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Fernand Braudel

Fernand Paul Achille Braudel (24 August 1902 – 27 November 1985) was a French historian. His scholarship focused on three main projects: The Mediterranean (1923–49, then 1949–66), Civilization and Capitalism (1955–79), and the unfinished Identity of France (1970–85). He was a member of the Annales School of French historiography and social history in the 1950s and 1960s. Braudel emphasized the role of large-scale socioeconomic factors in the making and writing of history. He is considered a precursor of the world-systems theory. In a 2011 poll by History Today magazine, he was named the most important historian of the previous 60 years.

Biography
Braudel was born in Luméville-en-Ornois in the département of the Meuse, France. He grew up in a pre-industrial rural setting with his grandmother until at the age of seven he joined his father in Paris. His father, a mathematics teacher, aided him in his studies. His maternal grandfather had been a Communard, and Braudel was reluctant to mention this side of his family.

Braudel was educated at the Lycée Voltaire (1913–20), where he studied Latin and Greek, and at the Sorbonne, where he was taught by Henri Hauser and gained an agrégation in history in 1923. He taught at a lycée in Constantine in French Algeria in 1923/24, where he met his future second wife, Paule Pradel, and then at the University of Algiers until 1932, with a break for military service in the French Army of the Rhine in 1925/26. While in Algeria, he became fascinated by the Mediterranean Sea and wrote a paper on the Spanish presence in the country during the 16th century. He also began there his doctoral thesis on the foreign policy of King Philip II of Spain ((r. 1556 – 1598)), with archival research at the General Archive of Simancas in the summer of 1927. He visited several archives around the Mediterranean, including at Venice, Archive of the Kingdom of Valencia and finally Dubrovnik in 1936/37, and microfilmed documents with the help of his wife. From 1932 to 1935 he taught in the Paris lycées (secondary schools) of Pasteur, Condorcet and Henri-IV. During this period he first met Lucien Febvre, the co-founder of the Annales journal (1929).

By 1900, the French had solidified their cultural influence in Brazil by the establishment of the Brazilian Academy of Fine Arts. São Paulo still lacked a university, however, and in 1934, the francophile Julio de Mesquita Filho invited the anthropologist Claude Lévi-Strauss and Braudel to help develop one. The result was the establishment of the new University of São Paulo on 25 January 1934. Braudel left for Brazil in March 1935, after the birth of his daughter, and took up the post vacated by Émile Coornaert. He worked within the state-promoted ideological framework of Pan-Latinism, part of the French civilizing mission, and helped the São Paulo elites in their project of achieving social and national hegemony. His colleagues included João Cruz Costa, Roberto Simonsen and Caio Prado Júnior. The evening lectures of French professors were attended by the city governor Armando de Sales Oliveira and Marshal Cândido Rondon. Braudel made use of his stay for intellectual experimentation and he later said that the time in Brazil had been the "greatest period of his life". Braudel was fascinated with Sao Paulo's rapid vertical growth in the early Vargas Era and noted the Paulista academics' claims that "there is no social question" in the new world. Unlike Lévi-Strauss, he did not actively support the Communist-backed National Liberation Alliance, but took a more centrist position. He compared Brazil favourably – on account of its "social malleability" and tabula rasa development as a "young European civilization" – to Algeria and even to the United States in his 1937 The Concept of a New Country. He would later call Algeria, with its "uneducable" population, "a failed Brazil".

In 1937, Braudel returned to Paris from Brazil. He spent the twenty-day sea journey in the company of Febvre and his family as both had booked passage on the same ship. Braudel thus fell under the influence of the Annales School. In 1938 he entered the École pratique des hautes études as an instructor in history. He worked with Febvre, who would later read the early versions of Braudel's magnum opus and provide him with editorial advice. He started writing his book on Philip II's Mediterranean at Febvre's house in the Juras. He only took a stance on current politics when expressing condemnation of the Munich Agreement in 1938.

At the outbreak of war in 1939, he was called up for military service and on 29 June 1940 taken prisoner as lieutenant in the 156th Infantry Regiment by the Germans in the Vosges. He was initially held at a prisoner-of-war camp in Neuf-Brisach and then in the Oflag XII-B in the citadel of Mainz. In Mainz, he became the rector of the camp university, which gained him respectful treatment (per Magnifizenz) from the camp authorities and the right to borrow books and journals from the well-provisioned municipal library for his research. Under the Geneva Convention he received his pay, which he used to buy German books (e.g. the works of Werner Sombart and Max Weber), and was able to order material from France, including the full collection of the Annales. In June 1942, suspected of "Gaullist" (i.e. French Resistance) involvement, he was transferred to a camp for special category prisoners (Oflag X-C) near Lübeck, where he remained for the rest of the war. In the camp, he befriended some Catholic clerics and the historian Henri Brunschwig. Braudel drafted his great work La Méditerranée et le monde méditerranéen à l'époque de Philippe II (The Mediterranean and the Mediterranean World in the Age of Philip II) without access to his personal collection of books and notes, which forced him to rely in that regard on his prodigious memory. According to his own account, the long-time perspective he took was in part a "direct existential" reaction to the troubling war news. By "choosing the position of God the Father himself as a refuge" he sought to assert the "perdurability and majestic immobility" of the Mediterranean against the "fleeting occurrence" of political events which he associated with the "daily misery" of the camp. He sent completed copy books to Febvre in Paris, first apparently through the International Red Cross, and after obtaining written authorisation from the OKW in November 1942 via the German embassy in Paris. He occasionally dispatched books to Febvre as well. He edited his work after his release in 1945 by checking it against the archival material that survived the war in a metal container in the basement of his Paris house. He cut portions from the copy books and re-arranged the text with new insertions, then destroyed the manuscripts – only a fragment gifted to Febvre has survived. During the war, his wife and children lived in Algeria.

Braudel became the leader of the second generation of Annales historians after 1945. He defended his thesis at the University of Paris in 1947. In that year, with Febvre and Charles Morazé, he obtained funding from the French government and the Rockefeller Foundation (which had previously supported the wartime exile École libre des hautes études in New York) to set up the Sixième section for economic and social sciences at the École pratique des hautes études (EPHE), which then became the funnel for all historical research in France. In 1948, the Centre de recherches historiques was established there, with Braudel as its director. In 1949 he was elected by the professors of the Collège de France as one of their number upon Febvre's retirement. He co-founded the academic journal Revue économique, in 1950. He became the head of the Sixième section at EPHE after the death of Febvre in 1956 and attracted scholars such as Roland Barthes and Jacques Lacan to join its activities. He became the editor-in-chief of the Annales in 1957, which completed his rise to unrivalled influence on the development of the historical studies in France in the post-war years. He received an additional $1 million from the Ford Foundation in 1960.

In 1962, he and Gaston Berger used the Ford Foundation grant and government funds to create a new independent foundation, the Fondation Maison des Sciences de l'Homme (FMSH), which Braudel directed from 1970 to his death. It was housed in the building called "Maison des Sciences de l'Homme". FMSH focused its activities on international networking in order to disseminate the Annales approach to the rest of Europe and to the world. In 1972 Braudel gave up all editorial responsibility on the Annales journal, but his name remained on the masthead.

In 1962 Braudel wrote A History of Civilizations as the basis for a history course, but its rejection of the traditional event-based narrative was too radical for the French Ministry of Education, which in turn rejected it.

He retired in 1968. In 1975, the Sixième section was transformed into School for Advanced Studies in the Social Sciences, a public institution of higher education in its own right. In 1984 he was elected to the Académie française and his introduction speech was given by Maurice Druon.

La Méditerranée
His first book, La Méditerranée et le monde méditerranéen à l'époque de Philippe II (1949) (The Mediterranean and the Mediterranean World in the Age of Philip II) was his most influential and has been described as a "watershed".

For Braudel there is no single Mediterranean Sea. There are many seas, indeed a "vast, complex expanse" within which men operate. Life is conducted on the Mediterranean: people travel, fish, fight wars, and drown in its various contexts, and the sea articulates with the plains and islands. Life on the plains is diverse and complex; the poorer south is affected by religious diversity (Catholicism and Islam), as well as by intrusions, both cultural and economic, from the north. In other words, the Mediterranean cannot be understood independently from what is exterior to it. Any rigid adherence to boundaries falsifies the situation.

The first level of time, geographical time, is that of the environment, with its slow, almost imperceptible change, its repetition and cycles. Such change may be slow, but it is irresistible. The second level of time comprises long-term social, economic, and cultural history, where Braudel discusses the Mediterranean economy, social groupings, empires and civilizations. Change at that level is much more rapid than that of the environment. Braudel looks at two or three centuries to spot a particular pattern such as the rise and fall of various aristocracies. The third level of time is that of events (histoire événementielle). This is the history of individuals with names. That, for Braudel, is the time of surfaces and deceptive effects. It is the time of the courte durée proper and the focus of Part 3 of The Mediterranean, which treats of "events, politics and people."

Braudel's Mediterranean is centered on the sea, but just as importantly, it is also the desert and the mountains. The desert creates a nomadic form of social organization where the whole community moves; mountain life is sedentary. Transhumance the movement from the mountain to the plain or vice versa in a given season is also a persistent part of Mediterranean existence.

Braudel's vast panoramic view used insights from other social sciences, employed the concept of the longue durée, and downplayed the importance of specific events. It was widely admired, but most historians did not try to replicate it and instead focused on their specialized monographs. The book firmly launched the study of the Mediterranean and dramatically raised the worldwide profile of the Annales School.

In the 1966 second edition to his book, which went further in the direction of seeking scientific precision through economic quantification, Braudel claimed that over the previous twenty to thirty years "the chain of economic events and their short-term conjunctures" had been established as a less obvious alternative to the traditional "chain of political events".

The second edition appeared in 70,000 copies, in contrast to 2,500 copies of the first edition. It was only with the publishing of the English translation of the second edition of his book that Braudel's work began to make an impact on Anglophone scholarship.

Capitalism
After La Méditerranée, Braudel's most famous work is Civilisation Matérielle, Économie et Capitalisme, XVe-XVIIIe ("Civilization and Capitalism, 15th-18th Century"). The first volume was published in 1967 and was translated to English in 1973. The last of the three-volume work appeared in 1979. The work is a broad-scale history of the pre-industrial modern world focusing on how regular people made economies work. Like all of Braudel's other major works, it mixes traditional economic material with thick description of the social impact of economic events on various facets of everyday life, including food, fashion and other social customs.

The third volume, subtitled "The Perspective of the World", was strongly influenced by the work of German scholars like Werner Sombart. In it, Braudel traces the impact of the centers of Western capitalism on the rest of the world. Braudel wrote the series as a way of explanation for the modern way and partly as a refutation of the Marxist view of history.

Braudel discussed the idea of long-term cycles in the capitalist economy that he saw developing in Europe in the 12th century. Particular cities and later nation-states follow each other sequentially as centres of these cycles: Venice in the 13th through the 15th centuries (1250–1510); Antwerp and Genoa in the 16th century (1500–1569 and 1557–1627, respectively), Amsterdam in the 16th through 18th centuries (1627–1733); and London (and England) in the 18th and 19th centuries (1733–1896). He used the word "structures" to denote a variety of social structures, such as organized behaviours, attitudes, and conventions, as well as physical structures and infrastructures. He argued that the structures established in Europe during the Middle Ages contributed to the successes of present-day European-based cultures. He attributed much of that to the long-standing independence of city-states, which, though later subjugated by larger geographic states, were not always completely suppressed, probably for reasons of utility.

Braudel argues that capitalists have typically been monopolists and not, as is usually assumed, entrepreneurs operating in competitive markets. He argued that capitalists did not specialize and did not use free markets, and he thus diverges from both liberal (Adam Smith) and Marxian interpretations. In Braudel's view, the state in capitalist countries has served as a guarantor of monopolists rather than a protector of competition, as it is usually portrayed. He asserted that capitalists have had power and cunning on their side, as they have arrayed themselves against the majority of the population.

An agrarian structure is a long-term structure in the Braudelian understanding of the concept. On a larger scale the agrarian structure is more dependent on the regional, social, cultural and historical factors than on the state's undertaken activities.

L'Identité de la France
Braudel's last and most personal book was L'Identité de la France (The Identity of France), which was unfinished at the time of his death in 1985. Unlike in many of Braudel's other books, he makes no secret of his profound love of his country in this book and remarks at the beginning that he had loved France as if she were a woman. Reflecting his interest with the longue durée, Braudel's concern in L'Identité de la France was with the centuries and millennia, instead of the years and decades. Braudel argued that France is the product not of its politics or economics but rather of its geography and culture, a thesis that Braudel had explored in a wide-ranging book that saw the bourg and the patois: histoire totale integrated into a broad sweep of both the place and the time.

L'Identité de la France was much coloured by a romantic nostalgia, as Braudel argued for the existence of a France profonde, a "deep France" based upon the peasant mentalité, which despite all of the turmoil of French history and the Industrial Revolution, has survived intact right up to the present.

In this book, he expressed a conviction that economics is "the most scientific of the sciences of man", while history is merely an imperfect one.

Historiography
According to Braudel, before the Annales approach, the writing of history was focused on the courte durée (short span), or on histoire événementielle (a history of events).

His followers admired his use of the longue durée approach to stress the slow and often imperceptible effects of space, climate and technology on the actions of human beings in the past. The Annales historians, after living through two world wars and massive political upheavals in France, were very uncomfortable with the notion that multiple ruptures and discontinuities created history. They preferred to stress inertia and the longue durée, arguing that the continuities in the deepest structures of society were central to history. Upheavals in institutions or the superstructure of social life were of little significance, for history, they argued, lies beyond the reach of conscious actors, especially the will of revolutionaries. They rejected the Marxist idea that history should be used as a tool to foment and foster revolutions. A proponent of historical materialism himself, Braudel rejected Marxist dialectical materialism, stressing the equal importance of infrastructure and superstructure, both of which reflected enduring social, economic, and cultural realities. Braudel's structures, both mental and environmental, determine the long-term course of events by constraining actions on, and by, humans over a duration long enough that they are beyond the consciousness of the actors involved.

A feature of Braudel's work was his compassion for the suffering of marginal people. He articulated the view that most surviving historical sources come from the literate wealthy classes. He emphasised the importance of the ephemeral lives of slaves, serfs, peasants and the urban poor, and demonstrated their contributions to the wealth and power of their respective masters and societies. His work was often illustrated with contemporary depictions of daily life and rarely with pictures of noblemen or kings. He chose to emphasise constraints on human agency – as J. H. Elliott noted in a review of his first book, "Braudel's Mediterranean is a world unresponsive to human control" so that "Braudel's mountains move his men, but never his men the mountains". This preference for objective explanations at the expense of human decisions could lead Braudel towards dubious conclusions, as when he asserted that overpopulation was the principal reason for the expulsion of Jews from Spain, Portugal and Sicily at the turn of the fifteenth century.

Honorary degrees

 * Université libre de Bruxelles
 * University of Cambridge
 * University of Chicago
 * University of Cologne
 * University of Geneva
 * Leiden University
 * University of Oxford
 * University of Padua
 * Complutense University of Madrid
 * Université de Montréal
 * University of Warsaw
 * Yale University

Orders of Merit

 * Commander of the Legion of Honour
 * Commander of the Ordre des Palmes académiques

Learned societies

 * Member of the Académie française
 * Member of the American Academy of Arts and Sciences
 * Member of the Bavarian Academy of Sciences and Humanities
 * Member of the Heidelberg Academy of Sciences and Humanities
 * Member of the Hungarian Academy of Sciences
 * Member of the Serbian Academy of Sciences and Arts

Legacy
Binghamton University in New York had a Fernand Braudel Center until 2020, and there is an Instituto Fernand Braudel de Economia Mundial in São Paulo, Brazil.

In a 2011 poll by History Today magazine, Fernand Braudel was picked as the most important historian of the previous 60 years.

Books

 * La Méditerranée et le Monde méditerranéen a l'époque de Philippe II, 3 vols. (1949; 2nd edition, revised and augmented, 1966)
 * vol. 1: La part du milieu ISBN 2-253-06168-9
 * vol. 2: Destins collectifs et mouvements d'ensemble ISBN 2-253-06169-7
 * vol. 3: Les événements, la politique et les hommes ISBN 2-253-06170-0

 * Ecrits sur l'histoire (1969) ISBN 2-08-081023-5
 * Civilisation matérielle, économie et capitalisme, xve et xviiie siècles
 * vol. 1: Les structures du quotidien (1967) ISBN 2-253-06455-6
 * vol. 2: Les jeux de l'échange (1979) ISBN 2-253-06456-4
 * vol. 3: Le temps du monde (1979) ISBN 2-253-06457-2

 * L'identité de la France, 3 vols. (1986)
 * vol. 1: Espace et histoire
 * vol. 2: Les hommes et les choses, première partie, le nombre et les fluctuations longues
 * vol. 3: Les hommes et les choses, seconde partie, une "économie paysanne" jusqu'au XXe siècle

 * Grammaire des civilisations (1987; first published in Suzanne Baille, Fernand Braudel and Robert Philippe, Le Monde actuel: histoire et civilisations. Classes terminales, propédeutique, classes préparatoires aux grandes écoles, Paris: Belin, 1963)
 * Le Modèle italien (1989; first published in Italian as 'L'Italia fuori d'Italia: Due secoli e tre Italie' in Storia d'Italia, vol. 2.2, ed. Corrado Vivanti and Ruggiero Romano, Torino: Einaudi 1974; reprinted separately as Il secondo Rinascimento: Due secoli e tre Italie, Torino: Einaudi 1986)
 * Les Mémoires de la Méditerranée: préhistoire et antiquité (1998, edited by Roselyne de Ayala and Paule Braudel, with notes by Jean Guilaine and Pierre Rouillard)

English translations

 * The Mediterranean and the Mediterranean World in the Age of Philip II, 2 vols. (1972 and 1973, translated by Siân Reynolds)
 * Civilization and Capitalism, 15th–18th Century, 3 vols. (1979, translated by Siân Reynolds)
 * vol. 1: The Structures of Everyday Life ISBN 0-06-014845-4
 * vol. 2: The Wheels of Commerce ISBN 0-06-015091-2
 * vol. 3: The Perspective of the World ISBN 0-06-015317-2

 * On History (1980, translated by Sarah Matthews)
 * The Identity of France, 2 vols. (1988–1990, translated by Siân Reynolds)
 * vol. 1: History and Environment ISBN 0-06-016021-7
 * vol. 2: People and Production ISBN 0-06-016212-0

 * Out of Italy, 1450–1650 (1991, translated by Siân Reynolds)
 * A History of Civilizations (1995, translated by Richard Mayne)
 * The Mediterranean in the Ancient World (UK) / Memory and the Mediterranean (US; both 2001, translated by Siân Reynolds)

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Cool jazz

Cool jazz is a style of modern jazz music inspired by bebop and big band that arose in the United States after World War II. It is characterized by relaxed tempos and a lighter tone than that used in the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that of contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."

The term cool started being applied to this music around 1953, when Capitol Records released the album Classics in Jazz: Cool and Quiet. Mark C. Gridley, writing in the All Music Guide to Jazz, identifies four overlapping sub-categories of cool jazz:

 * 1) "Soft variants of bebop," including the Miles Davis recordings that constitute Birth of the Cool; the complete works of the Modern Jazz Quartet; the output of Gerry Mulligan, especially his work with Chet Baker and Bob Brookmeyer; the music of Stan Kenton's sidemen during the late 1940s through the 1950s; and the works of George Shearing and Stan Getz.
 * 2) The output of modern players who eschewed bebop in favor of advanced swing-era developments, including Lennie Tristano, Lee Konitz, and Warne Marsh; Dave Brubeck and Paul Desmond; and performers such as Jimmy Giuffre and Dave Pell who were influenced by Count Basie and Lester Young's small-group music.
 * 3) Musicians from either of the previous categories who were active in California from the 1940s through the 1960s, developing what came to be known as West Coast jazz.
 * 4) "Exploratory music with a subdued effect by Teddy Charles, Chico Hamilton, John LaPorta, and their colleagues during the 1950s."

Background
Ted Gioia and Lee Konitz have each identified cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer as early progenitors of the cool aesthetic in jazz. Gioia cites Beiderbecke's softening of jazz's strong rhythmic impact in favor of maintaining melodic flow, while also employing complex techniques such as unusual harmonies and whole tone scales. Trumbauer, through "his smooth and seemingly effortless saxophone work," greatly affected tenor saxophonist Lester Young, who prefigured – and influenced – cool jazz more than any other musician.

Young's saxophone playing employed a light sound,  in contrast to the "full-bodied" approach of players such as Coleman Hawkins. Young also had a tendency to play behind the beat, instead of driving it. He more strongly emphasized melodic development in his improvisation, rather than "hot" phrases or chord changes. While Young's style initially alienated some observers, the cool school embraced it. (Young would also influence bebop through Charlie Parker's emulation of Young's playing style.) Tanner, Gerow, and Megill point out that "cool developed gradually, as did previous styles." In addition to Lester Young's approach, cool had other antecedents:

"Saxophonist Benny Carter underplayed his attacks, Teddy Wilson played the piano with a delicate touch, Benny Goodman stopped using the thick vibrato of Jimmy Noone and other clarinetists. Miles Davis's solo on Charlie Parker's 'Chasin' the Bird' in 1947 and John Lewis's piano solo on Dizzie Gillespie's record of ''Round Midnight' in 1948 anticipated the Cool Era."

Development
In 1947, Woody Herman formed a band that included tenor saxophonists Stan Getz, Zoot Sims, and Herbie Steward, and baritone saxophonist Serge Chaloff. The result was the "Four Brothers" sound, in which four strong improvisers could still perform well as a coordinated, blended section. (Jimmy Giuffre composed "Four Brothers", which highlighted this group.) The Herman band's recording of "Early Autumn" launched Getz's career. Meanwhile, between 1946 and 1949, baritone saxophonist and arranger Gerry Mulligan, arranger Gil Evans, and alto saxophonist Lee Konitz were all working for the Claude Thornhill Orchestra, whose instrumentation included a French horn and tuba.

In 1948, Miles Davis formed a nonet including Mulligan, Konitz, and Evans from Thornhill's orchestra. Capitol Records recorded the group (at arranger Pete Rugolo's suggestion) in 1949 and 1950. These recordings, originally issued as 78 rpm records, were later compiled as Birth of the Cool (1957). Gerry Mulligan explained that the idea behind Davis's Nonet was not to get away from bebop, but "just to try to get a good little rehearsal band together. Something to write for.... As far as the 'Cool Jazz' part of it, all of that comes after the fact of what it was designed to be." As for Davis, his concern at the time was simply to play with a lighter sound, which he believed to be more expressive. Also his choice of notes suggested deliberation rather than wild exuberance.

The Miles Davis Nonet's existence was brief, consisting only of a two-week September 1948 engagement at the Manhattan's Royal Roost and the three recording dates that make up Birth of the Cool. These recordings were not widely appreciated until some years later. However, they prefigured the work of nonet members John Lewis and Gerry Mulligan.

John Lewis went on to co-found the Modern Jazz Quartet, who incorporated classical forms, such as the fugue, in their music. Tanner, Gerow, and Megill note that the Quartet "played classical forms quite precisely. For example, the fugues they played were truly baroque in form except that the exposition parts were improvised." While third stream music would combine classical elements with jazz, the Modern Jazz Quartet used these forms "just to play good, swinging, subtle jazz" and in pursuit of "the joy of collective improvisation and counterpoint."

Gerry Mulligan, with Chet Baker, formed a pianoless quartet that was both innovative and successful. Later, Mulligan formed a "Tentette" that further developed the ideas he had brought to the Birth of the Cool nonet.

George Shearing's quintet, which used a more subtle bebop style, also influenced cool's development. Both Thelonious Monk and Dizzy Gillespie praised Shearing's approach.

While Davis, Lewis, Mulligan, and Shearing's efforts were rooted in bebop, other musicians were less indebted to that style. In New York, pianist Lennie Tristano and saxophonist Lee Konitz developed a "somewhat atonal cerebral alternative to bop which concentrated on linear improvisation and interweaving rhythmic complexities". In California, Dave Brubeck hired alto saxophonist Paul Desmond, forming a quartet. Both Konitz and Desmond used an approach that ran counter to bebop, in the sense that neither player employed a sound or style heavily indebted to Charlie Parker (or Parker's blues elements). In a 2013 interview, Konitz noted that "the blues never connected with me," and further explained "I knew and loved Charlie Parker and copied his bebop solos like everyone else. But I didn't want to sound like him. So I used almost no vibrato and played mostly in the higher register. That's the heart of my sound."

West Coast jazz
In 1951, Stan Kenton disbanded his Innovations Orchestra in Los Angeles. Many of the musicians, some of whom had also played in Woody Herman's band, chose to remain in California. Trumpeter Shorty Rogers and drummer Shelly Manne were central figures among this group of musicians. Much of this activity centered on the Hermosa Beach Lighthouse Café, where bassist Howard Rumsey led a house band, the Lighthouse All-Stars.

Drummer Chico Hamilton led an ensemble that – unusually for a jazz group – included a cellist, Fred Katz. Tanner, Gerow, and Megill liken Hamilton's music to chamber music, and have noted that Hamilton's "subtle rhythmic control and use of different drum pitches and timbres" was well-suited for this style of music.

Tanner, Gerow, and Megill are largely dismissive of the term "West Coast jazz." As it often refers to Gerry Mulligan and his associates in California, "west coast" merely becomes synonymous with "cool," although Lester Young, Claude Thornhill, and Miles Davis were based in New York. At the same time, many musicians associated with West Coast jazz "were much more involved in a hotter approach to jazz. Communication being what it is, it is hardly likely that any style of jazz was fostered exclusively in one area."

Legacy
In 1959, The Dave Brubeck Quartet recorded Time Out, which reached No. 2 on the Billboard "Pop Albums" chart. The cool influence stretches into such later developments as bossa nova, modal jazz (especially in the form of Davis's Kind of Blue (1959)), and even free jazz (in the form of Jimmy Giuffre's 1961–1962 trio).

Following their work on Birth of the Cool, Miles Davis and Gil Evans would again collaborate on albums such as Miles Ahead, Porgy and Bess, and Sketches of Spain.

Some observers saw the subsequent hard bop style as a response to cool and West Coast jazz. Conversely, David H. Rosenthal sees the development of hard bop as a response to both a perceived decline in bebop and the rise of rhythm and blues. Shelly Manne suggested that cool jazz and hard bop simply reflected their respective geographic environments: the relaxed cool jazz style reflected a more relaxed lifestyle in California, while driving bop typified the New York scene.

Ted Gioia has noted that some of the artists associated with the ECM label during the 1970s are direct stylistic heirs of cool jazz. While these musicians may not sound similar to earlier cool artists, they share the same values:"clarity of expression; subtlety of meaning; a willingness to depart from the standard rhythms of hot jazz and learn from other genres of music; a preference for emotion rather than mere emoting; progressive ambitions and a tendency to experiment; above all, a dislike for bombast." Gioia also identifies cool's influence upon other idioms, such as new-age, minimalism, pop, folk, and world music.

Cool also inspired avant-garde jazz and, later, free jazz.

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title: Cool jazz


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Erechtheion

The Erechtheion (, latinized as Erechtheum ; Ἐρέχθειον, ) or Temple of Athena Polias is an ancient Greek Ionic temple on the north side of the Acropolis, Athens, which was primarily dedicated to the goddess Athena.

The Ionic building, made to house the statue of Athena Polias, has in modern scholarship been called the Erechtheion (the sanctuary of Erechtheus or Poseidon) in the belief that it encompassed two buildings mentioned by the Greek-Roman geographer Pausanias: the Temple of Athena Polias and the Erechtheion. However, whether the Erechtheion referred to by Pausanias and other sources is indeed the Ionic temple or an entirely different building has become a point of contention in recent decades, with various scholars ruling out that Athena and Erechtheus were worshipped in a single building. Alternative suggested locations of the true Erechtheion include the structures on the Acropolis conventionally identified as the Arrephorion, the Sanctuary of Zeus Polieus, the Sanctuary of Pandion, and the Dörpfeld foundations. However, while there is no consensus among scholars on this issue, the building continues to be referred to as the Erechtheion by convention.

In the official decrees the Ionic building is referred to as "... το͂ νεὸ το͂ ἐμ πόλει ἐν ο͂ι τὸ ἀρχαῖον ἄγαλμα" (the temple on the Acropolis within which is the ancient statue). In other instances it is referred to as the Temple of the Polias. The joint cult of Athena and Poseidon-Erechtheus appears to have been established on the Acropolis at a very early period, and they were even worshipped in the same temple as may, according to the traditional view, be inferred from two passages in Homer and also from later Greek texts. The extant building is the successor of several temples and buildings on the site. Its precise date of construction is unknown; it has traditionally been thought to have been built from c. 421–406 BC, but more recent scholarship favours a date in the 430s, when it could have been part of the programme of works instigated by Pericles.

The Erechtheion is unique in the corpus of Greek temples in that its asymmetrical composition doesn't conform to the canon of Greek classical architecture. This is attributed either to the irregularity of the site or to the evolving and complex nature of the cults which the building housed, or it is conjectured to be the incomplete part of a larger symmetrical building. Additionally, its post-classical history of change of use, damage, and spoliation has made it one of the more problematic sites in classical archaeology. The precise nature and location of the various religious and architectural elements within the building remain the subject of debate. The temple was nonetheless a seminal example of the classical Ionic style and was highly influential on later Hellenistic, Roman, and Greek Revival architecture.

History
The classical Erechtheion is the last in a series of buildings approximately on the mid-north site of the Acropolis of Athens, the earliest of which dates back to the late Bronze Age Mycenaean period. L.B. Holland conjectured that the remains under the Erechtheion was the forecourt of a palace complex similar to that of Mycenae. The scant evidence of the period LHI includes potsherds and scraps of a wall under the foundations of the Ionic temple. From the remainder of the shaft-grave period, there is nothing from LHII-LH IIIA, only from LH IIIB is there evidence of habitation in the form of terracing, children's graves, and a limestone column base. Hurwitt, arguing by analogy with population centres elsewhere from the period, maintains that there may have been a cult centre on the acropolis to the armed goddess a-ta-na-po-ti-ni-ja, which could represent the primitive origins of the Athenian cult. Additionally, the Mycenaean well and Cyclopean walls, which appear to have been in use between LH IIIB and LH IIIC, attests to attempts to fortify the hill-top as the "strong-built house of Erechtheus" recorded in the Homeric tradition. The well may be an indication of the location of the cult of Erechtheus.The archaeology under the Erechtheion is also poorly evidenced for the archaic and early classical periods. Despite this a number of proposals have been made for a structure on the site immediately before the Achaemenid destruction of Athens in 480 BC. Orlandos reconstructs an obliquely orientated hexastyle amphiprostyle temple, which would have contained the "trident marks" in its pronaos. Others restore a number of temene adjacent to the Temple of Athena Polias or a tetrastyle naiskos. To the south of the Erechtheion site would have been the Dörpfeld Foundations Temple, now thought to be the archaic Temple of Athena Polias, the foundations of which are visible on the acropolis today. Examination of the remains of the north edge of this temple by Korres might suggest the boundaries of the pre-Ionic Erechtheion site and therefore determine the shape of the classical temenos. Korres argues that a columnar monument marking the kekropeion would have been approximately where the Porch of the Maidens is, and that there was a stoa for the Pandroseion adjacent.

The building accounts for the classical Erechtheion from 409–404 BC have survived, allowing an unusually secure dating of the construction of the temple. Nevertheless, the question remains of when the building project was inaugurated. There is no primary evidence for when construction began; it is conjectured to be either the 430s or in 421 during the Peace of Nikias. The latter is broadly the consensus view, the rationale being that this lull in the long Peloponnesian War would have been the most convenient time to begin a major construction project and that there was a likely hiatus in building during the Sicilian disaster of 413. Alternatively, dates as early as the mid-430s and as late as 412 have been put forward. Work seems to have ended in 406–405, and the last accounts were from 405–404, though some mouldings were never finished and some of the bosses of some stone blocks were not chiselled off.

The names of the architect-overseers (episkopos), Philokles and Archilochos, have come down to us. They worked on the site after 409. But the identity of the architect (architecton) is unknown. Several candidates have been suggested; namely, Mnesikles, Kallikrates, and Iktinos.

The subsequent history of the building has been one of damage, restoration and change of use, which complicates the task of reconstructing the original structure. The first recorded fire that the classical building suffered was perhaps 377–376, a second more severe fire took hold sometime in 1st century BC or earlier followed by a campaign of repair. The Erechtheion along with the Parthenon suffered a further major destruction at some point in the 3rd or 4th century AD; whether this was due to Herulian or Visigoth attack or a natural disaster is unclear. Julian the Apostate undertook the reconstruction of the Parthenon as a pagan temple in circa AD 361 and 363, at which point the Parthenon was the only attested site of the cult of Athena on the Acropolis, implying that the Erechtheion had been abandoned.

In the post-classical period, the Erechtheion was subject to a number of structural changes that must be assumed to have been prompted by the building's adaptation to Christian worship. The first was its conversion to a pillared hall with a groin vaulted roof at some point in the 4th century. In the late 6th or 7th century, the Erechtheion was converted into a three-aisled basilica church with the West Corridor serving as the narthex. The central portion of the east foundations was removed to make room for a curved apse. In the 12th century, the basilica was renovated. The round apse was enlarged and was given straight sides on the exterior. The chancel screen was extended to the North and South Walls. During the Frankish occupation (1204–1458), the Erechteion was deconsecrated and changed to a Bishop's residence, probably for the Catholic bishops of Athens who held mass in the Latin Cathedral of Church of Our Lady of Athens. With the advent of Ottoman control and the adaptation of the Acropolis plateau to a garrison, the Erechtheion took on its final incarnation as the Dizdar's harem. However, new research questions whether the building was actually in use as a harem, as this is not found in Turkish sources. This final period of the building's use also witnessed the beginning of traveller's accounts and architectural recording of the structure along with its despoliation by antique collectors. Perhaps the greatest damage to the edifice came with the siege of 1826–1827, when the Maiden Porch and west facade were felled by cannon fire and the masonry joints were scavenged for lead. This ruined state is the condition of the site that prompted the first major anastylosis of the Erechtheion, by Kyriakos Pittakis between 1837 and 1840.

Architecture
Externally, the temple is an Ionic hexastyle, prostyle pronaos which faces east. The building is in Pentelic marble with a blue Eleusinian limestone frieze. The temple's walls were constructed in ashlar isodomic masonry. The east porch doesn't exhibit any entasis, but the stylobate is curved. The naos is apparently divided in two, with the floor of the western part of the building three meters lower than the eastern section but with identical ceiling height. The western end of the naos has three entrances. On the north of the western naos is a great door and step leading to the lower Ionic prostyle, dipteral tetrastyle porch of six columns, with a distinctive double anta at the north-west corner. Next to this porch is an outside terrace and steps leading to the east porch. East of the north doorway is an underground opening that leads to a crypt under the north porch with a pit for snakes. On the west end of the north elevation of the western naos, a further door and step lead to a walled temenos, the Sanctuary of Pandrosos, where the Pandroseion, tomb of Kekrops, altar of Zeus Herkeios and the sacred olive tree of Athena would have been.

On the south wall of the western naos was an L-shaped staircase which leads to the higher Porch of the Maidens (or Caryatid Porch, or Korai Porch), a prostyle tetrastyle porch, or pteron, having six sculpted female figures as supports, all facing south and standing on a low wall. The only entrance to the Porch of the Maidens was the stairway from the interior of the naos. The western end is a double-height space, and at the second-storey level, the outside west facing wall has an engaged base moulding with four engaged columns topped by Ionic capitals. The spaces between these columns were of open grillwork. From the outside, the western facade would have had the appearance of having a floor at the same level as the eastern naos. The coffered roof of the north porch is continued at the Porch of the Maidens.

There is no wholly satisfactory account of the interior layout of the Erechtheion in antiquity since it has over time been entirely erased. The points of contention are whether and where there was an internal dividing wall, and whether the building had two storeys as suggested by Pausanias' description of it as a διπλοῦν... οἴκημα. The conventional view of the reconstruction of the interior of the Erechtheion naos is that it was divided in two in imitation of the opisthodomos of the archaic temple of Athena Polias and that the altar of Athena was in the west half of the chamber and the altars of Erechtheus, Poseidon and Boutes in the other. Alternatively, that the Erechtheion was a replacement for the east cella of the archaic Temple of Athena and would have had an east cross wall.

Sculpture
There are two figural sculptural programmes on the Erechtheion; the frieze and the korai of the Maiden porch. The entablature of the naos and north porch has a frieze of blue Eleusinian limestone that was decorated with white Pentelic marble figures attached by means of iron dowels. This "cameo-like" effect of the contrasting stones was unique amongst Ionic temples and rare in any other applications. Of the sculpted elements, 112 fragments of the frieze have survived, perhaps 80% of the figures. Attempts to match dowel hole to figure have not been successful, and therefore the order of the figures and overall theme of frieze remains unclear. However, several attempts to identify individual scenes within the sequence of figures have been made. According to Pallat, the north porch had a chariot race with a quadriga on the west face and Athena catching the daughters of Kekrops opening the basket containing Erichthonios on the north and the birth of Ericthonios on the east.

Other suggestions for aspects of the narrative of the frieze include the story of Ion, the sacrifice of Erectheus' daughters to save Athens and the departure of Erechtheus for the battle with Eumolpos. Peter Schultz's recent reinterpretation of the standing god and goddesses on the east porch of the Nike Athena temple as the birth of Athena invites comparison with the birth scene on the Parthenon pediment and has prompted the question of whether there is a tradition of birth scenes in Attic sculpture that was continued on the Erechtheion frieze. As is typical of the Ionic style, there is no pediment sculpture on the Erechtheion.

There are several theories about the function and significance of the Maiden Porch. Kontoleon has argued that it served as a monopteral heroön to the tomb of Kekrops. Scholl has argued that the korai are mourners for Kekrops because of the association of caryatids with tombs. Shear disputes this is a tomb since it does not follow the pattern of other religious tokens. For Shear the architectural supports are derived from the bases of the columns of the Temple of Artemis at Ephesus and are typical of the miniaturization of elements of the Ionic style when it was imported from Asia Minor to the Greek mainland. Nor was the use of korai as an architectural support element a novelty, as they were used before in the Siphnian Treasury at Delphi and perhaps the Kore of Lyons and therefore represent the classical expression of an established archaic tradition.

Then there is the problem of the identity of the korai. In the building accounts they are referred to as korai or maidens. The lower arms of all the caryatids have been lost. In 1952 the discovery of copies from Tivoli revealed that the korai carried phiale, suggesting that they might be either the arrephoroi (as "bearers of unmentionable things") or kanephoroi. The six korai of the porch all exhibit subtle variations, implying that they do not represent a repetition of a single person or deity but a group of individuals. Lesk argues that they may have been intended as a replacement for the (highly individuated) Acropolis korai that were destroyed by the Persians and in this capacity represent the servants of Athena who stood ready to make libation to the cult statue housed inside. Vickers suggests not only a later date for the construction of the Erechtheion but that the korai are actually Vitruvian caryatids and represent a memorial to Athens's humiliation in the Peloponnesian War.

The Erechtheion is a "remarkably luxurious" building in the detailing of its mouldings. Lotus-palmette chains (anthemion) decorate the column capitals and epicranitis of the temple. Additionally, egg-and-dart, egg and leaf, bead and reel, lesbian cyma, guilloches, and rosettes are liberally placed around the entablature, door and window frames, and the coffering of the ceilings. The capitals were gilded and the braidings at the column bases were studded with coloured glass.

Cult objects
The Erechtheion potentially served as a reliquary for an assortment of religious items rather than being dedicated to a single deity, as was usually the case. Ludwig Pallat posits that the Erechtheion is the expression of the autochthonic nature of Athenian identity. J.H. Clements argues that the Erechtheion was built to house a diverse collection of religious objects, akin to a "'museum of curiosities' for the collections of religious objects", and that it is problematic to draw an overall theme for the religious purpose of the temple.

The cults of the Erechtheion encompass the birth of Erichthonius from the soil of Attica; the tomb of Kekrops, mythical king and cult hero to the Athenians; and their relationship to the tutelary deities of the city. For many years, the accepted scholarly opinion has been that the Erechtheion fulfilled a triplicate purpose in its interior design: to "replace the Old Temple [of Athena], to house the old image, and to unite in an organized building several shrines and places of religious significance."

The following may be the product of an attempted syncretism or merely a bricolage of relics accrued over time. On the east porch, immediately before the temple door, was an altar to Zeus Hypatos. Continuing inside in the eastern chamber of the naos would have been the altars to Poseidon and Erechtheus, Hephaistos and Boutes, and thrones of the temple priests. It is here that Athena's peplos might have been displayed. In the western section, there may have been the tomb of Erechtheus, the xoanon of Athena Polias and perhaps immediately before that a table. Additionally, this room housed the Lamp of Kallimachos, a Hermes, the saltwater well and a collection of spoils from the Persian War. To the north of this chamber was the north porch whose coffered ceiling was pierced supposedly as the entry point of one of Poseidon's thunderbolts; indentations below were thought to be the resulting trident marks. The altar of Thyechoos stood over the trident marks. Continuing outside was the sanctuary precinct, which may have contained the sacred olive tree, the snake pit, the Tomb of Kekrops and the Pandrosieon.

Scholarship and conservation
Travellers' accounts of the Erechtheion are relatively scarce before the 18th century, when relations between the Ottoman Empire and Europe began to improve and access to Greece was opened. Moreover, the building north of the Parthenon was not identified with Pausanias' description of the Temple of Athena Polias until Spon and Wheler's account of the topography of the acropolis published in 1682. Their use of ancient sources in the identification of ancient buildings rather than local folklore, as had been the case before, was innovative and presaged the beginning of scholarship with regard to the Erechtheion.

In this same spirit came the work of Richard Pococke, who published the first reconstruction of the temple in 1745 and who was the first to conjecture the existence of a larger, symmetrical building. Later, Stuart and Revett published the first accurate measured drawings of the Erechtheion in the second volume of their Antiquities of Athens in 1787. This book, perhaps more than any other, was influential in disseminating the Ionic style and the form of the Erechtheion amongst architects and an appreciative public in the 18th and 19th centuries.

For a record of the temple's condition prior to its destruction during the Greek War of Independence, there are the detailed drawings of William Gell. Gell's period of study in 1800–1801 coincided with the activity of Lord Elgin, whose despoliation of the Maiden Porch was, at the time, more controversial than his removal of the Parthenon sculptures.

In the post-revolutionary period, ambitious plans were drawn up to clear the Acropolis and build a royal palace for the newly installed Bavarian king. Although no such palace was built, the plateau was cleared of much of the post-classical accretions, which were thought to obscure the site, and left as a monument and archaeological site.

For the Erechtheion this meant the remnants of the Frankish North Addition, the Venetian vault in the North Porch, the Ottoman masonry structure in the angle of the westward projection of the North Porch and the West Façade, and the Frankish and Ottoman alterations of the interior were removed. The first attempted reconstruction of the damaged building was Pittakis's in 1839–40. The second anastylosis was Nikolaos Balanos's in 1902–1909. Dissatisfaction with Balanos's haphazard placement of the ashlar blocks and his use of steel joints that caused additional damage led to the creation of the interdisciplinary Acropolis Restoration Service in 1975, whose conservation work is ongoing.

title: Erechtheion


text:
Talk:Phantom loop

check the discussion on Talk:Electrical_network

references

first seen Oct 1988 in mail to space-tech@cs.cmu,edu Subject: Electrodynamic tethers

also in

Extract energy?
As I understand it (from reading our space tether article and the Scientific American August 2004 article on space tethers), EDT's don't "extract energy from the Earth's magnetic field" as stated here; they just react against the magnetic field to produce thrust or drag. Does anyone disagree? --Heron 15:30, 27 Aug 2004 (UTC)

dubious
I don't think anyone uses this exact term except Wikpedia mirrors. Google Books shows nothing relevant, which is disquieting. "Phantom circuit", sure, "Phantom power", also legitimate - but not "Phantom loop". Suggest AfD unless this gets a solid reference soon. --Wtshymanski (talk) 15:35, 25 April 2010 (UTC)

title: Talk:Phantom loop


text:
Talk:Indo-Aryan migrations

Laughter riot
https://journals.sagepub.com/doi/full/10.1177/03769836211052101

Enjoy! TrangaBellam (talk) 22:43, 14 January 2022 (UTC)

 * Ahem. Not a single degree (see the programs tab) is remotely linked to history or archeology.
 * ICHR used to be the the crown of all journals on history and allied fields, published from India. Atleast till a couple of decades back. TrangaBellam (talk) 22:49, 14 January 2022 (UTC)
 * Fascinating career for our author. TrangaBellam (talk) 22:57, 14 January 2022 (UTC)
 * WP:NOTFORUM Chariotrider555 (talk) 01:06, 15 January 2022 (UTC)
 * A journal—admired by Eric Hobsbawm to be "the richest venue for vigorous discussions on Indian History"—publishing ridiculous articles by a non-qualified author about our subject not only raises valid concern about the reliability of peer-review process under the current political regime but also protects our article from upcoming shenanigans.
 * This is not the first time, I am seeing journals published by institutes which are controlled by the Government of India publishing anti-AMT narratives in hitherto reliable journals. TrangaBellam (talk) 08:28, 15 January 2022 (UTC)

I am not laughing. I am seriously concerned. If the journal has been hijacked by the BJP, all the articles published in it under the BJP administration will have to be declared as unreliable. -- Kautilya3 (talk) 23:48, 15 January 2022 (UTC)
 * The editor-in-chief is the president of ICHR, Arvind Jamkhedkar, the Chancellor of the Deccan College. So I am not surprised stuff like this is appearing in the journal. All the editors are also members of ICHR. I can't recognize any of these names. Perhaps you can. -- Kautilya3 (talk) 23:56, 15 January 2022 (UTC)
 * Here is Deccan College for you. -- Kautilya3 (talk) 00:17, 16 January 2022 (UTC)
 * Here's an article (published today) detailing the infiltration of Hindutva into ICHR. The report mentions one Akhil Bharatiya Itihas Sankalan Yojana; I am hearing of the organization for the first time but our article was written by Vanamonde93.
 * That being said, I will appreciate anybody who can email me a copy of the article. I am not a subscriber. TrangaBellam (talk) 13:59, 17 January 2022 (UTC)
 * @Kautilya3, I am acquainted with none but have come across Kapil Kumar from Twitter. Tanwar's book on Kashmir is on my to-read list. I faintly recall Kadam being in the news for inviting G. D. Bakshi (!) to speak about AMT/AIT at Dept. of History, JNU, Delhi.
 * Both Kadam and Kumar being in ICHR is worrying. TrangaBellam (talk) 10:14, 24 January 2022 (UTC)

India is a place where pseudoscience is preached in schools as science. Therefore Such publications in hitherto reliable journals are no surprise. ChandlerMinh (talk) 20:41, 21 January 2022 (UTC)

"Theory"
@WikiLinuz - you reverted my earlier edit which stated in the lead section that this is a "theory".

Throughout the article, in numerous sections, there is this mention of it being a theory.

Based on that, I edited the lead section and added the above.

Look forward to hearing back from you... StolenFocus007 (talk) 12:55, 9 April 2022 (UTC)
 * It's a fact, not a theory. And we're not talking about scientific theory either. WikiLinuz  { talk } 🍁  18:18, 9 April 2022 (UTC)
 * How can it not be a theory when it is called a theory ? 59.89.154.11 (talk) 09:15, 14 July 2022 (UTC)
 * It is literally mentioned in the article that it is a theory . 59.89.154.11 (talk) 09:17, 14 July 2022 (UTC)

Genetics info from D Reich
According to geneticist David Reich, Sintashta and Andronovo, the two cultures often associated with the Indo-Aryans and Indo-Aryan languages, did not directly contribute any DNA to India[source]:

"Often in the story told with the steppe hypothesis, the Yamnaya give rise to later groups called the Sintashta and Andronovo that then contributed to India. But genetic data from those populations so far call into question that model, as they do not work statistically as sources of ancestry in India." — David Reich

[Source] Reich, David (March 2018). "Ancient DNA Suggests Steppe Migrations Spread Indo-European Languages"

Pretty interesting, since the theory focus a lot on Sintashta/Andronovo migrations which apparently did not happen. In the source Reich mentions that Sintashta/Andronovo-related ancestry reached India later than hypothesized, through a later culture that carried it (thus indirect contribution) 46.176.160.196 (talk) 11:28, 3 August 2022 (UTC)

Please read footnote 2 at the end of that paragraph from which you pulled the quote.
 * ”In the year since this lecture was delivered, my laboratory and another laboratory have generated new ancient DNA data from Central Asia. With these data in hand, we have been able to show that groups like Sintashta and Andronovo in fact have mixed with some of these newly sampled populations to produce a plausible source population for South Asians.” Chariotrider555 (talk) 14:41, 3 August 2022 (UTC)

"Aryan Invasion Theory (history and controversies)" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Aryan Invasion Theory (history and controversies) and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 December 3 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Senator2029 【talk】 21:08, 3 December 2022 (UTC)

Infobox military conflict
FYI: the IVC had already started to decline, due to climate change, when Indo-Aryan people started to migrate into northern India, also due to climate change. The 'Aryan Invasion Theory', bt which you seem to be informed, is outdated and incorrect. Joshua Jonathan - Let's talk!  19:29, 31 March 2023 (UTC)
 * does one of you care to convince this editor of their misunderstanding? Thanks. Joshua Jonathan  - Let's talk!  19:30, 31 March 2023 (UTC)
 * If you find your additions reverted, please seek consensus on the talk page rather than edit warring to add it back. I'm removing your infobox and suggest you explain here why you think it necessary. Wait for consensus and, if you get it, then add it back. (See WP:BRD and WP:EW)--RegentsPark (comment) 20:39, 31 March 2023 (UTC)

Semi-protected edit request on 28 January 2024
Please change:

The Gandhara Grave, Cemetery H, Copper Hoard and Painted Grey Ware cultures are candidates for subsequent cultures within south India associated with Indo-Aryan movements.

to:

The Gandhara Grave, Cemetery H, Copper Hoard and Painted Grey Ware cultures are candidates for subsequent cultures within South Asia associated with Indo-Aryan movements. Lekhak (talk) 15:38, 28 January 2024 (UTC)
 * Red information icon with gradient background.svg Not done: no reason given for the proposed change. M.Bitton (talk) 16:08, 28 January 2024 (UTC)
 * "south India" in this sentence doesn't make any sense. "South Asia" does. It appears to be a typo, hence my simple correction.
 * Regardless of the controversy, The Gandhara Grave, Cemetery H, Copper Hoard and Painted Grey Ware cultures within South Asia is generally conjectured to be associated with Indo-Aryan movements all over the literature.
 * For instance:
 * "Aryans in the Archaeological Record: The Evidence Inside the Subcontinent" by J.F. Heinen: This chapter from the book "The Quest for the Origins of Vedic Culture" delves into the archaeological evidence for Indo-Aryan presence in South Asia, with a specific focus on the Gandhara Grave Culture.
 * UNDERSTANDING PATTERNS OF CULTURAL DEVELOPMENT IN THE POST-HARAPPAN PERIOD ( ND MILLENNIUM TO 600 BCE): A STUDY ON ARCHAEOLOGICAL DATABASE" by Upinder Singh: This article examines the cultural developments in the post-Harappan period, including the Cemetery H Culture and its possible connection to Indo-Aryan migrations.
 * "The Copper Hoard Culture and the Aryans" by B.B. Lal: This article presents the case for associating the Copper Hoard Culture with Indo-Aryan migrations, based on shared features with Central Asian cultures.
 * "The Painted Grey Ware Culture" by R.S. Sharma: This book provides a detailed study of the Painted Grey Ware Culture, including its chronology, distribution, and relationship with other cultures in South Asia. It also addresses the ongoing debate about its association with Indo-Aryan migrations.
 * Regardless of the on-going debate on cautious approach on associating these cultures with Indo-Aryan movements, the current sentence with "south India" doesn't make any sense at all, and it appears to be a typo. Hence my simple request. Lekhak (talk) 18:36, 28 January 2024 (UTC)
 * Look at the locations of those cultures. They have nothing to do with south India: https://en.wikipedia.org/wiki/Cemetery_H_culture#/media/File:Rigvedic_geography.jpg
 * This whole subcontinent is South Asia. South India is the a small part of South Asia (south of India), which has nothing to do with Gandhara Grave, Cemetery H, Painted Grey Ware, and Copper Hoard Culture.
 * Hence my attempt to correct what appears to be a simple typo. Lekhak (talk) 18:49, 28 January 2024 (UTC)
 * Indo-Iranian_origins.png Lekhak (talk) 19:00, 28 January 2024 (UTC)

"south India" in this sentence doesn't make any sense. "South Asia" does. It appears to be a typo, hence my simple correction.

Regardless of the controversy, The Gandhara Grave, Cemetery H, Copper Hoard and Painted Grey Ware cultures within South Asia is generally conjectured to be associated with Indo-Aryan movements all over the literature. For instance:

"Aryans in the Archaeological Record: The Evidence Inside the Subcontinent" by J.F. Heinen: This chapter from the book "The Quest for the Origins of Vedic Culture" delves into the archaeological evidence for Indo-Aryan presence in South Asia, with a specific focus on the Gandhara Grave Culture.

UNDERSTANDING PATTERNS OF CULTURAL DEVELOPMENT IN THE POST-HARAPPAN PERIOD ( ND MILLENNIUM TO 600 BCE): A STUDY ON ARCHAEOLOGICAL DATABASE" by Upinder Singh: This article examines the cultural developments in the post-Harappan period, including the Cemetery H Culture and its possible connection to Indo-Aryan migrations.

"The Copper Hoard Culture and the Aryans" by B.B. Lal: This article presents the case for associating the Copper Hoard Culture with Indo-Aryan migrations, based on shared features with Central Asian cultures.

"The Painted Grey Ware Culture" by R.S. Sharma: This book provides a detailed study of the Painted Grey Ware Culture, including its chronology, distribution, and relationship with other cultures in South Asia. It also addresses the ongoing debate about its association with Indo-Aryan migrations.

Regardless of the on-going debate on cautious approach on associating these cultures with Indo-Aryan movements, the current sentence with "south India" doesn't make any sense at all, and it appears to be a typo.

 * This was added by in this diff. --RegentsPark (comment) 19:51, 28 January 2024 (UTC)

 * Done. Joshua Jonathan  -  Let's talk!  20:07, 28 January 2024 (UTC)

title: Talk:Indo-Aryan migrations


text:
Ray Anderson (musician)

Ray Anderson (born October 16, 1952) is an American jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument, including performing on alto trombone and slide trumpet. He is a colleague of trombonist George E. Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s.

Biography
After studying in California, he moved to New York in 1972 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George E. Lewis) and started working with Barry Altschul's group. In addition to leading his own groups since the late 1970s including the funk-oriented Slickaphonics, in which he began taking an occasional good-humored vocal, where he shows the ability to sing two notes at the same time (a minor third apart). Anderson has worked with George Gruntz's Concert Jazz Band.

Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russell and others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts.

Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in its tradition. Since 2003 he has taught and conducted at Stony Brook University.

As leader/co-leader

 * Harrisburg Half Life (Moers Music, 1980)
 * Right Down Your Alley (Soul Note, 1984)
 * Old Bottles - New Wine (Enja, 1985)
 * It Just So Happens (Enja, 1987)
 * Blues Bred in the Bone (Enja, 1988)
 * What Because (Gramavision, 1989)
 * Wishbone (Gramavision, 1991)
 * Every One of Us (Gramavision, 1992)
 * Big Band Record (Gramavision, 1994)
 * Azurety (hatART, 1994) with Han Bennink and Christy Doran
 * Don't Mow Your Lawn (Enja, 1994) with the Alligatory Band
 * Slideride (hat ART, 1994) with Craig Harris, George E. Lewis and Gary Valente
 * Cheer Up (hatArt, 1995) with Han Bennink and Christy Doran
 * Where Home Is (Enja, 1998)
 * Bonemeal (Raybone, 2000)
 * Ibrahim Electric Meets Ray Anderson (Sundance, 2005)
 * Sweet Chicago Suite (2012)

With BassDrumBone
 * Wooferlo (Soul Note, 1989)
 * Hence the Reason (Enja, 1997)
 * Cooked to Perfection (Auricle, 1999)
 * March of Dimes (Data, 2002)
 * The Line Up (Clean Feed, 2006)
 * The Other Parade (Clean Feed, 2011)
 * The Long Road (Auricle, 2016)

With Slickaphonics
 * Wow Bag (Enja, 1982)
 * Modern Life (Enja, 1984)
 * Humatomic Energy (Blue Heron, 1985)
 * Check Your Head at the Door (Teldec, 1986)
 * Live (Teldec, 1987)

As sideman
With Barry Altschul With Anthony Braxton With Charlie Haden With Julius Hemphill With Roscoe Mitchell With Sam Rivers' Rivbea All-star Orchestra With Bobby Previte & Bump With Hank Roberts '''With George Russell's New York Band With Bob Thiele Collective With Roseanna Vitro and Kenny Werner
 * Another Time/Another Place (Muse, 1978)
 * Somewhere Else (Moers Music, 1979)
 * Brahma (Sackville, 1980)
 * For Stu (Soul Note, 1981)
 * Creative Orchestra (Köln) 1978 (hatART, 1995)
 * Performance (Quartet) 1979 (hatART, 1981)
 * Seven Compositions 1978 (Moers Music, 1979)
 * Composition No. 94 for Three Instrumentalists (1980) (Golden Years of Jazz, 1999)
 * Composition 98 (hatART, 1981)
 * The Montreal Tapes: Liberation Music Orchestra (rec. 1989, Verve, 1999)
 * Dream Keeper (DownBeat's Jazz album of the year)
 * The Boyé Multi-National Crusade for Harmony (New World, 2021)
 * Sketches from Bamboo (Moers Music, 1979)
 * Inspiration (BMG France, 1999)
 * Culmination (BMG France, 1999)
 * Just Add Water (Palmetto, 2001)
 * Black Pastels (JMT, 1988)
 * Live in an American Time Spiral (Soul Note, 1983)
 * Lion Hearted (1993)
 * The Delirium Blues Project: Serve or Suffer (2008)

title: Ray Anderson (musician)


text:
Hobgoblin

A hobgoblin is a household spirit, appearing in English folklore, once considered helpful, but which since the spread of Christianity has often been considered mischievous. Shakespeare identifies the character of Puck in his A Midsummer Night's Dream as a hobgoblin.

Etymology
The term "hobgoblin" comes from "hob" ("elf"). The earliest known use of the word can be traced to about 1530, although it was likely in use for some time prior to that.

Folklore
Hobgoblins seem to be small, hairy little men who, like their close relatives the brownies, are often found within human dwellings, doing odd jobs around the house while the family is asleep. Such chores are typically small tasks like dusting and ironing. Often, the only compensation necessary in return for these is food.

While brownies are more peaceful creatures, hobgoblins are more fond of practical jokes. They also seem to be able to shapeshift, as seen in one of Puck's monologues in A Midsummer Night's Dream. Robin Goodfellow is perhaps the most mischievous and most infamous of all his kind, but many are less antagonizing. Like other fairy folk, hobgoblins are easily annoyed. They can be mischievous, frightening, and even dangerous. Attempts to give them clothing will often banish them forever, though whether they are offended by such gifts or are simply too proud to work in new clothes differs from teller to teller.

 * Billy Blind: is a clever hobgoblin or brownie found in several ballads collected by F.J. Child. Billy Blind helps humans in dramatic situations by offering valuable information and advice.

 * Blue Burches: is the name of a shapeshifting hobgoblin who played harmless pranks in the home of a shoemaker and his family on the Blackdown Hills in Somerset. His usual form was that of an old man wearing baggy blue breeches but he also took the form of a white horse, a black pig and a wisp of blue smoke. The family took his presence in good stride but some clergymen learned of his existence and banished him from the house.

 * Robin Roundcap: (not to be confused with Robin Redcap) haunted Spaldington Hall in Spaldington, East Riding of Yorkshire and was a hearth spirit of the true hobgoblin type. He helped thresh the corn and performed other domestic chores, but when he was in the mood for mischief he would mix the wheat and chaff again, kick over the milk pail, and extinguish the fire. He is said to have been confined in a well for a stipulated number of years through the prayers of three clergymen. This well is known as Robin Roundcap's Well.

 * Dobby: is another term for hobgoblin in Lancashire and Yorkshire according to the folklorist Elizabeth Mary Wright, especially one that is a relentless prankster. Much like the boggart, a dobby's pranks may become so troublesome that a family decides to move elsewhere, only to find that the dobby has followed them (one version of this tale involves Robin Roundcap). However, one Yorkshire dobby (or hob) lived in a cave and was noted for curing children of the whooping cough. Dobbies could be just as industrious as other hobgoblins and brownies, which led to the expression "Master Dobbs has been helping you" whenever a person has accomplished more work than was expected. The term is also referenced in the character of the house-elf Dobby in the Harry Potter series.

Variants
The bauchan is a Scottish domestic hobgoblin that is mischievous and belligerent but also very helpful when the need arises.

The bwbach (or boobach, plural bwbachod) is a Welsh domestic hobgoblin that will perform household chores in return for bowls of cream. They are good-natured but mischievous and have a dislike of clergymen and teetotalers, upon whom they will play relentless pranks.

Literature
In the poem "L'Allegro" (1645) by John Milton a domestic hobgoblin or brownie, known as a Lubbar Fend (or lubber fiend) and described as strong and hairy, threshes the corn then lays by the fireplace enjoying his bowl of cream that he earns as payment. In the earlier play The Knight of the Burning Pestle (1607) by Francis Beaumont, a similar being is known as Lob-Lie-by-the-Fire, described as a giant and the son of a witch. Folklorist K.M. Briggs stated that the two creatures are generally equated. Briggs' own fantasy novel, Hobberdy Dick (1955), is about a hobgoblin that lives in the home of a 17th century Puritan family.

In a 1684 hymn Bunyan couples the hobgoblin with "a foul fiend", as two monstrous beings who try (and fail) to "daunt the Pilgrim's spirit".

The term "hobgoblin" is used sometimes to mean a superficial object that is a source of (often imagined) fear or trouble. The best-known example of this usage is probably Ralph Waldo Emerson's line, "A foolish consistency is the hobgoblin of little minds", from the essay Self-Reliance.

Hobgoblins exist in the works of Tolkien as a larger kind of orc, though they are not prominently featured. In the preface of The Hobbit, he states that "Orc is not an English word. It occurs in one or two places but is usually translated goblin (or hobgoblin for the larger kinds)".

In The Spiderwick Chronicles, a hobgoblin is portrayed as a selfish character, always hungry, insulting to others, and annoyed with always being confused for a goblin.

title: Hobgoblin


text:
Texas Academy of Mathematics and Science

The Texas Academy of Mathematics and Science (TAMS) is a two-year residential early entrance college program serving approximately 375 high school juniors and seniors at the University of North Texas. Students are admitted from every region of the state through a selective admissions process. TAMS is a member of the National Consortium for Specialized Secondary Schools of Mathematics, Science and Technology.

History
TAMS was established on June 23, 1987 by the 70th Texas Legislature, in order to provide high school students an opportunity to take advanced coursework in math, science, and engineering. It was designed as a residential program at the University of North Texas for high school-aged students gifted in mathematics and science.

The establishment of this innovative program is from national concern among educators about anticipated shortages of students who would be sufficiently well prepared in mathematical and scientific problem solving. Recognizing that American youth would need to compete in an increasingly technological society, several states including Texas opted to create alternative educational programs that would attract students to the fields of mathematics and science as well as offer bright, motivated young people an accelerated education in these areas of study. TAMS differs from other state-supported residential math and science schools in that the academy offers students the opportunity to complete two years of college concurrently with the last two years of high school.

The first TAMS class arrived on August 22, 1988. This graduating Class of 1990 included 65 students, colloquially known as "TAMSters." The academy has since grown and, in recent years, the graduating classes have been as large as 185 students.

Admissions
TAMS is required by "to identify exceptionally gifted and intelligent high school students at the junior and senior levels and offer them a challenging education to maximize their development".

Applicants are limited to Texas residents in high school. The admissions process for TAMS is holistic and modeled on those of most colleges. Applications are typically accepted between July and mid-May of a student's sophomore year of high school, though some freshmen apply. Multiple criteria are assessed, including middle and high school grades, the rigor of classes taken at school (particularly for mathematics classes), letters of recommendation from teachers and an academic counselor or principal, SAT scores from no later than the January of the applicant's sophomore year, and an essay. Selected applicants are then invited to interview at one of TAMS's "Interview Days." During Interview Day, applicants take algebra diagnostic tests, tour the campus, and attend group interviews. Out of more than 500 students who apply each year, only around 200 are ultimately accepted into the program.

Academics
Due to the selectivity of its admissions process, TAMS has traditionally had a strong academic culture among its students. The class of 2015 alone had 66 National Merit Semifinalists out of a graduating class size of less than 200. In 2013 the average SAT score for TAMS students was 2121, the second highest of any school in Texas and tenth highest in the nation. TAMS students have placed in numerous state, national and global competitions, most notably in research-based competitions such as the Intel Talent Search and Siemens Competition. In the 2013 Siemens Foundation Competition, 2 TAMS students were named regional finalists and 17 more were recognized as semifinalists. In 2014, The Siemens Foundation awarded 7 TAMS students the placement of regional finalists, and 16 more as semifinalists; 2015 saw 16 semifinalists and 3 regionals finalists from TAMS. Most recently, 15 TAMS seniors were awarded semifinalist status in the 2016 Siemens competition; senior Prateek Kalakuntla advanced to regional finalist and subsequently national finalists status, winning $30,000 at national finals in December 2016.

Curriculum
TAMS operates wholly within the University of North Texas. TAMS students take UNT classes for their two years at TAMS, and graduate with a TAMS high school diploma as well as a UNT college transcript with a minimum of 57 hours of transferable college credits. While at TAMS, they are considered to be concurrently enrolled in high school and college, and attain a college-like experience all while living among same-age peers.

TAMS students essentially follow a college workload and schedule, and take classes alongside regular UNT students. They are officially UNT students with "TAMS" as their major. Core subjects required for graduation include biology or computer science, chemistry, physics (mechanics and electromagnetism), mathematics (precalculus and calculus), English literature, US history, and political science. All courses are UNT university courses and taught by UNT faculty and professors. A wide variety of elective courses may be taken in addition to required classes after the first semester. Students are also required to attend a weekly seminar on Monday afternoons, which includes various presentations covering academic topics like research opportunities and non-academic topics.

All core courses must be taken at TAMS/UNT during the fall and spring semesters, though some elective courses may be taken during the summer. The minimum cumulative GPA required for graduation is 3.0. Students whose GPA drops below this threshold are put on academic probation, and may be dismissed from the academy. During the first semester only, the minimum GPA that a student can have is 2.7. Students whose GPA is below this value will be dismissed within the first semester. Students who have a GPA between 2.7 and 3.0 will be placed on academic probation for the following semester.

Tuition and fees
TAMS students are responsible for paying for room and board in McConnell Hall and a mandatory UNT meal plan every semester, as well as a yearly $2500 program charge and approximately $5500 tuition fees (after scholarship is applied). About thirty percent of students receive financial aid through programs such as FAFSA to defray costs. Funding for TAMS is provided through a special appropriations bill and with support from the Foundation School Fund.

Research, scholarships, and awards
Students at TAMS are encouraged to take the opportunity of conducting research under the guidance of a professor either on or off-campus during the school year as well as during the summer. The TAMS Summer Research Scholarship is offered to about 60 students per year to fund these research pursuits; students performing research throughout the summer typically commit 30 to 40 hours per week to the lab. Students' research are often recognized by professors listing a student as co-author of a papers or by awards at competitions such as Siemens Westinghouse Competition in Science and Technology and the Intel Science Talent Search. From 1999 to 2016, TAMS students were named semifinalists 84 times in the talent search and finalists 11 times. This was tied the fifth most finalists of any school during this period. A number of students also compete for the Barry M. Goldwater Scholarship as university students. TAMS students are frequently quite successful in the competition; in 2016, all four TAMS students nominated by the University of North Texas won the scholarship, making UNT one of the few universities in the country to achieve this feat.

In 2012, while attending TAMS, Monica Thieu became the youngest person ever to win the Jeopardy! College Championship.

Student life
TAMS students have created an unofficial Wiki page which has more information regarding student life at TAMS. This page is primarily maintained by current TAMS students.

Because they are technically considered students at the University of North Texas, TAMS students enjoy all of the same benefits as other UNT students including access to and usage of university cafeterias, libraries, recreational facilities and participation in UNT-sponsored activities and competitions. An exception to this is a nightly curfew (see below).

McConnell Hall
All TAMS students live in McConnell Hall. In the program's early days, TAMS students shared the building with regular UNT students before the program grew too large to share its dormitory with other students. McConnell Hall, originally built in 1961 as an all-female dormitory, consists of four wings (the hall originally had three before a major expansion in 1990) and three floors, segregated by gender and grade level. The hall is furnished with a kitchenette, multiple meeting rooms, laundry rooms, bathrooms and two common rooms. One of the common rooms, the Smitty Study, serves as a public recreation room when it is not functioning as a study area during quiet hours. The other common room, Mac Café, aptly named because it once was home to a university cafeteria, hosts various student activities and serves as a gathering place for both academic and social interaction.

Students reside in pairs in any one of the hall's 374 dual-occupancy dormitories, each of which includes two beds, dressers and drawers, desks, a sink, internet access and electrical sockets; some rooms contain a private toilet and shower, while others share a bathroom with adjacent rooms. Community bathrooms are available for the remaining rooms. Because all TAMS students live in the same building and in close proximity, TAMS tends to be a very close-knit community. While students can, for the most part, schedule their own day however they wish, all students have a curfew and must remain inside the hall from 11 p.m. (1.00 a.m. on Friday and Saturday nights) to 6 a.m. without special permission. However, students may submit requests to be absent overnight or past curfew if they wish to do so.

Volunteering
The TAMS program allows students to find volunteering opportunities within the Denton, Texas area. Most volunteering activities are coordinated through numerous clubs and organizations within the program as well as through student life. TAMS students participate throughout the academic year. Volunteering ranges from, but not limited to grade school tutoring, hospital and nursing home volunteering, participating in Denton environmental clean up, hosting UNT sponsored charity auctions and service events, etc. Students have also established non-profit start up programs that promote volunteering within the Denton community. PCS 2 Prosper is one of the many notable organizations that have been founded by TAMS students. Volunteers collect donated computers and laptops from the community and some companies, and distributes them to schools and homes in need after repairing and renovating them.

Forward Tutoring is a prominent non-profit start up created by TAMS students with the mission to build a community of mentors and tutors. It is known to be an online tutoring service in which TAMS students volunteer their time to schools in need of academic aid. Student who seek this aid in turn participate in community services for other non-profit organizations. The organization gained recognition for its program and was able to receive a grant in 2011 from the Murphy Entrepreneurship after a generally well received beta launch.

Clubs and events
TAMS students participate in the UNT community through activities such as community service projects and tutoring. TAMS has a number of student activities and events, ranging from academic competitions to performance and cultural groups. Club meetings and activities are usually coordinated using Facebook. Most clubs at TAMS offer numerous volunteering and community service opportunities. Despite the fact that only hours volunteered during the school year while at TAMS count, in the 2014–2015 school year students at TAMS volunteered an average of over 98 hours per student. In addition to clubs, students may join any UNT clubs outside of TAMS. A selection of currently active clubs (as well as selected competitions entered by TAMS students), many of which offer volunteering opportunities, can be found below: Many students participate in yearly or more frequent events such as proms, school dances, talent shows, coffee houses, and an annual homecoming dance. Frequent workshops featuring guest speakers (often TAMS alumni) are also held for TAMS students covering a variety of topics, from college admissions to working in the industry. College visits take place on a regular basis as well.
 * Aerospace Construction and Engineering Society
 * American Rocketry Challenge
 * AIAA Design Competitions
 * Ambassadors
 * Ballot
 * Chess Club
 * Computer Science Organization
 * DECA
 * Driving Tomorrow
 * Dull Roar
 * Fellowship for the Cultural Advancement of Students
 * Forward Tutoring
 * hackTAMS
 * Helping Other People Everywhere
 * Ignite Bible Study
 * Junior Engineering Technical Society
 * Science Bowl and Science Olympiad
 * FIRST Robotics Competition, BEST Robotics Competition
 * Biology Olympiad, Chemistry Olympiad
 * McConnell Hall Association
 * Model UN
 * Mu Alpha Theta
 * American Mathematics Competitions, USAMO
 * Physics Olympiad
 * Naturally
 * PCs2Prosper
 * pROfiLE
 * Project Smile
 * Quiz Bowl Club
 * Research Organization
 * Speech and Debate
 * REPLAY
 * Newspaper
 * Magazine
 * Sports Club
 * Student Council
 * TAMS Business Organization
 * TAMS Global Outreach
 * TAMS Linguistics Society
 * TAMS Medical Society
 * HOSA
 * Teach and Learn
 * The Supply at UNT
 * TAMS Judicial Board

Notable alumni

 * Edward Boyden, American neuroscientist
 * Robert Rohde, American physicist
 * Adam Smith, co-founder of Xobni
 * Alice Ting, American chemist
 * David Williams, poker player
 * Nora Zehetner, actress
 * Sujal Parikh, global health advocate
 * Ryan Baker, American education researcher
 * Prince Jones
 * Tiffany Moon, Season 5 cast member of The Real Housewives of Dallas
 * Austin Hansley, Attorney at Law, Bachelor of Science Electrical Engineering, appeared in more patent litigation cases than any other attorney or law firm in the United States in 2015. See,


text:
Walter Norris

Walter Norris (December 27, 1931 – October 29, 2011) was an American pianist and composer.

Early life and career
Born in Little Rock, Arkansas, on December 27, 1931, Norris first studied piano at home with his mother, then with John Summers, a local church organist. His first professional performances were with the Howard Williams Band in and around Little Rock during his junior high and high school years. After graduating from high school, Norris played briefly with Mose Allison, then did a two-year tour in the US Air Force. After his time in the Air Force, Norris played with Jimmy Ford in Houston, Texas, then moved to Los Angeles where he became an integral part of the West Coast Jazz scene. While in Los Angeles, he played on Jack Sheldon's first album and on Ornette Coleman's first album, Something Else! The Music of Ornette Coleman (1958) for Contemporary Records.

In 1960, Norris relocated to New York City and formed a trio with guitarist Billy Bean and bassist Hal Gaylor, and the group made one album. Norris took a job at the New York City Playboy Club in 1963 and in time became the club's director of entertainment, remaining there until 1970. From 1970 to 1974, Norris was a freelance performer and taught in the New York area. In 1974, he replaced Roland Hanna in the Thad Jones-Mel Lewis Band. After a tour of Scandinavia, he remained in Europe to record a duo album with double bass player George Mraz, titled Drifting.

Returning to the states, Norris joined the Charles Mingus Quintet in 1976. In the dressing room prior to a performance, according to Norris, he made the mistake of calling the temperamental Mingus "Charlie" instead of "Charles," which angered Mingus. At that moment, the stage manager entered the room and told the musicians they were needed onstage immediately, which provided a temporary escape from confrontation. Norris quit the band and accepted a job in Berlin, Germany, as pianist with the Sender Freies Berlin-Orchestra. He moved to Berlin in January 1977 and lived there from that point. He insisted that his fear of Mingus was the primary cause of the move to Europe.

Later career
In 1990, Norris signed a five-album contract with Concord Records. The resulting recordings were all significant, but especially Sunburst (with saxophonist Joe Henderson), Hues of Blues (with George Mraz), and the Live at Maybeck Recital Hall solo piano album. In 1998, without a record contract, Norris self-financed the album From Another Star, made in New York with bassist Mike Richmond, pressing 1,000 copies.

A documentary film directed by Chuck Dodson, Walter Norris, a documentary, was completed in 2010. In 2005 an autobiography, "In Search of Musical Perfection" and method book "Essentials for Pianist Improvisers" were released. In July 2006, Norris recorded at his home in Berlin with Los Angeles bassist Putter Smith.

He died on October 29, 2011, at his home in Berlin, Germany, and is survived by his wife, Kirsten. His other descendants were two daughters from his previous marriage to Mandy, Dinah and Delia (deceased), and two granddaughters, Emily and Holly.

As leader

 * The TrioWith bassist Hal Gaylor, Walter Norris on acoustic piano, and Billy Bean on electric guitar(Riverside)1961
 * Drifting (Enja, 1974) with George Mraz
 * Synchronicity (Enja, 1978) with Aladár Pege
 * Stepping on Cracks (Progressive, 1978) with George Mraz, Ronnie Bedford
 * Winter Rose (Enja, 1980) with Aladár Pege
 * Lush Life (Concord Jazz) with Neil Swainson, Harold Jones
 * Live at Maybeck Recital Hall, Volume Four (Concord, 1990)
 * Sunburst (Concord, 1991) with Joe Henderson, Larry Grenadier, Mike Hyman
 * Love Every Moment (Concord, 1992) with Putter Smith, Larance Marable
 * Hues of Blues (Concord, 1995)
 * From Another Star (Sunburst, 1998) with Mike Richmond
 * The Last Set Live at the A-Trane (ACT, 2012) with Leszek Możdżer

As sideman
With Pepper Adams With The Thad Jones / Mel Lewis Orchestra With Ornette Coleman
 * Julian (Enja, 1976)
 * Twelfth & Pingree (Enja, 1976)
 * New Life (1975)
 * Something Else!!!! (1958)

title: Walter Norris


text:
Jack Pepper

Jack Pepper (born Edward Jackson Culpepper; June 14, 1902 – April 1, 1979) was an American vaudeville dancer, singer, comedian, musician, and later in life a nightclub manager.

Pepper began entertaining on the vaudeville circuit in his youth with his sisters Helen and Winnie Mae. He first came to national prominence in the 1920s as part of the duo Salt and Pepper with Frank Salt. Pepper sang and played ukulele in a style similar to that of Cliff Edwards as well as performed comic and dance bits. Salt and Pepper appeared prominently in Broadway revues, made radio broadcasts, and recorded a number of sides for Cameo Records in the mid-1920s.

After striking out on his own, Pepper teamed with dancer Ginger Rogers as Ginger and Pepper. Rogers and Pepper were married from 1929 to 1931. Although the marriage was short, they continued to speak respectfully of each other all their lives.

The year 1929 marked Pepper's film debut in the short subject After the Show.

By his second wife, Dawn, Pepper was the father of actress Cynthia Pepper, star of the 1961 TV comedy series Margie.

In 1940, he appeared in the Bing Crosby film Rhythm on the River and Road to Singapore, the first Bob Hope–Bing Crosby "Road" picture. Drafted during World War II, he toured with the USO.

Pepper continued as a film and television character actor into the 1960s. He made three guest appearances during the 1964–1965 final season of The Jack Benny Program. He was seen with Academy Award winner Lee Marvin in the 1965 hit comedy Cat Ballou. Throughout his career, Jack Pepper appeared in 10 Bob Hope features, including the 1969 comedy How to Commit Marriage, his final role.

He was buried at the Forest Lawn, Hollywood Hills Cemetery in Los Angeles.

Partial filmography

 * Road to Singapore (1940) - Newspaper Columnist (uncredited)
 * Rhythm on the River (1940) - Bob's cabbie (uncredited)
 * Silver Canyon (1951) - Bit Role (uncredited)
 * My Favorite Spy (1951) - FBI Man (uncredited)
 * Son of Paleface (1952) - Restaurant Patron (uncredited)
 * Just for You (1952) - Stagehand (uncredited)
 * Stop, You're Killing Me (1952) - The Singer
 * Off Limits (1952) - Bartender (uncredited)
 * Trouble Along the Way (1953) - Irish Tenor / Pianist in Saloon (uncredited)
 * A Star Is Born (1954) - Chef (uncredited)
 * The Seven Little Foys (1955) - Theater Manager (uncredited)
 * Lucy Gallant (1955) - Minor Role (uncredited)
 * Anything Goes (1956) - Man (uncredited)
 * That Certain Feeling (1956) - Extra (uncredited)
 * Beau James (1957) - Politician (uncredited)
 * Man on Fire (1957) - Club Member (uncredited)
 * I Married a Woman (1958) - Crawford (uncredited)
 * Once Upon a Horse... (1958) - Roulette Croupier (uncredited)
 * The Five Pennies (1959) - Ship Worker (uncredited)
 * Bachelor in Paradise (1961) - Floor Man (uncredited)
 * Papa's Delicate Condition (1963) - Joe (uncredited)
 * Critic's Choice (1963) - 1st Baseman (uncredited)
 * The Incredible Mr. Limpet (1964) - Sport Fishermen (uncredited)
 * Cat Ballou (1965) - Banjo Player

title: Jack Pepper


text:
Talk:Symphony No. 3 (Beethoven)

Use of the word "The" in names of symphonies
To my ear, the lead in symphony articles should be, for example, "Symphony No. 3 in E♭ major..." and not "The Symphony No. 3 in E♭ major..." That sounds more natural. I found a mixture of styles on Wikipedia regarding the use of "The" in the lead for such names. For example, https://en.wikipedia.org/wiki/Hungarian_Rhapsody_No._19......"The" not used https://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)......"The" used The website of Encyclopedia Britannica seems to corroborate my opinion. https://www.britannica.com/topic/Symphony-No-9-in-D-Minor https://www.britannica.com/topic/Eroica-Symphony Bright Orion | talk  14:34, 27 January 2022 (UTC)

RfC on use of "the" in symphony name
Please see the above discussion "Use of "The" in lead". Bright Orion | talk  14:34, 27 January 2022 (UTC)

title: Talk:Symphony No. 3 (Beethoven)


text:
Talk:Walter Norris

Untitled
playing with controlled emotion unlike few pianists

Um. Do you actually mean unlike most pianists? Evercat 23:19 27 Jul 2003 (UTC)

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title: Talk:Walter Norris