text:
1900 in music

This is a nearly comprehensive list of notable events in music that took place in the year 1900.

Specific locations

 * 1900 in Norwegian music

Events

 * January 3 – Giuseppe Verdi's opera Aida makes U.S. debut.
 * January 23 – The Pittsburg Symphony Orchestra makes its Carnegie Hall debut with Victor Herbert conducting.
 * February 3 – Adonais overture by George Whitefield Chadwick is premiered by the Boston Symphony Orchestra.
 * February 22 – Jacques Thibaud, violin, with the composer himself at the piano, gives the world premièee of George Enescu's Second Violin Sonata in Paris, on a concert that is part of the Concerts Colonne series.
 * March 14 – Hiawatha’s Wedding Feast for soli, chorus and orchestra is played for the first time in Boston under the baton of Benjamin Johnson Lang.
 * March 22 – The first performance of the entire trilogy Hiawatha's Departure by Samuel Coleridge-Taylor for soli, chorus and orchestra at Royal Albert Hall in London, the composer conducts.
 * April 10 – Mary Garden makes her operatic debut in the title role of Gustave Charpentier's opera Louise at the Opera-Comique in Paris
 * May 5 – Billboard begins weekly publication in the U.S.
 * May 15 – Ignace Paderewski establishes the annual Paderevski Fund Price for American composers or orchestral compositions.
 * May 22 – The Dallas Symphony Orchestra gives its first concert in Turner Hall, Dallas, Texas, conducted by Hans Kreissig.
 * July 2 – Jean Sibelius's tone poem Finlandia receives its première with the Helsinki Philharmonic Orchestra conducted by Robert Kajanus.
 * October 3 – Edward Elgar's The Dream of Gerontius is premièred in Birmingham, England with a poor choral performance.
 * October 15 – Boston Symphony Orchestra has a new home – Symphony Hall, subsequently ranked as acoustically one of the best concert halls in the world.
 * November 12 – Russian pianist Ossip Gabrilowitsch makes his American debut at Carnegie Hall, New York
 * November 14 – American contralto Louise Homer makes her American debut with the Metropolitan Opera. She sings Amneris in Verdi's Aida
 * November 16 – Newly founded Philadelphia Orchestra gives its first concert in Philadelphia under the baton of Fritz Scheel.
 * November 22 – The University of Cambridge, England, awards Edward Elgar with the honorary degree of Doctor of Music
 * November 24 – The Symphony No.1 in E Minor by Alexander Scriabin is performed at the Russian Concerts in Saint Petersburg, with Anatoly Lyadov conducting.
 * December 9 – The first two sections of Claude Debussy's Nocturnes. "Nuages" and "Fetes", receive their world premiere at the Concerts Lamoureux in Paris.
 * December 1 – The first public performance of Arnold Schönberg's Zwei Gesänge, Op. 1, given by Eduard Gärtner (baritone) and Alexander von Zemlinsky (piano) in Vienna's Bösendorfer-Saal, receives a negative public reaction.
 * December 15 – The second and third movement of Concerto No.2 in C Minor for Piano by Sergej Rachmaninov receive their world premiere in Moscow; Rachmaninov plays the solo part.
 * The famous dog trademark "His Master's Voice" is registered in the U.S. by Joseph Berliner.
 * The Honolulu Symphony Orchestra is founded.

Published popular music

 * "Absence Makes The Heart Grow Fonder (Longing to Be Near Your Side)"   w. Arthur Gillespie m. Herbert Dillea
 * "A Bird in a Gilded Cage"   w. Arthur J. Lamb m. Harry Von Tilzer
 * "The Blue and the Gray (or A Mother's Gift to Her Country)" w.m. Paul Dresser
 * "Bridge Of Sighs"    w.m. James Thornton
 * "Calligan – Call Again!"    w.m. Herbert Rutter & Harry Lauder
 * "Calling To Her Boy Just Once Again"    w.m. Paul Dresser
 * "Creole Belles"    w. George Sidney m. J. Bodewalt Lampe
 * "The Duchess Of Central Park"    w. J. Cheever Goodwin m. Maurice Levi
 * "Every Race Has a Flag but the Coon"    w.m. Will A. Heelan & J. Fred Helf
 * "Eyes Of Blue"    m. Andrew Mack
 * "The Fatal Rose of Red" – J. Fred Helf
 * "The Flight Of The Bumble Bee"    m. Nikolai Rimsky-Korsakov
 * "A Flower From The Garden Of Life"    w.m. Thurland Chattaway
 * "For Old Time's Sake"    w.m. Charles K. Harris
 * "The Gladiators' Entry"    m. Julius Fučík
 * "Hail To The Spirit Of Liberty"    w.m. John Philip Sousa
 * "Hunky Dory"    m. Abe Holzmann
 * "I Can't Tell Why I Love You But I Do"    w. Will D. Cobb m. Gus Edwards
 * "I Love You, Ma Cherie"    w.m. Paul Rubens
 * "I Must Have Been A-Dreamin' "     w.m. Bob Cole
 * "I Need The Money"    w.m. Raymond A. Browne
 * "I Won't Be an Actor No More"    w.m. George M. Cohan
 * "I'll Overcome Some Day"    w.m. Charles Albert Tindley
 * "In The House Of Too Much Trouble"    w.m. Will A. Heelan & J. Fred Helf
 * "I've A Longing In My Heart For You Louise"    w.m. Charles K. Harris
 * "Just Because She Made Dem Goo-Goo Eyes"    w.m. John Queen & Hughie Cannon
 * "Lift Ev'ry Voice And Sing"    w. James Weldon Johnson m. J. Rosamond Johnson
 * "Little Tommy Murphy"    w. Matthew Woodward m. Andrew Mack
 * "A Love-Lorn Lily"    w. Louis Harrison & George V. Hobart m. A. Baldwin Sloane
 * "Ma Blushin' Rosie"    w. Edgar Smith m. John Stromberg
 * "Midnight Fire-Alarm" – H.J. Lincoln
 * "My Charcoal Charmer"    w. Will D. Cobb m. Gus Edwards
 * "My Drowsy Babe"    w. George Totten Smith m. George A. Nichols
 * "My Sunflower Sue"    w. Walter H. Ford m. John Walter Bratton
 * "Nothing Doing"    w. Edgar Smith m. John Stromberg
 * "Off To Philadelphia"    w. Gordon Temple m. Walter B. Haynes
 * "Oh! Wouldn't That Jar You?"    w.m. Will D. Cobb
 * "The Old Flag Never Touched The Ground"    w.m. James Weldon Johnson & J. Rosamond Johnson
 * "Song Of The Flea" – w. Johann Wolfgang von Goethe; m. Modest Moussorgsky
 * "Strike Up the Band – Here Comes a Sailor"    w. Andrew B. Sterling m. Charles B. Ward
 * "Swipesy" (Cakewalk) m. Scott Joplin and Arthur Marshall
 * "The Tale Of The Kangaroo"    w. Frank Pixley m. Gustave Luders
 * "Tell Me Pretty Maiden"    w. Owen Hall m. Leslie Stuart
 * "That Old Sunny Window"    w.m. Shelley
 * "There Are Two Sides To A Story"    w.m. Will A. Heelan & J. Fred Helf
 * "Violets"    w. Julian Fane m. Ellen Wright
 * "Wait"    w. Charles Horwitz m. Frederick W. Bowers
 * "When Reuben Comes To Town"    w. J. Cheever Goodwin m. Maurice Levi
 * "When The Birds Go North Again"    w. Robert F. Roden m. Max S. Witt
 * "When The Harvest Days Are Over, Jessie Dear"    w. Howard Graham m. Harry Von Tilzer
 * "Who Threw The Overalls In Mrs Murphy's Chowder?"    w.m. George L. Giefer
 * "You Never Miss The Water Till The Well Runs Dry"    w.m. Rowland Howard

Recorded popular music
– Harry Macdonough – Will F. Denny – Dan W. Quinn – The Haydn Quartet – Harry Macdonough – Albert C. Campbell – Arthur Collins with The Metropolitan Orchestra – Harry Macdonough & Florence Hayward – Dan W. Quinn – Lyric Theatre Chorus p. Paul Rubens – Dan W. Quinn on Victor Records – Jere Mahoney – Haydn Quartet
 * "American Patrol" – Sousa's Band
 * "A Bird in a Gilded Cage" – Harry Macdonough
 * "Doan Ye Cry, Mah Honey" – S. H. Dudley
 * "The Duchess Of Central Park"
 * "For Old Time's Sake"
 * "Just Because She Made Dem Goo-Goo Eyes"
 * "Lead, Kindly Light"
 * "A Love-Lorn Lily"
 * "Ma Blushin' Rosie"
 * "My Sunflower Sue"
 * "O! That We Two Were Maying"
 * "Strike Up the Band (Here Comes a Sailor)"
 * "Tell Me Pretty Maiden"
 * "When Reuben Comes To Town"
 * "When You Were Sweet Sixteen"
 * "Where The Sweet Magnolias Grow"

Classical music

 * Edward Elgar – The Dream of Gerontius
 * George Enescu –
 * Impromptu, for piano
 * Die nächtliche Herschau, for baritone, choir, and orchestra
 * Octet for Strings in C major, Op. 7
 * Plugar, for mixed choir
 * Reinhold Glière – Symphony No 1 in E-flat major, Op. 8 (Premiered on January 16, 1903, in Moscow)
 * Alexander Goedicke – Piano Concerto
 * Joseph Holbrooke – The Raven
 * Gustav Mahler – Symphony No. 4 in G major
 * Josef Rheinberger – Requiem in D minor
 * Richard Strauss – Five Songs for voice and piano, Op. 48
 * Josef Suk – Pieces for violin and piano

Opera

 * John Philip Sousa – Chris and the Wonderful Lamp, premiere in New York City, January 1
 * Giacomo Puccini – Tosca, premièred at the Teatro Constanzi in Rome, January 14
 * Jan Blockx – Thyl Uylenspiegel, premièred in Brussels, January 18
 * Alexander von Zemlinsky – Es war einmal, premièred in Vienna Opera, January 22
 * Gustave Charpentier – Louise, première in Paris Opera-Comique, February 2
 * Ermanno Wolf-Ferrari – La Cenerentola, première in Theatro le Fenice in Venice, February 22
 * Gabriel Fauré – Prométhée, première of his first opera in Roman arena at Beziers, August 27
 * Mikhail Ippolitov-Ivanov – Asya, première in Moscow, September 28
 * Władysław Żeleński - premiere of the opera Janek in Austria, October 4
 * Nikolai Rimsky-Korsakov – The Tale of Tsar Saltan, première in Solodovnikov Theatre in Moscow, November 3
 * Ruggiero Leoncavallo – Zaza, première in Teatro Lirico in Molan, November 10
 * George Stephanescu – Cometa
 * César Cui – Feast in Time of Plague, première in Moscow at the Noviy Theater, November 1901

Ballet

 * Alexander Glazunov – Les Ruses d'amour, premiere Hermitage Theater in Saint Petersburg, January 17
 * Riccardo Drigo – Les millions d'Arlequin, premiere Hermitage Theater in Saint Petersburg, February 10
 * Alexander Glazunov – Les Saisons, premiere Hermitage Theater in Saint Petersburg, February 20
 * August Enna – The Shepherdess and the Chimney-Sweep

Musical theater

 * The Cadet Girl: Broadway production opened at the Herald Square Theatre on July 25 and ran for 48 performances
 * The Casino Girl: London production opened at the Shaftesbury Theatre on April 25
 * Chris And The Wonderful Lamp: Broadway production opened at the Victoria Theater on January 1 and ran for 58 performances
 * Fiddle-Dee-Dee:    Broadway production opened at Weber and Fields' Broadway Music Hall on September 6 and ran for 262 performances
 * Florodora:    Broadway production opened at the Casino Theatre on November 10 and ran for 505 performances, while its run at London's Lyric Theatre (opened November 1899) continued throughout the year (closing in March 1901 after 455 performances)
 * Giddy Throng:    Broadway revue opened at the New York Theatre on December 24 and ran for 164 performances
 * The Messenger Boy:    London production opened at the Gaiety Theatre on February 3 and ran for 429 performances
 * Miss Prinnt:    Broadway production opened at the Victoria Theater on December 25 and ran for 211 performances
 * The Rogers Brothers In Central Park:    Broadway production opened at the Victoria Theater on September 17 and transferred to the Grand Opera House on April 1, 1901, for a total run of 80 performances
 * San Toy:    Broadway production opened at Daly's Theatre on October 1 and ran for 65 performances
 * Véronique (operetta):    Vienna production opened at the Theater an der Wien on March 10

Births

 * January 1 – Xavier Cugat, bandleader (d. 1990)
 * January 6 – Pierre-Octave Ferroud, French composer (d. 1936)
 * January 7 – John Brownlee, American baritone and opera teacher (d. 1969)
 * January 13 – Yasuji Kiyose, Japanese composer (d. 1981)
 * February 3 – Mabel Mercer, English-American singer and actress (d. 1984)
 * February 13 – Wingy Manone, U.S. jazz musician (d. 1982)
 * March 2 – Kurt Weill, German composer. (d. 1950)
 * March 10 – Peter De Rose, US composer (d. 1953)
 * March 21 – Paul Kletzki, Polish conductor (d.1973)
 * April 2 – Anis Fuleihan, Cypriot-born US composer (d. 1970)
 * April 8 – Gavriel Mullokandov, Bukharian Jewish singer and musician (d. 1972)
 * April 11 – Kai Normann Andersen, Danish composer (d.1967)
 * April 14 – Salvatore Baccaloni, Italian bass opera singer (d.1969)
 * April 17 – Willy Burkhard, Swiss composer (d. 1955)
 * April 23 – Henry Barraud, French composer (d.1997)
 * April 26 – Joseph Fuchs, American violinist (d. 1997)
 * May 5 – Hans Schmidt-Isserstedt, German conductor (d.1973)
 * May 17 – Nicolai Berezowsky, Russian composer (d.1953)
 * May 27 – Leopold Godowsky, Jr., American violinist and chemist (d.1983)
 * May 28 – Tommy Ladnier, jazz musician (d.1939)
 * June 15
 * Paul Mares, jazz musician (d.1949)
 * Otto Luening, German-American composer (d.1996)
 * June 17 - Hermann Reutter, German composer (d.1985)
 * June 22 - Jennie Tourel, Russian mezzo-soprano (d.1973)
 * June 24 – Gene Austin, US singer and composer (d.1972)
 * June 26 – Richard Crooks, US tenor (d.1972)
 * July 8 – George Antheil, composer (d.1959)
 * July 10
 * Evelyn Laye, English actress and singer (d. 1996)
 * Mitchell Parish, US lyricist (d.1993)
 * July 13 – George Lewis, jazz musician (d.1968)
 * July 29 – Don Redman, US arranger, bandleader and saxophonist (d.1964)
 * August 2 – Helen Morgan, US singer and actress (d.1941)
 * August 8 – Lucky Millinder, US bandleader (d.1966)
 * August 22 – Váša Příhoda, Czech violinist (d.1960)
 * August 23 – Ernst Krenek, composer (d.1991)
 * September 3 – Eduard van Beinum, Dutch conductor (d.1959)
 * September 7 – Joan Cross, operatic soprano (d.1993)
 * September 20 – Uuno Klami, Finnish composer (d.1961)
 * September 28 – Joe Falcon, Cajun accordionist (d.1965)
 * October 9 – Elmer Snowden, banjo player (d.1973)
 * October 19 – Erna Berger, coloratura soprano (d.1990)
 * November 7 – Efrem Kurtz, Russian conductor (d.1995)
 * November 14 – Aaron Copland, composer (d.1990)
 * November 25
 * Arthur Schwartz, US composer (d.1984)
 * Tibor Serly, Hungarien composer, violinist and conductor (d.1978)
 * November 27 – Léon Barzin, Belgian-born American conductor (d.1999)
 * December 12 – Sammy Davis, Sr., vaudeville entertainer (d.1988)
 * December 14 – Juan d'Arienzo, tango musician (d.1976)
 * December 17 – Lucijan Marija Škerjanc, Slovene composer, pedagogue and conductor (d.1973)
 * December 19 – Audrey Mildmay, English soprano (d.1953)
 * December 22 – Alan Bush, British pianist, composer and conductor (d. 1995)
 * December 25 – Gladys Swarthout, American mezzo-soprano (d.1969)
 * December 27 – Willem van Otterloo, Dutch conductor, cellist and composer (d.1978)
 * December 29 – B. H. Haggin, music critic (d.1987)

Deaths

 * January 22 – David E. Hughes, musician and inventor, 68
 * January 26 – Carl Leopold Sjöberg, composer, 38
 * February 3 – Ottokar Novacek, violinist and composer, 33 (heart condition)
 * March 10 – Johan Peter Emilius Hartmann, composer, 94
 * March 13 – Alicia Ann Spottiswoode, songwriter, 89
 * March 19 – Charles-Louis Hanon, composer and piano teacher, 80
 * April 21 – Charles Beecher, hymn-writer, 84
 * May 13 – Hermann Levi, German conductor, 61
 * May 28 – George Grove, compiler of the well-known dictionary of music, 79
 * June 15 – Barnolt, French operatic tenor, 61
 * July 19 – Jovan Sundečić, lyricist of the Montenegro national anthem, 75
 * August 11 – Franz Betz, operatic bass-baritone, 65
 * August 29 – Herrman S. Saroni, composer, 76
 * October 9 – Heinrich von Herzogenberg, conductor and composer, 57 (necrosis of the joints)
 * October 14 – Sándor Erkel, Hungarian composer, son of Ferenc Erkel
 * October 15 – Zdeněk Fibich, composer, 49
 * November 7 – Joseph Schalk, pianist, conductor and musicologist, 43
 * November 14 – Adolf Pollitzer, violinist, 68
 * November 17 – Heinrich Porges, choirmaster and music critic, 62
 * November 22 – Sir Arthur Sullivan, composer, 58 (kidney disease)
 * December 8 – Henry Russell, pianist, baritone singer and composer
 * date unknown – Louis Liebe, conductor and composer (born 1819)

title: 1900 in music


text:
The City of the Sun

The City of the Sun (La città del sole; Civitas solis) is a philosophical work by the Italian Dominican philosopher Tommaso Campanella. It is an important early utopian work. The work was written in Italian in 1602, shortly after Campanella's imprisonment for heresy and sedition. A Latin version was written in 1613–14 and published in Frankfurt in 1623.

Synopsis
The book is presented as a dialogue between "a Grandmaster of the Knights Hospitaller and a Genoese Sea-Captain". Inspired by Plato's Republic and the description of Atlantis in Timaeus, it describes a theocratic society where goods, women and children are held in common. It also resembles the City of Adocentyn in the Picatrix, an Arabic grimoire of astrological magic. In the final part of the work, Campanella prophesies—in the veiled language of astrology—that the Spanish kings, in alliance with the Pope, are destined to be the instruments of a Divine Plan: the final victory of the True Faith and its diffusion in the whole world. While one could argue that Campanella was simply thinking of the conquest of the New World, it seems that this prophecy should be interpreted in the light of a work written shortly before The City of the Sun, The Monarchy in Spain, in which Campanella exposes his vision of a unified, peaceful world governed by a theocratic monarchy.

The City
Protected and defended by seven circles of walls, constructed of palaces that serve as dwellings for the citizens, the city is located in a place with an ideal climate, conducive to physical health, and on the slope of a hillside because the air there is lighter and purer. One of the most significant aspects of this community is the distribution of work. Once again Campanella engages in an explicit polemic with Aristotle, who had excluded artisans, peasants and those involved in manual labor from the category of full citizenship and from the highest levels of virtue.

In the City of the Sun no occupation is vile or base, and all are of equal dignity—in fact, those workers who are required to expend greater effort, such as artisans and builders, receive more praise. Everyone must be acquainted with all lines of work, and then each person practices the one for which he shows the greatest aptitude. They have no servants, and no service is regarded as unworthy. The only thing that they consider to be despicable is idleness, and in this way they come to privilege the dignity of work and to overturn an absurd conception of nobility, linked to inactivity and vice.

Thanks to the equal division of labour, it is sufficient for each person to spend only four hours a day working; but it is essential that they all work, because the idleness of one would have repercussions on the profit and the effort of the others. The citizens possess nothing; instead, everything is held in common, from food to houses, from the acquisition of knowledge to the exercise of activities, from honors to amusements, from women to children.

There are “officials” in charge of the distribution of each thing, who keep an eye out and make sure that this happens justly, but no one can appropriate anything for himself. According to them, possession of a house or a family reinforces “self-love”, with all the dire consequences this generates. They live “like philosophers in common” because they are aware of the negative impact, not only on the social but also on the moral level, of an unequal distribution of goods.

One of the most spectacular and imaginative aspects of The City of the Sun, which immediately struck its readers, are the painted walls of the city. Apart from enclosing and protecting the city, the walls are also the curtains of an extraordinary theater and the pages of an illustrated encyclopedia of knowledge. The walls of the palaces are painted with images of all the arts and sciences.

Starting with the wall that holds up the columns of the temple and gradually descending in large circles, following the order of the planets from Mercury to Saturn, we encounter illustrations of the heavens and the stars, of mathematical figures, of every country on earth and of all the marvels and secrets of the mineral, vegetable and animal worlds, until we arrive at mankind: on the internal wall of the sixth circle the mechanical arts and their inventors are represented.

Campanella was greatly interested in all ingenious discoveries, and in The City of the Sun he provides many examples of curious inventions, such as vessels able to navigate without wind and without sails, and stirrups that make it possible to guide a horse using only one's feet, leaving one's hands free. On the external wall legislators are depicted; and it is here, in “a place of great honor” —but along with Moses, Osiris, Jove, Mercury and Muhammad— that the Genoese sailor recognizes Christ and the twelve apostles. Knowledge is not enclosed in books kept in separate places such as libraries but is openly on show to everyone's eyes. Visualizing in this manner promotes a quicker, easier and more efficient form of learning, in that it is connected to the art of memory, which underlines the evocative and emotive power of images. From a tender age children run around in this theater of knowledge, appropriately guided and following correct itineraries, so that they learn joyously, as if playing a game, without effort or pain.

In addition to the community of goods and the painted walls, another characteristic feature of the City of the Sun, one that is more difficult and disconcerting and that Campanella himself describes as “hard and arduous”, is the community of wives. This is the solution adopted by the citizens to the problem of generation. Echoing the teaching of the Pythagorean Ocellus Lucanus, Campanella says that they are amazed that humans are preoccupied by the breeding of horses and dogs while neglecting their own. The act of generation entails a large responsibility on the part of the parents; and if it is exercised in an incorrect manner, it can give rise to a long chain of suffering.

Moreover, there is a close connection between a person's natural “complexion” or character, which is inborn and not afterwards modifiable, and moral virtue, which needs a suitable terrain in order to take root and prosper. Generation should therefore respect precise norms and not be entrusted to chance nor to individual sentiments. The citizens distinguish between love and sex. Affection between men and women, based on friendship and respect more than sexual attraction, is expressed in acts that are far removed from sexuality, such as exchanges of gifts, conversation and dancing. Sexual generation, on the other hand, must obey strict rules regarding the physical and moral qualities of the parents and the choice of a propitious time for conception, determined by an astrologer. Such a union is not the expression of a personal, emotional or passionate relationship, but rather is connected to the social responsibility of generation and to love for the collective community.

The religious beliefs of the citizenry, even though they include fundamental principles of Christianity (such as the immortality of the soul and divine providence), form a natural religion that establishes a sort of osmosis between the city and the stars. The temple is open and not surrounded by walls. In one of his poems Campanella promises: “I shall make the heavens a temple and the stars an altar”. On the vault of the temple's dome the stars are depicted together with their influence on earthly affairs. The altar, on which are placed a celestial and a terrestrial globe, is in the form of the sun. Prayers are directed toward the heavens. The task of the twenty-four priests, who live in cells located in the highest part of the temple, is to observe the stars and, using astronomical instruments, to take account of all their movements. It is their job to indicate the times most favorable for generation and for agricultural labors, acting in this way as intermediaries between God and human beings.

Trento 1602 manuscript
In Trento's Civic Library, there is kept a 1602 manuscript of The City of the Sun (shelf mark BCT1-1538), discovered in 1943 by Italian historian Luigi Firpo. It is considered the most ancient manuscript copy that has survived to the present time. The text arrived at the Library through the bequest of Baron it:Antonio Mazzetti (1781–1841). He was a book collector and bibliophile and, as written in his will, he donated his book heritage to the Civic Library.

The manuscript was restored in 1980. It is made of parchment tied on paperboard. It consists of two codicological unities joined together years after their writing: the first is a Venetian historical chronicle from 1297 to 1582, followed by a list of "Hospedali di Venezia" ("Hospitals in Venice"). At the bottom, it is sewn to a small-sized booklet independently enumerated: it is a copy by an anonymous hand of The City of the Sun. The transcription is meticulous, and there only are a few insignificant mistakes.

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

title: The City of the Sun


text:
Geek Code

The Geek Code, developed in 1993, is a series of letters and symbols used by self-described "geeks" to inform fellow geeks about their personality, appearance, interests, skills, and opinions. The idea is that everything that makes a geek individual can be encoded in a compact format which only other geeks can read. This is deemed to be efficient in some sufficiently geeky manner.

It was once common practice to use a geek code as one's email or Usenet signature, but the last official version of the code was produced in 1996, and it has now largely fallen out of use.

A number of similar codes were developed for other subcultures, such as a Goth Code for the Goth subculture, and the Natural Bears Classification System for gay men.

History
The Geek Code was invented by Robert A. Hayden in 1993 and was defined at geekcode.com. It was inspired by a similar code for the bear subculture - which in turn was inspired by the Yerkes spectral classification system for describing stars.

After a number of updates, the last revision of the code was v3.12, in 1996.

Some alternative encodings have also been proposed. For example, the 1997 Acorn Code was a version specific to users of Acorn's RISC OS computers.

Format
Geek codes can be written in two formats; either as a simple string:

...or as a "Geek Code Block", a parody of the output produced by the encryption program PGP:

Note that this latter format has a line specifying the version of Geek Code being used.

(Both these examples use Hayden's own geek code.)

Occupation
The code starts with the letter  (for Geek) followed by the geek's occupation(s):   for a geek of music,   for a geek of computer science etc. There are 28 occupations that can be represented, but   is for geeks that can do anything and everything - and "usually precludes the use of other vocational descriptors".

Categories
The Geek Code website contains the complete list of categories, along with all of the special syntax options.

Decoding
There have been several '"decoders" produced to transform a specific geek code into English, including:
 * Bradley M. Kuhn, in late 1998, made Williams' program available as a web service.
 * Joe Reiss made a similar page available in October 1999.

title: Geek Code


text:
User:Montrealais/Images-List

Here is a list of photographs that I've taken and submitted to Wikipedia. Of course, they're under the GNU FDL.

You can also see these images all at once full size. (Warning: big!)

title: User:Montrealais/Images-List


text:
Talk:Geek Code

not in breach of copyright
I'm the author of the equivalent entry on h2g2. This entry is taken from the unedited version, to which I retain a non-exclusive copyright. Therefore this is not in breach of copyright. IANAL. TINLA. -Martin

Bear Code predates Geek Code
The bear code existed in 1989:

http://www.resourcesforbears.com/nbcs/

...and is extraordinarily similar to the Geek Code.

Searching early Usenet archives (i.e. Google Groups) will reveal uses of the Bear Code going back to 1990 and earlier.

66.127.105.218 01:22, 21 December 2005 (UTC)Anthony Berno (aberno@rakko.org)

According to the Jargon File, the Geek Code originated in 1993, and the inventor of the Geek Code was indeed inspired by codes such as the Bear Code. B7T (talk) 04:11, 27 March 2008 (UTC)

This, and the Bear Code's inspiration from the Yerkes star code, have been added. I also added a bit explaining the difference in orthogonality in the codes. Josephholsten (talk) 22:43, 10 August 2008 (UTC)

Lol?
"While the original way to read or write Geek Code is by hand, some people feel they have more important things in their life, like changing that r--- to a happier state, so Joe Reiss wrote an Ungeeker for them to use." Shouldn't it be stated in a less... ironic fashion? —Preceding unsigned comment added by 213.227.67.181 (talk • contribs)

 * I liked it the way it was. 154.121.251.247 (talk) 19:09, 8 June 2016 (UTC)

Outdated?
>> Nowadays, personal websites are the most common breeding ground, particularly any "about me" sections.

 * IMHO, that's so Web 1.0, personal websites are a pain to deal with and most likely no one will ever visit one. Blogs are used much more nowadays. —Preceding unsigned comment added by 95.181.12.52 (talk) 12:45, 11 February 2010 (UTC)

 * That's so Web 2.0! Now we only use corporate identikit crap like Facebook. Equinox ◑ 01:19, 23 July 2017 (UTC)

Horrible article
This article leaves the user with more questions than answers. Does this code have a syntax or it's just simply made to exclude people. It uses lots of jargon. Please make this article more clear. --Camilo Sanchez (talk) 20:07, 14 February 2011 (UTC)
 * Indeed! After reading this article, my #1 question is, "This thing is notable because...?" There appear to be some okay-ish references, so I assume it is notable, but the article certain doesn't explain so. The topic comes across as being some random thing some random guy made up and put on a random website and now it has vague relevance to something random somewhere. lol. I think the article comes across as attempting to make the topic seem more important than it is. Whether or not that is the intent, I think the excessive use of passive voice throughout the article is partly the reason it comes across that way. --50.99.8.69 (talk) 00:47, 31 October 2011 (UTC)

USECODE as predecesor?
I found a USENET article from 1984 suggesting USECODE as a compact way to describe one's "identification". Should it be mentioned in the article? —grawity 10:39, 11 November 2014 (UTC)
 * Interesting link. Thanks for the flash back. It does seem to be an early proposal for something similar to Geek Code.  But making that connection and saying so in the article would be WP:OR original research.  Marteau (talk) 10:46, 11 November 2014 (UTC)

Sources modified on Geek Code
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Parody of PGP signature blocks
The fact that Geek Code is a parody of PGP signature blocks is somehow absent from the history section. Somebody please remedy this? 2605:A601:46D:B01:CABC:C8FF:FEA5:82F4 (talk) 05:21, 18 January 2016 (UTC)

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Topics in various versions of the Geek Code & a list of 83 spin off codes
I made a comparison table of the various topics in different Geek Code versions, but as I'm a new Wikipedia contibutor, I don't know how to make tables. I have also listed every Geek Code and NBCS inspired code I could find mentioned between 1989 and 2005. Maybe I'll come back one day and add these to this Wikipedia article - if someone doesn't do that before me. I have all the references, I'll add them here (to this talk page).

Juhani Anttila (talk) 10:53, 10 March 2019 (UTC)

title: Talk:Geek Code


text:
Clément Marot

Clément Marot (23 November 1496 – 12 September 1544) was a French Renaissance poet.

Youth
Marot was born at Cahors, the capital of the province of Quercy, some time during the winter of 1496–1497. His father, Jean Marot (c. 1463-1523), whose more correct name appears to have been des Mares, Marais or Marets, was a Norman from the Caen region and was also a poet. Jean held the post of escripvain (a cross between poet laureate and historiographer) to Anne of Brittany, Queen of France. Clément was the child of his second wife. The boy was "brought into France" — it is his own expression, and is not unnoteworthy as showing the strict sense in which that term was still used at the beginning of the 16th century — in 1506. He appears to have been educated at the University of Paris, and to have then begun studying law. Jean Marot instructed his son in the fashionable forms of verse-making, which called for some formal training.

It was the time of the rhétoriqueurs, poets who combined stilted language with a fondness for the allegorical manner of the 15th century and the most complicated and artificial forms of the ballade and the rondeau. Clément began as a "rhétoriqueur", though he later helped overthrow this style. He wrote panegyrics to Guillaume Crétin and translated Virgil's first eclogue in 1512. He soon gave up the study of law and became page to Nicolas de Neufville, seigneur de Villeroy, which led to his introduction into court life. The house of Valois, which would hold the throne of France for the greater part of a century, was devoted to literature.

At the French court
As early as 1514, before the accession of King Francis I, Clément presented to him his Judgment of Minos, and shortly afterward he was either styled or styled himself facteur (poet) de la reine to Queen Claude. In 1519 he was attached to the suite of Marguerite d'Alençon, the king's sister, (later to become Marguerite de Navarre), a great patron of the arts. He was also a great favourite of Francis himself, attended the Field of the Cloth of Gold in 1520, and duly celebrated it in verse. In the next year he was at the camp in Flanders, and wrote of the horrors of war.

Marot, like most of Marguerite's literary court, was attracted by her grace, her kindness, and her intellectual accomplishments, but there is no grounds for thinking that they had a romantic relationship. During this time his poetic style began to change, becoming much less artificial. Some of his poems praise a lady named "Diane", whom some have identified with Diane de Poitiers.

In Paris
In 1524, Marot accompanied King Francis on his disastrous Italian campaign. The king was taken prisoner at the Battle of Pavia, but there are no grounds for supposing that Marot was wounded or shared the king's fate, and he was back in Paris again by the beginning of 1525. However, Marguerite for intellectual reasons, and her brother for political, had until then favoured the double movement of "Aufklärung", partly humanist, partly reforming, which distinguished the beginning of the century. Formidable opposition to both forms of innovation now began to appear, and Marot, never particularly prudent, was arrested on a charge of heresy and lodged in the Grand Châtelet in February 1526. This was only a foretaste of his coming trouble, and a friendly prelate, acting for Marguerite, arranged his release before Easter. The imprisonment caused him to write a vigorous poem entitled Enfer (hell), later imitated by his friend Étienne Dolet. His father died about this time, and Marot seems to have been appointed in Jean's place as valet de chambre to the king. He was certainly a member of the royal household in 1528 with a stipend of 250 livres. In 1530, probably, he married. The following year he was once again in trouble, this time for attempting to rescue a prisoner, and was again released, this time after Marot wrote the king one of his most famous poems, appealing for his release.

In 1532 he published (it had perhaps appeared three years earlier), under the title of Adolescence Clémentine, the first printed collection of his works, which was very popular and was frequently reprinted with additions. Unfortunately, the poet's enemies ensured that Marot was implicated in the 1534 Affair of the Placards, and this time he fled.

In Ferrara
He passed through Nérac, the court of Navarre, and made his way to Renée, duchess of Ferrara, a supporter of the Protestant Reformation in France—as steadfast as her sister-in-law Marguerite, and even more efficacious, because her dominions were outside France. At Ferrara his work there included the celebrated Blasons (a descriptive poem, improved upon medieval models), which set all the verse-writers of France imitating them. The blason was defined by Thomas Sébillet as a perpetual praise or continuous vituperation of its subject. The blasons of Marot's followers were printed in 1543 with the title of Blasons anatomiques du corps féminin.

Back in Paris
Duchess Renée was not able to persuade her husband, Ercole d'Este, to share her views, and Marot had to leave Ferrara. He went to Venice, but before very long Pope Paul III remonstrated with Francis I on the severity with which the Protestants were treated, and they were allowed to return to Paris on condition of recanting their errors. Marot returned with the rest, and abjured his heresy at Lyon. In 1539 Francis gave him a house and grounds in the suburbs.

It was at this time that his famous and influential translations of the Psalms appeared. Each courtier identified his or her favorite psalms, and the poems were sung in the court and in the city. It is said, probably with exaggeration, that these translations did more than anything else to advance the cause of the Protestant Reformation in France. Marot's translations of the Psalms continued to be sung for centuries by Protestant congregations.

Later life
At the same time Marot engaged in a literary quarrel with a poet named François de Sagon, who represented the Sorbonne. Verse-writers of France aligned themselves as Marotiques or Sagontiques, and abuse was exchanged. Victory, as far as wit was concerned, was with Marot, but at the cost of ill-will against him. Marot also edited the works of his fellow poet François Villon.

Although the Psalms were published in 1541 and 1543 with royal privilege, the Sorbonne still objected to translations from the Bible into French. In 1543, it was evident that Marot could not rely on the protection of the king; therefore he left for Geneva. After living working on the Psalms there, as Calvin became more influential, he went to Piedmont. He died at Turin in the autumn of 1544 and was buried in the Cathedral there at the expense of the French ambassador to Rome.

Editions
The most important early editions of Marot's Œuvres were published at Lyon in 1538 and 1544. In the second of these the arrangement of his poems which has been accepted in later issues was first adopted; in 1596 an enlarged edition was edited by François Mizière. The Parisian printer Denis Janot, however, also printed several important editions of books by Marot. Others of later date are those of Nicolas Lenglet Du Fresnoy (The Hague, 1731) and P. Jannet (1868–1872; new ed., 1873–1876), on the whole the best, but there is a very good selection with a still better introduction by Charles d'Héricault, the joint editor of the Jannet edition in the larger Collection Garnier (no date). From an elaborate edition by G. Guiffrey only Vol. II and III appeared during his lifetime. Robert Yve-Plessis and Jean Plattard completed the edition in 5 vols (Paris, 1874-1931). The first 'scientific' edition is by C. A. Mayer in 6 vols.(1958-1980), which follows the arrangement of the material in 'genres' (like the edition 1544). The last complete scientific edition is by Gérard Defaux in 2 vols. (1990–92). Defaux adopts the editing principles of Marot himself, as deducible from his own 1538 edition, mentioned above.

Influence
Many of Marot's texts were set as chansons, particularly by his contemporary Claudin de Sermisy.

Douglas Hofstadter's book Le Ton beau de Marot, deals with the problems of translation, and includes several dozen different translations of Marot's poem A une damoyselle malade.

Both Maurice Ravel and George Enescu composed song settings of Marot's poems.

Wilhelm Killmayer set one of his poems in his song cycle Rêveries in 1953, and another in Blasons anatomiques du corps féminin in 1968.

title: Clément Marot


text:
Talk:Ogma

Untitled
Put your text for the new page here.

I've only just started researching Ogmios, so forgive me if I am in error, but your page on Ogmios, which redirects to Ogma, appears to have some errors.

Firstly, I'm not sure that Ogma and Ogmios can be regarded to be one and the same.

I understand that there have been several plausable suggestions that Ogmios may be a derivative of Ogma (or vice versa), however the reference to Ogmios seems to be in the context of the Celtic Gauls merging their faith with that of Roman inspiration and that this distinction should be recognised.

Secondly, I would say that Ogmios is depicted by a man whos tongue is linked to his follows ears - through his eloquence.

The imagry of the Lions pelt seems to derive from the 2nd Century AD Gauls, who cast Heracles as Ogmios - mixing the lions pelt of Heracles (Roman) with the tongue-chain-ear combination of Ogmios (Celtic). They highlighted the power of the tongue over brawn by depicting Ogmios as an old man.

I'd welcome your comments webmaster@ancienteurope.info

Okay, when I saw Ogma in my dreams, I saw him as the Father of all languages. He was writing a spell so that I can understand Avestan. Rcschumacher (talk) 17:49, 13 February 2018 (UTC)

A few things
Your article looks good, but all three of those definitions(the reference to D&D and about the graphic design studio) should be presented cleaner. And, sign your posts, please. --Glasgallow 00:09, 22 April 2006 (UTC)

title: Talk:Ogma


text:
Percy (1971 film)

Percy is a 1971 British comedy film directed by Ralph Thomas starring Hywel Bennett, Denholm Elliott, Elke Sommer and Britt Ekland.

The film is based on the 1969 novel of the same name by Raymond Hitchcock, and features a soundtrack by The Kinks. It was followed by a 1974 sequel, Percy's Progress.

Plot
Edwin Anthony is an innocent and shy young man who is hit by a nude man falling from a high-rise building while carrying a chandelier. Edwin's penis is mutilated in the accident and has to be amputated; the falling man is killed.

Edwin becomes the recipient of the world's first penis transplant: he receives the very large penis of the womanizer killed in the same accident. With his new bit of anatomy (which he names "Percy"), Edwin follows the womanizer's footsteps, meeting all his women friends, before settling happily with the donor's mistreated widow.

Production
Producer Betty E. Box discovered the novel when she and director Ralph Thomas were meeting a publisher about optioning the film rights for another book. They were not available at the time, but the publisher gave them a manuscript by Raymond Hitchcock about a penis transplant. Box took it back to the office to read. "I zipped through it, laughing aloud as I read", she wrote. "Very unusual. I might sometimes smile at a book, but I hadn't laughed like this since I read Richard Gordon's Doctor in the House."

Ralph Thomas enjoyed the book too so they decided to option the rights. These ended up costing four times more than Box originally thought after Hichcock had his own agent, as opposed to the publisher, do the negotiations. Box and Thomas paid for the rights themselves "not without a fair amount of heart-searching", Box wrote, "as we didn't expect it to be a straightforward financing operation – with the amount required to make a film it seldom is – but this was certainly not a subject I expected Rank, our traditional partners, to finance. They very soon turned it down without even reading it."

Finance was obtained from Nat Cohen at EMI Films - they provided the entire budget. The poster was designed by John Troke, a publicist who had introduced Box to the book of Doctor in the House 15 years earlier. A script was prepared by Hugh Leonard while Thomas and Box filmed Doctor in Trouble. The film was shot at Elstree Studios and on location in London. The film's sets were designed by the art director Robert Jones. Ray Davies of The Kinks wrote the film's soundtrack Percy.

During the making of the film, another comedy about a penis was being shot, The Statue. Box always regarded this as a rip off.

Release
The film was not screened in Australia until the "R" certificate was introduced.

Box office
Percy was the 8th most popular film at the British box office in 1971. By June 1972, it had earned EMI a profit of £43,000. Eventually, according to Nat Cohen, it made a profit of £500,000.

Box says that Raymond Hitchcock was delighted with the film and thought Hywel Bennett was very close to his original James Anthony.

Thomas and Box agreed to make a sequel provided Nat Cohen finance a film they wanted to make about the Byron-Shelley story, The Reckless Years. However Cohen reneged on the deal and only made the sequel.

title: Percy (1971 film)


text:
Talk:Percy (1971 film)

Untitled
Does this title really need this level of disambiguation? -- Zoe

 * I think so (for once I'm observing Wikipedia's naming conventions or whatever they are called). According to the IMDb, there are three films with that title, made in 1925, 1970 and 1989 respectively. KF 22:45 Jan 1, 2003 (UTC)

title: Talk:Percy (1971 film)


text:
Wikipedia talk:Village pump/Wikipedia chat

Untitled
Can we just redirect this to the village pump, if it's obsolete? -Martin — Preceding undated comment added 22:42, 1 January 2003 (UTC)


text:
Automotive industry

The automotive industry comprises a wide range of companies and organizations involved in the design, development, manufacturing, marketing, selling, repairing, and modification of motor vehicles. It is one of the world's largest industries by revenue (from 16% such as in France up to 40% to countries like Slovakia).

The word automotive comes from the Greek autos (self), and Latin motivus (of motion), referring to any form of self-powered vehicle. This term, as proposed by Elmer Sperry (1860–1930), first came into use to describe automobiles in 1898.

History

The automotive industry began in the 1860s with hundreds of manufacturers pioneering the horseless carriage. Early car manufacturing involved manual assembly by a human worker. The process evolved from engineers working on a stationary car, to a conveyor belt system where the car passed through multiple stations of more specialized engineers. Starting in the 1960s, robotic equipment was introduced to the process, and most cars are now mainly assembled by automated machinery.

For many decades, the United States led the world in total automobile production, with the U.S. Big Three General Motors, Ford Motor Company, and Chrysler being the world's three largest auto manufacturers for a time, and G.M. and Ford remaining the two largest until the mid-2000s. In 1929, before the Great Depression, the world had 32,028,500 automobiles in use, of which the U.S. automobile enterprises produced more than 90%. At that time, the U.S. had one car per 4.87 persons. After 1945, the U.S. produced around three-quarters of the world's auto production. In 1980, the U.S. was overtaken by Japan and then became a world leader again in 1994. Japan narrowly passed the U.S. in production during 2006 and 2007, and in 2008 also China, which in 2009 took the top spot (from Japan) with 13.8 million units, although the U.S. surpassed Japan in 2011, to become the second-largest automobile industry. In 2023, China had for the first time in history more than 30 million produced vehicles a year, after reaching 29 million for the first time in 2017 and 28 million the year before. From 1970 (140 models) over 1998 (260 models) to 2012 (684 models), the number of automobile models in the U.S. has grown exponentially.

Safety

Safety is a state that implies being protected from any risk, danger, damage, or cause of injury. In the automotive industry, safety means that users, operators, or manufacturers do not face any risk or danger coming from the motor vehicle or its spare parts. Safety for the automobiles themselves implies that there is no risk of damage.

Safety in the automotive industry is particularly important and therefore highly regulated. Automobiles and other motor vehicles have to comply with a certain number of regulations, whether local or international, in order to be accepted on the market. The standard ISO 26262, is considered one of the best practice frameworks for achieving automotive functional safety.

In case of safety issues, danger, product defect, or faulty procedure during the manufacturing of the motor vehicle, the maker can request to return either a batch or the entire production run. This procedure is called product recall. Product recalls happen in every industry and can be production-related or stem from raw materials.

Product and operation tests and inspections at different stages of the value chain are made to avoid these product recalls by ensuring end-user security and safety and compliance with the automotive industry requirements. However, the automotive industry is still particularly concerned about product recalls, which cause considerable financial consequences.

Economy

In 2007, there were about 806 million cars and light trucks on the road, consuming over 980 e9litres of gasoline and diesel fuel yearly. The automobile is a primary mode of transportation for many developed economies. The Detroit branch of Boston Consulting Group predicted that, by 2014, one-third of world demand would be in the four BRIC markets (Brazil, Russia, India, and China). Meanwhile, in developed countries, the automotive industry has slowed. It is also expected that this trend will continue, especially as the younger generations of people (in highly urbanized countries) no longer want to own a car, and prefer other modes of transport. Other potentially powerful automotive markets are Iran and Indonesia. Emerging automobile markets already buy more cars than established markets.

According to a J.D. Power study, emerging markets accounted for 51 percent of the global light-vehicle sales in 2010. The study, performed in 2010 expected this trend to accelerate. However, more recent reports (2012) confirmed the opposite; namely that the automotive industry was slowing down even in BRIC countries. In the United States, vehicle sales peaked in 2000, at 17.8 million units.

In July 2021, the European Commission released its "Fit for 55" legislation package, which contains important guidelines for the future of the automotive industry; all new cars on the European market must be zero-emission vehicles from 2035.

The governments of 24 developed countries and a group of major car manufacturers including GM, Ford, Volvo, BYD Auto, Jaguar Land Rover and Mercedes-Benz committed to "work towards all sales of new cars and vans being zero emission globally by 2040, and by no later than 2035 in leading markets". Major car manufacturing nations like the United States, Germany, China, Japan and South Korea, as well as Volkswagen, Toyota, Peugeot, Honda, Nissan and Hyundai, did not pledge.

Environmental impacts
The global automotive industry is a major consumer of water. Some estimates surpass 39,000 impgal of water per car manufactured, depending on whether tyre production is included. Production processes that use a significant volume of water include surface treatment, painting, coating, washing, cooling, air-conditioning, and boilers, not counting component manufacturing. Paintshop operations consume especially large amounts of water because equipment running on water-based products must also be cleaned with water.

In 2022, Tesla's Gigafactory Berlin-Brandenburg ran into legal challenges due to droughts and falling groundwater levels in the region. Brandenburg's Economy Minister Joerg Steinbach said that while water supply was sufficient during the first stage, more would be needed once Tesla expands the site. The factory would nearly double the water consumption in the Gruenheide area, with 1.4 million cubic meters being contracted from local authorities per year — enough for a city of around 40,000 people. Steinbach said that the authorities would like to drill for more water there and outsource any additional supply if necessary.

By country
The OICA counts over 50 countries that assemble, manufacture, or disseminate automobiles. Of those, only 15 countries (boldfaced in the list below) currently possess the capability to design original production automobiles from the ground up, and 17 countries (listed below) have at least one million produced vehicles a year (as of 2023).

• Algeria

• Argentina

• Australia (main page)

• Austria

• Azerbaijan

• Bangladesh (main page)

• Belarus (main page)

• Belgium

• Brazil (main page)

• Bulgaria (main page)

• Canada (main page)

• China (main page)

• Colombia

• Czech Republic (main page)

• Ecuador

• Egypt (main page)

• Finland

• France (main page)

• Ghana (main page)

• Germany (main page)

• Hungary (main page)

• India (main page)

• Indonesia (main page)

• Iran (main page)

• Italy (main page)

• Japan (main page)

• Jordan

• Kazakhstan

• Kenya (main page)

• Republic of Korea (South Korea) (main page)

• Malaysia (main page)

• Mexico (main page)

• Morocco (main page)

• Netherlands

• Pakistan (main page)

• Philippines (main page)

• Poland (main page)

• Portugal

• Romania (main page)

• Russia (main page)

• Serbia (main page)

• Slovakia (main page)

• Slovenia

• South Africa (main page)

• Spain (main page)

• Sweden (main page)

• Syria

• Thailand (main page)

• Tunisia

• Turkey (main page)

• Ukraine (main page)

• United Kingdom (main page)

• United States (main page)

• Uzbekistan (main page)

• Venezuela

• Vietnam (main page)

By manufacturer
Top 10 (2016–2020) These were the ten largest manufacturers by production volume as of 2017, of which the eight largest were in the top 8 positions since Fiat's 2013 acquisition of the Chrysler Corporation (although the PSA Group had been in the top 8 1999 to 2012, and 2007 to 2012 one of the eight largest along with the seven largest as of 2017) and the five largest in the top 5 positions since 2007, according to OICA, which, however, stopped publishing statistics of motor vehicle production by manufacturer after 2017. All ten remained as the ten largest automakers by sales until the merger between Fiat-Chrysler and the PSA Group in early 2021; only Renault was degraded to 11th place, in 2022, when being surpassed by both BMW (which became the 10th largest in 2021) and Chang'an.

Top 20 (2013) These were the twenty largest manufacturers by production volume in 2013, or the 21 largest in 2011 and 2012 (before the Fiat-Chrysler merger), of which the fourteen largest as of 2012 had been in the top 14 since 2010, and earlier also in 2007 and 2008, before 2009 when Changan and Mazda temporarily degraded Chrysler to 16th place. The eighteen largest as of 2013 have remained in the top 20 as of 2017, except Mitsubishi which fell out of top 20 in 2016, while Geely fell out of the top 20 in 2014 and 2015 but re-entered it in 2016.

Stake holding
It is common for automobile manufacturers to hold stakes in other automobile manufacturers. These ownerships can be explored under the detail for the individual companies.

Notable current relationships include:
 * Daihatsu holds a 25% stake in Perodua.
 * Mercedes-Benz Group formally held a 10.0% stake in KAMAZ.
 * Mercedes-Benz Group holds a 30.01% stake in Daimler Truck and BAIC group holds a 6.49% stake.
 * Daimler Truck holds an 89.29% stake in Mitsubishi Fuso Truck and Bus Corporation.
 * Mercedes-Benz Group holds a 3.1% in the Renault-Nissan Alliance, while Renault-Nissan Alliance holds a 3.1% share in Mercedes-Benz Group.
 * Mercedes-Benz Group holds a 12% stake in BAIC Group, while BAIC Group holds 5% stake in Mercedes-BenzGroup.
 * Dongfeng Motor holds a 12.23% stake and a 19.94% exercisable voting rights in PSA Groupe.
 * FAW Group owns 49% of Haima Automobile.
 * FCA holds a 10% stake in Ferrari.
 * FCA holds a 67% stake in Fiat Automobili Srbija.
 * FCA holds 37.8% of Tofaş with another 37.8% owned by Koç Holding.
 * Fiat Automobili Srbija owns a 54% stake in Zastava Trucks.
 * Fiat Industrial owns a 46% stake in Zastava Trucks.
 * Fujian Motors Group holds a 15% stake in King Long. FMG, Beijing Automotive Group, China Motor, and Mercedes-Benz Group has a joint venture called Fujian Benz. FMG, China Motor, and Mitsubishi Motors has a joint venture called Soueast, FMG holds a 50% stake, and both China Motor and Mitsubishi Motors holds an equal 25% stake.
 * Geely Automobile holds a 23% stake in The London Taxi Company.
 * Geely Automobile holds a 49.9% stake in PROTON Holdings and a 51% stake in Lotus Cars.
 * Geely Holding Group holds a 9.69% stake in Mercedes-Benz Group.
 * Geely Holding Group holds an 8.3% stake and a 15.9% exercisable voting rights in Volvo.
 * General Motors holds a 93% stake in GM India and SAIC Group holds a 7% stake.
 * General Motors holds a 48.19% stake in GM Korea.
 * General Motors holds a 20% stake in Industries Mécaniques Maghrébines.
 * Isuzu owns 10% of Industries Mécaniques Maghrébines.
 * Marcopolo owns 19% of New Flyer Industries.
 * Mitsubishi Group holds 20% of Mitsubishi Motors.
 * Nissan owns 34% of Mitsubishi Motors since October 2016, thus having the right to nominate the chairman of Mitsubishi Motors' board and a third of its directors.
 * Nissan owns 43% of Nissan Shatai.
 * Porsche Automobil Holding SE has a 50.74% voting stake in Volkswagen Group. The Porsche automotive business is fully owned by the Volkswagen Group.
 * Renault and Nissan Motors have an alliance (Renault-Nissan Alliance) involving two global companies linked by cross-shareholding, with Renault holding 43.4% of Nissan shares, and Nissan holding 15% of (non-voting) Renault shares.
 * Renault holds a 25% stake in AvtoVAZ
 * Renault holds an 80.1% stake in Renault Samsung.
 * SAIPA holds a 51% stake in Pars Khodro.
 * Tata Motors holds a 100% stake in Jaguar Land Rover.
 * Toyota holds a 100% stake in Daihatsu.
 * Toyota holds a 100% stake in Hino.
 * Toyota holds a 4.6% stake in Isuzu.
 * Toyota holds a 5.05% stake in Mazda, while Mazda holds 0.25% stake in Toyota.
 * Toyota holds a 16.7% stake in Subaru Corporation, parent company of Subaru.
 * Toyota holds a 4.94% stake in Suzuki, while Suzuki holds 0.2% stake in Toyota.
 * Volkswagen Group holds a 99.55% stake in the Audi Group.
 * Volkswagen Group holds a 37.73% stake in Scania (68.6% voting rights), a 53.7% stake in MAN SE (55.9% voting rights). Volkswagen is integrating Scania, MAN, and its own truck division into one division.
 * Paccar has a 19% stake in Tatra.
 * ZAP holds a 51% stake in Zhejiang Jonway.

China joint venture

 * Beijing Automotive Group has a joint venture with Mercedes-Benz Group AG called Beijing Benz, both companies hold a 50-50% stake. both companies also have a joint venture called Beijing Foton Daimler Automobile.
 * Beijing Automotive Group also has a joint venture with Hyundai called Beijing Hyundai, both companies hold a 50-50% stake.
 * BMW and Brilliance have a joint venture called BMW Brilliance. BMW owns a 50% stake, Brilliance owns a 40.5% stake, and the Shenyang municipal government owns a 9.5% stake.
 * Changan Automobile has a joint venture with Groupe PSA (Changan PSA), and both hold a 50-50% stake.
 * Changan Automobile has a joint venture with Suzuki (Changan Suzuki), and both hold a 50-50% stake.
 * Changan Automobile has a 50-50% joint venture with Mazda (Changan Mazda).
 * Changan Automobile and Ford have a 50-50% joint venture called Changan Ford.
 * Changan Automobile and JMCG have a joint venture called Jiangling Motor Holding.
 * Chery has a joint venture with Jaguar Land Rover called Chery Jaguar Land Rover, both companies hold a 50-50% stake.
 * Chery and Israel Corporation have a joint venture called Qoros, and both companies hold a 50-50% stake.
 * Dongfeng Motor and Nissan have a 50-50% joint venture called Dongfeng Motor Company.
 * Mercedes-Benz Group and BYD Auto have a joint venture called Denza, both companies hold a 50-50% stake.
 * Mercedes-Benz Group and Geely Holding Group have a joint venture called smart Automobile, both companies hold a 50-50% stake.
 * Dongfeng Motor and PSA Group have a 50-50% joint venture called Dongfeng Peugeot-Citroën.
 * Dongfeng Motor has a 50-50% joint venture with Honda called Dongfeng Honda.
 * Dongfeng Motor has a joint venture with AB Volvo called Dongfeng Nissan-Diesel.
 * Dongfeng Motor has a 50-50% joint venture with Renault named Dongfeng Renault in Wuhan, which was founded in the end of 2013
 * FAW Group and General Motors has a 50-50 joint venture called FAW-GM.
 * FAW Group has a 50-50 joint venture with Volkswagen Group called FAW-Volkswagen.
 * FAW Group has a 50-50 joint venture with Toyota called Sichuan FAW Toyota Motor and both companies also have another joint venture called Ranz.
 * General Motors and SAIC Motor, both have two joint ventures in SAIC-GM and SAIC-GM-Wuling.
 * Navistar International and JAC has a joint venture called Anhui Jianghuai Navistar.

Outside China

 * Ford and Navistar International have a 50-50 joint venture called Blue Diamond Truck.
 * Ford and Sollers JSC have a 50-50 joint venture called Ford Sollers.
 * Ford and Koç Holding have a 50-50 joint venture called Ford Otosan.
 * Ford and Lio Ho Group have a joint venture called Ford Lio Ho, Ford owns 70% and Lio Ho Group owns 30%.
 * General Motors and UzAvtosanoat have a joint venture called GM Uzbekistan, UzAvtosanoat owns 75% and General Motors owns 25%.
 * General Motors, AvtoVAZ, and EBRD have a joint venture called GM-AvtoVAZ, Both GM and AvtoVAZ owns 41.61% and EBRD owns 16.76%.
 * Hyundai Motor Company and Kibar Holding has a joint venture called Hyundai Assan Otomotiv, Hyundai owns 70% and Kibar Holding owns 30%.
 * Isuzu and Anadolu Group have a 50-50% joint venture called Anadolu Isuzu.
 * Isuzu and General Motors has a 50-50% joint venture called Isuzu Truck South Africa.
 * Isuzu, Sollers JSC, and Imperial Sojitz have a joint venture called Sollers-Isuzu, Sollers JSC owns 66%, Isuzu owns 29%, and Imperial Sojitz owns 5%.
 * Mahindra & Mahindra and Navistar International have a joint venture called Mahindra Trucks and Buses Limited. Mahindra & Mahindra owns 51% and Navistar International owns 49%.
 * MAN SE and UzAvtosanoat have a joint venture called MAN Auto-Uzbekistan, UzAvtosanoat owns 51% and MAN SE owns 49%.
 * PSA and Toyota have a 50-50% joint venture called Toyota Peugeot Citroën Automobile Czech.
 * PSA and CK Birla Group (AVTEC) have a 50-50% joint venture called PSA AVTEC Powertrain Pvt. Ltd.
 * Sollers JSC is involved in joint ventures with Ford (Ford Sollers ) and Mazda to produce cars.
 * Tata Motors also formed a joint venture in India with Fiat and gained access to Fiat's diesel engine technology.
 * Tata Motors and Marcopolo have a joint venture called Tata Marcopolo, where Tata owns 51% and Marcopolo owns 49%.
 * Volvo Group and Eicher Motors have a 50-50% joint venture called VE Commercial Vehicles.

title: Automotive industry


text:
Talk:Brennan Manning

Untitled
A Glimpse of Jesus: The Stranger to Self-Hatred - is this book released and in the stores? -- Zoe

The book is in libraries now. Check with your local library, or try to get an inter-library loan copy of the book. If you want to purchase the book for yourself, try Amazon.com.

Gardenfli 22:50, 27 December 2006 (UTC)

Atheism quote
Can anyone provide a reference for the quotation about atheism? In which book or publication did Brennan actually write it? —Preceding unsigned comment added by Apepper (talk • contribs) 21:12, 28 August 2010 (UTC)

Ideas section of article
It seems helpful to highlight some of Manning ideas, but in doing so, they become less than the whole of his thinking. Anyone interested in helping represent his ideas more thoroughly are certainly invited to edit and develop the section. DonaldRichardSands (talk) 12:02, 11 June 2011 (UTC)

title: Talk:Brennan Manning


text:
Man in the middle

Man in the middle may refer to:

Arts and entertainment

 * Man in the Middle (film), a 1964 movie
 * "Man in the Middle" a song from the 1975 album ABBA by ABBA
 * "Man in the Middle" a song on the 2001 album This Is Where I Came In by the Bee Gees
 * "Man in the Middle" a song by David Bowie recorded with his band Arnold Corns as a B-side to "Hang On to Yourself" in 1972
 * Man In The Middle, a memoir of basketballer John Amaechi

Other uses

 * Man-in-the-middle attack, a form of cryptographic attack in computer security

title: Man in the middle


text:
Talk:Bulbasaur

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The Bulb
What happens when it's Bulb get's torn apart or maybe rotten like other plants 41.114.37.31 (talk) 16:35, 28 March 2022 (UTC)

Notability?
How come Bulbasaur and Squirtle have their own pages, but Charmander doesn't? 180.235.104.6 (talk) 23:38, 24 January 2024 (UTC)
 * Because Charmander didn't have enough sources to support itself. Charizard eclipsed it in terms of reception to boot.--Kung Fu Man (talk) 11:10, 25 January 2024 (UTC)

Grass / Poison
Per WP:SLASH, which states "Generally, avoid joining two words with a slash [...] because it suggests that the words are related without specifying how. Replace with clearer wording." which is what I have attempted to do. Despite other Pokemon related articles doing this, they probably should not and we should stick to the Manual of Style on this. I know the games use the slash regularly for multi-typed Pokémon, but to anyone not familiar with the games, the slash could suggest that the types are interchangeable. Andrzejbanas (talk) 18:17, 16 April 2024 (UTC)
 * For the purposes of the infobox typing should be fine to utilize the slash, as the MOS guidelines applies to text, not an instance like that. Now I do agree in the body of the text they should be separate, but maintain capitalization as they do in the games. This also seems to match consensus across the other articles.--Kung Fu Man (talk) 19:37, 16 April 2024 (UTC)
 * Where is there any consensus? I'm sure people applied it, but just because they have does not mean it avoids the issues of capitalization and WP:SLASH. Andrzejbanas (talk) 17:12, 17 April 2024 (UTC)
 * Well you've had 3 editors revert it now, so...--Kung Fu Man (talk) 17:30, 17 April 2024 (UTC)
 * Yes but none of them have cited any rules on why they are capitalized other than "well we feel like it". In Red and Blue, they are in full capital letters. Per MOS:GAMECAPS, "Terms relating to trademarked sports, games, and activities are capitalized if they are usually capitalized in the context of this activity: ability scores in Dungeons & Dragons, card names in Magic: The Gathering, etc. However, generic terms such as hit point, victory point, or player character are not capitalized." However, this differs between the games, so what do we do in this case? I appreciate people trying to correct me, but no one has said anything beyond "this is just what we do". Andrzejbanas (talk) 17:47, 17 April 2024 (UTC)
 * type names in pokémon are consistently treated as proper nouns everywhere ever since gen 5
 * not really sure why gen 4 kept the all caps trend, but whatever, caps lock is cruise control for cool
 * and even ignoring what official media has to say, sources that don't include egregious errors (like pluralizing pokémon names, which is a federal crime in 39 continents) also treat type names like proper nouns
 * the issue, if one can even say there is one, is whether or not it should be referred to as "grass/poison" in the body, to which consensus seems to lean towards "no"  cogsan (nag me)  (stalk me) 17:54, 17 April 2024 (UTC)
 * I'm surprised we even talk about the typing in it, which is only mentioned in the lead and infobox and is not sourced or discussed anywhere in the article. It might be a bit MOS:INUNIVERSE and MOS:INFOBOXPURPOSE which states " the purpose of an infobox: to summarize (and not supplant) key facts that appear in the article." In the long run, as it is not brought up anywhere within the prose outside the lead, how important is this typing? Andrzejbanas (talk) 18:05, 17 April 2024 (UTC)
 * important enough for a discussion this long, it seems
 * though when it comes to ingame info and how bulbasaur can be recieved based on it, i'd say it's not one of the 4 pokémon that can't be considered inseparable from its typing  cogsan (nag me)  (stalk me) 18:13, 17 April 2024 (UTC)
 * Significantly for the vast majority, enough that it weighs on reception more often than not in how the character is perceived from both a gameplay angle but also a character angle (i.e. Wooloo).--Kung Fu Man (talk) 18:14, 17 April 2024 (UTC)
 * I don't really appreciate comments like "important enough for a discussion this long, it seems", nobody is forcing you to keep up with it, so I suggest remaining civil. Either way, at this point, it is unsourced and its questionable we include this stuff in the infobox. But perhaps that can be brought up in talk page for the infobox instead. Andrzejbanas (talk) 18:25, 17 April 2024 (UTC)
 * alright, my bad
 * that seems like a good idea, since it would also apply to all the other pokémon  cogsan (nag me)  (stalk me) 18:29, 17 April 2024 (UTC)
 * It's handled through an additional parameter through the infobox, and that infobox is used for far more than just Pokemon. So I'm not seeing the purpose of opening a discussion there, let alone any good coming from it. It's also information that, unlike say a developer or voice actor, doesn't need a direct citation for its use in the infobox. If there was a consensus requiring that it'd been brought up across multiple GANs/FACs at this point.--Kung Fu Man (talk) 18:32, 17 April 2024 (UTC)
 * I'm not sure why it doesn't require a direct citation. If you haven't played the game, honestly, even if you've only seen the show or played the card game, the information does does not the same across the board. I'm pretty sure Bulbasaur is only grass in the card games as well, so it leads to further issues. I know it's not specific to here, but where should it be brought up? Andrzejbanas (talk) 19:04, 17 April 2024 (UTC)
 * the problem with that is that while the anime and tcg are undeniably "kinda popular", they're still based on the information presented in the games, and to my knowledge, secondary to them as far as articles on the pokémon are concerned. in addition to that, whenever nearly any form of official pokémon media writes anything, they use the specific writing style from the games
 * i don't think the tcg works as an argument at all, though, since pokémon (usually) only ever have one type there, some types don't exist, the fairy type was apparently removed from existence in gen 8, and sometimes, pokémon's typings are completely wrong (see blastoise δ being fighting/ steel metal). this would also require assuming that someone somehow only knows about any given pokémon's typing from the tcg and thinks galvantula is pure electric (with one electric/grass card), and all coverage i found on the tcg seems to assume the average player is smarter than that
 * as far as direct citations go, uh, here's an official site saying meowscarada is grass/dark i guess. i'm not sure what exactly would work for a citation on how wording works in pokémon
 * to recap, i think trying to adapt to the anime and/or tcg wouldn't work because they'd either be pointless rewords of things the games, ads, sites, social media, and everything else have already done for ages with less total characters, or have to mention that rhydon was fighting/dark that one time  cogsan (nag me)  (stalk me) 20:19, 17 April 2024 (UTC)
 * If it not being cited is an issue then I've gone and added a reference to it in the text. Not exactly glamorous and I could probably get a better source but it's whatever. In any case, the whole issue with "should it have a slash" seems a bit silly. Given it's in the infobox and has gone without issue across several Good Article reviews, as well as the fact that multiple editors have agreed with the consensus to use a slash in the infobox, I feel that the general consensus seems to indicate that the slash is alright and not exactly an issue. This is especially so given that the text clarifies that Bulbasaur has both; if you feel I can clarify it further in the text, then let me know, but I think any of the issues this could bring up are either resolved or negligible. Has one ever considered Magneton? Pokelego999 (talk) 20:24, 17 April 2024 (UTC)
 * oh, technical oopsie
 * i thought that was referring to an infobox specifically about pokémon
 * then it should probably stay here or go to a broader pokémon article (like the list of pokémon)
 * either way, my points stand
 * that words like "grass", when used in the specific context of referring to pokémon types, are considered proper nouns. so while it's lowercase in a sentence like, it's a proper noun in a sentence like
 * and that while the slash is used in the specific context of separating pokémon types everywhere since gen 2-ish (unless type icons are used instead), i'd say separate it with a comma in the infobox, but not the body  cogsan (nag me)  (stalk me) 19:05, 17 April 2024 (UTC)

Doing a line break here, but Izno in the Wikipedia discord suggested "Grass and Poison" for the infobox, which admittedly I can live with a lot better than the comma.--Kung Fu Man (talk) 20:43, 17 April 2024 (UTC)

 * I'd be fine with adding that into both this and other articles should that be what the decision comes to Has one ever considered Magneton? Pokelego999 (talk) 20:54, 17 April 2024 (UTC)

 * Outside comment who saw the conversation on Discord: First, the MOS does apply to Infoboxes (as Izno noted), but I don't think the "slash" is being used as a normal slash would be, but rather as a "term of art". So the question is whether this is something closer to a proper name that is merely repeated (say, Victor/Victoria) and the MOS doesn't control, or closer to running text.  IMO, it's a term of art.  So the slash is fine.  Agree "and" is the second-best option, but I don't think it's even necessary to do this.  (If hypothetically Bulbasaur was a "Grss + Poizn" type or something similarly silly, but that's how all the sources reported it, we should just shrug and repeat it.  But I'm very firmly a "trust the source, including for formatting" advocate.  If someone can show that secondary sources don't use a slash, though, go for it.)
 * Re the earlier comment on "how important is this typing?", the answer is "very". I'd say it's on the level of mentioning that Gandalf is a wizard or Strider is a ranger, a core identity deal for Pokemon.  SnowFire (talk) 22:34, 17 April 2024 (UTC)
 * Victor/Victoria is the title of the work and in the case, the names are being used interchangably in that work, which is what a slash for. In terms of Pokémon, they are not. Andrzejbanas (talk) 12:14, 18 April 2024 (UTC)
 * We say that it is important, but it's important from a gameplay perspective, which is not brought up anywhere in the article and isn't sourced and is not discussed in the reception either. So it is important for gameplay, but the article is predominantly about other things. Andrzejbanas (talk) 14:32, 18 April 2024 (UTC)
 * the problem with this, i feel, is that information like pokémon's types is plastered everywhere so hard that it becomes a common element of reception that people just accept (unless it involves charizard). it's pokémon, everyone and their hypertraditionalist christian grandma knows pokémon, and news articles act like it, so i believe it can reasonably be referred to as a case of not needing to cite that the sky is sky-colored, or that pokémon types are separated with slashes
 * if you want to go a bit further, source 14 (picked at random with my eyes closed) has its typing as an entry, with bulbasaur's face on full display, and the first sentence in that entry explicitly mentioning that it's grass/poison, and source 10 is the pokédex, so if all else somehow fails, there's a primary source
 * and as of yesterday in my time zone, there is a source tied to the claim, and that's... coincidentally source 14
 * thanks, pokelego  cogsan (nag me)  (stalk me) 15:40, 18 April 2024 (UTC)
 * I'm sure many people know about Pikachu. I'm sure if you asked your average non-video game player what type pikachu is, they'd just have to guess. So no, its not obvious, and it's even less obvious when you go beyond Pikachu. Believe it or not, some people have not played these games. I think a primary source is fine for this as its unique to the game, but I think I want to get back to the main point here on whether using the slash is against WP:SLASH or not, and nobody has suggested anything convincing otherwise. I'm happy to go with either commas or and & or an "and", but slash is probably not the best bet for the reasons I've stated above. Andrzejbanas (talk) 13:37, 19 April 2024 (UTC)
 * @Andrzejbanas I've gone ahead and changed every Pokémon species article with a dual-type to now say "Type and Type" instead of "Type/Type" in their infobox. Hopefully this should assuage the issue. Has one ever considered Magneton? Pokelego999 (talk) 23:45, 20 April 2024 (UTC)
 * I think that is great! that's a lot of work so that is appreciated. Andrzejbanas (talk) 00:20, 21 April 2024 (UTC)

title: Talk:Bulbasaur


text:
Guarino da Verona

Guarino Veronese or Guarino da Verona (1374 – 14 December 1460) was an Italian classical scholar, humanist, and translator of ancient Greek texts during the Renaissance. In the republics of Florence and Venice he studied under Manuel Chrysoloras (c. 1350–1415), renowned professor of Greek and ambassador of the Byzantine emperor Manuel II Palaiologos, the first scholar to hold such courses in medieval Italy.

Biography

He was born in Verona, medieval Italy, and later studied Greek language and literature in Constantinople, at the time capital of the Byzantine Empire, where for five years he was the pupil of the renowned Byzantine Greek scholar, Renaissance humanist, and professor Manuel Chrysoloras. When he set out to return home, he had with him two cases of precious manuscripts of ancient Greek texts which he had taken great pains to collect. It is said that the loss of one of these by shipwreck caused him such distress that his hair turned grey in a single night. On arriving back in Italy, he earned a living as a teacher of Greek, first in Verona and afterwards in Venice and Florence.

In 1436, he became a professor of Greek in Ferrara through the patronage of Leonello, Marquis of Este. His method of instruction was renowned and it attracted many students from Italy and the rest of medieval Europe as distant as the Kingdom of England. Many of them, notably the Italian Renaissance humanist and teacher Vittorino da Feltre, afterwards became well-known scholars and, as Vittorino would later, he would support poor students from his own funds. From 1438 on, he served as interpreter for the Byzantine Greek participants at the ecumenical councils of Ferrara and Florence (1431–1449). He was particularly influenced by the Byzantine Greek scholar and philosopher Gemistus Pletho. He died in Ferrara in 1460.

His principal works are translations of Strabo and of some of the Lives of Plutarch, a compendium of the Greek grammar of Chrysoloras, and a series of commentaries on Persius, Martial, the Satires of Juvenal, and on some of the writings of Aristotle and Cicero. The layout of the Studiolo of the Palazzo Belfiore is also attributed to him. He corresponded with the writer and humanist Isotta Nogarola.

title: Guarino da Verona


text:
Manuel Chrysoloras

Manuel (or Emmanuel) Chrysoloras (Μανουὴλ Χρυσολωρᾶς; c. 1350 – 15 April 1415) was a Byzantine Greek classical scholar, humanist, philosopher, professor, and translator of ancient Greek texts during the Renaissance. Serving as the ambassador for the Byzantine emperor Manuel II Palaiologos in medieval Italy, he became a renowned teacher of Greek literature and history in the republics of Florence and Venice, and today he's widely regarded as a pioneer in the introduction of ancient Greek literature to Western Europe during the Late Middle Ages.

Biography

Chrysoloras was born in Constantinople, at the time capital of the Byzantine Empire, to a distinguished Greek Orthodox family. In 1390, he led an embassy sent to the Republic of Venice by the Byzantine emperor Manuel II Palaiologos to ask the aid of the Christian princes of Medieval Europe against the invasions of the Byzantine Empire by the Muslim Ottoman Turks. Roberto de' Rossi of Florence met him in Venice, and, in 1395, Rossi's acquaintance Jacopo d'Angelo set off for Constantinople to study Greek with Chrysoloras. In 1396, Coluccio Salutati, the Chancellor of Florence, invited him to Florence to teach Greek grammar and literature. In a letter to Poggio Bracciolini, quoting the Roman lawyer and statesman Cicero, Salutati wrote:
 * "The verdict of our own Cicero confirms that we Romans either made wiser innovations than theirs by ourselves or improved on what we took from them, but of course, as he himself says elsewhere with reference to his own day: "Italy is invincible in war, Greece in culture." For our part, and we mean no offence, we firmly believe that both Greeks and Latins have always taken learning to a higher level by extending it to each other's literature."

Chrysoloras arrived in the winter of 1397, an event remembered by one of his most famous pupils, the Italian humanist scholar Leonardo Bruni, as a great new opportunity: there were many teachers of law, but no one had studied Greek in northern Italy for 700 years. Another very famous pupil of Chrysoloras was Ambrogio Traversari, who became general of the Camaldolese order. Chrysoloras remained only a few years in Florence, from 1397 to 1400, teaching Greek, starting with the rudiments. He moved on to teach in Bologna, and later in Venice and Rome. Though he taught widely, a handful of his chosen students remained a close-knit group, among the first humanists of the Renaissance. Among his pupils were numbered some of the foremost figures of the revival of Greek studies in Renaissance Italy. Aside from Bruni, d'Angelo, and Ambrogio Traversari, they included Guarino da Verona, Coluccio Salutati, Roberto Rossi, Niccolò de' Niccoli, Carlo Marsuppini, Pier Paolo Vergerio, Uberto Decembrio, Palla Strozzi, and many others.

Having visited Milan and Pavia, and having resided for several years in Venice, he went to Rome on the invitation of Bruni, who was then secretary to Pope Gregory XII. In 1408, he was sent to Paris on an important mission from the Byzantine emperor Manuel II Palaiologos. In 1413, he went to Germany on an embassy to the Holy Roman Emperor Sigismund, the object of which was to fix a place for the church council that later assembled at Constance. Chrysoloras was on his way there, having been chosen to represent the Greek Church, when he died suddenly. His death gave rise to commemorative essays of which Guarino da Verona made a collection in Chrysolorina.

Chrysoloras translated the works of Homer, Aristotle, and Plato's Republic into Latin. His own works, which circulated in manuscript in his lifetime, include brief works on the Procession of the Holy Ghost, and letters to his brothers, to Bruni, Guarino, Traversari, and to Strozzi, as well as two which were eventually printed, his Erotemata (Questions) which was the first basic Greek grammar in use in Western Europe, first published in 1484 and widely reprinted, and which enjoyed considerable success not only among his pupils in Florence, but also among later leading humanists, being immediately studied by Thomas Linacre at Oxford and by Desiderius Erasmus at Cambridge; and Epistolæ tres de comparatione veteris et novæ Romæ (Three Letters on the Comparison of Old and New Rome, i.e. a comparison of Rome and Constantinople). Many of his treatises on morals and ethics and other philosophical subjects came into print in the 17th and 18th centuries, because of their antiquarian interest. He was chiefly influential through his teaching in familiarizing men such as Leonardo Bruni, Coluccio Salutati, Jacopo d'Angelo, Roberto de' Rossi, Carlo Marsuppini, Pietro Candido Decembrio, Guarino da Verona, with the masterpieces of Western philosophy and ancient Greek literature.

title: Manuel Chrysoloras


text:
Skid Row (Irish band)

Skid Row were an Irish blues rock band of the late 1960s and early 1970s, based in Dublin and fronted by bass guitarist Brendan "Brush" Shiels. It was the first band in which Phil Lynott and Gary Moore played professionally before finding greater fame with Thin Lizzy.

Origins
The band was formed in August 1967, comprising Brendan 'Brush' Shiels on bass guitar, Noel 'Nollaig' Bridgeman on drums, Bernard "Ben" Cheevers on guitar, and Phil Lynott on vocals. Shiels and Cheevers had played together in a number of groups in Dublin before forming Skid Row. The band's first gig was in September 1967 in a basement club in Lower Abbey Street in Dublin 1. Cheevers left the band in September 1968 to continue working full-time in the electrical industry. Before his departure, the search for a suitably proficient guitarist resulted in Gary Moore joining the band as a fifth member. Moore and Cheevers both played in the band for a short 'hand-over' period. Robbie Brennan temporarily replaced original drummer Bridgeman until June 1969 and Cheevers was replaced by the 16-year-old Gary Moore in mid 1968, and the band recorded a single, "New Places, Old Faces" / "Misdemeanour Dream Felicity", for the Irish Song Records label (the only released recording of Lynott with Skid Row).

Later that year Shiels dropped Lynott from the line-up, converting Skid Row to a power trio by making himself the lead vocalist. By way of compensation, Shiels gave him a bass guitar he had bought from former musician Robert Ballagh for £49 in 1967 while with the Uptown Band, he taught Lynott to play bass and, after a stint with 'Orphanage', Lynott went on to international fame as founder, bassist and vocalist for Thin Lizzy. The band recorded a second single for 'Song', "Saturday Morning Man" / "Mervyn Aldridge". These two singles, plus three tracks from a BBC recording, were issued on the 'Hux' label as Live and on Song in April 2006. At the end of 2006 a number of Skid Row demo tapes featuring Phil Lynott were discovered. These were his earliest recordings (from 1968) and had been presumed lost for decades.

Skid and 34 Hours
With the returning Bridgeman, Skid Row played support to some of the great rock groups of the 1960s, including Fleetwood Mac in January 1970. Moore was influenced by the Fleetwood Mac guitarist Peter Green, who was in turn impressed by Moore's guitar playing and introduced him to the Columbia/CBS record company. A third single, "Sandie's Gone (Part 1)" / "Sandie's Gone (Part 2)", was released on the band's new label in April 1970, and a number of sessions and concerts were also recorded for the BBC during this period. The band released its first album Skid, in October 1970. A second LP, 34 Hours – so called because it took them a mere 34 hours to record it – was released in early 1971, preceded by the single "Night Of The Warm Witch" / "Mr. De-Luxe". Skid Row performed on the legendary German TV music show Beat Club on 18 March 1971. There were short tours of Europe (October 1970, with Canned Heat) and of the USA (October/November 1970 and August and October 1971). A widely bootlegged show billed as "The Whiskey, Los Angeles, August 5, 1970", and featuring John Bonham as a guest, is more likely from August 1971. A third album was recorded in the Autumn of 1971 but Moore left the band in December 1971 just before another planned US tour. He was temporarily replaced by Eric Bell (from Thin Lizzy) for some live appearances before Paul Chapman became the band's full-time guitarist. Moore later played with Thin Lizzy, replacing Eric Bell. Chapman overdubbed Moore's guitar tracks on the unreleased album but neither version was made public for almost twenty years. As the band faltered, Chapman left in July 1972 (later joining UFO). Shiels then teamed with drummer John Wilson (ex-Them, Taste and Stud) and future Sparks guitarist Adrian Fisher to form a band named simply 'Brush'.

Changing lineups
Skid Row reformed in Ireland in 1973, initially with Shiels, Wilson, singer Eamonn Gibney (ex-Alyce) and guitarist Ed Deane, later adding keyboard player Kevin McAlea. Gibney would later join Colm Wilkinson and Helen Jordan to sing as The Dajacs at the 1980 Irish final for the Eurovision Song Contest placing 7th. Shiels/Deane/Wilson line-up released the single "Dublin City Angels" / "Slow Down". John Wilson was replaced by Paddy Freeney before the band split again in early 1974. For the next few months Shiels played in the 'Bell-Brush Band' with Eric Bell and Timmy Creedon (drums, ex-Orphanage), sometimes joined by Eamonn Gibney. At the end of the year Shiels, Moore and Bridgeman briefly reunited for a series of gigs, and a 1975 line-up of Shiels (guitar/vocals), Bridgeman, Jimi Slevin (lead guitar/vocals, ex-Alyce, ex-Peggy's Leg) (born June 1950, Dublin), Timmy Creedon (second drummer/vocals) and Johann Brady (bass) recorded the Skid Row single "The Spanish Lady" / "Elvira". In 1976 Jody Pollard (guitar, ex-Elmer Fudd) replaced Pat O'Farrell in a line-up with Shiels (vocals/mandolin), Bridgeman (drums), John Brady (bass) and Dave Gaynor (drums), recording the Phil Lynott-produced double A-sided single "Coming Home Again" / "Fight Your Heart Out" and unreleased track "Skid Row Flashback". The 1976 double-disc live album of Rock n' Roll standards Alive And Kickin featured Shiels, Bridgeman, Brady, Pollard, Gaynor and Ian Anderson. In 1978 Pollard rejoined, this time replacing Eric Bell alongside Shiels, Bridgeman, Brady and Joe Staunton (guitar, ex-Orphanage).

Legacy
Skid Row had little commercial success outside Ireland and the UK, although Skid reached No.30 on the UK Albums Chart. More of their recorded material was released between 1990 and 2006.

Phil Lynott died of septicaemia in January 1986, John Brady was killed in a car accident on 15 February 1993, and Gary Moore died from a heart attack in February 2011. Noel Bridgeman went on to perform studio work with Clannad, The Waterboys and Altan and was part of Irish folk singer Mary Black's band in the late 1980s and early 1990s. He died in March 2021.

Shiels still occasionally performs as 'Brush Shiels' Skid Row', as recently as February 2005.

Brush Shiels returned to his Skid Row legacy once more releasing Mad Dog Woman (originally titled Skid Row Revisited) – an album of new material and re-recordings of Skid Row songs – through his website in June 2009. He also thanked the other Skid Row "for the generosity of spirit in acknowledging the contribution of the original Skid Row" by using the name. In January 2012 Shiels issued a public request to Jon Bon Jovi via YouTube to contact him about the use of the name 'Skid Row'. This was connected to Shiels having recently recovered the rights to his own songs recorded with the original Skid Row.

It was reported that in 1987, Jon Bon Jovi asked Gary Moore to sell the name 'Skid Row' to the American heavy metal band for $35,000 (Bon Jovi part-owns the music publishing rights of this band). Lead singer Sebastian Bach recalled, "When (Skid Row) got signed to Atlantic, Gary Moore heard about it and said we could have the name for $35,000 U.S. dollars. "We have to pay Gary Moore 35 grand to use the name," and so we, as a band, did buy the name from Gary Moore. We were all glad to do it because it is a great name for a band. I remember saying, "Wow, that's a lot of $, but we gotta do it!""

However, Shiels maintains that Moore simply referred the band to Shiels to discuss the rights to the name, but that it was never followed up.

They were managed in the 1970s by Oliver Byrne.

Band members

 * Brendan "Brush" Shiels – bass, vocals (1967–1972, 1973–1976, 2012)
 * Noel "Nollaig" Bridgeman – drums (1967, 1969–1972, 1975–1976)
 * Bernard "Bernie" Cheevers – guitars (1967)
 * Phil Lynott – vocals (1967–1968)
 * Gary Moore – guitars, vocals (1968–1971)
 * Robbie Brennan – drums (1968)
 * Eric Bell – guitars (1971)
 * Paul Chapman – guitars (1971–1972)
 * Eamonn Gibney – vocals (1973–1974)
 * Ed Deane – guitars (1973–1974)
 * John Wilson – drums (1973)
 * Kevin McAlea – keyboards (1973–1974)
 * Johann Braddy – bass (1975–1976)
 * Paddy Freeney – drums (1974–1975)
 * Timmy Creedon – drums (1975)
 * Dave Gaynor – drums (1976)
 * Jimi Slevin – guitars (1975)
 * Pat O'Farrell – guitars (1976)
 * Jody Polland – guitars (1976)

Albums

 * Skid Row (CBS, May 1970) – a.k.a. Dublin Gas Comy. (text on cover photo)
 * Skid (CBS, November 1970) – Reached No.30 in the UK Album Chart
 * 34 Hours (CBS, 1971)
 * Alive and Kicking (Release Records, June 1976)
 * Skid Row (Essential Records, 1990) – a.k.a. Gary Moore/Brush Shiels/Noel Bridgeman (artist credited on cover & spine), this is the Gary Moore version of the unreleased third album, recorded late 1971.
 * Live and on Song (Hux, 2006) – Compilation: includes both sides of Skid Row's first two singles on the 'Song' label recorded 1969, plus a BBC 'In Concert' recording from 1971
 * Bon Jovi Never Rang Me (Bruised Records, 2012)

Singles

 * "New Places, Old Faces" / "Misdemeanour Dream Felicity" (Song, 1969)
 * "Saturday Morning Man" / "Mervyn Aldridge" (Song, 1969)
 * "Sandy's Gone (Part 1)" / "Sandy's Gone (Part 2)" (CBS, April 1970)
 * "Night of the Warm Witch" / "Mr. De-Luxe" (CBS, April 1971)
 * "Living One Day at a Time" / "Girl from Dublin City" (CBS, February 1972)
 * "Dublin City Girls" / "Slow Down" (Hawk, 1973)
 * "The Spanish Lady" / "Elvira" (Dude Records, 1975)
 * "Coming Home Again" / "Fight Your Heart Out" (1976)
 * "House of the Rising Sun" / "Buckfast Tonic" / "Let It Roll" (1981)
 * "Mr. Diablo" / "Bring Them Back Alive" (Bruised Records, 1987)
 * "Comin' Home Again" / "Flight of Earls" (Bruised Records, 1990)

title: Skid Row (Irish band)