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Dinesh D'Souza

Dinesh Joseph D'Souza (born April 25, 1961) is an Indian-American right-wing  political commentator, conspiracy theorist, author, filmmaker and convicted felon who received a Presidential pardon by Donald Trump for his crimes. He has made several financially successful films, and written over a dozen books, several of them New York Times best-sellers.

Born in Mumbai, D'Souza moved to the United States as an exchange student and graduated from Dartmouth College. He was a policy adviser in the administration of President Ronald Reagan and has been affiliated with the American Enterprise Institute and the Hoover Institution. He became a naturalized citizen in 1991. From 2010 to 2012, he was president of The King's College, a Christian school in New York City, until he resigned after an alleged adultery scandal.

In 2012, D'Souza released the conspiracist political film 2016: Obama's America, an anti-Barack Obama polemic based on his 2010 book The Roots of Obama's Rage; it earned $33 million, making it the highest-grossing political films of all time. He has since released five other conspiracist political films: America: Imagine the World Without Her (2014), Hillary's America (2016), Death of a Nation (2018), Trump Card (2020) and 2000 Mules (2022). D'Souza's films and commentary have generated considerable controversy due to their promotion of conspiracy theories and falsehoods, as well as for their incendiary nature.

In 2012, D'Souza contributed $10,000 to the Senate campaign of Wendy Long on behalf of himself and his wife, agreeing in writing to attribute that contribution as $5,000 from his wife and $5,000 from him. He directed two other people to give Long a total of $20,000 in addition, which he agreed to reimburse, and later did. At the time, the Election Act limited campaign contributions to $5,000 from any individual to any one candidate. Two years later, D'Souza pleaded guilty in federal court to one felony charge of using a "straw donor" to make the illegal campaign contribution. He was sentenced to eight months incarceration in a halfway house near his home in San Diego, five years' probation, and a $30,000 fine. In 2018, D'Souza was issued a pardon by President Donald Trump.

Early life and career
Dinesh Joseph D'Souza was born in Bombay in 1961. D'Souza grew up in a middle-class family; his parents were Roman Catholics from the state of Goa in Western India, where his father was an executive with Johnson & Johnson, and his mother was a housewife. D'Souza attended the Jesuit St. Stanislaus High School in Bombay. He graduated in 1976 and completed his 11th and 12th years at Sydenham College, also in Bombay. In 1978, D'Souza became a foreign exchange student and traveled to the United States under the Rotary Youth Exchange and attended the local public school in Patagonia, Arizona. He went on to matriculate at Dartmouth College, where he graduated with a Bachelor of Arts in English in 1983 and was a member of Phi Beta Kappa.

While at Dartmouth, D'Souza wrote for The Dartmouth Review, an independent, student-edited, alumni and Collegiate Network subsidized publication. D'Souza faced criticism during his time at The Review for authoring an article publicly outing homosexual members of the school's Gay Straight Alliance student organization. He also oversaw The Review 's publication of "a light-hearted interview" with a former leader of the Ku Klux Klan over a staged photograph of a Black person hanged from a tree; and a piece mocking affirmative action in higher education, written from the point of view of a Black student and phrased in Ebonics. These incidents caused US Representative Jack Kemp, then a prominent Republican leader and member of The Review 's advisory board, to resign from the board.

After graduating from Dartmouth, D'Souza became editor of a monthly journal called The Prospect, a publication financed by a group of Princeton University alumni. The paper and its writers ignited much controversy during D'Souza's editorship by, among other things, criticizing the college's affirmative action policies.

From 1985 to 1987, D'Souza was contributing editor for the Policy Review, a journal then published by The Heritage Foundation in Washington, D.C. In a September 1985 article titled "The Bishops as Pawns," D'Souza asserted that Catholic bishops in the United States were being manipulated by American liberals in agreeing to oppose the U.S. military buildup and use of power abroad when, D'Souza believed, they knew very little about these subjects to which they were lending their religious credibility.

Between 1987 and 1988, D'Souza was a policy adviser in the administration of President Ronald Reagan. He has been affiliated with the American Enterprise Institute and the Hoover Institution at Stanford University.

In 1991, D'Souza became a naturalized United States citizen.

The End of Racism
In 1995, D'Souza published The End of Racism, in which he claimed that exaggerated claims of racism are holding back progress among African Americans in the United States. He defended the Southern slave owners and said, "The American slave was treated like property, which is to say, pretty well." D'Souza also called for a repeal of the Civil Rights Act of 1964, and argued: "Given the intensity of black rage and its appeal to a wide constituency, whites are right to be nervous. Black rage is a response to black suffering and failure, and reflects the irresistible temptation to attribute African American problems to a history of white racist oppression."

A reviewer for The Journal of Blacks in Higher Education responded to the book by posting a list of 16 recent racist incidents against black people. Michael Bérubé, in a lengthy review article, referred to the book as "encyclopedic pseudoscience", calling it illogical and saying some of the book's policy recommendations are fascist; he stated that it is "so egregious an affront to human decency as to set a new and sorry standard for 'intellectual'".

The book was also panned by many other critics: John David Smith, in The Journal of Southern History, said D'Souza claims blacks are inferior and opines that "D'Souza bases his terribly insensitive, reactionary polemic on sound bite statistical and historical evidence, frequently gleaned out of context and patched together illogically. His book is flawed because he ignores the complex causes and severity of white racism, misrepresents Boas's arguments, and undervalues the matrix of ignorance, fear, and long-term economic inequality that he dubs black cultural pathology. How, according to his own logic, can allegedly inferior people uplift themselves without government assistance?" He adds that D'Souza's "biased diatribe trivializes serious pathologies, white and black, and adds little to our understanding of America's painful racial dilemma".

The prepublication version of the book contained a chapter dedicated to those portrayed by D'Souza as authentic racists, including many paleoconservatives, such as prominent philosopher and The Washington Times editor Samuel T. Francis, to whom he attributed several false quotes at the inaugural American Renaissance conference. A column by D'Souza in The Washington Post containing this material led to Francis being fired. D'Souza's account of Francis's speech was contradicted by video of the event. American Renaissance organizer Jared Taylor took legal action against D'Souza for several false claims, including that speakers had used racial slurs, resulting in publisher Free Press canceling the initial run and forcing D'Souza to rewrite portions of the book. Some observers, such as Baltimore Sun writer Gregory Kane noted that D'Souza's book bore many similarities to Taylor's 1992 work Paved with Good Intentions, despite D'Souza accusing Taylor of racism. Many right-wing critics, such as Lawrence Auster, believed that D'Souza was attacking Francis and others to protect himself from accusations of racism.

Paul Finkelman commented on what he called D'Souza's trivialization of racism. In a review article called "The Rise of the New Racism", Finkelman stated that much of what D'Souza says is untrue, and much is only partially true, and described the book as being "like a parody of scholarship, where selected 'facts' are pulled out of any recognizable context, and used to support a particular viewpoint". In Finkelman's opinion, the book exemplifies a "new racism", which "(1) denies the history of racial oppression in America; (2) rejects biological racism in favor of an attack on black culture; and (3) supports formal, de jure equality in order to attack civil rights laws that prohibit private discrimination and in order to undermine any public policies that might monitor equality and give it substantive meaning".

The conservative black economist Glenn Loury severed his ties with the American Enterprise Institute over the organization's role in the publication of the book. Loury wrote that the book "violated canons of civility and commonality", with D'Souza "determined to place poor, urban blacks outside the orbit of American civilization."

What's So Great About America
In the second chapter of his 2002 book, What's So Great About America, D'Souza argues that while colonialism was terrible, it had the unintended consequence of lifting third world countries up to Western civilization. D'Souza writes, "I realize that in saying these things I am opening the door for my critics, and the incorrigible enemies of the West, to say that I am justifying colonialism ... This is the purest nonsense. What I am doing is pointing out a historical fact: despite the corrupt and self-serving motives of [its] practitioners ... colonialism ... proved to be the mechanism that brought millions of nonwhite people into the orbit of Western freedom." He holds up the European colonization of India as an example, arguing that in the long run colonization was beneficial for India, because it introduced Western law, universities, infrastructure, and the like, while effectively ending human sacrifice, the practice of Sati, and other "charming indigenous customs".

In a review of the book, economist Thomas Sowell wrote that D'Souza's book exposed the fallacies and hypocrisies of various criticisms of the United States by the Islamic world, "domestic multiculturalist cults," those who seek reparations for slavery, and the worldwide intelligentsia. According to Sowell: "Perhaps it takes somebody from outside to truly appreciate all the blessings that too many native-born Americans take for granted. D'Souza understands how rare—sometimes unique—these blessings are." Sowell also wrote that D'Souza challenges the notion that all world cultures are equal: "D'Souza challenges one of the central premises of today's intelligentsia: The equality of all cultures. 'If one begins with the multicultural premise that all cultures are equal, then the world as it is makes very little sense,' he says. Some cultures have completely outperformed others in providing the things that all people seek—health, food, housing, security, and the amenities of life."

The Enemy at Home: The Cultural Left and its Responsibility for 9/11
In early 2007, D'Souza published The Enemy at Home: The Cultural Left and its Responsibility for 9/11, in which he argues that the American cultural left was in large part responsible for the Muslim anger that led to the September 11 attacks. He argues that Muslims do not hate America because of its freedom and democracy, but because they perceive America to be imposing its moral depravity (support for sexual licentiousness) on the world. D'Souza also argues that the Abu Ghraib torture and prisoner abuse was a result of "the sexual immodesty of liberal America", and asserts that the conditions of prisoners at Abu Ghraib and Guantanamo Bay "are comparable to the accommodations in mid-level Middle Eastern hotels."

The book was criticized in major American newspapers and magazines and described as, among other things, "the worst nonfiction book about terrorism published by a major house since 9/11" and "a national disgrace". Michiko Kakutani in The New York Times described it as "a nasty stewpot of intellectually untenable premises and irresponsible speculation that frequently reads like a Saturday Night Live parody of the crackpot right."

D'Souza's book caused controversy in the conservative movement. His conservative critics widely mocked his thesis that the cultural left was responsible for 9/11. In response, D'Souza posted a 6,500-word essay on National Review Online, and NRO subsequently published a litany of responses from conservative authors who accused D'Souza of character assassination, elitism and pseudo-intellectualism.

The Roots of Obama's Rage
The September 2010 book by D'Souza, The Roots of Obama's Rage (published in condensed form in a September 2010 Forbes op-ed), interprets President Barack Obama's past and how it formed his beliefs. D'Souza states that Obama is "living out his father's dream", so that "[i]ncredibly, the U.S. is being ruled according to the dreams of a Luo tribesman of the 1950s", who, D'Souza goes on to describe as a "philandering, inebriated African socialist". The book appeared on The New York Times Best Seller list for four weeks in October–November 2010.

Ryan Chittum, in an article in the Columbia Journalism Review, described the Forbes article as "a fact-twisting, error-laden piece of paranoia ... the worst kind of smear journalism—a singularly disgusting work". Commentators on both the right and left strongly disputed assertions made about Obama in the book and article. The left-leaning Media Matters for America wrote that "The Roots of Obama's Rage [was] rooted in lies". Daniel Larison of The American Conservative stated: "Dinesh D'Souza has authored what may possibly be the most ridiculous piece of Obama analysis yet written ... All in all, D'Souza's article reads like a bad conspiracy theory." Larison criticized D'Souza's suggestion that Obama is anti-business, citing a lack of evidence. Andrew Ferguson of The Weekly Standard wrote, "D'Souza always sees absence of evidence as evidence of something or other ... There is, indeed, a name for the beliefs that motivate President Obama, but it's not anticolonialism; it's not even socialism. It's liberalism!". The magazine published D'Souza's letter, in which he expressed surprise "at the petty, vindictive tone of Andrew Ferguson's review".

America: Imagine the World Without Her
D'Souza wrote the book America: Imagine the World Without Her on which his 2014 film of the same name is based. When the warehouse club Costco pulled the book from its shelves shortly before the film's release, conservative media and fans on social media criticized the move. Costco said it pulled the book due to low sales. D'Souza disputed the explanation, saying the book had only been out a few weeks and had surged to No. 1 on Amazon.com, while Costco stocked hundreds of much lower-selling books. He and other conservatives asserted it was pulled because one of Costco's co-founders, James Sinegal, supported Obama's politics. Costco reordered the book and cited the documentary's release and related interest for the reorder.

The Big Lie: Exposing the Nazi Roots of the American Left
In July 2017, D'Souza published The Big Lie: Exposing the Nazi Roots of the American Left. In the book, D'Souza asserts that the 2016 Democratic Party platform was similar to the platform of the Third Reich. The statement received media attention in 2018 when repeated by Donald Trump Jr. PolitiFact gave the claim its "Pants-on-Fire" rating, noting that "only a small number of elements of the two platforms are clearly similar, and those are so uncontroversial that they appear in the Republican platform as well." Historians refuted D'Souza's assertion, with University of Maryland historian and Barack Obama critic Jeffrey Herf saying, "There is not the slightest, tiny sliver in which this could be even somewhat accurate." In another review of the book, historian Nicole Hemmer, then of the University of Virginia's Miller Center of Public Affairs, wrote: "For a book about secret Nazis, The Big Lie is surprisingly dull ... The Big Lie thus adds little to the no-you're-the-fascist genre on the right". New York Times columnist Ross Douthat criticized the book, saying it was a "plea-for-attention" by D'Souza, and that the author had "become a hack". Douthat further stated, "Because D'Souza has become a professional deceiver, what he adds are extraordinary elisions, sweeping calumnies and laughable leaps."

In an article for The American Conservative, historian and philosopher Paul Gottfried, who has written extensively on the subject of fascism, harshly criticized a PragerU video hosted by D'Souza which maintained that fascism was a leftist ideology. D'Souza also maintained that Italian philosopher Giovanni Gentile, who influenced Italian fascism, was a leftist, to which Gottfried noted that this contradicted the research by "almost all scholars of Gentile's work, from across the political spectrum, who view him, as I do in my study of fascism, as the most distinguished intellectual of the revolutionary right."

Christian apologetics series
D'Souza's Christian apologetics books, What's So Great About Christianity and Life After Death: The Evidence, were both on The New York Times Best Seller list.

Filmmaking
D'Souza has written and directed a number of conspiracist political films.

2016: Obama's America film (2012)
D'Souza wrote and co-directed the documentary-style polemical film 2016: Obama's America. Through interviews and reenactments, the film compares the similarities in the lives of D'Souza and President Barack Obama. D'Souza suggested that early influences on Obama affected the decisions he made as president. The film's tagline is "Love him or hate him, you don't know him." The film has been criticized on the grounds that what D'Souza claims to be an investigation of Obama includes considerable projection, speculation, and selective borrowing from Obama's autobiography, to prove D'Souza's own narrative. In a "Fact Check" of the film, the Associated Press found that D'Souza provided little or no evidence for most of his claims, noted that several allegations were factually false, and described the film's central thesis as "almost entirely subjective and a logical stretch at best."

After a limited release beginning July 13, 2012, the film expanded to over 1,000 theaters in late August 2012, and reached more than 2,000 theaters before the end of September 2012, eventually grossing more than $33.4 million. It is the fifth highest-grossing documentary-style film in the United States during the last four decades, and the second highest-grossing political documentary.

The Obama administration described the film as "an insidious attempt to dishonestly smear the president". Later, when D'Souza was indicted for violating election law, D'Souza and his co-producers alleged that he was selectively prosecuted, and that the indictment was politically motivated retribution for the success of the film.

America: Imagine the World Without Her (2014)
In March 2013, D'Souza announced work on a documentary-style film titled America: Imagine the World Without Her for release in 2014. America was marketed to political conservatives and through Christian marketing firms. The Washington Times states that D'Souza is saying that Americans no longer have past heroes like Washington, Lincoln, and Reagan, but "we do have us" in "our struggle for the restoration of America."

Lions Gate Entertainment released America in three theaters on June 27, 2014, and expanded its distribution on the weekend of the U.S. holiday Independence Day on July 4, 2014. CinemaScore reported that the opening-weekend audiences gave the film an "A+" grade. The film grossed $14.4 million, which made it the highest-grossing documentary in the United States in 2014.

The film review website Metacritic surveyed 11 movie critics and assessed 10 reviews as negative and 1 as mixed, with none being positive. It gave an aggregate score of 15 out of 100, which indicates "overwhelming dislike". The similar website Rotten Tomatoes surveyed 24 critics and, categorizing the reviews as positive or negative, assessed 22 as negative and 2 as positive. Of the 24 reviews, it determined an average rating of 2.9 out of 10. The website gave the film an overall score of 8% and said of the consensus, "Passionate but poorly constructed, America preaches to the choir." The Hollywood Reporter's Paul Bond said the film performed well in its limited theatrical release, "overcoming several negative reviews in the mainstream media". Bond reported, "Conservatives ... seem thrilled with the movie."

Hillary's America: The Secret History of the Democratic Party (2016)
On July 25, 2016, D'Souza released the documentary film Hillary's America: The Secret History of the Democratic Party. The film criticizes the Democratic Party and Hillary Clinton, the presumptive (and ultimate) Democratic nominee for President of the United States in 2016.

The film was universally panned by professional film critics. On review aggregator Rotten Tomatoes, the film has an approval rating of 4%, based on 27 professional reviews, with an average rating of 1.7/10. The critics' consensus on the site reads, "Hillary's America: The Secret History of the Democratic Party finds Dinesh D'Souza once again preaching to the right-wing choir—albeit less effectively than ever." On Metacritic, which assigns a normalized rating, the film has a score of 1 out of 100, based on 8 critics, indicating "overwhelming dislike". It is the lowest-rated film on the website.

Peter Sobczynski wrote, "Hillary's America may well be the single dumbest documentary that I have ever seen in my life." A July 2016 review in Variety characterized D'Souza as "a right-wing conspiracy wingnut, the kind of "thinker" who takes off from Barack Obama birther theories and just keeps going, spinning out a web of comic-book liberal evil." Alex Shephard of The New Republic said: "Because he is a very dumb man, D'Souza doesn't even make a credible argument that Bill and Hillary are corrupt, even though in many ways it's low-hanging fruit. Instead, like every fringe weirdo who comes after the Clintons does, he overreaches and invents an absurd conspiracy ... It's not enough for, say, the Clinton Foundation to have taken money from, say, Saudi Arabia—instead, Clinton is literally presented as selling America to foreign countries. Why? D'Souza never explains."

Some conservatives viewed the film more positively. John Fund of the National Review stated that "[the film] is over the top in places and definitely selective, but the troubling facts are accurate and extensively documented in the D'Souza book that accompanies the movie." He also called the film "intensely patriotic". On July 23, 2016, Donald Trump, who was then running as the Republican presidential nominee against Clinton, called on supporters to see the film.

On January 23, 2017, the film was nominated for five Golden Raspberry Awards, Worst Picture, Worst Actor (Dinesh D'Souza), Worst Actress (Rebekah Turner ), Worst Director (Dinesh D'Souza and Bruce Schooley), and Worst Screenplay. In response to the Razzie nominations, D'Souza stated that he was "actually quite honored" and called the nominations "petty revenge" in response to Trump's election victory, also stating that "the film might have played an important role in the election." D'Souza appeared in the video announcing the film as having won four of the five possible Razzies repeating his view that the nominations were awarded in response to Trump's election victory.

Death of a Nation: Can We Save America a Second Time? (2018)
Death of a Nation had its world premiere in Los Angeles, California on July 30, 2018. A showing in Washington, D.C., on August 1, 2018, was co-hosted by D'Souza and President Donald Trump's son Donald Trump Jr.

The film Death of a Nation centers around drawing parallels between the 45th President of the United States, Donald Trump, and the 16th President of the United States, Abraham Lincoln. Death of a Nation explores the role of the Democratic Party in opposing both presidents. In the film, D'Souza accuses the Democratic Party—both historically and presently—of racism, white supremacy, and fascism. D'Souza further argues that the political left attempt to falsely push claims of racism, white supremacy, and fascism onto the political right for political gain. He claims that the modern political left is currently using these types of accusations in attempts to remove Trump from office "by any means necessary."

The film includes numerous falsehoods and has received criticism from historians regarding aspects of historical accuracy. The film characterizes Adolf Hitler as a liberal; historians characterize Hitler and the Nazis as being far-right. It also claims that Hitler was an LGBTQ sympathizer, whereas the Nazis murdered thousands of gay men and imprisoned homosexuals in concentration camps.

On the review aggregation website Rotten Tomatoes, the film holds an approval rating of 0% based on 11 reviews, with an average rating of 1.9/10. On Metacritic the film has a weighted average score of 1 out of 100, based on 8 critics, indicating "overwhelming dislike". PostTrak reported that filmgoers gave the film a score of 4 out of 5 stars, while The Hollywood Reporter wrote that those polled by CinemaScore (which was paid by Death of a Nation's filmmakers to conduct polls of audiences) gave it a grade of "A" on an A+ to F scale.

On its opening weekend, the film grossed $2.3 million on 1,032 screens, the lowest wide release for a D'Souza film. , the film has grossed $5.3 million.

2000 Mules (2022)
In May 2022, D'Souza released 2000 Mules, a conspiracist political film that falsely alleges Democrat-aligned individuals were paid to illegally collect and deposit ballots into drop boxes in Arizona, Georgia, Michigan, Pennsylvania and Wisconsin during the 2020 presidential election. The film was based on research by True the Vote. Former president Donald Trump praised the film as exposing "great election fraud".

The Associated Press reported the film was based on faulty assumptions, anonymous accounts and improper analysis of cellphone location data. The Dispatch, a conservative online magazine, found that "The film's ballot harvesting theory is full of holes", and mentioned that "D'Souza has a history of promoting false and misleading claims". On May 31, 2024, AP reported that the publisher of the film, Salem Media Group Inc., had apologized to the man they falsely accused of election fraud in the film and accompanying book, and withdrawn both from their platforms.

Police State (2023)
Released in October 2023, The Washington Post reported this film "uses falsehoods, misleading interviews and dramatizations to allege federal persecution of Jan. 6 rioters and Christians." It was screened at Donald Trump's Mar-a-Lago residence soon after release.

Media appearances and speaking engagements
D'Souza has appeared on numerous national television networks and programs. Six days after the September 11, 2001, attacks, D'Souza appeared on Politically Incorrect hosted by Bill Maher. He disputed the assertion that terrorists were cowards by saying, "Look at what they did. You have a whole bunch of guys who were willing to give their life; none of them backed out. All of them slammed themselves into pieces of concrete. These are warriors." Maher agreed with D'Souza's comments and said, "We have been the cowards. Lobbing cruise missiles from two thousand miles away."

During an interview on The Colbert Report on January 16, 2007, while promoting his book The Enemy At Home: The Cultural Left and Its Responsibility for 9/11, D'Souza maintained that liberals had some responsibility for the September 11 attacks. He said liberals' "penchant for interference" had a decided effect in convincing the Carter administration to withdraw support from the Shah, which brought on Muslim fundamentalists' control of the Iranian government. He also said that the distorted representation of American culture on television is one source of resentment of the United States by Muslims worldwide. D'Souza believes that traditional Muslims are not too different from traditional Jews and Christians in America. Towards the end of the interview, he admitted that he and Islamic militants share some of the same negative beliefs about liberal Americans.

In late February 2017, students at Trinity University in San Antonio, Texas, stole more than 200 flyers advertising D'Souza's planned appearance at the university the first week of March. D'Souza called the protest "pathetic", and suggested the demonstrators "Come out and debate me. In the best case you may win; in the worst, you'll learn something". Twin brothers Manfred and Jonah Wendt, co-founders of the student conservative group Tigers for Liberty, had passed around 600 notices of D'Souza's visit to campus. Those returned by the protesters contained negative comments about D'Souza.

Views
D'Souza is generally identified as a neoconservative. He defines conservatism in the American sense as "conserving the principles of the American Revolution." In Letters to a Young Conservative, written as an introduction to conservative ideas for youth, D'Souza argues that it is a blend of classical liberalism and ancient virtue, in particular, "the belief that there are moral standards in the universe and that living up to them is the best way to have a full and happy life." He also argues against what he calls the modern liberal belief that "human nature is intrinsically good," and thus that "the great conflicts in the world ... arise out of terrible misunderstandings that can be corrected through ongoing conversation and through the mediation of the United Nations."

In the book Illiberal Education: The Politics of Race and Sex on Campus (1991), D'Souza argued that intolerance of conservative views is common at many universities. He has attributed many modern social problems to what he calls the "cultural left." In the same book, D'Souza criticized the affirmative action policies of the University of California, Berkeley. D'Souza has also been critical of feminism, and Bruce Goldner, in a review of D'Souza's Illiberal Education, noted that he "has a tendency to characterize feminists as castrating misanthropes".

Religion
D'Souza attended the evangelical church Calvary Chapel from 2000 to about 2010. While stating that his Catholic background is important to him, D'Souza also says he is comfortable with Protestant Reformation theology and identifies as a nondenominational Christian. A writer of Christian apologetics, D'Souza has debated against prominent atheists and critics of Christianity on religious and moral issues. His debate opponents have included Dan Barker, Christopher Hitchens, Peter Singer, Daniel Dennett, Michael Shermer, David Silverman, and Bart D. Ehrman.

As a guest contributor for Christian Science Monitor, D'Souza wrote, "The moral teachings of Jesus provide no support for—indeed they stand as a stern rebuke to—the historical injustices perpetrated in the name of Christianity." He often speaks out against atheism, nonbelief in spirituality, and secularism. D'Souza elaborated on his views in the 2007 book he authored, What's so Great about Christianity. In 2009, he published Life After Death: The Evidence, which argues for an afterlife.

D'Souza has also commented on Islam. He stated in 2007 that "radical Islamic" thinkers have not condemned modernity, science or freedom but only United States' support of "secular dictators in the region" which deny "Muslims freedom and control over their own destiny". He has debated Serge Trifkovic and Robert Spencer, who both deem Islam "inherently aggressive, racist, violent, and intolerant." He has labelled Spencer an "Islamophobe" and "an effective polemicist" in his writings on Islam. D'Souza has also warned against support for "a $100 million mosque scheduled to be built near the site where terrorists in the name of Islam brought down the World Trade Center" (i.e., the Park 51 Islamic community center and mosque project), and the Middle East becoming a "United States of Islam" in his attacks against President Barack Obama.

D'Souza has criticized atheism, writing: "The crimes of atheism have generally been perpetrated through a hubristic ideology that sees man, not God, as the creator of values. Using the latest techniques of science and technology, man seeks to displace God and create a secular utopia here on earth".

Promotion of conspiracy theories
D'Souza has promoted several conspiracy theories, such as the false claim that Obama was not born in the United States and the conspiracy theory that the Clintons had murdered people. D'Souza has also promoted false claims about businessman and philanthropist George Soros, including that Soros had collaborated with the Nazis as a youth, and that he has sponsored antifa, a left-wing anti-fascist movement. In an August 2016 interview with GQ, D'Souza denied being a conspiracy theorist, stating: "I have never advanced a conspiracy theory in my life."

In August 2017, D'Souza suggested that the Charlottesville Unite the Right rally had been staged. In the same month, D'Souza tweeted that it would be "interesting to see" Soros "extradited to Israel & tried for his complicity in Nazi atrocities against Jews", and referred to Soros as "Hitler's collection boy".

After mail bombing attempts on prominent Democratic politicians occurred in October 2018, D'Souza tweeted: "Fake sexual assault victims. Fake refugees. Now fake mail bombs." D'Souza argued that the lack of a cancellation mark on the bomb-containing packages was evidence they were not mailed.

Opinions expressed on Twitter
In November 2013, D'Souza received backlash for referring to Obama as "Grown-Up Trayvon" in a post. In response to the backlash, D'Souza posted: "Feigned outrage on the left over me calling Obama 'grown up Trayvon' except that Obama likened himself to Trayvon!" D'Souza later deleted the initial post.

In February 2015, D'Souza wrote: "You can take the boy out of the ghetto" in a post criticizing Obama for using a selfie stick. After the post was criticized as racist, D'Souza posted: "I know Obama wasn't actually raised in a ghetto—I'm using the term metaphorically, to suggest his unpresidential conduct".

In January 2017, after civil rights leader and Georgia congressman John Lewis stated that the then-newly elected President Donald Trump was not a "legitimate president", D'Souza posted: "The left's false narrative inflates minor figures like John Lewis, Democrat, & downplays major ones like Frederick Douglass, Republican". D'Souza later posted that civil rights activist Rosa Parks' contributions to the civil rights movement were "absurdly inflated" and described her as an "overrated Democrat". D'Souza received criticism for the posts, with Charles C. W. Cooke of National Review stating: "Not only is this is [sic] incorrect, it's an attitude that would never be struck about a soldier on, say, Veterans Day ... [E]ven if Parks was a minor player (she wasn't), she'd still deserve to be lionized."

In November 2017, D'Souza mocked Beverly Young Nelson, one of the women who accused Roy Moore of sexual misconduct, and posted: "I was lukewarm on Roy Moore until the last-minute smear. Now we must elect him to show that the @washingtonpost sleaze attack failed". David French, then-senior writer at National Review, posted "What has happened to you?" in response to D'Souza's post about Nelson.

In February 2018, D'Souza was criticized for a series of posts which mocked the survivors of the Stoneman Douglas High School shooting. In response to a photo of survivors reacting to Florida lawmakers voting down a proposed ban on assault weapons in the aftermath of the shooting, D'Souza posted "worst news since their parents told them to get summer jobs". D'Souza also accused the survivors of "politically-orchestrated grief" and said that their grief "[struck him] as phony and inauthentic". D'Souza's comments were condemned by both liberal and conservative commentators. Journalist Jonathan M. Katz wrote: "Let it never be said that Dinesh does not actively root for the death of children." Others accused D'Souza of "trolling kids". D'Souza was also denounced by the Conservative Political Action Conference, which removed him from its roster of speakers and stated: "his comments are indefensible". D'Souza subsequently apologized for the initial tweet, saying that it was "aimed at media manipulation" and that he was being "insensitive to students who lost friends in a terrible tragedy."

In February 2021, after the January 6 United States Capitol attack took place, D'Souza suggested that the rioters were little more than "a bunch of rowdy people walking through a hallway". In May, D'Souza posted about the attack: "Does this LOOK like an insurrection? A riot? A coup attempt? If it doesn't walk like a duck or talk like a duck then it probably isn't a duck."

FBI
The New York Times quoted D'Souza as saying on Twitter: "The FBI is the largest criminal gang in the country. It's America's version of the KGB or the Chinese state police."

Presidency of The King's College
In August 2010, D'Souza was named president of The King's College, a Christian liberal arts college then housed in the Empire State Building in Manhattan. In 2012, the college relocated to a larger space next door to the New York Stock Exchange in Lower Manhattan's financial district. On October 18, 2012, D'Souza resigned his post at The King's College following a press report that he—despite being married—had shared a hotel room at a Christian conference with another woman and introduced her to others as his fiancée. D'Souza acknowledged being separated from his wife and having introduced Denise Odie Joseph II as his fiancée at a Christian conference; however, he denied that the two were engaged in an adulterous affair and that he had shared a room with Joseph at the conference, and described the report as "pure libel" that is "worthy of Christian condemnation." After an investigation by officials at The King's College, D'Souza stated that he had suspended his engagement to Joseph.

After D'Souza's alleged indiscretion became public, the trustees of The King's College announced on October 17, 2012, that D'Souza had resigned his position as president of the university "to attend to his personal and family needs".

Campaign finance violation, felony guilty plea, conviction, and pardon
On January 23, 2014, D'Souza was charged with making $20,000 in illegal campaign contributions to the New York Senate campaign of Wendy Long and causing false statements to be made to the Federal Election Commission. His attorney responded to the charges by saying his client "did not act with any corrupt or criminal intent whatsoever" and described the incident as "at most ... an act of misguided friendship".

On May 15, 2014, United States district judge Richard M. Berman rejected the contention that D'Souza was singled out for prosecution, stating, "The court concludes the defendant has respectfully submitted no evidence he was selectively prosecuted."

On May 20, 2014, D'Souza pleaded guilty to one felony count of making illegal contributions in the names of others. On September 23, 2014, the court sentenced D'Souza to five years' probation, eight months incarceration in a halfway house (referred to as a "community confinement center") and a $30,000 fine.

On May 31, 2018, President Donald Trump pardoned D'Souza.

Personal life
D'Souza dated fellow conservatives Laura Ingraham and Ann Coulter prior to meeting Dixie Brubaker while working at the White House. D'Souza and Brubaker married in 1992. They have one daughter, Danielle D'Souza Gill, who is a writer and a member of the Women for Trump Coalition. The couple lived together in California until D'Souza moved to New York as president of The King's College in 2010. He maintained a residence near San Diego, California, where his wife and daughter remained. D'Souza and Brubaker divorced in 2012.

While D'Souza was being sentenced for campaign finance fraud in 2014, Brubaker wrote a letter to the judge alleging that D'Souza had physically abused her; she claimed that "in April 2012 ... he, using his purple belt karate skills, kicked me in the head and shoulder, knocking me to the ground and creating injuries that pain me to this day."

On March 19, 2016, D'Souza married Deborah Fancher, a conservative political activist and mother of two. Fancher emigrated from Venezuela at age 10. The wedding was held near San Diego with Rafael Cruz, father of U.S. Senator Ted Cruz (R-TX), officiating.

title: Dinesh D'Souza


text:
Radio Birdman

Radio Birdman is an Australian punk rock band formed by Deniz Tek and Rob Younger in Sydney in 1974. They are a notable influence on other Australian punk bands.

Origins
Deniz Tek and Rob Younger formed Radio Birdman in mid-1974 in Sydney, having recently left their bands TV Jones and the Rats, respectively. The pair sought to begin a band that would challenge the commercial mainstream and be completely uncompromising. They recruited classical keyboard player Philip "Pip" Hoyle, drummer Ron Keeley and bassist Carl Rorke. The band took their name from a misheard lyric from the Stooges' song "1970" (the actual lyric is "radio burning").

After being rejected many times from various venues and having resorted to putting on its own concerts in rented garages and tiny community halls, by mid-1975 Radio Birdman found an upstairs room at the Oxford Tavern in Taylor Square, Sydney. They eventually took over its management, renaming it The Funhouse. Under their management the Funhouse became a home to other outsider groups. Prior to the opening of this venue, Carl Rorke had left the band and was replaced by longtime friend of Rob Younger, Warwick Gilbert (also a former Rats member). Also, to leave the band would be Philip Hoyle, though his departure was short-lived. Guitarist Chris Masuak was initially hired to replace Hoyle.

Soon a small subculture grew around Radio Birdman. This coincided with the beginnings of the Sydney punk scene.

After unsuccessfully trying several studios, Radio Birdman found a supportive recording milieu with the help of Rock Australia Magazine editor, Anthony O'Grady. They recorded an EP, Burn My Eye, and their first album Radios Appear, produced by John L Sayers and Charles Fisher at Trafalgar Studios in Annandale. Trafalgar Studios, under the management of Michael McMartin, signed the band and financed the recordings. Radios Appear was critically acclaimed, getting 5 stars in the Australian edition of Rolling Stone. The album owed much of its style to Detroit bands of the late 1960s, such as the MC5 and the Stooges, as well as influences ranging from the Doors to the Velvet Underground and instrumental surf music. The title of the album comes from the Blue Öyster Cult song "Dominance and Submission" from their 1974 Secret Treaties album, influences from which can also be seen in Birdman's creative output. Though Radios Appear was totally ignored by commercial radio, it was championed by Sydney station 2JJ (Double Jay). Released on the newly created, purpose-built independent label Trafalgar Records, the album was made available through mail-order and was self-distributed by band members and friends to a few sympathetic record stores, never achieving widespread sales or commercial success. Several years after initial release, and following the breakup of the band, Trafalgar Records licensed the recordings to WEA who took on the album and gave it a wider release. However, sales remained limited. Despite critical acclaim, some fans felt the recordings lacked the ferocity and immediacy of the live shows and did not represent their own intense experience of the band.

The band remained outside the mainstream and developed an outlaw reputation. By late 1976 they began to travel to other cities to perform their shows, with several mini-tours taking in Canberra, Melbourne and Adelaide. In early 1977 keyboard player Pip Hoyle returned to the band, and his replacement, Chris Masuak, stayed in the lineup, making Radio Birdman a six-piece band for the first time.

When Sire Records president Seymour Stein came to Australia to sign Brisbane punk band the Saints, he saw Radio Birdman and immediately invited them to join his label. Under Sire, licensed by Trafalgar, Radio Birdman released a new version of Radios Appear featuring a mixture of re-mixed, re-recorded and some new material. Comparisons between the two versions of the album are disputed with some feeling that the second version is a more accurate reflection of the band's sound. Most fans however own both versions and simply treat them as two separate and different recordings.

The underground scene at the Funhouse, now incorporating the nascent punk movement, began to attract some groups with negative agendas, including the Sydney chapter of the Hells Angels. With this new, more violent, and rowdy crowd, and over capacity every night, the Funhouse was at the point of exploding. The band was blamed for violent incidents occurring at the Funhouse and were concerned that a disaster was in the making. Following a concert at Paddington Town Hall with the Saints and the Hot Spurs, in April 1977, attended by a few hundred people, they left the Sydney scene altogether, playing sporadically in other cities and working on new material.

The band returned half a year later and performed their most famous show to date at Paddington Town Hall, on 12 December 1977. Two thousand people supposedly packed into the venue, which was partially destroyed by crazed fans. After this show, the band moved their base of operations to London, and toured extensively in the UK and Europe, both headlining and as support for Sire label-mates the Flamin' Groovies. Their overseas success was short-lived as Sire Records began having financial difficulties and were forced to drop Radio Birdman and many other bands from their label. A planned American tour with Ramones, scheduled for the second half of 1978, was cancelled. In May 1978, they recorded their second album Living Eyes at Rockfield Studio in Wales. Unreleased by Sire, the tapes eventually were released in 1981, long after the band's 1978 breakup.

Breakup
Without a label, with no tour support and no distribution for Radios Appear, the band continued on, while suffering deteriorating interpersonal relations. Radio Birdman played one last show at Oxford University in June 1978, after which the band split up—on the eve of an explosion of independent music in Australia, which they had played a large role in creating.

1978–1996
All six members went on to other bands. Younger's the Other Side and later New Christs was more oriented towards hard rock. Tek and Keeley with keyboardist Pip Hoyle formed the Doors-influenced inner-city band the Visitors, and guitarist Chris Masuak and bass guitarist Warwick Gilbert's the Hitmen went on to moderate success in the Australian pub rock scene. Tek, Younger and Gilbert played in a one-shot touring band called New Race, with Dennis Thompson of the MC5 and Ron Asheton of the Stooges. They made no studio recordings, but released one official "live" album, The First and Last, and there are two more "bootleg" live albums, The First to Pay and The Second Wave, on the French label Revenge. A non-musical LP, Soldiers of Rock 'n' Roll, was released in 1982. This strange album, described by the record company as "an audio documentary of Radio Birdman," released after Deniz had quit music to be a jet pilot, and was assembled by the people at Trafalgar Records, like a soundtrack for a documentary movie which was never made. In 1990 Sheldon Booth (Melbourne Victoria) published Vivien Johnson's biography of the band Radio Birdman (ISBN 0731678397), described by Deniz Tek as "the most accurate account I've ever seen of what happened in the band" and by Lindsay Hutton of The Next Big Thing as "the nearest thing to a Birdman Bible as we're ever likely to be blessed with."

Reunion
Radio Birdman reunited for the Big Day Out tour in 1996 and again in 1997. Since then, Radio Birdman have continued to tour sporadically. In 2002 Warwick Gilbert was replaced by Jim Dickson who had previously played with the New Christs, Louis Tillett, the Passengers, the Barracudas and Deniz Tek. Drummer Ron Keeley left the band in 2004 after the band's poor performance at The Azkena Festival in Spain, and was temporarily replaced by Nik Reith, formerly of the Celibate Rifles, Tumbleweed, the New Christs and the Deniz Tek Group. He was replaced after six shows by You Am I drummer Russell Hopkinson.

The year 2006 saw much activity by Radio Birdman, spearheaded by the completion of a new album entitled Zeno Beach, released in Australia on 24 June 2006 via the band's own Crying Sun Records, and in the US via Yep Roc Records on 22 August. Named for the closing track, a surf-rock tune written by Hoyle, Zeno Beach was recorded in Sydney in December 2005, produced by guitarist Deniz Tek and engineer Greg Wales. Carl Rorke, the original Radio Birdman bassist, died the year of the new album's scheduled release, and it was dedicated to his memory.

Following a February tour of Australian capital cities, an extensive world tour of dates in support of Zeno Beach for Australia, New Zealand, Europe, and the US was accomplished, commencing 27 July 2006 in Sydney, and ending on 7 October. This successful tour marked the first time Radio Birdman played in America. Many Australian dates featured LA soul/punk band the Bellrays.

In July 2007 the band was inducted into the ARIA (Australian Recording Industry Association) Hall of Fame (in an interview, vocalist Rob Younger indicated the band had previously declined an invitation to join the Hall of Fame years before). The induction saw all living original members plus current members attend the ceremony, except for Pip Hoyle.

Daniel Johns of Silverchair gave the induction speech, followed by the band playing a short but energetic set of two songs which saw the audience giving them a standing ovation. The three guitarists (Tek, Masuak and Dickson) also participated in what appeared to be an uncharacteristically rehearsed stage move, each holding up their guitars and saluting the drums as the song New Race ascended into auditory chaos. On a side note, Murray Shepherd (ex-the Screaming Tribesmen and current the Hitmen drummer), sat in on drums for this occasion, as then-drummer Russell Hopkinson was touring with You Am I.

The band again toured Australia, the US, Canada and Europe, with approximately 80 concerts in 2007. In September 2007 the band featured in the Clash of the Titans tour alongside the Stems and Hoodoo Gurus, which launched in Sydney at the Enmore Theatre and included dates across Australia. Radio Birdman ceased touring after a long run of dates in Europe, ending in Athens, Greece in October 2007.

The band released a definitive box set on the Citadel label in 2014. The box set included 7 CDs and 1 DVD, featuring remasters of the band's official releases plus a wealth of archived and previously unheard studio material. The box also contains a professional recording of the 12 December 1977 Paddington Town Hall concert. In November 2014, the band was reassembled to promote the release of the Box Set, and played shows across Australia. The 2014 lineup continues to this day, and features Nik Rieth on drums and Dave Kettley on guitar (replacing long time member Chris Masuak), along with Jim Dickson (bass) and original founding members Rob Younger, Pip Hoyle, and Deniz Tek. Radio Birdman remains active as of this writing, with European and Australian tours completed in 2015 and 2016.

The band is undertaking a joint national tour with Died Pretty in June and July 2017.

In 2017 Radio Birdman was the subject of a feature-length documentary, Descent into the Maelstrom – The Radio Birdman Story. The film covered the band's history from precursor bands The Rats and TV Jones to their European tour in 2015. In December 2020, Radio Birdman were listed at number 44 in Rolling Stone Australia's "50 Greatest Australian Artists of All Time" issue.

Current

 * Deniz Tek - Guitar (1974-1978, 1996-2008, 2014-present)
 * Rob Younger - Vocals (1974-1978, 1996-2008, 2014-present)
 * Philip "Pip" Hoyle - Keyboards (1974-1978, 1996-2008, 2014-present)
 * Jim Dickson - Bass (2002-2008, 2014-present)
 * Nik Reith - Drums (2005, 2014-present)
 * Dave Kettley - Guitar (2014-present)

Former

 * Carl Rorke - Bass (1974-1975; died 2005 )
 * Ron Keeley - Drums (1974-1978, 1996-2004)
 * Warwick Gilbert - Bass (1975-1978, 1996-2002)
 * Chris "Klondike" Masuak - Guitar (1976-1978, 1996-2008)
 * Russell "Rusty" Hopkinson - Drums (2005-2008)

Crying Sun records
Crying Sun Records is the record company privately owned by Radio Birdman. Only a few albums have been released by this label including Radio Birdman's 1996 live album, Ritualism and their 2006 reunion album, Zeno Beach.

The label is named after the song "Crying Sun" by Radio Birdman on their 1981 studio album, Living Eyes. Crying Sun Records were originally based around Radio Birdman owned music venue turned bar, The Oxford Funhouse. Crying Sun Records was created by the band in association with Citadel Records to handle all the band's current and future recorded work. It was created to ensure that the band would be completely independent of record industry support or influence. This is seen as essential to maintaining the band's commitment to quality and fairness for the people who choose to listen.

The Crying Sun Records logo was designed by Radio Birdman bass player, Warwick Gilbert.

Documentary DVD
In 2018, the DVD documentary Descent into the Maelstrom: The Radio Birdman Story was released internationally; it also received an HD release on Vimeo and iTunes. It was written, directed and edited in Australia by Jonathan Sequeira, and produced by Mark Sequeira and Jonathan Sequeira. The documentary features live footage of the band and interviews with its various members and fans. The DVD was an official selection of the Detroit Freep Film Festival 2018, the Glasgow Film Festival 2018, the London Screensound Festival 2018, and the Manifesto Festival Amsterdam 2018. The Guardian called it "brutally honest', and I-94 Bar called it "the best rock documentary ever made".

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

title: Radio Birdman


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Wikipedia talk:Abundance and redundancy

I don't totally agree. A user like User:172 repeatedly copied the same content from article to article, this was felt by several people (including me) as an abuse. There's a question of measure: suppressing all redundancy is bad, suppressing redundancy for the sake of tweaking the POV of an article is even worse, but copying whole paragraphs from one place to another (perhaps only indirectly related) may also a waste of resources, and here I mean mostly the intellectual resources that are devoted to improving these paragraphs in case they need to be.

This being said, I'm the "culprit" of some factual duplication between Walloon Brabant and Flemish Brabant. I didn't think and don't think that the small amount of duplicated information deserved a third article on its own; and even if it did, repetition there is kept short and doesn't harm.

--FvdP 23:50 Jan 30, 2003 (UTC)

 * I dislike redundancy, and prefer instead summary. So, for example, September 11, 2001 Terrorist Attack/Timeline links to the more detailed timelines of the background, the day, the rest of the month, October, and the aftermath. It doesn't duplicate information in those articles, it summarises them. Martin

Yeah, Martin, but I got reamed once when I tried to re-organize the Israeli-Palestinian conflict page with a header that led to three logical periods of the conflict. Since theres so much there, I thought it would warrant that kind of depth, so each page could contain summaries within to be expanded upon on other articles, like creating a stalk that has branches off of it. 911 was done in a spirit of co-operation though, and theres a big difference. I dont really disagree with either one of you, and it doesnt seem like you disagree with me on the whole either. Is a question of degrees, and I will rephrase that part. Though, some may want to cut this article up and move sections here and there.... :) -Stevert

 * Yeah well, on Isreal vs Palestine all bets are off... ;-)
 * global warming is my next project - that'll take a while, though... Martin

Understatement of the century, Dice. Stevert

I agree with the FVD in the above and I also like the policy statement. If the redundancy is kept to a minumum.WHEELER 16:48, 23 Jun 2004 (UTC)

Change the wording?
I believe that the sentence it is preferred to have abundance and redundancy of content should be changed to it is preferred to a certain extent to have abundance and redundancy of content. The former statement sounds too absolute in content and understanding. -- S iva1979 Talk to me  01:33, 9 July 2006 (UTC)
 * I'd be more in favor of it is preferred to have redundance and abundance and redundancy of content but that's just me being silly.--Paul McDonald (talk) 14:03, 10 October 2008 (UTC)

Demoting to Essay
I've been bold and demoted this to essay. (1) No one actually follows this as a guideline. (2) It's completely incoherent. I'm tagging it as an essay, instead. Nandesuka 12:29, 16 October 2006 (UTC)

Also a very misguided essay. Anyone advocating "redundancy" on Wikipedia hasn't ever tried to clean up half a dozen scattered articles about one and the same topic, each of them equally crappy and broken. It is difficult enough to maintain one article per topic in reasonable shape. Clean WP:SS with explicit cross-links is excluded from this, of course. Summaries aren't redundancies.

You bet "redundancy" is the "solution to NPOV disputes". It is also the solution to defeat the entire purpose of this project and degrade Wikipedia to a blog host, because everyone will just be able to write their own essays about anything they please. If somebody doesn't like it, let them write their own counter-essay. This is precisely what Wikipedia is not and has never been about. You don't "solve" a problem by simply giving up on what you were doing. --dab (𒁳) 11:29, 17 July 2011 (UTC)

title: Wikipedia talk:Abundance and redundancy


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User:PlumRad

Yeah, i'm new... Hope i can contribute with something useful though.

Yakuza Bømlo

title: User:PlumRad


text:
The Saints (Australian band)

The Saints were an Australian rock band formed in Brisbane, Queensland in 1973. Founded by singer-songwriter Chris Bailey, drummer Ivor Hay, and guitarist-songwriter Ed Kuepper, they originally employed fast tempos, raucous vocals and a "buzzsaw" guitar sound that helped initiate punk rock in Australia and identified them with the greater international movement.

Unable to get gigs, they converted their share house into a venue where they could play. With their debut single "(I'm) Stranded", released in September 1976, they became the first punk band outside the US to release a record, ahead of the first UK punk releases from the Damned, the Sex Pistols and the Clash. They experienced UK chart success in 1977 with the song "This Perfect Day", which peaked at #34. Bassist Kym Bradshaw left in 1977 and was replaced by Algy Ward. Their second album Eternally Yours, released in 1978, saw the band pursue a bigger and more R&B driven sound, augmented by a horn section.

After their third album Prehistoric Sounds later in 1978, Kuepper clashed with Bailey over the band's musical direction and left, subsequently forming the post-punk group Laughing Clowns, while Hay and Ward followed suit. Bailey, the sole mainstay of the group, continued under the Saints moniker with a rotating lineup of musicians in the ensuing decades. 1986's All Fools Day peaked in the Top 30 on the Australian Kent Music Report Albums Chart in April 1986 and yielded the hit song "Just Like Fire Would". Bailey also forged a solo career, and had relocated to Sweden by 1994. The band was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 2001. Bailey died in April 2022, effectively ending the band.

1973–1976: Formative years
The Saints' original members were Brisbane schoolmates Bailey, Kuepper and Hay. They had formed Kid Galahad and the Eternals in 1973 with Irish-raised Bailey on vocals, Brisbane-born Hay on piano and German-born Kuepper on guitar. Their musical inspirations came from 1950s rock 'n' roll musicians such as Little Richard and Elvis Presley (their name referenced his 1962 film, Kid Galahad) and 1960s proto-punk bands like the Missing Links, the Stooges and MC5. They rehearsed in a shed at the back of Hay's place, which was opposite the local police headquarters.

The band renamed themselves the Saints in 1974, inspired by Leslie Charteris's character The Saint. They played covers of Del Shannon, Connie Francis and Ike and Tina Turner – "exploding them almost beyond recognition with energy". Jeffrey Wegener joined on drums and Hay switched to bass guitar. Wegener had left by 1975, Hay moved to drums and Kym Bradshaw joined on bass guitar. Contemporaneous with Ramones, the group were employing the fast tempos, raucous vocals and "buzz saw" guitar that characterised early punk rock. Kuepper explained that they played faster and faster as they were nervous in front of audiences. The police would often break up their gigs, and arrests were frequent. Unable to obtain bookings, Bailey and Hay converted the Petrie Terrace house they shared into the 76 Club so they had a venue to play in. According to Australian rock historian, Ian McFarlane, they had developed their "own distinctive sound as defined by Kuepper's frenetic, whirlwind guitar style and Bailey's arrogant snarl".

1976–1977: (I'm) Stranded
In June 1976, the Saints recorded two self-produced tracks, "(I'm) Stranded" and "No Time" with Mark Moffatt engineering (label credits for both sides say 'Produced by The Saints'). Unable to find any interested label, they formed Fatal Records and independently released their debut single in September. Their self-owned Eternal Promotions sent discs to radio stations and magazines both in Australia – with little local interest – and United Kingdom. In the UK, a small label, Power Exchange, issued the single. Sounds magazine's reviewer, Jonh Ingham, declared it, "Single of this and every week". EMI head office in London contacted the Sydney branch and directed that they be signed to a three-album contract. Over two days in December, the group recorded their first LP, (I'm) Stranded (February 1977), with Rod Coe producing. It included a cover version of the Missing Links' track "Wild About You". They supported AC/DC in late December 1976 and, early in 1977, relocated to Sydney. EMI re-issued the single, "(I'm) Stranded" in February and it reached the Kent Music Report Top 100 Singles Chart.

The Saints resisted being re-modelled into the English punk look and were generally ignored by the Australian press. Mainstream public was warned that punk rock is "a sinister new teenage pop cult, based on sex, sadism and violence, [which] is sweeping Britain." In May 1977, the band released their second single, "Erotic Neurotic" and then moved to the UK, where they differed with their label over how they should be marketed. EMI planned to promote them as a typical punk band, complete with ripped clothes and spiky hair – the Saints insisted on maintaining a more downbeat image. In June, bass guitarist Alasdair "Algy" Ward replaced Bradshaw. Their next single "This Perfect Day" (July) peaked at No. 34 in the UK but further improvement was frustrated by EMI's failure to press enough copies to satisfy demand.

"They were kind of god-like to me and my colleagues. They were just always so much better than everybody else. It was extraordinary to go and see a band that was so anarchic and violent."

1978–1979: Eternally Yours and Prehistoric Sounds
The Saints released their second album, Eternally Yours, in May 1978 on EMI/Harvest with Bailey and Kuepper producing. The album showed the band moving towards a more R&B style of rock, including a brass section on songs like "Know Your Product" which had been released as a single in February. Another track, "Private Affair", focussed on what the band members saw as the pigeon-holing, hype and commercialisation of punk. The album reached the Top 100 on the Australian Kent Music Report Albums Chart.

The jazz-blues influenced third album, Prehistoric Sounds, followed in October 1978 (January 1979 in Australia). Its commercial failure led EMI to drop the band. During 1978, relations between Kuepper and Bailey had deteriorated, with Bailey preferring rock and pop songs and Kuepper pursuing less commercial and more intellectual material. Finally Hay, Kuepper and Ward left the group in early 1979. Kuepper returned to Australia and followed a more avant-garde direction with Laughing Clowns, which would frequently feature brass, and later, the punkish the Aints. He is one of Australia's most influential and highly regarded musicians with over twenty solo albums to his credit. Hay briefly returned to Australia to join Sydney-based the Hitmen and then rejoined Bailey in London for a later version of the Saints. Ward became a member of English gothic punk band, the Damned. Bailey continued the group with Mark Birmingham on drums, Bruce Callaway on guitar, Barry Francis on guitar and Janine Hall on bass guitar.

1980s: Paralytic Tonight, Dublin Tomorrow to Prodigal Son
The Saints' first release after Kuepper's departure was the EP, Paralytic Tonight, Dublin Tomorrow, in March 1980 on Lost Records with Bailey producing. It was followed by a studio album, The Monkey Puzzle, co-produced by Bailey and Gerry Nixon for Mushroom Records in February 1981. It reached the Top 100 on the Australian Albums Chart. They had shifted to a more melodic pop-rock sound and included Hay on keyboards in the line-up. Hay left again before the next album was released in Australia in 1982 as I Thought This Was Love, But This Ain't Casablanca on Mushroom Records and elsewhere as Out in the Jungle... Where Things Ain't So Pleasant on New Rose Records. Production was credited to Ricardo Mentalban, and with Bailey, in the Saints, were Hall on bass guitar and Iain Shedden (ex-Jolt) on drums. Additional musicians included Roger Crankwell on saxophone and clarinet, Denis Haines on piano, Paul Neiman on trombone, Steve Sidwell on trumpet and Jess Sutcliffe on piano. The Damned's Brian James guested on lead guitar.

In late 1982, the group toured Australia with Bailey, Hall and Shedden joined by Chris Burnham on guitar (ex-Supernaut) and Laurie Cuffe on guitar. In 1983, Bailey released his first solo album, Casablanca, on New Rose. In 1984, Bailey was based in Sydney, and the Saints' album, A Little Madness to Be Free, was released in July on RCA with production credited to Lurax Debris (Bailey's pseudonym). It contains the popular track "Ghost Ships", which was issued as a single in May. A Little Madness to Be Free was "more rock-oriented, with extensive use of acoustic guitar, brass and strings set among tightly focused arrangements". In mid-1984, the band toured as Bailey, Burnham, Shedden and Tracy Pew on bass guitar, (ex-Birthday Party), who was briefly replaced by Kuepper in July. By 1985, the Saints were Bailey, Richard Burgman on guitar (ex-Sunnyboys) and Arturo 'Archie' Larizza on bass guitar (the Innocents), while Louise Elliot on saxophone and Jeffrey Wegener on drums (both ex-Laughing Clowns) completed the line-up. A live album, Live in a Mud Hut ... Somewhere in Europe, recorded in 1984 with production credited to Mugumbo, was released by New Rose in 1985.

Hay returned and, with Bailey, Burgman and Larizza, the group recorded All Fools Day in Wales with Hugh Jones producing. It was issued by Mushroom Records in Australia and Polydor in United States, in April 1986. The album reached the Top 30 in Australia and included a Top 30 single, "Just Like Fire Would" (March). The group joined the Australian Made Tour in December 1986 – January 1987 with other local acts Mental as Anything, I'm Talking, the Triffids, Divinyls, Models, Jimmy Barnes and INXS.

Prodigal Son followed in April 1988, which reached the Top 50. The line-up was Bailey, Francis, Larizza, Shedden and Joe Chiofalo on organ. It was produced by Bailey, Brian McGee and Vanda & Young. The single, "Grain of Sand", from Prodigal Son peaked at No. 11 on the United States Billboard Alternative Songs chart. In March 1989, the Saints had an Australian Top 40 hit with a cover of the Easybeats' song "Music Goes 'Round My Head", which also featured in the 1988 film Young Einstein's soundtrack. Their version of "The Music Goes Round My Head" reached No. 19 on the US Alternative Songs chart.

1990–2022: later years
The Saints issued a compilation album, Songs of Salvation and Sin 1976–1988 in 1990 on Raven Records with liner notes penned by Glenn A. Baker. Over the years, Kuepper had grown unhappy with Bailey's ongoing use of the Saints name and, in particular, with Baker crediting Bailey for the band's original creative direction. In April 1991, Kuepper formed the Aints, which performed versions of vintage the Saints' material. The Saints issued Permanent Revolution in 1991 on Mushroom Records, and while Bailey released solo albums, the group went into hiatus.

By 1994, Bailey had moved to Sweden where he recorded a solo album, 54 days at sea, and in 1996 issued the Saints' album, Howling, which was produced by the band for Blue Rose Records. Bailey provided vocals, guitars and organ, and was joined by Andreas Jornvill on drums, Joakim Täck on bass guitar, Ian Walsh on guitar and Mons Wieslander on guitar. The group toured Australia in February 1997 – their first tour there in eight years. Everybody Knows the Monkey followed in May 1998 on Last Call Records with Bailey were Michael Bayliss on bass guitar, Martin Bjerregaard on drums and Andy Faulkner on guitar – it was produced by Bailey and Martin Hennel.

Mushroom Records celebrated their 25th anniversary with the Mushroom 25 Live concert in November 1998; Bailey performed "Ghost Ships" and "Just Like Fire Would", and a duet with Paul Kelly on "Wide Open Road", as a tribute to David McComb of the Triffids.

Spit the Blues Out was issued in 2000 in France by Last Call Records with production credited to Debris. It displayed "'60s-era blues-rock" and "Brit-pop" influences, with Patrick Mathé of French label New Rose providing harmonica and guitar.

On 11 September 2001, the original line-up of the Saints came together for a one-off reunion when the writer Clinton Walker, a long-time friend and champion of the band, inducted them into the Australian Recording Industry Association (ARIA) Hall of Fame.

By 2005, the group had re-located to Amsterdam, Netherlands - with Bailey were the line-up of Marty Willson-Piper on guitar, Caspar Wijnberg on bass guitar and Pete Wilkinson on drums. They issued Nothing Is Straight in My House in 2005, and after Willson-Piper left they released Imperious Delirium in 2006. They undertook a European tour to promote it and continued to tour America through late 2007.

On 14 July 2007, Bailey, Kuepper and Hay re-united for another one-off gig at the Queensland Music Festival, with current member Wijnberg on bass guitar. In January 2009, as part of the All Tomorrows Parties touring festival, in this instance curated by Mick Harvey formerly of The Birthday Party, the Saints with Bailey, Hay, Kuepper and Larizza played shows in Brisbane, Sydney and in Mount Buller, Victoria. This was followed by a Melbourne show on 14 January as part of the Don't Look Back sideshow concerts, where they performed the I'm Stranded album in its entirety. In 2010 the band returned to a three piece with Wilkinson returning as drummer and to the line-up, and the addition of new bassist Jane Mack. In May 2010, Kuepper and Bailey reunited for a month-long tri-residency series of shows in Brisbane, Sydney and Melbourne. With Kuepper on electric guitar/vocals and Bailey on acoustic guitar/bass guitar/vocals, they played a selection of songs from early Saints, both solo careers, and post-Kuepper Saints, as well as a few covers.

2012 saw the recording of "King of the Sun". The album was recorded at the Trackdown studios in Sydney, where Bailey had previously recorded "Savage Entertainment". Released in Australia in late 2012, "King of the Sun" was delayed in European countries until April 2013.

On 7 November 2013, the Saints appeared as a 4-piece at the Borderline club in London, England. Alongside Bailey were stalwart Saints Barrington Francis and Peter Wilkinson. The band was augmented with Chris Dunne on keyboards.

In 2017, a mural dedicated to the Saints and their song "(I'm) Stranded" was enacted on Roma Street, Brisbane. The mural included lyrics from the song and is situated close to 4 Petrie Terrace, the location previously used by the band as an unlicensed venue.

In 2021, the State Library of Queensland named its copy of "(I'm) Stranded" as one of the treasures from its John Oxley Library collection, citing the 7” vinyl single represented a piece of Australian and Queensland music history, influencing generations of bands around the world.

Chris Bailey died on April 9, 2022, aged 65. In mid-2024, a remastered box set edition of The Saints' first album was announced, with Kuepper and Hay reforming the band to tour the 50th anniversary of "(I'm) Stranded". The band will also feature Mick Harvey of Nick Cave and the Bad Seeds, Peter Oxley of Sunnyboys and Mark Arm from Mudhoney.

Influence
The Saints were one of the first and most influential punk rock groups. According to Bob Geldof, "Rock music in the seventies was changed by three bands—the Sex Pistols, the Ramones and the Saints".

In May 2001, Australasian Performing Right Association (APRA) celebrated its 75th anniversary and named "(I'm) Stranded" in its Top 30 Australian songs of all time. The band was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in September. In 2007, "I'm Stranded" was one of the first 20 songs stored on the National Film and Sound Archive's Sounds of Australia registry. Their début album, (I'm) Stranded was listed at No. 20 in the book, 100 Best Australian Albums, in October 2010. Their third album, Prehistoric Sounds, also appeared in the list, at No. 41.

In a tribute published on his Red Hand Files Q&A platform, Nick Cave remembered Bailey as “perhaps the greatest and most anarchic rock ‘n’ roll singer Australia would ever produce”.

Final line-up

 * Chris Bailey – lead vocals (1973–2022; his death), guitar (1980–1983, 1984–1986, 1989–1990, 1991–1996, 1996–2012, 2016–2022) , bass (1973–1974, 1989–1996, 2010–2016)
 * Peter Wilkinson – drums (1999–2002, 2003, 2005–2009, 2010–2016, 2017–2022)
 * Davey Lane – guitar (2016–2022)
 * Pat Bourke – bass (2016–2022)

Former members

 * Ivor Hay – drums (1973–1974, 1975–1980, 1981–1982, 1985–1988, 2009), keyboards, organ (1973–1982, 1984–1987, 2009), bass (1973–1975)
 * Ed Kuepper – guitar (1973–1979, 2004, 2009)
 * John Sawyer – drums, March to September 1974
 * Jeffrey Wegener – drums (1974–1975, 1985)
 * Roland Desainis – drums (1975)
 * Doug Balmanno – bass (1975)
 * Kym Bradshaw – bass (1975–1977)
 * Algy Ward – bass (1977–1980; died 2023)
 * Bruce Callaway – guitar (1979–1980)
 * Janine Hall – bass (1979–1982, 1984–1985; died 2008)
 * Barry Francis – guitar (1979–1989, 2013–2016)
 * Mark Birmingham – drums (1980–1981)
 * Iain Shedden – drums (1982–1983, 1984–1985, 1988–1990, 2002, 2004, 2016–2017; his death)
 * Chris Burnham – guitar (1982, 1989–1990)
 * Laurie Cuffe – drums (1983–1984), guitar (1984–1986)
 * Tracy Pew – bass (1984; died 1986)
 * Richard Burgman – guitar (1985)
 * Louise Elliott – saxophone (1985)

 * Arturo Larizza – bass (1986–1989, 2002, 2004, 2009)
 * Joe Chiofalo – keyboards (1987–1988, 1991)
 * Dror Erez – keyboards (1991)
 * Tony Faehse – guitar (1991–1992)
 * Peter Jones – drums (1991)
 * Dave Sparks – guitar (1991–1992)
 * Michael Bayliss – bass (1996–2004)
 * Marty Bjerregaard – drums (1996–1999)
 * Andy Faulkner – guitar (1996–2004)
 * Andreas Jörnvill – drums (1996)
 * Joakim Täck – bass (1996)
 * Ian Walsh – guitar (1996)
 * Måns Wieslander – guitar (1996)
 * Peter Wilkinson – drums (1999–2016)
 * Eddie Nyström – guitar (2002)
 * Marty Willson-Piper – guitar (2004–2005)
 * Caspar Wijnberg – bass (2004–2010)
 * Jane Mack – bass (2006–2010)
 * Sean Carey – guitar (2012–2013)

Discography

 * (I'm) Stranded (1977)
 * Eternally Yours (1978)
 * Prehistoric Sounds (1978)
 * The Monkey Puzzle (1981)
 * Casablanca (1982)
 * aka Out in the Jungle... Where Things Ain't So Pleasant
 * A Little Madness to Be Free (1984)
 * All Fools Day (1986)
 * Prodigal Son (1988)
 * Howling (1997)
 * Everybody Knows the Monkey (1998)
 * Spit the Blues Out (2002)
 * Nothing Is Straight in My House (2005)
 * Imperious Delirium (2006)
 * King of the Sun (2012)

title: The Saints (Australian band)


text:
Meade Lux Lewis

Anderson Meade "Lux" Lewis (September 4, 1905 – June 7, 1964) was an American pianist and composer, remembered for his playing in the boogie-woogie style. His best-known work, "Honky Tonk Train Blues", has been recorded by many artists.

Biography
Lewis was born in Chicago, though some sources state Louisville, Kentucky, on September 4, 1905 (September 3 and 13 have also been cited as his date of birth in sources). In his youth he was influenced by the pianist Jimmy Yancey.

His father, a guitarist who made two recordings of his own, introduced Meade to music and arranged for him to have violin lessons. He gave up the violin at age 16, shortly after his father's death, and switched to the piano. The nickname "Lux" was given to him by his boyhood friends. He would imitate a couple of characters from a popular comic strip in Chicago, Alphonse and Gaston, and stroke an imaginary beard as part of the routine. His friends started calling him the Duke of Luxembourg because of this, and the name stuck for the rest of his life. He became friends with Albert Ammons during childhood, a friendship that would last throughout their lives. They went to the same school together briefly, and they practiced and learned the piano together on the Ammons family piano.

A 1927 rendition of "Honky Tonk Train Blues”, released by Paramount Records, marked his recording debut. He remade it for Parlophone in 1935 and for Victor in 1937, and a recording exists of a radio show, Camel Caravan, broadcast from New York City in 1939, which includes "Honky Tonk Train Blues”. His performance at John Hammond's historic From Spirituals to Swing concert at Carnegie Hall in 1938 brought Lewis to public attention. Following the event, Lewis and two other performers from that concert, Albert Ammons and Pete Johnson, often appeared as a trio and became the leading boogie-woogie pianists of the day.

They had an extended engagement at Café Society, toured as a trio, and inspired the formation of Blue Note Records in 1939. Their success led to a decade-long boogie-woogie craze, with big-band swing treatments by Tommy Dorsey, Will Bradley, and others; and numerous country boogie and early rock-and-roll songs.

Lewis appeared in the movies New Orleans (1947) and Nightmare (1956). He also appeared, uncredited, in the movie It's a Wonderful Life (1946), playing piano in the scene where George Bailey gets thrown out of Nick's Bar.

Lewis was fond of the Minneapolis area, where a niece lived, and would visit as often as he could. He appeared annually at the White House Restaurant (no longer extant) in Golden Valley. He began a successful three-week engagement there in May 1964. Around 2 a.m. on Sunday, June 7, Lewis left the parking lot of the White House and headed east on Olson Memorial Highway, when his Chrysler Imperial was rear-ended by a vehicle driven by one Ronald Bates, who was traveling an estimated 80 mph. Lewis's car was pushed 400 feet and crashed into a tree; he was killed instantly. He was 58. Bates survived, but his passenger died the following day.

Legacy
Lewis' best-known work, "Honky Tonk Train Blues”, has been recorded in various contexts, often in a big band arrangement. Early recordings of the piece by artists other than Lewis include performances by Adrian Rollini, Frankie Trumbauer, classical harpsichordist Sylvia Marlowe, theater organist George Wright (with drummer Cozy Cole, under the title "Organ Boogie"), and Bob Zurke with Bob Crosby's orchestra. Keith Emerson of Emerson, Lake & Palmer often included it in his repertoire and had a Top 30 hit with it in 1976 on a single, and then they included that title in their 1977 album Works Volume II.

Lewis was mentioned in Chapter 81 of author Kurt Vonnegut's novel Cat's Cradle. Lewis is also mentioned in Ross Macdonald's novel The Moving Target and in Keith Richards's autobiography Life.

Discography

 * 1941: Boogie Woogie (compilation), Columbia C44
 * 1955: Boogie Woogie Piano and Drums, Clef
 * 1975: Tell Your Story, Oldie Blues OL 2805
 * 1982: Giant of Blues and Boogie Woogie 1905–1964, Oldie Blues OL 2810
 * 1984: Chicago Piano Blues and Boogie Woogie 1936–1951 Vol. 3, Oldie Blues OL 2827

title: Meade Lux Lewis


text:
Talk:Complex conjugate

Asterisks versus overlines
The article should probably be converted from asterisk notation (a*) to overline notation ($$\overline{a}$$) to avoid confusion with the conjugate transpose. I haven't seen anything but conjugation use overline notation, has anyone else? -FunnyMan 18:02, Oct 23, 2004 (UTC)

 * I strongly second this proposal: overline is the standard notation in complex analysis and geometry.--FpWl 18:18, 29 Apr 2005 (UTC)
 * I also endorse this proposal, if nothing else it helps the article agree with the complex numbers entry. I went ahead and made the change. Thenub314 21:07, 19 July 2006 (UTC)

"if w is non-zero" removed (small item)
I removed "if w is non-zero" from the following:

 * $$\left({\frac{z}{w}}\right)^* = \frac{z^*}{w^*}$$ if w is non-zero

because I am almost certain that the equality still holds when w is zero. Even though dividing by zero is not desirable in many cases, it is still mathematically *defined* as "undefined" (in most number systems). Please correct me if i'm wrong. Fresheneesz 08:40, 8 March 2006 (UTC)

LaTeX template removed
Hey -- I removed the template, since I did the job. If I missed anything, just let me know! --NicApicella 16:06, 13 March 2006 (UTC)

typography
I think that the initial definition of z ought to be in a bigger font, but short of doing something hacky, I don't know how to make it so. --anon
 * Done. Oleg Alexandrov (talk) 18:55, 22 August 2006 (UTC)

"Idempotence", huh?
Its obviously NOT idempotent because in particular '$$\overline{\overline{\overline{z}}} \ne z \!\ $$''

I've never heard this usage of the term idempotence. Could someone please point me to some references? (Because I haven't found any.) I think this is confusing (if not bogus), and should be removed.

(I know this is stated in the idempotence article, too, and I think it should be removed from there as well.) --Matt Kovacs (talk) 17:08, 24 January 2009 (UTC)

I have not seen this particular word used before. Most frequently you see statements like "blah is an idempotent". Often it is first defined in group theory (or abstract algebra) texts. Thenub314 (talk) 18:56, 24 January 2009 (UTC)

The $$\mathbb{R}$$-isomorphisms of $$\mathbb{C}$$ form a (pretty small) group $$\{id,\bar{}\ \}$$. The only NON-idempotent there is the conjugation. I don't see any other link to idempotency.

Idempotency is a word used to describe something that when applied over and over again results in the same thing. The only example I can think right now is the powers of 1, that is 1=12=13=... Idempotency is also used in computer science to describe functions that always produce the same results, such as decreasing the amount of money in an account. I don't know if this property of the conjugate is called "idempontency" or not, but when you apply the conjugate over and over again it sure doesn't result in the same thing. --Fred —Preceding unsigned comment added by 89.181.13.221 (talk) 03:02, 27 July 2010 (UTC)

xkcd
I'm sorry, I still don't get it. http://xkcd.com/849/ --204.246.229.130 (talk) 15:59, 20 January 2011 (UTC)
 * Explaining a joke usually means to destroy it, but … In theoretical physics, the wavefunction is a complex function. If you multiply any complex number by its complex conjugate, the result is a real number (namely the magnitude squared). The same is true for the wavefunction: multiplying it with its complex conjugate turns it into a real-valued probability density, which actually has physical meaning. (The complex wavefunction itself arguably doesn’t – it’s merely a theoretical construct and cannot be measured in a physical experiment.) I guess the funny part comes from the play with words: on the one hand “real” means it’s a real (and not a complex) number. On the other hand, “real” means we’re now talking about hands-on physics instead of elusive theoretical calculations. Physical observables are always real values, and they can – in principle – be measured. Complex values cannot. Experimental physicists might say that complex numbers only make sense in mathematics, which they’d consider “merely” an auxiliary discipline. Compare http://xkcd.com/435/ including its hover-tooltip comment. --78.48.0.203 (talk) 21:49, 14 September 2011 (UTC)

History
Where did the concept of complex conjugates came from? It would be great if someone with that knowledge would make an addition to the article. — Preceding unsigned comment added by 101.208.119.211 (talk) 08:39, 3 March 2012 (UTC)

Please, cf. .

Mgvongoeden (talk) 12:37, 4 March 2012 (UTC)

(Complex) multiplication is always commutative
I don't get the follwing statement from the article:
 * "$$\overline{(zw)} = \overline{w}\; \overline{z} \!\ $$ (note the reversed arguments if z and w don't commute)"

For complex numbers, multiplication is always commutative so in no way z and w will not commute. Maybe this may be true for non-scalar or matrix algerba, but for complex numbers, the order of operands is unimportant.89.137.186.101 (talk) 20:05, 6 September 2012 (UTC)

"... a complex number is equal to its complex conjugate if its imaginary part is [...] -i."
No it is not i.e. nonsense; introduced by this edit 14-Apr-2015 Nxavar. Fixing it means resplicing/reverting the relevant rearranged material - see the linked edit for the original paragraph. — Preceding unsigned comment added by 2.99.166.53 (talk) 15:23, 7 June 2015 (UTC)

 * You are right, it is total gibberish. (The author of that sentence seemed to confuse equality with "can be interchanged by a field isomorphism," or something.) I have removed the offending sentence. --JBL (talk) 15:33, 7 June 2015 (UTC)

Power of conjugate and conjugate of power
The article states that

$$\begin{align} \overline{z^n} &= \left(\overline{z}\right)^n,\quad \forall n \in \mathbb{Z} \\ \end{align}$$

, meaning it's only valid for integer n. However, empirically testing with Wolfram Mathematica shows all real n satisfy the equation. Has it just never been proven so, or is it a mistake?

31.217.16.25 (talk) 18:15, 9 September 2015 (UTC)

 * The issue is complications from multiple values: when you raise complex numbers to non-integer powers, you get many values back, and so it's not trivial to explain what you mean by an equality of the sort in question if n isn't an integer -- choosing a branch of the logarithm, etc. etc. See Exponential_function for more about this.  Probably there's no consistent way to choose a branch of the logarithm to make it true once and for all for all z and (complex) n, though maybe with natural choices of branch cuts it is true for all real n.  --JBL (talk) 18:33, 9 September 2015 (UTC)

title: Talk:Complex conjugate


text:
Pagans

Pagans may refer to:

 * Paganism, a group of pre-Christian religions practiced in the Roman Empire
 * Modern Paganism, a group of contemporary religious practices
 * Pagan's Motorcycle Club, a motorcycle club
 * The Pagans, a 1970s American punk band
 * The Pagans (film), a 1953 Italian film

title: Pagans


text:
Henry Eyring (chemist)

Henry Eyring (February 20, 1901 – December 26, 1981) was a Mexico-born United States theoretical chemist whose primary contribution was in the study of chemical reaction rates and intermediates. Eyring developed the Absolute Rate Theory or Transition state theory of chemical reactions, connecting the fields of chemistry and physics through atomic theory, quantum theory, and statistical mechanics.

History
Eyring, a third-generation member of the Church of Jesus Christ of Latter-day Saints (LDS Church), was reared on a cattle ranch in Colonia Juárez, Chihuahua, a Mormon colony, for the first 11 years of his life. His father, Edward Christian Eyring, practiced plural marriage; Edward married Caroline Romney (1893) and her sister Emma Romney (1903), both daughters of Miles Park Romney, the great-grandfather of Mitt Romney.

In July 1912, the Eyrings and about 4,200 other immigrants were driven out of Mexico by violent insurgents during the Mexican Revolution and moved to El Paso, Texas. After living in El Paso for approximately one year, the Eyrings relocated to Pima, Arizona, where he completed high school and showed a special aptitude for mathematics and science. He also studied at Gila Academy in Thatcher, Arizona, now Eastern Arizona College. One of the pillars at the front of the main building still bears his name, along with that of his sister Camilla's husband, Spencer W. Kimball, later president of the LDS Church.

Eyring earned a BS in mining engineering at the University of Arizona by working in a copper mine. He then received a fellowship from the US Bureau of Mines fellowship and earned his M.Sc. in metallurgy. Having seen the high rates of accidents in the mines, and breathed sulfur fumes from blast furnaces at a smelter, he chose to do his Ph.D. in chemistry. He pursued and received his doctoral degree in chemistry from the University of California, Berkeley in 1927 for a thesis on A Comparison of the Ionization by, and Stopping Power for, Alpha Particles of Elements and Compounds.

Princeton University recruited Eyring as an instructor in 1931. He would continue his work at Princeton until 1946. In 1946 he was offered a position as dean of the graduate school at the University of Utah, with professorships in chemistry and metallurgy. The chemistry building on the University of Utah campus is now named in his honor.

A prolific writer, Eyring authored more than 600 scientific articles, ten scientific books, and a few books on the subject of science and religion. He received the Wolf Prize in Chemistry in 1980 and the National Medal of Science in 1966 for developing the Absolute Rate Theory or Transition state theory of chemical reactions, one of the most important developments of 20th-century chemistry.

Several other chemists later received the Nobel Prize for work based on the Absolute Rate Theory, and his failure to receive the Nobel was a matter of surprise to many. The Nobel Prize organization admitted that "Strangely, Eyring never received a Nobel Prize"; the Royal Swedish Academy of Sciences apparently did not understand Eyring's theory until it was too late to award him the Nobel. The academy awarded him the Berzelius Medal in 1977 as partial compensation. Sterling M. McMurrin believed Eyring should have received the Nobel Prize but was not awarded it because of his religion.

Eyring was elected president of the American Chemical Society in 1963 and the Association for the Advancement of Science in 1965.

Personal life
Eyring married Mildred Bennion. She was a native of Granger, Utah, who had a degree from the University of Utah and served as head of the physical education department there. She met Eyring while pursuing a doctorate at the University of Wisconsin. They had three sons together. The oldest, Edward M. "Ted" Eyring was an emeritus professor of chemistry at the University of Utah. The second son, Henry B. Eyring is a general authority of the LDS Church, while the youngest son Harden B. Eyring is a higher education administrator for the State of Utah. His wife, Mildred, died June 25, 1969, in Salt Lake City, Utah. On August 13, 1971, he married Winifred Brennan in the LDS Church's Salt Lake Temple.

Eyring was a member of the LDS Church throughout his life. His views of science and religion were captured in this quote: "Is there any conflict between science and religion? There is no conflict in the mind of God, but often there is conflict in the minds of men." Eyring also feared overeager defenders of faith would discard new scientific findings because of apparent contradictions. He encouraged parents and teachers to distinguish between "what they know to be true and what they think may be true," to avoid clumping them together and "throwing the baby out with the bath."

As a member of the LDS Church, Eyring served as a branch president, district president, and, for over twenty years, a member of the general board of the Deseret Sunday School Union. As of 2024, his son, Henry B. Eyring, is an apostle and member of the church's First Presidency.

Awards

 * AAAS Newcomb Cleveland Prize (1932)
 * Bingham Medal (1949) of the Society of Rheology
 * Peter Debye Award in Physical Chemistry (1964)
 * National Medal of Science (1966)
 * Irving Langmuir Award (1967)
 * Linus Pauling Award (1969)
 * Elliott Cresson Medal (1969) from the Franklin Institute
 * Golden Plate Award of the American Academy of Achievement (1974)
 * T. W. Richards Medal (1975)
 * Priestley Medal (1975)
 * Berzelius Medal (1979)
 * Wolf Prize (1980)
 * Member of International Academy of Quantum Molecular Science
 * Member of U.S. National Academy of Sciences
 * Member of the American Philosophical Society
 * Member of the American Academy of Arts and Sciences

Scientific publications: books
Henry Eyring authored, co-authored, or edited the following books or journals:
 * A generalized theory of plasticity involving the virial theorem
 * The activated complex in chemisorption and catalysis
 * An examination into the origin, possible synthesis, and physical properties of diamonds
 * Annual Review of Physical Chemistry
 * Basic chemical kinetics
 * Deformation Kinetics with Alexander Stephen Krausz
 * Electrochemistry
 * Kinetic evidence of phase structure
 * Modern Chemical Kinetics
 * Non-classical reaction kinetics
 * Physical Chemistry, an Advanced Treatise (1970)
 * Quantum Chemistry
 * Reactions in condensed phases
 * The significance of isotopic reactions in rate theory
 * Significant Liquid Structures
 * Some aspects of catalytic hydrogenation
 * Statistical Mechanics
 * Statistical Mechanics and Dynamics
 * Theoretical Chemistry: Advances and Perspectives. Volume 2
 * The Theory of Rate Processes in Biology and Medicine with Frank H. Johnson and Betsy Jones Stover
 * Theory of Optical Activity (Monographs on Chemistry series) with D.J. Caldwell
 * Time and Change
 * Valency

Religious publications: books

 * Reflections of a Scientist (1983)
 * The Faith of a Scientist. Bookcraft, Inc. (1967);
 * Science and Your Faith in God: A Selected Compilation of Writings and Talks by Prominent Latter-Day Saints Scientists on the Subjects of Science and Religion. Bookcraft, Inc. (1958); compiled by Paul R. Green and featuring the writings of Henry Eyring and others ISBN 058841011X

title: Henry Eyring (chemist)