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Translatio imperii

Translatio imperii (Latin for "transfer of rule") is a historiographical concept that was prominent in the Middle Ages in the thinking and writing of elite groups of the population in Europe, but was the reception of a concept from antiquity. In this concept the process of decline and fall of an empire theoretically is being replaced by a natural succession from one empire to another. Translatio implies that an empire metahistorically can be transferred from hand to hand and place to place, from Troy to Romans and Greeks to Franks (both remaining Romans) and further on to Spain, and has therefore survived.

In classic antiquity, an authoritative user of this scheme was Virgil, who has been traditionally ranked as one of Rome's greatest poets. In his work Aeneid, that has been considered the national epic of ancient Rome, he linked the Rome in which he lived, reigned by its first emperor Caesar Augustus, with Troy. The discourse of translatio imperii may be traced from the ninth century to the fourteenth, and may be carried on into the sixteenth century or even further. In the Early modern period, the translatio scheme was used by many authors who wished to legitimate their new centre of power and to provide it with prestige. In Renaissance Florence, humanists wrote Latin poems fashioning their city as the new Rome, and members of the Medici family as Roman rulers.

More generally speaking, history is in this concept viewed as a linear succession of transfers of an imperium that invests supreme power in a singular ruler, an "emperor", or sometimes even several emperors, e.g., the Eastern Roman Empire and the Western Holy Roman Empire. The concept is closely linked to translatio studii, the geographic movement of learning. Both terms are thought to have their origins in the second chapter of the Book of Daniel in the Hebrew Bible.

Definitions
French historian Jacques Le Goff (1924 – 2014) did describe the translatio imperii concept as "typical" for the Middle Ages for several reasons:

 * The idea of linearity of time and history was typical for the Middle Ages;
 * The translatio imperii idea typically also neglected simultaneous developments in other parts of the world (of no importance to medieval Europeans);
 * The translatio imperii idea didn't separate "divine" history from the history of "worldly power": medieval Europeans considered divine (supernatural) and material things as part of the same continuum, which was their reality. Also the causality of one reign necessarily leading to its successor was often detailed by the medieval chroniclers, and is seen as a typical medieval approach.

To be noted is that Le Goff in saying that, did refer to a very small group of rich and prosperous people living during the Middle Ages. For the largest part of the citizens, translatio imperii was unknown.

Different medieval high-class authors described the translatio imperii as a succession leaving the supreme power in the hands of the monarch ruling the region of the author's provenance:

 * Adso of Montier-en-Der (French area, 10th century): Roman Empire → Carolingian Franks → Saxons
 * Otto of Freising (living in German region, 1114–1158): Rome → Franks → Longobards → Germans (Holy Roman Empire)
 * Chrétien de Troyes (living in medieval France, 12th century): Greece → Rome → France
 * Snorri Sturluson (Prose Edda Prologue, Iceland/Norway, c. 13th century): Troy → Thrúdheim, Thrace → Norway
 * Richard de Bury (England, 14th century): Athens → Rome → Paris → England
 * Dante Alighieri (Florence, c.  1265 – 1321) was strongly influenced by Virgil, who linked Rome's Caesar Augustus with Troy, most notably his Divine Comedy, in which Virgil appears as the author's guide through Hell and Purgatory. Dante's use of the Florentine dialect for this work rather than Latin, influenced the course of literary developments in Europe.
 * The 'Laurentian poets' (Florence, 15th century) were modelling Lorenzo de' Medici as a leader of ancient Rome. This rhetorical process formed an important part of Medici propaganda, as it tried to legitimate and give prestige to his reign. The same propagandistic use of the translatio imperii scheme has been made on behalf of other late 15th-century rulers in Italy.
 * Ibrahim Pasha (Ottoman Empire, 1523-1536 century) Roman Empire → Eastern Roman Empire → Seljuk Empire → Sultanate of Rum → Ottoman Empire

Later, continued and reinterpreted by modern and contemporary movements and authors (some known examples):
 * Fifth Monarchists (England, 17th century): Caldeans (Babylonians) → Persians → Macedonian Empire → Rome → England (and the British Empire later)
 * António Vieira (Portugal, 17th century): Assyro-Caldeans (Babylonians) → Persians → Greeks → Romans → Portuguese Empire
 * Fernando Pessoa (Portugal, 20th century): Greece → Rome → Christianity → Europe → Portugal

Medieval and Renaissance authors often linked this transfer of power by genealogically attaching a ruling family to an ancient Greek or Trojan hero; this schema was modeled on Virgil's use of Aeneas (a Trojan hero) as progenitor of the city of Rome in his Aeneid. Continuing with this tradition, the twelfth-century Anglo-Norman authors Geoffrey of Monmouth (in his Historia Regum Britanniae) and Wace (in his Brut) linked the founding of Britain to the arrival of Brutus of Troy, son of Aeneas.

In a similar way, the French Renaissance author Jean Lemaire de Belges (in his Les Illustrations de Gaule et Singularités de Troie) linked the founding of Celtic Gaul to the arrival of the Trojan Francus (i.e. Astyanax), the son of Hector; and of Celtic Germany to the arrival of Bavo, the cousin of Priam; in this way he established an illustrious genealogy for Pepin and Charlemagne (the legend of Francus would also serve as the basis for Ronsard's epic poem, "La Franciade").

From the Roman Empire/Byzantine Empire to the Holy Roman Empire
Famous and very successful was the use of the idea of the translatio imperii in establishing a link between the Western Roman Empire after its downfall in the fifth century, and the possessions ruled by ruler Charlemagne between 768 and 814. Charlemagne was King of the Franks from 768 and King of the Lombards from 774 and negotiated an agreement with Pope Leo III to be crowned as Roman emperor in 800, reviving that title in Western Central Europe more than three centuries later. The title lapsed in 924, but was revived in 962 after negotiations between Otto I and Pope John XII, where Otto had his troops positioned near Rome. As a result, the Pope accepted Otto fashioning himself as Charlemagne's and the Carolingian Empire's successor, and beginning a continuous existence of the empire for over eight centuries. From 962 until the twelfth century, the empire was one of the most powerful monarchies in Europe, as the Holy Roman Empire.
 * Emperor Constantine I established Constantinople, a New Rome, as a second capital of the Roman Empire in 330.
 * After the death of Emperor Theodosius I (347–395), the Roman Empire was permanently divided into the Western and the Eastern Roman Empire
 * With the demise of the Western Empire in 476/480, the Byzantine Empire became the sole Roman Empire.
 * Byzantine Emperor Constantine V married his son Leo IV to Irene of Athens on 17 December 768, brought to Constantinople by the father on 1 November 768. On 14 January 771, Irene gave birth to a son, Constantine. Following the deaths of Constantine V in 775 and Leo IV in 780, Irene became regent for their nine-year-old son, Constantine VI.
 * As early as 781, Irene began to seek a closer relationship with the Carolingian dynasty and the Papacy. She negotiated a marriage between her son Constantine and Rotrude, a daughter of the ruling Frankish king, Charlemagne. Irene went as far as to send an official to instruct the Frankish princess in Greek; however, Irene herself broke off the engagement in 787, against her son's wishes.
 * As Constantine VI approached maturity, the relationship between mother/regent and son/emperor was increasingly strained. In 797 Irene deposed her son, with his eyes being mutilated, who died before 805.
 * Some Western authorities considered the Byzantine throne, now occupied by a woman, to be vacant and instead recognized that Charlemagne, who controlled Italy and much part of the former Western Roman Empire, had a valid claim to the imperial title. Pope Leo III, crowned Charlemagne as Roman Emperor in 800, an act not recognized by the Byzantine Empire.
 * Irene is said to have endeavored to negotiate a marriage between herself and Charlemagne, but according to Theophanes the Confessor, who alone mentioned it, the scheme was frustrated by Aetios, one of her favorites.
 * In 802, Empress Irene was deposed by a conspiracy and replaced by Nikephoros I. She was exiled and died the following year.
 * Pax Nicephori, a peace treaty in 803 between the Holy Roman Emperor Charlemagne and Nikephoros I, Basileus of the Eastern Roman Empire.
 * Recognition of Charlemagne as Emperor (Basileus) in 812 by Emperor Michael I Rangabe of the Byzantine Empire (crowned on 2 October 811 by the Patriarch of Constantinople), after he reopened negotiations with the Franks. While acknowledging Charlemagne strictly as "Emperor", Michael only referred to himself as "Emperor of the Romans". In exchange for that recognition, Venice was returned to the Byzantine Empire.
 * On February 2, 962, Otto I was solemnly crowned Holy Roman Emperor by Pope John XII. Ten days later at a Roman synod, Pope John XII, at Otto's desire, founded the Archbishopric of Magdeburg and the Bishopric of Merseburg, bestowed the pallium on the Archbishop of Salzburg and Archbishop of Trier, and confirmed the appointment of Rather as Bishop of Verona. The next day, the emperor issued a decree, the Diploma Ottonianum, in which he confirmed the Roman Church in its possessions, particularly those granted by the Donation of Pepin. On the other hand, the Pope had to accept that Otto and his heirs would have a vote in the nomination of popes as head of the Roman-Catholic Church and the Papal States, and he and his heirs had the position to overview the enforcement of law and order in the Papal states.
 * On April 972 14, Otto I married his son and heir Otto II to the Byzantine Princess Theophanu. Through their wedding contract, Otto was recognized as Emperor in the West, a title Theopanu was to assume together with her husband through the Consortium imperii after his death.

From the Inca Empire to the Spanish Empire
Sayri Túpac, second Inca of Vilcabamba, after negotiating with the viceroy Andrés Hurtado de Mendoza on January 5, 1558, in Lima ceded the rights of his crown to the King of Castile, renouncing his claims as sovereign of the Inca Empire and converting to Catholicism; in exchange, he received a pardon from the "superior government", obtained titles to land and income, recognition of the primogeniture of his lineage, and obtaining the Encomienda del Valle de Yucay [Mayorazgo de Oropesa]. Later, his successor Titu Cusi Yupanqui, would ratify this transfer with the signing of the treaty of Acobamba. This application of the Translatio Imperii, for the Kingdoms of Peru, was invoked as the legitimacy tool, by the Spanish Empire, for its domain in the Viceroyalty of Peru, while, from these treaties, the incorporation of the Tahuantinsuyo in the Spanish Monarchy, with the official recognition of the Inca royal House, which consider the Monarchs of Spain as Kings of Peru, which would encourage the loyalty and fidelity of the Peruvian Monarchists (especially the royalists from the Royal Army of Peru) towards the Spanish monarchy and its promotion of miscegenation.

Given this, the Kings of Spain would be the legitimate successors of the Sapa Incas, therefore, Carlos I of Spain would be succeeding Atahualpa as Emperor of the Kingdoms of Peru, not only in fact, but also in law. Which was referenced in multiple paintings of viceregal art (especially from the School of Cuzco and the Cathedral of Lima), such as the iconic Efigies de los incas o reyes del Perú, present in the Museum of Art of Lima, in which Atahualpa bestows his Scepter of Power to the Spanish Habsburgs (marked with a cross), or the painting by Juan Núñez Vela y Ribera, in the Copacabana monastery, where reference is made to the "poderosissimo Inga D. Carlos II Augustissimo Emperador de la América". Meanwhile, the King of Spain would flaunt his rights as Sapa Inca, through the title King of the West Indies, which is the sum of the rights of the Inca and Aztec crowns, which has been commemorated with the statues of the Aztec and Inca Emperors at the main entrance of the Royal Palace of Madrid.

This in turn gave guarantees to the Inca Nobility to have recognition of their titles (and traditions of their peoples) in Spanish law, considering themselves twinned with the Spanish Nobility, the indigenous nobility receiving multiple shields and privileges from the Crown. Authors like the Inca Garcilaso de la Vega would make a lot of reference to this Translatio imperii in his works.

The claims of Spanish rights in the Kingdoms of Peru is in this way: Pre-Inca Kingdoms and Andean civilizations → Incan Empire/Tahuantinsuyo → Christianity → Spanish Empire

The Rus' land from the Middle Dnieper to Suzdalia
A long-standing problem in the historiography of the medieval history of Kievan Rus', Vladimir-Suzdal and Muscovy, preceding the modern republics of Russia and Ukraine, is when usage of the term "Rus' land" (ро́усьскаѧ землѧ́; Русская земля), which was initially associated with the Middle Dnieper (Dnipro) river valley around Kiev (modern Kyiv), shifted towards Vladimir-Suzdal, also known as "Suzdal land" or "Suzdalia". There is scholarly agreement that by the late 15th century, and perhaps earlier, the Daniilovichi princes of Moscow were presenting themselves as the legitimate dynastic successors to Kievan Rus', and the true representatives of the "Rus' land". The question is how much earlier this translatio can be dated, because the evidence is ambiguous. Charles J. Halperin (2016) summarised the scholarly debate so far: 'Application of the term "Rus" to Muscovy has always been a bone of contention, especially to Ukrainian historiography. Nasonov and others noted that in Kievan Rus' "Rus" originally meant the Dnieper (Dniepr', Dnipro) River triangle of Kyiv, Chernihiv, and Pereslavl', not Vladimir–Suzdal'. (...) "Rus'" was not an ethnic term, it was a political term. By the late fourteenth century Rus' meant Moscow, Kolomna, and Serpukhov.' Several scholars including Halperin previously used the 1950 Priselkov reconstruction of the Trinity Chronicle as evidence to date the translatio (variously from the 1320s to the mid-14th century), but by 2001 Halperin changed his position (confirmed in 2010 after Serhii Plokhy (2006) explored the question) due to the unreliability of Priselkov's reconstruction. In his 2022 updated bundle of all previous articles about the Rus' land (published at Plokhy's suggestion), Halperin posited that the last time "Rus' land" meant the region around Kiev was in c. 1240, when the Tale of the Destruction of the Rus' Land was written (probably in Kiev) during the Mongol invasion of Kievan Rus'. Conversely, by c. 1340, at the accession of Ivan I Kalita as Prince of Moscow in 1340, 'the translatio of the Rus' Land to the Muscovite principality itself, or at the very least to the Northeast, was a fait accompli.' Plokhy (2006) had argued this was too early, and the translatio could not have taken place before the mid-15th century due to Donald Ostrowski in 1998 re-dating of the works of the Kulikovo cycle to after the 1440s, which Halperin (1999) rejected. Instead, Plokhy suggested tracing it to the Muscovite Codex of 1472, wherein an entry sub anno 1471 'may be regarded as one of the first expressions of the translatio theory that postulated the transfer of power in the Rus' lands from Kyiv to Vladimir on the Kliazma and then to Moscow.'

title: Translatio imperii


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Miami Vice

Miami Vice is an American crime drama television series created by Anthony Yerkovich and produced by Michael Mann for NBC. The series stars Don Johnson as James "Sonny" Crockett and Philip Michael Thomas as Ricardo "Rico" Tubbs, two Metro-Dade Police Department detectives working undercover in Miami. The series ran for five seasons on NBC from 1984 to 1989. The USA Network began airing reruns in 1988 and broadcast a previously unaired episode during its syndication run of the series on January 25, 1990.

Unlike standard police procedurals, the show drew heavily upon 1980s New Wave culture and is noted for its integration of contemporary pop and rock music and stylish or stylized visuals. People magazine states that Miami Vice was the "first show to look really new and different since color TV was invented".

Michael Mann directed a film adaptation of the series, which was released on July 28, 2006.

Conception
The conception of the show is unclear. One version of events states that the head of NBC's Entertainment Division, Brandon Tartikoff, wrote a brainstorming memo that simply read "MTV cops",   and later presented it to series creator Anthony Yerkovich, formerly a writer and producer for Hill Street Blues. Yerkovich, however, has indicated he devised the concept after learning about asset forfeiture statutes allowing law enforcement agencies to confiscate the property of drug dealers for official use. The initial idea was for a movie about a pair of vice cops in Miami. Yerkovich then wrote a script for a two-hour pilot, titled Gold Coast, but later renamed it Miami Vice. Yerkovich was immediately drawn to South Florida as a setting for his new-style police show.

Production
In keeping with the show's title, most episodes focus on combating drug trafficking and prostitution. Episodes often end in an intense gun battle, claiming the lives of several criminals before they can be apprehended. An undercurrent of cynicism and futility underlies the entire series. The detectives repeatedly refer to the "Whac-A-Mole" nature of drug interdiction, with its parade of drug cartels quickly replacing those that are apprehended. Co-executive producer Yerkovich explained:

"Even when I was on Hill Street Blues, I was collecting information on Miami, I thought of it as a sort of a modern-day American Casablanca. It seemed to be an interesting socio-economic tide pool: the incredible number of refugees from Central America and Cuba, the already extensive Cuban-American community, and on top of all that the drug trade. There is a fascinating amount of service industries that revolve around the drug trade—money laundering, bail bondsmen, attorneys who service drug smugglers. Miami has become a sort of Barbary Coast of free enterprise gone berserk."

The choice of music and cinematography borrowed heavily from the emerging New Wave culture of the 1980s. As such, segments of Miami Vice sometimes used music-based stanzas, a technique later featured in Baywatch. As Lee H. Katzin, one of the show's directors, remarked, "The show is written for an MTV audience, which is more interested in images, emotions and energy than plot and character and words." These elements made the series into an instant hit, and in its first season saw an unprecedented fifteen Emmy Award nominations. While the first few episodes contain elements of a standard police procedural, the producers soon abandoned them in favor of a more distinctive style. Influenced by an Art Deco revival, no "earth tones" were allowed to be used in the production by executive producer Michael Mann. A director of Miami Vice, Bobby Roth, recalled:

"There are certain colors you are not allowed to shoot, such as red and brown. If the script says 'A Mercedes pulls up here,' the car people will show you three or four different Mercedes. One will be white, one will be black, one will be silver. You will not get a red or brown one. Michael knows how things are going to look on camera."

Miami Vice was one of the first American network television programs to be broadcast in stereophonic sound. It is mixed in stereo for its entire run.

Casting
Nick Nolte and Jeff Bridges were considered for the role of Sonny Crockett, but since it was not lucrative for film stars to venture into television at the time, other candidates were considered. Mickey Rourke was also considered for the role, but he turned down the offer. Larry Wilcox, of CHiPs, was also a candidate for the role of Crockett, but the producers felt going from one police officer role to another would not be a good fit. After dozens of candidates and a twice-delayed pilot shooting, Don Johnson and Philip Michael Thomas were chosen as the vice cops. For Johnson, who was by then 34 years old, NBC had particular doubts about the several earlier unsuccessful pilots in which he starred. Jimmy Smits played Eddie Rivera, Crockett's ill-fated partner, in the pilot episode.

After two seasons, Don Johnson threatened to walk from the series as part of a highly publicized contract dispute. The network was ready to replace him with Mark Harmon, who had recently departed St. Elsewhere, but the network and Johnson were able to resolve their differences and he continued with the series until its end.

Locations
Despite the Miami setting, the producers initially planned to film the series in Los Angeles. However, by the time production began, the decision had been made to shoot in Miami itself. Many episodes of Miami Vice were filmed in the South Beach section of Miami Beach, an area which, at the time, was blighted by poverty and crime, with its demographic so deteriorated that there "simply weren't many people on the street. Ocean Drive's hotels were filled with elderly, mostly Jewish retirees, many of them frail, subsisting on meager Social Security payments. ... They were filming all over Miami Beach. ... They could film in the middle of the street. There was literally nobody there. There were no cars parked in the street". In early episodes in particular, local elderly residents were frequently cast as extras.

Some street corners of South Beach were so run down that the production crew actually decided to repaint the exterior walls of some buildings before filming. The crew went to great lengths to find the correct settings and props. Bobby Roth recalled, "I found this house that was really perfect, but the color was sort of beige. The art department instantly paints the house gray for me. Even on feature films people try to deliver what is necessary but no more. At Miami Vice they start with what's necessary and go beyond it."

Miami Vice is to some degree credited with causing a wave of support for the preservation of Miami's famous Art Deco architecture in the mid-1980s to early 1990s; and many of those buildings, among them many beachfront hotels, have been renovated since filming, making that part of South Beach one of South Florida's most popular places for tourists and celebrities.

Other places commonly filmed in the series include locations around Broward and Palm Beach counties.

Interior scenes were initially supposed to be filmed at Universal Studios in Los Angeles, but to simplify cross-country logistics, the decision was made to use the facilities of Greenwich Studios in North Miami instead, and only carry out post-production in L.A. In a few scenes, particularly in earlier episodes, Greenwich Studios' rear loading dock is repeatedly used as the back room of the Gold Coast Shipping building, where the offices of the vice squad are located.

Music
Miami Vice is noted for its innovative use of stereo broadcast music, particularly pop and rock hits of the 1980s, and the distinctive, synthesized instrumental music of Jan Hammer. While other television shows used made-for-TV music, Miami Vice would spend $10,000 or more per episode to buy the rights to original recordings. Getting a song played on Miami Vice was a boost to record labels and artists. Some newspapers, such as USA Today, would let readers know the songs that would be featured each week. Among the many well-known bands and artists, as well as underground or 'new wave' associated acts, who contributed their music to the show were: • Roger Daltrey

• Pete Townshend

• El DeBarge

• Duran Duran

• The Power Station

• Devo

• Sinéad O'Connor

• Russ Ballard

• Black Uhuru

• Jackson Browne

• Kate Bush

• Meat Loaf

• Phil Collins

• Bryan Adams

• Tina Turner

• Public Image Limited

• Peter Gabriel

• Pink Floyd

• ZZ Top

• The Smiths

• The Tubes

• Dire Straits

• Depeche Mode

• The Hooters

• Iron Maiden

• The Alan Parsons Project

• The Ward Brothers

• Godley & Creme

• Corey Hart

• Glenn Frey

• U2

• Underworld

• Frankie Goes to Hollywood

• Propaganda

• Foreigner

• The Police

• Red 7

• Ted Nugent

• Suicidal Tendencies

• The Damned

• Billy Idol

• The Church

• Billy Ocean

• Eric Clapton Several artists guest-star in episodes, including Leonard Cohen, Phil Collins, Miles Davis, the Power Station, Glenn Frey, Suicidal Tendencies, Willie Nelson, Ted Nugent, Frank Zappa, the Fat Boys, Sheena Easton, Gloria Estefan, and Gene Simmons. An iconic scene from the Miami Vice oeuvre involves Crockett and Tubbs driving through Miami at night to Phil Collins' song "In the Air Tonight".

Jan Hammer credits executive producer Michael Mann with allowing him great creative freedom in scoring Miami Vice. The collaboration resulted in memorable instrumental pieces, including the show's title theme, which climbed to the top of the Billboard charts in November 1985.

The Miami Vice original soundtrack, featuring the theme song and Glenn Frey's "Smuggler's Blues" and "You Belong to the City" (a No. 2 hit), remained at the top of the U.S. album chart for 11 weeks in 1985, making it the most successful TV soundtrack at the time. The theme song was so popular that it also garnered two Grammy Awards in 1986. It was also voted the number-one theme song of all time by TV Guide readers. "Crockett's Theme", another recurring tune from the show, became a No. 1 hit in several European countries in 1987.

During the show's run, three official soundtrack albums with original music from the episodes were released. Hammer also released several albums with music from the series; among them are Escape from Television (1987), Snapshots (1989), and after many requests from fans, Miami Vice: The Complete Collection (2002).

Fashion

The clothes worn on Miami Vice had a significant influence on men's fashion. They popularized, if not invented, the "T-shirt under Armani jacket"–style, and popularized Italian men's fashion in the United States. Don Johnson's typical attire of Italian sport coat, T-shirt, white linen pants, and slip-on sockless loafers became a hit. Crockett initially wore an 18k Rolex Day-Date "President" model in the first season, until Ebel won the contract for the remaining seasons. Similarly, Crockett's perpetually unshaven appearance sparked a minor fashion trend, inspiring men to wear designer stubble at all times. In an average episode, Crockett and Tubbs wore five to eight outfits, appearing in shades of pink, blue, green, peach, fuchsia, and the show's other "approved" colors. Designers such as Vittorio Ricci, Gianni Versace, and Hugo Boss were consulted in keeping the male leads looking trendy. Costume designer Bambi Breakstone, who traveled to Milan, Paris, and London in search of new clothes, said that, "The concept of the show is to be on top of all the latest fashion trends in Europe." Jodi Tillen, the costume designer for the first season, along with Michael Mann, set the style. The abundance of pastel colors on the show reflects Miami's Art-deco architecture.

During its five-year run, consumer demand for unstructured blazers, shiny fabric jackets, and lighter pastels increased. After Six formal wear even created a line of Miami Vice dinner jackets, Kenneth Cole introduced Crockett and Tubbs shoes, and Macy's opened a Miami Vice section in its young men's department. Crockett also boosted Ray Ban's popularity by wearing a pair of Model L2052, Ray-Ban Wayfarers, which increased sales of Ray Bans to 720,000 units in 1984. In the spring of 1986, an electric razor became available named the "Stubble Device", allowing users to have a beard like Don Johnson's character. It was initially named the "Miami Device" by Wahl, but in the end the company opted to avoid a trademark infringement lawsuit. Many of the styles popularized by the TV show, such as the T-shirt under pastel suits, no socks, rolled up sleeves, and Ray-Ban sunglasses, have become the standard image of 1980s culture. The influence of Miami Vices fashions continued into the early 1990s and, to some extent, has had a lasting impact.

Firearms
Miami Vice also popularized certain brands of firearms and accessories. After Johnson became dissatisfied with his gun holster, the Jackass Leather Company (later renamed Galco International) sent their president, Rick Gallagher, to personally fit Don Johnson with an "Original Jackass Rig", later renamed the Galco "Miami Classic".

The Bren Ten, manufactured by Dornaus & Dixon, was a stainless-steel handgun used by Don Johnson during Miami Vice's first two seasons. Dornaus & Dixon went out of business in 1986, and Smith & Wesson was offered a contract to outfit Johnson's character with a S&W Model 645 during season three.

Several firearms never before seen on TV were featured prominently for the first time in the show, including the Glock 17 pistol. In addition, firearms not yet well known to the public, including the Steyr AUG, MAC-10 and the Desert Eagle, were showcased to a wide audience on this show. Even heavy guns came to use, as Zito is seen maneuvering an M60 machine gun from a rooftop in the episode "Lombard".

Cars
Two automobiles drew a lot of attention in Miami Vice, the Ferrari Daytona and Testarossa. During the first two seasons and two episodes of the third season, Detective Sonny Crockett drove a black 1972 Ferrari Daytona Spyder 365 GTS/4 kit replica built on a Chevrolet Corvette C3 chassis. The car was fitted with Ferrari-shaped body panels by specialty car manufacturer McBurnie Coachcraft. Once the car gained notoriety, Ferrari Automobili filed suit demanding that McBurnie and any others cease and desist producing and selling Ferrari replicas and infringing upon the Ferrari name and styling. As a result, the Daytona lasted until season 2, at which point it was 'blown-up' in the season three premiere episode, "When Irish Eyes Are Crying". Neither the kit car nor its backup were actually destroyed, as the production company simply blew up a small, plastic model for both cost and safety reasons. The fake Ferraris were removed from the show, with Ferrari donating two brand new 1986 Testarossas as replacements. The Ferrari Daytona is the subject of a huge continuity goof on the show, when it suddenly reappears in "El Viejo", six episodes after its destruction, without explanation. Originally "El Viejo" was set to be the third-season premiere, but studio executives felt the Daytona's destruction would serve as a more dramatic opening to the season. Don Johnson's contract-holdout at the start of the season also played a part, delaying filming to the point where "El Viejo" could not finish in time for the season premiere.

The series' crew also used a third Testarossa look-alike, which was the stunt car. Carl Roberts, who had worked on the Daytona kit cars, offered to build the stunt car. Roberts decided to use a 1972 De Tomaso Pantera, which had the same wheelbase as the Testarossa and thus was perfect for the body pieces. The vehicle was modified to withstand daily usage on-set, and continued to be driven until the series ended.

Crockett was also seen driving a black 1978 Porsche 911 SC Targa in a flashback to 1980 in the Season 3 episode "Forgive Us Our Debts."

Crockett's partner, Ricardo Tubbs, drove a 1964 Cadillac Coupe de Ville Convertible. Stan Switek drove a turquoise 1961 Ford Thunderbird. Gina Calabrese drove a 1971 Mercury Cougar XR-7 convertible. When Stan and Larry were undercover, they drove a Dodge Ram Van. Other notable vehicles that appear in Miami Vice include Lamborghinis, AMG Mercedes-Benzes, BMWs, Maseratis, Lotuses, DeLoreans, Porsches, and Corvettes. American muscle cars, such as the Pontiac GTO and Firebird Trans Am, Ford Mustang, Chevrolet Camaro, Plymouth GTX and Barracuda, Chevrolet Monte Carlo SS, and the Buick Grand National also made appearances.

Boats and seaplanes
Throughout the series, Sonny Crockett lived on an Endeavour sailboat, St. Vitus' Dance, while in the pilot episode, Crockett is seen on a 38-foot Cabo Rico sailboat. In season 1, he is seen living on an Endeavour 40 sailboat, while in the rest of the series (seasons 2 to 5) he is seen living on an Endeavour 42 sailboat (priced at $120,000 in 1986). The allure of the sailboats was such that the Endeavour 42 used for the 1986 season of Miami Vice was sold to a midwest couple, while the Endeavour 40, was sold to a chartering service in Fort Lauderdale. At the same time, Endeavour was building a new 42 for the 1987 season of Miami Vice.

In the pilot episode, and for the first season, Crockett piloted a Chris-Craft Stinger 390 X – a 39-foot deep-v offshore racing boat. For the other four Stingers, Chris-Craft showed the production crew a color scheme that included the red – however, since Michael Mann decided that the color red was to never show up on the show, a blue color scheme was chosen instead. The Stingers used on the show were not free from Chris-Craft. This situation caused the production team to switch to using Wellcraft 38 Scarab KVs for the remainder of the show. The Scarab 38 KVs were a 28-hued, twin 440-hp boat that sold for $130,000 in 1986.

As a result of the attention the Scarab 38 KV garnered on Miami Vice, Wellcraft received “an onslaught of orders", increasing sales by 21% in one year. In appreciation, Wellcraft gave Don Johnson an exact duplicate of the boat. Afterward, Johnson was frequently seen arriving to work in it. Altogether, 100 copies of the boat, dubbed the Scarab 38KV Miami Vice Edition, were built by Wellcraft. The Miami Vice graphics and color scheme, which include turquoise, aqua, and orchid, was available by special order on any model Scarab from 20 to 38 feet.

Don Johnson also participated in the design of the Scarab Excel 43 ft, Don Johnson Signature Series (DJSS), and raced a similar one. The DJSS was powered by twin 650-hp Lamborghini V-12 engines, which caused some problems to the design of the boat due to their size. Overall the boat cost $300,000 with each engine amounting to between $60–$70,000. His interest in boat racing eventually led Johnson to start his own offshore powerboat racing team, named Team USA. Joining him were Hollywood stars including Kurt Russell and Chuck Norris. Johnson won the Offshore World Cup in 1988 and continued racing into the 1990s.

In the show's opening credits, along with both the pilot episode, "Brother's Keeper", and the season 4 episode, "Baseballs of Death", a Grumman Turbo Mallard (G-73T) amphibious airplane (registration # N2969), operated by Chalk's International Airlines made appearances. In the pilot episode, the drug dealer Calderone used N2969 to successfully escape from Crockett and Tubbs at the climax of the episode. In the latter episode, Guerrero made an attempt to escape from the vice team in N2969 but ran out of fuel and was killed after he stole a fisherman's boat which then ran ashore and exploded. In December 2005, N2969 suffered a catastrophic structural failure when the right wing separated from the fuselage as the plane climbed out of Miami bound for the Bahamas. Both crew members and all 18 passengers were killed upon impact with the water.

Overview
Scripts were loosely based on actual crimes that occurred in Miami over the years. This included both local and international and global organized crime. Many episodes focused on drug trafficking (for which real-life Miami was a main hub and entrance point into North America in the early 1980s). Other episodes were based on crimes such as firearms trafficking, for which Miami was equally a gateway for sales to Latin America, as well as the Miami River Cops scandal (a real police corruption ring that involved narcotic thefts, drug dealing and murders), street prostitution, serial home burglaries, crimes committed by Cuban immigrants to Miami following the Mariel boatlift, and yakuza and Mafia activity in Miami. The series also took a look at political issues such as the Northern Ireland conflict, the drug war in South America (e.g. "Prodigal Son"), U.S. support of generals and dictators in Southeast Asia and South America, and the aftermath of the Vietnam War. Social issues like child abuse, homophobia, and the AIDS crisis were also covered.

Personal issues also arose: Crockett separated from his wife Caroline (Belinda Montgomery) in the pilot and divorced in the fourth episode, and later his second wife Caitlin Davies (Sheena Easton) was killed by one of his enemies. In the three episodes "Mirror Image", "Hostile Takeover", and "Redemption in Blood", a concussion caused by an explosion caused Crockett to believe he was his undercover alter ego Sonny Burnett, a drug dealer. Tubbs had a running, partly personal vendetta with the Calderone family, a member of which ordered the death of his brother Rafael, a New York City police detective. Lieutenant Martin Castillo is also frequently haunted by his past in Southeast Asia, which he had spent as a DEA agent in the Golden Triangle.

In the first seasons the tone was lighter, especially when comical characters such as police informants Noogie Lamont (Charlie Barnett) and Izzy Moreno (Martin Ferrero) appeared. Later the content was darker and cynical, with Crockett and Tubbs fighting corruption, and storylines emphasizing the aspect of human tragedy behind a crime. The darker episodes sometimes lacked a denouement, each episode ending abruptly after a climax involving violence and death, often giving the episodes a despairing and sometimes nihilistic feel, despite the trademark glamour and conspicuous wealth.

Given its idiosyncratic "dark" feel and touch, Miami Vice is frequently cited as an example of made-for-TV neo-noir. Michael Mann, who serves as executive producer for the majority of the show's five-year run, is often credited with being one of the most influential neo-noir directors. The second-season episode "Out Where the Buses Don't Run" ranks #90 on TV Guide's 100 Greatest Episodes of All Time list.

Changes
During its five-year run, Miami Vice underwent several noticeable changes in its formula and content. Between seasons one and two, however, these changes were mostly subtle and involves details such as the degree of perfection with which color shades of scene backdrops, props and clothing are matched to each other.

For its third season in 1986–87 after the cancellation of Knight Rider, the show moved from its traditional time slot of 10pm on Friday nights to 9pm, which now put it up against perennial Top 10 show Dallas. This began the show's decline, and in March, 1987, TV Guide ran a cover story entitled, "Dallas Drubs the Cops: Why Miami Vice Seems to be Slipping." Miami Vice's season ratings slipped from #9 in Season 2 down to #27 by the end of Season 3.

Before leaving the series to work on his new television series, Crime Story, Michael Mann handed the role of executive producer to future Law & Order creator Dick Wolf prior to the third season (1986–1987). Wolf had the show focus on contemporary issues like the Troubles in Northern Ireland and capital punishment.

In addition to losing the battle against new timeslot rival Dallas, the general tone of season 3 episodes started to become more serious and less lighthearted than in previous seasons. Comedic scenes and subplots became distinctly rare. True to Dick Wolf's "grabbed from the headlines" approach which he later employed in TV series like Law & Order, storylines focused more on the serious human aspect of crime than on glamorizing the tropical lifestyles of drug dealers and other high-profile criminals. This shift in tone also reflected in the series' fashions, color schemes, and its choice of music. The cast started wearing pronouncedly dark clothing and even earthtones, which had famously been avoided by executive producer Michael Mann in seasons one and two. Color palettes of scene backdrops started becoming much darker as well, with pastels replaced by harsher-appearing shades of neon. Whereas seasons one and two always featured a diverse selection of contemporary, mostly "upbeat" chart music and classic rock and pop, the third season's music lineup became much more somber, with songs like "In Dulce Decorum" by The Damned, "Lives in the Balance" by Jackson Browne, "Mercy" by Steve Jones, and "Never Let Me Down Again (Aggro Mix)" by Depeche Mode. All these changes were decidedly unwelcome both by critics and by many viewers who had become fans of the TV series due to the package that the first two seasons delivered. It caused the producers to retool their approach to Miami Vice for the following fourth season.

By Season 4, most of the original writers had left the series. Stories and story arcs included a courtship and marriage between Sonny Crockett (Don Johnson) and Caitlin Davies (Sheena Easton), and a plot in which Crockett developed amnesia, during which he mistook himself for his drug dealer alter ego and became a hitman. Caroline Crockett, Sonny's first wife, as well as his son Billy reappeared briefly.

Jan Hammer departed from the series at the end of the fourth season, having already handed much of the weekly scoring workload during the season over to John Petersen. The tone of many season 4 episodes grew lighter again, albeit sometimes veering off into the bizarre, e.g. episodes like "The Big Thaw", "Missing Hours", and "The Cows of October". Fashions and scene backdrops largely reassumed the pastel hues of seasons 1 and 2, and the choice of music became more varied again. Hopes by the producers of propitiating former and remaining fans this way only materializing very mutedly, and reception was lukewarm, as evidenced by the show's still declining ratings during season four.

The fifth season (1988–1989) saw the show return to its original timeslot, 10pm on Friday nights and took the show on a yet more serious tone, with storylines becoming dark and gritty – enough so that even some of the most loyal fans were left perplexed. Tim Truman took over scoring the episodes for the remainder of the series' run and brought with him a style of instrumental synthesizer music that was markedly different from Jan Hammer's.

Cancellation
After still-deteriorating ratings during the fourth season, NBC originally planned to order just a shortened fifth season of only 13 episodes, but eventually settled for another full run, which was, either way, going to be the final season. At the beginning of season five, Olivia Brown recalled, "The show was trying to reinvent itself." Dick Wolf said in an interview for E! True Hollywood Story, after the fifth season, it was all just "...kind of over", and that the show had "run its course".

In May 1989, NBC aired the two-hour series finale, "Freefall". Despite its status as the "series finale", there were three episodes that did not air ("World of Trouble", "Miracle Man", and "Leap of Faith"), which appeared during the June re-runs as "Lost Episodes". A fourth, previously unaired episode, "Too Much Too Late", was aired for the first time in 1990, on the USA Network. It has since been run by other networks in syndication with the fifth-season episodes.

Main characters

 * Don Johnson as Detective James "Sonny" Crockett: An undercover detective of the Metro-Dade Police Department. A former University of Florida Gators star wide receiver, he sustained a knee injury which put an end to his sports career. He served two tours in Vietnam – or as he calls it, the "Southeast Asia Conference". He joined Metro-Dade as a uniformed patrol officer and later an undercover detective of the vice unit. Crockett's alias is Sonny Burnett, a drug runner and middleman. His vehicles include a Ferrari Daytona Spyder (later a Ferrari Testarossa), a "Scarab" offshore power-boat, and a sailboat on which he lives with his pet alligator Elvis. The name "Sonny Crockett" had previously been used for a criminal played by actor Dennis Burkley on Hill Street Blues in 1983, where creator Anthony Yerkovich was a writer. Coincidentally, Gregory Sierra who later plays Crockett's boss on Vice appears in the same episodes.
 * Philip Michael Thomas as Detective Ricardo "Rico" Tubbs: A former New York police detective who traveled to Miami as part of a personal vendetta against Calderone, the man who murdered his brother Rafael. After temporarily teaming up with Crockett, Tubbs follows his friend's advice and transfers to "a career in Southern law enforcement", fearing that after his serious violations of NYPD codes of conduct in the pilot episode, he would not be able to resume his job in New York. He joins the Miami department and becomes Crockett's permanent partner. He often poses as Rico Cooper, a wealthy buyer from out of town.
 * Edward James Olmos as Lieutenant Martin "Marty" Castillo: He replaces the slain Rodriguez as head of the OCB. A very taciturn man, Castillo lives a reclusive life outside of work. He was formerly a DEA agent in the Golden Triangle of Southeast Asia during the late 1970s. During his time with the DEA he opposed the CIA in endorsing the trafficking of heroin to finance their overseas operations.
 * Saundra Santiago as Detective Regina "Gina" Navarro Calabrese: A fearless female detective, who after Crockett's divorce, had a brief romance with him. Even though their relationship did not progress they still had a strong friendship.
 * Olivia Brown as Detective Trudy Joplin: Gina's patrol partner. Though tough, she sometimes struggles to cope with the consequences of her job, such as when she shoots and kills a man. Later in the series she has an encounter with a UFO and an alien portrayed by James Brown.
 * Michael Talbott as Detective Stanley "Stan" Switek: A fellow police detective and Larry Zito's best friend. Although a good policeman, later on in the series he falls prey to a gambling addiction. He is also a big fan of Elvis Presley.
 * John Diehl (1984–1987) as Detective Lawrence "Larry" Zito: A detective and Switek's surveillance partner and best friend. He is killed in the line of duty when a drug dealer gives him a fatal overdose.
 * Gregory Sierra (1984) as Lieutenant Louis "Lou" Rodriguez: A police lieutenant who serves as commander of the Vice Unit. He is killed in the fourth episode by an assassin hired to kill Crockett.

Recurring characters

 * Charlie Barnett (1984–1987) as Nugart Neville "Noogie" Lamont: A friend of Izzy's and informant for Crockett and Tubbs. His role was largely taken over by Izzy Moreno after the first season. In his final appearance in Season 4, his role is reduced from street informant to comic relief.
 * Sheena Easton (1987–1988) as Caitlin Davies-Crockett: A pop singer who is assigned a police bodyguard, Crockett, for her testimony in a racketeering case. While protecting Caitlin, Sonny falls in love with her and they marry. Months after their marriage, Caitlin is killed by one of Crockett's former nemeses. Sonny later learns she was seven weeks pregnant, causing him further emotional turmoil.
 * Martin Ferrero (1984–1989) as Isidore "Izzy" Moreno: A petty criminal and fast talker, Izzy is always known for getting into quick money schemes and giving Crockett and Tubbs the latest information from the street.
 * Jose Perez (1985, 1989) as Juan Carlos Silva, a drug dealer and father of Rosetta Silva, and as Jorge "Georgie" Esteban, cousin of Izzy Moreno.
 * Pam Grier (1985, 1989) as Valerie Gordon: A New York Police Department Officer and on-and-off love interest of Tubbs.
 * Belinda Montgomery (1984–1989) as Caroline Crockett/Ballard: Crockett's former wife who moves to Ocala, Florida to remarry and raise their child, Billy. Caroline was having a baby with her second husband in her last appearance.

Guest appearances

Many actors, actresses, musicians, comedians, athletes and celebrities appear throughout the show's five-season run. They play many different roles from drug dealers to undercover cops to madams. The full list can be seen at the link above, as this is just a partial list. Musicians include Sheena Easton, John Taylor, Andy Taylor, Willie Nelson, Gene Simmons, and Ted Nugent Additionally Glenn Frey, Frank Zappa, Phil Collins, Miles Davis, Frankie Valli, Little Richard, James Brown, Leonard Cohen, the Power Station, Coati Mundi, and Eartha Kitt.

Other personalities include auto executive Lee Iacocca and Watergate conspirator G. Gordon Liddy. Athletes include Boston Celtics center Bill Russell, Bernard King, racecar driver Danny Sullivan, and boxers Roberto Durán, and Randall "Tex" Cobb.

Notable actors include Dean Stockwell, Pam Grier, Clarence Williams III, and Brian Dennehy.

The show frequently features guest appearances from up-and-coming actors and actresses, including: Laurence Fishburne, Viggo Mortensen, Dennis Farina, Stanley Tucci,   Jimmy Smits, Bruce McGill, David Strathairn, Ving Rhames, Liam Neeson, Lou Diamond Phillips, Bruce Willis, Ed O'Neill, and Julia Roberts. Additionally Michael Madsen, Ian McShane, Bill Paxton, Luis Guzmán, Kyra Sedgwick, Esai Morales,  Terry O'Quinn, Joaquim de Almeida, Wesley Snipes, John Turturro, Melanie Griffith and Annie Golden to name a few. Notable comedians included: John Leguizamo,  David Rasche, Ben Stiller, Chris Rock, Tommy Chong, Richard Belzer, and Penn Jillette.

Ratings
Series Finale: 22 million viewers & a 14.7 rating on May 21, 1989 from 9 to 11pm. Competition: Everybody's Baby: The Rescue of Jessica McClure (22.9 rating) & Mickey Spillane's Mike Hammer: Murder Takes All (12.8 rating)

Final Airing on NBC: 16.1 million viewers/11.1 rating (June 28, 1989) China Beach drew 10.8 million viewers/8 rating.

In the UK, the series was first aired on BBC One, beginning on Monday, February 4, 1985 at 9:25 pm. It then began airing on Tuesdays at 9:25 pm, before moving to Thursdays in July. Season 1 concluded on August 8, 1985. Season 2 was shown between April 8 and July 15, 1986, and again from July 18 to October 3, 1987. Seasons 3-5 began airing on July 4, 1988 and ended with the finale "Freefall" on August 20, 1990 at 11:00 pm.

In (West) Germany, the series began airing on ARD on December 6, 1986. Seasons 1-3 were aired between 1986 and April 16, 1988, at first on Tuesdays at 9:45 pm, later on Saturday evenings. A few omitted episodes would be aired during 1988-1989. Seasons 4 and 5 aired between October 1991 and September 1992.

In Italy, the series began airing on Rai 2 on April 13, 1986.

Critical response
The series initially attracted controversy and polarized reactions; detractors objected to the show's usage of violence by dressing it with pretty photography, and others accused the show of relying more on visual aspects and music than on coherent stories and fully drawn characters. Civic leaders in Miami have also objected to the show's airing of the city's crime problems all across America. Most civic leaders, however, were placated due to the show's estimated contribution of $1 million per episode to the city's economy and because it boosted tourism to Miami. Gerald S. Arenberg of the National Association of Chiefs of Police criticized the show's glamorous depiction of vice squads, saying "no real vice cops chase drug dealers in a Ferrari while wearing $600 suits. More often than not, they're holed up in a crummy room somewhere, wearing jeans with holes in them, watching some beat-up warehouse in a godforsaken part of town through a pair of dented binoculars".

At the 1985 Emmy Awards Miami Vice was nominated for 15 Emmy Awards, including "Outstanding Writing in a Dramatic Series", "Outstanding Film Editing", "Outstanding Achievement for Music Composition for a series (dramatic underscore)", and "Outstanding Directing". At the end of the night, Miami Vice only won four Emmys. The following day, the Los Angeles Herald-Examiner concluded that more conservative Emmy voters rejected the show's portrayal of hedonism, violence, sex, and drugs.

The show's reputation has grown over time. Television critics Alan Sepinwall and Matt Zoller Seitz ranked Miami Vice as the 51st greatest American television series of all time in their 2016 book titled TV (The Book), with Seitz stating how the show was more influenced by 1960s art house cinema from Europe than by any other contemporary television drama: "Miami Vice superimposed 'ripped-from-the-headlines' details about drug smuggling, arms dealing, and covert war onto a pastel noir dreamscape. It gave American TV its first visionary existential drama".

Impact on popular culture
Miami Vice was a groundbreaking police program of the 1980s. It had a notable impact on the decade's popular fashions and set the tone for the evolution of police drama. Series such as Homicide: Life on the Street, NYPD Blue, and the Law & Order franchise, though being markedly different in style and theme from Miami Vice, follows its lead in breaking the genre's mold; Dick Wolf, creator and executive producer of the Law & Order franchise, was a writer and later executive producer of Miami Vice. Parodies and pastiches of it have continued decades after it airs, such as the Only Fools and Horses Christmas episode "Miami Twice" (1991) and Moonbeam City (2015).

The video game Grand Theft Auto: Vice City, published by Rockstar Games in 2002, is heavily inspired by Miami Vice in multiple ways. It is set in a stylized 1980s Miami inspired fictional city named "Vice City". One of the main characters, Lance Vance, was actually voiced by Philip Michael Thomas. Two undercover police officers appear in a police sports car within the game when the player obtains a three-star wanted level. The two officers, one white and one black, resemble the two leading characters of Miami Vice. In the prequel, Grand Theft Auto: Vice City Stories, there are two officers in the multiplayer mode named Cracker and Butts, a parody of Crockett and Tubbs; these characters share the same role as the undercover cops in Vice City.

Many of the fashion styles and trends popularized by the TV show, such as fast cars and speed boats, unshaven beard stubble, a T-shirt under pastel suits, no socks, rolled up sleeves, boat shoes and Ray Ban sunglasses symbolize the stereotypical image of 1980s fashion and culture.

The show also had a lasting impact on Miami itself. It drew a large amount of media attention to the beginning revitalization of the South Beach and Art Deco District areas of Miami Beach, as well as other portions of Greater Miami, and increases tourism and investment. Even 30 years after Miami Vice first airs, it is still responsible for its share of tourist visits to the city. The fact that Crockett and Tubbs were Dade County officers and not City of Miami police represents the growing notion of metro government in Miami. In 1997, a county referendum changed the name from Dade County to Miami-Dade County. This allows people to relate the county government to recognize notions and images of Miami, many of which were first popularized by Miami Vice. The Dade County Sheriff's Office now became the Miami-Dade Police Department.

Home media
Universal Studios has released all Miami Vice seasons on DVD for regions 1, 2, and 4. Seasons 1 & 2 were released in 2005, and seasons 3 through 5 were released in 2007. The DVD release of the series had been significantly slow due to one of the signature features of the show: the heavy integration of 1980s pop and rock music. The music was difficult to source the rights to and acquire permission to use. (On at least one MCA/Universal Home Video VHS release of the pilot, The Rolling Stones' song "Miss You" had been replaced by generic rock music. ) In the November 2004 announcement for the DVD release of the series, Universal promises that all original music in the series would be intact. On August 21, 2007 Universal announces the November 13, 2007 release of the complete series, with all five seasons on 27 single-sided DVDs. The seasons are in their own Digipak-style cases, and the set is housed in a faux alligator-skin package. Seasons 1 & 2 contained six single-sided discs, rather than the three double-sided discs in the initial release. The Region 2 version has different packaging, does not use double-sided discs, and although there are no special features stated on the packaging they are contained within the season 1 discs.

On March 8, 2016, it is announced that Mill Creek Entertainment had acquired the rights to the series in Region 1; they subsequently re-released the first two seasons on DVD on May 3, 2016.

On October 4, 2016, Mill Creek re-released Miami Vice – The Complete Series on DVD and also released the complete series on Blu-ray.

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

title: Miami Vice


text:
Wikipedia talk:WikiProject Military/Archive 1

Naming conventions
OK, we need to thrash the things out so that we can sort out naming conventions for those formations which are not obvious yet.

As I have said in the editing that I have done to the main page, the British and American army formations that need disambigulating seem to have a settled pattern, with British and US being used as disbigulation prefixes. However, 6th Division (Finland) presents a counterexample to this sort of thing. I think that using prefixes is better, since it avoids the needs for brackets, and it just seems to flow better when read.

Naval and airforce prefixes have hardly been sorted out at all. I have put in links to articles about RAF Squadrons that use RAF as an identifying prefix. To me, that sounds better, and I think that it is sufficiently well known to use. People often say RAF when talking about the Royal Air Force, whereas it is rare to hear people talk about the RN for the Royal Navy outside of military and related circles (and we are all aware of the military's like for acronyms; SNOG [Senior Naval Officer, Gulf], and CINCUS [Commander in Chief, United States Fleet; sink us] come to mind!). I think that using British as prefix for RN formations other than ships would be a good idea. It is less likely to cause confusion. The one fly in the ointment is the Fleet Air Arm. That has squadrons, like the RAF, numbered in a very similar series. However, most people would not know what FAA stands for, and there are other nations with a Fleet Air Arm (Australia for example). The British Squadrons are called NAS or Naval Air Squadron, so perhaps an appropriate disambigulation form for them would be British No. 800 NAS. Possibly NAS should be expanded from acronym form, but I am concerned that would make the article title too long.

I am in two minds about the USN and USAF. People often talk about the USN and USAF in abbreviation form, although as with the RAF, they use the air force abbreviation more. US is a possible prefix, but then so are USN and USAF. I guess that it comes down to which sounds better. That also doesn't cover the USMC, and we still have the Royal Marines to sort out as well! David Newton 17:27 7 Jul 2003 (UTC)

 * Hi. Just got back from my vacation so I haven't had time to read through all your suggestions yet. I only want to point out that using "6th Division (Finland)" lets us use the so called pipe trick, 6th Division (Finland) renders as 6th Division which looks better when the name is repeated a lot of times in an article. If we use Finnish 6th Division, we are forced to write 6th Division to get the same result. -- Jniemenmaa 08:31 23 Jul 2003 (UTC)

That pipe trick is a nice one. Given the amount of time that it would save with typing in the names formations (since there would be no need to type anything after the pipe in most cases), I think that I would in favour of adopting the brackets convention. I am in favour of the most quick way of doing disambigulation, and that beats out my suggestion. I will see what I can about changing the pages that I have created to your format. David Newton 19:52 27 Jul 2003 (UTC)

 * I don't think the pipe trick argument is very strong; it only works when first typing in, afterwards you have two copies anyway. (I never type the name twice when piping btw, always cut-n-paste from the first one.)  Having now seen a bunch of articles in the "  " form, I'm inclined to prefer that; they read better as English article titles, which is the main place that normal readers will have to see the fully written-out name. Stan 21:34 27 Jul 2003 (UTC)

 * I agree with that the form "country unit" looks better as an article title. And yes, the pipe trick argument is an weak one. (but see below) -- Jniemenmaa 09:39, 29 Jul 2003 (UTC)

Another thing. How do we disambiguate between different historial units that have the same name but from the same country? Let me take the Finnish 6th Division as an example again. There were two units with that name, one during the Winter War and one during the Continuation War. The correct way to do it should be Finnish 6th Division (Winter War) and Finnish 6th Division (Continuation War) or maybe Finnish 6th Division (1939-1940). There must be other units with similar problems. Any suggestions? -- Jniemenmaa 09:39, 29 Jul 2003 (UTC)

 * I would base it on the amount of material, keeping in mind that most historical narrative should go with the wars' articles, and a divisional article should be more about the unit itself - patch, commanders, combat locations, etc. So if there is just a paragraph or so for each division, I would put both in a single article; the reader can easily choose which is of immediate interest.  If you have enough material for two articles, then either war's name or year is reasonable for disambiguation. I would tend to go with year of formation a la ships, because it's more factual - sometimes people can get worked up over titling, but a documented date is hard to argue with. (You can always move the page later if you don't like how it looks - several times I've looked at my article title for several months, then decided I hated it and moved the page.) Stan 12:51, 29 Jul 2003 (UTC)

If you guys want, I can make a template. Two articles that look good are US 1st Armored Division and United States Army. I can work on it tomorrow (its late at night here right now...), if you'd like (btw I wrote most of 1st Armored Division, and some of the orbat of United States Army). ugen64 01:10, Oct 11, 2003 (UTC)

There is now a list of military corps and list of military divisions and related sub-entries breaking down by number or name, plus some lists by country (US and British). For the British divisions I've been working on, I've included the relevant lists as a header (similar to the header used for battles). The format I've been using for divisions is:

 * header List of military divisions plus other relevant lists
 * taxobox (or divisionbox, I guess) with insignia, name, date formed and demobed (if known/relevant)
 * brief intro text, usually listing all the major conflicts in which the division saw action
 * unit history, more detailed paragraphs about specific important actions, broken into subsections by period (for me this is usually WWI, WWII and current)
 * formation, list of main brigades and battalions, again broken into subsections by period
 * battles, list of links to battle articles in which the division saw action
 * external links (if any)

For some examples, see list of British divisions in WWI. Does anyone have any comments on this approach? My goal is to complete the WWI British and Anzac divisions. I think it would be good to get some agreement on templates for this project before I go too much further, in case my method is fundamentally flawed. Geoff 07:28, 5 Feb 2004 (UTC)

 * It doesn't appear that your articles deviate from the general thrust of things in any really fundamental way. I'm glad that somebody's tackling them. I've recently been concentrating on filling in the gaps in the US forces, like sticking all of the armored division WWII combat chronicles online. I've also written articles for several of the US armies. David Newton 19:16, 9 Feb 2004 (UTC)

 * Thanks for the response, David. I'll continue as I am going.  I'll be able to expand the WWI sections of some of the British armies. Geoff 07:21, 11 Feb 2004 (UTC)

I liked the List of armies approach, so I made stub version of the idea for navies: List of fleets.

Nice unit taxobox (although perhaps a bit long)
I've found a nice potential unit taxobox at Marine Corps Force Recon. I'd appreciate if others could let me know what they think. David Newton 17:27, 29 Jul 2004 (UTC)

Categorisation of Canadian military
Is there any reason to have Category:Canadian military formations and Category:Canadian military units? Geoff/Gsl 00:00, 18 Aug 2004 (UTC)

 * Well, I'm not a military man, but from what I have learned about military organization, (a little knowledge is a dangerous thing), formations and units are not the same thing. As I understand it, units are the basic building blocks, and formations are formed out them or out of other formations. The distinction appears to be important to military folks.  However, as I said, I'm not an expert in the matter, so if I'm way off base, I could be persuaded to consolidate the two into one category.--Indefatigable 02:12, 18 Aug 2004 (UTC)

Personally, I'd be happy with one category containing all military "things containing people", be they "units" or "formations", but that's just my preference. If you like, we could move this discussion to WikiProject Military and try and get some consensus from other interested parties (assuming there are any). Geoff/Gsl 04:31, 18 Aug 2004 (UTC)

 * Good idea. I'm pasting our discussion into Wikipedia talk:WikiProject Military.

 * What does everybody think? Is the distinction between formation and unit significant enough to have separate categories?  Which of the two following is the better category scheme?

Military of Canada → Canadian military formations → Canadian divisions → Canadian brigades → Canadian military units → Canadian regiments → Canadian battalions → Canadian air squadrons Military of Canada → Canadian military units → Canadian divisions → Canadian brigades → Canadian regiments → Canadian battalions → Canadian air squadrons
 * --Indefatigable 13:55, 18 Aug 2004 (UTC)

 * Personally I find the distinction between unit and formation a bit fuzzy around the edges. Are brigades units or formations?  British infantry regiments are probably formations but British cavalry regiments are probably units.  German regiments, on the other hand, are probably all units.  My concern is that someone reading, say, a Canadian regiment article follows its categories to Canadian military units and finds only regiments and battalions when they might expect to find divisions, corps and armies, not knowing they have to go up a level (to what? "Category:Canadian military formations and units") then down into the formations category to find a division.

 * Personally (again) I would prefer to be able to go to one category and see all military "unit/formation" categories for a given country in one go. It's not like the category is going to get too crowded.  It might be worth having separate categories for naval and air units but until the need arises, a single category will probably suffice.

 * All that said, if we do stick to a single category, I don't know whether "unit" or "formation" or something else is the best term to use. I don't feel too bad calling an army group a unit but it doesn't feel quite right calling a battalion a formation. Geoff/Gsl 01:34, 19 Aug 2004 (UTC)

 * The distinction is there, no doubt about it. However, as Geoff has indicated, most people would consider it a technical distinction and overly complicated. Since most of the people here who write the articles would not know the difference, I would personally be in favour of not reflecting it. Correct terminology should be used wherever possible (for example talking about the inactivation of a US Army unit as opposed to the decommissioning of a US Navy ship), but in this case I think it would probably be too awkward to implement.

 * Something I definitely would like to be standardized is the nomenclature of categories. For example, if you look under the categories for US military bases there are several ways of referring to them. It would be a bit of work to redirect all of them that are decided to be non-standard, but I think it would be worth it. My personal view on matters is that Military service bases should be the form to be used, with Military service being replaced as appropriate. I'll also have to get round to going back through some of the categories that I have populated and indexing them properly. David Newton 09:05, 20 Aug 2004 (UTC)

Naming - Military formations and units
Would Category:Military formations and units be an acceptable title for a single, combined category, replacing the current top-level Category:Military formations? All the national categories would move from, say, Category:British military units to Category:British military formations and units. It's long-winded but should be unambiguous. Geoff/Gsl 23:39, 22 Aug 2004 (UTC)

I came across Category:Military formations and it was a mess, so I sorted it. (See Category talk:Military formations). I sorted it into: And THEN I found this page after I was finished.
 * Category:Individual military units
 * Category:Military unit types
 * Category:Tactical formations

I went for unambigous category names. I'm not sure if the category names I choose are perfect (In particular, I like Geoff's suggestion of "Military units and formations"), but it's alot better then it was. And, now that it's sorted, it should be easy to rename the categories if someone chooses to do so. -- Pioneer-12 00:29, 29 Mar 2005 (UTC)

Use of "The" in Regimental names
Is there any consensus on the naming of articles for Canadian and British regiments? Basically, does one use the definite article "The" in the title of the article? Example: "Royal Canadian Regiment" redirects to "The Royal Newfoundland Regiment" (emphasis mine); following that example (and others, such as the R Nfld R), I decided to at least start the stub for the other "named" infantry and armoured regiments. I noticed today that "The Sherbrooke Hussars" had been moved to "Sherbrooke Hussars". Comments?

BTW, I intend to continue to create the articles under the regiments' formal names, which usually include "The". SigPig 03:52, 31 July 2005 (UTC)

 * OK, answered my own question here. Some regts use the definite article (The GGHG), while others do not (GGFG). Some appear to even have lost the definite article over time (cutbacks can be ridiculous). SigPig 15:26, 31 December 2005 (UTC)

Military Collaboration of the week
I've created a new Wikipedia project for a Miliary Collaboration of the week. Any one who wants to help out is more then welcome. Oberiko 14:59, 14 Feb 2005 (UTC)

Arbitration
Hello. I was wondering if anyone here would mind arbitrating at Template:WWIIGermanAFVs. We're at a roadblock in the debate to include foreign (captured) vehicles in the template or not. Oberiko 06:10, 2 Apr 2005 (UTC)

Civilian control of the military
Just a small note to editors who might be interested in this topic, I've expanded civilian control of the military a fair bit lately and am looking to send it to peer review soon; if anyone has any insights to its improvement before I take that next step, your comments are invited on the talk page. Thanks. — MC MasterChef :: Leave a tip — 00:36, 15 November 2005 (UTC)

Possible project merger
A suggestion was recently made in the Military history WikiProject that this project be merged into it (since we have already begun to deal with military units, which seem to be the main point of interest here). A project merger would have the benefit of centralizing all discussion on these topics in a single place.

I'm interested in any general comments from the members of this project: would you be willing to accept such a merger? Is it a good or a bad idea? Any feedback would be very helpful in determining whether this is a course of action that should be explored further. —Kirill Lokshin 04:08, 31 December 2005 (UTC)

 * I think the two projects are mutually supportive, and there are benefits to be had from sharing ideas, but this project should be for all things about current military and military history should remain that. --Philip Baird Shearer 21:55, 3 January 2006 (UTC)

Articles for the Wikipedia 1.0 project
Hi, I'm a member of the Version_1.0_Editorial_Team, which is looking to identify quality articles in Wikipedia for future publication on CD or paper. We recently began assessing using these criteria, and we are looking for A-Class and good B-Class articles, with no POV or copyright problems. Can you recommend any suitable military articles? By all means mention any FAs as well. Please post your suggestions here. Cheers, Walkerma 06:11, 28 January 2006 (UTC)

RSTA improve
I recently created RSTA it needs to be improved. ⇒   SWAT Jester     Ready    Aim    Fire!  21:38, 7 February 2006 (UTC)

OPSEC
Hello WP: military members. I just want to stress that we maintain OPSEC in any entries here. ⇒   SWAT Jester     Ready    Aim    Fire!  21:38, 7 February 2006 (UTC)

Merging with WikiProject Military history
Given the fact that much of the scope of this project (dealing with military units) is presently being handled by the military history one, and also the fact that the military history one is rather larger and more active, would anyone object to simply merging the two and consolidating our efforts? —Kirill Lok s hin 14:27, 2 March 2006 (UTC)

 * I would like to see them merged as it this project isn't nearly as active and it would allow the active group (which I think would take the more general "Military" name rather then "Military history") to also include articles on Military technology, strategies, logistics etc. Oberiko 01:33, 3 March 2006 (UTC)

I do not think that they should be merged. Current military affairs are not military history. --Philip Baird Shearer 00:52, 5 March 2006 (UTC)

 * Perhaps I am misinterpreting, but I think the switch would go the other way around. It would be Military history wikiproject that would merge into the more generic Military wikiproject. Oberiko 01:05, 5 March 2006 (UTC)

 * No, that's not quite right; the military history project doesn't (and wouldn't, even after the merger) handle all things military. For example, we don't deal with war novels, fictional militaries, military contractors & the military/indistrial complex (except insofar as it appears in actual military events), and so forth.

 * I suppose the best way to put my idea would be that military units would be assigned to WPMILHIST in their entirety (we're handling them anyway, so this is basically a formality). Since this is all the military project deals with at the moment, it would be redirected for the time being (to avoid leaving loose ends) while leaving the possibility of a separate military project re-emerging if anyone wanted to start one to handle the various non-included issues I mentioned above (or even a purely current-affairs project, although that would be, I suspect, too politicized). —Kirill Lok s hin 01:10, 5 March 2006 (UTC)

I don't see how articles like Structure of the British Army is part of the military history project and certainly not the article List of British Army Regiments (2008) although in 2008 the current list (List of British Army Regiments (1994)) like the previous list (List of British Army Regiments (1962)) will become part of the military history project. As Oberiko says the switch could go the other way, military history could become a sub-project of Military. But I do not think that this needs to be perused. As for the structures for military units, they vary over time, and any overlap can be dealt with with (joint) guidelines like the Naming conventions (military units) --Philip Baird Shearer 12:50, 29 March 2006 (UTC)


text: Talk:Latin literature

title: Talk:Latin literature


text:
Talk:Surrealism in the United States

no history
This article doesn't even broach the subject of the Surrealist Movement in the United States. --Daniel C. Boyer 12:41, 7 July 2003 (UTC)

 * Wow. How surreal is that? ;-P --Ronnie McGrit

Shouldn't Bell's American Surrealist Institute get its own entry, rather than posing as the "Surrealist Movement in the United States" which it has nothing in common with? —The preceding unsigned comment was added by 67.75.229.136 (talk • contribs).

 * I am putting this under Requested articles. --Daniel C. Boyer 14:19, 29 Sep 2003 (UTC)

In fact, Bell has nothing to do with the "surrealist movement" what so ever. —The preceding unsigned comment was added by 67.75.229.136 (talk • contribs).

 * Shouldn't Rosemont's Chicago Surrealist Group get its own entry, rather than posing as the "Surrealist Movement in the United States"? Apparently there are two different views of surrealism. They should both be mentioned in a general article about the "surrealist movement in the United States". --Wik 16:47, 24 Sep 2003 (UTC)

Why? I'm sure no one involved with the movement has ever even heard of Bell -- I never had until this entry. You'd be making the assumption that he's had some kind of effect on surrealism in the United States, when really he's just another art critics -- of which there are better. Bell's comments about automatism make it clear that he has no interest in surrealism. —The preceding unsigned comment was added by 67.75.229.136 (talk • contribs).

Charles H.Kerr
Why is the claim (of questionable meaning, as the "these people" reference is not clearly explained) that "Charles H.Kerr publishes these people" mean that [the article] is "self-serving"? Who is the "self" that it serves and how is it served? --Daniel C. Boyer 19:48, 14 Jun 2004 (UTC)

 * I need to see proof, anything valid that proves that the Rosemont's met Breton or if Breton owned any of Penelope's or Franklin's artworks? Any proof of letters between Breton and the Rosemonts, or any proof of Breton even mentioning the Rosemonts in any documented form will suffice. Then I will support this article. —The preceding unsigned comment was added by 24.168.92.117 (talk • contribs).

An end to the edit wars
Well, here I am, after conversing with User:63.169.104.2 here and with User:Daniel C. Boyer here. My question is about these reverts made by 63.169.104.2:
 * 1) "rv. They do not exist",
 * 2) "vested self interest",
 * 3) ""rv, there is no proof they even met Breton", and
 * 4) ""rv.no proof that these groups exist. What do these people look like?"

Please explain why you made these reverts in a way that an outsider to the conflict, such as me, can understand. Daniel can chime in at any time. I want to get to the bottom of this. --Ardonik.talk 18:19, Sep 16, 2004 (UTC)

Dear Ardonik
Dear Ardonik, First, I am not a kook. Second, When I state a, "vested-self" interest, I am stating that with the fact that the good gentlemen Daniel C.Boyer has a vested-self interest as do both the Rosemonts in regards to monopolizing the Surrealist Movement here in the USA. First, Daniel is a contributor to the book, "Surrealist Subversions" that was written by a friend of Franklin Rosemont, Ron Sakolsky, who has an expertise in pirate radio. How he gains the status of an authority on Surrealism is beyond me, but it appears that he was appointed by the Rosemonts to write the book. Am I wrong Daniel? Anyway, Ardonik, if any of this information is new to you, then ask yourself, why does the book, "Surrealist Subversions" get promoted on Wikipedia and is falsely referenced in a bias dominated by Rosemont, and plus he sells the book through Charles H.Kerr, also on his site as well. That is old news. Does the academic community and does the international art community

 * How about the international horticultural community or the international kayaking community? --Daniel C. Boyer 14:41, 17 Sep 2004 (UTC)

or any historical reference people acknowledge Franklin Rosemont as the leader of Surrealism in the USA?

 * Well, Franklin Rosemont is not the "leader of Surrealism in the USA". But once again, the significance of his activity, and Chicago as a centre of surrealist activity in general, is mentioned in the Grove Dictionary of Art, among many, many other places.  --Daniel C. Boyer 14:41, 17 Sep 2004 (UTC)

Ardonik, please go try and talk to Mary Ann Caws, who is a noted and very well respected authority on Surrealism and ask her why wasn't the Rosemonts surrealist art on exhibit in SURREALISM DESIRE UNBOUND or how about asking her if Jennifer Mundy recognizes Boyer or Rosemont as surrealists?

 * The many inaccuracies in the writings of Mary Ann Caws were documented in an article in Arsenal. As for Jennifer Mundy, what you're really arguing is that surrealism should be "monopolized," not by surrealists, but by self-appointed "experts" on surrealism who can't be bothered to read (or whose writings make it clear that even if they have read, they have utterly ignored, every primary source; even the most superficial examination of any primary source, for instance, would clear up this old chestnut about surrealism being an artistic movement) any primary source, and from whose writings it is clear that their primary motivation must be anti-surrealist.  There is also a certain irony here, as you argue for the right of Wigdor and Lindall to be surrealists (even if they express contempt for everything about surrealism, or even assert that they are not surrealists at all), but Boyer and Rosemont must be approved by Jennifer Mundy.  As for "Boyer," it's completely irrelevant, because Boyer himself hereby states once again that he is far from being significant enough in the history of surrealism to warrant mention in the articles Surrealist Movement in the United States or in surrealism.  --Daniel C. Boyer 14:41, 17 Sep 2004 (UTC)

These people are noted and respected authorities on Breton and Surrealism. Ardonik, Please consider what I present here with my total sincerity. I am not a mean person or anyone committed to vandalizing the Wikipedia service. Please believe me! I have a feeling that you understand. Now, recall that the Rosemonts promote themselves as the leaders of the Chicago Surrealist Group and The Surrealist Movement in the USA, they base their reputations on making public statements that they met ANDRE BRETON who is the man responsible for giving Surrealism its international platform and history, plus the brilliant First Manifesto and Second. Anyway, I say that they, (The Rosemonts) never met Andre Breton and that is a falsehood. Ardonik, Please look at this from my perspective and yours with the necessity for CLARITY and FACTS. If I was going to promote my entire existence in Surrealism and base it on the premise that I went to Paris in 1965 to meet Andre Breton, then I would certainly DOCUMENT it in a simple photograph to prove that I met him, if he personally invited me to meet him and welcome me into Surrealism. There is still no picture of the Rosemonts with Breton. ALso, they do not monopolize Surrealism. Not everyone that is a surrealist or is into surrealism agrees with communism and marxism, though they possess tenets that are honorable to the principles of surrealism, they are just distinctions and dogma that should not monopolize surrealist exploration. Look at Jacques Lacan, he insisted on a revolution of human attitudes and with the strong support of the surrealists(his texts in Le Minotaure)and his brilliant analysis of Freudian Psychoanalyis and its transformations, should maintain a dominate base in surrealist exploration instead of political dogma. An approach to surrealism along the lines of Wittgenstein's change of will is worthy of surrealism's desire. Anyway, back to Daniel, it is a fact that he is a contributor to the book and he is friends with the Rosemonts and their group, they do not monpolize Surrealism and Daniel should not be given so many special priviledges in shutting out others who do not conform to his thought. Also, anyone who thinks it proper and to condone and approve of intimidation to get someone to make a statement against their will in order to protect their safety and the safety of others is appalling! —The preceding unsigned comment was added by 63.169.104.2 (talk • contribs).

 * It is absolutely ridiculous to assert that this statement was issued for the purpose of getting Lindall to say he was not a surrealist. --Daniel C. Boyer 14:41, 17 Sep 2004 (UTC)

Terrance Lindall and the Brave Destiny received, "Burn and Kill" threats and he only made that statement to the dangerous person who has harrassing him online. To say that is a credible statement that he is not a surrealist is totally invalid, since he publically admitted to QED that the statement was made in a private E-mail to the person harrassing him out of fear, so he can be left alone. Ardonik, please understand why I seek a consensus. I am not mean nor a vandal. I just want total fairness and the oppurtunity to provide accurate and sound information on Surrealism, in its history and today to this article. Please understand. —The preceding unsigned comment was added by 63.169.104.2 (talk • contribs).
 * It will take me a while to wade through both this and a related conversation on Talk:Surrealism. In the future, please use empty lines to create paragraph breaks...

 * ...like this. You may not think it matters much, but they will make your writing a thousand times less difficult to read, trust me!  Reading now, will respond later.  --Ardonik.talk 22:36, Sep 16, 2004 (UTC)

 * A couple of other comments (I'm not formally replying yet): for someone who edits articles as frequently as you do, I would highly suggest that you log in and get a username. There are many benefits, not the least of which being that your name will be easier to remember and refer to, and that we won't have to wonder whether multiple IP addresses making similar edits are really the same person.  Secondly, whether you choose to get a login or not, sign your posts with a timespamp signature by using four tildes: ~ .  You have the power to make your dialogues much easier to follow!  --Ardonik.talk 22:57, Sep 16, 2004 (UTC)

title: Talk:Surrealism in the United States