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Niagara-on-the-Lake

Niagara-on-the-Lake is a town in Ontario, Canada. It is located on the Niagara Peninsula at the point where the Niagara River meets Lake Ontario, across the river from New York, United States. Niagara-on-the-Lake is in the Niagara Region of Ontario and is the only town in Canada that has a lord mayor. It had a population of 19,088 as of the 2021 Canadian census.

Niagara-on-the-Lake is important in the history of Canada: it served as the first capital of the province of Upper Canada, the predecessor of Ontario. It was called Newark from 1792 to 1797. During the War of 1812, the town, the two former villages of St. David's and Queenston, and Fort George were the sites of numerous battles following the American invasion of Upper Canada, and the town was razed. Niagara-on-the-Lake is home to the oldest Catholic church, the second-oldest Anglican church in Ontario, and the oldest surviving golf course in North America.

Today, Niagara-on-the-Lake draws tourists with its colonial-style buildings, the Shaw Festival, Fort George, wineries, an outlet mall on the highway, and its proximity to Niagara Falls. The Niagara Region has the second-highest percentage of seniors in Ontario.

History
Before the British settlers came, the point where Fort Mississauga is situated was inhabited by at least three Native American tribes: the Neutral (15th century); Seneca (late 17th century); and Mississauga (18th century).

The settlement was founded in 1781 as Butlersburg in honour of Colonel John Butler, the commander of Butler's Rangers. It was later renamed West Niagara to distinguish it from Fort Niagara. It was a British military base and haven for pro-British loyalists fleeing the United States during the volatile aftermath of the American Revolution. Renamed Newark by Lieutenant-Governor John Graves Simcoe in 1792, it was the first capital of Upper Canada (now the province of Ontario). The Upper Canada legislature first met at Navy Hall on September 17, 1792, and met there four more times until June 1796. In 1797, Simcoe moved the capital to York because Newark was very close to the border with the U.S. Newark was renamed Niagara in 1798.

Fort George was built just south of the settlement in 1796-1799. During the War of 1812, Niagara was taken in the Battle of Fort George by American forces in May 1813 after a two-day bombardment by cannon from Fort Niagara and the American fleet, followed by a fierce battle. After capturing Fort George, the Americans built their own fortifications there. The British retook the fort in December 1813 but abandoned it in 1815. The tiny portion of the fort that still remains has been fully restored. Fort Mississauga was built starting in 1813 but was not completed until after the war in 1816. During the war, the settlement of Niagara was razed and burnt to the ground by American soldiers as they withdrew to Fort Niagara. (Afterwards, on December 19, 1813, the British captured Fort Niagara.) The citizens rebuilt Niagara after the war, with the residential quarter around Queen Street and toward King Street, where the new court house was rebuilt out of range of Fort Niagara's cannons.

The Smith's Canadian Gazetteer of 1846 describes "Niagara (formerly called Newark)" as follows:

"It has been a place of considerable trade. On the east side of the town is a large military reserve. About half a mile up the river are the ruins of Fort George, where the remains of General Brock were originally interred; they were removed. A new town-hall and court-house are intended to be erected by the town. There is a fire brigade with two engines and a hook and ladder company. Churches and chapels total five. Two newspapers are published weekly ... Steamboats run daily, as long as the weather will allow of it, from Toronto ... The Niagara Harbour and Dock Company were incorporated in the year 1830 ... the vessels turned out by the Company [include] the steamboat 'London,' which commenced running in the spring of 1845, the fastest boat on the upper lakes ... The Company usually employ about 150 hands; and, when particularly busy, have employed as many as 350. There is also on the premises a marine railway, large enough for hauling up vessels of the first class. Post Office, post every day. Professions and Trades.—Three physicians and surgeons, nine lawyers, twelve stores, taverns, two chemists and druggists, three booksellers and stationers, two saddlers, four wagon makers, two watchmakers, two tallow-chandlers, marble works, two printers, two cabinet makers, one hatter, four bakers, two livery stables, two tinsmiths, three blacksmiths, six tailors, seven shoemakers, one tobacconist, one bank agency, ... large quantities of apples, peaches, and cider are shipped annually."

In 1859, the town built its first public school, Niagara Public School. The town's present name of Niagara-on-the-Lake was adopted around 1880 as a postal address to distinguish the town from Niagara Falls. The name was officially adopted in 1970 when the Town of Niagara and the Township of Niagara merged.

Historic sites
Most of the former military sites, such as Fort George, Navy Hall, and Butler's Barracks, have been restored. Fort George's restoration was done as a "Make Work Project," guided by plans from the Royal Engineers during the Great Depression of the 1930s, an early example of historic preservation. Fort George National Historic Site is a focal point in a collection of War of 1812 sites, which, collectively, are managed by Parks Canada under the name Niagara National Historic Sites. That administrative name includes several national historic sites: Fort Mississauga, Mississauga Point Lighthouse (1804, the first on the Great Lakes), Navy Hall, Butler's Barracks, and Queenston Heights.

Niagara-on-the-Lake features historical plaques. Critical battles in defence of Upper Canada took place here, and at nearby at Queenston and St. David's, both now part of Niagara-on-the-Lake. In one of these, Laura Secord gained her fame (She is known for having walked 32 km out of American-occupied territory in 1813 to warn British forces of an impending American attack). The town was both as a stop on the Underground Railroad for those travelling further into Upper Canada and as a refuge in its own right.

Its stock of regency and classical revival buildings, considered the best in the country from the post-War of 1812 period, led the Historic Sites and Monuments Board of Canada to recommend the town's historic district be designated a National Historic Site of Canada, a designation which was approved in 2003. The historic centre had been designated as a provincial Heritage Conservation District under the Ontario Heritage Act in 1986. Although it did not make the final list, the historic district was considered for nomination as a World Heritage Site. The town has other National Historic Sites of Canada within its boundaries: the Battlefield of Fort George and nearby Fort George, Butler's Barracks, Fort Drummond, Fort Mississauga, the site of the Mississauga Point Lighthouse, the Niagara Apothecary (the oldest apothecary in Canada), the Niagara District Court House, Queenston Heights, Queenston-Chippawa Hydro-electric Plant,  Willowbank  and Vrooman's Battery.

The Gate House, built after 1849, was the site of the former Wilson's Hotel and the inaugural meeting of the Law Society of Upper Canada in 1797. John "Irish John Wilson (1744-~1798) was a sergeant with the Butler's Rangers and Loyalist from New Jersey. The stone foundation of the Gate House is the remains of the hotel after 1849 fire. His son John Wilson Jr. built the nearby Wilson-Guy House.

 * Other historic sites include the Old Court House Theatre, built in 1847; Queen's Royal Park, the site of the former Queen's Royal Hotel; St. Mark's Church, the oldest Anglican Church in Ontario after the Mohawk Chapel; St. Vincent de Paul, the oldest Catholic Church in Ontario; the McFarland House, the oldest building in town; the Niagara Public School, built in 1859; and the Niagara Golf Club, the oldest golf course in North America still in use.

Government
Niagara-on-the-Lake is within the federal electoral district of Niagara Falls, currently represented in the House of Commons of Canada by Tony Baldinelli, and the provincial electoral district of provincial electoral district of Niagara Falls, represented in the Legislative Assembly of Ontario by Wayne Gates.

It is the only municipality in Canada whose elected leader is designated as lord mayor, a title most common in the United Kingdom. Popular legend suggests Prince Edward, Duke of Kent and Strathearn bestowed the title on the mayor of Niagara during a visit to the town in the early 19th century, in recognition of the town's history as the first capital of Upper Canada; however, there is no record of a mayor using it until Jerry Mussen in the early 1920s, and even afterward the title was used only irregularly until the Regional Municipality of Niagara Act of 1969 legislated that "The mayor of the Town of Niagara-on-the-Lake shall be known as the Lord Mayor." The town's current lord mayor is Gary Zalepa, as of the 2022 municipal election. Previous lord mayors have included Betty Disero, Patrick Darte, Dave Eke, Gary Burroughs, Art Viola, Mike Dietsch, Stan Ignatczyk, Jim Marino, Wilbert Dick, Jake Froese and Fred Goring.

Climate
Niagara-on-the-Lake experiences a humid continental climate (Köppen Dfb bordering on Dfa) using the 0 C isotherm but also borders an oceanic climate (Köppen Cfb) using the -3 C isotherm, having four seasons, with warm summers, cold winters, and cool to mild autumns and springs. Snowfall is moderate, averaging around 3 feet (92 cm) per year, one of the lowest yearly snowfall totals received in all of Ontario. A long shoreline along Lake Ontario results in more moderate temperatures than neighbouring cities, as well as seasonal lag.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Niagara-on-the-Lake had a population of $19,088$ living in $7,857$ of its $8,578$ total private dwellings, a change of NaN% from its 2016 population of $17,511$. With a land area of 131.35 km2, it had a population density of in 2021.

Communities
In addition to the primary town site of Niagara-on-the-Lake (the Old Town), the town also includes the settlements of Colemans, Homer, McNab, Mississauga Beach, Queenston, St. Davids, and Virgil.

Glendale is located near the junction of the Queen Elizabeth Way QEW, Highway 405, and Highway 55, and adjacent to the Welland Canal. It is home to the Niagara-on-the-Lake campus of Niagara College and a large outdoor shopping mall.

Virgil, just southwest of the Old Town of Niagara-on-the-Lake, is the area most visited by tourists. The community has a large Mennonite community, who settled in the area from Russia in the early to mid-20th century. Virgil has a large sports park, serving as the centre of Niagara-on-the-Lake's bustling hockey, softball, lacrosse and soccer leagues, two arenas, three baseball diamonds and a skate park. Once a year, on the Victoria Day weekend in May, the community holds its "Virgil Stampede." The festival includes rides, attractions and its annual soccer start-up tournament. Virgil's educational institutions are St. Michael's Elementary School and Crossroads Public School, which opened in September 2011, amalgamating the now-closed Virgil and Colonel John Butler Public Schools. The town's only secondary school, Niagara District, was closed by the District School Board of Niagara in 2010.

The Old Town also had an elementary school on King Street: Parliament Oak Public School. It was on the site of the signing of the Act Against Slavery of 1793, by the first legislative session of the parliament of Upper Canada. The school was closed on June 25, 2015.

 * St. Davids Public School serves Junior Kindergarten to Grade 8 students in the southern part of the municipality.
 * St. Michael Catholic Elementary School serves Junior Kindergarten to Grade 8 students in the southern part of the municipality.
 * Crossroads Elementary School serves Junior Kindergarten to Grade 8 students in the northern part of the municipality.
 * High school students now take a bus to Laura Secord in St. Catharines or to A.N. Myer in Niagara Falls.

Tourism
The town is home to the Shaw Festival, Canada's second largest producing theatre and a repertory company featuring the works of George Bernard Shaw, his contemporaries, or plays about his era (1856–1950), running from April to December. The festival operates four theatres in the centre of town: the Festival, The Jackie Maxwell Studio, The Royal George, and the Court House Theatre. The Festival produces over 750 performances annually, featuring its lauded repertory ensemble and employs over 520 artists, artisans and artsworkers locally.

Along the Niagara Parkway is RiverBrink Art Museum in Queenston. It is home to a collection of over 1,400 artworks and artifacts by Canadian and international artists assembled by Samuel E. Weir. Completed in 1970, the building features Georgian-style architecture, including a mansard roof and gabled windows. It served as Weir's country residence and was converted into an art museum following his death in 1981.

Niagara-on-the-Lake is home to many shops, restaurants, wineries, and a growing number of breweries. Historic Old Town is a popular shopping and dining destination. In 2014, Niagara-on-the-Lake also opened an open-air outlet mall, the Outlet Collection at Niagara, which is Canada's largest open-air outlet mall.

Film location shooting
Films that have used Niagara-on-the-Lake as a filming location include:
 * When Michael Calls, also released as Shattered Silence (1972), starring Michael Douglas, Ben Gazzara and Elizabeth Ashley
 * The Dead Zone (1983), starring Christopher Walken, Martin Sheen, Brooke Adams and Tom Skerritt
 * Samuel Lount (1985)
 * The Experts (1989), starring John Travolta, Arye Gross and Kelly Preston
 * Trapped in Paradise (1994), starring Nicolas Cage, Dana Carvey and Jon Lovitz
 * The Ref (1994), starring Denis Leary, Judy Davis and Kevin Spacey
 * Canadian Bacon (1995), starring John Candy, Alan Alda and Rhea Perlman
 * That Old Feeling (1997)
 * An All American Fairytale (2001)
 * Amelia (2009), starring Richard Gere, Hilary Swank, and Ewan McGregor

Transportation
Niagara-on-the-Lake can be reached by the Queen Elizabeth Way, a highway that stretches to Fort Erie to the south, Hamilton to the west and curves around Lake Ontario to Toronto. Public transportation is served by Niagara-on-the-Lake Transit.

Sports
Niagara-on-the-Lake has a long history of recreational boating. There are 2 boat clubs located there. Niagara-on-the-Lake Sailing Club is located at 10 Melville Street, Niagara-On-The-Lake. Smuggler's Cove Boat Club is located at 16001 Niagara River Parkway, Niagara-On-The-Lake.

Niagara-on-the-Lake has a junior men's hockey team, Niagara Predators in the Greater Metro Junior A Hockey League.

The current team was first registered as Toronto Predators from 2013 to 2020 and relocated after the cancelled 2020-2021 season to NOTL to playoff in the Meridian Credit Union arena located in Virgil.

The team replaced the Niagara-on-the-Lake Nationals, which joined as a Junior A team in 2018-2019 sponsored by the local bar Bricks and Barley. The Nationals left the Canadian Premier Junior Hockey League but announced that the team would fold after their first season due to poor attendance, but returned to play the following season.

The Predators play at the 500 seat Meridian Credit Union Arena across from Centennial Sports Park. Built in 2003-2005 the rink has seating and attached to the smaller Centennial Arena built in 1967.

Niagara-on-the-Lake also has a Men's soccer team, the Lakers, which plays in the Peninsula Soccer League (PSL). The team was formed in the 2019 season and sponsored by a local bar, Sand Trap.

Niagara-on-the-Lake also has a rich history in the sport of lacrosse.

Awards and recognition
The Town of Niagara was the site of the 8th World Scout Jamboree in 1955. Over 11,000 Scouts from 71 countries attended the Jamboree. It was the first to be held outside Europe and had the theme "Jamboree of New Horizons." Niagara-on-the-Lake was named the Prettiest Town in Canada in 1996 by Communities in Bloom, a nationwide beautification programme. The town is now a popular tourist destination, located at the northern terminus of the Niagara Parkway, a scenic drive and biking/walking path.

title: Niagara-on-the-Lake


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Monte Cook

Monte Cook (born January 29, 1968) is an American professional tabletop role-playing game designer and writer, best known for his work on Dungeons & Dragons.

Early years
Cook has been a professional game designer since 1988, working primarily on role-playing games. Much of his early work was for Iron Crown Enterprises as an editor and writer for the Rolemaster and Champions lines. Cook was at one point the editor in charge of both the "Campaign Classics" line of books for the Hero System and the Rolemaster line. Cook worked for Iron Crown Enterprises for four years; two as a freelancer and two as a full-time designer. During this period, Cook wrote the multi-genre setting Dark Space (1990), which was a blend of fantasy, science-fiction, and horror. Cook became the line editor for Hero System, replacing Rob Bell, who left ICE in 1990. Cook left ICE in the early 1990s.

TSR
Cook began working for TSR in 1992 as a freelancer: "writing a whole slew of stuff for the old Marvel game that never came out because the game got canceled". In 1994 Cook came to work at TSR as a game designer. Cook designed Dungeons & Dragons modules such as Labyrinth of Madness (1995) and A Paladin in Hell (1998), and dozens of supplements to the Planescape line including The Planewalker's Handbook (1996) and Dead Gods (1998). Cook also designed the conspiracy game Dark•Matter in 1999.

Wizards of the Coast
After TSR was purchased by Wizards of the Coast, Cook became a senior designer, and was part of the team working on the D&D game's third edition. Cook, Jonathan Tweet, and Skip Williams all contributed to the 3rd edition Players Handbook, Dungeon Master's Guide, and Monster Manual, and then each designer wrote one of the books based on those contributions. Cook was proud of the work he did on the new Dungeon Master's Guide, especially after Gary Gygax gave his team feedback on the book: "He said that the material in the new DMG would help him become a better DM... That was really cool–and satisfying in a 'completion of the circle' sort of way." In 2000, Cook said of his involvement with Wizards of the Coast and Dungeons & Dragons: "It's a great time to be working here... because every product is big, important, and innovative." Cook also worked on Return to the Temple of Elemental Evil, and the d20 Call of Cthulhu (February 2002).

d20 licensed works and Malhavoc Press
Cook left Wizards of the Coast in 2001. Cook wrote the adventure Beyond the Veil (2001), one of the later releases in the "Penumbra" line of d20 System books from Atlas Games. Cook formed the new company Malhavoc Press in 2001 to work with the Sword and Sorcery Studios imprint of White Wolf, starting with the d20 The Book of Eldritch Might (2001) as his first product. The Book of Eldritch Might was the first commercial book sold exclusively as a PDF to be published by a print company. It was an immediate success and has been credited with demonstrating the viability of PDF publishing within the role-playing industry. This and other early Malhavoc products were initially released only in electronic format, though print versions of most of them have since been released by White Wolf, Inc. Malhavoc Press worked with Fiery Dragon Productions after Fiery Dragon ended their arrangement with Sword & Sorcery in 2002, and the majority of the licensed work from Fiery Dragon was through their arrangement with Malhavoc. Cook's work under the Malhavoc banner has included Arcana Unearthed: A Variant Players Handbook. Cook set the d20 rulebook Arcana Unearthed in his giant-dominated world of "The Diamond Throne".

He caused controversy in mid-2004 by exclusively selling his electronic d20 material with the DriveThruRPG.com store, which then used only a proprietary digital rights management-encrypted PDF system. He eventually succumbed to pressure from his customers to sell his products in standard-PDF form, and DriveThruRPG has more recently done the same.

In August 2006, Malhavoc released Ptolus, a campaign setting based on Monte Cook's home game that was used as the playtest campaign for the third edition D&D designers.

Shortly after the release of Ptolus, which Cook has often described as the culmination of his original ambitions for Malhavoc, he announced that he would be focusing on writing fiction and other unspecified forms of creative work, rather than role-playing games, for the foreseeable future. White Wolf and Goodman Games announced his final RPG books. Monte Cook's World of Darkness, his own take on White Wolf's modern horror setting, was released at Gen Con 2007. From Goodman Games is Dungeon Crawl Classics: #50, Vault of the Iron Overlord, which was also targeted for the same Gen Con release.

However, due to demand by fans reading his LiveJournal, and posting their desires on the Malhavoc message boards, Monte Cook released one more RPG product in early 2008, The Book of Experimental Might. This was quickly followed by The Book of Experimental Might II: Bloody, Bold and Resolute.

D&D Next
Cook returned to Wizards of the Coast in 2011. On September 20, 2011, Mike Mearls announced that Cook would be taking over his "Legends & Lore" column for the Wizards of the Coast website. In January 2012, it was revealed that Cook was to be the lead designer for the 5th edition of Dungeons & Dragons. In April 2012, Cook announced his departure from Wizards of the Coast due to "differences of opinion with the company" but not "with [his] fellow designers".

Monte Cook Games and Numenera
Cook co-founded Monte Cook Games, LLC with Shanna Germain in 2012, which is a roleplaying game company that has produced Numenera, The Strange, The Cypher System Rulebook, Invisible Sun, and No Thank You, Evil! which went to press in Fall 2015 after a Kickstarter campaign raised over $100,000 to fund its publication.

Numenera is a Kickstarter-funded table-top RPG created by Cook, set a billion years in the future in a science fantasy and post-apocalyptic setting with streamlined rules that prioritize the story, the action, and the wild ideas. It raised over $500,000 (more than 25 times its goal of $20,000). System playtesting was announced on October 30, 2012, and the game was released on August 14, 2013. Cook has stated that David "Zeb" Cook's (no relation) Planescape fantasy world was a significant influence on concepts in Numenera.

The Ninth World of Numenera was also the setting for a 2013 release of the Thunderstone Advance deck-building game by Alderac Entertainment Group, as well as the 2017 video game Torment: Tides of Numenera, which was developed by InXile Entertainment after a successful Kickstarter campaign.

The Strange is a Kickstarter-funded table-top RPG created by Cook and Bruce Cordell using the same Cypher System ruleset as Numenera. The game, which involves traveling through different worlds known as Recursions, was released in August 2014.

Invisible Sun is a Kickstarter-funded table-top role-playing game created by Monte Cook Games, with a street date released of September 20, 2018. It is a surreal fantasy game with many game accessories.

Stealing Stories for the Devil is a Kickstarter-funded table-top role-playing created by Monte Cook Games. It was released in February 2023. It is billed as a reality-altering heist game, where player characters use different abilities to lie to reality. It is a boxed set with board game-like aspects.

Author
Monte Cook is a graduate of the Clarion Science Fiction and Fantasy Writer's Workshop. After graduating from the 1999 workshop, he has published the novels The Glass Prison and Of Aged Angels. He has also published short stories like "Born in Secrets" (in Amazing Stories), "The Rose Window" (in Realms of Mystery), and "A Narrowed Gaze" (in Realms of the Arcane). He also writes a continuing Call of Cthulhu fiction series, The Shandler Chronicles, in Game Trade Magazine.

In the non-fiction genre, Cook has written The Skeptic's Guide to Conspiracies.

Video games
Cook wrote dialogue for the MMORPG Marvel Heroes.

Personal life
He was married to Sue Weinlein Cook, although they are now divorced.

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

title: Monte Cook


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B News

B News was a Usenet news server developed at the University of California, Berkeley by Matt Glickman and Mary Ann Horton as a replacement for A News. It was used on Unix systems from 1981 into the 1990s and is the reference implementation for the de facto Usenet standard described in and. Releases from 2.10.2 were maintained by UUNET founder Rick Adams.

B News introduced numerous changes from its predecessor. Articles used an extensible format with named headers, first by using labeled equivalents to the A News format. A further refinement in 1983 with News B2.10 was a move to e-mail-compatible headers, to ease message transfers with the ARPAnet. A history database was introduced, allowing articles to be placed in separate directories by newsgroup, improving retrieval speeds and easing the development of separate newsreader programs such as rn. Support was provided for expiring old articles, and control messages (special articles that can automatically cause articles to be erased, or newsgroups to be added or removed) were added.

News B2.10 introduced the hierarchical article storage format carried into C News and InterNetNews, and still commonly seen in many newsreaders and cache programs. Before B2.10, all groups were stored beneath a single parent directory, impairing performance when the group list became large, and requiring that the first 14 characters be unique among all groups due to an old Unix limitation. The hierarchical layout split the groups at the periods, reducing directory sizes and ameliorating the uniqueness problem.

B2.10 contained limited support for moderated newsgroups, with posters needing to manually mail in submissions to an intermediate party who would post articles on their behalf. Moderated groups needed to be prefixed with "mod." In 1986, version B2.11 allowed moderated newsgroups to appear in any hierarchy, and it transparently mailed out moderated group submissions using the normal posting software.

The last B News patch set was released in 1989, after which Rick Adams declared the product obsolete.

About 1989, Eric S. Raymond attempted a rewrite of B News, known alternately as Teenage Mutant Ninja Netnews and News 3.0. A rough version of the software was released and drew attention from around the network, but the project was abandoned shortly thereafter.

title: B News


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Algebraic variety

Algebraic varieties are the central objects of study in algebraic geometry, a sub-field of mathematics. Classically, an algebraic variety is defined as the set of solutions of a system of polynomial equations over the real or complex numbers. Modern definitions generalize this concept in several different ways, while attempting to preserve the geometric intuition behind the original definition.

Conventions regarding the definition of an algebraic variety differ slightly. For example, some definitions require an algebraic variety to be irreducible, which means that it is not the union of two smaller sets that are closed in the Zariski topology. Under this definition, non-irreducible algebraic varieties are called algebraic sets. Other conventions do not require irreducibility.

The fundamental theorem of algebra establishes a link between algebra and geometry by showing that a monic polynomial (an algebraic object) in one variable with complex number coefficients is determined by the set of its roots (a geometric object) in the complex plane. Generalizing this result, Hilbert's Nullstellensatz provides a fundamental correspondence between ideals of polynomial rings and algebraic sets. Using the Nullstellensatz and related results, mathematicians have established a strong correspondence between questions on algebraic sets and questions of ring theory. This correspondence is a defining feature of algebraic geometry.

Many algebraic varieties are differentiable manifolds, but an algebraic variety may have singular points while a differentiable manifold cannot. Algebraic varieties can be characterized by their dimension. Algebraic varieties of dimension one are called algebraic curves and algebraic varieties of dimension two are called algebraic surfaces.

In the context of modern scheme theory, an algebraic variety over a field is an integral (irreducible and reduced) scheme over that field whose structure morphism is separated and of finite type.

Overview and definitions
An affine variety over an algebraically closed field is conceptually the easiest type of variety to define, which will be done in this section. Next, one can define projective and quasi-projective varieties in a similar way. The most general definition of a variety is obtained by patching together smaller quasi-projective varieties. It is not obvious that one can construct genuinely new examples of varieties in this way, but Nagata gave an example of such a new variety in the 1950s.

Affine varieties
For an algebraically closed field $K$ and a natural number $n$, let $A^{n}$ be an affine $n$-space over $K$, identified to $$K^n$$ through the choice of an affine coordinate system. The polynomials $ f $ in the ring $K[x_{1}, ..., x_{n}]$ can be viewed as K-valued functions on $A^{n}$ by evaluating $ f $ at the points in $A^{n}$, i.e. by choosing values in K for each xi. For each set S of polynomials in $K[x_{1}, ..., x_{n}]$, define the zero-locus Z(S) to be the set of points in $A^{n}$ on which the functions in S simultaneously vanish, that is to say

 * $$Z(S) = \left \{x \in \mathbf{A}^n \mid f(x) = 0 \text{ for all } f\in S \right \}.$$

A subset V of $A^{n}$ is called an affine algebraic set if V = Z(S) for some S. A nonempty affine algebraic set V is called irreducible if it cannot be written as the union of two proper algebraic subsets. An irreducible affine algebraic set is also called an affine variety. (Some authors use the phrase affine variety to refer to any affine algebraic set, irreducible or not. )

Affine varieties can be given a natural topology by declaring the closed sets to be precisely the affine algebraic sets. This topology is called the Zariski topology.

Given a subset V of $A^{n}$, we define I(V) to be the ideal of all polynomial functions vanishing on V:

 * $$I(V) = \left \{f \in K[x_1,\ldots,x_n] \mid f(x) = 0 \text{ for all } x\in V \right \}.$$

For any affine algebraic set V, the coordinate ring or structure ring of V is the quotient of the polynomial ring by this ideal.

Projective varieties and quasi-projective varieties
Let $k$ be an algebraically closed field and let $P^{n}$ be the projective n-space over $k$. Let $ f $ in $k[x_{0}, ..., x_{n}]$ be a homogeneous polynomial of degree d. It is not well-defined to evaluate $ f $ on points in $P^{n}$ in homogeneous coordinates. However, because $ f $ is homogeneous, meaning that $ f  (λx_{0}, ..., λx_{n}) = λ^{d} f  (x_{0}, ..., x_{n})$, it does make sense to ask whether $ f $ vanishes at a point $[x_{0} : ... : x_{n}]$. For each set S of homogeneous polynomials, define the zero-locus of S to be the set of points in $P^{n}$ on which the functions in S vanish:

 * $$Z(S) = \{x \in \mathbf{P}^n \mid f(x) = 0 \text{ for all } f\in S\}.$$

A subset V of $P^{n}$ is called a projective algebraic set if V = Z(S) for some S. An irreducible projective algebraic set is called a projective variety.

Projective varieties are also equipped with the Zariski topology by declaring all algebraic sets to be closed.

Given a subset V of $P^{n}$, let I(V) be the ideal generated by all homogeneous polynomials vanishing on V. For any projective algebraic set V, the coordinate ring of V is the quotient of the polynomial ring by this ideal.

A quasi-projective variety is a Zariski open subset of a projective variety. Notice that every affine variety is quasi-projective. Notice also that the complement of an algebraic set in an affine variety is a quasi-projective variety; in the context of affine varieties, such a quasi-projective variety is usually not called a variety but a constructible set.

Abstract varieties
In classical algebraic geometry, all varieties were by definition quasi-projective varieties, meaning that they were open subvarieties of closed subvarieties of projective space. For example, in Chapter 1 of Hartshorne a variety over an algebraically closed field is defined to be a quasi-projective variety, but from Chapter 2 onwards, the term variety (also called an abstract variety) refers to a more general object, which locally is a quasi-projective variety, but when viewed as a whole is not necessarily quasi-projective; i.e. it might not have an embedding into projective space. So classically the definition of an algebraic variety required an embedding into projective space, and this embedding was used to define the topology on the variety and the regular functions on the variety. The disadvantage of such a definition is that not all varieties come with natural embeddings into projective space. For example, under this definition, the product $P^{1} × P^{1}$ is not a variety until it is embedded into a larger projective space; this is usually done by the Segre embedding. Furthermore, any variety that admits one embedding into projective space admits many others, for example by composing the embedding with the Veronese embedding; thus many notions that should be intrinsic, such as that of a regular function, are not obviously so.

The earliest successful attempt to define an algebraic variety abstractly, without an embedding, was made by André Weil. In his Foundations of Algebraic Geometry, using valuations. Claude Chevalley made a definition of a scheme, which served a similar purpose, but was more general. However, Alexander Grothendieck's definition of a scheme is more general still and has received the most widespread acceptance. In Grothendieck's language, an abstract algebraic variety is usually defined to be an integral, separated scheme of finite type over an algebraically closed field, although some authors drop the irreducibility or the reducedness or the separateness condition or allow the underlying field to be not algebraically closed. Classical algebraic varieties are the quasiprojective integral separated finite type schemes over an algebraically closed field.

Existence of non-quasiprojective abstract algebraic varieties
One of the earliest examples of a non-quasiprojective algebraic variety were given by Nagata. Nagata's example was not complete (the analog of compactness), but soon afterwards he found an algebraic surface that was complete and non-projective. Since then other examples have been found: for example, it is straightforward to construct toric varieties that are not quasi-projective but complete.

Subvariety
A subvariety is a subset of a variety that is itself a variety (with respect to the topological structure induced by the ambient variety). For example, every open subset of a variety is a variety. See also closed immersion.

Hilbert's Nullstellensatz says that closed subvarieties of an affine or projective variety are in one-to-one correspondence with the prime ideals or non-irrelevant homogeneous prime ideals of the coordinate ring of the variety.

Example 1
Let $k = C$, and A2 be the two-dimensional affine space over C. Polynomials in the ring C[x, y] can be viewed as complex valued functions on A2 by evaluating at the points in A2. Let subset S of C[x, y] contain a single element $ f  (x, y)$:

 * $$f(x, y) = x+y-1.$$

The zero-locus of $ f  (x, y)$ is the set of points in A2 on which this function vanishes: it is the set of all pairs of complex numbers (x, y) such that y = 1 − x. This is called a line in the affine plane. (In the classical topology coming from the topology on the complex numbers, a complex line is a real manifold of dimension two.) This is the set $Z( f )$:

 * $$Z(f) = \{ (x,1-x) \in \mathbf{C}^2 \}.$$

Thus the subset $V = Z( f )$ of A2 is an algebraic set. The set V is not empty. It is irreducible, as it cannot be written as the union of two proper algebraic subsets. Thus it is an affine algebraic variety.

Example 2
Let $k = C$, and A2 be the two-dimensional affine space over C. Polynomials in the ring C[x, y] can be viewed as complex valued functions on A2 by evaluating at the points in A2. Let subset S of C[x, y] contain a single element g(x, y):

 * $$g(x, y) = x^2 + y^2 - 1.$$

The zero-locus of g(x, y) is the set of points in A2 on which this function vanishes, that is the set of points (x,y) such that x2 + y2 = 1. As g(x, y) is an absolutely irreducible polynomial, this is an algebraic variety. The set of its real points (that is the points for which x and y are real numbers), is known as the unit circle; this name is also often given to the whole variety.

Example 3
The following example is neither a hypersurface, nor a linear space, nor a single point. Let A3 be the three-dimensional affine space over C. The set of points (x, x2, x3) for x in C is an algebraic variety, and more precisely an algebraic curve that is not contained in any plane. It is the twisted cubic shown in the above figure. It may be defined by the equations
 * $$\begin{align}

y-x^2&=0\\ z-x^3&=0 \end{align}$$ The irreducibility of this algebraic set needs a proof. One approach in this case is to check that the projection (x, y, z) → (x, y) is injective on the set of the solutions and that its image is an irreducible plane curve.

For more difficult examples, a similar proof may always be given, but may imply a difficult computation: first a Gröbner basis computation to compute the dimension, followed by a random linear change of variables (not always needed); then a Gröbner basis computation for another monomial ordering to compute the projection and to prove that it is generically injective and that its image is a hypersurface, and finally a polynomial factorization to prove the irreducibility of the image.

General linear group
The set of n-by-n matrices over the base field k can be identified with the affine n2-space $$\mathbb{A}^{n^2}$$ with coordinates $$x_{ij}$$ such that $$x_{ij}(A)$$ is the (i, j)-th entry of the matrix $$A$$. The determinant $$\det$$ is then a polynomial in $$x_{ij}$$ and thus defines the hypersurface $$H = V(\det)$$ in $$\mathbb{A}^{n^2}$$. The complement of $$H$$ is then an open subset of $$\mathbb{A}^{n^2}$$ that consists of all the invertible n-by-n matrices, the general linear group $$\operatorname{GL}_n(k)$$. It is an affine variety, since, in general, the complement of a hypersurface in an affine variety is affine. Explicitly, consider $$\mathbb{A}^{n^2} \times \mathbb{A}^1$$ where the affine line is given coordinate t. Then $$\operatorname{GL}_n(k)$$ amounts to the zero-locus in $$\mathbb{A}^{n^2} \times \mathbb{A}^1$$ of the polynomial in $$x_{ij}, t$$:
 * $$t \cdot \det[x_{ij}] - 1,$$

i.e., the set of matrices A such that $$t \det(A) = 1$$ has a solution. This is best seen algebraically: the coordinate ring of $$\operatorname{GL}_n(k)$$ is the localization $$k[x_{ij} \mid 0 \le i, j \le n][{\det}^{-1}]$$, which can be identified with $$k[x_{ij}, t \mid 0 \le i, j \le n]/(t \det - 1)$$.

The multiplicative group k* of the base field k is the same as $$\operatorname{GL}_1(k)$$ and thus is an affine variety. A finite product of it $$(k^*)^r$$ is an algebraic torus, which is again an affine variety.

A general linear group is an example of a linear algebraic group, an affine variety that has a structure of a group in such a way the group operations are morphism of varieties.

Characteristic variety
Let A be a not-necessarily-commutative algebra over a field k. Even if A is not commutative, it can still happen that A has a $$\mathbb{Z}$$-filtration so that the associated ring $$\operatorname{gr} A = \bigoplus_{i=-\infty}^{\infty} A_i/{A_{i-1}}$$ is commutative, reduced and finitely generated as a k-algebra; i.e., $$\operatorname{gr} A$$ is the coordinate ring of an affine (reducible) variety X. For example, if A is the universal enveloping algebra of a finite-dimensional Lie algebra $$\mathfrak g$$, then $$\operatorname{gr} A$$ is a polynomial ring (the PBW theorem); more precisely, the coordinate ring of the dual vector space $$\mathfrak g^*$$.

Let M be a filtered module over A (i.e., $$A_i M_j \subset M_{i + j}$$). If $$\operatorname{gr} M$$ is fintiely generated as a $$\operatorname{gr} A$$-algebra, then the support of $$\operatorname{gr} M$$ in X; i.e., the locus where $$\operatorname{gr} M$$ does not vanish is called the characteristic variety of M. The notion plays an important role in the theory of D-modules.

Projective variety
A projective variety is a closed subvariety of a projective space. That is, it is the zero locus of a set of homogeneous polynomials that generate a prime ideal.

Example 1

A plane projective curve is the zero locus of an irreducible homogeneous polynomial in three indeterminates. The projective line P1 is an example of a projective curve; it can be viewed as the curve in the projective plane P2 = {[x, y, z]} defined by x = 0. For another example, first consider the affine cubic curve

 * $$y^2 = x^3 - x.$$

in the 2-dimensional affine space (over a field of characteristic not two). It has the associated cubic homogeneous polynomial equation:

 * $$y^2z = x^3 - xz^2,$$

which defines a curve in P2 called an elliptic curve. The curve has genus one (genus formula); in particular, it is not isomorphic to the projective line P1, which has genus zero. Using genus to distinguish curves is very basic: in fact, the genus is the first invariant one uses to classify curves (see also the construction of moduli of algebraic curves).

Example 2: Grassmannian
Let V be a finite-dimensional vector space. The Grassmannian variety Gn(V) is the set of all n-dimensional subspaces of V. It is a projective variety: it is embedded into a projective space via the Plücker embedding:

 * $$\begin{cases} G_n(V) \hookrightarrow \mathbf{P} \left (\wedge^n V \right ) \\ \langle b_1, \ldots, b_n \rangle \mapsto [b_1 \wedge \cdots \wedge b_n] \end{cases}$$

where bi are any set of linearly independent vectors in V, $$\wedge^n V$$ is the n-th exterior power of V, and the bracket [w] means the line spanned by the nonzero vector w.

The Grassmannian variety comes with a natural vector bundle (or locally free sheaf in other terminology) called the tautological bundle, which is important in the study of characteristic classes such as Chern classes.

Jacobian variety and abelian variety
Let C be a smooth complete curve and $$\operatorname{Pic}(C)$$ the Picard group of it; i.e., the group of isomorphism classes of line bundles on C. Since C is smooth, $$\operatorname{Pic}(C)$$ can be identified as the divisor class group of C and thus there is the degree homomorphism $$\operatorname{deg} : \operatorname{Pic}(C) \to \mathbb{Z}$$. The Jacobian variety $$\operatorname{Jac}(C)$$ of C is the kernel of this degree map; i.e., the group of the divisor classes on C of degree zero. A Jacobian variety is an example of an abelian variety, a complete variety with a compatible abelian group structure on it (the name "abelian" is however not because it is an abelian group). An abelian variety turns out to be projective (in short, algebraic theta functions give an embedding into a projective space. See equations defining abelian varieties); thus, $$\operatorname{Jac}(C)$$ is a projective variety. The tangent space to $$\operatorname{Jac}(C)$$ at the identity element is naturally isomorphic to $$\operatorname{H}^1(C, \mathcal{O}_C);$$ hence, the dimension of $$\operatorname{Jac}(C)$$ is the genus of $$C$$.

Fix a point $$P_0$$ on $$C$$. For each integer $$n > 0$$, there is a natural morphism
 * $$C^n \to \operatorname{Jac}(C), \, (P_1, \dots, P_r) \mapsto [P_1 + \cdots + P_n - nP_0]$$

where $$C^n$$ is the product of n copies of C. For $$g = 1$$ (i.e., C is an elliptic curve), the above morphism for $$n = 1$$ turns out to be an isomorphism; in particular, an elliptic curve is an abelian variety.

Moduli varieties
Given an integer $$g \ge 0$$, the set of isomorphism classes of smooth complete curves of genus $$g$$ is called the moduli of curves of genus $$g$$ and is denoted as $$\mathfrak{M}_g$$. There are few ways to show this moduli has a structure of a possibly reducible algebraic variety; for example, one way is to use geometric invariant theory which ensures a set of isomorphism classes has a (reducible) quasi-projective variety structure. Moduli such as the moduli of curves of fixed genus is typically not a projective variety; roughly the reason is that a degeneration (limit) of a smooth curve tends to be non-smooth or reducible. This leads to the notion of a stable curve of genus $$g \ge 2$$, a not-necessarily-smooth complete curve with no terribly bad singularities and not-so-large automorphism group. The moduli of stable curves $$\overline{\mathfrak{M}}_g$$, the set of isomorphism classes of stable curves of genus $$g \ge 2$$, is then a projective variety which contains $$\mathfrak{M}_g$$ as an open subset. Since $$\overline{\mathfrak{M}}_g$$ is obtained by adding boundary points to $$\mathfrak{M}_g$$, $$\overline{\mathfrak{M}}_g$$ is colloquially said to be a compactification of $$\mathfrak{M}_g$$. Historically a paper of Mumford and Deligne introduced the notion of a stable curve to show $$\mathfrak{M}_g$$ is irreducible when $$g \ge 2$$.

The moduli of curves exemplifies a typical situation: a moduli of nice objects tend not to be projective but only quasi-projective. Another case is a moduli of vector bundles on a curve. Here, there are the notions of stable and semistable vector bundles on a smooth complete curve $$C$$. The moduli of semistable vector bundles of a given rank $$n$$ and a given degree $$d$$ (degree of the determinant of the bundle) is then a projective variety denoted as $$SU_C(n, d)$$, which contains the set $$U_C(n, d)$$ of isomorphism classes of stable vector bundles of rank $$n$$ and degree $$d$$ as an open subset. Since a line bundle is stable, such a moduli is a generalization of the Jacobian variety of $$C$$.

In general, in contrast to the case of moduli of curves, a compactification of a moduli need not be unique and, in some cases, different non-equivalent compactifications are constructed using different methods and by different authors. An example over $$\mathbb{C}$$ is the problem of compactifying $$D / \Gamma$$, the quotient of a bounded symmetric domain $$D$$ by an action of an arithmetic discrete group $$\Gamma$$. A basic example of $$D / \Gamma$$ is when $$D = \mathfrak{H}_g$$, Siegel's upper half-space and $$\Gamma$$ commensurable with $$\operatorname{Sp}(2g, \mathbb{Z})$$; in that case, $$D / \Gamma$$ has an interpretation as the moduli $$\mathfrak{A}_g$$ of principally polarized complex abelian varieties of dimension $$g$$ (a principal polarization identifies an abelian variety with its dual). The theory of toric varieties (or torus embeddings) gives a way to compactify $$D / \Gamma$$, a toroidal compactification of it. But there are other ways to compactify $$D / \Gamma$$; for example, there is the minimal compactification of $$D / \Gamma$$ due to Baily and Borel: it is the projective variety associated to the graded ring formed by modular forms (in the Siegel case, Siegel modular forms; see also Siegel modular variety). The non-uniqueness of compactifications is due to the lack of moduli interpretations of those compactifications; i.e., they do not represent (in the category-theory sense) any natural moduli problem or, in the precise language, there is no natural moduli stack that would be an analog of moduli stack of stable curves.

Non-affine and non-projective example
An algebraic variety can be neither affine nor projective. To give an example, let X = P1 × A1 and p: X → A1 the projection. Here X is an algebraic variety since it is a product of varieties. It is not affine since P1 is a closed subvariety of X (as the zero locus of p), but an affine variety cannot contain a projective variety of positive dimension as a closed subvariety. It is not projective either, since there is a nonconstant regular function on X; namely, p.

Another example of a non-affine non-projective variety is X = A2 − (0, 0) (cf. .)

Non-examples
Consider the affine line $$\mathbb{A}^1$$ over $$\mathbb{C}$$. The complement of the circle $$\{ z \in \mathbb{C} \text{ with } |z|^2=1 \}$$ in $$\mathbb{A}^1 = \mathbb{C}$$ is not an algebraic variety (nor even an algebraic set). Note that $$|z|^2 - 1$$ is not a polynomial in $$z$$ (although it is a polynomial in the real cooridnates $$x, y$$). On the other hand, the complement of the origin in $$\mathbb{A}^1 = \mathbb{C}$$ is an algebraic (affine) variety, since the origin is the zero-locus of $$z$$. This may be explained as follows: the affine line has dimension one and so any subvariety of it other than itself must have strictly less dimension; namely, zero.

For similar reasons, a unitary group (over the complex numbers) is not an algebraic variety, while the special linear group $$\operatorname{SL}_n(\mathbb{C})$$ is a closed subvariety of $$\operatorname{GL}_n(\mathbb{C})$$, the zero-locus of $$\det - 1$$. (Over a different base field, a unitary group can however be given a structure of a variety.)

Basic results

 * An affine algebraic set V is a variety if and only if I(V) is a prime ideal; equivalently, V is a variety if and only if its coordinate ring is an integral domain.
 * Every nonempty affine algebraic set may be written uniquely as a finite union of algebraic varieties (where none of the varieties in the decomposition is a subvariety of any other).
 * The dimension of a variety may be defined in various equivalent ways. See Dimension of an algebraic variety for details.
 * A product of finitely many algebraic varieties (over an algebraically closed field) is an algebraic variety. A finite product of affine varieties is affine and a finite product of projective varieties is projective.

Isomorphism of algebraic varieties
Let $V_{1}, V_{2}$ be algebraic varieties. We say $V_{1}$ and $V_{2}$ are isomorphic, and write $V_{1} ≅ V_{2}$, if there are regular maps $φ : V_{1} → V_{2}$ and $ψ : V_{2} → V_{1}$ such that the compositions $ψ ∘ φ$ and $φ ∘ ψ$ are the identity maps on $V_{1}$ and $V_{2}$ respectively.

Discussion and generalizations
The basic definitions and facts above enable one to do classical algebraic geometry. To be able to do more — for example, to deal with varieties over fields that are not algebraically closed — some foundational changes are required. The modern notion of a variety is considerably more abstract than the one above, though equivalent in the case of varieties over algebraically closed fields. An abstract algebraic variety is a particular kind of scheme; the generalization to schemes on the geometric side enables an extension of the correspondence described above to a wider class of rings. A scheme is a locally ringed space such that every point has a neighbourhood that, as a locally ringed space, is isomorphic to a spectrum of a ring. Basically, a variety over $k$ is a scheme whose structure sheaf is a sheaf of $k$-algebras with the property that the rings R that occur above are all integral domains and are all finitely generated $k$-algebras, that is to say, they are quotients of polynomial algebras by prime ideals.

This definition works over any field $k$. It allows you to glue affine varieties (along common open sets) without worrying whether the resulting object can be put into some projective space. This also leads to difficulties since one can introduce somewhat pathological objects, e.g. an affine line with zero doubled. Such objects are usually not considered varieties, and are eliminated by requiring the schemes underlying a variety to be separated. (Strictly speaking, there is also a third condition, namely, that one needs only finitely many affine patches in the definition above.)

Some modern researchers also remove the restriction on a variety having integral domain affine charts, and when speaking of a variety only require that the affine charts have trivial nilradical.

A complete variety is a variety such that any map from an open subset of a nonsingular curve into it can be extended uniquely to the whole curve. Every projective variety is complete, but not vice versa.

These varieties have been called "varieties in the sense of Serre", since Serre's foundational paper FAC on sheaf cohomology was written for them. They remain typical objects to start studying in algebraic geometry, even if more general objects are also used in an auxiliary way.

One way that leads to generalizations is to allow reducible algebraic sets (and fields $k$ that aren't algebraically closed), so the rings R may not be integral domains. A more significant modification is to allow nilpotents in the sheaf of rings, that is, rings which are not reduced. This is one of several generalizations of classical algebraic geometry that are built into Grothendieck's theory of schemes.

Allowing nilpotent elements in rings is related to keeping track of "multiplicities" in algebraic geometry. For example, the closed subscheme of the affine line defined by x2 = 0 is different from the subscheme defined by x = 0 (the origin). More generally, the fiber of a morphism of schemes X → Y at a point of Y may be non-reduced, even if X and Y are reduced. Geometrically, this says that fibers of good mappings may have nontrivial "infinitesimal" structure.

There are further generalizations called algebraic spaces and stacks.

Algebraic manifolds
An algebraic manifold is an algebraic variety that is also an m-dimensional manifold, and hence every sufficiently small local patch is isomorphic to km. Equivalently, the variety is smooth (free from singular points). When $k$ is the real numbers, R, algebraic manifolds are called Nash manifolds. Algebraic manifolds can be defined as the zero set of a finite collection of analytic algebraic functions. Projective algebraic manifolds are an equivalent definition for projective varieties. The Riemann sphere is one example.

title: Algebraic variety


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Communication theory

Communication theory is a proposed description of communication phenomena, the relationships among them, a storyline describing these relationships, and an argument for these three elements. Communication theory provides a way of talking about and analyzing key events, processes, and commitments that together form communication. Theory can be seen as a way to map the world and make it navigable; communication theory gives us tools to answer empirical, conceptual, or practical communication questions.

Communication is defined in both commonsense and specialized ways. Communication theory emphasizes its symbolic and social process aspects as seen from two perspectives—as exchange of information (the transmission perspective), and as work done to connect and thus enable that exchange (the ritual perspective).

Sociolinguistic research in the 1950s and 1960s demonstrated that the level to which people change their formality of their language depends on the social context that they are in. This had been explained in terms of social norms that dictated language use. The way that we use language differs from person to person.

Communication theories have emerged from multiple historical points of origin, including classical traditions of oratory and rhetoric, Enlightenment-era conceptions of society and the mind, and post-World War II efforts to understand propaganda and relationships between media and society. Prominent historical and modern foundational communication theorists include Kurt Lewin, Harold Lasswell, Paul Lazarsfeld, Carl Hovland, James Carey, Elihu Katz, Kenneth Burke, John Dewey, Jurgen Habermas, Marshall McLuhan, Theodor Adorno, Antonio Gramsci, Jean-Luc Nancy, Robert E. Park, George Herbert Mead, Joseph Walther, Claude Shannon and Stuart Hall—although some of these theorists may not explicitly associate themselves with communication as a discipline or field of study.

Models and Elements of Communication Theory
One key activity in communication theory is the development of models and concepts used to describe communication. In the Linear Model, communication works in one direction: a sender encodes some message and sends it through a channel for a receiver to decode. In comparison, the Interactional Model of communication is bidirectional. People send and receive messages in a cooperative fashion as they continuously encode and decode information. The Transactional Model assumes that information is sent and received simultaneously through a noisy channel, and further considers a frame of reference or experience each person brings to the interaction.

Some of the basic elements of communication studied in communication theory are:
 * Source: Shannon calls this element the "information source", which "produces a message or sequence of messages to be communicated to the receiving terminal."
 * Sender: Shannon calls this element the "transmitter", which "operates on the message in some way to produce a signal suitable for transmission over the channel." In Aristotle, this element is the "speaker" (orator).
 * Channel: For Shannon, the channel is "merely the medium used to transmit the signal from transmitter to receiver."
 * Receiver: For Shannon, the receiver "performs the inverse operation of that done by the transmitter, reconstructing the message from the signal."
 * Destination: For Shannon, the destination is "the person (or thing) for whom the message is intended".
 * Message: from Latin mittere, "to send". The message is a concept, information, communication, or statement that is sent in a verbal, written, recorded, or visual form to the recipient.
 * Feedback
 * Entropic elements, positive and negative

Epistemology in Communication Theory
Communication theories vary substantially in their epistemology, and articulating this philosophical commitment is part of the theorizing process. Although the various epistemic positions used in communication theories can vary, one categorization scheme distinguishes among interpretive empirical, metric empirical or post-positivist, rhetorical, and critical epistemologies. Communication theories may also fall within or vary by distinct domains of interest, including information theory, rhetoric and speech, interpersonal communication, organizational communication, sociocultural communication, political communication, computer-mediated communication, and critical perspectives on media and communication.

Interpretive Empirical Epistemology
Interpretive empirical epistemology or interpretivism seeks to develop subjective insight and understanding of communication phenomena through the grounded study of local interactions. When developing or applying an interpretivist theory, the researcher themself is a vital instrument. Theories characteristic of this epistemology include structuration and symbolic interactionism, and frequently associated methods include discourse analysis and ethnography.

Metric Empirical or Post-Positivist Epistemology
A metric empirical or post-positivist epistemology takes an axiomatic and sometimes causal view of phenomena, developing evidence about association or making predictions, and using methods oriented to measurement of communication phenomena. Post-positivist theories are generally evaluated by their accuracy, consistency, fruitfulness, and parsimoniousness. Theories characteristic of a post-positivist epistemology may originate from a wide range of perspectives, including pragmatist, behaviorist, cognitivist, structuralist, or functionalist. Although post-positivist work may be qualitative or quantitative, statistical analysis is a common form of evidence and scholars taking this approach often seek to develop results that can be reproduced by others.

Rhetorical Epistemology
A rhetorical epistemology lays out a formal, logical, and global view of phenomena with particular concern for persuasion through speech. A rhetorical epistemology often draws from Greco-Roman foundations such as the works of Aristotle and Cicero although recent work also draws from Michel Foucault, Kenneth Burke, Marxism, second-wave feminism, and cultural studies. Rhetoric has changed overtime. Fields of rhetoric and composition have grown to become more interested in alternative types of rhetoric.

Critical Epistemology
A critical epistemology is explicitly political and intentional with respect to its standpoint, articulating an ideology and criticizing phenomena with respect to this ideology. A critical epistemology is driven by its values and oriented to social and political change. Communication theories associated with this epistemology include deconstructionism, cultural Marxism, third-wave feminism, and resistance studies.

New modes of Communication
During the mid-1970's, presiding paradigm had passed in regards to the development in communication. More specifically the increase in a participatory approach which challenged studies like diffusionism which had dominated the 1950s. There is no valid reason for studying people as an aggregation of specific individuals that have their social experience unified and cancelled out with the means of allowing only the attributes of socio-economic status, age and sex, representative of them except by assuming that the audience is a mass.

Communication Theory by Perspective/Subdiscipline
Approaches to theory also vary by perspective or subdiscipline. The communication theory as a field model proposed by Robert Craig has been an influential approach to breaking down the field of communication theory into perspectives, each with its own strengths, weaknesses, and trade-offs.

Information Theory
In information theory, communication theories examine the technical process of information exchange while typically using mathematics. This perspective on communication theory originated from the development of information theory in the early 1920s. Limited information-theoretic ideas had been developed at Bell Labs, all implicitly assuming events of equal probability. The history of information theory as a form of communication theory can be traced through a series of key papers during this time. Harry Nyquist's 1924 paper, Certain Factors Affecting Telegraph Speed, contains a theoretical section quantifying "intelligence" and the "line speed" at which it can be transmitted by a communication system. Ralph Hartley's 1928 paper, Transmission of Information, uses the word "information" as a measurable quantity, reflecting the receiver's ability to distinguish one sequence of symbols from any other. The natural unit of information was therefore the decimal digit, much later renamed the hartley in his honour as a unit or scale or measure of information. Alan Turing in 1940 used similar ideas as part of the statistical analysis of the breaking of the German second world war Enigma ciphers. The main landmark event that opened the way to the development of the information theory form of communication theory was the publication of an article by Claude Shannon (1916–2001) in the Bell System Technical Journal in July and October 1948 under the title "A Mathematical Theory of Communication". Shannon focused on the problem of how best to encode the information that a sender wants to transmit. He also used tools in probability theory, developed by Norbert Wiener.

They marked the nascent stages of applied communication theory at that time. Shannon developed information entropy as a measure for the uncertainty in a message while essentially inventing the field of information theory. "The fundamental problem of communication is that of reproducing at one point either exactly or approximately a message selected at another point." In 1949, in a declassified version of Shannon's wartime work on the mathematical theory of cryptography ("Communication Theory of Secrecy Systems"), he proved that all theoretically unbreakable ciphers must have the same requirements as the one-time pad. He is also credited with the introduction of sampling theory, which is concerned with representing a continuous-time signal from a (uniform) discrete set of samples. This theory was essential in enabling telecommunications to move from analog to digital transmissions systems in the 1960s and later. In 1951, Shannon made his fundamental contribution to natural language processing and computational linguistics with his article "Prediction and Entropy of Printed English" (1951), providing a clear quantifiable link between cultural practice and probabilistic cognition.

Interpersonal Communication
Theories in interpersonal communication are concerned with the ways in which very small groups of people communicate with one another. It also provides the framework in which we view the world around us. Although interpersonal communication theories have their origin in mass communication studies of attitude and response to messages, since the 1970s, interpersonal communication theories have taken on a distinctly personal focus. Interpersonal theories examine relationships and their development, non-verbal communication, how we adapt to one another during conversation, how we develop the messages we seek to convey, and how deception works.

Organizational Communication
Organizational communication theories address not only the ways in which people use communication in organizations, but also how they use communication to constitute that organization, developing structures, relationships, and practices to achieve their goals. Although early organization communication theories were characterized by a so-called container model (the idea that an organization is a clearly bounded object inside which communication happens in a straightforward manner following hierarchical lines), more recent theories have viewed the organization as a more fluid entity with fuzzy boundaries. Studies within the field of organizational communication mention communication as a facilitating act and a precursor to organizational activity as cooperative systems.

Given that its object of study is the organization, it is perhaps not surprising that organization communication scholarship has important connections to theories of management, with Management Communication Quarterly serving as a key venue for disseminating scholarly work. However, theories in organizational communication retain a distinct identity through their critical perspective toward power and attention to the needs and interests of workers, rather than privileging the will of management.

Organizational communication can be distinguished by its orientation to four key problematics: voice (who can speak within an organization), rationality (how decisions are made and whose ends are served), organization (how is the organization itself structured and how does it function), and the organization-society relationship (how the organization may alternately serve, exploit, and reflect society as a whole).

Sociocultural Communication
This line of theory examines how social order is both produced and reproduced through communication. Communication problems in the sociocultural tradition may be theorized in terms of misalignment, conflict, or coordination failure. Theories in this domain explore dynamics such as micro and macro level phenomena, structure versus agency, the local versus the global, and communication problems which emerge due to gaps of space and time, sharing some kinship with sociological and anthropological perspectives but distinguished by keen attention to communication as constructed and constitutive.

Political Communication
Political communication theories are concerned with the public exchange of messages among political actors of all kinds. This scope is in contrast to theories of political science which look inside political institutions to understand decision-making processes. Early political communication theories examined the roles of mass communication (i.e. television and newspapers) and political parties on political discourse. However, as the conduct of political discourse has expanded, theories of political communication have likewise developed, to now include models of deliberation and sensemaking, and discourses about a wide range of political topics: the role of the media (e.g. as a gatekeeper, framer, and agenda-setter); forms of government (e.g. democracy, populism, and autocracy); social change (e.g. activism and protests); economic order (e.g. capitalism, neoliberalism and socialism); human values (e.g. rights, norms, freedom, and authority.); and propaganda, disinformation, and trust. Two of the important emerging areas for theorizing about political communication are the examination of civic engagement and international comparative work (given that much of political communication has been done in the United States).

Computer-Mediated Communication
Theories of computer-mediated communication or CMC emerged as a direct response to the rapid emergence of novel mediating communication technologies in the form of computers. CMC scholars inquire as to what may be lost and what may be gained when we shift many of our formerly unmediated and entrained practices (that is, activities that were necessarily conducted in a synchronized, ordered, dependent fashion) into mediated and disentrained modes. For example, a discussion that once required a meeting can now be an e-mail thread, an appointment confirmation that once involved a live phone call can now be a click on a text message, a collaborative writing project that once required an elaborate plan for drafting, circulating, and annotating can now take place in a shared document.

CMC theories fall into three categories: cues-filtered-out theories, experiential/perceptual theories, and adaptation to/exploitation of media. Cues-filtered-out theories have often treated face-to-face interaction as the gold standard against which mediated communication should be compared, and includes such theories as social presence theory, media richness theory, and the Social Identity model of Deindividuation Effects (SIDE). Experiential/perceptual theories are concerned with how individuals perceive the capacity of technologies, such as whether the technology creates psychological closeness (electronic propinquity theory). Adaptation/exploitation theories consider how people may creatively expand or make use of the limitations in CMC systems, including social information processing theory (SIP) and the idea of the hyperpersonal (when people make use of the limitations of the mediated channel to create a selective view of themselves with their communication partner, developing an impression that exceeds reality). Theoretical work from Joseph Walther has been highly influential in the development of CMC. Theories in this area often examine the limitations and capabilities of new technologies, taking up an 'affordances' perspective inquiring what the technology may "request, demand, encourage, discourage, refuse, and allow." Recently the theoretical and empirical focus of CMC has shifted more explicitly away from the 'C' (i.e. Computer) and toward the 'M' (i.e. Mediation).

Rhetoric and Speech
Theories in rhetoric and speech are often concerned with discourse as an art, including practical consideration of the power of words and our ability to improve our skills through practice. Rhetorical theories provide a way of analyzing speeches when read in an exegetical manner (close, repeated reading to extract themes, metaphors, techniques, argument, meaning, etc.); for example with respect to their relationship to power or justice, or their persuasion, emotional appeal, or logic.

Critical Perspectives on Media and Communication
Critical social theory in communication, while sharing some traditions with rhetoric, is explicitly oriented toward "articulating, questioning, and transcending presuppositions that are judged to be untrue, dishonest, or unjust." (p. 147) Some work bridges this distinction to form critical rhetoric. Critical theories have their roots in the Frankfurt School, which brought together anti-establishment thinkers alarmed by the rise of Nazism and propaganda, including the work of Max Horkheimer and Theodor Adorno. Modern critical perspectives often engage with emergent social movements such as post-colonialism and queer theory, seeking to be reflective and emancipatory. One of the influential bodies of theory in this area comes from the work of Stuart Hall, who questioned traditional assumptions about the monolithic functioning of mass communication with his Encoding/Decoding Model of Communication and offered significant expansions of theories of discourse, semiotics, and power through media criticism and explorations of linguistic codes and cultural identity.

Axiology
Axiology is concerned with how values inform research and theory development. Most communication theory is guided by one of three axiological approaches. The first approach recognizes that values will influence theorists' interests but suggests that those values must be set aside once actual research begins. Outside replication of research findings is particularly important in this approach to prevent individual researchers' values from contaminating their findings and interpretations. The second approach rejects the idea that values can be eliminated from any stage of theory development. Within this approach, theorists do not try to divorce their values from inquiry. Instead, they remain mindful of their values so that they understand how those values contextualize, influence or skew their findings. The third approach not only rejects the idea that values can be separated from research and theory, but rejects the idea that they should be separated. This approach is often adopted by critical theorists who believe that the role of communication theory is to identify oppression and produce social change. In this axiological approach, theorists embrace their values and work to reproduce those values in their research and theory development.

title: Communication theory


text:
Boss

Boss may refer to:

Occupations

 * Supervisor, often referred to as boss
 * Air boss, more formally, air officer, the person in charge of aircraft operations on an aircraft carrier
 * Crime boss, the head of a criminal organization
 * Fire boss, a person in charge of mine safety
 * Pit boss, the person who looks after the employees who work in a casino pit
 * Political boss, a person who controls a political region or constituency

Places

 * Boss, Missouri, United States, an unincorporated community
 * Boss, Texas, United States, an unincorporated community
 * Boss (crater), a lunar crater

As a real name

 * Boss (surname)
 * Boss Mustapha, politician, Secretary of the Nigerian government (2017–2023)

Athletes

 * Lance Armstrong ("Le Boss", born 1971), former professional cyclist
 * Sasha Banks (born 1992), American professional wrestler
 * Tomás Boy ("El Jefe", 1951–2022), former Mexican professional football player and current coach
 * Bobby Lashley (born 1976), American professional wrestler
 * Helmut Rahn ("Der Boss", 1929–2003), German football player
 * Andrew Reynolds (skateboarder) (born 1978), American professional skateboarder
 * George Steinbrenner (1930–2010), owner of the New York Yankees baseball team
 * Jos Verstappen (born 1972), Dutch Formula One driver

Musicians

 * Boss (rapper) (née Lichelle Laws, 1969–2024), American rapper
 * Gene Ammons ("The Boss", 1925–1974), American jazz musician and songwriter
 * Ross the Boss Friedman (born 1954), guitarist of The Dictators and Manowar
 * Diana Ross ("The Boss", born 1944), American singer and actress
 * Rick Ross ("The Boss", born 1976), American rapper
 * Bruce Springsteen ("The Boss", born 1949), American singer and songwriter

Politicians

 * Richard J. Daley (1902–1976), former mayor of Chicago, Illinois, United States
 * Alexander Robey Shepherd, 1835–1902), Washington, D.C., politician
 * William M. Tweed (1823–1878), notoriously corrupt New York City politician

Other people

 * Joe Lycett, English comedian, television presenter and painter who briefly changed his name to Hugo Boss
 * Ernest Shackleton (1874–1922), Anglo-Irish explorer

As a ring name

 * Ray Traylor (1963–2004), American professional wrestler, one of whose ring names was "The Boss"

Fictional characters

 * Boss (Mazinger), from the anime Mazinger Z
 * Big Boss (C.O.P.S.), a crime boss from the animated series C.O.P.S.
 * Big Boss (Metal Gear), a character in the Metal Gear video game series
 * Boss Hogg, the main villain of the television show The Dukes of Hazzard
 * Pointy-haired Boss, the office nemesis of cartoon character Dilbert
 * The Boss (Metal Gear), a character in the video game Metal Gear Solid 3: Snake Eater
 * "The Boss," title bestowed upon the narrator of A Connecticut Yankee in King Arthur's Court
 * "The Boss", Nicolas Lucifer III, from the animated series The Baskervilles
 * "The Boss" (simply known as "playa" in the first game), the main character of the Saints Row series

Film

 * Boss (2006 film), an Indian Telugu-language film
 * Boss (2011 film), an Indian Kannada-language film
 * Boss: Born to Rule, a 2013 Indian Bengali-language film starring Jeet
 * Boss 2, its 2017 sequel
 * Boss (2013 Hindi film), an Indian Hindi-language film starring Akshay Kumar
 * The Boss (1915 film), a silent film based on a play by Edward Sheldon (see below)
 * The Boss (1956 film), an American film by Byron Haskin
 * The Boss (1973 film) or Il Boss, an Italian crime film
 * The Boss (1975 film), a blaxploitation film
 * The Boss, a 2005 short film starring Jennifer Sciole
 * The Boss (2016 film), an American film starring Melissa McCarthy
 * Sivaji: The Boss, a 2007 Indian film by S. Shankar

Bands

 * Boss (Australian band), a 1980s hard rock band
 * The Boss (band), a South Korean boy band

Albums

 * Boss (album), by Magik Markers, 2007
 * The Boss (Diana Ross album), 1979
 * The Boss (Jimmy Smith album), 1968
 * The Boss (Timati album), 2009

Songs

 * "Boss" (Fifth Harmony song), 2014
 * "Boss" (Lil Pump song), 2017
 * "Boss" (NCT U song), 2018
 * "Boss", a song by the Carters from the album Everything Is Love, 2018
 * "Boss" by Mirror, 2021
 * "The Boss" (Diana Ross song), 1979
 * "The Boss" (Rick Ross song), 2008
 * "The Boss", a song by James Brown from the soundtrack Black Caesar, 1973
 * "The Boss", a song by A. R. Rahman from the soundtrack Sivaji, 2007

Television

 * Boss (TV series), a 2011 US series starring Kelsey Grammer
 * The Boss (TV series) or The Peter Principle, a British television sitcom
 * "Boss", an episode of Life's Work
 * Bimorphic Organisational Systems Supervisor, a fictional supercomputer in the Doctor Who television serial The Green Death

Other

 * Boss (video games), a particularly powerful enemy or opponent in a video game
 * Boss Radio, a 1960s pop radio format
 * Boss: Richard J. Daley of Chicago, a 1971 book by Mike Royko
 * The Boss, a 1911 Broadway play by Edward Sheldon
 * BOSS: Baap of Special Services, a 2019 web series

Science and technology

 * Boss (geology), a body of igneous rock
 * Boss (engineering), an engineering term for a protrusion type feature
 * Boss General Catalogue, an early 20th century star catalog
 * BOSS (molecular mechanics) (Biochemical and Organic Simulation System), a molecular modeling program
 * Balanced Optical SteadyShot, an image stabilization technology used in Sony video cameras
 * Baryon Oscillation Spectroscopic Survey
 * BOSS Great Wall, the largest known galaxy wall
 * Bharat Operating System Solutions, Linux distribution developed by NRCFOSS/C-DAC, India
 * Big Occultable Steerable Satellite, a system for observing distant planets
 * Bride of sevenless, a promoter for the sevenless gene
 * "Boss", nickname of the robot that won the 2007 DARPA Grand Challenge
 * Yahoo! Search BOSS, a web services platform initiative

Other uses

 * Boss (architecture), a protruding stone, often decoratively carved
 * Boss Coffee, a brand of Japanese coffee-flavored beverages
 * Boss Audio, a company that manufactures audio equipment for automotive and marine applications
 * Boss Corporation, a company that manufactures guitar accessories and audio equipment
 * Boulder Outdoor Survival School (BOSS), in Boulder, Utah
 * Bureau of State Security (B.O.S.S.), a South African state security agency from 1966 to 1980
 * Shield boss, the domed metal centre to a shield
 * The Boss (roller coaster), a wooden roller coaster at Six Flags St. Louis
 * A series of modified Ford engines used for NASCAR racing, including:
 * Ford Boss 302 engine
 * Boss 351
 * Boss 429
 * "Boss", the bone shield of some adult Bovinae bull's horns, such as the African buffalo
 * Boss, the bony mass on the skull of some dinosaurs from family Ceratopsidae
 * Boss, the hub of a propeller
 * Boss, an alternate name for one personality type in the Enneagram of Personality theory
 * Hugo Boss, often stylised as BOSS, a German fashion house
 * BOSS GP, European motor racing series
 * Lifting boss, knobs or protrusions left by masons on blocks to facilitate levering or lifting
 * Bosnian Party (BOSS), a political party in Bosnia and Herzegovina

title: Boss


text:
Talk:List of 1970s punk rock musicians

Early discussions
The Tubes? -- Punk? Does anybody else think so? Sjfloat 16:56 18 Jun 2003 (UTC)

 * On further reading, probably not - I'll take them off the list. I didn't know much about them, still don't know quite enough to write an article, though they sound sorta interesting. Now - Adam and the Ants, punk???? Does anybody else think so? (New Romantic IMHO). GRAHAMUK 04:43 9 Jul 2003 (UTC)

 * I rather liked The Tubes first album. They were intentionally a sort of parody. But I still thought their stuff was pretty great. Maybe I'm among those that they were poking fun at. :) I can't help thinking that the name of what was probably their most popular tune, 'White Punks on Dope', may have contributed to the supposed punk association.  But a quick listen to their music dispels any such idea. They were in a sense rebelling (or at least critically commenting) against the 70's AOR institution and pop culture in general, but stylewise they exhibited the very bombast and excess that punk rose up to overthrow; and again, this was probably part of the joke (though I still think they performed it pretty well). As far as Adam and the Ants go, the stuff I'm familiar with I would not call punk. But I think they may have had a punkier, somewhat more obscure history, i.e. before their pop radio days. Someone more knowledgeable should weigh in on this.Sjfloat 17:49 10 Jul 2003 (UTC)

Something else to point out, a lot of bands mentioned and noted, though great, were definitely not part of the first wave, and wow, I mean for california alone, a lot of first wave bands are missing and a lot of second wave bands have taken their place. It's amazing with the vast resources that the internet and collectors have to offer, that great bands from labels like Dangerhouse are missing. Where are the Randoms? Where's Black Randy and the Metrosquad? PLEASE DO RESEARCH BEFORE MAKING A HORRIBLE LIST LIKE THIS!! —Preceding unsigned comment added by 76.174.103.204 (talk) 20:15, 4 February 2009 (UTC)

Later...
Black Flag was arguably a good, genuine punk band. But I wouldn't put them in the 'First Wave'. Both the London and NY scenes (and probably DC's, I guess) were pretty mature by the time they showed up. Right? Weren't they more Second Wave, hardcore, L.A.? Might say the same or similar of DK, The Germs, The Dickies, etc.
 * I think the person who added that was referring to the original black flag line-up with Keith Morris of the Circle Jerks, before Rollins showed up. That line-up released a Nervous Breakdown EP in 1978, which was definatley early enough to be first wave. Meltingwax 17:38, 18 February 2007 (UTC)

 * Agreed. 71.68.17.30 18:03, 5 June 2007 (UTC)

Earlier...
Also, I'm not sure the Dolls belong here either. They were sort of antecedents. There's a list for that: Pre-Punk Bands (and they're already there BTW). Sjfloat 17:49 10 Jul 2003 (UTC)

Channel 3
Orange County punk band Channel 3 must have been an oversight on your part.

 * Yes, Channel 3 was a punk band prior to their awful "Airborne" album. The CD "The Skinhead Years" offers a good retrospective.  I have returned them to their rightful place on the list. Gaohoyt 00:19, 3 April 2007 (UTC)

First Wave Time Period
Of course this is arguable, but the First Wave of Punk is 74-78. Some even argue that it ended when "Never Mind the Bullocks..." was released (Sex Pistols) because of it's effect upon the idea of punk itself. It became a fashion. I suggest at least excluding any band formed after 78 in the First Wave List of Punk Bands. Matthewbtyler 20:35, 20 August 2006 (UTC)matthewbtyler

 * Consensus for this article seems to agree that the timespan covered is 76-80, hence reverted deletions of Crass, Black Flag, etc quercus robur 21:34, 20 August 2006 (UTC)

Matthewbtyler is right... WP:OWN seems to be been violated by people who are clueless about the genre. There should be a list for actual, real punk, as Matthewbtyler suggested, then "second wave" covering Oi!, hardcore and anarcho, as that is the time frame they came in. - Deathrocker 14:16, 5 April 2007 (UTC)

Cleaning up
I'm deleting bands without Wikipedia articles, bands that started in 1980 or later, bands that aren't really punk rock, and bands that aren't notable. I'm also adding headings and alphabetizing it better.Spylab 13:53, 23 August 2006 (UTC)Spylab

 * Keep your dirty mits off unless you're willing to write some articles for those bands. 71.68.17.30 18:05, 5 June 2007 (UTC)

Seperate lists
There needs to be strickly seperate lists for punk rock and hardcore bands, the current list pretends hardcore is punk, when the two are different forms of must. - Deathrocker 00:31, 24 August 2006 (UTC)
 * The're not different. Hardcore is a subgenre of punk rock.  WesleyDodds 13:31, 22 January 2007 (UTC)
 * They're very different... If you're going to see genres that way, realize that you can start equating The Circle Jerks with Elvis Presley. 71.68.17.30 18:06, 5 June 2007 (UTC)

Would you consider X Hardcore Punk or Regular Punk? I think they're Hardcore. It seems to work better as one long list. Aaronproot

Adds
I've added The Rings and The Worst. The Rings are pretty well known. From London, included Twink and Alan Lee Shaw - played Mont-de-Marsan in 1977. Single I wanna be free. The Worst are more obscure. From Manchester they tried to top everybody else with ramshackle amateurism. I saw them at the London Roundhouse, maybe with The Buzzcocks. Both bands require disambig before linking.Wwwhatsup 16:45, 2 December 2007 (UTC)

First, second, third, and fourth waves of punk
Here's my two-penneth (or two cents) - this is how I perceived things at the time:

pre-punk or the godfathers of punk
these were the bands that formed well before the first wave of punk and were cited as big influences by the first wave and would have been classified as punk had they formed later.

they include: the stooges, new york dolls, velvet underground, mc5, (and possibly others).

Ad1mt (talk) 16:22, 5 August 2008 (UTC) —Preceding unsigned comment added by Ad1mt (talk • contribs) 16:11, 5 August 2008 (UTC)

Agreed about your choices: Add to this The Pink Fairies, closely related to MC5 (Mick Farren). Also The Slits claim Patty Smith as influence.(EstherLaver (talk) 22:48, 26 January 2011 (UTC))

first wave
these were the bands that were influenced by the "godfathers" of punk or other 60's bands, without being influenced by any of their contemporaries, during the period between mid-1974 through end of 1975.

they include patti smith, the ramones, the sex pistols, the saints (australia), the bands that included richard hell, the stranglers and the jam (possibly a few others).

it must be remembered that punk started in both new york & london (& arguably australia) independently & at the same time, although there was some cross-influence via an NME article about new york punk & via malcolm mclarens failed atttempt to revive the new york dolls. I might have missed some new york bands but I think you get the idea.

some dispute that the stranglers and the jam were punk. however I saw the stranglers several times in 1976-7, and in my view they had the attitude of punk (big time), and also the challenging lyrics of punk, although their music was much more adventurous than most punk, but this was never a problem for me. I never saw the jam live, but the fact that mark perry wrote about them in his legendary & seminal punk fanzine sniffing glue is good enough for me.

second wave
these were the bands that formed no later than Dec 1976 (before punk hit the mainstream when the sex pistols swore on UK TV). They were directly inspired to form by seeing one of the first wave of punk bands, and not by learning about punk in the media.

there are too many to mention, but UK bands would include: the clash, souxsie & the banshees, the buzzcocks, the damned, generation x, the adverts. US bands would include crime, talking heads.

third wave
these were the bands that formed during the punk heyday of january 1977 through the early 1980s, usually after learning about it in the media, or by direct influence by the one of the first or second waves. there are far too many to mention, and probably number over a 1000 in the UK alone.

fourth wave
these are the bands that formed in the last 20 years (the punk "revival"), well after the punk heyday that ended in the early 1980s.

Ad1mt (talk) 16:00, 5 August 2008 (UTC)

 * In my opinion, the above classification has similarities with how most British critics view the development of punk. However, it is not helped by including both American and British bands. The two countries had two very distinct scenes. The first wave in Britain is usually seen as embracing bands formed in 1976 and the first half of 1977. (After all, the legendary Roxy Club didn't even open as a punk club until December 1976). The second wave are those bands formed in the wake of the initial 'Punk Explosion'. The third wave (1979 onwards) is contemporaneous with Oi!, the ska revival, the electronic music boom and the increasing popularity of 'post-punk'. Yozzer66 (talk) 21:34, 22 August 2008 (UTC)

 * Why have this divide between the US & UK bands? - it just doesn't make sense. There was massive influence in both directions, especially from the Ramones on the first & second waves of the UK punk scene in 1976.  Its difficult to imagine now how important the 1st Ramones album was. I was totally blown away by it, and there is an interview with Joe Strummer that I saw (I think on the Ramones doc "20th Century") where he says this too - all the early UK punk bands idolised the Ramones. I've seen a photo taken in the Roundhouse dressing room of Johnny Rotten sitting at the feet of Johnny Ramone in awe, I've read that Sid Vicious idolised Dee-Dee & that Sid's chain & padlock necklace was given to him by Dee-Dee - you never see a photo of Sid without it.

 * The reason I have such strict classifications of the early waves of punk, is that (in my opinion admittedly), 99% of the punk bands that formed after the Pistols swore on TV, were totally derivative, formulaic, boring crap. I can think of only one post-1977 band that were good - a Newcastle band called Punishment Of Luxury, who were genuinely original (there will be others I could think of - I just can't think of them right now).  To me, its very interesting and significant that every one of the first wave of punk bands and most of the second wave refused to describe themselves as punk.

 * One final point. The significance & meaning of the Punk is different to every person you ask.  Some say it was about revitalising pop music.  Some say it was a revitalising of the whole culture (not just music), including fashion and graphic design and the music industry itself (i.e. the do-it-yourself label philosophy).  Some say it was a musical dead-end.  And all these views are correct in some way - there will never be complete agreement.  In my opinion it was the "formularisation" of punk which occurred in 1977 with explosion of new bands, that ultimately was its downfall.

Ad1mt (talk) 14:48, 14 November 2008 (UTC)

 * For the purposes of this list, if you do not make the distinction between US & UK bands then the 'first wave' must consist solely of a handful of Americans. ALL of the multitude of UK punk bands came after the small but influential American (by which we mean the New York) scene. In Britain, pub rock directly preceded, and overlapped with, early the punk scene. Those bands were equally as influential as the New York bands and helped to give the British punks a distinctive, native feel. (For example, many early punks cite Dr. Feelgood as a huge source of inspiration. Other punk bands started life as pub-rockers. Groundbreaking labels such as Stiff Records championed both pub-rockers and punks, and they often toured together). Yozzer66 (talk) 13:30, 15 November 2008 (UTC)

Pub Rock wasn't punk. The early CBGB bands were punk, it was with them that the concept, the approach, most of what came to defined as punk was born...they were definitely far more influential than pub rock. Pub rock definitely played it's role in the development, but it wasn't much more significant than the influence from say, Glam Rock or early Power Pop. It was the New York scene responsible for giving birth to what was first, officially designated as punk, bottom line. Theburning25 (talk) 10:28, 8 June 2010 (UTC)

 * Perhaps this article could be split by country, given that things developed at different paces on opposite sides of various oceans. I agree that the current list in the article is a bit too broad, and that the U.S. bands should just be limited to the anomalies that sprouted up in Cleveland, New York and elsewhere in the early-mid-70s and ruling out any bands that formed in the late 70s/early 80s. Morganfitzp (talk) 02:55, 27 November 2009 (UTC)

This list needs stricter editing
It is no wonder the factual accuracy of the article is disputed. A good proportion of the bands listed are NOT in the first wave of punk music. The list either needs stricter editing OR the article should be re-named (something like 'List of punk musicians performing in the 1970s'). Yozzer66 (talk) 21:42, 22 August 2008 (UTC)
 * Seriously. XTC???  Good band, but whoever listed them as punk, let alone first wave punk, has absolutely no idea what they are talking about.  This is just plain silly.  —Preceding unsigned comment added by 131.158.223.4 (talk) 14:43, 17 October 2008 (UTC)

Initially, in the UK, the definition between 'punk' and 'new wave' was blurred. It simply wasn't clearly defined or was it policed by over-zealous music journalists or fans. Believe it or not, in 1977, the same people that spiked their hair and wore safety pins in the ripped jeans also championed both the Sex Pistols and XTC!!! Yozzer66 (talk) 13:37, 15 November 2008 (UTC)

Deletion Discussion
I've started a deletion dicussion, at Articles for deletion/List of musicians in the first wave of punk rock - not necessarily because I think it should be deleted, but because I don't think it's possible to objectively define who or what constitutes the "first wave". So deletion, a good source that shows there's a generally-accepted definition, renaming, or perhaps something else - not sure what I think the solution is. But please do offer any thoughts you might have. -- Boing! said Zebedee (talk) 23:11, 26 January 2011 (UTC)

Conclusion
I've renamed the article, as decided by consensus at Articles for deletion/List of musicians in the first wave of punk rock -- Boing! said Zebedee (talk) 16:22, 3 February 2011 (UTC)
 * I will see what kind of magic i can pull editing wise --Guerillero |  My Talk   14:06, 4 February 2011 (UTC)

"... musicians"? No, "bands".
This article is mis-named. A musician is a person; this should be a list of people who play punk rock music. Instead, it is almost exclusively contains punk rock bands.

Why isn't it called "List of 1970s punk rock bands"? -- Dan Griscom (talk) 02:01, 16 July 2017 (UTC)

title: Talk:List of 1970s punk rock musicians


text:
Gallatin

Gallatin may refer to the following:

Places in the United States

 * Gallatin, California, now part of Downey
 * Gallatin, Missouri, a city
 * Gallatin, New York, a town
 * Gallatin, Tennessee, a city
 * Gallatin, Texas, a city
 * Gallatin County, Illinois
 * Gallatin County, Kentucky
 * Gallatin County, Montana
 * Gallatin Field Airport in Bozeman, Montana
 * Gallatin River, in Wyoming and Montana
 * Gallatin Range, includes ten mountains in Wyoming and Montana
 * Gallatin National Forest, Montana
 * Gallatin Township, Clay County, Missouri

Ships

 * USS Gallatin (1807), a sailing ship used initially by the U.S. Revenue Cutter Service, fought in the War of 1812
 * USS Gallatin (APA-169), a Haskell-class attack transport acquired by the U.S. Navy during World War II
 * USRC Gallatin, various cutters of the U.S. Revenue Cutter Service
 * USCGC Gallatin, two U.S. Coast Guard ships

Schools

 * Gallatin College, Montana State University
 * Gallatin School of Individualized Study, part of New York University
 * Gallatin High School (disambiguation)
 * Gallatin School (Uniontown, Pennsylvania), on the National Register of Historic Places

Other uses

 * Gallatin (surname)
 * Gallatin Bank Building, constructed in 1887 in Manhattan
 * The codename of an Intel Xeon microprocessor

title: Gallatin