text:
Edgemont (TV series)

Edgemont is a Canadian television series that aired from 2000 to 2004. Edgemont debuted January 4, 2000, on CBC Television and aired its final episode on July 21, 2004. There were a total of 70 episodes during its five-season run; the fifth season was shown commercial-free on the CBC. The series was created by Ian Weir, who also served as executive producer along with Michael Chechik. It was shot in the basement of the CBC Studios in Downtown Vancouver.

The 30-minute show delved into the lives of students at McKinley High School. The plots contained romance, intrigue, jealousy, and all the other elements associated with the adolescent and secondary school scene. The series also explored various social issues, such as racism and homosexuality.

Plot
The first season's plot centres on the relationship, and subsequent breakup, of Jen and Mark. Mark begins to pursue Laurel, and they begin a relationship in the second season. The relationship is rocky due to the very different goals of the two. Mark and Laurel eventually break off the relationship but attempt to remain friends.

There are also many subplots, such as Anika's manipulation of her classmates and friends, Craig's various well-intentioned but ill-fated social projects, Shannon's sexuality crisis, the divorce of Mark, Travis, and Kat's parents, and the rise and fall of Chris's popularity. Many social issues, such as prejudice, divorce, sexuality, and teen pregnancy, are dealt with during the run of the series.

Main

 * Dominic Zamprogna as Mark Deosdade
 * Sarah Lind as Jen MacMahon
 * Kristin Kreuk as Laurel Yeung
 * P.J. Prinsloo as Chris Laidlaw
 * Myles Ferguson as Scott Linton (season 1 )
 * Micah Gardener as Craig Woodbridge
 * Elana Nep as Erin Woodbridge
 * Grace Park as Shannon Ng
 * Vanessa King as Anika Nedeau

 * Richard Kahan as Gil Kurvers (recurring, season 1; main, seasons 2–5)
 * Meghan Black as Kat Deosdade (recurring, season 1; main, seasons 2–4)
 * Daniella Evangelista as Tracey Antonelli (recurring, season 1; seasons 2–5)

 * Chas Harrison as Kevin Michelsen (recurring, seasons 2–3; main, seasons 4–5)
 * Chiara Zanni as Maggie Buckman (recurring, seasons 1–4; main, season 5)
 * Jessica Lucas as Bekka Lawrence (recurring, seasons 2–3; main, seasons 4–5)

Recurring

 * James Kirk as Travis Deosdade
 * Chelan Simmons as Crystal (seasons 1–3)
 * Nicole Leier as Kelsey Laidlaw (seasons 1–4)
 * Andrew Robb as Wayne Litvack (seasons 3–5)
 * John Henry Reardon as Josh Wyatt (seasons 3–5)
 * Sarah Edmondson as Stevie (seasons 4–5)
 * Adrian Petriw as Mitch Leckie (seasons 4–5)
 * Britt Irvin as Paige Leckie (season 4)
 * Vikki Krinsky as Shelby Derouche (season 4)

Ratings
According to show creator Peter Weir, when Edgemont premiered three-quarters of its audience was over the age of 18, and even in its second season approximately half of the audience remained over 18 years of age. Second season episodes averaged approximately 300,000 Canadian viewers.

Critical
Edgemont received generally favorable reviews from The Globe and Mail critics John Doyle and Grant McIntyre.

Broadcast
Edgemont aired on CBC in Canada from 2000 to 2004. The program became moderately successful in Canada, including Quebec where the series was dubbed in French.

In the United States, the series originally aired on Fox Family Channel from January to August 2001, before being removed after completing the first season. The show eventually moved to WAM! starting in June 2005, which aired the series in its entirety. Edgemont later aired on TeenNick from 2009 to 2012, and also aired in syndication on the Fox, MyNetworkTV and The CW affiliates and on Sunday mornings on MeTV from 2012 to 2014 as part of the network's E/I-mandated programming. The series has been streamed online on Hulu.

Edgemont also aired in several other countries, including France.

Home media
A very limited release of the complete series on DVD was offered in 2005 on a cost recovery basis from the official website. It is estimated that between 200 and 300 copies were produced. It was announced on the official website on May 25, 2006, that the DVDs had sold out.

Streaming
As of 2018, the series has begun streaming for free on Canada Media Fund's Encore+ YouTube channel, which as of November 30th, 2022, has ceased operations.

title: Edgemont (TV series)


text:
Talk:Anton Chekhov

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 * I read this exchange. I think you are wrong when stating that "The fact checkow called himself 'maloross' in certain contexts ("Little Russian") does not mean he was Ukrainian. Little Russia is a geographical concept inhabited by Ukrainians, Russians, Ukrainian Cossacks, Russian Cossacks, Serbs, Germans, and who else not. It did have a distinct "South Russian" cultural identity, and that's what Chechow had in mind, not his ethnicity."
 * In Chekhov's times in Russian empire, "maloross" meant Ukrainian. You can check with any unbiased Russian to confirm. When people were saying that they are "maloross" they meant Ukrainian, not that they are Germans with a distinct "South Russian" cultural identity or "who else not". By the same token, if I would say that I am Canadian, you would respond with "no. you actually do not mean that. you mean that you possess a distinct Canadian cultural identity, not the ethnicity." Most of the time you would be plain wrong because Canadian actually means Canadian.
 * Just wonder if Chekhov has ever called himself Russian. Also wonder why those occasions are not dismissed with the statement "oh. he was joking. that is not what he had in mind." 2600:1700:25E0:9870:C579:6A35:1B82:920E (talk) 05:48, 30 April 2022 (UTC)
 * Chekhov knew Ukrainian and one of his friends — Maria Zankovetska was trying to convince him to publish his writings in Ukrainian language instead of Russian. Chekhov preferred to publish in Russian because he was dreaming of an actual career as a writer. Publishing in Ukrainian would make that few magnitudes harder as Ukrainian identity and language were suppressed by Russian Imperial regime for over a century already at the time. Mr Fantastic Knowledge (talk) 17:31, 24 May 2023 (UTC)

He was Ukrainian by ethnicity BTW
Just saying in case anyone is interested. Mr Fantastic Knowledge (talk) 16:45, 26 May 2023 (UTC)

 * In case anyone is interested, the claim above this reply isn't supported by reliable sources making it an original research. Summer talk 22:01, 14 August 2023 (UTC)
 * Чехов як українець.
 * В листі до Д. В. Григоровича Чехов згадує про своє українське походження: «Правда, в моих жилах течет ленивая хохлацкая кровь»
 * В листі до Л. А. Сулержицького Чехов відносить себе до «хохлів»: «Очень рад, что Вы стали Думать иначе о нас, хохлах»
 * В листі до Августина Врзала Чехов дає короткі автобіографічні данні, згадуючи, що: «Дед мой был малоросс, крепостной; до освобождения крестьян»
 * У своєму листі до О. С. Суворина Чехов підкреслює свою любов до криниць-журавлів та побілених хат, пояснюючи це своєю «хохлацкой кровью»
 * У листі до Суворина Чехов пише про свою «хохлацкую логику»
 * 188.163.104.39 (talk) 14:11, 18 September 2023 (UTC)

 * This already appears on the page in section "Childhood". Perhaps something could be added, but one would need a couple of strong secondary RS to place this to proper context. My very best wishes (talk) 15:58, 6 May 2024 (UTC)

Mix of explanatory footnotes & ref footnotes is very messy; I plan to fix as per WP:CITEVAR
I found a very awkward & unworkable mix of explanatory footnotes treated as ref tags & what is essentially parenthetical referencing without the parentheses mixed in. The latter should really be shortened footnotes, but you cannot put sfn wishing ref tags. However, you can put sfn with the explanatory footnote template, sfn.

I am going to convert the ref tags that are really explanatory footnotes to efn & notelist as per WP:CITEVAR: Peaceray (talk) 05:09, 27 October 2023 (UTC)
 * imposing one style on an article with inconsistent citation styles (e.g., some of the citations in footnotes and others as parenthetical references): an improvement because it makes the citations easier to understand and edit;
 * fixing errors in citation coding, including incorrectly used template parameters, and markup problems: an improvement because it helps the citations to be parsed correctly;

 * Just saw sfnm which should handle quotes. Peaceray (talk) 20:07, 27 October 2023 (UTC)

A revert
This edit :
 * 1) is not a proper summary of the body of the page (see section Anton_Chekhov);
 * 2) is supported by a single ref to an opinion by Daniel Burt (author), but it is included without an explicit attribution and as a statement of fact in WP voice
 * 3) is an unnecessary duplication of content in next phrases of the lead explaining why he was a great writer.
 * I have reverted your recent edit per WP:BRD. Please self-revert and get WP:CONSENSUS for including this new claim to the lead. Thanks. My very best wishes (talk) 17:17, 17 May 2024 (UTC)

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

title: Talk:Anton Chekhov


text:
Talk:Getica

Untitled
This seems semi-redundant with Getica, dunno which should be the main and which the redir though. Stan 04:48, 13 Nov 2003 (UTC)

clarify!
''The ancient history of the Goths Jordanes describe in this book is actually of the Dacians, the confusion was due to the similarity of the names of Getae and Goths. However, his account is interesting from the point of view of the history of the Dacians, because he uses data from works which were later lost during the Middle Ages. '' This passage isn't entirely clear. According to my course in the language of the Goths, Jordanes did write about the Goths. The author of this article however, seems to imply that Jordanes said he wrote about the Goths, but accidentally wrote about the Dacians.

 * The key phrase is "ancient history", which is relative to the "contemporary history" of the Goths of Jordanes' own time. "Early history" or "history from long before his time" would be less ambiguous. Stan 21:43, 25 January 2006 (UTC)

 * So only a short passage in his work is about a different people? Did he also base this part on Cassiodorus' work about the Goths? bluppfisk 03:31, 03 February 2006 (CET)

Needs a total rewrite
Hi everybody. I've been working on Jordanes. This is next. I'm a classicist. Sorry, but as it stands, this article is totally off the wall. I think it is really splendid that someone takes such an interest in the work of Jordanes. Congratulations. Keep working, however.

For example, we read that Jordanes copied lots of text from Cassiodorus. How would the writer or any of his sources know that? Cassiodorus' work on the Goths has been absent from the roster since ancient times.
 * Sorry, I don`t understand what you mean... Are you implying that Jordanes did not based his work on Cassiodorus?

Similarly, we read that in the initial books Jordanes was really writing about Dacians. I have these before me now and it pretty much talks about Scandinavia!

 * Read it again... Really, do it! If you did it and still are not able to tell the difference, than you lack basic knowledge... greier 09:12, 3 May 2006 (UTC)

Moreover, it does so in a coherent way relatable to later history. Do you mean, Jordanes was so dumb he didn't even know the difference between a Get and a Goth? I think that is carrying the theory of Jordanes the rustic dummy who couldn't read or write a bit too far, don't you? I think we can safely assume that Jordanes knew who the Goths were.

 * Yes, I was right... You do lack basic knowledge... If you want to, you can consider him "dumb". As far as I`m concerned, it was just a case of mistaken identity... Others have done it too (the goth-getae thing)... greier 09:12, 3 May 2006 (UTC)

And what's this about the not very prestigious Scandinavians? Come now, boys, you can do better than this. I hope you didn't get an A in that paper. L'audace, toujours l'audace. You have to attack your subject like a bulldog and not let it go until you've shaken loose some truth from it. There is no substitute for dogged research.

 * The thing about the not very prestigious Scandinavia (and indeed, it wasn`t prestigious at that time, as they didn`t have Hollywood) was given as a probable reason for the confusion. I really don`t see what`s the problem... greier 09:12, 3 May 2006 (UTC)

And, I think you should definitely take a look at a map, maybe even with a scale and compass so you can lay off some distances. Find out where the Ostrogths and the Visigoths were and how they got there, and where Dacia is, etc. There are some good maps on the Internet.

 * Yes, and think you should not consider (yourself so smart, and) others so dumb... Since you started it, I`m going to ask: what was I suppose to see in the map so shocking? greier 09:12, 3 May 2006 (UTC)

What's this about the records of the original Indo-europeans? Great idea! I think you need to follow through to see if that is realistic or is supported by other evidence. Education takes a lot of work. It also takes the desire to do it, which you seem to have. Best of luck to you. Maybe someday the world of interest will be reading your books! Meanwhile, I am not going to put any of those awful templates in here, even though most of them should go in. I will, however, start replacing the article from the top with the sort of thing Mierow is saying. By all means, take a hand if you can. Let's do it together. Best wishes. I presume you wanted some feedback or you would not be using Wikipedia.Dave 02:38, 3 May 2006 (UTC)

I'm only an undergraduate but I've read enough to know that the 'Jordanes himself' section is quite misleading. Mainly with the suggestion that he was his own source of Gothic knowledge.

Goths and Getae
Dave, I will no longer try to put that part about the mixing of goths with the dacians, because there`s no point if users like Aldux will continue reverting my edits, like he has done on this article, but also on Goths article, where he continues to put that remark about how "Their kings and priests came from a separate aristocracy and their mythic kings of ancient times were honored as gods. Their mythic lawgiver, named Deceneus, traditionally dated about the 1st century BC, ordered their laws, which they possessed by the 6th century in written form and called belagines" despite the fact that it is clearly a confusion. Deceneus was a dacian priest, as literally hundreds of ancient sources say so. The dacians were divided into two classes: the common people "comati", from latin coma (cf. Romanian coama) meaning "hair mane" of something like this, as they wore long hair. The aristocracy wore the phrygian cap, hence latin authors called them "pileati", from latin pileus meaning "felt" or something like this. Leaving that aside, I think you should add at least a remark on this article, so this confusion would stop. This is supposed to be an encyclopedia, right? This confussion, goths-getae, dacians-danes is centuries old...

What if, just how Aldux uses Jordanes, I would use the following and write in Wikipedia articles based on these sources:

Dudo of Saint-Quentin - Dacia

Isaac Newton - Observations Upon the Prophecies of Daniel, and the Apocalypse of St. John; CHAP. 5. Of the Kingdoms represented by the feet of the Image composed of iron and clay: " Dacia was a large country bounded on the south by the Danube, on the east by the Euxine sea, on the north by the river Neister and the mountain Crapac, and the west by the river Tibesis, or Teys, which runs southward into the Danube a little above Belgrade. It comprehended the countries now called Transylvania, Moldavia, and Wallachia, and the eastern part of the upper Hungary. Its antient inhabitants were called Getae by the Greeks, Daci by the Latins, and Goths by themselves. Alexander the great attacked them, and Trajan conquered them, and reduced their country into a Province of the Roman Empire; and thereby the propagation of the Gospel among them was much promoted"

André Thévet, Cosmographie Universelle, cap. De la Valachie, Transylvanie, Bulgarie et Servie/About Wallachia, Transylvania, Bulgaria and Serbia: "the origin of these people come entirely, as most people say, come from the getae, called this way by the romans, and wich since then have called goths"

greier 13:49, 7 May 2006 (UTC)

 * I think is it very important to add a section clarifying this mix to the reader. Plus, the early part of the book has some very useful information regarding the history of Geto-Dacians.--Codrin.B (talk) 18:51, 3 January 2011 (UTC)

Summary
Where's a summary of what this work says? I assume that should be part of any Wikipedia article on a book or record Jztinfinity 21:55, 19 November 2006 (UTC)

Where is the original of "Gethica"
I wonder why nobody asks this question before. It so obvious? If so please write about the original manuscript.

This sentence asserts that the original is somewhere.

 * Because Cassiodorus' original version has not survived, Jordanes' work is one of the most important sources for the period of the migration of the European tribes, and the Ostrogoths and Visigoths in particular, from the 3rd century CE.

 * Is it true ?
 * Why we don’t have here the high resolution scan or pictures of the pages?

Nasz 05:36, 17 February 2007 (UTC)

how
In Article is Misleading sentence:

 Cassiodorus' work claims to have the Gothic "Folk songs" -- the Carmina Prisca'' (Latin) -- as a prime source. Recent scholarship regards this as highly questionable. The main purpose of the original work (Cassiodorus's) was to give the Gothic ruling class a glorious past - to match the past of the senatorial families of Roman Italy.''

1 not Casidorius work. Is not survived 2 Not even Jordanes work. Where it is?

This is example of adding false contest in delicate way. I marking this as {fact}. Nasz 00:37, 23 February 2007 (UTC)

chain of missing manuscripts
who know if jordanes is not a work of Theodore Mommsen. Look nobody quted it before! —The preceding unsigned comment was added by 68.255.98.125 (talk) 04:59, 25 April 2007 (UTC).
 * Can't you read? Editio Princeps 1515, and I added the reference. The rest of the text is almost all from Britannica. So please stop vandalizing the article. As for "nobody quted (sic) it before", you only have to use Google books.--Aldux 11:22, 25 April 2007 (UTC)

 * Britanica is edited in 1911. Not before 1800. Konrad Peutinger listed as editor has a circular references. If he printed out getica. Why Mommsen Edited Getica. If Konrad Peutinger edited Getica where is one of the printed out book from his times ? This is just a question, if you know the answers plese inform me. Nasz 11:27, 29 April 2007 (UTC)

 * Note: The wikilinks added by N: in text of Aldux

 * I must say that your clearly no great expert of how these things works, to use an euphemism. What Mommsen made was a critical edition, and if you don't even know what a critical edition know is, then don't pretend to discuss of these things, because then you would know that all ancient works are subjected to a critical edition that becomes the standard reference book among scholars. The British scholar William Smith, that wrote before Mommsen made his edition of the Getica, writes: "Editio princeps, with Paulus Diaconus, by C. Peutinger, Augsburg, 1515, fol.; with Procopius, by Beatus Rhenanus, Basel, 1531, fol.; with Cassiodorus, by G. Fourier, Paris, 1579, fol., 1583, and often, by B. Vulcanius, with Procopius and some minor writers, Leyden, 1597, 8vo." ecc. ecc. Actually, the number of pre-19th century editions of the Getica is quite impressive, there's even a French translation and a Swedish one. And to put the last nail on the fable that nobody quotes Jordanes before the 19th century, I actually have a pre-19th century book on my bookshelf that does exactly this, that is Gibbon's Decline and fall of the Roman Empire. As for the question "If Konrad Peutinger edited Getica where is one of the printed out book from his times ?", I'll give you the exact awnser: a copy can be found for sale in Zurich, at the Schumann Antiquariat, that also has for sale a 1588 edition by Fourrier, a reprint of the 1579 Fourrier edition. As for the question "If he printed out getica. Why Mommsen Edited Getica." Simple: Peutinger made the editio princeps, i.e., the first printed edition, but for critical editions you have to wait for philology to have reached scientific standards, a thing that happened only with the 19th century.--Aldux 13:06, 29 April 2007 (UTC)

 * I’m afraid some facts are linked improperly. E.g. what have Procopius of Cesarea to do with printing in renaissance of Getica? I will discurs your answer after some sourced research. Nasz 19:31, 29 April 2007 (UTC)

 * It's a list of editions: the 1531 edition contained both Procopius and Jordanes jointly in the same book. I don't see why you find this strange, if you've ever saw the text you'll know that Getica is pretty slim, as it's just an abridgement of a longer work.--Aldux 17:18, 30 April 2007 (UTC)

 * A:"...British scholar William Smith, that wrote before Mommsen made his edition of the Getica, writes: "Editio princeps, with Paulus Diaconus, by C. Peutinger, Augsburg, 1515, fol. ..."
 * N:Wiliam Smidh was born in 1813 He live in Mommsen times. How he can wrote in 1515? Did I fond 'This' William Smith (lexicographer)? Or you referencing other Smidth? I changed/dedismbing your text above if incorectly let me know/and corect. Also i will be very thankful if you provide the references to Getica printed out before Momsen in 16 c. If this book was printed certainly did not disapered form the shelfs or bib. records. Peutinger did not print Getica as you states before. The entry is not referenced by any 16 or 17 c references. Now in addition to chain of missing manuscripts we have chain of missssing/lost printed editions! ;) Nasz 03:10, 3 May 2007 (UTC)
 * Sorry, but you're losing my time. I've given you all the awnsers, including the quote with the list of all 16th century editions, and if you're English is so bad to be unable to understand it, this is your problem. I will revert any attempt you make to restore this OR and unsourced crap. Also remember you have already been blocked before for your utter disruptivness; proceeding in this behaviour will only obtain new blocks. For all else, for those who may be really interested in Getica, I invite to read Arne Søby Christensen's monography Cassiodorus, Jordanes and the history of the Goths.--Aldux 12:29, 3 May 2007 (UTC)

Aldux
Could you be so kind and put the refernces to the getica. It looks rather unreferenced when we do not have references to the book in question. Nasz 12:21, 4 May 2007 (UTC)
 * The references are all at the end of the articles: as for the rest, I will only restore what I've already up, with all the list of 16th century editions: The British scholar William Smith, that wrote before Mommsen made his edition of the Getica, writes: Editio princeps, with Paulus Diaconus, by C. Peutinger, Augsburg, 1515, fol.; with Procopius, by Beatus Rhenanus, Basel, 1531, fol.; with Cassiodorus, by G. Fourier, Paris, 1579, fol., 1583, and often, by B. Vulcanius, with Procopius and some minor writers, Leyden, 1597, 8vo. ecc. ecc. And keep in mind, the first edition of Smith's DGRBM originates in 1844, well before Mommsen edition in the MGH (1882, I believe).--Aldux 12:40, 4 May 2007 (UTC)

 * 1 Aldux you invoking this n times. Look again on my question. Show a reference to the particular book where the pre Mommsen "Getica" is contained. Show for example bibliographical record, or respectable online scan of a page. The refernces you give do not point to any particular book. Its end nowhere. (I found Peutinger did Longobardian not a "Getica" in 1515 in Augsburg do you think it is the same?) Also do not over-use the full authority of W Smith, The dictionary was work of multiple persons some from Mommsen area)

 * For example what is the book you refere after W.Smith as Editio princeps, with Paulus Diaconus, by C. Peutinger''' ? How to find this book ? What is a title? Where the book is now? Your refernces just bounce to nowhere.

 * 2 Why do you want to use only selected Quotes from W. Smith dictionary, but you delete the other you dont like? Dont you think that this is POV ?

 * 3
 * A: And keep in mind, the first edition of Smith's DGRBM originates in 1844, well before Mommsen edition in the MGH (1882, I believe
 * N: This argument is easy to dismiss. It not before Mommsen. It is parallel to Mommsen: Mommsen was at full work in 1844. He was also coresponding with W Smidth. :)

 * Nasz 02:52, 6 May 2007 (UTC)

 * Regarding, "Show a reference to the particular book where the pre Mommsen "Getica" is contained", that's easy; I already told you, in Gibbon, and as for other authors, make a search with Google Books, and you'll discover lots of them. And again, I've told you to read Christensen's monography, where you will find all the awnsers. As for 1844 being the same thing as 1882... I give up, you clearly don't want to get it.--Aldux 12:28, 6 May 2007 (UTC)

 * Gibbon AND Jordanes =660 entries < is it what did you found ?
 * A:in Gibbon, ... make a search with Google Books
 * N:Gibon books have long expired copyright and are available from project Gootenberg. here

 * I can't show Jordanes but suprasingly i found getica.

 * But im a litle not shure if Edward Gibbon wrote about Momsen/Jordanes Getica if hi didn't wrote about Jurdanes perhaps not about Getica too!. Give me Aldux the quote!!. I smell you make a mistake.;)

 * Nasz 20:38, 7 May 2007 (UTC)
 * You're really incredible. Ever thought that you shoud have searched under Jornandes, the name used by Smith, as you had previously seen? And have you forgotten that the title Getica was given to the work by Mommsen in 1882? Anways, here are the Gibbon quotes:

 * "Jornandes, c. xxviii, p. 650" (footnote at chapter 26; extensive quote)
 * "Jornandes supposes, without much probability, that Adolphus visited and plundered Rome a second time (more locustarum erasit) ... Jornandes, de Reb. Geticis, c. 31, p. 654, 655" (footnote at chapter 31)
 * "see the pictures of Adolphus and Placidia, and the account of their marriage, in Jornandes, de Reb. Geticis, c. 31, p. 654, 655" (footnote at chapter 31)
 * "See Jornandes, de Reb. Get. c. 30, p. 653" (footnote at chapter 31)
 * And many others. I've just quoted very few of them.--Aldux 15:46, 10 May 2007 (UTC)

 * Your mixing of original Edward Gibbon words with later added footnotes is a good example of skewed (mis)understanding of historical sources. Don't you see that the footnotes are added years after Gibbon wrote his 6 volumes? Your quotes are not a Gibbon words. These quotes are dismissible. You should research who made this footnotes.
 * A:And have you forgotten that the title Getica was given to the work by Mommsen in 1882? Anways, here are the Gibbon quotes...
 * N: Not Gibbon of 1776! Not true!
 * 1 Anyway what was the 'title of the publication' was given to the work by Mommsen in 1882?
 * 2 Why did you deleted the sourced 'Getica dismbing' page ?
 * 3 What year of edition of Edward Gibbon did you used for above quotes?
 * Nasz 23:22, 13 May 2007 (UTC)
 * ps: Did Gibbon comment themsevles in footnotes using his name ?(as in this Footnote: ''...Gibbon, in his severer spirit of criticism, may have questioned the authority of Jerome and Eusebius... :)))))) )

It's really a pity that the book from which I quote clearly distinguishes with square brackets Gibbon's notes and that of the editor.... Or are you going to tell me know that Gibbon's book was originally written without footnotes? Now this would be a great discovery!;p And as for the 1882 title given to the work it's Getica; as I've desperately tried to explain you, Romana is the title given by Mommsen to Jordanes second work. Also, I haven't deleted Getica; I redirected, as is done in these circumstances, because the most common association of Getica is with the work of Jordanes.--Aldux 23:56, 13 May 2007 (UTC)
 * Aldux i made it easy for you. I numered the questions. Do you avoid straight answers?
 * Please look up and if you know write the answers down.

 * 1
 * 3

 * +4: Also since you qoute some source i have only scatered references/abstracts: what was the title of the book found by the pope The book was rediscovered in Vienna in 1442 by the Italian humanist Enea Silvio Piccolomini? (was it about a Tacitus Germania ?)

 * A:Or are you going to tell me know that Gibbon's book was originally written without footnotes? Now this would be a great discovery!;
 * N: I do not have a fotnotes writen by Gibbon, i remember scaned pages on Saganet... text similar to a Gibbon. No footnotes, but now I do not have a hard link(java). The boks in 17ooths usualy are writen whithouth footnotes, but do you have the original source ? It wil save me a lot of time to dig the scan up.
 * Nasz 06:49, 14 May 2007 (UTC)
 * Sorry, but I've got serious difficulties taking you seriously, you see. Differently from you, I've got a long experience in dealing with ancient history, and it's hard for me to believe you don't know of Gibbon's footnotes; there universally famous: see The_History_of_the_Decline_and_Fall_of_the_Roman_Empire. As for Piccolomini, sorry: it's one of the Getica manuscripts, as clearly stated by the author of the referenced work. If you feel this isn't enough, Endre Bojtar in Foreward to the Past writes: "it is well known that Piccolomini found Jordanes' Getica and published excerpts from it". And now really, I've lost enough time. I'm fully respectiong every comma of wikipedia policy: so if you're unhappy with the sources, your problem. And sorry, nowhere's written in wikipedia (and I have a good knowledge of the rules) that to reference you have to use the first edition.--Aldux 17:14, 14 May 2007 (UTC)
 * On Gutenberg are only 2 editions of E. Gibbon. You may see easily that the footnotes differ betwen editions, but are from 19 c. The chapter, you invoke, is referenced by only one 20 c (1994) paper. It is for you all clear...Ok, but I do not foolow to the simplistic view of last edition. Just do not delete the refernced words from earlier writers. Nasz 03:24, 15 May 2007 (UTC)

edit. de 1792'' How The Edward Gibbon can qoute work of 1792??? Theoreticaly he can. Hi passed in January 16, 1794, but he published his work in 1776!
 * But look what the footnotes refer to [Footnote 1: ''Gatterer, Versuch einer all-gemeinen Welt-Geschichte," p. 424,

Also all the references match the chapters division of Moomsen edition even the pages numbers match! Did the older wersion of Jordanes or Jornandes (is the same name?) was writen on the same format of paper ? Did the manuscript match the leter spaces of printed edition? How is posible... the match? It was other printed edition? Where is the book? Can you provide a scan of single page ? Of all pages ?

<! -- I.  The Slaves, or Sclavonians, or Wendish tribes, according to Schlozer, were originally settled in parts of Germany unknown to the Romans, Mecklenburgh, Pomerania, Brandenburgh, Upper Saxony; and Lusatia. According to Gatterer, they remained to the east of the Theiss, the Niemen, and the Vistula, till the third century. The Slaves, according to Procopius and Jornandes, formed three great divisions.-- >

What is quotation index?
Aldux: rv it has utterly no sense adding a list of those whohave or haven't quoted Jordanes, and it is not done in any similar ancient history article.

N:Could you provide a full list of pre Mommsen citation index of Jordanes? It will save me a lot of time! These references may be important to show who quoted Jordanes before T Momsen. Answer me Aldux honestly just one question: Do you have any question regarding Getica ?
 * Nasz 01:51, 21 May 2007 (UTC)

Pre Mommsen prints
Aldux inserted that Konrad Peutinger printed manuscripts of Jordanes. But he rather did print in 1515 another manuscript. Aldux do not provide any reference to the Printed book, not even the Title. Even i just in Wikipedia there is a text "In some respects he suggests a comparison with Jordanes" look in itro of Historia gentis Langobardorum but is not a work of Joradnes or any of his 4 names.

Aldux reverted it:
 * The book was rediscovered in Vienna in 1442 by the Italian humanist Enea Silvio Piccolomini. Its editio princeps was issued in 1515 by Konrad Peutinger (this mean that Peutinger printed book)<!-can somebody provide references to the Peutinger book, is the book exist somewhre or no one survived fires. What is the number of copies printed by him? What was the title? -->, followed by many other editions. Smith, William (editor); Dictionary of Greek and Roman Biography and Mythology, "Jornandes" <! -- should be very easy to point to subsequent editions, plese contribute to find biblographical records and earlier online versions-->

General question: Where is the printed edition of Peutinger? The 1927 (stiked by Aldux) reference is a secondary reference(i alredy ordered the book) but i suspect there is no evidence. 03:02, 24 May 2007 (UTC)
 * You obviously don't know Latin, or you would have noted that in a Latin excerpt you've read it is written that Diaconus, Getica and Romana were published in the same volume.--Aldux 09:52, 24 May 2007 (UTC)

Shortening Cassiodorus section
I had shortened the Cassiodurus section, which was now reverted by User:Aldux, with the edit summary "some of these shortenings cut sourced material". Well, maybe, but this section about the life of Cassiodorus was disproportionally long in an article about the Getica, even after I had shortened it. Aldux even restored the paragraph starting with "The latter view raises as many questions as it answers," which just seem to be some editor's musings. This section needs to be cut down. /Pieter Kuiper 16:07, 5 September 2007 (UTC)

Jūrate Statkutė de Rosales
I cut the following text out of the article, pending a more detailed investigation. It is poorly written, I can't make out what the author intends to say, and it smells like WP:SYN. But I'd like to check it out first before pulling it completely.

 * According to reacently publicated notices by Jūrate Statkutė de Rosales one very important translation of Jordanes made by Theodor Mommsen was actually incorrect. This fact raised a lot of discussions between scholars that Jordanes actually wrote about peninsulas of eastern Baltic coast: Sambia, Curonian spit, Gdansk or Danzig. This region was the largest source of Amber road in ancient world. Later medieval sources, like writings of Adam of Bremen, royal chronicle of Alfonso X and others support this theory. A lot of widely accepted historical facts concerned with with history of germanic peoples, Skandinavia appeared only because of mistake or possible falsification caused by ideas of pangermanism. —Preceding unsigned comment added by Varoon Arya (talk • contribs) 04:14, 29 March 2008 (UTC)

Synopsis of the work
Just added a synopsis taken from the Jordanes article (section "Works"). I think it would be better to remove that stuff from the aforementioned article since it better suits here. Dipa1965 (talk) 19:26, 17 June 2008 (UTC) - jurate statkute rosales - The argument that Jordanes has been subject to a translation mistake and was referring to the Baltic origin instead of a Scandinavian origin of the goths, can be checked opening an essay in the Universidad de los Andes ULA - "Ensayo las 4 mentiras sobre los godos jurate rosales ULA". —Preceding unsigned comment added by Regina29 (talk • contribs) 01:54, 12 July 2008 (UTC)

theme of slavs as one of the most important in Getica
I think Jordane meant slavs by word "sclaves" —Preceding unsigned comment added by Frank Russian (talk • contribs) 05:23, 11 July 2008 (UTC)

Getarum / Gothorum
The Byzantines also used antiquated terminology, yet modern translations do not "correct" the terms according to what a modern exegete or profane considers adequate in terms of what the Byzantines must have meant really meant by that word. Instead, the term is translated as such, accompanied by due explanations regarding the semantic value. Getarum translates as "of the Getae", and this is the word an late antique writer would have used to refer to the Getae. The very confusion between the two populations supports this: take it out, and Jordanes or Cassiodorus or anybody would have solely used Gothorum. Sterp (talk) 18:59, 16 November 2010 (UTC)
 * I'm sorry, but what your doing is just OR. The translation of the the title how I do is supported by the modern English translation, and Walter Pohl (one of the top experts on Romano-Barbaric relations in Late Antiquity) observes and longly discusses in "i Goti d'Italia e la tradizione delle steppe", pp. 227-51, 1993. I'm not interested in establishing the truth, oly that what is presented reflects modern scholarship; and since I don't no of any modern translation of Jordanes' work titled The Origin and Deeds of the Getae, I think the whole point has little chances of standing.Aldux (talk) 20:35, 16 November 2010 (UTC)
 * What Pohl and the rest did was to give an English title to a book about the Goths. It was not a proper translation. Jordanes' opening paragraphs are correctly translated by other authors: You urge me to leave the little work I have in hand, that is, the abbreviation of the Chronicles, and to condense in my own style in this small book the twelve volumes of the Senator on the origin and deeds of the Getae from olden time... - Jordanes. When used as primary reference, other authors translate the title as ..of the Getae and add explanations. Likewise, Britannica gives .. of the Getae plus the necessary explanations. I also think this discussion is pointless: Walter Pohl or whoever can never convince me that Getarum doesn't translate as "of the Getae". End of story. 19:30, 17 November 2010 (UTC) —Preceding unsigned comment added by Sterp (talk • contribs)

External links modified
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External links modified
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Some parts should probably move to Jordanes
There is a Jordanes article, and Jordanes wrote more than one work. A section which particular seems more appropriate to the Jordanes article is the section about his Latin .--Andrew Lancaster (talk) 07:36, 1 May 2020 (UTC)

title: Talk:Getica


text:
No. 62 Commando

No. 62 Commando or the Small Scale Raiding Force (SSRF) was a British Commando unit of the British Army during the Second World War. The unit was formed around a small group of commandos under the command of the Special Operations Executive (SOE). They carried out a number of raids before being disbanded in 1943.

Background
The commandos were formed in 1940 by order of Winston Churchill, the British Prime Minister. He called for specially trained troops who would "develop a reign of terror down the enemy coast". At first they were a small force of volunteers who carried out small raids in enemy-occupied territory, but by 1943 their role had changed and they had become lightly equipped assault infantry specialising in spearheading amphibious landings.

The man initially selected as the commander of the force was Admiral Sir Roger Keyes, himself a veteran of the landings at Galipoli and the Zeebrugge raid during the First World War. Keyes resigned in October 1941 and was replaced by Admiral Louis Mountbatten.

By the autumn of 1940 more than 2,000 men had volunteered for commando training and what became known as the Special Service Brigade was formed into 12 units called commandos. Each commando numbered about 450 men and was commanded by a lieutenant colonel. Each was divided into troops of 75 men and further divided into sections of 15 men. Commandos were all volunteers seconded from other British Army regiments, and retained their own cap badges and remained on their regimental rolls for pay. All volunteers went through a six-week intensive commando course at Achnacarry in the Scottish Highlands, which concentrated on fitness, speed marches, weapons training, map reading, climbing, small boat operations, and demolitions both by day and by night.

By 1943 the commandos had moved away from small raiding operations and most of them had been formed into brigades of assault infantry to spearhead future Allied landing operations. Three units were left unbrigaded to carry out smaller-scale raids.

Operations
No. 62 Commando, formed in 1941, consisted of a small group of 55 commando-trained personnel working under the Special Operations Executive (SOE), where it was also known as the Small Scale Raiding Force (SSRF). Under the operational control of Combined Operations Headquarters, No. 62 Commando was commanded by Major Gustavus Henry March-Phillipps. Its first operation, Operation Postmaster, was in January 1942, when March-Phillipps led the seizure of an Italian liner, a German tanker and a yacht from Fernando Po. The SSRF used HM MTB 344, a motor torpedo boat nicknamed The Little Pisser because of its outstanding turn of speed. The SSRF carried out a number of cross-channel operations, but had mixed fortunes. Operation Barricade and Operation Dryad were complete successes, but Operation Aquatint, on 12/13 September 1942 at Sainte-Honorine on the coast of Normandy, resulted in the loss of all the men involved, including March-Phillipps. One member of the raiding party, Captain Graham Hayes MC, managed to reach France and eventually made his way to Spain, but was betrayed by a French double agent and handed to the Germans. After nine months' solitary confinement in Fresnes Prison he was executed on 13 July 1943.

With the loss of March-Phillipps, Major Geoffrey Appleyard was given command. On 3/4 October 1942 the SSRF carried out a raid on the Channel Island of Sark, codenamed Operation Basalt, with men from No. 12 Commando attached. After the raid a number of dead and wounded Germans were found tied up (they had been shot while trying to escape), which resulted in the prisoners captured in the Dieppe raid being tied up and the Nazi German Commando Order dictating the execution of all captured commandos.

In early 1943 No. 62 Commando was disbanded and its members were dispersed among other formations. A number went to the Middle East and served in the Special Boat Squadron, most notably Major Anders Lassen, the only member of the Special Air Service awarded the Victoria Cross during the war. Appleyard also went to the Middle East and helped to form the 2nd Special Air Service from a detachment of No. 62 Commando under the command of Bill Stirling, elder brother of David Stirling. Neither Lassen nor Appleyard survived the war.

Battle honours
The following battle honours were awarded to the British Commandos during the Second World War.

 * Adriatic
 * Alethangyaw
 * Aller
 * Anzio
 * Argenta Gap
 * Burma 1943–45
 * Crete
 * Dieppe
 * Dives Crossing
 * Djebel Choucha
 * Flushing
 * Greece 1944–45
 * Italy 1943–45
 * Kangaw
 * Landing at Porto San Venere
 * Landing in Sicily
 * Leese
 * Litani
 * Madagascar
 * Middle East 1941, 1942, 1944
 * Monte Ornito
 * Myebon
 * Normandy Landing
 * North Africa 1941–43
 * North-West Europe 1942, 1944–1945
 * Norway 1941
 * Pursuit to Messina
 * Rhine
 * St. Nazaire
 * Salerno
 * Sedjenane 1
 * Sicily 1943
 * Steamroller Farm
 * Syria 1941
 * Termoli
 * Vaagso
 * Valli di Comacchio
 * Westkapelle

title: No. 62 Commando


text:
Intercollegiate Taiwanese American Students Association

The Intercollegiate Taiwanese American Students Association (ITASA) (Chinese (Traditional): 美國台裔學生協會) was established by a group of students in the East Coast and Midwest of the United States to grow the Taiwanese American college community. ITASA is a national 501(c)(3) non-profit organization staffed by students and recent graduates to serve their peers and their respective campuses. ITASA provides the spaces for networking, community building, leadership training, and identity-building which are critical to the future of the Taiwanese American generation.

History
On July 4, 1990, a group of second generation Taiwanese Americans converged on the campuses of Cornell University as a part of the Taiwanese American Conference/East Coast (TAC/EC) at Donlon Lounge to commence discussions regarding an intercollegiate Taiwanese Council. "We nicknamed ourselves ‘seeds,’ a term used as the agents to organically grow the Taiwanese community including a Taiwanese American Collegiate Network,” recalls Winston Yang, the organizer for the 1991 meeting of the ITASA “seeds.” During the 1991 meeting, about twenty representatives from schools like Harvard, Columbia, Yale, University of Pennsylvania, Smith, Rutgers, and NYU converged on the campuses of Columbia University for three days.

The first ITASA East Coast Conference took place at the University of Pennsylvania in 1992 (ITSA), followed by Yale University in 1993. The first Midwest ITASA conference took place the same year at Purdue University. From then on, ITASA held two conferences annually on the East Coast and the Midwest, until 1999, when the first annual West Coast Conference was held at the University of California, Berkeley, thus completing the three-region conference series which continues today.

In the beginning, ITASA conferences were self-financed and catered by students' own families. Attendance ranged from 35 to 300 people.

On February 17, 1998, ITASA was formally incorporated as a 501(c)(3) religious/cultural tax-exempt nonprofit corporation in Delaware by Incorporator Kok-ui Lim with the help of many other people, including Jimmy Ho, Audrey Jean, Cathy Hsu, Tim Chng, Rolla Chng, et al.

The founders of ITASA presided for several years and had tried several ways to generate successors. They created a steering committee of positions including the quaintly termed "Computer Operator" and recruited interested students from schools all over the nation to help run the organization. Many members of the steering committee have noted that they lacked the experience and motivation to run a geographically dispersed student organization. Staff experience increased with the command of Jimmy, Audrey, Cathy, and others. This new generation of ITASA leaders, all recent conference directors on the East Coast, helped to secure ITASA's financial and organizational future by facilitating the incorporation of ITASA into a 501(c)(3) corporation and investing ITASA's involvement on the regional level. They also developed ITASA's nascent web presence, centralized fundraising strategies, and brought greater structure to the national calendar of events and board responsibilities. From then on, the Board of Directors emerged from a group of veteran officers and new officers emerged from the conference leaders. Today, the ITASA National Board is selected every June from a pool of applicants from across the United States.

In 1998, Taiwanese American students at Harvard University, the Massachusetts Institute of Technology, and Tufts University established the Boston Intercollegiate Taiwanese Students Association (BITSA) to serve the many campuses in the Boston area. BITSA works closely with ITASA at targeting its thriving community of local students.

In 1999, the first Annual Leadership Retreat was held at the University of Pennsylvania.

In 1999, ITASA "Regional Representatives" were added to the leadership structure. In 2003, Regional Representatives would become Regional Governors with more defined responsibilities.

In the spring of 1999, students at the University of California at Berkeley undertook the first West Coast Conference, bringing ITASA to three major regions across the United States.

In 2000, the Leadership Retreat Program was expanded to include the Midwest and West Coast Leadership Retreats. The first Midwest Leadership Retreat was held at Northwestern University with the West Coast Leadership Retreat hosted by Pomona College.

In 2001, ITASA's leadership structure was changed to its current form of a National Board overseen by a Board of Directors.

In 2003, Governor-led Regional Boards were established, replacing the single Regional Representative in each region and District Chairs took charge over the Districts, which were subdivided from the Regions.

In 2006, the first annual ITASA Winter Mixer in New York, NY was held.

In 2010, the Philanthropy Department was created. The Philanthropy Department plans and implements projects designed to further ITASA's mission statement.

In 2018, the Programs and Philanthropy departments were merged, as were the Marketing and Public Relations department.

In 2020, the External Affairs Department was created. The External Affairs Department aims to advocate for Taiwanese/ Taiwanese American rights representing the voice of college students across the US. Marketing and Public Relations Departments were once again separated into two departments. Marketing focuses on social media online presence and Public Relations focuses on outreach. The National Board introduced the co-national director system for most of the departments.

Approach
While setting goals, the National Board has identified 5 levels of student activism. The community at large needed more resources to educate, unite, and equip the general body of Taiwanese Americans across the United States. The campuses at each school needed support in getting linked to the nationwide network and founding new chapters of Taiwanese American student groups. The individual students required more information, ideas, contacts, outlets, and guidelines for personal and collective activism.

ITASA Grants
ITASA Grants was started during the 2018–2019 Academic Year following various inquiries about whether ITASA can help fund chapter events. The program comes as a combination of the previous Regional Grants Initiative and the ITASA Awards program. For the Spring 2019 Academic Term, ITASA helped to fund 3 different events at the University of Chicago, University of Texas at Austin, and Binghamton University for a grand total of $1,000.


text:
Andy Summers

Andrew James Summers (born 31 December 1942) is an English guitarist best known as a member of the rock band the Police. He was inducted into the Rock and Roll Hall of Fame as a band member in 2003. Summers has recorded solo albums, collaborated with other musicians, composed film scores, written fiction, and exhibited his photography in galleries.

Early life
Andrew James Summers was born in Poulton-le-Fylde, Lancashire, England, on 31 December 1942.

During his childhood, his family moved to Bournemouth, which was then in Hampshire. After several years of piano lessons, he took up the guitar at the age of 10.

In his teens, he saw a concert by Thelonious Monk and Dizzy Gillespie in London that left a lasting impression. By 16, he was playing in local clubs, and by 19, he had moved to London with his friend Zoot Money to form Zoot Money's Big Roll Band. In his teens he played jazz guitar and was influenced by Kenny Burrell, Jimmy Raney, Wes Montgomery, Charles Mingus, and Miles Davis.

Pre-Police career
Summers' professional career began in the mid-1960s in London as guitarist for the British rhythm and blues band Zoot Money's Big Roll Band, which eventually came under the influence of the psychedelic scene and evolved into the acid rock group Dantalian's Chariot. In September 1966, Summers was the first guitarist encountered by Jimi Hendrix after landing in the UK. The young Summers is portrayed in fiction as one of the "two main love interests" in Jenny Fabian and Johnny Byrne's 1969 book Groupie, in which he is given the pseudonym "Davey".

After the demise of Dantalian's Chariot, Summers joined Soft Machine for three months and toured the United States. For a brief time in 1968, he was a member of the Animals, then known as Eric Burdon and the Animals, with whom he recorded one album, Love Is. The album features a recording of Traffic's "Coloured Rain", which includes a 4minute and 15 second guitar solo by Summers. The LP also included a reworked version of Dantalian's Chariot's sole single "Madman Running Through the Fields".

After five years in Los Angeles, mostly spent studying classical guitar and composition in the music programme at California State University, Northridge, from which he graduated in 1972, he returned to London with his American girlfriend, Kate Lunken.

In London, Summers recorded and toured with acts including Kevin Coyne, Jon Lord, Joan Armatrading, David Essex, Neil Sedaka and Kevin Ayers. In October 1975 he participated in an orchestral rendition of Mike Oldfield's Tubular Bells.

In 1977, Summers was invited by ex-Gong bassist Mike Howlett to join his band Strontium 90, but was soon coaxed away by future Police bandmates Sting and Stewart Copeland. According to Copeland, Summers met him and Sting when the three worked together as session musicians. Later, when Summers by chance encountered Copeland on the London Underground and got coffee, Summers told Copeland, "Stewart, you and that bass player (Sting), you've got something. But you need me in the band, and I accept."

The Police
Summers achieved international fame as the guitarist for the Police, which he joined in 1977, eventually replacing original guitarist Henry Padovani. Emerging from London's punk scene, the Police gained international renown with many hit songs, including "Message in a Bottle", "Roxanne", "Don't Stand So Close to Me", "Every Breath You Take", and "Every Little Thing She Does is Magic". During his time with the band, Summers twice won a Grammy Award for Best Rock Instrumental Performance, first in 1979 for "Reggatta de Blanc" (written with Copeland and Sting) and in 1980 for "Behind My Camel".

Although Sting was the lead singer of the band, Summers occasionally contributed lead vocals, as in "Be My Girl/Sally" (1978), "Friends" (1980), "Mother" (1983), and "Someone to Talk To" (1983). Other notable Summers compositions from this period are "Omegaman" (which would have been released as the debut single from the 1981 Ghost in the Machine album had Sting not objected), "Shambelle" (1981), "Once Upon a Daydream," and "Murder by Numbers" both co-written with Sting (both 1983). In early 1984, after seven years together and record sales around 80 million, the Police disbanded.

Summers wrote the guitar riff for "Every Breath You Take", though was not given a songwriting credit. It was recorded in one take with his 1961 Fender Stratocaster during the Synchronicity sessions. The song was number one for eight weeks. Sting won the 1983 Grammy Award for Song of the Year, and the Police won Best Pop Performance by a Duo Or Group With Vocal for this song. Summers provides an account of the session in his memoir, One Train Later.

As a member of the Police, Summers created a trademark guitar sound, which relied heavily on a chorus effect. He explained in 2017 how the sound came about:

"'I created it sort of out of necessity; my mission was 'We're going to play for two hours each night as a trio,' so I wanted to have this fantastic, coloured guitar sound that was different for every song. So, I used the Echoplex, then a chorus, and a few other pedals…envelope filters. As we went on, I acquired more stuff and got a Pete Cornish board, but what was driving it was to invade and push the edge of what the guitar was supposed to sound like, and make it really interesting over a show. So, it wasn't just one straight sound all the time. I could move it around. And it was appreciated by many millions of people (laughs). Of course, it's very tired and a bit 'retro' now; I'm not very keen on it anymore. But in those days it was new, fresh, and exciting.'"

Post-Police
Summers's solo career has included recording, touring, composing for films (including Down and Out in Beverly Hills and Weekend at Bernie's), and exhibiting his photography in art galleries around the world.

He recorded the duet albums I Advance Masked (1982) and Bewitched (1984) with guitarist Robert Fripp of King Crimson, as well as duet albums with Victor Biglione, John Etheridge, and Benjamin Verdery. His solo debut album, XYZ, was released in 1987 and is the only noninstrumental album in his solo catalogue. Although it included pop material, such as the single "Love is the Strangest Way", it failed to dent the charts. In 1987, Sting invited Summers to perform on his second album ...Nothing Like the Sun, a favour the singer returned by playing bass on Charming Snakes (1990) and later contributing vocals to "'Round Midnight" on Summers' tribute album to Thelonious Monk, Green Chimneys, in 1999. In the mid-1990s Summers briefly returned to a more rock-oriented sound with Synesthesia (1995) and The Last Dance of Mr X (1997) before recording a string of jazz albums. He also participated in the formation of Animal Logic. In 1992, he led the house band (credited as musical director) for The Dennis Miller Show.

The Police reunion
During the 2007 Grammy Awards show, the Police played "Roxanne" and subsequently announced that they would be going on tour. The Police Reunion Tour began in Vancouver, Canada, on 28 May 2007 and continued until August 2008, becoming the third-highest-grossing tour of all time.

Circa Zero
In August 2013, Summers announced he had formed the band Circa Zero with Rob Giles from the Rescues. Originally, drummer Emmanuelle Caplette was also a member of the band. Their debut show was 25 July 2013 at the El Rey Theatre in Los Angeles. The band's debut album, Circus Hero, was released 25 March 2014. It is titled after a malapropism of the band's name made by a radio disc jockey during an interview of Summers.

Call the Police
In March 2017, Summers announced he had formed Call the Police, a Police tribute band, with two Brazilian musicians, Rodrigo Santos (Barão Vermelho) on bass guitar and vocals and Joao Barone (Os Paralamas do Sucesso) on drums.

Awards and honours

 * Grammy Award, Best Rock Instrumental, "Reggatta de Blanc", 1979
 * Grammy Award, Best Rock Instrumental, "Behind My Camel", 1980
 * Rock and Roll Hall of Fame induction with the Police, 2003
 * Chevalier of the Ordre des Arts et des Lettres, with the Police, 2007
 * Honorary doctorate, Bournemouth University, 2008
 * Hall of Fame, Guitar Player magazine
 * Vote number one pop guitarist, five years, Guitar Player magazine
 * Guiding Light Award, Progressive Music Awards, 2016
 * 85th guitarist of all time in 2015, 250th in 2023 by Rolling Stone magazine
 * Lifetime Achievement Award, Gibson Guitar Awards, 2000
 * Lifetime Achievement Award, Roland and BOSS, 2017
 * One Train Later (2006) was voted music book of the year by Mojo and was turned into the 2012 documentary Can't Stand Losing You: Surviving the Police. The documentary was released on DVD in July 2015.

Personal life
Summers was married to American singer Robin Lane between 1969 and 1970. He married his second wife, Kate, in 1973 and they had one daughter in 1978, Layla Zoe Summers. Summers' years with the Police took its toll on their marriage, however, leading them to divorce in 1981, although they remarried in 1985. In 1987, Kate and Andy's twin sons Maurice X and Anton Y were born. As of 2022, Summers resides in Santa Monica, California, with his wife and family.

Solo albums

 * XYZ (MCA, 1987)
 * Mysterious Barricades (Private Music, 1988)
 * The Golden Wire (Private, 1989)
 * Charming Snakes (Private, 1990)
 * World Gone Strange (Private, 1991)
 * Synaesthesia (CMP, 1995)
 * The Last Dance of Mr. X (BMG/RCA Victor, 1997)
 * Green Chimneys: The Music of Thelonious Monk (BMG Classics/RCA Victor, 1999)
 * Peggy's Blue Skylight (BMG Classics/RCA Victor, 2000)
 * Earth + Sky (Golden Wire, 2003)
 * Metal Dog (Flickering Shadow, 2015)
 * Triboluminescence (Flickering Shadow, 2017)
 * Harmonics of the Night (Flickering Shadow, 2021)
 * Vertiginous Canyons (Blue Cloud Music, 2024)

Collaborations

 * I Advance Masked with Robert Fripp (A&M, 1982)
 * Bewitched with Robert Fripp (A&M, 1984)
 * Invisible Threads with John Etheridge (Mesa, 1993)
 * Strings of Desire with Victor Biglione (R.A.R.E., 1998)
 * Splendid Brazil with Victor Biglione (R.A.R.E., 2005)
 * First You Build a Cloud with Ben Verdery (R.A.R.E., 2007)
 * Fundamental with Fernanda Takai (Deck, 2012)
 * Circus Hero with Rob Giles as Circa Zero (429, 2014)

Film soundtracks

 * The Wild Life (MCA, 1984)
 * 2010 (A&M, 1984)
 * Band of the Hand (1985)
 * Down and Out in Beverly Hills (MCA, 1986)
 * Weekend at Bernie's (Arista, 1989)
 * The Craft (Columbia, 1996)

Singles

 * "I Advance Masked"/"Hardy Country" with Robert Fripp (1982)
 * "Parade"/"Train" with Robert Fripp (1984)
 * "2010"/"To Hal and Back" (1984)
 * "Love is the Strangest Way"/"Nowhere" (1987)
 * "Bring on the Night" (Police cover) with 40 Fingers (2022)

As band member
With The Police

 * Outlandos d'Amour (1978)
 * Reggatta de Blanc (1979)
 * Zenyatta Mondatta (1980)
 * Ghost in the Machine (1981)
 * Brimstone and Treacle (1982)
 * Synchronicity (1983)
 * Every Breath You Take: The Singles (1986)
 * Message in a Box: The Complete Recordings (1993)
 * Live! (1995)
 * The Police (2007)
 * Certifiable: Live in Buenos Aires (2008)

With Eric Burdon and the Animals
 * Love Is (1968)

With Kevin Ayers
 * First Show in the Appearance Business (1996)
 * Too Old to Die Young (1998)
 * Yes We Have No Mananas, So Get Your Mananas Today (EMI/Harvest, 2009)

With Kevin Coyne
 * Matching Head and Feet (Virgin, 1975)
 * Heartburn (Virgin, 1976)
 * In Living Black and White (Virgin, 1976)
 * Sign of the Times (Virgin, 1994)
 * On Air (Tradition & Moderne, 2008)

With Dantalian's Chariot
 * Chariot Rising (Wooden Hill, 1996)

With Eberhard Schoener
 * The Book (Ariola 1977)
 * Trance-Formation (Harvest/EMI Electrola 1977)
 * Video-Flashback (Harvest, 1979)
 * Video Magic (Harvest, 1978)

With Strontium 90
 * Police Academy (Pangaea, 1997)

With Zoot Money's Big Roll Band
 * It Should Have Been Me (1965)
 * Zoot! (Columbia, 1966)
 * Transition (1968)
 * Were You There? (Indigo, 1999)
 * Fully Clothed & Naked (Indigo, 2000)

As guest

 * Joan Armatrading, Back to the Night (A&M, 1975)
 * Manuel Barrueco, Nylon & Steel (Angel, 2001)
 * David Bedford, The Odyssey (Virgin, 1976)
 * Gregg Bissonette, Gregg Bissonette (Mascot, 1998)
 * Toni Childs, House of Hope (A&M, 1991)
 * Deeyah Khan, Ataraxis (Heilo, 2007)
 * Jo Jo Laine, Dancin' Man (Polydor, 1980)
 * Jon Lord, Sarabande, (Purple, 1976)
 * Juicy Lucy, Blue Thunder (Outer Music, 1996)
 * Roberto Menescal, Bossa Nova Meets the Beatles (Deck/Jingle Bells 2017)
 * Anthony Moore, Out (Virgin, 1976)
 * Paolo Rustichelli, Capri/Mystic Jazz (Verve Forecast, 1991)
 * Neil Sedaka, Live at the Royal Festival Hall (Polydor, 1974)
 * Michael Shrieve, Stiletto (Novus/RCA/BMG, 1989)
 * Carly Simon, Hello Big Man (Warner Bros., 1983)
 * Sting, ...Nothing Like the Sun (A&M, 1987)
 * Andrew York, Centerpeace (2010)

Books

 * Throb (William Morrow, 1983)
 * Light Strings (Chronicle, 2005)
 * One Train Later (St Martins, 2006)
 * I'll Be Watching You (Taschen, 2007)
 * Desirer Walks the Streets (Nazraeli Press, 2008)
 * The Bones of Chuang Tzu (Steidl, 2018)
 * A Certain Strangeness (University of Texas Press, 2019)
 * Fretted and Moaning (Rocket88, 2021)

title: Andy Summers


text:
Impression, Sunrise

Impression, Sunrise (French: Impression, soleil levant) is an 1872 painting by Claude Monet first shown at what would become known as the "Exhibition of the Impressionists" in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement.

Impression, Sunrise depicts the port of Le Havre, Monet's hometown. It is usually displayed at the Musée Marmottan Monet but is currently on loan at the Musée d'Orsay from 26 March until 14 July 2024, and then at the National Gallery of Art from 8 September 2024 until 19 January 2025.

History

Monet visited his hometown of Le Havre in the Northwest of France in 1872 and proceeded to create a series of works depicting the port. The six painted canvases depict the port "during dawn, day, dusk, and dark and from varying viewpoints, some from the water itself and others from a hotel room looking down over the port".

Impression, Sunrise became the most famous in the series after being debuted in April 1874 in Paris at an exhibition by the group "Painters, Sculptors, Engravers etc. Inc." Among thirty participants, the exhibition was led by Monet, Edgar Degas, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley, and showed over two hundred works that were seen by about 4,000 people, including some rather unsympathetic critics.

In 1985 the painting was stolen from the Musée Marmottan Monet by Philippe Jamin and Youssef Khimoun. It was recovered and returned to the museum in 1990, and put back on display in 1991.

Impression and Impressionism

Monet claimed that he titled the painting Impression, Sunrise due to his hazy painting style in his depiction of the subject: "They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put Impression.'" In addition to this explanation for the title of the work, art historian Paul Smith claims that Monet might have named the painting Impression to excuse his painting from accusations of being unfinished or lacking descriptive detail, but Monet received these criticisms regardless of the title.

While the title of the painting seemed to be chosen in haste for the catalogue, the term "Impressionism" was not new. It had been used for some time to describe the effect of paintings from the Barbizon School. Both associated with the school, Daubigny and Manet had been known to use the term to describe their own works.

In the critic Louis Leroy's review of the 1874 exhibition, "The Exhibition of the Impressionists" for the newspaper Le Charivari, he used "Impressionism" to describe the new style of work displayed, which he said was typified by Monet's painting of the same name.

Before the 1860s and the debut of Impression, Sunrise, the term "impressionism" was originally used to describe the effect of a natural scene on a painter, and the effect of a painting on the viewer. By the 1860s, "impression" was used by transference to describe a painting which relayed such an effect. In turn, impression came to describe the movement as a whole.

Initially used to describe and deprecate a movement, the term Impressionism "was immediately taken up by all parties" to describe the style, and Monet's Impression, Sunrise is considered to encapsulate the start of the movement and its name.

Subject and interpretation
Impression, Sunrise depicts the port of Le Havre at sunrise, the two small rowboats in the foreground and the red Sun being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that "are not trees but smokestacks of pack boats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky." In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving the background unobscured.

Following the defeat of France in the Franco-Prussian War of 1870–71, the regeneration of France was exemplified in the thriving port of Le Havre. Art historian Paul Tucker suggests that the contrast of elements like the steamboats and cranes in the background to the fishermen in the foreground represent these political implications: "Monet may have seen this painting of a highly commercial site as an answer to the postwar calls for patriotic action and an art that could lead. For while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France."

The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the "renewed strength and beauty of the country... Monet's ultimate utopian statement." Art demonstrating France's revitalization, Monet's depiction of Le Havre's sunrise mirrors the renewal of France.

Style
The hazy scene of Impression, Sunrise strayed from traditional landscape painting and classic, idealized beauty. Paul Smith suggested that with this style, Monet meant to express "other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came." Loose brush strokes meant to suggest the scene rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Considering this, Smith claims that "Impression, Sunrise was about Monet's search for spontaneous expression, but was guided by definite and historically specific ideas about what spontaneous expression was."

Color
The group of studies made from Monet's hotel room was made from canvas with a base layer of gray in different tones. The layered effect provides depth in spite of imprecise details, creating a rich and tangible environment that seems like Le Havre, though not an exact likeness. Gordon and Forge discuss boundaries and the use of color in Impression, Sunrise, claiming that sky and water in Impression, Sunrise are hardly distinguishable, boundaries between objects are not obvious, and the paint "becomes the place" and effect, the colors of the paint melding together in "its glooming, opalescent oneness, its foggy blankness, its featureless, expectant emptiness that resembles, for the painter, an empty, uninflected canvas." They comment that the accents of blue-gray and orange cutting through the haze "are like last-minute revelations that had to wait, not only for the particular glimmer of orange to burn its way through the fog and find its reflective path onto the water and Monet's eye but for the canvas itself, pregnant with the foggy space outside, to be ready to receive it."

Luminance

Although it may seem that the Sun is the brightest spot on the canvas, it is in fact, when measured with a photometer, the same brightness (or luminance) as the sky. Margaret Livingstone, a professor of neurobiology at Harvard University, said "If you make a black and white copy of Impression: Sunrise, the Sun disappears [almost] entirely."

Livingstone said that this caused the painting to have a very realistic quality, as the older part of the visual cortex in the brain — shared with the majority of other mammals — registers only luminance and not colour, so that the Sun in the painting would be invisible to it, while it is just the newer part of the visual cortex — only found in humans and other primates — which perceives colour.

Other researchers have found that these same luminance properties can cause the Sun to fade from view and that changes in microsaccades underlie this effect.

Criticism
Most critics did not think Impression, Sunrise was one of the most notable pieces; it was briefly discussed only five times in all the reviews of the exhibition. However, the reviews of the exhibition and of Monet's painting both provide insight into the development of the movement and Monet's work and development as an artist.

Philippe Burty for La République Française wrote about the opening of the show, complimenting the ambiance of the space and the paintings working together: "The walls of the rooms, covered in brownish red woolen fabric, are extremely well suited to paintings. The daylight enters the rooms from the sides, as it does in apartments."

However, this idyllic perspective of the exhibition was not the view of all critics. Louis Leroy, for Le Charivari, is often quoted in his review on Monet's work. His article "The Impressionist Exhibition" is written as a dialogue from the imaginary perspective of an old-fashioned painter, shocked at the works of Monet and his associates:

"'Ah, there he is, there he is!' he cried, in front of No. 98. 'I recognize him, papa Vincent's favorite! What does that canvas depict? Look at the catalogue.'

'Impression, Sunrise.'

'Impression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it... and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.'"

Leroy's review is a covert backhand at the progressiveness of Impression, Sunrise, and is often attributed with the using the term impressionism for the first time.

Jules Castagnary for Le Siècle wrote that the group of painters could be described by no other word beside the new term impressionists, since they rendered the "sensation evoked by the landscape" rather than the landscape. He claimed that "The very word has entered their language: not landscape, but impression, in the title given in the catalog for M. Monet's Sunrise. From this point of view, they have left reality behind for a realm of pure idealism", typified by Monet's Impression, Sunrise.

Théodore Duret wrote that rendering idealized impressions instead of landscapes is what epitomises Monet's work and the impressionist movement. Considering Impression, Sunrise and Monet's work following the 1874 exhibition, Duret wrote "it is certainly the peculiar qualities of Claude Monet's paintings which first suggested [the term impressionism]". Claiming that "Monet is the Impressionist painter par excellence", Duret argued that Monet inspired a new way of seeing and painting, that Monet was "no longer painting merely the immobile and permanent aspect of a landscape, but also the fleeting appearances which the accidents of atmosphere present to him, Monet transmits a singularly lively and striking sensation of the observed scene."

Monet after Impression
In an interview with Maurice Guillemot for La Revue Illustrée, Monet reflected on his handling of landscape like the port of Le Havre in consideration of the movement and the 1874 exhibition: "A landscape is only an impression, instantaneous, hence the label they've given us-- all because of me, for that matter. I'd submitted something done out of my window at Le Havre, sunlight in the mist with a few masts in the foreground jutting up from the ships below. They wanted a title for the catalog; it couldn't really pass as a view of Le Havre, so I answered: "Put down Impression." Out of that they got impressionism, and the jokes proliferated...."

Following 1874 and the rise of the Impressionist movement, Monet recalled Impression, Sunrise by naming other works with similar titles. The subtitles recalled Impression, Sunrise in style and influence, though their subjects varied. Examples of similarly titles works are Effet de brouillard, impression in 1879, L'Impression in 1883, Garden at Bordighera, Impression of Morning in 1884, Marine (impression) in 1887, and Fumées dans le brouillard, impression in 1904. These works then seemed as a continuation of his Le Havre scene, "one of the sequence of canvases in which he was seeking to capture the most fleeting natural effects, as a display of his painterly virtuosity." Evoking the name of Impression, Sunrise, but also providing stylistic connections, the later paintings are similarly "quite summary and economical in handling, and depict particularly hazy or misty effects" that is characteristic of Monet's impressionism in particular.

While the movement and the painting initially garnered controversy, Monet's Impression, Sunrise gave rise to the name and recognition of the Impressionist movement, arguably exemplifying more than any other work or artist the Impressionist movement as a whole in style, subject, and influence.

title: Impression, Sunrise