text:
Talk:Anshan

Opening heading
this should be a disambiguation page, but I'm too lazy to adjust all the links. Feel free to do it and move to Anshan (China). dab (ᛏ) 14:46, 10 July 2005 (UTC)

I am interested in contributing to the Anshan, China page - especially the history and tourism part. Currently, the page talks about the city being fortified and burned down as well as the origin of the town's name (saddle mountain). The saddle mountain is to the south of the modern city. Immediately adjacent to the saddle mountain is a small fortified town which I have been told, locally, is the original Anshan. As I am unable, so far, to verify this I am reluctant to add this information to the page. If anyone else has information pertaining to this I would be grateful if you could share it. Stick 03:57, 23 April 2008 (UTC) —Preceding unsigned comment added by Sr77025 (talk • contribs)

 * By coincidence, I was out at Tanggangzi spa with a friend tonight and we were discussing this very thing. My friend had visited the extant city walls of the old city just last week. The location is within a park, just after the toll gates on the road form Anshan city to Tanggangzi. There is a second, better preserved, section some distance further on but the location of it was not given accurately. I intend to visit personally some time in the near future. Anshan mountain is south-south-west of the modern city and the old city would be due East of the mountain. I just checked the area on google earth but the resolution in that area isn't high enough to distinguish much of anything.

 * I last updated this in November 2006 and not allot has been added since. As Wikipedia was blocked form China I couldn't add any more myself. However, I did put greatly expanded articles about Anshan onto Citizendium.org and Wikitravel.org. Now that Wikipedia is available here, things can get improved. Rincewind42 (talk) 14:08, 24 April 2008 (UTC)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

No consensus to move. Vegaswikian (talk) 03:23, 2 February 2012 (UTC)

– According to article traffic statistics from the last 90 days, "Anshan, Liaoning", "Anshan, China" and "Anshan City" received a combined 8,826 views, compared to a combined 7,224 for the other six links on the page ( excluding Izeh, whose commonname is not Anshan ). The 2nd-ranked page, "Anshan (Persia)" got 4,427 views. Thus this establishes this city of several million ( 3.6 million total; 1.5 million in urban area ) as the primary topic. GotR Talk 05:31, 26 January 2012 (UTC)
 * Anshan, Liaoning → Anshan
 * Anshan → Anshan (disambiguation)

 * Oppose. [NOTE: The initial post, to which I respond in the following remarks, was later altered. Please don't do that! If you change a post that others respond to, show clearly that you are doing so.–N] Even if we thought that the rimary topic" was most useful or decisive here, the evidence falls well short. We would have to consider the other relevant articles. Anshan, Changli County alone got 377 views; Anshan class destroyer got 1,285 hits; and so on. A "primary topic" should be overwhelmingly dominant; but here there are several alternative targets that readers are aiming at. N oetica Tea? 22:37, 26 January 2012 (UTC)
 * I don't know about you, but I think that having more views than all other links combined can be considered overwhelming. Either way, the ships named Anshan are named after the city, which gives further precedence to it, and because of the way are political divisions of the PRC organised, a prefecture-level city (2nd level) is far more important and well-known than a town (4th level). GotR Talk 23:11, 26 January 2012 (UTC)
 * See the note I have inserted above, G. And please give all of those pageview statistics on which you are relying. I will then be in a position to adjust or supplement them, if that seems necessary. N oetica Tea? 23:36, 26 January 2012 (UTC)
 * Please do not refer to me as 'G'. Either 'GotR', 'GoTR', or my full username. And here you have them, in one list: the the Liaoning city ( in addition to the two redirects, Anshan, China and Anshan City, which are counted separately ), (Persia) the ancient settlement, Hebei town, vessel class,specific vessel, asteroid, and term in India. GotR Talk 00:03, 27 January 2012 (UTC)

 * Oppose. Naming Conventions for Chinese cities with disambiguation needed is city, province and there is Anshan, Changli County. (Although this seems not to follow the normal disamg.) Only way it could be under Anshan if it was a major city like New York City, or Paris; basically it has to a world/major city for that treatment.Spshu (talk) 22:51, 26 January 2012 (UTC)
 * Your last sentence is over-generalised and not true. Numerous counterexamples lie in Yuncheng, Jining, Fuyang, Qingyuan, etc. These are prefecture-level cities which hardly have even national importance/prominence. What's more, I am sure I have missed a few examples where a less-known prefecture-level city, say DIJISHI, is at DIJISHI . Not to mention that outside the US, the term "NY" more commonly refers to NYC. GotR Talk 23:11, 26 January 2012 (UTC)
 * User:Spshu, your last statement is way off the mark. Check out

 * Comment: See Talk:Qingyuan for a further illustration of what I am talking about. "Qingyuan, Guangdong", too did not receive more than 4 times the views as the other pages at Qingyuan (disambiguation), but still got more than the others combined. GotR Talk 00:03, 27 January 2012 (UTC)

 * Support. Anshan in Liaoning is a major city and definitely the primary topic. It is proportionately larger and more notable than, e.g., Boston vs. other Bostons, Melbourne vs. other Melbournes, Santiago vs. other Santiagos et al.  —  AjaxSmack   02:26, 27 January 2012 (UTC)

 * Support. It's most notable as the name of a major Chinese city. The article has about twice the traffic against the second highest. Google gives significantly more hits for Anshan China than Anshan Persia and Anshan Iran. --Cold Season (talk) 08:50, 27 January 2012 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Second Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: moved as requested. There seems to be agreement that the page view stats confirm the city as the primary topic, so I take a deep breath and close this one. Favonian (talk) 20:57, 13 February 2012 (UTC)

– According to article traffic statistics from the last 90 days, "Anshan, Liaoning", "Anshan, China" and "Anshan City" received a combined 8,826 views, compared to a combined 7,224 for the other six links on the page ( excluding Izeh, whose commonname is not Anshan ). The 2nd-ranked page, "Anshan (Persia)" got 4,427 views. Thus this establishes this city of several million ( 3.6 million total; 1.5 million in urban area ) as the primary topic. And, for reference, here is a list of links to page views: the the Liaoning city ( in addition to the two redirects, Anshan, China and Anshan City, which are counted separately ), (Persia) the ancient settlement, Hebei town, vessel class,specific vessel, asteroid, and term in India GotR Talk 03:32, 2 February 2012 (UTC)
 * Anshan, Liaoning → Anshan
 * Anshan → Anshan (disambiguation)

 * Support. By the page views, "Anshan, Liaoning" is clearly the "Anshan" that readers are looking for; as the primary topic, it should be given precedence in disambiguation. Shrigley (talk) 21:58, 4 February 2012 (UTC)

 * Support for the same reasons I gave above. I would also note that half of the opposition stated in the previous request was based on the mistaken assumption that articles about cities almost always include disambiguators.  —  AjaxSmack   21:46, 5 February 2012 (UTC)

 * Support. It's most notable as the name of a major Chinese city. The article has about twice the traffic against the second highest. Google gives significantly more hits for Anshan China than Anshan Persia and Anshan Iran.--Cold Season (talk) 21:55, 5 February 2012 (UTC)

 * Support. WP:PRIMARYTOPIC clearly established. --Zanhe (talk) 22:15, 6 February 2012 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Anshan. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20070714204535/http://www.anshan.cn:80/en/jade.asp to http://www1.anshan.cn/en/jade.asp

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 00:35, 17 October 2015 (UTC)

title: Talk:Anshan


text:
Guided by Voices

Guided by Voices (GBV) is an American indie rock band formed in 1983 in Dayton, Ohio. It has made frequent personnel changes but always maintained the presence of principal songwriter Robert Pollard. The most well-known lineup of the band consisted of Pollard (lead vocals), his brother Jim (guitar, bass), Mitch Mitchell (lead guitars), Tobin Sprout (vocals, rhythm guitars), Kevin Fennell (drums), and bassist Greg Demos. Noted at first for its lo-fi aesthetic and Portastudio four-tracks-to-cassette production methods, Guided by Voices' music was influenced by early post–British Invasion garage rock, psychedelic rock, progressive rock, punk rock and post-punk. The band has had a prolific output, releasing 35+ full-length albums along with many other releases, and has garnered a dedicated cult following. Their songs are known for their frequent brevity and for ending abruptly or intertwining with homemade sound effects.

Guided by Voices initially disbanded in 2004. In 2010 the "classic" lineup reunited to perform at Matador Records' 21st anniversary party, subsequently touring and releasing six new albums. GBV broke up a second time in 2014, but Pollard again rebooted the band with a new album and a new lineup in 2016.

Formation and early years (1983–1991)
Formed in Dayton, Ohio, in the early 1980s, Guided by Voices began their career as a bar band working the local scene. As lineups and day-jobs shifted, however, Pollard moved the band towards a studio-only orientation. Guided by Voices' recording career began with a stream of self-financed, independent releases beginning with the R.E.M.-inspired E.P. Forever Since Breakfast and followed by the albums Devil Between My Toes, Sandbox, Self-Inflicted Aerial Nostalgia, and Same Place The Fly Got Smashed. With only a few hundred copies of each album being pressed, these tended to circulate only among the band members' family and friends.

Lo-fi era (1992–1996)
With the release of the ultra-limited album Propeller in 1992 (of which only 500 copies were pressed, each with a unique, handmade cover), Guided by Voices for the first time gained some recognition outside of their hometown. This was due in part to gaining fans in the college rock circuit and bands such as Sonic Youth, R.E.M. and The Breeders. New York City and Philadelphia were host to Guided by Voices' return to the live stage (and first shows outside of Ohio) in 1993. At this time, the always-fluid Guided by Voices lineup coalesced around the core of Pollard, guitarists Tobin Sprout and Mitch Mitchell (not to be confused with Jimi Hendrix's drummer), bassist Greg Demos, and drummer Kevin Fennell. Sprout, who was briefly featured in an early-'80s version of the band, had re-joined circa Propeller and soon became Pollard's primary musical foil, in addition to contributing several of his own songs to the band's catalog. 1993 also saw the release of Vampire on Titus, as well as the Fast Japanese Spin Cycle and Static Airplane Jive EPs. Over the next year, the band began to receive national media exposure from sources such as Spin magazine.

In 1994, after culling both new songs and reams of archival recordings from GBV's history, Pollard delivered the indie landmark Bee Thousand via Scat Records, with a distribution deal through indie label Matador Records. Soon, the band officially signed with Matador, concurrent with Pollard and his bandmates finally retiring from their day jobs to work in music full-time. The band surprised early audiences accustomed to the generally shambling, lo-fi and collage-like quality of the records with their energetic live show, featuring Pollard's homegrown rock theatrics (consisting of karate-kicks, leaps, Roger Daltrey-inspired mic-twirling, later beer can throwing at rival bands ), Mitch Mitchell's windmilling and chain smoking, sometime bassist Greg Demos' striped pants, a never-ending barrage of tunes that all seemed to clock in under 90 seconds, and prodigious alcohol consumption all around.

Their true Matador debut came in 1995 with Alien Lanes, which, despite a five-figure recording allowance, was constructed out of home-recorded snippets on the cheap. The band's underground following continued to grow, with notices coming from mainstream sources such as MTV and Rolling Stone. After sessions for a concept album entitled The Power of Suck were aborted, the band assembled Under the Bushes Under the Stars out of their first 24-track studio sessions, recorded with Kim Deal and Steve Albini among others, in 1996. However, the strain of heavy touring would ultimately lead to the demise of the "classic lineup", with Sprout deciding to retire from the road in order to focus on raising his first child, his painting, and his solo musical career. Sprout and Pollard marked the occasion by releasing simultaneous solo albums on the same day in 1996: Sprout's Carnival Boy and Pollard's Not in My Airforce, with each making a guest appearance on the other's album. Pollard maintained an active, parallel solo and side project career alongside GBV releases for the remainder of that band's existence.

Major label records (1997–2001)
Pollard formed a new incarnation of Guided by Voices with members of Cleveland group Cobra Verde in 1997. The following album Mag Earwhig!, combined a new hard-rocking swagger with classic lo-fi fragments and one track, "Jane of the Waking Universe", that featured the classic lineup for one last time. However, after another year of rigorous touring, the "Guided by Verde" lineup split in late 1997 following Pollard's announcement in an interview that he intended to work with other musicians on the next Guided by Voices project.

Cobra Verde's Doug Gillard was tapped for yet another new Guided by Voices lineup in 1998, which also included "classic"-era bassist Greg Demos, former Breeders drummer Jim Macpherson, and eventually, former Amps/Breeders guitarist Nate Farley. Departing from Matador, this lineup (without Farley) worked with producer Ric Ocasek to create what was intended to be Guided by Voices' major label debut. Initially produced for Capitol Records, Do the Collapse was repeatedly delayed and finally released in mid-1999 on pseudo-indie label TVT. (In the UK it was released on Creation Records). Featuring a slick, heavily processed sound previously foreign to GBV albums, Do the Collapse failed to garner radio airplay, and was for the most part greeted with mixed reviews.

Through touring heavily throughout 1999 and 2000, Guided by Voices' live act became legendary, with shows often stretching past the three-hour mark, and populated by an endless stream of new and classic songs, Pollard solo tracks, impromptu covers of The Who, David Bowie and The Rolling Stones, all accompanied by continuous alcohol consumption. In addition to multiple swings through the United States and Europe, 2000 saw the band's first and only visits to Australia and Japan. 2000 was capped with the release of the massive Suitcase, a four-disc, 100-song trawl through three decades worth of Pollard's enormous reserve of unreleased material. (Three more box sets of unreleased songs, Suitcase 2, Suitcase 3 and Suitcase 4 released in October 2005, November 2009 and November 2015 respectively.)

2001's Isolation Drills was recorded with Rob Schnapf, who aimed to capture the band's live sound more closely than did Ocasek. Though the album debuted in Billboard's top 200 and received higher critical notices than its predecessor, it did not achieve the sought-after radio breakthrough.

Later years (2002–2004)
After departing from TVT in 2002, Guided by Voices returned to Matador and released Universal Truths and Cycles, a departure from the previous two radio-aspiring albums, and a return to the band's mid-90s, mid-fi aesthetic. Universal Truths producer Todd Tobias would also record the band's final two albums for Matador. 2003 saw the release of the prog-styled Earthquake Glue, followed by the anthology box set Hardcore UFOs: Revelations, Epiphanies and Fast Food in the Western Hemisphere and the greatest hits compilation Best of Guided by Voices: Human Amusements at Hourly Rates.

In 2004, Pollard announced he was disbanding Guided by Voices following the release of the Half Smiles of the Decomposed LP, and a final farewell tour. Pollard stated:

 * "This feels like the last album for Guided by Voices. I've always said that when I make a record that I'm totally satisfied with as befitting a final album, then that will be it. And this is it."

On November 9, 2004, Guided by Voices performed on the stage of Austin City Limits, broadcast by PBS on January 22, 2005. Their last television appearance was on Late Night with Conan O'Brien on December 2, 2004. They played the single, "Everybody Thinks I'm a Raincloud (When I'm Not Looking)". After a select round of final US shows, Guided by Voices played their final show at The Metro in Chicago on December 31, 2004. The four-hour, 63-song marathon finale is documented on the DVD The Electrifying Conclusion.

Post-GBV (2005–2009)
Pollard released his first post-GBV album in 2006 on Merge Records. The album, titled From a Compound Eye was a double LP produced by Todd Tobias. Later Pollard albums have been released on Merge and Pollard's own label, Guided by Voices Inc. The GBV song "Everyone Thinks I'm a Raincloud (When I'm Not Looking)" was featured in the soundtrack for MLB 2K6.

Following GBV's demise, Pollard was frequently asked about band reunions. In 2007 he told MAGNET: "To me, it's just cashing in. If you're gonna get the band back together, it should be to support a new record, not just to play the hits. That's like doing the county-fair circuit. I don't see Guided By Voices reforming. For one thing, there were 50 or 60 people in Guided By Voices over time."

Pollard also commented on the fact that GBV and his solo output are basically the same, when he told Harp magazine, in 2005, "You know, a lot of people try to distinguish things between what is Robert Pollard and what is Guided By Voices. I tell them basically that there is no difference; I am Robert Pollard and I am Guided By Voices."

In 2008, Pollard admitted to almost bringing GBV back for his album Robert Pollard Is Off to Business but decided against it, instead forming a new label titled Guided by Voices Inc.

The 1998–1999 lineup of the band reunited for a few songs, for Pollard's 50th birthday in 2007.

In October 2008, it was announced that Guided by Voices' music would be used for a 3-D film musical based on the life of Cleopatra to be directed by Steven Soderbergh with script by James Greer. Soderbergh and Greer would rewrite the lyrics of the songs to fit the story. Soderbergh had previously used a Guided by Voices song in his film Full Frontal, and wrote an introduction to a book on the band. Pollard wrote the soundtrack to Soderbergh's film Bubble, and that music was released as Music for 'Bubble'. Guided by Voices and Pollard posters, t-shirts, and songs appeared frequently on British sit-com The IT Crowd.

Reunion (2010–2014)
In June 2010, Matador Records announced that the "Classic '93–'96 Lineup" would reunite to perform at the label's 21st Anniversary celebration in Las Vegas, in October of that year. A full reunion tour was subsequently announced, with the band selling out nearly every date. The tour included stops at Hoboken's Maxwell's and the Southgate House in Newport, Kentucky, two venues that the band had built a history with due to legendary shows there in the past. When asked by Spinner if there might ever be another proper GBV record Pollard said "I've thought about it sometimes but it's a very long shot," he says. "We all kind of do our own thing. I'm not completely eliminating the possibility."

On September 21, 2011, it was announced that a new GBV album, Let's Go Eat the Factory, had been recorded for release in January 2012.

On January 4, 2012, the band performed their single "The Unsinkable Fats Domino" on the Late Show with David Letterman to promote Let's Go Eat the Factory. During their performance, bassist Greg Demos fell while attempting a dance move. However, Demos was not seriously injured and the band continued to perform their song.

The band canceled what was to have been their first post-reunion show in the UK at the All Tomorrow's Parties 'I'll Be Your Mirror' festival at Alexandra Palace, London, in May 2012 as well as a planned appearance at the Primavera Sound festival in Barcelona. The band's management denied reports that the cancellations were due to them splitting up again and confirmed they were still working on new material.

The band released a second post-reformation LP, Class Clown Spots a UFO, on June 12, 2012. Generally regarded by fans as the best of the latter-years' albums, it marked a return in tenor and quality to this line-up's mid-90s heyday. A third, The Bears for Lunch, followed in November. GBV began touring again in September 2012 with a 13 show "Tour of the South", starting in Dayton, Ohio, on September 8, 2012, which included gigs in Cleveland and Pittsburgh, and stops in North Carolina, Florida, Georgia, New Orleans, Texas (Houston and Austin), Missouri and Kansas, with the final show on September 29, 2012, in St. Louis. Another album, English Little League, was released in 2013. In a July 2013 interview with Magnet magazine, Pollard stated that English Little League could be the final GBV album. However, in September, a fifth reunion record, Motivational Jumpsuit, was confirmed for release on Guided by Voices Inc. and Fire Records in February 2014. Drummer Kevin Fennell was replaced by Kevin March for the sixth reunion album, Cool Planet, which was released on May 13, 2014.

On September 18, 2014, GBV abruptly released a statement on Facebook that they had once again disbanded. Remaining tour dates were canceled.

Second reunion (2016–present)
In February 2016, the official Guided by Voices Facebook page announced that GBV has been announced to headline the Sled Island Festival on June 25 and that a "strikingly fresh Guided By Voices album in the works", on which Pollard plays all the instruments. Pollard subsequently confirmed the new lineup for the band which would include returning drummer Kevin March along with newcomers guitarist Bobby Bare Jr., guitarist Nick Mitchell and bassist Mark Shue.

After the band's set on July 14, 2016 at the Grog Shop in Cleveland, when the band was expected to return to the stage for an encore, Nick Mitchell was fired in the dressing room next to the stage. Mitchell was replaced by former member Doug Gillard, who subsequently rejoined Guided by Voices permanently later that month.

On January 25, 2017, the band announced their first double album August by Cake for release on April 7, 2017, and released a new song, "Hiking Skin." The album was also Robert Pollard's 100th album. On March 10, the band premiered another new song from the upcoming album, "Dr. Feelgood Falls Off the Ocean".

On June 22, 2017, Guided by Voices announced another new album for 2017, titled How Do You Spell Heaven, which was released on August 11. The band also released a new single from the upcoming album Just to Show You.

On December 8 of the same year, the band announced another album to be released the following March entitled Space Gun, and released the title track as a single.

In 2018, Guided by Voices announced the future release of the double album Zeppelin Over China and Warp and Woof for 2019. They also made their 7" single, "You Own the Night" available for pre-order containing singles from both albums.

In 2019, the band released Zeppelin Over China, Warp and Woof and Sweating the Plague and in 2020 went on to release three more albums, Surrender Your Poppy Field, Mirrored Aztec and Styles We Paid For.

In 2021, the band released Earth Man Blues in April 2021, It's Not Them. It Couldn't Be Them. It Is Them! in October 2021, and Crystal Nuns Cathedral, which was released on March 4, 2022.

Tremblers and Goggles by Rank and the compilation Scalping the Guru rounded out 2022, followed by La La Land, Welshpool Frillies, and Nowhere to Go but Up in 2023. Strut of Kings was announced in April 2024 and released in June.

Band members
It's been said over fifty musicians have contributed to the band. The following is a list of all known members.

Current
 * Robert Pollard – lead vocals (1983–2004, 2010–2014, 2016–present), guitar (1983–1992)
 * Doug Gillard – guitar, backing vocals (1997–2004, 2016–present)
 * Kevin March – drums, backing vocals (2002–2004, 2014, 2016–present)
 * Mark Shue – bass, backing vocals (2016–present)
 * Bobby Bare Jr. – guitar, backing vocals (2016–present)

Former

 * Jim Pollard – guitar, bass (1983–1995, 2012)
 * Mitch Mitchell – guitar (1983–1997, 2010–2014), bass (1983–1987)
 * Tobin Sprout – guitar, vocals (1986–1997, 2010–2014)
 * Kevin Fennell – drums (1983–1989, 1993–1997, 2010–2014)
 * Greg Demos – bass (1990–1992, 1994–2000, 2010–2014)
 * Paul Comstock – guitar (1983)
 * Ed John – guitar (1984)
 * Mitch Swann – guitar (1986)
 * Don Thrasher – drums (1989–1992)
 * Steve Wilbur – bass, guitar (1987–1989)
 * Dan Toohey – bass (1991–1994)
 * James Greer – bass, (1994–1996)
 * Bruce "Smitty" Smith – drums (1983, 1989)
 * Dave Swanson – drums (1997–1998)
 * Jim Macpherson – drums (1998–2001)
 * Jon McCann – drums (2001–2002)
 * Nate Farley – guitar (1998–2004)
 * Tim Tobias – bass (2000–2003)
 * Chris Slusarenko – bass (2003–2004)
 * Nick Mitchell – guitar, vocals (2016)
 * John Petkovic – guitar (1997–1998)
 * Don Depew – bass (1997–1998)
 * Larry Keller – drums (1994–1995)
 * Craig "Craig-O" Nichols – drums (1995)
 * Nick Schuld – bass (1997)
 * Peyton Eric – drums (1986, 1989)
 * Joe Buben – drums (1996)
 * Leland Cain – bass (1996)

Former touring members

 * Matt Sweeney – bass (1996)
 * Sam Powers – bass (2003)

Timeline

Discography
• Devil Between My Toes (1987)

• Sandbox (1987)

• Self-Inflicted Aerial Nostalgia (1989)

• Same Place the Fly Got Smashed (1990)

• Propeller (1992)

• Vampire on Titus (1993)

• Bee Thousand (1994)

• Alien Lanes (1995)

• Under the Bushes Under the Stars (1996)

• Tonics & Twisted Chasers (1996)

• Mag Earwhig! (1997)

• Do the Collapse (1999)

• Isolation Drills (2001)

• Universal Truths and Cycles (2002)

• Earthquake Glue (2003)

• Half Smiles of the Decomposed (2004)

• Let's Go Eat the Factory (2012)

• Class Clown Spots a UFO (2012)

• The Bears for Lunch (2012)

• English Little League (2013)

• Motivational Jumpsuit (2014)

• Cool Planet (2014)

• Please Be Honest (2016)

• August by Cake (2017)

• How Do You Spell Heaven (2017)

• Space Gun (2018)

• Zeppelin Over China (2019)

• Warp and Woof (2019)

• Sweating the Plague (2019)

• Surrender Your Poppy Field (2020)

• Mirrored Aztec (2020)

• Styles We Paid For (2020)

• Earth Man Blues (2021)

• It's Not Them. It Couldn't Be Them. It Is Them! (2021)

• Crystal Nuns Cathedral (2022)

• Tremblers and Goggles by Rank (2022)

• La La Land (2023)

• Welshpool Frillies (2023)

• Nowhere to Go but Up (2023)

• Strut of Kings (2024)

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

title: Guided by Voices


text:
Talk:Al Hirschfeld

Untitled
Is there a public link to his stamp images or other examples of his artwork?

Fair use rationale for Image:Hirschfeldbookcover.jpg
Image:Hirschfeldbookcover.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:48, 6 June 2007 (UTC)

Fair use rationale for Image:Hirschfeldbookcover.jpg
Image:Hirschfeldbookcover.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 22:46, 13 February 2008 (UTC)

If I recall correctly...
Al Hirschfeld was actually in the middle of drawing a portrait - who? I can't remember - when he died in his sleep. Does anyone know what happened to that piece or who it was for? - Alan 24.184.184.177 (talk) 14:57, 9 April 2008 (UTC)

Nina
"Spiraled out of control"? Isn't this a bit too dramatic? Maybe something like "...but locating Nina's name in the drawings became extremely popular. From time to time Hirschfeld lamented that the gimmick had overshadowed his art and tried to discontinue the practice, but such attempts...." Kingsfold (talk) 11:28, 14 June 2010 (UTC)
 * Did it. Kingsfold (talk) 15:19, 21 June 2010 (UTC)

At least in the UK, a hidden message discovered in a completed crossword is called a Nina after the Hirschfeld practice. Worth mentioning in the article? — Preceding unsigned comment added by 86.133.44.50 (talk) 11:40, 24 October 2018 (UTC)

Visual art needs to be seen
imagery with valid Fair use rationales are important parts of this article...Modernist (talk) 16:55, 1 June 2013 (UTC)

Hirschfeld Hirschfeld Hirschfeld...
It is not necessary to use a person's name every time they are mentioned. In fact, it becomes in fact pretty monotonous and, in fact, annoying. That, among other things, is what pronouns are for. I have just replaced fifteen occurrences of his name with "he", "him", or "his", leaving the first use of the name in each paragraph intact.--Thnidu (talk) 07:22, 5 January 2017 (UTC)

Crossword mention
The May 24, 2020 version lacks a footnote A seen earlier (say, May 17 2020), mentioning the use of "nina" as a hidden word in a crossword puzzle. There was no citation given, so it's understandable to remove it. But I'm puzzled that the deletion does not seem to show up in the version comparison: is it a "feature" of version comparisons not to show changes to footnotes? Danchall (talk) 13:34, 24 May 2020 (UTC)

Divorce
The article currently says Hirschfeld divorced his first wife in 1943; the Independent obituary says the marriage was dissolved in 1939. Any way of clearing this up? Per$1$tenceofv1$1on (talk) 22:28, 23 December 2023 (UTC)

 * Los Angeles Times obituary is consistent with what the article currently says . Per$1$tenceofv1$1on (talk) 16:11, 24 December 2023 (UTC)

title: Talk:Al Hirschfeld


text:
Talk:Ultima Online

Community
Why does "server emulators" lead to a "shard website" (https://uoquest.world/en) instead of an article about "UO server emulators"/"private shards/servers"? — Preceding unsigned comment added by 62.91.48.123 (talk) 14:14, 27 May 2022 (UTC)

PunkBuster
The following text was originally in the PunkBuster article; however, since it really has little information about PunkBuster itself, and more to do with the decisions about how to implement anti-cheating in UO, I figured this might belong here instead. If the article maintainers find it interesting, please incorporate it as you see fit. Ham Pastrami (talk) 02:31, 16 June 2009 (UTC)

On June 18–19, 2006, the MMORPG (Massively Multiplayer Online Roleplaying Game) Ultima Online announced that it was testing PunkBuster for use in that game. EA had claimed that there were numerous complaints about players cheating in Ultima Online, especially with player vs. player (PvP) combat and resource gathering. In regards to how bannings would be handled, Tony Ray, founder of PunkBuster, stated in an interview "we plan to leave all banning decisions to the UO team. For Ultima Online, PunkBuster is currently designed to report what it finds to the GMs and it is up to the UO team to enforce their own policies. At least in the beginning, players who are Hardware banned for hacking PunkBuster in some other game will not be Hardware banned in UO".

As of September 1, 2006, developers from Ultima Online's publisher, Electronic Arts, estimate that public testing of PunkBuster would begin in late September 2006.

In November 2006, it was announced that PunkBuster integration into UO is put on hold indefinitely for the moment since the team would rather concentrate on "internal fixes and security improvements" in the client code.

Corp Por
What is "corp por" and what is its significance? It seems to have become something of an internet meme/catchphrase. 2fort5r (talk) 07:40, 4 July 2009 (UTC)
 * They are the power words (ultima online language) for the spell Energy Bolt. It is a very common damage spell that mages cast. - BondGamer (talk) 17:19, 3 August 2009 (UTC)

A "Corp Por" energy bolt spell was often referred to as a squiggly noodle due to it's spaghetti like appearance as it streaked across the screen ("unverified, I've never heard this: - 'a sporadic UO player for 15 years' (additionally, there were multiple contextual details as well as a limited number of style deficiencies) that were fixed upon this edit). It cost 20 mana to cast which means 5 could be cast in a row before a caster would be "out of mana" or OOM as was typed in game (as a typical mage had ~100 mana - though rarely would close to five energy bolts cast in a single series). The spell caused approximately 30-45 damage points to an opponent which was excellent because opponents only had 100-110 hit points at most and would need to quickly begin healing or run away. Often times a Corp Por bolt would chase an opponent across a long distance as they ran away because a players speed on a horse was identical to the speed of a bolt. This led to many humorous scenes of characters running for their lives. The bolts never missed.

Never heard mana referred to as power, and if you did cast 5 in a row you were pretty bad. It's a meme about griefing (sic), as Corp Por was a favorite tool of player killers. —Preceding unsigned comment added by 70.145.76.243 (talk) 23:50, 24 June 2010 (UTC)

(I have confirmed and addressed the important issues above)

Development history
Key points:

 * UO was a skunkworks project. Neither Garriott nor most of Origin was aware of what was going on in the early days. (not accurate, see update below)
 * Garriott was not involved with UO until much later. Garriott reworked the UI at one point and sat in on some design meetings, but he was never involved in a day-to-day fashion.
 * UO was originally called Multima.
 * The Multima logo was created by Micael Priest.
 * The original UO logo was the product of a practical joke war between Garriott and his ex-girlfriend.
 * The original UO prototype was created by Rick Delashmit using the Ultima VI engine.
 * UO was in development for at least two years prior to release.

Source: http://www.raphkoster.com/2006/06/24/random-uo-anecdote-1/

Adraeus (talk) 21:42, 27 October 2009 (UTC)

Just to clarify, it wasn't originally called Multima. That was just one of the working titles during development, before beta began. —Preceding unsigned comment added by 214.13.82.22 (talk) 00:30, 15 April 2010 (UTC)

UO was not a skunkworks project, Garriott worked closely with the design team for the preceding 9 home computer (offline) versions of the game and with his brothers help worked closely with the team who brought UO online as well. He PLAYED the game online during "Player Run" events and was quite popular.

Original engine was the U7 engine, and the game was in development for ~1yr before the Alpha test(April 1996). —Preceding unsigned comment added by 70.145.76.243 (talk) 23:47, 24 June 2010 (UTC)

Possible Source
Described in Matt Barton's Dungeons and Desktops: the History of Computer Role-playing Games (viewable at Amazon). Extensive coverage on pages 400-402 (at least), with a screenshot. Jodi.a.schneider (talk) 07:16, 1 March 2010 (UTC)

Revamping this article
I am sick of seeing the banners indicating the Ultima Online article needs fixing. I am going to be going over the entire article section by section to fix what the banners mention. Also to try and enhance it for eventual featured article status. If you have issue with any of my additions/changes, please discuss them here. - BondGamer (talk) 16:56, 22 August 2010 (UTC)
 * I've removed the (article) tag - it looks to me like the only section with problems in this regard is Timeline, and that section is already tagged. I realise that this is also true for the  tag, but I've not looked at that yet. TFOWR 13:33, 10 September 2010 (UTC)
 * I've removed the tone tag from the Timeline section, as the article is already tagged for tone. I'd suggest that a copy-edit for neutral point-of-view would be in order, but that there's nothing substantially wrong with the article. Not my usual field, however, so treat what I say with healthy scepticism ;-) TFOWR 13:37, 10 September 2010 (UTC)
 * I would like to add that the Timeline section used to be its own article, which I nominated for deletion but it yielded in no concensus. It may be worth checking out that archive on how to improve that section.
 * From what I can tell, the section still suffered from the same issues it had when it was still an article. IAmSasori (talk) 23:20, 23 November 2010 (UTC)

UO release date
the discussion in this thread puts the possible source for UO's release date located here  in question.

here is the quote from the forum (note: I am not the author of the quote)

''Wikipedia used to say it was the 27 or 28 until I changed it to 25. I was going by an article from 1997 which said it was released on the 25. It appears that former community manager Wilki got the release date from Wikipedia and used that to announce the 10th Anniversary, which is now cited as the source.''

therefore the information is WP:CIRCULAR and not WP:RS. I quickly found the source 1up.com. obviously, I am open to other sources, but not the specific one I noted above. —Preceding unsigned comment added by 67.248.251.103 (talk) 14:32, 9 September 2010 (UTC)
 * The source you linked mentions nothing about the release date being September 24. I also don't think a source which came out 10 years after the event could be called reliable, 1UP.com didn't even launch until 2003. - BondGamer (talk) 19:15, 15 September 2010 (UTC)
 * There are a lot of reliable sources that talk about things that are before their time, like Pac Man for instance. The stuff you need to look at is whether the source has a reputation as a reliable source / for fact-checking. 1UP specifically is listed as a reliable source. As for WP:CIRCULAR, nice catch there. Eik Corell (talk) 11:50, 16 September 2010 (UTC)
 * That does not negate the fact that the page currently cited does not say UO was released on September 24, 1997 or anyone in that article. It only mentions the launch being in late September 1997. How does that translate in changing the date from 25 to 24?

 * I was the editor who changed the date to 25 when it said 30. I got that date from a gaming website but did not cite the source and don't remember where it was from. Unless someone comes up with a reliable source that says 24, I will change it back. - BondGamer (talk) 13:17, 23 September 2010 (UTC)
 * The source we have now says September 24, 1997. I think it's just fine. Eik Corell (talk) 14:04, 23 September 2010 (UTC)
 * What source are you talking about? I looked at the article linked and it does not say September anywhere on that page. - BondGamer (talk) 22:23, 23 September 2010 (UTC)
 * the 1up source says "Launched September 24, 1997" on page 2. you overlooked it. 67.248.251.103 (talk) 23:22, 24 September 2010 (UTC)
 * I didn't overlook it, the page was not displaying correctly in Firefox. I was wondering why people were just accepting that article even though I reviewed it several times and could not locate the date. I still don't accept it as a source but won't change the date until I find another reliable one to dispute it. The 1UP article has different launch dates for The Second Age, Rennisance and Third Dawn than what appears on Wikipedia. It also says the Kingdom Reborn client was released on June 28, 2007 while Wikipedia says it was released on August 27, 2007. That is a huge discrepancy. - BondGamer (talk) 23:39, 24 September 2010 (UTC)
 * Wikipedia is using a gamespot source, and gamespot uses a press release from electronic arts, so I agree the August 27, 2007 release date for kingdom reborn is fine. the 1up page displays perfectly fine for me and says "Launched September 24, 1997" It is the only source we have unless someone finds another one. as described above the original source was WP:CIRCULAR and therefore cannot be used as a source 67.248.251.103 (talk) 23:53, 24 September 2010 (UTC)
 * The game was shipped on the 24th which was the same day the servers officially went live, I went and bought a copy at the local EB the same day... although in truth the servers were technically up since ~the 20th. This was tested repeatedly using a utility known as UOMON by obsessive fans. --Cabazap (talk) 00:29, 30 November 2011 (UTC)

Similarities to Mabinogi (video game)
While Mabinogi (video game) is anime styled, has instances and some form of leveling I don't think there is no doubt is heavily inspired by Ultima Online. Maybe this should be mentioned in the articles. At least in the See also section.--Athaba (talk) 14:11, 16 February 2011 (UTC)

Reviewing the statements at the introduction

 * The line: "Several expansions have been released, but its aging game engine and graphics may make it outdated compared to competitive, new massively multiplayer games." fails WP:YESPOV without any reliable source. This is pretty much like an entrance for the following sentence about Kingdom Reborn, which itself is released in 2007 and not supported anymore. I suggest it to be deleted and the following sentence to be re-written.

 * The following sentences: "Since Ultima Online's prime in 2003, the overall subscriber base has seen a steady decline. Subscriber numbers peaked at around 250,000 in July 2003, and in 2008 sat around 75,000 subscribers.[3] As of April 2008, Ultima Online held a market share below 0.6% of the massively multiplayer online game subscriptions.[4]" has their source www.mmogchart.com (It is Bruce Woodcock's site that is not updated since 2008) where no secondary sources can be found and he has written on his site :
 * "Firstly, I rely on the companies and employees themselves to provide the bulk of the data. The numbers they give could be completely made up, (..)"

 * It fails both WP:SELFPUBLISH and Reliable_source_examples which states:

 * "Statistical data should be considered a primary source and should be avoided. Misinterpretation of the material is easy and statistics are frequently reported ambiguously in the media, so any secondary reference to statistical data should be treated with considerable care."

 * I suggest these to be deleted if no other secondary reliable sources are found. Nimuaq (talk) 02:15, 3 May 2011 (UTC)

 * This is a misinterpretation of the policy, I think. Woodcock is an established expert in the field whose work is widely published by third parties, so WP:SELFPUBLISH doesn't apply.  And Reliable_source_examples is clearly about using raw data as the basis of a statement in an article. In this case, the analysis has been performed by an expert and published, so we are not using it as a primary source.  We're not talking about general media statistic use, so the second sentence you quoted doesn't really apply.  And we're also not talking about the kind of statistics that section is discussing anyway (which is geared mostly to interpretation of survey results).  Furthermore, Reliable source examples isn't policy anyway.  JulesH (talk) 10:58, 7 July 2012 (UTC)

 * I can see your points. The references and the 75,000 subscriptions as of 2008 do not match, according to http://users.telenet.be/mmodata/Charts/Subs-2.png it is in fact 100,000 in 2008 and while the market share reference is removed, we can still see it here: http://web.archive.org/web/20110605194653/http://www.mmogchart.com/Chart7.html so I will update it accordingly. The sentence "Several expansions have been released, but its aging game engine and graphics may make it outdated compared to competitive, new massively multiplayer games." is just an opinion. I will update the references and the market share and subscription numbers according to Bruce Woodcock's statistics and I will remove the opinions from the paragraph.Nimuaq (talk) 03:29, 21 July 2012 (UTC)

Severely out of date
This article is severely out of date and even includes wrong or outdated information. It needs a serious overhaul, but don't know how to tag it as such. AndersJohan (talk) 14:52, 6 March 2011 (UTC)

 * You are completely right Anders - for instance "The most successful games after Ultima Online have been EverQuest (released in March 1999), Asheron's Call (released in November 1999), Dark Age of Camelot (released in October 2001), Final Fantasy XI (released in May 2002), World of Warcraft (released in November 2004) and Rift (released in March 2011)." That quote from the Article completely ignores Lineage II which is the second most succesful MMO of all time with well over 2 million users in its prime. — Preceding unsigned comment added by 157.203.242.81 (talk) 10:23, 10 November 2011 (UTC)

Not to mention... Rift ? WTF is that ? Another reference to Star wars old republic was added too... We would know if anything else than WoW got near 10 million paid users. Well, actually, if any game got to even a few million permanent suscribers, we'd know about it, but it would not make them "the most successful" before at least 3 or 4 years of age, and if their playerbase grew to the tens of million. Which, those game do not. False info from fanboys... — Preceding unsigned comment added by 80.13.73.109 (talk) 18:03, 3 February 2012 (UTC)

Multima
Apparently, Garriott's pet name for the project was "Multima" ("multiplayer" + "ultima"). See here: http://www.youtube.com/watch?feature=player_embedded&v=pOdDmFSRvZ4#! SharkD  Talk  03:54, 4 March 2013 (UTC)

External links modified
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Bringing Ultima Online up to Wikipedia Standards
I have begun cleaning up some parts of the article. Most notebly the Origin Era section. As I understand Wikipedia wants this to be readable from a wide audience. So I have focused on removing UO specific terms. For instance I am replacing all instances of shard with server. Also facet is being replaced with area of server. Really specific lore is also being removed. I have also standardized the layout of the dates, trying to group by month and year.

If anyone has any comments on changes I would like to hear them. - JC the Builder (talk) 03:45, 12 January 2016 (UTC) UOGuide.com Administrator - Ultima Online Wiki

External links modified
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Starr Long on artificial life system
This block quote from Starr Long has gone unsourced for way too long - well over seven years. So I ran an online search for the quote to see if it appeared anywhere outside of mirrors of this article. Within a single minute I had confirmed that this quote was not from Starr Long. It was lifted from a GameSpot preview, deceitfully edited to remove a phrase which would have given away that the description was in the GameSpot editor's own words, and falsely attributed to Long. I've corrected the attribution and added a citation for the source.

This is why we need to check up on these things and not just assume editors who add unsourced content are telling the truth.--Martin IIIa (talk) 15:39, 6 April 2017 (UTC)

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World record for longest running MMORPG is incorrect
The Guinness Book of Gaming Records did indeed mistakenly award UO the title of longest running MMORPG in 2008. They corrected this error in 2010 after I contacted them. Ultima Online launched in 1997. The Realm launched in late 1996, and Furcadia launched a couple weeks before The Realm. While The Realm is no longer running, Furcadia still is, and still holds the record for longest running MMORPG. You can confirm that here: https://www.guinnessworldrecords.com/world-records/longest-running-social-mmorpg

I also recall seeing the initial LAN-based proof of concept demo at Origin running on the Ultima 6 engine, even if they may have moved to Ultima 7 code by the time they developed the full product. I don't think Ultima 7 had even shipped at that point, it was when I was visiting the Origin offices to show them my DragonSpires demo.

If someone would care to edit the section about the world record in some way to more accurately reflect the facts, I would appreciate it. As the author of Furcadia, and as a team member on some of the Ultima games as well, I feel it's not my place to edit articles about these games due to my potential bias. I do think it's likely UO is the second oldest MMORPG at this point, for what it's worth.

Regards, Dr. Cat 99.156.185.75 (talk) 20:31, 26 November 2020 (UTC)

Long distance phone calls
The article currently [//en.wikipedia.org/w/index.php?title=Ultima_Online&diff=1047186384&oldid=1042645601] which makes no sense. The source does say "" but provides no explanation why anyone would do that. AFAIK and our article also seems to support this, UO was always an internet-only game. It never supported any sort of dial-up modem connection to servers hosted by Origin/EA. Most people did use dial-up modems for internet access at the time but it was still the internet so it didn't matter much generally. (I used the internet from Malaysia and although much more limited at the time with some weird legacy stuff like UUCP still common, it was still the internet and so I was able to play Asheron's Call beta for example.) It's possible that the servers were geo-blocked and these were the days before you could easily just get a VPN to bypass geo-blocks but I think the early days of UO were before companies really bothered to do that. So there was no real reason to dial in to the US to play the game, most players wherever they were would have just connected to their local ISP and then connected to the game. I guess it's possible dialling in to the US gave better latency but frankly I doubt it or at least not in a significant way. And indeed there's a fair chance it would have limited connection speeds (definitely for speeds beyond 33.6k although IIRC 56k only came after UO). Considering this was written in 1997 I think there's a fair chance whoever wrote that just didn't know how the internet works. I mean it's possible some players also didn't and so did pointless stuff, but definitely we need a source which better explains why this happened IMO. Nil Einne (talk) 14:12, 29 September 2021 (UTC)

 * As mentioned in the summary for my edit here, I think it's unclear that the source is stating that over half of the game's sales were international by this time anyway. If (as the source explicitly states) Europe had 5,000 subscribers and Japan had 8,000 subscribers of a total 70,000 subscribers, that would mean there were over 22,000 subscribers in countries where online gaming had little to no market penetration and (also mentioned in the source) the game hadn't shipped to yet. That's very counterintuitive, so the fact that the source doesn't expound on this at all suggests to me that when it says "Sixty percent of Origin's sales are international.", it means 60% of sales of all Origin releases. Martin IIIa (talk) 21:38, 6 August 2022 (UTC)

Gameplay
This section is mostly just details about the setting and almost nothing about gameplay. Would be much appreciated if someone could add details on the gameplay mechanics. Walkersam (talk) 00:26, 26 April 2023 (UTC)

title: Talk:Ultima Online


text:
Paul Jordan-Smith

Paul Jordan-Smith (April 19, 1885 – June 17, 1971) was an American Universalist minister who also worked as a writer, lecturer and editor. Academically, he is regarded as one of the foremost authorities on the 17th-century British author and scholar Robert Burton. However, he is most well known for originating the hoax art movement Disumbrationism.

Life and ministry
Paul Jordan Smith (his name was not hyphenated until later in life; see below) was born in Wytheville, Virginia. His father, John Wesley Smith, was a Southern Methodist minister who dreamed of starting a college and invested in land in Dade County, Georgia, outside Chattanooga, Tennessee. His wife (the former Lucy Jordan) and son joined him there in 1891, but the venture failed and the family returned to Virginia.

While a student at Emory and Henry College, Paul Jordan Smith secretly married Ethel Sloan Park in September 1904. Their daughter Lucille Isabella (Isabel Jordan) Smith was born in August 1905. He graduated from U.S. Grant University in Chattanooga, Tennessee in 1906. A local Unitarian minister recommended that he study for the ministry, and although admitted to Harvard Divinity School he enrolled in the more affordable Ryder Divinity School of the Universalist Lombard College in Galesburg, where he received a bachelor of divinity degree in 1908.

He served briefly as a minister at Universalist churches in Unionville, Missouri, and Kansas City and developed a reputation as an outstanding lecturer on science and religion. He moved to Chicago in 1910, where he worked at the Independent Religious Society and later got a job as a minister and ran a settlement house. He also enrolled part-time in graduate classes at the University of Chicago and developed a broad acquaintance among both literary and social activist circles, including lawyer Clarence Darrow, activist Emma Goldman, novelist John Cowper Powys, editor and publisher Margaret Anderson, writer Floyd Dell, Chicago Little Theatre founder Maurice Browne, and bookseller George Millard. In the process, he became a passionate book collector and decided on a career in literature. Jordan Smith also developed an interest in art through visits to the Art Institute of Chicago.

In 1913 his wife Ethel divorced him and his mother died. After a few months in the South, he traveled to Berkeley, California with letters of introduction, filled in for a minister in Eureka in the summer of 1914, and enrolled as a doctoral student and teaching fellow in the English Department at the University of California, Berkeley. He was hired as a substitute minister of the First Unitarian Church of Berkeley after Arthur Maxson Smith resigned when his wife, the heiress Sarah Bixby Smith, caught him having an affair and sued for divorce. Paul Jordan-Smith became romantically involved with Sarah, a writer, and their involvement became public, to their dismay, before the divorce was final. It was around this time that Paul assumed the hyphenated Jordan-Smith as his last name, in part to disguise his liaison with Sarah, which he feared might damage his academic career. Despite this precaution, the English Department—then headed by Charles Mills Gayley—voted not to renew his fellowship, putting an end to his plans for an academic career. Jordan-Smith married Sarah on March 30, 1916, immediately after her divorce came through. The couple then moved with Sarah's children to her former home in Claremont, California, which had been rented to a school for boys. In 1917, the school's lease ended and they began renovating the house back into a private residence, which they named Erewhon after the Samuel Butler novel. Around this time, they met and subsequently became friends with one of Sarah's cousins, the photographer Edward Weston, who made several photographic portraits of Jordan-Smith. Eventually, the couple moved to a mansion on Los Feliz Boulevard in Los Angeles, where Jordan-Smith had a detached library and writing studio on the property.

Though Jordan-Smith did not have to work (thanks to Sarah's inherited wealth), he lectured around southern California, at women's clubs such as the Friday Morning Club (of which Sarah was later president), at the Ebell Club, and elsewhere. He also taught courses on English and American literature at the new University of California Extension program in Los Angeles. Encouraged by some of the philanthropists who attended his talks, he took on leadership of the recently formed People's Council of America for Peace and Democracy, an antiwar organization. The group did well until its leaders came under attack when the U.S. government began to crack down on antiwar opposition through the Espionage Act of 1917. To avoid prosecution, Jordan-Smith was obliged to give up making antiwar speeches and to swear that he did not have any German affiliations or friends.

Jordan-Smith served for a time as the educational director of the Walt Whitman School, a progressive secondary school founded in East Los Angeles in 1919.

Jordan-Smith eventually left Sarah for his cousin Dorothy and the couple divorced. He died on June 17, 1971.

Jordan-Smith had three children. His son Wilbur Jordan Smith was head of UCLA Library's Department of Special Collections from 1951 to 1971, and Wilbur's son Paul Jordan-Smith helped D.M. Dooling found Parabola magazine and served as its Epicycle editor.

Literary career
Jordan-Smith was a great admirer of the 17th-century British author and scholar Robert Burton. He co-edited the first all-English translation (having himself translated all of the Latin quotes) of Burton's magnum opus, The Anatomy of Melancholy, following it up with Bibliographica Burtoniana, which included both a study of Burton and a scholarly key to the sources Burton used in The Anatomy of Melancholy. He collected books relating to Burton, and after Sarah died, he gave the core of his collection to the Claremont Colleges Library in her memory. The Robert Burton Collection, as it is called, includes copies of the first six editions of Burton's Anatomy of Melancholy, a copy of the 1927 edition edited by Smith and Floyd Dell, and editions of various Renaissance Latin authors and others cited by Burton.

Jordan-Smith also wrote one of the first books on James Joyce, A Key to the Ulysses of James Joyce. He dedicated this book to Powys, who had persuaded him in 1922 to buy a then-rare and expensive first edition of Ulysses during one of Powys's stays at Erewhon, which they then read together.

Inspired by Sarah's ideas, Jordan-Smith collaborated with her on a feminist manifesto entitled The Soul of Woman: An Interpretation of the Philosophy of Feminism. It was published under his name in 1916.

He also served for a time in the 1940s and 1950s as the literary critic for the Los Angeles Times. and as such was seen on the cinema screen in 1949 introducing the trailer for the new MGM motion picture The Secret Garden, under the headline "Great Books Make Great Pictures."

His autobiography, The Road I Came, was published in 1960. His papers are housed in the UCLA Library Special Collections.

Disumbrationism
Jordan-Smith may be best known today for a hoax that he initiated in 1924, in part out of a dislike of modern art that was evident as far back as 1913, when he saw (and largely rejected) the traveling version of the notorious Armory Show at the Art Institute of Chicago. Giving himself the Russian-sounding pseudonym Pavel Jerdanowitch, Jordan-Smith painted a small group of crudely Postimpressionist canvases that he then entered in art exhibitions around the country as exemplars of a new art movement known as Disumbrationism (i.e. painting without shadows). His canvases were well received on the whole until he got tired of sustaining the role and outed himself to a Los Angeles Times reporter in 1927.

Books

 * (as editor, with Floyd Dell) The Anatomy of Melancholy by Robert Burton. New York: Farrar & Rinehart, 1927. (English translation of the original Latin text.)
 * Burton's Anatomy of Melancholy and Burtoniana. Oxford University Press, 1959. (A catalogue.)
 * A Key to the Ulysses of James Joyce. 1927. Republished in 1968 by Haskell House, New York.
 * Bibliographia Burtoniana: A Study of Robert Burton's "The Anatomy of Melancholy" with a Bibliography of Burton's Writings. Oxford University Press and Stanford University Press, 1931.
 * Cables of Cobweb. New York: Lieber & Lewis, 1923 (novel).
 * For the Love of Books: The Adventures of an Impecunious Collector. Oxford University Press, 1934.
 * Nomad. Minton, Balch, 1925 (novel, dedicated to James Branch Cabell).
 * On Strange Altars: A Book of Enthusiasms. 1923. Republished by Gordon Press Publishers, 1972.
 * The Road I Came: Some Recollections and Reflections Concerning Changes in American Life and Manners Since 1890. Caldwell, Idaho: Caxton Printers, 1960.
 * The Soul of Woman: An Interpretation of the Philosophy of Feminism. San Francisco: Paul Elder Company, 1916.

title: Paul Jordan-Smith


text:
Annibale Carracci

Annibale Carracci (November 3, 1560 – July 15, 1609) was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.

Early career

Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family. In 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters' studio, initially called by some the Academy of the Desiderosi (desirous of fame and learning) and subsequently the Incamminati (progressives; literally "of those opening a new way"). Considered "the first major art school based on life drawing", the Accademia degli Incamminati was the model for later art schools throughout Europe. While the Carraccis laid emphasis on the typically Florentine linear draftsmanship, as exemplified by Raphael and Andrea del Sarto, their interest in the glimmering colours and mistier edges of objects derived from the Venetian painters, notably the works of Venetian oil painter Titian, which Annibale and Agostino studied during their travels around Italy in 1580–81 at the behest of the elder Caracci Lodovico. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School.

In many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the frescoes on the story of Jason for Palazzo Fava in Bologna (c. 1583–84) are signed Carracci, which suggests that they all contributed. In 1585, Annibale completed an altarpiece of the Baptism of Christ for the church of Santi Gregorio e Siro in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia.

In 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna. By 1593, Annibale had completed an altarpiece, Virgin on the throne with St John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593. In 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593–94, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna.

Frescoes in Palazzo Farnese
Based on the prolific and masterful frescoes by the Carracci in Bologna, Annibale was recommended by the Duke of Parma, Ranuccio I Farnese, to his brother, the Cardinal Odoardo Farnese, who wished to decorate the piano nobile of the cavernous Roman Palazzo Farnese. In November–December 1595, Annibale and Agostino traveled to Rome to begin decorating the Camerino with stories of Hercules, appropriate since the room housed the famous Greco-Roman antique sculpture of the hypermuscular Farnese Hercules.

Annibale meanwhile developed hundreds of preparatory sketches for the major work, wherein he led a team painting frescoes on the ceiling of the grand salon with the secular quadri riportati of The Loves of the Gods, or as the biographer Giovanni Bellori described it, Human Love governed by Celestial Love. Although the ceiling is riotously rich in illusionistic elements, the narratives are framed in the restrained classicism of High Renaissance decoration, drawing inspiration from, yet more immediate and intimate, than Michelangelo's Sistine Ceiling as well as Raphael's Vatican Logge and Villa Farnesina frescoes. His work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli.

Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the unrivaled masterpiece of fresco painting for its age. They were not only seen as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale's hundreds of preparatory drawings for the ceiling became a fundamental step in composing any ambitious history painting.

Contrast with Caravaggio
The 17th-century critic Giovanni Bellori, in his survey entitled Idea, praised Carracci as the paragon of Italian painters, who had fostered a "renaissance" of the great tradition of Raphael and Michelangelo. On the other hand, while admitting Caravaggio's talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and persona. He thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers. Yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling.

By the 21st century, observers had warmed to the rebel myth of Caravaggio, and often ignored the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painter's mettle. On the other hand, Carracci's best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, and not to well-lit walls or ceilings such as this one in the Farnese. Wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a "considerable relaxation of counter-reformatory morality". This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggio's canvases. Wittkower states Carracci's "frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed".

In the 21st century, most connoisseurs making the pilgrimage to the Cerasi Chapel in Santa Maria del Popolo would ignore Carracci's Assumption of the Virgin altarpiece (1600–1601) and focus on the flanking Caravaggio works. It is instructive to compare Carracci's Assumption with Caravaggio's Death of the Virgin. Among early contemporaries, Carracci was an innovator. He re-enlivened Michelangelo's visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, which had been becoming progressively crippled into a Mannerist tangle. While Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance. The "ceiling"-frontiers, the wide expanses of walls to be frescoed would, for the next decades, be thronged by the monumental brilliance of the Carracci followers, and not Caravaggio's followers.

In the century following his death, to a lesser extent than Bernini and Cortona, Carracci and baroque art in general came under criticism from neoclassic critics such as Winckelmann and even later from the prudish John Ruskin, as well as admirers of Caravaggio. Carracci in part was spared opprobrium because he was seen as an emulator of the highly admired Raphael, and in the Farnese frescoes, attentive to the proper themes such as those of antique mythology.

Landscapes, genre art and drawings
On July 8, 1595, Annibale completed the painting of Saint Roch Giving Alms, now in Dresden Gemäldegalerie. Other significant late works painted by Carracci in Rome include Domine quo vadis? (c. 1602), which reveals a striking economy in figure composition and a force and precision of gesture that influenced on Poussin and through him, the language of gesture in painting.

Carracci was remarkably eclectic in thematic, painting landscapes, genre scenes, and portraits, including a series of autoportraits across the ages. He was one of the first Italian painters to paint a canvas wherein landscape took priority over figures, such as his masterful The Flight into Egypt; this is a genre in which he was followed by Domenichino (his favorite pupil) and Claude Lorrain.

Carracci's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early genre paintings, which are remarkable for their lively observation and free handling and his painting of The Beaneater. He is described by biographers as inattentive to dress, obsessed with work: his self-portraits (such as that in Parma) vary in his depiction.

Under a melancholic humor
It is not clear how much work Annibale completed after finishing the major gallery in the Palazzo Farnese. In 1606, Annibale signed a Madonna of the bowl. However, in a letter from April 1606, Cardinal Odoardo Farnese bemoaned that a "heavy melancholic humor" prevented Annibale from painting for him. Throughout 1607, Annibale was unable to complete a commission for the Duke of Modena of a Nativity. There is a note from 1608, where in Annibale stipulates to a pupil that he will spend at least two hours a day in his studio. There is little documentation from the man or time to explain why his brush was stilled.

In 1609, Annibale died and was buried, according to his wish, near Raphael in the Pantheon of Rome. It is a measure of his achievement that artists as diverse as Bernini, Poussin, and Rubens praised his work. Many of his assistants or pupils in projects at the Palazzo Farnese and Herrera Chapel would become among the pre-eminent artists of the next decades, including Domenichino, Francesco Albani, Giovanni Lanfranco, Domenico Viola, Guido Reni, Sisto Badalocchio, and others.

Paintings

 * Butcher's Shop (1580s) —Oil on canvas, 185 × 266 cm, Christ Church Picture Gallery, Oxford
 * The Beaneater (1580–1590) —Oil on canvas, 57 × 68 cm, Galleria Colonna, Rome
 * Descent From the Cross (1580–1600) —St. Ann's, Manchester
 * Crucifixion with Saints (1583) —Oil on canvas, 305 × 210 cm, Santa Maria della Carità, Bologna
 * The Laughing Youth (1583) —Oil on paper, Galleria Borghese, Rome
 * Corpse of Christ (c. 1583–1585) —Oil on canvas, 70.7 × 88.8 cm, Staatsgalerie Stuttgart
 * The Baptism of Christ (1584) —Oil on canvas, Santi Gregorio e Siro, Bologna
 * An Allegory of Truth and Time (1584-1585) —Royal Collection (Hampton Court)
 * Pietà with Saints Clare, Francis and Mary Magdalene (1585) —Oil on canvas, Galleria nazionale di Parma, Parma
 * The Mystic Marriage of St Catherine (1585–1587) —Oil on canvas, Museo Nazionale di Capodimonte, Naples
 * Madonna Enthroned with St Matthew (1588) —Oil on canvas, 384 × 255 cm, Gemäldegalerie, Dresden
 * Venus with a Satyr and Two Cupids (c. 1588) —Oil on canvas, 112 × 142 cm, Uffizi, Florence
 * Self-Portrait in Profile (1590s) —Oil on canvas, Uffizi, Florence
 * Assumption of the Virgin (c. 1590) —Oil on canvas, 130 × 97 cm, Museo del Prado
 * The Virgin Appears to the Saints Luke and Catherine (1592) —Oil on canvas, 401 × 226 cm, Musée du Louvre, Paris
 * Fishing (before 1595) —Oil on canvas, 136 × 253 cm, Musée du Louvre
 * Hunting (before 1595) —Oil on canvas, 136 × 253 cm, Musée du Louvre
 * Venus, Adonis and Cupid (c. 1595) —Oil on canvas, 212 × 268 cm, Museo del Prado, Madrid
 * Saint Roch Giving Alms (1595) —Oil on canvas, Gemäldegalerie, Dresden
 * The Choice of Heracles (c. 1596) —Oil on canvas, 167 × 273 cm, Museo Nazionale di Capodimonte, Naples
 * Mocking of Christ (c. 1596) —Oil on canvas, 60 × 69.5 cm, Pinacoteca Nazionale
 * Jupiter and Juno (c. 1597) —Farnese Gallery, Rome
 * Frescoes (1597–1605) in the Palazzo Farnese, Rome
 * River Landscape (c. 1599) —Oil on canvas, National Gallery of Art, Washington, D.C.
 * Pietà (1599–1600) —Oil on canvas, 156 × 149 cm, Museo Nazionale di Capodimonte, Naples
 * The Madonna and Sleeping Child with the Infant St John the Baptist (1599-1600) -Oil on canvas, 51.2 x 68.4 cm, Royal Collection (Hampton Court)
 * Rest on the Flight into Egypt (c. 1600) —Oil on canvas, diameter 82.5 cm, Hermitage Museum, St. Petersburg
 * The Three Marys at the Tomb (c.1600) Oil on canvas, Hermitage Museum, St. Petersburg
 * Assumption of the Virgin Mary (1600–1601) —Oil on panel, 245 × 155 cm, Santa Maria del Popolo, Rome
 * Domine quo vadis? (1601–1602) —Oil on panel, 77.4 × 56.3 cm, National Gallery, London
 * Pietà with Saint Francis and Saint Mary Magdalene -Oil on canvas, 277 x 186 cm, Louvre, Paris
 * The Flight into Egypt (1603) —Oil on canvas, 122 × 230 cm, Galleria Doria Pamphilj, Rome
 * Sleeping Venus (c. 1603) —Oil on canvas, 190 × 328 cm, Musée Condé, Chantilly, Oise
 * The Martyrdom of St Stephen (1603–1604) —Oil on canvas, 51 × 68 cm, Louvre, Paris
 * Self-portrait (c. 1604) —Oil on wood, 42 × 30 cm, Hermitage Museum, St. Petersburg
 * Portable Altarpiece with Pietà and Saints (1604–1605) —Oil on copper and panel, 37 × 24 cm (central panel), 37 × 12 cm (each wing), Galleria Nazionale d'Arte Antica, Rome
 * The Birth of the Virgin (1605-1609) -Oil on canvas, Louvre, Paris
 * Lamentation of Christ (1606) —Oil on canvas, 92.8 × 103.2 cm, National Gallery, London

Drawings

 * Atlante Red chalk, Louvre, Paris
 * Drawings (exhibit, National Gallery of Art)

Works after Carracci

 * Venus and Adonis (c. 1595) —Oil on canvas, 217 × 246 cm, Kunsthistorisches Museum, Vienna

Paintings
The tradition of Italian Renaissance painting and the mature Renaissance artists like Raphael, Michelangelo, Correggio, Titian and Veronese are all painters who had a considerable influence on the work of the Carracci, in his use of colours. Carraci laid the foundations for the birth of Baroque painting. The preceding sterile Mannerist style had its recovery now in the Baroque painting in the early sixteenth century, succeeding in an original synthesis of the many schools. The paintings of Annibale are inspired by the Venetian pictorial taste and especially the paintings of Paolo Veronese. The work that show traces of it are the Madonna Enthroned with Saint Matthew, a work made for Reggio Emilia and now in the Gemäldegalerie, Dresden, and the Mystic Marriage of Saint Catherine of Alexandria (ca. 1575), now preserved at the Gallerie dell'Accademia in Venice.

title: Annibale Carracci


text:
Xanthippe

Xanthippe (Ξανθίππη ; fl. 5th–4th century BCE) was an ancient Athenian, the wife of Socrates and mother of their three sons: Lamprocles, Sophroniscus, and Menexenus. She was likely much younger than Socrates, perhaps by as much as 40 years.

Name
Xanthippe means "yellow horse", from ξανθός xanthos "blond" and ἵππος hippos "horse". Hers is one of many Greek personal names with a horse theme (cf. Philippos "Friend of Horses", Hippocrates "Horse-tamer", etc.). The hippos in an ancient Greek name often suggested aristocratic heritage.

One additional reason for thinking Xanthippe's family was socially prominent was that her eldest son was named Lamprocles instead of "Sophroniscus" after Socrates' father Sophroniscus: the ancient Greek custom was to name one's first child after the more illustrious of the two grandfathers. Xanthippe's father is believed to have been named Lamprocles. If he was even more well-established in Athenian aristocracy than was Socrates' father, his name would have been the preferred choice for the name of the first-born son.

Character

Plato's portrayal of Xanthippe in the Phaedo suggests that she was a devoted wife and mother; this is the sole mention of her in Plato's works. Xenophon, in his Memorabilia, portrays her in much the same light, although he does make Lamprocles complain of her harshness. It is only in Xenophon's Symposium where Socrates agrees that she is (in Antisthenes' words) "the hardest to get along with of all the women there are." Nevertheless, Socrates adds that he chose her precisely because of her argumentative spirit:

"It is the example of the rider who wishes to become an expert horseman: 'None of your soft-mouthed, docile animals for me,' he says; 'the horse for me to own must show some spirit' in the belief, no doubt, if he can manage such an animal, it will be easy enough to deal with every other horse besides. And that is just my case. I wish to deal with human beings, to associate with man in general; hence my choice of wife. I know full well, if I can tolerate her spirit, I can with ease attach myself to every human being else."

Perhaps this picture of Xanthippe originated with the historical Antisthenes, one of Socrates' pupils, since Xenophon initially puts this view into his mouth. Aelian also depicts her as a jealous shrew in his description of an episode in which she tramples underfoot a large and beautiful cake sent to Socrates by Alcibiades. Diogenes Laërtius tells of other stories involving Xanthippe's supposed bad attitude.

It seems that Xenophon's portrayal of her in his Symposium has been the most influential: Diogenes Laërtius, for example, seems to quote the Symposium passage, though he does not mention Xenophon by name, and the term "Xanthippe" has now come to mean any nagging scolding person, especially a shrewish wife.

Later writers, such as Diogenes Laërtius who cite Aristotle as the earliest source, say that Socrates had a second wife called Myrto. Plutarch tells of a similar story, reporting that it comes from a work entitled On Good Birth, but he expresses doubt as to whether it was written by Aristotle. In Plutarch's version of the story, Socrates, who was already married, merely attended to Myrto's financial concerns when she became a widow, which does not entail marriage; there is no other evidence on the matter.

A different account of Xanthippe and Myrto is given in Aristoxenus's Life of Socrates written in the latter part of the fourth century BC that Aristoxenus asserts is based on first-person accounts by his father. This claims that Myrto was his legitimate wife and Xanthippe his mistress, whose child became legitimate.

An unconfirmed anecdote purports that Xanthippe was once so enraged with her husband that she took a chamber pot and poured it out over Socrates' head, which – according to the tale – the philosopher accepted with the allegory: "After thunder comes the rain."

The widely cited quote from Socrates about Xanthippe, "By all means, marry. If you will get for yourself a good wife, you will be happy forever after; and if by chance you will get a common scold like my Xanthippe — why then you will become a philosopher." is misattributed.

Literary references
In William Shakespeare's The Taming of the Shrew, Petruchio compares Katherina "As Socrates' Xanthippe or a worse" in Act 1 Scene 2. (Read here)

Addison discusses matrimony in The Spectator no. 482, dated Friday 12 September 1712: "An honest Tradesman, who dates his Letter from Cheapside, sends me Thanks in the name of a Club, who, he tells me, meet as often as their Wives will give them leave, and stay together till they are sent for home. He informs me, that my Paper has administered great Consolation to their whole Club, and desires me to give some further Account of Socrates, and to acquaint them in whose Reign he lived, whether he was a Citizen or a Courtier, whether he buried Xantippe"

The novelist Henry Fielding describes the shrewish Mrs. Partridge thus: "She was, besides, a profest follower of that noble sect founded by Xantippe of old; by means of which she became more formidable in the school than her husband; for, to confess the truth, he was never master there, or anywhere else, in her presence. ... for she continued longer in a state of affability, after this fit of jealousy was ended, than her husband had ever known before: and, had it not been for some little exercises, which all the followers of Xantippe are obliged to perform daily, Mr Partridge would have enjoyed a perfect serenity of several months. —The History of Tom Jones, a Foundling, Book II, Chapters iii & iv."

The English Victorian poet Amy Levy wrote a dramatic monologue called "Xantippe".

In his poem "An Acrostic", Edgar Allan Poe makes references to her although he (allegedly purposely) misspells her name and instead writes 'Zantippe'.

Frank Osbaldistone, the first-person narrator of Rob Roy by Sir Walter Scott (1817), records this event: "While I trembled lest the thunders of their wrath might dissolve in showers like that of Xantippe, Mrs Flyter herself awoke, and began, in a tone of objurgation not unbecoming the philosophical spouse of Socrates, to scold one or two loiterers in her kitchen." (Book 2, Chapter 7)

In Doctor Thorne by Anthony Trollope, the author says of wives 'There may possibly have been a Xantippe here and there, but Imogenes are to be found under every bush.'

Salomon Maimon refers to a woman's "Xanthippe-like character" in Chapter 10 of his autobiography. ("A widow, celebrated for her superior talents, as well as for her Xanthippe-like character, kept a public house at the extremity of one of the suburbs. She had a daughter who yielded to her in none of the above-mentioned qualities, and who was indispensable to her in the management of the house. [...]"

In episode 9 of James Joyce's Ulysses ("Scylla and Charybdis") John Eglinton asks Stephen Dedalus, ″What useful discovery did Socrates learn from Xanthippe?″

In his essay "The Case for Xanthippe" (1960), Robert Graves suggested that the stereotype of Xanthippe as a misguided shrew is emblematic of an ancient struggle between masculinity (rationality, philosophy) and femininity (intuition, poetry), and that the rise of philosophy in Socrates' time has led to rationality and scientific pursuit coming to exercise an unreasonable dominance over human life and culture.

In Academic Graffiti (1971), the poet W.H. Auden memorialized Xanthippe in a clerihew:

"Whenever Xantippe Wasn't feeling too chippy, She would bawl at Socrates: 'Why aren't you Hippocrates?'"

In The Canterbury Tales by Geoffrey Chaucer, "The Tale of the Wyf of Bathe" states: "No-thing forgat he the penaunce and wo That Socrates had with hise wyves two; How Xantippa caste pisse up-on his heed; This sely man sat stille, as he were deed; He wyped his heed, namore dorste he seyn But 'er that thonder stinte, comth a reyn.'"

In popular culture

 * In the Caius children's book trilogy by Henry Winterfeld, a Greek scholar and teacher by the name of Xanthos is nicknamed "Xanthippus" (after Xanthippe) by his students because of his very demanding and critical conduct.
 * Xanthippe has a fairly important role in Maxwell Anderson's 1951 play Barefoot in Athens. In the 1966 Hallmark Hall of Fame television production, she was played by Geraldine Page opposite Peter Ustinov as Socrates.
 * In Cynthia Ozick's 1997 novel, The Puttermesser Papers, Ruth Puttermesser creates a golem who insists on being called Xanthippe.
 * A fictional account of Xanthippe's relationship with her husband is presented in the play Xanthippe by the British author and playwright Deborah Freeman. Xanthippe was first produced at the Brockley Jack Theatre, London, in 1999.
 * Xanthippe plays a minor role in the 2018 videogame Assassin's Creed: Odyssey, in which Socrates states that her argumentative nature is what attracted him to her, rather than her looks.
 * In the television sitcom, Unbreakable Kimmy Schmidt, Jacqueline White's stepdaughter is called Xanthippe Voorhees.

Honours
Asteroid 156 Xanthippe is named in her honour.

In 1995, P. Naskrecki and R.K. Colwell gave the patronym Xanthippe to a genus of flower mite that inhabits flowers of palms of the genus Socratea and is probably phoretic on the beetles that pollinate the palm.

A species of African white-toothed shrew was described by Wilfred Hudson Osgood in 1910 as Crocidura xantippe, common name "Xanthippe's shrew."

title: Xanthippe