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Medea (play)

Medea (Μήδεια, Mēdeia) is an ancient Greek tragedy written by Euripides. It is based upon the myth of Jason and Medea and was first produced in 431 BC as part of a trilogy; the two other plays have not survived. The plot centers on the actions of Medea, a former princess of the kingdom of Colchis, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by murdering his new wife and her own two sons, after which she escapes to Athens to start a new life.

Euripides' play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, psychoanalytical, feminist, among many other original readings of Medea, Jason and the core themes of the play.

Medea, along with three other plays, earned Euripides third prize in the City Dionysia. Some believe that this indicates a poor reception, but "the competition that year was extraordinarily keen"; Sophocles, often winning first prize, came second. The play was rediscovered with Rome's Augustan drama; again in the 16th-century; then remained part of the tragedic repertoire, becoming a classic of the Western canon, and the most frequently performed Greek tragedy in the 20th century. It experienced renewed interest in the feminist movement of the late 20th century, being interpreted as a nuanced and sympathetic portrayal of Medea's struggle to take charge of her own life in a male-dominated world. The play holds the American Theatre Wing's Tony Award record for most wins for the same female lead character, with Judith Anderson winning in 1948, Zoe Caldwell in 1982, and Diana Rigg in 1994.

History
Medea was first performed in 431 BC at the City Dionysia festival. Here every year, three tragedians competed against each other, each writing a tetralogy of three tragedies and a satyr play (alongside Medea were Philoctetes, Dictys and the satyr play Theristai). In 431 the competition was among Euphorion (the son of famed playwright Aeschylus), Sophocles (Euripides' main rival) and Euripides. Euphorion won, and Euripides placed third (and last). Medea has survived the transplants of culture and time and continues to captivate audiences with its riveting power (Tessitore). The play's influence can be seen in the works of later playwrights, such as William Shakespeare.

While Medea is considered one of the great plays of the Western canon, Euripides' place in the competition suggests that his first audience might not have responded so favorably. A scholium to line 264 of the play suggests that Medea's children were traditionally killed by the Corinthians after her escape; so Euripides' apparent invention of the filicide might have offended, as his first treatment of the Hippolytus myth did. That Euripides and others took liberties with Medea's story may be inferred from the 1st century BC historian Diodorus Siculus: "Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out." A common urban legend claimed that Euripides put the blame on Medea because the Corinthians had bribed him with a sum of five talents.

In the 4th century BC, South-Italian vase painting offers a number of Medea-representations that are connected to Euripides' play — the most famous is a krater in Munich. However, these representations always differ considerably from the plots of the play or are too general to support any direct link to Euripides' play. But the violent and powerful character of Medea, and her double nature — both loving and destructive — became a standard for later periods of antiquity. Medea has been adapted into numerous forms of media, including operas, films, and novels.

With the text's rediscovery in 1st-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger and Hosidius Geta, among others); again in 16th-century Europe; and with the development of modern literary criticism: Medea has provoked multifarious reactions.

Form and themes
The form of the play differs from many other Greek tragedies by its simplicity. Most scenes involve only Medea and someone else. The Chorus, here representing the women of Corinth, is usually involved alongside them. The simple encounters highlight Medea's skill and determination in manipulating powerful male figures. The play is also the only Greek tragedy in which a kin-killer makes it unpunished to the end of the play, and the only one about child-killing in which the deed is performed in cold blood as opposed to in a state of temporary madness. Medea's "rebellion" is that which shakes the very world everyone must inhabit. Her rebellion tells of her past history, the goddess-like figure denigrated and ultimately dethroned gives lead to why she would act the way she does. Euripides displays Medea as an archetype. As a result, he reinforces the modern stereotype as a woman to be the devourer of men and children, instead of Medea, the great mother wronged.

Euripides' characterization of Medea exhibits the inner emotions of passion, love, and vengeance. The character of Medea has variously been interpreted both as fulfilling her role of "mother and wife" and as acting as a "proto-feminist". Feminist readings have interpreted the play as either a "sympathetic exploration" of the "disadvantages of being a woman in a patriarchal society", or as an expression of misogynist attitudes. In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's barbarian identity, which some argue could antagonize a 5th-century BC Greek audience.

It can be argued that in the play Euripides portrays Medea out to be an enraged woman who kills her children to get revenge on her husband Jason because of his betrayal of their marriage. Medea is often cited as an example of the "madwoman in the attic" trope, in which women who defy societal norms are portrayed as mentally unstable. Although, Medea is not the only character in the play to use deception; other characters, such as Jason and Creon, also use lies and manipulation. A competing interpretation is that Medea kills her children out of kindness because she cares and worries for them and their well-being. Once Medea commits to her plan to kill Creon and Jason's new bride, she knows her children are in danger of being murdered. Medea is not paranoid. In another version of the myth, the people of Corinth kill her children to avenge the deaths of Creon and his daughter Glauke. At this time in myth and history, helping one's friends and hurting one's enemies was considered a virtue. Thus, by this ethic, the Corinthians will do right by avenging their king and princess. Conversely, a focus on Medea's rage leads to the interpretation that "Medea becomes the personification of vengeance, with her humanity 'mortified' and 'sloughed off'" (Cowherd, 129). Medea's heritage places her in a position more typically reserved for the male in her time. Hers is the power of the sun, appropriately symbolized by her great radiance, tremendous heat and boundless passion. In this view Medea is inhuman and her suffering is self-inflicted just as Jason argues in his debate with her. And yet, if we see events through Medea's eyes, we view a wife intent on vengeance and a mother concerned about her children's safety and the life they can be expected to live. Thus, Medea as wife kills Creon and Glauke in the act of vengeance. Medea as a mother thinks that her children will be better off killed by her kind hand than left to suffer at the hands of an enemy, intent on vengeance. And so, Medea saves her children from this brutality and a worse fate by killing them herself, providing them with as peaceful an outcome as she can.

Euripides’ tragic character, Medea, is often described as having a “heroic temper,” (Lush, 2014). With this temper, the motive behind much of Medea’s behavior is to avoid the laughter of her enemies, “even at the cost of decisions that contradict self-interest, personal safety, or strongly held moral beliefs,” (Lush, 2014). Although some may say that her motive is jealousy over Jason’s new bride, Glauce, such reasoning does not fully explain the severity of Medea’s actions. Medea’s temperament suggests that she was more embarrassed than she was angry. She was unwilling to let her enemies, in this case Jason and his new wife, be happy or look down upon her. Medea denied that “her enemies [would] cause her pain and rejoice,” and stated that her priority was to “avoid her enemies’ derision,” (Lush, 2014). Although the murder of her children would cause her pain, Medea’s temperament caused her to prioritize Jason’s unhappiness over anything else.

Story
Medea is centered on Medea's calculated desire for revenge against her unfaithful husband. Medea is of divine descent and had the gift of prophecy. She married Jason and used her magic powers and advice to help him find and retrieve the golden fleece. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea in a blind rage towards Jason for arranging to marry Glauce, the daughter of king Creon. The nurse, overhearing Medea's grief, fears what she might do to herself or her children.

Creon, in anticipation of Medea's wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day's delay and eventually Creon acquiesces. In order to be accepted Medea must become trickier and must totally conceal her position. Crouching at Creon's feet, she begs him in the name of her children to allow her only one day. At this Creon is moved and grants to her one more day in Corinth. Medea's unexpected power of persuasion or even of fascination lies in her change of attitude: instead of preaching to Creon about the unpopularity of the sophoi she plays the role of a desperate mother, needing one day to prepare for exile. Medea is aware of the humiliating quality of this tactic, but she justifies it on the grounds of a gain and of her need to remain in Corinth: "Do you think that I would ever have flattered that man unless I had some gain to make or some device to execute? I wouldn't have even spoken or touched him with my hands". In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he could not pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I rescued you [...] I betrayed both my father and my house [...] now where should I go?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage ("If you wish me to give you or the children extra money for your trip into exile, tell me; I'm ready to give it with a lavish hand"), but Medea spurns him: "Go on, play the bridegroom! Perhaps [...] you've made a match you'll one day have cause to lament."

In the following scene Medea encounters Aegeus, king of Athens. He reveals to her that despite his marriage he is still without children. He visited the oracle who merely told him that he was instructed "not to unstop the wineskin's neck". Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea's plans for revenge, agrees.

Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios, her grandfather) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of the exile. She convinces Jason to allow their two sons to give gifts to Glauce in hopes that Creon to lift the exile against the children. Eventually Jason agrees.

"Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection."

In the next scene a messenger recounts Glauce and Creon's deaths. When the children arrived with the robes and coronet, Glauce gleefully put them on and went to find her father. The poison overtook her and she fell to the floor, dying horribly and painfully. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, was poisoned and died as well.

"Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too."

While Medea is pleased with her current success she decides to take it one step further. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children's deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. Determined to stop Medea, the chorus runs after her only to hear the children scream. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce, and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in a chariot given to her by the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:

"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."

Although Jason calls Medea most hateful to gods and men, the fact that the chariot is given to her by Helios indicates that she still has the gods on her side. As Bernard Knox points out, Medea's last scene with concluding appearances parallels that of a number of indisputably divine beings in other plays by Euripides. Just like these gods, Medea "interrupts and puts a stop to the violent action of the human being on the lower level, … justifies her savage revenge on the grounds that she has been treated with disrespect and mockery, … takes measures and gives orders for the burial of the dead, prophesies the future," and "announces the foundation of a cult."

She then escapes to Athens in the divine chariot. The chorus is left contemplating the will of Zeus in Medea's actions:

"Manifold are thy shapings, Providence! / Many a hopeless matter gods arrange / What we expected never came to pass / What we did not expect the gods brought to bear / So have things gone, this whole experience through!"

This deliberate murder of her children by Medea appears to be Euripides' invention, although some scholars believe Neophron created this alternate tradition. Her filicide would go on to become the standard for later writers. Pausanias, writing in the late 2nd century AD, records five different versions of what happened to Medea's children after reporting that he has seen a monument for them while traveling in Corinth. The play's popularity in ancient Greece may have been due in part to its portrayal of a strong, independent woman who defies patriarchal norms.

Theatre

 * Catulle Mendès adapted Medea into his play Medée in 1898, in three acts and in verse. Alfons Mucha drew a poster for a performance of this play starring Sarah Bernhardt.
 * Jean Anouilh adapted the Medea story in his French drama Médée in 1946
 * Robinson Jeffers adapted Medea into a hit Broadway play in 1947, in a famous production starring Judith Anderson, the first of three actresses to win a Tony Award for the role. It was directed by John Gielgud, who co-starred as Jason, Medea opened on Broadway at the National Theatre on October 20, 1947, transferred to the Royale Theatre on December 15, and closed on May 15, 1948, after 214 performances. At the 2nd Tony Awards on March 28, 1948,  Judith Anderson shared (with Katharine Cornell and Jessica Tandy) the Award for Best Actress in a Play. Another staging, produced and directed by Guthrie McClintic at the City Center, premiered on May 2, 1949, and closed, after 16 performances, on May 21. A staging in 1982, at the Cort Theatre, brought a Tony win for Zoe Caldwell, who played Medea, and a Best Featured Actress in a Play nomination for Judith Anderson as Nurse.
 * Ben Bagley's Shoestring Revue performed a musical parody off-Broadway in the 1950s which was later issued on an LP and a CD, and was revived in 1995. The same plot points take place, but Medea in Disneyland is a parody, in that it takes place in a Walt Disney animated cartoon
 * Canada's Stratford Festival staged an adaptation of Medea by Larry Fineberg in 1978, which starred Patricia Idlette in the title role.
 * Yukio Ninagawa staged a production called Ohjo Media (王女メディア) in 1978, followed by a second version in 2005
 * In 1982, George Eugeniou at Theatro Technis London, directed Medea as a barefooted unwanted refugee played with "fierce agility " and "dangerous passions" by Angelique Rockas
 * In 1983, kabuki Master Shozo Sato created Kabuki Medea uniting Euripides play and classical Kabuki storytelling and presentation. It debuted at Wisdom Bridge Theater in Chicago.
 * The 1990 play Pecong, by Steve Carter, is a retelling of Medea set on a fictional Caribbean island around the turn of the 20th century
 * The play was staged at the Wyndham's Theatre in London's West End, in a translation by Alistair Elliot. The production opened on 19 October 1993.
 * Chrysanthos Mentis Bostantzoglou makes a parody of this tragedy in his comedy Medea (1993).
 * A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance Theatre, directed by avant-garde stage director and choreographer Dimitris Papaioannou.
 * John Fisher wrote a camp musical version of Medea entitled Medea the Musical that re-interpreted the play in light of gay culture. The production was first staged in 1994 in Berkeley, California.
 * Christopher Durang and Wendy Wasserstein co-wrote a sketch version for the Juilliard School's Drama division 25th Anniversary. It premiered 25 April 1994, at the Juilliard Theater, New York City.
 * In November 1997 National Theatre of Greece launched a worldwide tour of Medea, a critically acclaimed production directed by Nikaiti Kontouri, starring Karyofyllia Karambeti as Medea, Kostas Triantafyllopoulos as Creon and Lazaros Georgakopoulos as Jason. The tour included performances in France, Australia, Israel, Portugal, United States, Canada, Turkey, Bulgaria, China and Japan and lasted almost two years, until July 1999. The play opened in the United States at Shubert Theatre in Boston (18 and 19 September 1998) and then continued at City Center Theatre in Manhattan, New York City (23 to 27 September 1998), receiving a very positive review from The New York Times.
 * Neil Labute wrote Medea Redux, a modern retelling, first performed in 1999 starring Calista Flockhart as part of his one act trilogy entitled Bash: Latter-Day Plays. In this version, the main character is seduced by her middle school teacher. He abandons her, and she kills their child out of revenge.
 * Michael John LaChiusa created a Broadway musical adaptation work for Audra McDonald entitled Marie Christine in 1999. McDonald portrayed the title role, and the show was set in 1890s New Orleans and Chicago respectively.
 * Liz Lochhead's Medea previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's Greeks in 2000 before the Edinburgh Fringe and national tour. 'What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every woman, and most of the men, in the theatre.' The Scotsman
 * In 2000, Wesley Enoch wrote and directed a modern adaptation titled Black Medea, which was first produced by Sydney Theatre Company's Blueprint at the Wharf 2 Theatre, Sydney, on 19 August 2000. Nathan Ramsay played the part of Jason, Tessa Rose played Medea, and Justine Saunders played the Chorus. Medea is re-characterised as an indigenous woman transported from her homeland to the city and about to be abandoned by her abusive social-climbing husband.
 * Tom Lanoye (2001) used the story of Medea to bring up modern problems (such as migration and man vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, and the "final hour" of the love between Jason and Medea
 * Kristina Leach adapted the story for her play The Medea Project, which had its world premiere at the Hunger Artists Theatre Company in 2004 and placed the story in a modern-day setting.
 * Peter Stein directed Medea in Epidaurus 2005
 * Irish playwright Marina Carr's By the Bog of Cats is a modern re-telling of Euripides' Medea.
 * In November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged Medea at the Bibliotheca Alexandrina (University of Alexandria, Egypt). The production was noted (by Nehad Selaiha of the weekly Al-Ahram) not only for its unexpected change of plot at the very end but also for its chorus of one hundred who alternated their speech between Arabic and English. The translation used was that of George Theodoridis.
 * US Latina playwright Caridad Svich's 2009 play Wreckage, which premiered at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlife.
 * Paperstrangers Performance Group toured a critically acclaimed production of Medea directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010.
 * Bart Lee's interpretation of Medea, renamed 'Medea, My Dear', was performed in Surrey and later toured the south of England from 2010 to 2011.
 * Luis Alfaro's re-imagining of Medea, Mojada, world premiered at Victory Gardens Theater in 2013.
 * Theatre Lab's production, by Greek director Anastasia Revi, opened at The Riverside Studios, London, on 5 March 2014.
 * The Hungry Woman: A Mexican Medea by Cherríe Moraga takes elements of Medea and of other works
 * 14 July – 4 September 2014 London Royal National Theatre staging of Euripides in a new version by Ben Power, starring Helen McCrory as Medea, directed by Carrie Cracknell, music by Will Gregory and Alison Goldfrapp.
 * 25 September – 14 November 2015 London Almeida Theatre a new adaptation by Rachel Cusk, starring Kate Fleetwood as Medea, directed by Rupert Goold.
 * 17 February – 6 March 2016 in Austin at the Long Center for the Performing Arts starring Franchelle Stewart Dorn as Medea and directed by Ann Ciccolella.
 * May 2016 – MacMillan Films released a full staging of the original Medea which was staged for camera. The DVD release shows the entire play. complete with the Aegis scenes, choral odes and triumphant ending. Directed by James Thomas and starring Olivia Sutherland, the staging features Peter Arnott's critically acclaimed translation.
 * Chico Buarque and Paulo Pontes, Gota d'Água (musical play set in 1970s Rio de Janeiro, based on Euripides, 1975). Several times revived, including a 2016/2017 production starring Laila Garin (celebrated for her title role in the highly regarded musical biography of Elis Regina, staged in Brasil in 2015).
 * February 2017: the play was staged in South Korea, directed by Hungarian theatre director Róbert Alföldi, with Lee Hye-young in the titular role.
 * In some editions of the theatrical play, Medea would be played as a man instead of a woman to show a unique and perhaps more culturally accepted point of view.
 * In some play adaptations, Jason is played as a sympathetic figure who is manipulated by Medea, rather than a conniving opportunist.

Film

 * Pier Paolo Pasolini adapted the legend into a movie of the same name in 1969 starring Maria Callas as Medea
 * In the 1983 film Storia di Piera by Marco Ferreri, Isabelle Huppert as the protagonist learns the part of Medea at school and plays it when she is an adult actress.
 * Asian-American filmmaker Michael Justin Lee reinterpreted the story into a film noir short film set in modern-day America starring Amy Gordon as Medea. (2018)

Television

 * Australian actress Zoe Caldwell's performance in the 1982 Broadway adaptation of the Jeffers' script was recorded for broadcast on the PBS series Kennedy Center Tonight.
 * Lars von Trier made a version for television in 1988, based on the script adaptation by Carl Theodor Dreyer.
 * Theo van Gogh directed a miniseries version that aired 2005, the year following his murder.
 * OedipusEnders, a documentary broadcast on BBC Radio 4 on 13 April 2010, discussed similarities between soap opera and Greek theatre. One interviewee revealed that the writers for the ITV police drama series The Bill had consciously and directly drawn on Medea in writing an episode for the series.
 * Playwright Mike Bartlett was inspired to create a modern-day suburban Medea after adapting the Euripides play for a theatre production in 2012. Bartlett's 2015-2017 BBC1 miniseries Doctor Foster follows the structure of the Greek tragedy. A Korean remake of the series, The World of the Married, became the highest rated cable drama in Korean history, with its final episode reaching a nationwide rating of 28.371%.

English translations

 * Michael Wodhull, 1782 – verse
 * Edward P. Coleridge, 1891 – prose: full text
 * Theodore Alois Buckley, 1892 – prose: full text
 * Gilbert Murray, 1912 – verse: full text
 * Arthur S. Way, 1912 – verse
 * F. L. Lucas, 1924 – verse
 * Augustus T. Murray, 1931 – prose
 * Countee Cullen, 1935
 * Moses Hadas and John McLean, 1936 - prose
 * R. C. Trevelyan, 1939 – verse
 * Rex Warner, 1944 – verse
 * Robinson Jeffers, 1946 – verse
 * Ray Mathew, 1953– verse
 * Peter D. Arnott, 1961 – verse
 * Philip Vellacott, 1963
 * John Davie, 1996
 * James Morwood, 1997 – prose
 * Paul Roche, 1998 – verse
 * Ruby Blondell, 1999 – verse
 * George Theodoridis, 2004 – prose: full text
 * Stephen Esposito, 2004 – verse
 * Joseph Goodrich, 2005 – verse: full text
 * Graham Kirby, 2006 – verse (The Bloomsbury Theatre)
 * Diane Arnson Svarlien, 2008 – verse
 * Robin Robertson, 2008 – verse
 * J. Michael Walton, 2008 – prose
 * Ian C. Johnston, 2008 – verse: full text
 * Tom Paulin, 2010 - full text
 * Judith Mossman (classicist), 2011 – prose
 * Brian Vinero, 2012 – rhymed verse: full text
 * Mike Bartlett, 2012 – play
 * Diane Rayor, 2013
 * David Stuttard, 2014 – prose
 * Alan Chriztopher R. Aranza, 2015 – prose
 * Rachel Kitzinger, 2016 - verse
 * Charles Martin, 2019
 * Richard Swanson, 2020 - prose
 * Michael Ewans, 2022 - verse

title: Medea (play)


text:
Artūrs Irbe

Artūrs Irbe (born 2 February 1967) is a Latvian professional ice hockey coach and former goaltender. Born during the Soviet era, Irbe played for various Soviet league teams and the Soviet Union national team before moving to North America in 1991. Irbe played in the National Hockey League (NHL) for the San Jose Sharks, Dallas Stars, Vancouver Canucks, and Carolina Hurricanes. In 2004 Irbe returned to Europe to play until he retired in 2007. He has served as a goaltending coach with Dinamo Riga, the Washington Capitals, and the Buffalo Sabres, as well as internationally with the Latvia men's national ice hockey team. He was inducted into the IIHF Hall of Fame in 2010. Irbe was rated number 93 on The Hockey News list of the Top 100 Goalies of All-Time in 2018.

Playing career
Irbe was drafted in the 10th round, 196th overall by the Minnesota North Stars in the 1989 NHL Entry Draft.

His first professional hockey team was Dinamo Riga of the Soviet Hockey League (from 1987 to 1991). After playing in only 2 games during the 1986–1987 season Irbe got a chance to become Dinamo Riga's number one goaltender during the 1987–1988 season when their starting goaltender and Olympic champion, Vitali Samoilov went down with a long-term injury. In his only full professional season, Irbe was outstanding in helping Dinamo Riga make it to the finals of the Soviet Hockey League where they eventually lost to perennial Soviet champions CSKA Moscow. During this period he also played for the Soviet Union in the World Championships in 1989 and 1990. The Soviet team won those two championships and Irbe was honoured as the best goalkeeper of the 1990 tournament. He refused to play for the Soviet Union in 1991 because Latvia had proclaimed independence from the Soviet Union on 4 May 1990 and the Soviet government attempted to use military force in January 1991 to stop Latvia's independence. When the Moscow government sent tanks rolling to Riga, Irbe was among those who took to the streets and put up barriers to protect buildings, radio stations, TV towers, and historical landmarks.

In the 1988–89 season, Irbe travelled to North America with his then club Dinamo Riga to play in a series of exhibition games against NHL teams. The next season (1989–90) he was temporarily added to the CSKA Moscow team during an exhibition tour of North America.

NHL
He began his playing career in America with the IHL affiliate of the San Jose Sharks, the Kansas City Blades. During the 1991–92 season with the Blades, he led the IHL in GAA, playoffs games played, playoffs minutes played, playoffs wins, playoffs most goals allowed, playoffs assists, and playoffs penalty minutes, and led the team to win the Turner Cup league championship.

In the 1991–92, Irbe also played in 14 games with the Sharks, with whom he would remain until the 1995–96. With Irbe between the pipes, the newly established Sharks made their first playoff appearance in the 1993–94 season and upset the top-seeded Detroit Red Wings. That season, Irbe played an NHL record 4412 minutes in goal for the Sharks. Irbe, affectionately known as Archie, was nicknamed "The Wall" and became a cult figure in San Jose, a status he enjoys there to this day. Following an injury (his hand being mauled by his pet dog in the offseason) and a poor 1995–96 season, Irbe was released by the Sharks.

For the next two years, he was a backup goaltender for the Dallas Stars and the Vancouver Canucks (for whom he played significant stretches with ample success) until he became the starter for the Carolina Hurricanes in the 1998–99 season. Irbe was picked to be a member of the World NHL All-Star team in the 1998–1999 season, where he became the first goalie to record an assist in an NHL All-Star game. The highest point of his career with the Hurricanes was 2001–02 when Irbe was instrumental in leading the Hurricanes to the Stanley Cup finals where they fell to the Detroit Red Wings.

Demotion to ECHL
After a disappointing 2002–03 season, the Hurricanes looked to demote Irbe because they could not move him due to the no-trade clause in his contract. On October 16, 2003, Irbe was assigned to the Johnstown Chiefs of the ECHL. After going 8–2–1 in 11 games with the Chiefs, Irbe was named as the starter for the Eastern Conference in the 2004 ECHL All-Star Game. However, Irbe was unable to participate due to a wrist injury. On March 19, 2004, Irbe was recalled to the Carolina Hurricanes after goalie Kevin Weekes was placed on the IR list due to season-ending hand surgery.

Last days in the NHL
Irbe played his last game in the NHL on April 4, 2004, against the Florida Panthers where he was replaced by Kevin Weekes in the third period after letting up six goals. The game would end in a 6–6 tie which would be the final tie in NHL history as the league moved to shootout in the following season in 2005–06.

In June 2004, he was traded to the Columbus Blue Jackets, but never played with the club due to that year's NHL lockout. After the lockout canceled the 2004–2005 season, Irbe never played in the NHL again but chose to continue his career in Europe.

Return to Europe
Irbe played for HK Riga 2000 in Latvia and EC Red Bulls Salzburg in Austria during the 2004–05 season. He signed with HK Dynamax Nitra playing in the Slovak Ice Hockey Extraliga, but he decided to leave after his unsatisfactory results.

Equipment
He is notable on the ice for his helmet and padding – he has worn them almost continuously since his NHL debut for the Sharks – which are creased and scuffed with puck marks and stains. He has earned the nickname "Michelin Man" as a result.

In the early 2000s, he placed an ad in the Ottawa Pennysaver seeking any resident with the famed Jofa goaltender mask.

Coaching career
In 2008, Irbe signed a three-year deal with Dinamo Riga and worked as the goaltending coach for the club. In August 2009, Irbe cut ties with Riga and decided to go back to North America to be the goaltending coach of the NHL Washington Capitals after former goaltending coach Dave Prior stepped down due to family reasons. Irbe left the team on June 11, 2011, to spend more time with his family.

In 2013, Irbe was named as Ted Nolan's assistant for Latvian national team, but resigned a year after a dispute with president of Latvian Ice Hockey Federation Kirovs Lipmans over his coaching certification. In August 2014, Nolan again hired Irbe as an assistant, this time with the Buffalo Sabres.

While serving with Buffalo in 2014 at the age of 47, he suited up after the injury of Michal Neuvirth to be the backup goaltender for Jhonas Enroth.

In August 2017, Irbe became a consultant for the Latvian hockey league club HK Kurbads.

During the 2023 IIHF World Championship co-hosted by Tampere, Finland, and Riga, Latvia, Irbe won a Bronze medal together with the Latvia men's national ice hockey team as a Goaltending Coach. In addition, the Latvian National Team's goaltender, Arturs Silovs, was named the MVP of the 2023 IIHF World Championship.

Personal
Irbe is also a member of board of directors of the Kids First Fund, a non-profit organization based in the United States which raises money for projects assisting abused and abandoned children in Latvia.

At the 2006 Winter Olympics in Turin, Irbe was Latvia's flag-bearer in the opening ceremonies.

Career statistics
Bolded numbers indicate season leader

International
Bolded numbers indicate tournament leader

Super Series statistics
The Super Series were exhibition games between an NHL team and Soviet teams (usually a club from the Soviet Championship League). Irbe competed in two such series.

Transactions

 * June 17, 1989 – Drafted by Minnesota in the 10th round, 196th overall
 * May 30, 1991 – San Jose in National Hockey League dispersal draft
 * July 22, 1996 – Signed as a free agent by Dallas
 * August 5, 1997 – Signed as a free agent by Vancouver
 * September 10, 1998 – Signed as a free agent by Carolina
 * February 8, 2003 – Placed on waivers by Hurricanes
 * June 16, 2004 – Traded by Hurricanes to Columbus Blue Jackets for future considerations
 * December 5, 2005 – Signed as a free agent by Salzburg
 * November 18, 2014 – Signed as player-coach by Buffalo Sabres on an emergency backup contract

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

title: Artūrs Irbe


text:
User:Crusty Curmudgeon

Just found out about Wikipedia. Neat idea.

I've worked in radio for 40 years, repairing, designing and building. Became a ham radio operator in 1969, and a licensed Radio and TV engineer (USA FCC First Class Radio Telephone License) in 1971. I have worked on Aviation, Ham, CB, Police/LMR radio systems, automatic test systems for radios, PC programming and electric motor controls.

title: User:Crusty Curmudgeon


text:
Utamakura

"poem pillow" (歌枕) is a rhetorical concept in Japanese poetry.

Definition
is a category of poetic words, often involving place names, that allow for greater allusions and intertextuality across Japanese poems.

enables poets to express ideas and themes concisely—thus allowing them to stay in the confines of strict structures. Some scholars see the use of geographical allusion as the evidence for a restricted scope of poetry writing. Although the poets' "true" meaning was true because the essence was initially pre-established, the poems were written within fixed topics. The poet could inhabit a subjective position or persona and write about the topic, but not necessarily about their personal feelings; therefore, could have restrained the scope of topics a poet could write about.

include locations familiar to the court of ancient Japan, such as:
 * particularly sacred Shinto and Buddhist sites,
 * places where historic events occurred, and
 * places that trigger a separate mental association through a pun.

Aesthetic function
serve as a significant tool to achieve (mystery and depth) in Japanese poetry by adding profound and indirect beauty in poems. It can be used as a source for identifying significant figures and places in ancient Japan.

History
The history of is found in documents on the study of poetry such as the  of Noin, by the poet and monk of the late Heian period, and lists of places in the  (Utamakura reference book).

were first used by traveling priests. They collected stories from the towns they traveled to. Since they saw many places, it was easier to remember the details of a story by using a single, consistent reference point for each recurring event in their tales. Over time, the people across the Japan came to identify place names by the psychological feelings associated with the references made by the wandering priests.

After place names and people had become well established, eager  poets went sightseeing to the sites of. Beyond becoming familiar with the scenery of the poems, entering the locale of a poem or story deepened one's understanding of it.

was also used in, a form of Japanese collaborative poetry that is the ancestor of and haiku poetry.

Examples
There are numerous instances of in Japanese literature, one of which is the. The source of this particular example is poem #3 in the "Spring" section.

In the poem above, Yoshino refers to a place in the Yamato region in the nearby of the capital. Yoshino is known for having both heavy snowfall and an abundance of cherry blossoms.

Poem #1 in "Spring 1" of Shin Kokin Wakashū also uses Yoshino for depicting the beginning of spring.

Another instance of poetic place name comes from Tales of Ise, a piece titled "In the Provinces" (#15).

Mount Shinobu is a pun on the verb shinobu, meaning "to conceal," "endure," "long for," and "remember".

Contemporary examples
Utamakura are also used outside of poetry, for example menu items named after their visual appearance with a reference to a well-known Japanese scenic area. Tatsuta age, deep-fried fish or chicken that has a dark reddish-brown color as a result of being marinated in soy sauce, is named after the Tatsuta River, known for its maple trees, the leaves of which turn a deep red color in autumn.

title: Utamakura


text:
Start Something

Start Something is the second studio album by the Welsh rock band Lostprophets, released on 2 February 2004 through Visible Noise in the United Kingdom and South Korea. The album was released internationally on 5 February 2004 through Columbia. The band began work on the album in 2003 after touring for support of their previous album, The Fake Sound of Progress. This is the second and last album featuring the original drummer Mike Chiplin.

Start Something was both a critical and commercial success, quickly becoming the band's most successful album. It peaked at number 33 on the Billboard 200 in the United States, and was eventually certified Gold by the RIAA. Six singles were released from the album: "Burn Burn", "Last Train Home", "Wake Up (Make a Move)", "Last Summer", "Goodbye Tonight" and the radio single "I Don't Know". These singles helped Lostprophets reach mainstream popularity. The album would go on to be certified platinum by the BPI in the United Kingdom, and gold in the United States by the RIAA.

Composition
The album was produced by Eric Valentine who had also produced albums from Queens of the Stone Age and Good Charlotte. The band claimed they had settled on the title to introduce their abilities on a more grand musical level as compared to their actual debut The Fake Sound of Progress, as they considered it to be more of a reworked demo. According to lead singer Ian Watkins, the title was also influenced by several friends of the band they had claimed would "love to do this and that, but never had the drive to do it".

Prior to the beginning of the recording process, the band had befriended Hoobastank as the two bands shared a recording space in Calabasas, California. Watkins and Jamie Oliver recorded their guest appearance for the Hoobastank song Out of Control off of their 2003 album The Reason.

The band cancelled their scheduled performance at the 2003 Reading and Leeds Festival to continue work on the album. Watkins claimed the band sought to finish recording, claiming "We want to make the best record possible and did not want to rush anything, unfortunately these shows are at the final stages of making the record and we felt it was more important." The Scottish rock band Biffy Clyro replaced Lostprophets at the festival.

Billy Martin and Benji Madden of Good Charlotte record additional vocals on "Last Train Home".

The track listing varies depending on region, the track "We Are Godzilla, You Are Japan" was omitted from the North American version of the album, though versions with the track have the final two tracks "Sway" and "Outro" consolidated into one track.

The band included two additional tracks for the album's Japanese version; "Lucky You" and "Like a Fire". Despite not appearing as a track on any of the singles or on any version outside of the Japanese and original Australian release; "Lucky You" was submitted by the band for its inclusion in the Spider-Man 2 soundtrack, released on 30 June 2004 alongside the film. Original pressings of the Australian release had also included "Lucky You" as the penultimate track, but it was later removed in 2005. Other recording outtakes such as "The Politics of Emotion", "Holding On", "Our Broken Hearts", and "Push Out the Jive, Bring in the Love" were scrapped from the final track listing, though they appear on several singles.

Artwork
The album cover (designed by Watkins and Oliver) features a new gothic style logo with German blackletter typeface, replacing the old logo used for The Fake Sound of Progress. It would in itself be replaced for the band's next album, but featured on several of the band's singles taken from this album. Sometimes the lyrics "but even through your doubts, we will still be here", taken from "We Still Kill The Old Way", are written below the logo. The figure at the front of the artwork wears blue jeans, a black hoodie and a baseball cap and was jokingly thought to resemble Justin Timberlake in several humorous interviews with the band. However, the person actually depicted in the photograph was Watkins, as was later clarified by bassist Stuart Richardson in 2005.

At the time, Oliver was also an acclaimed artist with his work being displayed in several exhibitions depicting Rhondda life. There are slight variations with the cover in different territories with some editions showing the shadow of the figure with wings - either angels wings or more likely bird wings. This is best depicted in an official promotional wallpaper the band released for fans. The picture was shot on the 1st Street Bridge in Boyle Heights, directly east of Los Angeles, where the album was recorded and mixed. Watkins claimed he regarded artwork as "just as important as the music". During a January 2010 interview, Watkins further reflected back on Lostprophets' prior artwork claiming "I remember doing the Start Something record and compiling the inlay which is a collage of two years of our lives. It was so much fun. I'd sit there for hours looking at the booklet and all the little pictures. I did that to all the albums I bought."

Promotion
Songs from the new album were first performed live on 17 August 2003 at Newport, the first gig of three alongside a Birmingham date and a Manchester date, in preparation for the Reading and Leeds festival at the end of August. For these gigs, "We Still Kill the Old Way" became the regular opener, whilst sets closed with "Burn Burn", with tracks from their previous album interspersed in between. Kerrang noted in a live review from Manchester that "We Still Kill the Old Way" and "To Hell We Ride" were "well received" but that "the surfeit of new material leads to a comparatively muted response". At the end of July though it was announced that the band had cancelled their appearance at Reading and Leeds, whilst still promising to play the three warm-up shows, citing that they wanted the recording of Start Something to take precedence. Ian Watkins later announced "Unfortunately these shows are at the final stages of making the record and we felt it was more important not to short change anyone." The band did however support Linkin Park at Wembley Arena in London on 22 November 2003 performing eight songs, including five from the upcoming album. Despite the recording process, the band performed a total of four dates in 2003.

The song "To Hell We Ride" made an appearance in the video game Need for Speed: Underground, released in November 2003, as a bonus feature of the game, users could unlock a custom 1999 Nissan Skyline GT-R given a custom livery with the band's logo and artwork from the upcoming album as an easter egg.

Europe
The album was well received in the UK, being certified Silver and later Gold by the BPI on 20 February 2004, it would go on to be certified Platinum in the UK on 14 January 2005. The album debuted on the UK Albums Chart at #4 in 2004, in 2005 it reached its peak position #93 and after the release of Liberation Transmission in 2006 the album re-charted and peaked at #133. The album was also well received in Germany, entering the German album charts at #51. The album's lead single "Burn Burn" became the band's first charting song in Germany, peaking at #81. "Last Train Home" had proved to become a more successful single as it peaked #48. The album also managed to chart in Finland, Austria, Ireland, France, and the mainland Eurochart upon release; the latter peaking at #15.

North America
Upon release, the album was poorly received in Canada, only peaking at number 87 on the Canadian Albums Chart and yielding no charting singles aside from "Last Train Home", which peaked at #14 on the Canada Rock Top 30 chart on Radio & Records. Despite this; the album was positively received in the United States, being compared to American acts such as Linkin Park, Limp Bizkit, and Incubus. The album's first single "Burn Burn" had initially failed to chart in the United States; but the album's second single "Last Train Home" quickly became a hit; prompting the album to sell 117,000 copies in its first week in America. "Last Train Home" had grown substantial attention in America in December 2003 through radio airplay regular MTV rotation. The single quickly became the band's highest charting single in America, prompting the band members to appear as guests on Total Request Live on 13 March 2004. The single had also managed to beat fellow UK rock band The Darkness' hit single I Believe in a Thing Called Love (released in September 2003), charting twelve spots higher on Billboard's Mainstream Rock charts upon release in December 2003. The song became the highest-charting single of any UK rock act in the United States in 2003. In mid-February 2004, Start Something peaked at #33 on the Billboard 200 becoming the band's highest charting album in the United States to date. The album also reached #121 on the Billboard's Year-End Chart in the United States in December 2004. To date, it is the band's only release certified by the RIAA. On June 3, 2004 the album was certified Gold by the RIAA in the United States. Despite the strong response to the album's second single; "Wake Up (Make a Move)" was not as well received, though it also charted in America at #16, "I Don't Know", was also released as a radio-only single on 26 October 2004, it ultimately peaked at #11 on the Hot Modern Rock Tracks chart and #24 on the Hot Mainstream Rock Tracks chart.

Australia/New Zealand
Despite entering the New Zealand album charts at #14, Start Something did not yield any charting singles in the country. Australia had a similarly mixed reception for the album's release as only "Burn Burn" and "Last Train Home" charted as singles respectively. Regardless; Burn Burn had managed to become a minor hit in Australia, peaking at #48 in December 2003.

Streaming
In May 2012 the album had still garnered 10.8 million plays by 640,000 listeners on Last.FM. As of May 2023, the album is still the band's most popular record following their breakup in 2013. Spotify reported that "Start Something" still receives over 60,000 monthly plays from users in the UK.

Despite Watkins' conviction in 2012; the album remains purchasable internationally on Apple Music. Spotify also has the album available for play only for users in the United Kingdom and Japan. Much of the band's Visible Noise catalogue was not renewed for licensing to be streamed in markets such as North America, Australia, or South Korea after 2012.

Critical Reception
The album received mostly positive reviews from music critics, At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 70, based on 13 reviews.

Johnny Loftus from Allmusic gave the album a negative review, claiming that they had too big of a resemblance to American bands such as Faith No More, Incubus and Hoobastank; Loftus gave the album 2 out of 5 stars. He noted a more melodic singing style on the album when compared to The Fake Sound of Progress, commenting that "the Mike Patton scream Prophets vocalist Ian Watkins perfected on 2001's Fake Sound of Progress has — like it did for Brandon Boyd and Doug Robb — mellowed into a blandly earnest yawp capable of keeping things thick enough for the dudes but still rife with those heartfelt intakes of breath that the ladies love." In his July 2004 review, Jason MacNeil of PopMatters also considered the album to be derivative of American bands, labelling the track "I Don't Know" as "Incubus-by-numbers", adding that on the title track "Faith No More is also brought back from the dead as the piano tinkling surpasses the guitars."

Rolling Stone reviewer Kirk Miller was more positive to the album and called it a "kick-ass tribute" because of its resemblance to Faith No More, and gave the album 3 out of 5 stars. Justin Kownacki from Splendid said "this is one of those finely-polished discs that should have no trouble finding a huge audience" and was more over positive to the album.

Drowned in Sound reviewer Gen Williams said "It's a really really really really really REALLY great pop-metal explosion." and continued to say "Burn Burn" boasted "the catchiest hook this side of Linkin Park" and that the alleged Adamski rip-off was justified because of the song's quality, and giving the album 8 out of 10 stars.

Q called it "Unashamedly Epic." NME said "This is something genuinely fresh... here friends, is the real sound of progress (reference to the band's previous effort, The Fake Sound of Progress)" and Observer Music Monthly credited Start Something on being "A hybrid of big rock choruses, powerful rhythms and a neat pop edge to their rock artillery." Entertainment Weekly gave the album a B and said that Lostprophets "mostly live up to that high standard by juxtaposing gnarly metal riffs with quirky electronic interludes. Only the occasional lapse into Linkin Park-style self-indulgence drags them down."

It was ranked seventh in Kerrang! magazine's Albums of the Year 2004 list. In a readers poll titled Top 100 British Rock Albums the album was ranked eighteenth, and was the third highest of the 2000s, however the poll was taken in February 2005 whilst the album was still fresh in the mind for many.

In 2005, Start Something was ranked number 364 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time. Rock Sound magazine ranked the album eighth on their Critics' Poll 2004, the highest placing for a British band.

Tour
To promote the album, the band toured North America, Europe, Asia and Oceania. Four months before the release of Start Something the band embarked on a tour in support. The tour began in the United Kingdom. The band also announced dates, opening for Linkin Park on their UK arena tour for select dates in October 2003. The band also announced performances at the NME Award show at the London Astoria and later announced further UK dates in Glasgow, Newcastle and Manchester among others. The concert in the London Astoria ended up being sold out.

The band took part in the second European leg of Metallica's Madly in Anger with the World Tour alongside Slipknot and Godsmack. Lostprophets were billed as the opening act for European dates stretching from 26 May, to 4 July 2004. Though their own touring commitments forced them to drop from the tour with Metallica prior to the second North American leg in August as they were also obligated to perform in the United States later that month.

The North American leg of the tour began on 19 March 2004, lasting until 18 December. Lostprophets would also take part of MTV's Campus Invasion Tour, in support for headliners Hoobastank, beginning at the University of Tennessee in Knoxville, Tennessee. In May 2004 the band performed in Vancouver, British Columbia, Canada for a one night show. The band announced further dates in New Zealand and Australia as a part of the Big Day Out festival, and dates in Asia were later announced, marking the band's first performance in Japan. The band returned to the UK in November 2004 as their own headliners, and capped off their tour with 10 additional American dates, ultimately ending the tour in Cleveland, Ohio on December 18, 2004.

Prior to 2013, Start Something was still the band's most popular album with just over 35% of songs coming from that album across all their performances from 2004 to 2012. During the band's 2012 tour in support of their album Weapons, the band announced a homecoming show at Cardiff's Motorpoint Arena where the album was played in its entirety. Stuart Richardson said "We wrote the record in Caerphilly. Start Something is when we kind of came into our own as a band, and Cardiff is where we came into our own as people". The performance sold out with a crowd of 10,000 people.

Legacy
In June 2012 the album was entered into Rock Sound magazine's Hall of Fame with features on how the band look back on the album and how it has influenced others. Rock Sound said that the album made the band into "one of our greatest rock commodities" and called it a "defining record for the UK rock scene as a whole". Lee Gaze stated "Start Something is the greatest hits of what Lostprophets do". Aled Phillips of Kids in Glass Houses said "it was a turning point for a lot of bands" but also that "everyone's jeans got tighter and started wearing Nike Dunks - it was a cultural shift. With them it was never just about the music, everybody got swept up in the whole aesthetic as well". Five British rock records - All Our Kings Are Dead, We Are the Dynamite, World Record, Free and Hold Me Down - were all cited as being heavily influenced by Start Something.

BBC Wales called the album a "modern rock classic" in retrospect and BBC Music called it a "UK rock classic". Whilst WalesOnline noted how the album had been "a galvanising force in the Welsh rock scene". The BBC also produced a radio programme with Bethan Elfyn that aired on BBC Radio 1 in May 2010, which featured the Stereophonics, Manic Street Preachers, Funeral for a Friend and The Blackout amongst others, and titled it "Start Something: The Story of South Wales Rock" in honour of the album. The album was included in Rock Sound's 101 Modern Classics list at number 14.

The album has sold 2.5 million copies worldwide to date; according to the British Broadcasting Corporation (BBC).

Awards

 * Kerrang! Awards

 * 2004 || Start Something || Best Album || Nominated
 * 2004 || Last Train Home || Best Single || Won
 * 2004 || Last Train Home || Best Single || Won
 * 2004 || Last Train Home || Best Single || Won

 * Metal Hammer Awards

 * 2004 || Lostprophets for Start Something tour || Best Live Act || Nominated
 * 2004 || Lostprophets for Start Something tour || Best Live Act || Nominated

Accolades
(*) designates unordered lists.

Personnel
Credits for Start Something adapted from liner notes.

 * Lostprophets
 * Ian Watkins - lead vocals, art direction
 * Lee Gaze – lead guitar
 * Mike Lewis – rhythm guitar
 * Stuart Richardson - bass guitar
 * Jamie Oliver – synth, turntables, samples, backing vocals, illustration, co-lead vocals on "To Hell We Ride" and "We Are Godzilla, You Are Japan"
 * Mike Chiplin - drums, percussion
 * Additional musicians
 * David Campbell – string arrangement
 * Billy Martin – backing vocals
 * Benji Madden – backing vocals
 * Brett Allen Rentals – additional guitars

 * Production

 * Eric Valentine – production, engineered, mixing
 * Kevin Augunas – engineered, backing vocals
 * Joe Barresi – additional engineered
 * Trevor Whatever – studio manager
 * Steve Turzo – studio assistant, backing vocals
 * Jeff Turzo – sequence
 * DMT rentals – additional digital recording
 * Brian Gardner – mastered
 * Q Prime Inc. – management
 * Doug Mark – legal
 * Mike Dewdney – booking
 * Julie Weir – Visible Noise A&R
 * Greg Boggs – Columbia A&R
 * Gerard Babitts – Columbia A&R
 * Martin Greene Ravden – business management
 * Mark "Flood" Ellis – business management
 * Bumstead – business management
 * McCready – business management
 * McCarthy – business management
 * Dan Mandell – art direction
 * Chapman Baehler – photography
 * Lawrence Watson – photography

Track listing
All lyrics written by Ian Watkins, all music composed by Lostprophets.

title: Start Something


text:
Chappelle's Show

Chappelle's Show is an American sketch comedy television series created by comedians Dave Chappelle and Neal Brennan, with Chappelle hosting the show and starring in the majority of its sketches. Chappelle, Brennan, and Michele Armour were the show's executive producers. The series premiered on January 22, 2003, on the American cable television network Comedy Central. The show ran for two complete seasons. An abbreviated third season of three episodes aired in 2006, compiled of previously unreleased sketches.

After numerous delays, production of the third season of Chappelle's Show was abruptly ended when Chappelle left the series. Critically acclaimed throughout its run, the series often satirized and examined—through dark and racial humor—race, social stereotypes, masculinity, celebrity culture, and comedy itself. TV Guide included it on their list of "TV's Top 100 Shows" and it was placed 26th on Entertainment Weekly's "New TV Classics" ranking.

Format
The show opened with Chappelle being introduced over the instrumental from the song "Hip-Hop", from the album Let's Get Free by Dead Prez. Chappelle would perform a short stand up in front of a live audience. The focus would then shift to a prerecorded sketch. The show was notorious for its handling of the topic of sexuality and Chappelle's casual usage of racial epithets. Chappelle performed sketches that premiered intricate cultural topics, such as prostitution, the entertainment industry, gun violence, numerous drug references (particularly marijuana, alcohol, PCP, crystal meth and crack cocaine) and music. The show often closed with a musical performance by a hip hop or soul artist.

Cast
• Dave Chappelle

• Donnell Rawlings

• Dominique Witten

• Neal Brennan

• Rick Crom

• Bill Burr

• Brian Dykstra

• Drake Hill

• Sophina Brown

• William Bogert

• Yoshio Mita

• Paul Mooney

• Charlie Murphy

• Randy Pearlstein

• Robert Petkoff

• Nick Wyman

• Anthony Berry

• Mos Def

• Max Herman

• Allen Levy

• Guillermo Díaz

• Drago Ruschinsky

• Amanda Rowan

Frequent or notable guest stars
Many guest stars appeared on the show, including Half Baked co-stars Guillermo Díaz, Jim Breuer and Snoop Dogg (who was also a musical guest); RZA, GZA and Method Man of the Wu-Tang Clan, Rick James, Damon Dash, Redman, Ice-T, Arsenio Hall, Wayne Brady (the only guest to appear on stage), Mos Def (who was also a musical guest), Eddie Griffin, Susan Sarandon, Q-Tip, Rashida Jones, Jamie Foxx, Carson Daly, Ron Jeremy, Bill Burr, Patrice O’Neal, Rich Vos, Spike Lee, Michael Rapaport and Joe Rogan.

Musical guests included De La Soul, Ludacris, Robert Petkoff, Talib Kweli, Fat Joe, Wyclef Jean, Killer Mike, Big Boi of OutKast, Anthony Hamilton, Kanye West, Common, DMX, Busta Rhymes, Slum Village, John Mayer, Questlove, Cee-Lo Green, Vida Guerra, Erykah Badu and Lil Jon.

Notable sketches
Rather than acting out sketches in front of a live studio audience, the sketches were prerecorded with the audience reaction usually used in lieu of a laugh track. According to Neal Brennan in the season-two DVD commentary, the production team never edited in prerecorded laughs, with the exception of the "Dude's Night Out" sketch due to the lack of reaction from the audience.
 * A Moment in the Life of Lil Jon – Chappelle plays rapper/producer Lil Jon doing normal, everyday tasks, with a vocabulary consisting of almost nothing but the words 'Yeah!', 'HWHAT?!', and 'O-kay!' The real Lil Jon appeared in one sketch opposite Chappelle's character, with Lil Jon speaking in an excessively dignified accent. The rapper credited the sketch with increasing his visibility. Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, " We could have filled this list with 100 reasons we miss Chappelle's Show, but the biggest one would have to be his riotous celebrity impressions."
 * Charlie Murphy's True Hollywood Stories – Charlie Murphy (who also wrote the sketches) retells his encounters with 1980s celebrities, the most popular being the Rick James story. The sketch features Murphy as himself and Chappelle as James, including incidents such as James slapping Murphy and referring to him as "Darkness", interspersed with cuts from an interview with the actual present-day Rick James, trying to cover up for his past behavior, saying, "Cocaine's a hell of a drug." The sketch spawned one of the show's popular catchphrases, "I'm Rick James, bitch!", which Chappelle, as James, repeatedly declares. The sketch attained even greater public attention when, in 2005, a candidate for city council in Hattiesburg, Mississippi, also named Rick James but unrelated to the singer, had many of his "Vote Rick James" campaign signs defaced by writing "Vote Rick James bitch!" or stolen by fans of the sketch. The other "True Hollywood Story" depicted Murphy and his crew losing a pickup game of basketball against Prince.  Both James and Prince confirmed the stories were true, with James's admission coming in unreleased interview footage produced for the skit.  Prince's confirmation came in an interview with MTV, in which he stated "The whupping is true". Prince later used an image of Chappelle dressed as Prince as the cover of his single "Breakfast Can Wait".
 * Frontline – A spoof of the PBS series of the same name, it was hosted by Kent Wallace (played by William Bogert). The first Frontline sketch, "Blind Supremacy", featured the life of Clayton Bigsby (played by Chappelle), a blind white supremacist who is not aware that he is actually a black man. Grantland.com writer Rembert Brown deemed this sketch the winner of his "Best Chappelle Sketch Ever", beating out the Wayne Brady sketch in his 64-sketch, NCAA Tournament style bracket. This sketch was part of the first episode and garnered attention for its extensive use of the word "nigger" (mostly spoken by Chappelle's character). The sketch has been compared to the iconic "word association" Saturday Night Live sketch from 1975 featuring Chevy Chase and Richard Pryor which received similar reactions for its use of the word. Charlie Sheen stated that he was hospitalized in 2010 as a result of developing a hernia from laughing so hard upon viewing the sketch. Other Frontline sketches featured stories of racist animal actors and gay versions of everything from the DMV to the KKK.
 * Racial Draft – A parody of modern-day pro-sports drafts. Various multiracial or multiethnic celebrities such as Tiger Woods (Chappelle), Lenny Kravitz, the Wu-Tang Clan (playing themselves), O. J. Simpson, Eminem and Madonna were "drafted" into a (potentially) entirely different race, based on their perceived ethnicity or some other cultural appropriations in their act or lifestyle. Elián González was recertified as Hispanic, after being culturally appropriated by white America. Lenny Kravitz was declared 100% Jewish, the Wu-Tang Clan 100% Asian, and Tiger Woods 100% black. Chappelle also played the white announcer/representative, while rapper Mos Def played the black representative; radio personality Angie Martinez played the Hispanic representative.
 * WacArnold's – Chappelle gets a job as a young man at a fast-food restaurant that portrays itself as providing a community service by offering jobs to disenfranchised, poor youth. A scene-by-scene mock of a 1990 McDonald's commercial is followed by Chappelle slowly realizing the job is embarrassing and he does not make enough money to support his family. He gets robbed and harassed on his way to work. During one encounter in the last scene of the sketch, a thug (played by Donnell Rawlings) quips, "Hey Calvin! It's a fine line between fries and shakes!" before he breaks into song, "The leanest burger in the world, could be the meanest burger in the world, if you cook it that way!" He follows by stating he has to "stop smoking this shit here" as his friends break out in laughter. The song is a remake of a 1971 song by The Persuaders (also covered by The Pretenders in 1983 and H-Town in 1996) "Thin Line Between Love and Hate".
 * Wayne Brady's Show – After Dave Chappelle quits the show in an opening segment that coincidentally mirrored the contract negotiations for the aborted third season, Wayne Brady (portraying himself) takes over as host and is asked to emcee the remaining episodes of the series since Chappelle had already filmed the remaining sketches. Regretting the decision to leave the show, Chappelle returns and confronts Brady. The ensuing confrontation leads to the airing of a flashback to a night of misadventures involving the two that portrays Brady (contrary to his friendly public image) as a murderous, pimping, and seriously disturbed sociopath in the mold of Denzel Washington's character Alonzo Harris from the film Training Day. Brady had trouble filming the sketch, finding it difficult to say the line "Is Wayne Brady gonna have to choke a bitch?".
 * When Keeping It Real Goes Wrong – A documentary style sketch, it serves as a cautionary tale about when not to "keep it real" (be completely honest). The sketch depicts events in which a character is just minding his business until someone else says or does something that the first character does not like. The character is given a choice: ignore the alleged provocation, or "keep it real" (get confrontational and be antagonistic with whoever provoked him), with the character going with the latter, all the while boasting about how they "keep it real". Eventually, the character's decision backfires severely on him, thus ruining his life, while the person who provoked him is having the time of his life, and the character's friends shun the character's choice to "keep it real".
 * Player Hater's Ball – Guest starring Ice-T, the sketch featured Chappelle and several other regulars attending a convention of "haters", i.e. people who make hurtful and deprecating comments towards others. The characters all dressed and acted in the manner of flamboyant 1970s pimps. The convention featured an award for "hater of the year" and an ad-libbed segment where the attendees were shown pictures of celebrities such as Rosie O'Donnell and Kelly Osbourne and delivered put downs. This later spawned a sequel called "Haters in Time" where the haters went back in time to when the Africans were slaves and end up killing one of the slave masters.
 * Samuel L. Jackson Beer – Filmed as a long-form ad, the sketch featured a parody of Samuel Adams Beer sponsored by actor Samuel L. Jackson. Chappelle appeared as Jackson, wearing a wig reminiscent of the actor's hair style in the 1994 movie Pulp Fiction and dressed in Revolutionary War-era garb similar to the spokesman who had recently appeared in Samuel Adams Beer ads. Chappelle's performance played heavily on Jackson's propensity for roles which involve angry shouting and copious profanity. At one point when asked to stop yelling by Bill Burr, Chappelle, as Jackson, yells "No, I can't stop yelling, 'cause that's how I talk! You ain't never seen my movies?"

Recurring characters

 * Tron Carter (played by Chappelle) – a cocaine dealer, he is originally shown in a sketch where he has received reparations for slavery and due to a "hot hand in a dice game" becomes the richest man in America. When asked about the infant he carts around in a stroller, Tron says, "I just bought this baby, cash." He is also one of the roommates in The Mad Real World. Later in a spoof of Law & Order, Tron gets the same lenient treatment as those involved in white-collar crime, invoking the "fif" in response to every question. Tron also appeared in the first episode of season three in a sketch in which he described an altercation with Method Man and was tortured by the methods described in the song "Method Man" from Enter the Wu-Tang (36 Chambers). In the reparations episode, he is shown gambling in Brooklyn and described as a Harlem resident, but in another episode, he is shown in his house on "Everglade Boulevard" bagging up cocaine and watching the fictitious R. Kelly music video "Piss on You", and he receives a phone call from the Dade County Police Department, suggesting he lives in Miami.
 * Negrodamus – Paul Mooney plays a black prophet and fortune teller (a satire of Nostradamus). In the sketch, people (mostly white) ask him various questions such as "Negrodamus, why do white people love Wayne Brady so much?" to which he replies "White people love Wayne Brady because he makes Bryant Gumbel look like Malcolm X." (This clip was later shown as a drug hallucination in the Wayne Brady sketch.)
 * Tyrone Biggums – Chappelle plays a squeaky-voiced crack addict recognized by his white, blistered lips and constant scratching. His first appearance was in the second episode of season one. He is often heard saying, "I smoke rocks" and "SHAZAM!" Tyrone enjoys eating peanut butter and crack sandwiches, and was the spokesman for "Red Balls", an energy drink made from cocaine. He also made an appearance in a Fear Factor spoof sketch on the "Wayne Brady's Show" episode, wherein he was exceptionally willing to do gross challenges, and was nonreactive to the hot coals underneath his feet, which lit his big toenail on fire (the same fire from which he would later light a cigarette). Biggums was featured in "The World's Greatest Wars" segment where he was a cellmate of River Terrace Crew leader General Cornrow Wallace (Mos Def).
 * "Silky" Johnson (played by Chappelle) – A notorious player hater, he won the fictitious "Hater of the Year" award twice (one of which was for calling a bomb threat on the Special Olympics), and who later traveled back in time to "hate" in the past.
 * Chuck Taylor (played by Chappelle) – The lead "white" anchor on the fictitious "News 3", he is played by Chappelle in whiteface makeup and a blonde wig. Taylor has appeared in a few sketches, the first of which was the "Reparations" sketch from season one.
 * Leonard Washington (played by Chappelle) – Washington first appeared in the first-season sketch "Trading Spouses", wherein he acted as the patriarch of a white family for a month. Notably, when entering rooms unfamiliar to him, Washington looks out the windows to see if he is being followed. He also expressed his displeasure that many white families do not use washcloths when taking a shower or bath. One of the only things that can make Leonard Washington back down is being shot. When asked for his hometown in the "World Series of Dice" sketch, Washington replied, "Where I'm from? A little town called none ya goddamn bidness." He has a wife and a son, T-Mart. He is seemingly unaware of white culture, unknowing of Renée Zellweger (as he stated in "Trading Spouses" after reading White People Magazine).
 * Ashy Larry (played by Donnell Rawlings) – A shirtless black man with flaky-white skin and chapped lips, he is always seen wearing a pair of white boxer shorts. He appeared in the "World Series of Dice" sketch, in one of Chappelle's daydreams during a boring dinner conversation, and was seen holding Chappelle's $50 million check in one of the lost episodes. Ashy Larry is also one of the names Wayne Brady calls the PCP he gives to Dave in the Wayne Brady sketch. Rawlings briefly reprised his role as Ashy Larry in the sketch comedy show, In the Flow with Affion Crockett, encountering Chappelle (played by Crockett).
 * Robot Dancing Man – Set designer Karl Lake did the robot dance in random places, including a barbershop, club, and a courtroom (in a deleted scene). In the sketches, he is generally not acknowledged, despite the out-of-place behavior, nor does he acknowledge anyone. A few exceptions to this rule have occurred. One of them is during the "Slow-Motion" sketch, in the club, when Dave acknowledges him by saying "The Robot", and emulating him. Another is when Wayne Brady "takes over" the show, during one of the commercial break introductions; Wayne is looking at Robot Man's moves, and proceeds to dance with him. Also, in the opening theme for season three, Charlie Murphy and Donnell Rawlings have hogtied and taken the place of the two men who start off the show. Robot Man is seen in the background doing his dance and the harmonica player yells out "Robot, help us!", but to no avail.

Episodes
In total, 28 episodes of Chappelle's Show produced between 2003 and 2006, in addition to a Music Jump-Off special and four compilation episodes.

2004
During a June 2004 stand-up performance in Sacramento, California, Chappelle left the stage due to audience members interrupting the show by shouting, "I'm Rick James, bitch!," which became a catchphrase from the popular "Rick James" sketch. After a few minutes, Chappelle returned and continued by saying, "The show is ruining my life." He stated that he disliked working "20 hours a day" and that the popularity of the show was making it difficult for him to continue his stand-up career which was "the most important thing" to him. He also told the audience:

You know why my show is good? Because the network officials say you're not smart enough to get what I'm doing, and every day I fight for you. I tell them how smart you are. Turns out, I was wrong. You people are stupid.

2005
The third season of Chappelle's Show was scheduled to premiere in February 2005. This date was pushed back to May 31, 2005, when production fell behind schedule in December 2004 because, according to Comedy Central, Chappelle had fallen ill with the flu (Chappelle later told Oprah Winfrey that this was untrue and that stress had caused him to leave). On May 4, 2005, just weeks before the anticipated premiere, Comedy Central announced that Chappelle's Show would not be ready by the announced date and that production had been suspended "until further notice". No reason for the delay or suspension was given and no response was given by Chappelle. One week later, it was reported (most notably by The New York Times and Entertainment Weekly) that Chappelle had flown to South Africa on April 28 to stay in an undisclosed psychiatric facility.

On May 14, Time announced that one of their reporters, Christopher John Farley, had interviewed Chappelle in South Africa, and that no psychiatric treatments were occurring or necessary. Chappelle returned shortly thereafter and quelled rumors of psychiatric or substance-abuse problems, and emphasized that his trip was a "spiritual retreat" intended to keep his sense of reality outside the bubble of intense pressure and fame and to keep his humor fresh.

On July 14, Comedy Central president Doug Herzog announced that Chappelle was welcome back any time, but that the comedian had said he was still not ready to return. Herzog put a positive spin on negotiations, but conceded that he did not expect Chappelle's Show to return in 2005. The New York Times also reported that Chappelle explained to Herzog, over dinner, that his success was getting to him and that "he wanted to be wrong again sometimes, instead of always being right."

In August, with Herzog and Chappelle having reportedly not spoken since their June 3 meeting, TV Guide featured an interview with Charlie Murphy, in which he stated, "Chappelle's Show is over, man. Done... It took me a long time to be able to say those words, but I can say it pretty easy now because it's the truth." Around the same time came confirmation from Comedy Central that co-creator Neal Brennan had left the show.

Nonetheless, on December 11, during Comedy Central's Last Laugh '05, a promotion for the third season of the show was aired.

2006
On January 24, 2006, the program premiered uncensored on the UK's FX, starting with the second season. The first episode featured the "Slow Motion" sketch, one of the most famous in the United Kingdom, popularized by the Internet. It was well received by critics, with outspoken TV critic Gary Naysmith declaring it, "The finest piece of television I've seen all year."

On February 3, 2006, Chappelle made his first television interview since production ceased on season three, on The Oprah Winfrey Show. He stated that burnout, losing his creative control, and a work environment that was uncomfortable, were some of the reasons he left the show. He also stated that he would be open to producing the remainder of season three (and perhaps a season four) only if his demands were met, one of which was to ensure that half of the proceeds of future Chappelle's Show DVD sales would go to charity. Chappelle claimed that if Comedy Central aired the unaired episodes, the show would be finished. After that announcement, Comedy Central stopped advertising the release of the third season for a period of time.

The "Lost Episodes"
In April, the network wrapped up production of the third season, taping the live studio audience segments for three episodes. In place of Chappelle, the last episodes were cohosted by regular cast members Charlie Murphy and Donnell Rawlings. Advertised as the "lost episodes", they began airing on July 9, 2006. The third and final episode aired on July 23, 2006. The DVD collection of the lost episodes was released on July 25, 2006.

When asked if he felt guilty about carrying on with the lost episodes without Chappelle, Rawlings replied: I'm a loyal person, but I know that as a professional, I've got to keep my career going, and I felt it was an opportunity for me, for people [to] see what I do as funny ... without knowing what Dave Chappelle's agenda is, the reasons why he left, with no communication saying, 'Hey guys, I feel this way. I would much rather you not be a part of this process.' Had I had a conversation with Dave like that then there's a possibility that I would reconsider me hosting it.

Broadcast
Reruns have frequently aired on Comedy Central and VH1 in the US. The series also airs around the world, with episodes airing on MTV in Germany, Comedy Central in Brazil, The Comedy Network and MuchMusic in Canada, SBS, NITV (sister channel to SBS), The Comedy Channel and 7mate in Australia, and FX in the United Kingdom. The series was also shown on WGN America and was syndicated to various television stations across the US, including MyNetworkTV.

Streaming
The series is available to be streamed on the Comedy Central app and website. The series is also available to stream on Paramount+, Netflix, and HBO Max. It is free to digitally rent with select public libraries in the United States through Hoopla.

On November 1, 2020, the series became available to stream on Netflix and HBO Max. However, less than two months later, the series was removed from both services following Chappelle's commentary concerning his lack of royalties from the show during his appearance on Saturday Night Live. On February 11, 2021, Chappelle announced that he had renegotiated his deal with ViacomCBS, and the show returned to the services the following day. Despite the renegotiated deal, Season 3 (the "lost episodes") were not reposted to Netflix, and has also been withdrawn from other platforms where it was available previously like Crave in Canada.

Home media
The DVD sets for seasons one and two of Chappelle's Show have sold extremely well since their release. As of 2005, the first-season DVD was the best-selling TV series set of all time, beating out other popular shows such as The Simpsons (the first season of which held the record beforehand), American Dad!, Family Guy, Friends, and Seinfeld. According to a 10/17/10 USA Today article, Season 1 has sold over two million copies.

Although the DVDs are "uncensored", some of the music performances were removed due to licensing issues. Also the episode "Music Jump-Off" which featured Chappelle visiting his old high school, the Duke Ellington School of the Arts, intercut with previously unaired sketches and musical performances, did not make either DVD set.

On October 11, 2005, the first half of the first season was released on UMD.

On May 23, 2006, the first uncensored season was made available for purchase on the iTunes Music Store, and on June 20, the second uncensored season was also made available on iTunes.

On June 5, 2007, Comedy Central released a compilation DVD titled The Best of Chappelle's Show which highlights 25 of the most popular sketches in all seasons.

On November 20, 2007, Comedy Central released a boxset with season one, season two, and "the Lost Episodes" titled Chappelle's Show – The Series Collection.

All box sets were released by Paramount Home Entertainment (under the Comedy Central banner).

title: Chappelle's Show


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Talk:Economics of location

I do not understand this article. At no point is "economics of location" defined. The example of the six dies dosn't seem to have a lot to do with location, except to indicate that when local demand in insufficient to produce a range of products, a firm will tend to produce just one product, leading to single-product firms in various locations. Could the author (or anyone else) please expand and clarify this article. mydogategodshat 06:55, 29 Feb 2004 (UTC)

Fair use rationale for Image:Pyat rublei 1997.jpg
Image:Pyat rublei 1997.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 11:25, 6 July 2007 (UTC)

title: Talk:Economics of location


text:
Jarkko Varvio

Jarkko Varvio (April 28, 1972) is a Finnish former ice hockey player who had a very brief stint in the NHL. Varvio was drafted by Minnesota North Stars in the 1992 NHL Entry Draft. He was the top scorer at the 1992 Men's World Ice Hockey Championships in Czechoslovakia. However, his only two active seasons in the NHL were in 1993-94 and 1994-95 with the Dallas Stars. In 13 career games, he notched three goals, four assists (for seven points), and had four penalty minutes. Jarkko scored his first NHL goal in his first NHL game, which was also the first game Dallas Stars played as the Stars since leaving Minnesota. After his time with the Stars Varvio bounced around Europe playing in various leagues. Varvio last played for Ravensburg EV in Germany's GerObL before retiring in 2005.

title: Jarkko Varvio


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Talk:Panamanian white-faced capuchin

Possible scope for expansion...the race is on...
Ideas --> fuller taxonomic history - I added a bit. Also, more on which fruit are consumed, and finally any idigenous names or folklore from local people. You have a couple of days to get 1000 words...Cheers, Casliber (talk · contribs) 13:49, 8 September 2008 (UTC)

 * I didn't find anything to add on folklore or indigenous names (other than the local Spanish name, mono carablanca, which just means white-faced monkey). But if I counted right I got a bit more than 1000 extra characters in diet, tool use and taxonomy. Rlendog (talk) 03:38, 9 September 2008 (UTC)
 * fantastic/well done :) Cheers, Casliber (talk · contribs) 05:14, 9 September 2008 (UTC)
 * Thanks. Thanks for getting this into DYK.  I know it was a bit of an exception to the normal rules.Rlendog (talk) 21:46, 9 September 2008 (UTC)

New section
Hello, I am new to editing wikipedia and I'm not sure how to get permission to edit the main page. I work with capuchins in Guanacaste, and I noticed some of your 'facts' are incorrect. I've made the changes on the main page but, unfortunately, I have no citation for most of the facts I've changed because they are behaviors I've personally observed rather than anything cited in studies. If you wish, I can give you the official phone number and name of the study group and you can call to verify my references. —Preceding unsigned comment added by 201.237.97.98 (talk) 18:44, 4 October 2009 (UTC)
 * Since Wikipedia is an encyclopedia, one of the basic tenants is no original research. Thus personal observattions are not included until they are published in a reliable source.  Do you have reliable sources for the items you added? Rlendog (talk) 19:49, 4 October 2009 (UTC)
 * I made a number of changes to your edits. For now, where the previous information was cited to a reliable source, I restored those facts, since we should not pretend that sources say something they do not, and we should not replace reliably sourced information with uncited information. Where possible I equivocated to allow the possibility of exceptions to the sourced information.  Of course, if your observations get published in a reliable source (i.e., not self-published), we can incorporate that information.  I was able to find sources for the some of the information you added (although I needed to make some minor modifications to fit the sources) and added those sources to the article.  For a few items, I have not yet found sources but I will continue to look.  I have marked those with a tag that shows up as "citation needed".  I think most of those can be sourced, such as the fur sucking, which I think is mentioned in Defler (at least something similar is, so maybe some minor word changes may be needed).  But it would be helpful if you could add references where you know of any, since ultimately unsourced information and original research can be removed. Rlendog (talk) 01:30, 6 October 2009 (UTC)

Proposed merger from Capuchin_monkey
http://en.wikipedia.org/wiki/Capuchin_monkey — [ Unsigned comment added by Frank Guerin (talk • contribs).]

 * No. That is the article that covers the entire genus. This articles is about once species in that genus. - UtherSRG (talk) 18:50, 25 April 2010 (UTC)
 * However, there is a large section of that article that does need to move over to here. I'll work on that. - UtherSRG (talk) 18:52, 25 April 2010 (UTC)

Helping hands monkeys.
I'm not sure if this is the right page for helping hands to be mentioned, looking at the gallery http://www.monkeyhelpers.org/ourfamily/monkeys/gallery/ there are no white-headed capuchins, only tufted. Do other organizations train white-headed capuchins? Primate keepers I have spoken to suggest the white-headed is less suitable, for a number of reasons, such as being more aggressive, less trainable. — Preceding unsigned comment added by 86.175.184.228 (talk) 23:18, 1 August 2011 (UTC)

Predators?
What are the monkey's predators, e.g., harpy eagles?Kdammers (talk) 23:01, 17 April 2015 (UTC)

Areal
Why areal is so narrow? What's with Brasil? They must live also in Brasil. http://www.rainforest-alliance.org/species/capuchin-monkey In Iguazu National park on Argentina territory also. — Preceding unsigned comment added by Askofa (talk • contribs) 08:33, 18 April 2017 (UTC)

Cannibalism
The Panamanian white-faced capuchin has one recorded instance of infant cannibalization in the wild. Should this be in the article? Kodiak Blackjack (talk) 22:20, 23 November 2020 (UTC)
 * https://onlinelibrary.wiley.com/doi/full/10.1002/ece3.6901
 * https://www.livescience.com/first-white-faced-capuchin-cannibalism.html

"Intraspecific Social Interactions" section
I removed the section "Intraspecific Social Interactions" because it has been unsourced for almost 2 years, and the style of its writing makes me concerned that it may have been copied from another source, though I am unsure of the exact source. A section on the behaviors described would be of value, if it were written in Wikipedia's own words. TigressDragonblade (talk) 14:34, 8 September 2023 (UTC)

title: Talk:Panamanian white-faced capuchin