 * The Road Back Home (2007)

Box sets
 * A Kingdom of Colours: The Complete Collection From 1995 to 2002 (2017)
 * A Kingdom of Colours II: The Complete Collection From 2004 to 2013 (2018)

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

title: The Flower Kings


text:
Nella Larsen

Nellallitea "Nella" Larsen (born Nellie Walker; April 13, 1891 – March 30, 1964) was an American novelist. Working as a nurse and a librarian, she published two novels, Quicksand (1928) and Passing (1929), and a few short stories. Though her literary output was scant, she earned recognition by her contemporaries.

A revival of interest in her writing has occurred since the late 20th century, when issues of racial and sexual identity have been studied. Her works have been the subjects of numerous academic studies, and she is now widely lauded as "not only the premier novelist of the Harlem Renaissance, but also an important figure in American modernism."

Early life
Nella Larsen was born Nellie Walker, in a poor district of south Chicago known as the Levee, on April 13, 1891 (though Larsen would frequently claim to have been born in 1893). Her mother was Pederline Marie Hansen, an ethnically Danish immigrant, probably born in 1868, possibly in Schleswig-Holstein. Migrating to the USA around 1886 and going by the name Mary, Larsen's mother worked as a seamstress and domestic worker in Chicago. She died in 1951 in Santa Monica, Los Angeles County.

Larsen's father was Peter Walker, believed to be a mixed-race Afro-Caribbean immigrant from the Danish West Indies. Walker and Hansen obtained a marriage license in 1890, but may never have married. Walker was probably a descendant on his paternal side of Henry or George Walker, white men from Albany, New York, who were known to have settled in the Danish West Indies in about 1840. In the Danish West Indies, the law did not recognise racial difference, and racial lines were more fluid than in the former slave states of the United States. Walker may never have identified as "Negro." He soon disappeared from the lives of Nella and her mother; she said he had died when she was very young. At this time, Chicago was filled with immigrants, but the Great Migration of blacks from the South had not begun. Near the end of Walker's childhood, the black population of the city was 1.3% in 1890 and 2% in 1910.

Marie then married Peter Larsen (aka Larson, b. 1867), a fellow Danish immigrant. In 1892 the couple had a daughter, Anna Elizabeth, also known as Lizzie (married name Gardner). Nellie took her stepfather's surname, sometimes using versions spelled Nellye Larson and Nellie Larsen, before settling finally on Nella Larsen. The mixed family moved west to a mostly white neighborhood of German and Scandinavian immigrants, but encountered discrimination because of Nella. When Nella was eight years old, they moved a few blocks back east.

The American author and critic Darryl Pinckney wrote of her anomalous situation: "as a member of a white immigrant family, she [Larsen] had no entrée into the world of the blues or of the black church. If she could never be white like her mother and sister, neither could she ever be black in quite the same way that Langston Hughes and his characters were black. Hers was a netherworld, unrecognizable historically and too painful to dredge up."

From 1895 to 1898, Larsen lived in Denmark with her mother and her half-sister. While she was unusual in Denmark because of being of mixed race, she had some good memories from that time, including playing Danish children’s games, which she later wrote about in English. After returning to Chicago in 1898, she attended a large public school. At the same time as the migration of Southern blacks increased to the city, so had European immigration. Racial segregation and tensions had increased in the immigrant neighborhoods, where both groups competed for jobs and housing.

Her mother believed that education could give Larsen an opportunity and supported her in attending Fisk University, a historically black university in Nashville, Tennessee. A student there in 1907–08, for the first time Larsen was living within an African-American community, but she was still separated by her own background and life experiences from most of the students, who were primarily from the South, with most descended from former slaves. Biographer George B. Hutchinson established that Larsen was expelled, along with ten other women, inferring that this was for some violation of Fisk's strict dress or conduct codes for women. Larsen went on her own to Denmark, where she lived for a total of three years, between 1909 and 1912, and attended the University of Copenhagen. After returning to the United States, she continued to struggle to find a place where she could belong.

Nursing career
In 1914, Larsen enrolled in the nursing school at New York City's Lincoln Hospital and Nursing Home. The institution was founded in the 19th century in Manhattan as a nursing home to serve black people, but the hospital elements had grown in importance. The total operation had been relocated to a newly constructed campus in the South Bronx. At the time, the hospital patients were primarily white; the nursing home patients were primarily black; the doctors were white males; and the nurses and nursing students were black females. As Pinckney writes: "No matter what situation Larsen found herself in, racial irony of one kind or another invariably wrapped itself around her."

Upon graduating in 1915, Larsen went South to work at the Tuskegee Institute in Tuskegee, Alabama, where she soon became head nurse at its John A. Andrew Memorial Hospital and training school. While at Tuskegee, she was introduced to Booker T. Washington's model of education and became disillusioned with it. As it was combined with poor working conditions for nurses at Tuskegee, Larsen decided to leave after a year or so.

She returned to New York in 1916, where she worked for two years as a nurse at Lincoln Hospital. After earning the second-highest score on a civil service exam, Larsen was hired by the city Bureau of Public Health as a nurse. She worked for them in the Bronx through the 1918 flu pandemic, in "mostly white neighborhoods" and with white colleagues. Afterwards she continued with the city as a nurse.

Marriage and family
In 1919, Larsen married Elmer Imes, a prominent physicist; he was the second African American to earn a PhD in physics. After her marriage, she sometimes used the name Nella Larsen Imes in her writing. A year after her marriage, she published her first short stories.

The couple moved to Harlem in the 1920s, where their marriage and life together had contradictions of class. As Pinckney writes:

"By virtue of her marriage, she was a member of Harlem's black professional class, many of them people of color with partially European ancestry. She and her husband knew the NAACP leadership: W.E.B. Du Bois, Walter White, James Weldon Johnson. However, because of her low birth and mixed parentage, and because she did not have a college degree, Larsen was alienated from the black middle class, whose members emphasized college and family ties, and black fraternities and sororities."

Her mixed racial ancestry was not itself unusual in the black middle class. But many of these individuals, such as Langston Hughes, had more distant European ancestors. He and others formed an elite of mixed race or people of color, some of whom had ancestors who had been free people of color well before the American Civil War. This had given many families an advantage in establishing themselves and gaining educations in the North. In the 1920s, most African Americans in Harlem were exploring and emphasizing their black heritage.

Imes's scientific studies and achievement placed him in a different class than Larsen. The Imes couple had difficulties by the late 1920s, when he had an affair with a white woman at Fisk University, where he was a professor. Imes and Larsen would divorce in 1933.

Librarian and literary career
In 1921, Larsen worked nights and weekends as a volunteer with librarian Ernestine Rose, to help prepare for the first exhibit of "Negro art" at the New York Public Library (NYPL). Encouraged by Rose, she became the first black woman to graduate from the NYPL Library School. It was run by Columbia University and opened the way for integration of library staff.

Larsen passed her certification exam in 1923. She worked her first year as a librarian at the Seward Park Branch on the Lower East Side, which was predominantly Jewish. There she had strong support from her white supervisor Alice Keats O'Connor, as she had from Rose. They, and another branch supervisor where she worked, supported Larsen and helped integrate the staff of the branches. Larsen transferred to the Harlem branch, as she was interested in the cultural excitement in the African-American neighborhood, a destination for migrants from across the country.

In October 1925, Larsen took a sabbatical from her job for health reasons and began to write her first novel. In 1926, having made friends with important figures in the Negro Awakening (which became known as the Harlem Renaissance), Larsen gave up her work as a librarian.

She became a writer active in Harlem's interracial literary and arts community, where she became friends with Carl Van Vechten, a white photographer and writer. In 1928, Larsen published Quicksand, a largely autobiographical novel. It received significant critical acclaim, if not great financial success.

In 1929, she published Passing, her second novel, which was also critically successful. It dealt with issues of two mixed-race African-American women who were childhood friends and had taken different paths of racial identification and marriage. One identified as black and married a black doctor; the other passed as white and married a white man, without revealing her African ancestry. The book explored their experiences of coming together again as adults.

In 1930, Larsen published "Sanctuary", a short story for which she was accused of plagiarism. "Sanctuary" was said to resemble the British writer Sheila Kaye-Smith's short story, "Mrs. Adis", first published in the United Kingdom in 1919. Kaye-Smith wrote on rural themes, and was very popular in the US. Some critics thought the basic plot of "Sanctuary," and some of the descriptions and dialogue, were virtually identical to Kaye-Smith's work.

The scholar H. Pearce has disputed this assessment, writing that, compared to Kaye-Smith's tale, "Sanctuary" is "... longer, better written and more explicitly political, specifically around issues of race – rather than class as in 'Mrs Adis'." Pearce thinks that Larsen reworked and updated the tale into a modern American black context. Pearce also notes that in Kaye-Smith's 1956 book, All the Books of My Life, the author said she had based "Mrs Adis" on a 17th-century story by St Francis de Sales, Catholic bishop of Geneva. It is unknown whether she knew of the Larsen controversy in the United States. Larsen herself said the story came to her as "almost folk-lore", recounted to her by a patient when she was a nurse.

No plagiarism charges were proved. Larsen received a Guggenheim Fellowship even in the aftermath of the controversy, worth roughly $2,500 at the time, and was the first African-American woman to do so. She used it to travel to Europe for several years, spending time in Mallorca and Paris, where she worked on a novel about a love triangle in which all the protagonists were white. She never published the book or any other works.

Later life
Larsen returned to New York in 1937, when her divorce had been completed. She was given a generous alimony in the divorce, which gave her the financial security she needed until Imes's death in 1941. Struggling with depression, Larsen stopped writing. After her ex-husband's death, Larsen returned to nursing and became an administrator. She disappeared from literary circles. She lived on the Lower East Side and did not venture to Harlem.

Many of her old acquaintances speculated that she, like some of the characters in her fiction, had crossed the color line to "pass" into the white community. Biographer George Hutchinson has demonstrated in his 2006 work that she remained in New York, working as a nurse.

Some literary scholars have engaged in speculation and interpretation of Larsen's decision to return to nursing, viewing her decision to take time off from writing as "an act of self-burial, or a 'retreat' motivated by a lack of courage and dedication." What they overlooked is that during that time period, it was difficult for a woman of color to find a stable job that would also provide financial stability. For Larsen, nursing was a "labor market that welcomed an African American as a domestic servant". Nursing had been something that came naturally to Larsen as it was "one respectable option for support during the process of learning about the work." During her work as a nurse, Larsen was noticed by Adah Thoms, an African-American nurse who co-founded the National Association of Colored Graduate Nurses. Thoms had seen potential in Larsen's nursing career and helped strengthen Larsen's skills. When Larsen graduated in 1915, it was Adah Thoms who had made arrangements for Larsen to work at Tuskegee Institute's hospital.

Larsen draws from her medical background in Passing to create the character of Brian, a doctor and husband of the main character. Larsen describes Brian as being ambivalent about his work in the medical field. Brian's character may also be partially modeled on Larsen's husband Elmer Imes, a physicist. After Imes divorced Larsen, he was closely associated with Ethel Gilbert, Fisk Director of public relations and manager of the Fisk Jubilee Singers, although it is unclear if the two married.

Larsen died in her Brooklyn apartment in 1964, at the age of 72.

Legacy
In 2018, The New York Times published a belated obituary for her. She was inducted into the Chicago Literary Hall of Fame in 2022.

Nella Larsen was an acclaimed novelist, who wrote stories in the midst on the Harlem Renaissance. Larsen is most known for her two novels, Quicksand and Passing; these two pieces of work got much recognition with positive reviews. Many believed that Larsen was a rising star as an African American novelist, until she soon after left Harlem, her fame, and writing behind.

Larsen is often compared to other authors who also wrote about cultural and racial conflict such as Claude Mckay and Jean Toomer.

Nella Larsen's works are viewed as strong pieces that well represent mixed-race individuals and the struggles with identity that some inevitably face.

There have been some arguments that Larsen’s work did not well represent the "New Negro" movement because of the main characters in her novels being confused and struggling with their race. However, others argue that her work was a raw and important representation of how life was for many people, especially women, during the Harlem Renaissance.

Larsen's novel Passing was adapted as a 2021 film of the same name by Rebecca Hall.

1928: Quicksand
Helga Crane is a fictional character loosely based on Larsen's experiences in her early life. Crane is the lovely and refined mixed-race daughter of a Danish white mother and a West Indian black father. Her father died soon after she was born. Unable to feel comfortable with her maternal European-American relatives, Crane lives in various places in the United States and visits Denmark, searching for people among whom she feels at home. As writer Amina Gautier points out, "in a mere 135 pages, Larsen details five different geographical spaces and each space Helga Crane moves to or through alludes to a different stage in her emotional and psychological growth."

Nella Larsen's early life is similar to Helga's in that she was distant from the African-American community, including her African-American family members. Larsen and Helga did not have father figures. Both of their mothers decided to marry a white man with the hope of having a higher social status. Larsen wanted to learn more about her background so she continued to go to school during the Harlem Renaissance. Even though Larsen's early life parallels Helga's, in adulthood, their life choices end up being very different. Nella Larsen pursued a career in nursing while Helga married a preacher and stayed in a very unhappy marriage.

In her travels, she encounters many of the communities that Larsen knew. For example, Crane teaches at Naxos, a Southern Negro boarding school (based on Tuskegee University), where she becomes dissatisfied with its philosophy. She criticizes a sermon by a white preacher, who advocates the segregation of blacks into separate schools and says their striving for social equality would lead blacks to become avaricious. Crane quits teaching and moves to Chicago. Her white maternal uncle, now married to a bigoted woman, shuns her. Crane moves to Harlem, New York, where she finds a refined but often hypocritical black middle class obsessed with the "race problem."

Taking her uncle's legacy, Crane visits her maternal aunt in Copenhagen. There she is treated as an attractive racial exotic. Missing black people, she returns to New York City. Close to a mental breakdown, Crane happens onto a store-front revival and has a charismatic religious experience. After marrying the preacher who converted her, she moves with him to the rural Deep South. There she is disillusioned by the people's adherence to religion. In each of her moves, Crane fails to find fulfillment. She is looking for more than how to integrate her mixed ancestry. She expresses complex feelings about what she and her friends consider genetic differences between races.

The novel develops Crane's search for a marriage partner. As it opens, she has become engaged to marry a prominent Southern Negro man, whom she does not really love, but with whom she can gain social benefits. In Denmark she turns down the proposal of a famous white Danish artist for similar reasons, for lack of feeling. By the final chapters, Crane has married a black Southern preacher. The novel's close is deeply pessimistic. Crane had hoped to find sexual fulfillment in marriage and some success in helping the poor Southern blacks she lives among, but instead she has frequent pregnancies and suffering. Disillusioned with religion, her husband, and her life, Crane fantasizes about leaving her husband, but never does. "She sinks into a slough of disillusionment and indifference. She tries to fight her way back to her own world, but she is too weak, and circumstances are too strong."

The critics were impressed with the novel. They appreciated her more indirect take on important topics such as race, class, sexuality, and other issues important to the African-American community rather than the explicit or obvious take of other Harlem Renaissance writers. For example, the New York Times reviewer found it "an articulate, sympathetic first novel" which demonstrated an understanding that "a novelist's business is primarily with individuals and not with classes." The novel also won Larsen a bronze prize (second place) for literature in 1928 from the William E. Harmon Foundation.

1929: Passing
Larsen's novel Passing begins with Irene receiving a mysterious letter from her childhood friend Clare, following their encounter at the Drayton Hotel, after twelve years with no communication. Irene and Clare lost contact with each other after the death of Clare's father Bob Kendry, when Clare was sent to live with her white aunts. Both Irene and Clare are of mixed African-European ancestry, with features that enable them to pass racially as white if they choose. Clare chose to pass into white society and married John Bellew, a white man who is a racist. Unlike Clare, Irene passes as white only on occasion for convenience, in order be served in a segregated restaurant, for example. Irene identifies as a black woman and married an African-American doctor named Brian; together they have two sons. After Irene and Clare reconnect, they become fascinated with the differences in their lives. One day Irene meets with Clare and Gertrude, another of their childhood African-American friends; during that meeting Mr. Bellew meets Irene and Gertrude. Bellew greets his wife with a racist pet name, although he doesn't know that she is partially black.

Irene becomes furious that Clare did not tell her husband about her full ancestry. Irene believes Clare has put herself in a dangerous situation by lying to a person who hates blacks. After meeting Clare's husband, Irene does not want anything more to do with Clare but still keeps in touch with her. Clare begins to join Irene and Brian for their events in Harlem, New York while her husband is traveling out of town. Because Irene has some jealousy of Clare, she begins to suspect her friend is having an affair with her husband Brian. The novel ends with John Bellew learning that Clare is of mixed race. At a party in Harlem, she falls out of a window from a high floor of a multi-story building, to her death, in ambiguous circumstances. Larsen ends the novel without revealing if Clare committed suicide, if Irene or her husband pushed her, or if it was an accident.

The novel was well received by the few critics who reviewed it. Writer and scholar W. E. B. Du Bois hailed it as "one of the finest novels of the year."

Some later critics described the novel as an example of the genre of the tragic mulatto, a common figure in early African-American literature after the American Civil War. In such works, it is usually a woman of mixed race who is portrayed as tragic, as she has difficulty marrying and finding a place to fit into society. Others suggest that this novel complicates that plot by playing with the duality of the figures of Irene and Clare, who are of similar mixed-race background but have taken different paths in life. The novel also suggests attraction between them and erotic undertones in the two women's relationship. Irene's husband is also portrayed as potentially bisexual, as if the characters are passing in their sexual as well as social identities. Some read the novel as one of repression. Others argue that through its attention to the way "passing" unhinges ideas of race, class, and gender, the novel opens spaces for the creation of new, self-generated identities.

Since the late 20th century, Passing has received renewed attention from scholars because of its close examination of racial and sexual ambiguities and liminal spaces. It has achieved canonical status in many American universities.

Books

 * Quicksand (1928)
 * Passing (1929)

Short stories

 * "Freedom" (1926)
 * "The Wrong Man" (1926)
 * "Playtime: Three Scandinavian Games", The Brownies' Book, 1 (June 1920): 191–192.
 * "Playtime: Danish Fun", The Brownies' Book, 1 (July 1920): 219.
 * "Correspondence", Opportunity, 4 (September 1926): 295.
 * "Review of Black Spade," Opportunity, 7 (January 1929): 24.
 * "Sanctuary", Forum, 83 (January 1930): 15–18.
 * "The Author's Explanation", Forum, Supplement 4, 83 (April 1930): 41–42.

title: Nella Larsen


text: Talk:Neoplatonism

title: Talk:Neoplatonism


text:
Talk:Britpop

Grunge - I disagree that Britpop was seen as a reaction to it
I was there at the time. Nirvana were huge, and other grunge bands were popular, but nevertheless grunge was not a particular important genre to British audiences. No one was saying "I'm sick of all this grunge, let's do artful guitar pop like the Beatles/Kinks/Smiths instead." It emerged more naturally than that. Blur was the only band explicitly reacting to American culture, and Britpop is more than just Blur. — Preceding unsigned comment added by 2.27.80.242 (talk) 16:33, 23 December 2014 (UTC)

 * I agree, and it seems that the whole "reaction to American Grunge" narrative is a journalistic construct driven by British music writers and critics who feel it necessary to define the constraints of Britpop's evolution under that very paradigm.--71.177.31.147 (talk) 21:22, 26 December 2014 (UTC)

 * From my researches, Britpop was a media created and media driven movement. Most informed sources point to the Select magazine issue of April 1993 as the point of origin for Britpop. And that article was spurred by a response to the NME's hostile reaction to Morrissey draping himself in the Union Flag six months earlier, and to the influence of grunge, Kurt Cobain in particular, on the UK music scene. Here's the first page of that article: .  SilkTork  ✔Tea time  10:37, 24 February 2016 (UTC)

 * I've just noticed that Stuart Maconie was responsible for both the Select article and the NME article: .  SilkTork  ✔Tea time  10:52, 24 February 2016 (UTC)

 * Does this need to be "Stuart Maconie has claimed that...".--  SabreBD  (talk ) 11:51, 24 February 2016 (UTC)

 * Maconie claims to be the one to invent the term "Britpop", but I'm not seeing any evidence of that. He doesn't use the term in the Select issue that sources point to as the start of Britpop (he says "Great British pop", he says "British pop" and he invents a term that was never repeated of "Crimpolinism"). But that the term wasn't used, doesn't mean that the concept wasn't started, and perhaps when he says he invented the term, perhaps what he means is the concept. And that April 1993 Select issue does bring together some of the elements most associated with Britpop, and that is what informed sources say is an origin of the concept. I'm still looking into this, and I'm up to late 1994 with no evidence yet of the use of the term in the papers, though some sources say that the term was being used by papers in 1994. I'm reading reviews in the music papers of albums by the main Britpop bands, and nobody is yet using the term Britpop! This is not a concern, as most movements or musical styles are not born in one moment with a ready description. The description tends to come later. Though it would be useful to get some specific details for the article so that we are not asserting something such as "the Britpop" term was invented in 1993 and was widely used by the media in 1994" which appears not to be true, though we can say that "sources say Britpop originated with the April 1993 issue of Select" or - as we have at the moment: "The issue included features on Suede, The Auteurs, Denim, Saint Etienne and Pulp and helped foment the idea of an emerging movement", which I think is acceptable (though perhaps "encourage" or "instigate" might be more readily understandable words than "foment").  SilkTork  ✔Tea time  14:40, 24 February 2016 (UTC)

Even during August 1995, the "Battle of Britpop", I'm not finding the term used in music or mainstream newspapers - as shown here:.  SilkTork  ✔Tea time  14:24, 26 February 2016 (UTC)

Merge The Britpop Story
I'm not seeing significant enough notability or material for having The Britpop Story as a standalone article.  SilkTork  ✔Tea time  16:29, 27 February 2016 (UTC)

Where's Ray Davies and XTC?
I've seen both referred to as the "Godfather of Britpop". Yet no mention in the article. What gives? Some sources: --Ilovetopaint (talk) 15:30, 15 January 2018 (UTC)

Britpop revival
The section is merged from Britpop revival following a discussion: Articles for deletion/Britpop revival. If you disagree with the merge, you can discuss it here. Hzh (talk) 15:24, 23 February 2018 (UTC)

TFI Friday
From NME ...

"With only maybe 20 actual Britpop bands to play with, compilation compilers, listicle writers and documentarians, by necessity, expanded the edges of the scene to take in swathes of bands that had arse all to do with it: The Verve, Manic Street Preachers, Radiohead, Ocean Colour Scene, Reef".

I would agree with the NME is correct on this viewpoint, but with the mention of Ocean Colour Scene and Reef being lumped in with this scene, maybe the article needs to have a mention of 'TFI Friday' somewhere, as it seems to be the show most associated with the Britpop scene.

The Good Mixer, Camden
I don't think there is anything about The Good Mixer pub in this article. — Preceding unsigned comment added by 81.154.172.75 (talk) 17:24, 22 November 2020 (UTC)

title: Talk:Britpop


text:
Talk:Realpolitik

Dictionary entry or encyclopedia article?
Doesn't this belong as part of an article on "diplomacy"? This is a dictionary entry, not an encyclopedia article.
 * It is a pretty important concept, not very well fleshed out here yet, but if an article includes a definition that alone doesn't make it a dictionary entry. This article suggests some historical and cultural context.  A dictionary would never mention Machiavelli, for instance.  Ortolan88
 * Yes, but I would suggest that it is better dealt with as a part of a wider discussion of diplomacy. I think this is a wider point that sometimes just because something is worth discussing in the wikipedia, it's not necessarily best dealt with in a seperate article. --Robert Merkel 13:45 Oct 9, 2002 (UTC)

---

Realpolitik seems to extend beyond diplomacy, although patterns of alliance often reflect it, for example the current alliance of the United States and Saudi Arabia or the alliance of China and Pakistan. Could it be said to apply to the internal affairs of a country? Mostly it seems to be an attitude supporting action independent of principle. User:Fredbauder

---

I would be wanting to say realpolitik is also about achieving a greater goal by any mean necessary. __earth 00:43, May 8, 2004 (UTC) --- I feel like the phrase "sentimental illusions" is inherently biased. It's true that realpolitik involves disregard of ideals, but "sentimental illusions" seems like a phrase that would be employed by supporters of a realpolitik outlook.

--- This claim seems to be unjustified: "Otto von Bismarck, a Prussian statesman who coined the term balance of power. Balancing power means keeping the peace and careful Realpolitik practitioners try to avoid arms races." But it seems the concept appeared well before Bismarck. According to Machiavelli, The Prince (Oxford World's Classics) (ISBN-13: 978-0199535699) footnotes on page 109: "historians of political thought often credit Francesco Guicciardini's History of Italy (1561-4) with the concept of the balance of power. ... From Machiavelli's remark, it is clear that the notion was one shared by other thinkers before it was popularized by Guicciardini's influential history." — Preceding unsigned comment added by Soid (talk • contribs) 21:33, 19 November 2021 (UTC)
 * 20 years have passed, let it go. --91.248.90.59 (talk) 02:57, 27 July 2023 (UTC)

Is this referring to the EU?
Ironically, the very cautious European approach has led to one of the greatest unifications and expansions ever seen on this planet - though with a slight danger of a reversal of this process.

Is this referring to the European Union? If so, I think it would be better to state so explicitly and what the author thinks the "slight danger of reversal" is exactly.

 * I did mean the European Union and it's expansion over the last 40 years. And the slight danger of reversal is the possibility of some disagreements, rising nationalism or economic turmoil making the member nations go back all or some steps of the unification process - maybe even similar to former Yugoslavia.

Kant Example
This example makes no sense. Can someone shed some light on this? It seems like a shoddy example of realpolitik, considering that there is no penalty to the questionee to lie to the assailant.

Maybe a better example, as far as an historic example, would be the political procedures of Stalin. There are other examples of realpolitik thinkers, but Stalin is a very appropiate one. Just throwing that out there.

Politicians
Prominent proponents of Realpolitik include Otto von Bismarck, Henry Kissinger, George F. Kennan, Zbigniew Brzezinski, and Hans-Dietrich Genscher, as well as politicians such as Deng Xiaoping, Charles De Gaulle, and Lee Kuan Yew.[2]

So Bismarck, Kissinger, Kennan, Brzezinski and Genscher weren't politicians? — Preceding unsigned comment added by 91.13.149.74 (talk) 11:29, 30 November 2023 (UTC)

In this respect, it shares aspects of its philosophical approach with those of realism and pragmatism.
So realpolitik (or rather, ethical rules) ARE based on given facts about the world. Everyone’s doing realpolitik they just don’t know it. This word shouldn’t even exist. 2001:56A:FCFE:E200:BD40:8579:3AB2:8E37 (talk) 12:24, 30 November 2023 (UTC)

 * You sound upset. A7BA (talk) 08:08, 1 December 2023 (UTC)

Sun Tzu
Writing a piece like this seems like a lot of work based on impressive knowledge. I haven’t done it, so congrats for that. I just want to suggest that Sun Tzu is deeply moralistic and incompatible with practical politics and realpolitik (compare to von Clausewitz). For example, Sun Tzu writes that commanders should never attack “walled cities,” and must only do so out of irrational “wrath,” whereas Clausewitz suggests the theory of strategy comes into full historical view with the appearance of sieges. Sun Tzu advises the student to allow trapped enemy units some escape route, whereas Clausewitz would probably suggest letting them waste away and not resume the initiative. In all places, Sun Tzu stresses compassion, disgust for violence, and a preference for non-violent means, but this is not practical and would quickly get a state trampled by opposing powers, which is why Clausewitz warns against such temptations, which “proceed from a spirit of benevolence” and cause the most dire mistakes.

If you’ll excuse the speech, I just mean Sun Tzu seems deeply incompatible with realpolitik in his moralistic themes, which also disqualifies him as politically practical, as war is a decisive political instrument that he understands through moral precepts rather than practical or strategic principles. StreetQuant (talk) 16:15, 24 May 2024 (UTC)

title: Talk:Realpolitik


text:
User:JohnOwens

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John Owens
John Owens lives in Manchester, UK since 2016, after moving from Tucson, Arizona, and was until recently a student at the Pima Community College. He is (yet another) computer system and network administrator, with some knowledge of server administration and a good grasp of Perl. And he has been voted Number 1 on the "list of bigots to avoid" on User:Olga Bityerkokoff's page! He came in at number 32 on this month's Top 200 Countdown, and he'd like to extend his special gratitude to Michael, who made it all possible.

If you have a Un*x computer and check its native-format time, you've got a pretty good idea how old he is, in seconds.

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As a recovering non-Wikipedoholic, I'm starting to edit again, but in moderation, so far. I recently upgraded to a mirrorless interchangeable-lens camera, so I'm starting to accumulate some pictures for the Wikipediæ. See some of what I've got so far: /Pet Projects. I'm currently focusing on my astrophotography technique (pun intended).

In things tangentially related to Wikipedia, I've started a project to create an electronic markup format for corrections to all those things that aren't Wiki. With my vast imagination, I've decided to call it the ProofReading Markup Language, or PRML for short. (SourceForge project site)

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Weed whacker extraordinaire, great at spotting typos, too.

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I'll be demmed, there is a Latin Vicipædia!!! :) I always wondered if there was a language code for Latin; never could find one in a list. Now I'm going to have to find out if 'la' is really official, or just what they use because it makes sense.

 * Since then, I've discovered Multilingual coordination and ISO 639. Yup, it's a real, genyooine, official code.

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Talk:Martial arts film

Untitled
I think "Yuen Biao" was the name either Jackie Chan or Sammo Hung used when they were together in the Seven Little Fortunes.
 * No, "Yuen Biao" is the youngest of the Seven Little Fortunes.

One-handed karate
Is a mention of Spencer Tracy's Bad Day at Black Rock suitable?

 * I think it deserves a mention because it one of the first American films to feature someone adept at martial arts, and using it strictly defensively. — Loadmaster (talk) 17:58, 14 April 2014 (UTC)

Help
I am trying to remember a movie... I dont remember who is in it. BUT, the men in the movie all learn a different kung-fu style, such as bear, snake, crane, leopard etc etc... and one by one they are assainated and one of them learns all the styles to fight the bad guy. DOes anyone know the name of the movie?? Thanks

"five deadly venoms"? —Preceding unsigned comment added by 125.241.93.2 (talk) 07:24, 24 January 2011 (UTC)

Gordon Liu
I think something should be added in the timeline about Gordon Liu since his stardome rivals that of Jackie Chan in Hong Kong.

Trying to identify
Many years ago, I saw a film which was set on some kind of island with an evil priest and an Army. At the end of the film, the priest gave a speech that it was better to reign in hell than serve in heaven and then took a hero down to a prison cell, full of snakes. The hero's two friends were already dead in the cell. The hero was locked in with the snakes, but escaped, killed the guards, and captured the priest. He then takes the priest down to the cell, who is shouting "No! NO!" and locked him in with the snakes. The hero then leaves the island just as the priest screams, being bitten by the snakes. Its a long shot, but does anyone know the name of this film?

Lacks fundamental list
The article "Martial Arts film" lacks a fundamental list of martial arts films! This article mostly contains famous and important actors to this genre. There should be a list of examples and the most famous of martial arts films. —Preceding unsigned comment added by 118.173.240.220 (talk) 05:13, 16 July 2008 (UTC)

Kick was a good martial art movie too this year. it was thai producer but korean martial art. — Preceding unsigned comment added by 202.184.111.71 (talk) 08:52, 29 December 2012 (UTC)

Massive cruft
Vast numbers of "stars" have been added, and now removed, without refs or any apparent reason. There's no need for them to be here. --AndrewHowse (talk) 17:37, 14 May 2009 (UTC)

Unnecessary hatnote?
Why does this article need a Martial arts (disambiguation) hatnote? Who would type "martial arts film" when they're looking for any of the other items in that dab page? --Vaughan Pratt (talk) 20:03, 10 July 2010 (UTC)

What makes a martial arts film notable?
I never even heard ofNever Back Down and it wasn't well-recieved by critics, so why is it on this list? — Preceding unsigned comment added by ElbowLick (talk • contribs) 03:30, 26 February 2011 (UTC)

Why is there the 3 American Blade films yet only the first Once Upon A Time In China film? The list is severely skewed, it should be brief and include only genre-defining films (original pieces from Asia, not this American wannabe crap). 156.34.196.173 (talk) 22:54, 2 March 2012 (UTC)

Regarding notable martial arts films
The list of notable martial arts films is in bad shape. The list clearly demonstrates recentism and a clear lack of standards regarding what is considered notable. We must be more aggressive at deleting items from the list and requiring citations and discussion if necessary for contentious items. I will give a few days for comments but I think the best way to proceed is to almost start over. I intend to chop the list down to a small "non-controversial" subset. I'm not sure if any of the films added after 2000 belong here. Jason Quinn (talk) 02:57, 24 July 2011 (UTC)

Choreography
I have not been able to find any information in any Wiki article about how martial arts fight scenes were actually choreographed and performed, not even in the Stage Combat page. I would think that kind of info would belong in an article like this one and how choreography has evolved (I'd add it myself if I knew how it was done).(162.140.67.10 (talk) 16:55, 2 October 2012 (UTC))

Change to 6th pargraph of History section-major edit
I removed Kathy Long from the list of female martial artists because she does not fit that list6ing of women within the timeframe they represent. Kathy Long came along in the 90s. I added Karen Shepard to replace Kathy Long as she is a memeber of that group. She and Cynthia Rothrock were rivals in the 80s when competing, as we as acted during the same time.

Rayghost (talk) 10:23, 2 March 2013 (UTC)

Added movie to Action Choreographer list in Filmopgraphy
Added Bloodmoon toAction Choreographer list.

Rayghost (talk) 10:36, 2 March 2013 (UTC)

Subgenres section is overly editorialized.
The last sentence of the first paragraph states, "The most famous wuxia film made was the Ang Lee masterpiece Crouching Tiger, Hidden Dragon, which was based on the Wang Dulu series of wuxia novels: it earned four Academy Awards, including one for Best Foreign Film." There is no citation to support it being the most "famous" wuxia film ever made and the word "masterpiece" as a descriptor does not seem to be in line with Wiki standards of impartiality. I'd change it, but I don't feel qualified to identify the "most famous wuxia film made". Clean up crew? — Preceding unsigned comment added by 76.79.113.21 (talk) 22:03, 12 October 2014 (UTC)

External links modified (January 2018)
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Film Blood on the Sun before Bad Day at Black Rock
The James Cagney film "Blood on the Sun" predates "Bad Day at Black Rock" by ten years and has an elaborate Judo fight. — Preceding unsigned comment added by Jrc1970 (talk • contribs) 21:38, 28 April 2020 (UTC)

title: Talk:Martial arts film


text:
Boards of Canada

Boards of Canada are a Scottish electronic music duo consisting of the brothers Michael Sandison and Marcus Eoin, formed initially as a group in 1986 before becoming a duo in the 1990s. Signing first to Skam followed by Warp Records in the 1990s, the duo received recognition following the release of their debut album Music Has the Right to Children on Warp in 1998. They followed with the critically acclaimed albums Geogaddi (2002), The Campfire Headphase (2005) and Tomorrow's Harvest (2013).

The duo's work, largely influenced by outdated media and electronic music from the 1970s, incorporates vintage synthesiser tones, samples, analog equipment, and hip hop-inspired beats. It has been described by critics as exploring themes related to nostalgia, as well as childhood memory, science, environmental concerns and esoteric subjects. In 2012, Fact described them as "one of the best-known and best-loved electronic acts of the last two decades."

Early years (1986–1994)
Brothers Michael Sandison (born Michael Peter Sandison, 14 July 1971) and Marcus Eoin (born Marcus Eoin Sandison, 27 May 1973) were brought up in Cullen, Moray, on the northeast coast of Scotland. From 1979 to 1980, they lived in Calgary, Canada, while their father, who worked in construction, took part in the project to build the Saddledome. The brothers attended the University of Edinburgh, where Michael studied music and Marcus studied artificial intelligence. Marcus dropped out before completing his degree. The duo did not reveal that they are brothers until a 2005 interview with Pitchfork, as they wanted to avoid comparisons with another electronic sibling duo, Orbital.

Growing up in a musical family, the brothers first played instruments at a young age. They experimented with recording techniques from around the age of 10, using tape machines to layer cut-up samples of found sounds over compositions of their own. In their teens they participated in a number of amateur bands. However, it was not until 1986 when Marcus was invited to join Mike's band that Boards of Canada was born. The band's name was inspired by the National Film Board of Canada (NFB), the government agency whose award-winning documentary films and animation they had watched as children.

Their first known release was Catalog 3, in 1987 on cassette tape, on the brothers' own label, Music70, while Boards of Canada was still a band (it was later re-pressed in 1997 on CD on the same label). By 1989, the band had been reduced to Mike and Marcus, and they released Acid Memories in the same year. Both albums have only been heard by the band's friends and family, except for a 24-second excerpt of "Duffy", released on the EHX website in the late 1990s. Acid Memories is the only early album the brothers have mentioned in interviews. Later, in the early 1990s, the band had a number of collaborations and the band put on small shows among the Hexagon Sun collective, along with the releases of albums Play By Numbers and Hooper Bay, both in 1994, which, similarly to Acid Memories, were only released to friends and family and had sub-1 minute excerpts of two songs ("Wouldn't You Like To Be Free" from Play By Numbers and "Circle" from Hooper Bay) released from both albums on the EHX website.

Music Has the Right to Children (1995–2002)
In 1995, Boards of Canada made their first Hexagon Sun studio release, the EP Twoism. Like earlier Music70 releases, it was produced in a self-financed limited run and was privately distributed, primarily to friends and labels. Unlike previous releases, however, a small number of copies were also released to the public through a mailing list. Though not a widespread commercial release, it was considered of sufficient quality and worth to be subsequently re-pressed in 2002.

The band made another release in 1996, titled Boc Maxima; it was a semi-private release that was notable for being a full-length album, and was the precursor to Music Has the Right to Children, with which it shares many tracks.

Boards of Canada's first commercial release occurred after attracting the attention of Autechre's Sean Booth, of the English label Skam Records, one of many people who were sent a demo EP. Skam issued what was considered Boards of Canada's first "findable" work, Hi Scores, in 1996.

The debut studio album, Music Has the Right to Children, was released in April 1998. The album consists of longer tracks mixed with song vignettes. It also includes one of the duo's most popular songs, "Roygbiv". Music Has the Right to Children received widespread acclaim upon release. It featured at No. 35 on Pitchfork's "Top 100 Albums of the 1990s" list. It was ranked No. 91 in Mojo's 100 Modern Classics list.

John Peel featured Boards of Canada on his BBC Radio 1 programme in July of that year. The session featured two remixes from Music Has the Right to Children — "Aquarius (Version 3)" and "Olson (Version 3)" — along with the tracks "Happy Cycling" and "XYZ". "XYZ" was excluded from the Peel Session TX 21/07/1998 release until 2019.

Though never an actively touring band, Boards of Canada did perform a handful of shows. Early shows saw them supporting Warp labelmates Seefeel and Autechre in a handful of UK dates. They also participated in a few festivals and multi-artist bills including two Warp parties: Warp's 10th Anniversary Party in 1999 and The Incredible Warp Lighthouse Party almost one year later. They made their most prominent showing in 2001 as one of the headliners at the Tortoise-curated All Tomorrow's Parties. They have not performed a live show since.

The band released a four-track EP, In a Beautiful Place Out in the Country, in November 2000, their first original release in two years. The 12" edition was pressed on sky blue vinyl.

Geogaddi and The Campfire Headphase (2002–2009)
Their second studio album, Geogaddi, was released in February 2002. Like Music Has the Right to Children, this album consists of longer tracks mixed with song vignettes. It also presents a darker sound than its predecessor. Geogaddi received universal acclaim from music critics.

It was described by Sandison as "a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again."

Their third album for Warp Records, The Campfire Headphase, was released on 17 October 2005 in Europe and 18 October 2005 in the United States. The album featured fifteen tracks, including "Peacock Tail", "Chromakey Dreamcoat," and "Dayvan Cowboy". Two versions of "Dayvan Cowboy" — the original and a remix by Odd Nosdam — are on the six-track EP, Trans Canada Highway, which was released on 26 May 2006.

In late 2009, the Warp20 (Recreated) compilation featured two BoC covers, one by Bibio of their song "Kaini Industries" and one by Mira Calix of "In a Beautiful Place Out in the Country". Warp20 (Recreated) is part of the larger Warp20 boxed set, which also includes two previously unreleased Boards of Canada tracks, "Seven Forty Seven" and a 1.8 second sample of the song "Spiro", which had previously been performed at their show at the Incredible Warp Lighthouse Party in 2000.

Tomorrow's Harvest (2013)
On Record Store Day 2013, a vinyl record containing a short clip of music which was believed to be the work of Boards of Canada surfaced at the New York record store Other Music. Shortly after the release, Warp Records vouched for the record's authenticity. The record (titled --/--/--/XXXXXX/--/--) contained a short clip of audio followed by a voice reading six digits similar to that of a numbers station. The record revealed what was to become one of six unique numbers that were part of a type of alternate reality game that was used to promote the release of their next studio album.

The rest of the codes were hidden through various websites and online communities, as well as being broadcast over BBC Radio One, NPR, and Adult Swim. After much speculation, the official website for the band redirected users to another website which asked for the user to enter a password. Once all six unique codes are entered, a video is shown announcing Tomorrow's Harvest, their fourth studio album. The album was released on 5 June 2013 in Japan, 10 June 2013 in Europe, and 11 June 2013 in the United States to widespread critical acclaim.

Remixes
In 2016, Boards of Canada released two remixes. The first, of Nevermen's "Mr Mistake", was released on 12 January, and was followed shortly after by a remix of "Sisters" by Odd Nosdam on 22 February. On 17 February 2017, an instrumental version of the "Mr Mistake" remix was released. In 2017 Boards of Canada released a remix of "Sometimes" by The Sexual Objects. On July 3, 2021, Boards of Canada released a remix of a second Nevermen song, "Treat Em Right".

WXAXRXP (2019)
In 2019, Warp Records kicked off the celebrations for their 30th anniversary, entitled WXAXRXP, with a 100-hour takeover of online radio station NTS Radio, featuring mixes, radio shows and unreleased music from a number of artists on their roster. This included a 2-hour mixtape from Boards of Canada titled Societas x Tape, aired on 23 June 2019 at 9:00 PM BST, and featured music from other artists such as Grace Jones, Devo and Yellow Magic Orchestra, spliced with spoken word samples and music that is rumoured to be unreleased work from the group itself.

Style and methods
The music of Boards of Canada has been described as "evocative, mournful, sample-laden downtempo music often sounding as though produced on malfunctioning equipment excavated from the ruins of an early-'70s computer lab." Critic Simon Reynolds described their style as "a hazy sound of smeared synth-tones and analog-decayed production, carried by patient, sleepwalking beats, and aching with nostalgia" while crediting them with "reinvent[ing]" elements of psychedelia through the deliberate misuse of technology. Their distinctive style is a product of their use of analogue equipment, mix of electronic and conventional instrumentation, use of distorted samples, and their layering and blending of these elements. To achieve their evocative and "worn down" sound, the duo have made use of outdated brands of recording equipment, such as tape machines manufactured by Grundig. They also make use of samples from 1970s television shows and other media prevalent in the era of the brothers' shared childhood, especially the nature-inspired documentaries produced by the National Film Board of Canada. The duo's preoccupation with memory, past aesthetics, and public broadcasting presaged the 2000s electronic movement known as hauntology. Critic Adam Harper described their work as "a simultaneously Arcadian and sinister musical hauntology based on cut-up samples, vintage synthesiser technology and a faded modernism arising from mid-twentieth-century television, science, public education, childhood and spirituality."

Interviews with the Sandison brothers have variously provided insight into their creative process: they have cited several acts that have influenced their work including Joni Mitchell, the Incredible String Band (saying "we have all the String Band records […] our rural sensibilities are similar"), the Beatles (saying "[they] really became enthralling to us through their psychedelism") and My Bloody Valentine (saying "even if we don't sound like them, there's a connection in terms of the approach to music"). They have also named Meat Beat Manifesto as a chief influence, citing their synth sounds.

Brief interludes or vignettes feature prominently in the duo's music, often lasting less than two minutes; Sandison has said that "we write far more of [these] than the so-called 'full-on' tracks, and, in a way, they are our own favourites". Boards of Canada have written an enormous number of such fragments as well as full-length tracks, most of which have been held back from release, and it does not appear that their music is made exclusively for commercial release; rather, albums seem to be the result of selecting complementary songs from current work. For instance, Geogaddi allegedly involved the creation of 400 song fragments and 64 complete songs, of which 22 were selected (possibly 23, if the final track of complete silence is included). Eoin has said about the duo's discography that "the idea of the perfect album is this amorphous thing that we're always aiming at […] the whole point of making music is at least to aim at your own idea of perfection."

The duo have expressed interest in themes of subliminal messaging, and subsequently their work has incorporated cryptic messages, including references to numerology and cult figures such as David Koresh of the Branch Davidians. When questioned about their aims in making such references, Boards of Canada have expressed themselves in neutral terms (saying "We're not religious at all [...] and if we're spiritual at all it's purely in the sense of caring about art and inspiring people with ideas.") while remaining fascinated with the ability of music to influence the minds of others (saying, with irony, that "[We] do actually believe that there are powers in music that are almost supernatural. I think you actually manipulate people with music...").

Studio albums

 * Music Has the Right to Children (1998)
 * Geogaddi (2002)
 * The Campfire Headphase (2005)
 * Tomorrow's Harvest (2013)

EPs

 * Twoism (1995) (released on Music70 in 1995, reissued by Warp in 2002)
 * Hi Scores (1996)
 * Aquarius (1998)
 * Peel Session TX 21/07/1998 (1999)
 * In a Beautiful Place Out in the Country (2000)
 * Trans Canada Highway (2006)

Unreleased albums

 * Catalog 3 (1987)
 * Acid Memories (1989)
 * Closes Vol. 1 (1992)
 * Hooper Bay (1994)
 * Play By Numbers (1994)
 * Old Tunes Vol. 1 (also known as A Few Old Tunes, 1996)
 * Old Tunes Vol. 2 (1996)
 * Boc Maxima (1996)

Bootlegs

 * Unreleased Tracks (2007)

Mixtapes

 * Random 35 Tracks Tape (unknown, presumed to be 1995)

Promotional

 * Telephasic Workshop (1998)
 * Geogaddi (Promotional LP) (2002)
 * -- / -- / -- / XXXXXX / -- / -- (2013)

Features On

 * We Are Reasonable People (1998)

title: Boards of Canada