text:
Romeo Void

Romeo Void was an American new wave/post punk band from San Francisco, California, formed in 1979. The band primarily consisted of saxophonist Benjamin Bossi, vocalist Debora Iyall, guitarist Peter Woods, and bassist Frank Zincavage. The band went through four drummers, starting with Jay Derrah and ending with Aaron Smith. The band released three albums, It's a Condition, Benefactor and Instincts, along with one EP. They are best known for the songs "Never Say Never" and "A Girl in Trouble (Is a Temporary Thing)"; the latter became a Top 40 pop single.

The band was started at the San Francisco Art Institute by Iyall and Zincavage. They released a single on the recently formed 415 Records before recording their debut album, which has been deemed a "masterpiece of American post-punk". The success of their second release, a four-song EP titled Never Say Never resulted in a distribution deal with Columbia Records. The band continued to release music and tour until they broke up in 1985. The members have reunited briefly over the years. Iyall has continued to pursue music as a side project. Iyall has garnered acclaim as a skilled lyricist who explores themes like sexuality and alienation from a female perspective with "searing imagery".

1979: Formation
Romeo Void formed at the San Francisco Art Institute in February 1979. Vocalist Debora Iyall occasionally visited the Bay Area to see Patti Smith perform. She decided to pursue an art education after reading a fortune cookie. "It was in the late '70s at the Indochina Friendship Booth at the annual Fourth of July streetfair in Eureka, California," she said. "I got a fortune cookie that said 'Art is your fate, don't debate.' That next January, I was enrolled in an art school in San Francisco." She began frequenting the Mabuhay Gardens, a popular nightclub, to see local alternative rock groups like The Nuns, the Mutants, Crime, and the Avengers. She also formed the Mummers and Poppers, a punk parody band that covered 1960s tunes with guitarist Peter Woods, Charles Hagan and drummer Jay Derrah,. Iyall was originally hesitant to perform because she was overweight: "After seeing Patti Smith, I still had it in my mind that you had to be skinny to be up there [on stage], but after going to the Mabuhay [...] you just do whatever you want, be whoever you want, just make it happen."

Bassist Frank Zincavage met Iyall at the SF Art Institute; the two hit it off and discussed putting a band together. They formed one with Woods and Derrah a few weeks later, drawing inspiration from the "burgeoning local punk and post-punk scenes". Iyall recruited Woods because she enjoyed playing with him in the Mommers and Poppers. "[It] seemed only natural that we invite Peter Woods to join us [... He] played clean and was a natural on rhythm guitar." Romeo Void officially formed on Valentine's Day in 1979. According to Iyall, the name Romeo Void referred to "a lack of romance" and came to mind after they saw a local magazine with the headline "Why single women can't get laid in San Francisco." The name "means there are not romantic notions here — and there shouldn't be," Iyall told an interviewer: "We are about reality, not the myths created by other artists."

The band practiced in Iyall's flat in Mission District. It was decided that the group would embrace punk ideals despite the possibility that they become associated with the new wave movement. "Even though I was going to the [Mabuhay Gardens] so much, I also had criticisms: Everyone was leaning against the wall wearing black," Iyall said. "I guess we were considered new wave, but for me Romeo Void was a reaction against the regimentation of everyone having to be bleached blond and everything being about despair and no future, when I thought the do-it-yourself thing should encompass all the different kinds of emotions, and all the different colors. [...] I was proud of being American Indian, so I purposely never bleached my hair blond."

1980–1982: It's a Condition, Benefactor, and mainstream success
The band became busy playing shows at clubs and warehouses around San Francisco, and quickly became popular. Saxophonist Benjamin Bossi was added to the lineup as an "accident" when Iyall met him while he worked in the New York City Deli on Market Street in San Francisco. The group released their first single, "White Sweater", which consisted of the title track and a cover of Jerry Lordan's popular instrumental composition "Apache", in February 1981 on a recently founded local label called 415 Records. They worked on the recording of their debut album, It's a Condition, with producer David Kahne. Before recording began, Derrah left the band and was replaced by John "Stench" Hanes, who had previously played with Pearl Harbor and the Explosions. Romeo Void's debut was critically acclaimed upon its release through 415 in July 1981, and introduced Romeo Void's "unique blend of jazz, funk, rock and confrontational poetry". AllMusic writer Stewart Mason later heralded it as one of the "masterpieces of American post-punk". Indie labels were enthusiastic with promotions and the band embarked on several nationwide tours. Eventually Hanes left the band, leaving Larry Carter to fill the drummer position.

The sudden surge in popularity was disorienting to Iyall. "It was frightening: we played a college in Santa Barbara, and there were all these blond people crowding the stage, and I thought 'These are the people who hated me in high school!' When you grow up being 'outside' – because I wasn't white, and I was fat, and always a bit of a free thinker – it was strange. It was like, 'uh-oh, I must be doing something wrong – they like me!'" Highly successful mainstream artists like Ann Wilson and Ric Ocasek were eager to meet the band. Ocasek extended an invitation to collaborate at his Syncro Sound recording studio in Boston. The recording sessions in Boston resulted in the Never Say Never EP in January 1982. The title track became (arguably) their best-known song and has remained synonymous with the band ever since. The song was also featured in the 1984 romantic teen drama Reckless. Additionally, the success of the single directly led to 415 Records signing a deal with Columbia Records, which elevated the indie label's roster to major-label status. Romeo Void released their second album, entitled Benefactor, in November 1982. The album appeared at No. 119 on the Billboard 200. Benefactor was noticeably more commercial sounding than previous endeavors; the music was made more danceable and swearing was removed on the song "Never Say Never". The different approach in the sound resulted in comparisons to Blondie, which AllMusic writer William Ruhlmann suggested was a deliberate attempt by Columbia. Iyall stated that there was more pressure to write sexually laced lyrics for Benefactor: "I do like to be provocative, and I definitely have access to my sexuality, and as a topic I find it ripe, but I wasn't ever going to be a sex-pot diva, so that was kind of odd." She also said there was pressure to produce more singles.

1983–present: Instincts, break-up, and post-band endeavors
A third and final album was again helmed by David Kahne, which AllMusic writer Stewart Mason speculated was a "reaction against the more commercial sound of Benefactor. By this time, Carter had been replaced by veteran session drummer Aaron Smith. Instincts was released in October 1984, debuted at No. 68 on the Billboard 200, and proved to be the band's best-selling album. It also launched their most successful single, "A Girl in Trouble (Is a Temporary Thing)," which broke the Billboard Top 40 and peaked at No. 35. Critical reactions were positive. Despite being the band's most successful effort to date, Columbia pulled the band's promotional support while on a nationwide tour. "The very next town we got to after they made that decision, there wasn't an A&R person there," said Iyall. "[There] was no local person there, there were no interviews and in-stores arranged as they had been. All that just ground to a halt." The band returned to San Francisco and soon broke up. Constant touring has been cited by Iyall as the primary reason for the break-up. "You get tired of each other, and you get intolerant of being uncomfortable and away from your family and your friends." According to a VH1 reunion episode, the issue of Iyall's weight was the reason for the label dropping them. In 2003, Iyall agreed with this claim: "Howie sold us from 415 to Columbia Records, and they were like 'Who's this fat chick?' They decided that was as far as it was going to get, and pulled their support." Crawdaddy! writer Denise Sullivan stated that the label spoke to Iyall about losing weight, but she subsequently refused. In 2010, Iyall declined to discuss the issue, but added that she may not be taking full responsibility in the matter.

Iyall released a solo album entitled Strange Language with former band members Bossi and Smith in 1986. Afterward she pursued a career as an art teacher. The band reunited briefly for a live performance in 1993. In 2004, Romeo Void was featured on an episode of VH1's Bands Reunited. Bossi had sustained too much hearing damage over the years and was unable to perform, although he did meet up with the band again and watched the reunion performance from an adjacent room. Iyall has continued to dabble in music related projects and events. "I still like to sing and I still like to perform," she said. In 2003 she was involved in a musical project called Knife in Water. She began collaborating with Peter Dunne, who was known as Peter Bilt when he played guitar for Pearl Harbor and the Explosions. Iyall and Dunne performed at a support benefit for Crawdaddy! founder Paul Williams in June 2009, and performed at a concert honoring 415 Records later that September. They released an album entitled Stay Strong in 2010.

Drummer Larry Carter died in August of 2021, from what is thought to be heart complications. Saxophonist Benjamin Bossi died of complications from Alzheimer's disease on December 13, 2022, at the age of 69.

Music
Romeo Void has generally been classified as a new wave or post-punk band. Some critics have noted dance elements in the music. According to Stewart Mason, writing for AllMusic, "[The] band's muscular blend of Joy Division's atmospherics and the Gang of Four's rattling momentum, with Benjamin Bossi's splattering free jazz saxophone coloring everything, made Romeo Void one of the strongest of the American post-punk bands. The St. Petersburg Times wrote that they "had no trouble creating a signature sound for [themselves with a] scratchy guitar, soulful sax, [and] tight, precise drums." The New York Times stated that they sounded like "an art-school band, with its textural complexity [and] touches of jazz and funk" Saxophone player Benjamin Bossi has been observed as the ingredient that "set the band apart" and showed a "talent for both improvisation and arrangement." Alan Niester, writing for The Globe and Mail, said that he weaved "in and out [...] like a snake charmer" and reminded him of Andy Mackay, a saxophonist who played with Roxy Music.

Liam Lacey, also writing for The Globe and Mail, described Iyall's voice as "sultry [and] sexy", while Mason called it "powerful". Her style has sometimes been compared to Chrissie Hynde, vocalist for the Pretenders. Richard Harrington of The Washington Post acknowledged the similarity, but also noted the influence of other singers in "Never Say Never" where Iyall mixed the "aggressive bitchiness of [Hynde], the coy confrontational tactics of Patty Donahue of the Waitresses and the slack sensuality of Debbie Harry of the earliest Blondie." Iyall used to find the comparison annoying, but eventually warmed to it: "When people said I sounded like her, I'd say, 'Oh yeah, thanks a lot.' But this year, I've fallen in love with  Learning To Crawl so now I don't care if  people want to make comparisons." After a live show in 1982, Niester contended that she was the weakest part of the group and had the "vocal range of an automobile horn". Billboard writer Kathy Gillis wrote after a concert two years later that Iyall exhibited a "dramatic range that, while not extreme in either direction, was touching."

Patti Smith had a great influence on Iyall. "[She was] someone who was both a rock singer and a poet," she said. "She combined things I was interested in. Plus, she wasn't a trumped-up sex symbol. She was herself on stage. That appealed to me. It looked like something I could do. You didn't have to look like all the other singers." Iyall was highly critical of the music of the day and found inspiration in other mediums. "I hate rock and roll right now. It's turned into some new kind of stupid religion... I'd rather listen to Billie Holiday, maybe Tom Waits.  Actually, I'll admit I like The Bangles – they have a great sound. But I'd just as soon read novels or paint pictures as listen to music. I love language – plain speech, used in an enigmatic, subliminal way; I'm not  much tied to the literal."

Lyrics
Iyall was observed by Mother Jones to be among a new group of female fronted rock bands that displayed a "tough, wry, street-wise, [and] cynical" attitude and sought to redefine the role of women in rock music. She developed a sizable following for her writing that covered topics like "frustrated desire [and] sexually motivated rage" from a female perspective. Critics praised her lyrics for their "searing imagery", "seething poetics", and "darkly intelligent lyrics" "My approach was always that I had something to say, I had a point of view," Iyall said, commenting on her outspokeness. "I remember seeing Penelope from the Avengers at the Mabuhay Gardens and thinking, I can do that. I have something to say."

Romeo Void's best known song is "Never Say Never", which contains the famous line "I might like you better if we slept together." AllMusic writer Heather Phares has argued that Iyall's "teasing, existential musings [...] predated and predicted the aloof yet frank sexuality of early- and mid-'90s artists such as Elastica and Liz Phair". Phares concluded that the song was "a subversive, influential classic" and "one of new wave's most distinctive and innovative moments. " The song has been covered by many artists, among them are Queens of the Stone Age, Amanda Blank and Xiu Xiu. The song "A Girl in Trouble (Is a Temporary Thing)", their highest-charting single, was reportedly written as a response to Michael Jackson's hit song "Billie Jean", but can also be seen as a tribute to women who have experienced traumatizing events. Iyall also wrote songs that touched on themes like social alienation ("Undercover Kept") and generation gaps ("Chinatown").

Band members

 * Classic line-up
 * Debora Iyall – vocals (1979–1985, 1993, 2004)
 * Peter Woods – guitar (1979–1985, 1993, 2004)
 * Frank Zincavage – bass (1979–1985, 1993, 2004)
 * Benjamin Bossi – saxophone (1980–1985, 1993; died 2022)
 * Aaron Smith – drums, percussion (1984–1985, 1993, 2004)

 * Previous members
 * Jay Derrah – drums, percussion (1979–1981)
 * John "Stench" Hanes – drums, percussion (1981)
 * Larry Carter – drums, percussion (1981–1984; died 2021)

 * Live musician
 * Sheldon Brown – saxophone (2004)

title: Romeo Void


text:
Hernstein

Hernstein is a town in Lower Austria, Austria in the district of Baden bei Wien.

Municipal divisions
The market municipality of Hernstein has seven Katastralgemeinden:
 * Grillenberg
 * Hernstein
 * Alkersdorf (district)
 * Aigen (district)
 * Kleinfeld
 * Neusiedl bei Grillenberg
 * Pöllau
 * Steinhof
 * Veitsau

(In contrast the districts of Steinhof und Veitsau are almost in the neighboring community of Berndorf)

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

title: Hernstein


text:
Episteme

In philosophy,  (epistēmē; épistème) is knowledge or understanding. The term epistemology (the branch of philosophy concerning knowledge) is derived from.

Plato
Plato, following Xenophanes, contrasts with : common belief or opinion. The term is also distinguished from : a craft or applied practice. In the Protagoras, Plato's Socrates notes that and  are prerequisites for prudence.

Aristotle
Aristotle distinguished between five virtues of thought:, , , , and , with translating as "craft" or "art" and  as "knowledge". A full account of is given in Posterior Analytics, where Aristotle argues that knowledge of necessary, rather than contingent, truths regarding causation is foundational for. To emphasize the necessity, he uses geometry. Notably, Aristotle uses the notion of cause in a broader sense than contemporary thought. For example, understanding how geometrical axioms lead to a theorem about properties of triangles counts as understanding the cause of the proven property of the right triangle. As a result, is a virtue of thought that deals with what cannot be otherwise, while  and  deal with what is contingent.

Michel Foucault
For Foucault, an épistémè is the guiding unconsciousness of subjectivity within a given epoch – subjective parameters which form an historical a priori. He uses the term épistémè in his The Order of Things, in a specialized sense to mean the historical, non-temporal, a priori knowledge that grounds truth and discourses, thus representing the condition of their possibility within a particular epoch. In the book, Foucault describes épistémè:

"In any given culture and at any given moment, there is always only one épistémè that defines the conditions of possibility of all knowledge, whether expressed in a theory or silently invested in a practice."

In subsequent writings, he makes it clear that several épistémè may co-exist and interact at the same time, being parts of various power-knowledge systems. Foucault attempts to demonstrate the constitutive limits of discourse, and in particular, the rules enabling their productivity; however, Foucault maintains that, though ideology may infiltrate and form science, it need not do so: it must be demonstrated how ideology actually forms the science in question; contradictions and lack of objectivity are not an indicator of ideology. Jean Piaget has compared Foucault's use of épistémè with Thomas Kuhn's notion of a paradigm.

title: Episteme


text:
Talk:The Cars

Bad link
David Robinson links to a basketball star, not a drummer. heidimo 23:19, 6 May 2004 (UTC)

 * Not any more. However, if someone would like to expand the David Robinson article, that would be nice... — Preceding unsigned comment added by 213.48.80.45 (talk) 23:40, 24 June 2004 (UTC)

 * You may wish to contact davids brother Paul he is on facebook and is happy to answer anything in regards to THE CARS! — Preceding unsigned comment added by 174.18.84.232 (talk) 16:20, 2 November 2009 (UTC)

First mention of name
Shouldn't the comments such as (born Rick OtCasek) occur when the name is first mentioned? — Preceding unsigned comment added by 68.115.54.113 (talk) 02:45, 31 August 2004 (UTC)

Biased
This text is very biased against the band. Could some please check these facts? — Preceding unsigned comment added by 62.236.76.8 (talk) 07:40, 11 November 2004 (UTC)

It basically claims Elliot Easton was a poor musician, which is a blatant lie. — Preceding unsigned comment added by 195.255.135.211 (talk) 09:57, 11 November 2004 (UTC)
 * You are trolling. The article makes no such claims. -- FirstPrinciples 12:57, Nov 11, 2004 (UTC)

Rhythm section
Here's what I don't get: Big tribute to Ocasek and Orr but no mention of the all world rhythm section. Have you ever actually appreciated how the the music is so well defined by the exacting percussion or do you just sing along in the shower??? If you change the drums they all starve and no one gets a supermodel. — Preceding unsigned comment added by Twodogsfishing (talk • contribs) 05:49, 31 December 2004 (UTC)

 * did this offend you personally? did you shed tears over this? are you suffering emotional pain from this? FIX IT YOURSELF BE BOLD IN UPDATING PAGES. If there is a problem or something you'd like to add, do it yourself, don't cry to everyone. geez--Elysianfields 06:24, 15 August 2005 (UTC)

The Cars was vs. The Cars were
Can someone explain the correct usage here on the Talk page to settle the ongoing tug of war in the first sentence? —Whoville 02:48, 24 May 2006 (UTC)

 * See and  for lengthy discussions. The Copyeditor 02:59, 24 May 2006 (UTC)

 * We've settled through changing nouns for months now. It's RJN, he's the one who keeps changing back "are" to "is" and "were" to "was" for incorrect grammar usage of collective noun to such articles of american bands, for example he would change "The Doors were" to "The Doors was". I disagree that bands that have an "s" at the end of a band name are singular, but I'm not British, I'm American. But, I do not believe that the singular is correct. And for this band, it seems that the band members are talking about more than one car, for example "The Cars are parked in the garage". Still, the plural is correct for this band name. 65.222.216.15 00:48, 23 July 2006 (UTC)

Elliot Easton comment
Hey there seems to something missing here...I think this was a comment Elliot Easton made but I'm not sure...someone was making an edit to it or something...when i logged in there was a box around this whole comment:
 * Really, The New Cars lineup is, more than anything, a combining of two great bands: The Cars and of course, Utopia, with Prairie being a long time associate of Todd's and Kasim's. We fly under the flag of The New Cars, but are equally proud of the legacy associated with both bands, as well as all of the members' work in various other configurations, such as Todd's work under his own name and Prairie's work with The Tubes and many other artists." — Preceding unsigned comment added by Tamara4006 (talk • contribs) 19:19, 10 September 2006 (UTC)

Why ...
... is the section on the New Cars longer than the section on the Cars? Regardless of one's opinion on each act, wouldn't all agree that this disproportion should be corrected? Rapmasterjc 18:28, 20 September 2006 (UTC) —The preceding unsigned comment was added by Rapmasterjc (talk • contribs) 19 September 2006.

 * Agreed. The amount of space devoted to the Colbert Report/Ocasek meme is overkill. —Whoville 21:45, 19 September 2006 (UTC)

No Vargas cover art blurb???
It's a travesty that there's not one word regarding Vargas' cover for Candy-O, which brought him out of retirement shortly before his death.

One could argue that the pinup girl imagery gave the Cars an additional iconic hook that they otherwise would have lacked (with the red-nailed live model cover of "Shake It Up" and the knockoff Vargas-girl on the cover of "Heartbeat City" continuing the theme.)

While sexpots and scantily-clad girls on album covers was certainly nothing new in 1979, hormone-ridden teens could look Mother square in the eye and say "Don't be a prude, Mother. It's *art!*"

In the pre-internet days when cheesecake pinups and pornography were accesible only at the bottom of Dad's closet, the Cars certainly knew they were guaranteeing a few hundred thousand album sales when they picked the Candy-O cover.

--Rocker311 17:28, 27 October 2006 (UTC)

 * I have to disagree with your "knockoff" reference to the Heartbeat City cover. That was a painting done in 1973 called Art-O-Matic Loop-De-Loop, incidentally, not commissioned for the album. It's a vastly different style from Vargas. But yes, you have a point about the importance of the album covers. Note that the albums which didn't feature a cute girl (Panorama and Door To Door) sold poorly in comparison to the others. --63.25.113.207 18:06, 19 April 2007 (UTC)

Phoebe Phoebe Phoebe
If there is any proof of the demographic skew of Wikipedia contributors, it's the fact that this shockingly thin article about a very popular band includes no less than three mentions of Phoebe Cates' "pool scene" in Fast Times. (I like how it's euphemistically called the "pool scene" instead of the "boobies scene".) emw 23:48, 5 November 2006 (UTC)

Singles layout
I'm trying a new layout for the Singles section. The previous layout, with the single table containing two sets of columns, was more compact, but a little confusing. The two sides need to have at least a small amount of separation, I think. For now, I've split them and used a columnar layout. It separates them a bit more than I had intended, at least in higher resolutions, but I think it's better than having them joined as they were. If anyone has a better idea that tightens up the tables a bit, go ahead and try it. --Fru1tbat 15:04, 30 November 2006 (UTC)

WHO studied at Berklee?
It's a known fact that Elliot Easton studied at Berklee College of Music, whereas this article only refers to Greg Hawkes doing so. I don't recall ever reading that Hawkes went to Berklee, only Easton. It's possible Hawkes did, but does anyone know for sure? I'm gonna see if I can fix this. --63.25.113.207 18:11, 19 April 2007 (UTC)

Note to self: Read current articles on Wikipedia and elsewhere, instead of relying on your memory of the biography Frozen Fire, which you lost sixteen years ago.

I've merely added that Easton also went to Berklee. Sorry for the idiocy. --63.25.113.207 18:29, 19 April 2007 (UTC)

Fair use rationale for Image:The Cars - Panorama.jpg
Image:The Cars - Panorama.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 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 03:39, 6 June 2007 (UTC)

"Punk scene"?!
The entry begins "The Cars were an American rock band that emerged from the early punk scene in the late 1970s." This is not only unsourced, it's absurd. There is, so far as I can tell (as a veteran of that scene) no connection between The Cars and early Punk -- stylistically or in any other way. The Cars emerged from the early New Wave scene, and anyone who was there will tell you that they were very different scenes. I've changed the first sentence to reflect this. If anyone has any verifiable evidence to the contrary, by all means -- let's see it. Bricology (talk) 04:17, 30 April 2008 (UTC)

 * The Cars emerged from the early New Wave scene, and anyone who was there will tell you that they were very different scenes
 * That's ridiculous. "Anyone who was there" would actually know that in the very early days, the terms Punk and New Wave were most often used interchangeably as descriptions for the all of the underground-ish new music of the time (how else do you explain the Sex Pistols, Blondie and Elvis Costello and The Runaways ALL being labeled "punk"?).  It wasn't until a couple of years into the Punk explosion that the two terms began to be differentiated based on musical approaches...New Wave of course being reserved for poppier/artier punk-type bands (at least for a while before it became a way to categorize all "crazy haircut pop"). 74.69.64.200 (talk) 21:07, 20 September 2010 (UTC)

Percentage of lead vocals
I just counted: Ben Orr sang 22 out of a total of 61 album tracks. That total includes "Tonight She Comes". For songs in which the leads were shared ("You Wear Those Eyes", "It's Not the Night", etc.) I credited Ben rather than Ric, since he sang the majority of the leads in these songs. That equals 36% of the leads. Previously, the article said Ric sang "about 60%", with Ben taking "the remaining 40%", and there was a citeneeded attached to that. Instead of being pedantic, I changed it to Ric singing "the majority" and Ben singing "approximately one third" of the leads. Question: Why would a citation be needed for this? And what would be an appropriate source?? It's just a matter of checking the album credits. What, we should cite the albums themselves, duplicating a list that already appears in the article?

--63.25.104.164 (talk) 14:26, 21 July 2008 (UTC)

 * And for more information on the Legacy of Benjamin Orr please see his group called Benjamin Orr The Legacy located at Yahoo groups. This group has the largest fan collection of photographs and has a few projects in the works as far as Benjamin Orr is concerned. — Preceding unsigned comment added by 174.18.84.232 (talk) 16:20, 2 November 2009 (UTC)

Genre
There have been numerous edits to this article regarding genre recently with absolutely no discussion on this talk page. First, the infobox is for basic information which should not require references nor is there a field for references. Also, the sources that were used are commercial web sites and are completely unsuitable for wikipedia. As for the WNEW reference, I don't think it is a definitive source, plus its description of The Cars is very similar to what was already in this article and appears to have been recently posted on the WNEW web site on November 11, 2008. It's quite possible the unknown writer of the material borrowed from wikipedia which is one of the pitfalls of simply googling the internet for sources. While I don't disagree with the assertion that The Cars were part of the power pop genre, the insertion of musical genre (power pop) into an existing sentence describing instrumentation (guitar and synth) makes no sense. To address these problems, I have added a description of The Cars' musical style from a respected source with a citation. Lastly, there have been disputes over infobox genre in many rock music articles. The solution inevitably comes down to simplifying the infobox with broad labels such as Rock and New Wave and leaving the sub-genres to be addressed within the article. I strongly support leaving the infobox alone and adding a well-thought out, properly sourced paragraph if any editors think the article requires more information or is lacking in any way. Piriczki (talk) 15:09, 21 December 2008 (UTC)

Rock Based?
They are actually a ROCK BASED band, and they were considered new wave but as many of there songs are a mixed breed of music genres. In over half of there songs they mix rock and roll, such as classic rock, poprock, and supposely art rock.

But in all of there songs, it always has a new wave mix in it, and over half of the time, variety types of pop like synthpop, and electropop. So they really have a huge mix of genres but to put it together, new wave poprock based. But to shorten it, simply rock based. MajorHawke (talk) 16:51, 25 August 2010 (UTC)

 * Fix there/their issues in paragraph 2 —Preceding unsigned comment added by 173.60.31.251 (talk) 00:02, 28 January 2011 (UTC)

Punk rock?
they had a connection with punk rock — Preceding unsigned comment added by 24.91.83.205 (talk) 20:08, 30 March 2016 (UTC)

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Timeline
I would like to remove the timeline. It is superfluous. Any objections? Bob Caldwell CSL (talk) 14:03, 25 May 2018 (UTC)

 * I'll agree. -  FlightTime  ( open channel ) 14:13, 25 May 2018 (UTC)

 * No objection here. Piriczki (talk) 14:24, 25 May 2018 (UTC)

Genre changes
Per, I am starting a discussion on this talk page in regards to genre changes. I feel like pop rock and synth-pop should be removed from the infobox. Pop rock is not even sourced anywhere, and synth-pop is not a genre the band really embraced until their third album Shake It Up and continuing through Door to Door. As for that genre's sources, I propose moving them to the Musical style section with a brief blip on their synth-pop excursions as well as their dance music excursion on Shake It Up. I also propose keeping only new wave and power pop in the infobox. Both genres appear consistently and prominently across all seven albums, and can also describe most of their musical excursions (except for hard rock, art rock, garage rock, and rockabilly).

For the revised Musical style section, I propose something like this:

The Cars' music has been described as new wave and power pop, and is influenced by proto-punk, garage rock, and bubblegum pop. They have also used rockabilly in songs such as "My Best Friend's Girl". In addition, they have also written and recorded hard rock-oriented songs including "You're All I've Got Tonight", used dance music on Shake It Up, as well as synth-pop on Shake It Up, Heartbeat City, and Door to Door. Robert Palmer, music critic for The New York Times and Rolling Stone, described the Cars' musical style: "they have taken some important but disparate contemporary trends—punk minimalism, the labyrinthine synthesizer and guitar textures of art rock, the 1950s rockabilly revival and the melodious terseness of power pop—and mixed them into a personal and appealing blend."

This was on the page before it was rightfully reverted by FlightTime due to no talk page discussion taking place. And maybe we could expand this to include the bands/songs that influenced The Cars (E.G. Yummy Yummy Yummy influencing Just What I Needed) as well as the artists/bands influenced by them (E.G. Nirvana, Weezer, Fountains of Wayne, The Click 5, etc). Let me know what you guys think of these proposed changes. Moline1 (talk) 18:23, 28 September 2021 (UTC)

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title: Talk:The Cars


text:
Columbus State University

Columbus State University is a public university in Columbus, Georgia. Founded as Columbus College in 1958, the university was established and is administered by the Board of Regents of the University System of Georgia.

History
The university was first called Columbus College when it opened as a junior college in a hosiery mill in 1958. The college was staffed by fifteen faculty and staff and almost three hundred students attended courses in the first year.

Columbus College relocated to the midtown area in 1963, building a campus defined by modern architecture on what was previously a dairy farm. The school was granted four-year status in 1965 with offerings of bachelor's and master's degrees. The first four-year class graduated in 1970.

In 1996, the school was renamed Columbus State University as part of a program to restructure four-year institutions within the state's university system. The school now offers undergraduate and graduate programs in more than ninety academic disciplines. As of the 2010 academic year, the university enrolled more than 8,200 students. In early 2007, the art and theatre departments moved to the university's newly built RiverPark Campus in downtown Columbus. The complex was designed to provide students of the fine arts with a tightly-knit living community and larger studios, laboratories, and galleries. The Schwob School of Music is housed in the adjacent RiverCenter for the Performing Arts.

Frank Brown was President of Columbus State University from 1988-2008. Prior to holding this office, he was Vice President for Business Affairs. In August 2008, Tim Mescon became president, and in 2015 Chris Markwood became president. After Markwood retired in 2022, John M. Fuchko assumed the role of interim president. During the Summer of 2023, Dr. Stuart Rayfield began her tenure as president, and was inducted on October 20, 2023.

Campus
Columbus State University's 132-acre (53 ha) main campus is located in suburban and downtown, Columbus. A satellite campus is also located on Fort Moore at the southern edge of the city.

Main campus
CSU's main campus is located in suburban Columbus at the intersection of Interstate 185 and GA-85. This campus houses the majority of the university's academic and athletic departments. Notable buildings include the Simon Schwob Memorial Library, the Center for Commerce and Technology, the D. Abbott Turner College of Business, and the Frank G. Lumpkin Jr. Center which is home to the athletic department.

The Japanese Saturday School of Columbus – Georgia (コロンバス（GA）補習授業校 Koronbasu (GA) Hoshū Jugyō Kō) has its office in the Howard Building at the university, and it conducts its classes at the university. As of 2005 classes are held at the Howard Building.

RiverPark campus
CSU's RiverPark campus, located near the banks of the Chattahoochee River, is the home of the university's fine and performing arts, communications, and history and geography departments. The downtown campus is housed in a mix of rehabilitated 19th and early 20th century industrial and commercial buildings and newly constructed facilities. The Schwob School of Music is contained in the state of the art RiverCenter for the Performing Arts, while the art and theater departments reside in the Corn Center for the Visual Arts, the Yancey Center, and the Rankin Arts Center. The Department of Communication is located in the Carpenter's Building and the Department of History and Geography is located in the Yancy Center and Dillingham Building. The university continues to expand the RiverPark campus by acquiring new real estate in the area. CSU also houses over 400 students in several halls of residence in downtown Columbus along with dining, campus bookstore, and regular bus service to the main campus. In 2016 the College of Education and Health Professions relocated downtown. This college's new home, Frank Brown Hall, mixes new construction with rehabilitating the 1931 Mediterranean-revival building (the previous location of the Ledger-Enquirer newspaper) along with new construction.

Undergraduate
The university recruits from all fifty states as well as every major metropolitan area and county in the state of Georgia. Because of the school's international education programs, presently offering exchanges to more than thirteen countries, the university has been known to be a popular destination for international students including those from India, Japan, South Korea, Germany, and the United Kingdom.

Graduate
The university has received special recognition for its business school, which offers a reputable MBA program, as well as for its servant leadership program. The Department of Theatre also boasts the only accredited teacher education and certification program in drama in the state of Georgia. Additionally, in 2008 the world renowned Schwob School of Music received the Regents Teaching Excellence Award for Departments and Programs from the University System of Georgia. The Department of History and Geography ended the Master of Arts Program, which had offered tracks in History (general) and History - Race, Ethnicity & Society.

Doctorate
In 2009, the university added a Doctor of Education in Curriculum and Leadership degree as its first doctoral program.

Academic centers and outreach
The university operates the Coca-Cola Space Science Center which hosts student and public programs. Its facilities include the Omnisphere Theater (a planetarium) and the Mead Observatory.

The Carson McCullers Center for Writers and Musicians provides regular programs and offers fellowships. The university also owns the Carson McCullers House in Nyack, New York.

Oxbow Meadows Environmental Learning Center hosts student and public programs. Its facilities include two nature trails, a bee exhibit, a live alligator and other reptiles, various live raptors, a live opossum, and a Native American exhibit. Each month, the center hosts its Second Sunday on the second Sunday of each month which is a special program open to the public at a small fee. Programs include the annual Insectival, Reptile Fest, Natural Holiday Decorations, Hummingbirds, Bees and Honey, and Bats.

The Center for Global Engagement (formerly Center for International Studies) makes use of the Spencer House at Oxford University in the United Kingdom including for the Spencer Oxford Visiting Student Program, a year-long program for students to reap the benefits of the life and scholarship of the University of Oxford.

Pasaquan, an art environment created by Eddie Owens Martin or St. EOM in Buena Vista, Georgia, was recently renovated and reopened in 2016 through the Kohler Foundation and is now operated by the university.

The Columbus State University Archives houses over four hundred manuscript collections, including those of the International Trombone Association, The International Trumpet Guild, and the Institute for the Study of American Cultures. Other special collections include the Spencer Southeastern Map Collection and unique manuscripts related to Southern author Carson McCullers.

Rankings
For 2024, U.S. News & World Report ranked Columbus State #64 out of 136 Regional Universities South, #30 in Top Public Schools, and #36 in Best Value Schools.

Student life
In addition to co-educational intramural and recreational programs, students participate in more than a hundred chartered student groups, sororities, fraternities, honor societies, club sports, and special-interest clubs.

Newspaper
"The Uproar" is the university's official student-run newspaper. It is distributed on all Columbus State campuses and throughout the city of Columbus.

Athletics
Columbus State University, home of Cougar Athletics, has many types of men's and women's athletics, including basketball, baseball, soccer, softball, tennis, golf, and cross country. All sports compete at the NCAA Division II level in the Peach Belt Conference. Rifle competed as an associate member of the Ohio Valley Conference in NCAA Division I until after the 2014–15 school year, when the program was dropped. The Frank G. Lumpkin Jr. Center, a 4,500-seat arena, houses the Cougars.

Club sports
Club sports at the university formed in 2008 and may represent CSU in intercollegiate competitions. Currently there are 10 club sports offered: bass fishing, co-ed tennis, men's soccer, paintball, martial arts, tackle football, ultimate frisbee, women's soccer, women's volleyball, and wrestling.

Greek life
Columbus State University currently has 17 Greek organizations for undergraduate students. About five percent of undergraduate men and women are active in CSU's Greek community.

Radio
The university's Department of Communication operates and programs a student-run radio station, WCUG (FM) 88.5 Cougar Radio.

Notable alumni

 * Bob the Drag Queen - American drag performer, winner of season 8 of RuPaul's Drag Race
 * John Clarence Stewart - American actor and singer
 * Joni Ernst - Republican U.S. Senator from Iowa
 * Joseph Gullett - Republican State Representative from Georgia

title: Columbus State University


text:
E²

"E²" (pronounced "E-Squared" ) is the seventy-third episode of the American science fiction television series Star Trek: Enterprise, the twenty-first episode of season three. It first aired on May 5, 2004, on the UPN network in the United States. The episode was the fifth of the season written by Mike Sussman, and it was directed by Star Trek: Voyager alumnus Roxann Dawson, her fourth of the third season.

Set in the 22nd century, the series follows the adventures of the first Starfleet starship, Enterprise, registration NX-01. Season three of Enterprise features an ongoing story following an attack on Earth by previously unknown aliens called the Xindi. In this episode, the Enterprise encounters a version of itself that was sent 117 years into the past—now populated by the descendants of the crew as a generational ship. The two crews must work together so the modern Enterprise can access a wormhole defended by Xindi vessels.

The episode made use of the standing Enterprise sets, as well as those created for Degra's ship. Guest stars included those who had previously appeared as members of the Xindi Council, as well as several who are new to Enterprise, who appeared as members of the future Enterprise. Most scenes were filmed between February 3 and February 11, 2004, with an additional special effect shoot on February 13. Reviewers compared "E²" to a number of several other episodes, including "Children of Time", "Deadlock", and "All Good Things...". The Nielsen ratings received by the episode equated to a 3.3/5% audience share.

Plot
To reach the rendezvous with Degra in three days, Enterprise approaches a nebula that contains a subspace corridor defended by Kovaalan vessels. The corridor will let them traverse the distance in minutes. Suddenly, an older yet enhanced copy of Enterprise appears, captained by a half-Vulcan man named Lorian, who explains that after the Enterprise enters the corridor, it will destabilize, causing Captain Archer's version to travel 117 years into the past. Confronted with this situation, and not wanting to contaminate Earth's time stream, it then turns itself into a generational ship to await the Xindi crisis. Arriving on board, Lorian reveals that he is the son of Commander Tucker and Sub-Commander T'Pol. Archer also meets his great-granddaughter, Karyn Archer, who is part Ikaaran, as Enterprise will rescue her great-grandmother Esilia from a spatial-anomaly field.

Lorian, after considering his knowledge of events, believes that the wormhole must be avoided altogether. Archer and Lorian then disagree over whether to implement an engine modification to Enterprise, since there is a 22% chance that it might destroy the ship. Archer then meets old T'Pol on board old Enterprise, and considers a plan where his ship could pass through safely, due to alternative modifications she suggests. A frustrated Lorian then reveals a secret plan: to steal the newer plasma injectors from Enterprise so they can confront the Xindi in place of their ancestors.

Lorian leads a raid and successfully steals the parts, but the old Enterprise is disabled by Archer as it is about to go to warp and Lorian is put in the brig. Archer is angry at having his own method of stealing engine components used against him. Lorian reveals that he had a chance to stop the Xindi Probe from The Expanse from attacking Earth by sacrificing Enterprise, but failed because he hesitated to condemn his crew. The two captains finally agree to work towards their shared mission. Meanwhile, T'Pol meets her older self and discuss her addiction to Trelium-D and her relationship with Tucker. The older T'Pol confirms the younger's deepest fears: in Tucker, there is something bringing irrationality into her life which she can not control, but which will nurture her and have a positive irreplaceable effect on her life and spirit.

The Enterprises enter the nebula and Archer's is quickly disabled. Lorian's then tows it into the corridor using a tractor beam and turns back to attack the Kovaalan ships, saying he will follow shortly. Archer's Enterprise arrives safely, but old Enterprise never emerges and Archer wonders if, by successfully traversing the corridor, they ceased to exist. Degra arrives for their rendezvous.

Production
The episode was the fifth written by Mike Sussman in the third season. His previous work was "Hatchery", co-written with André Bormanis. It was also the fourth episode of the season directed by Roxann Dawson. With "E²", she had directed more episodes than any other director at that point in the season, having previously worked on "Doctor's Orders", "Exile" and "Chosen Realm". Scott Bakula commented on the production of the episode: "...a great episode along the lines of 'Twilight' and 'Similitude.' It's a classic sci-fi and Star Trek episode."

Filming began on February 3, 2004, overlapping with the final day of production on the previous episode, "The Forgotten". Production required the use of the standing Enterprise sets, as well as those that represented Degra's ship. The majority of the shoot was completed on February 11, but an additional day of special effects filming with part of the cast also took place on February 13, 2004. The actors who played the members of the Xindi Council were among the guest stars who appeared in this episode: Randy Oglesby; Rick Worthy; and Tucker Smallwood. In addition, a number of guest actors appeared in Star Trek for the first time: David Andrews; Tess Lina; Tom Schanley; and Steve Truitt.

Reception
"E²" first aired on May 5, 2004. It received a 3.3/5% share, meaning that 3.3 percent of all households, and 5 percent of all households watching television at the time of the broadcast saw it. These were similar ratings to the previous episode, "The Forgotten", and slightly lower than the following episode, "The Council". Compared to other shows in the same time slot, it placed sixth on the night, one place behind Smallville on The WB.

Michelle Erica Green watched the episode for TrekNation, saying that it "focused far more on the characters and the consequences of their contact with their descendants than it is on the vast technobabble resulting in a successful traverse of the Xindi corridor." She praised David Andrews as Lorian, calling it "a wonderful bit of casting," and felt that the character's actions mirrored those of Captain Archer previously in the series. She compared the resolution of "E²" to the Star Trek: Voyager episode "Deadlock" and the series finale of Star Trek: The Next Generation, "All Good Things...". She felt that the lack of conclusion to what happened to the future Enterprise was "very satisfying." Jamahl Epsicokhan on his website Jammer's Reviews, called the episode an "acceptable but all-too-familiar time-travel concept," and a "step down" compared to the previous three episodes of the series. He compared it to the Star Trek: Deep Space Nine episode "Children of Time", which he said "was a far superior episode because it was about our characters — astonishingly and agonizingly — choosing one destiny over another, and sacrificing a great deal in coming to that decision." He gave "E²" a rating of two and a half out of four.

Den of Geek ranked "E²" as the seventh best episode of Enterprise. The Hollywood Reporter rated it as 92nd best episode of all Star Trek up to that time, calling it a "fine episode". The Hollywood Reporter also interviewed various cast and production crew of the Star Trek franchise to determine the "100 Greatest Episodes" from across the five series, ranking "E²" as the 92nd best episode of all time.

Home media release
The first home media release of "E²" was as part of the season three DVD box set, released in the United States on September 27, 2005. It subsequently became one of three Enterprise episodes to be included in the Star Trek: Alternative Realities Collective DVD set which was released in 2009. The other episodes were "In a Mirror, Darkly" and "Twilight", and also featured were other mirror universe installments including "Mirror, Mirror" and three of those from Deep Space Nine. The Blu-ray release of Enterprise was announced in early 2013, and released on January 7, 2014. This also featured deleted scenes from this episode.

title: E²


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John Strachan

John Strachan (12 April 1778 – 1 November 1867) was a notable figure in Upper Canada, an "elite member" of the Family Compact, and the first Anglican Bishop of Toronto. He is best known as a political bishop who held many government positions and promoted education from common schools to helping to found the University of Toronto.

Gauvreau says in the 1820s he was "the most eloquent and powerful Upper Canadian exponent of an anti-republican social order based upon the tory principles of hierarchy and subordination in both church and state". Craig characterizes him as "the Canadian arch tory of his era" for his intense conservatism. Craig argues that Strachan "believed in an ordered society, an established church, the prerogative of the crown, and prescriptive rights; he did not believe that the voice of the people was the voice of God".

Strachan built his home in a large yard bound by Simcoe Street, York Street, and Front Street. It was a two-storey building that was the first building in Toronto to use locally manufactured bricks. The gardens and grounds of the property occupied the entire square and became a local Toronto landmark, being given the name "The Bishop's Palace". After Strachan's death, the home was converted into a private hotel called The Palace Boarding House.

Early life
Born 12 April 1778, Strachan was the youngest of six children born to the overseer of a granite quarry in Aberdeen, Scotland. His father's name was John Strachan and his mother's name was Elizabeth Findlayson. He graduated from King's College, Aberdeen, in 1797. After his father died in an accident in 1794, Strachan tutored students and taught school to finance his own education.

He emigrated to Kingston, Upper Canada, to tutor the children of Richard Cartwright. He applied to the pulpit of a Presbyterian church in Montreal but did not receive the position. He then became an Anglican minister and became a minister for a church in Cornwall, Ontario.

Strachan taught at a grammar school which was attended by the Upper Canadian elite. Strachan taught more than 20 students in 1804 and had about 40 by 1808. The children educated were trained to be "potential rulers of the next generation" by Strachan. Prime example being a fatherless boy of 12, named John Beverley Robinson who came to Strachan for education within a few weeks of Strachan's settling in Cornwall. Robinson would become the eventual leader of the Family Compact.

He married Ann McGill née Wood, widow of Andrew McGill, in the spring of 1807. Together they had nine children, some born in Cornwall and some in York - some children died young.

Strachan and McGill would have 3 children in Cornwall, and 6 children in York. The children born in Cornwall were James (1808), Elizabeth (1810, died in 1812), and George Cartwright (1812). The children born in York were Elizabeth Mary (1814), John (1815), Alexander Wood (1817), and Agnes (1822, died "before reaching 17th birthday"). Additionally in York, two daughters were born who died as infants.

York and the War of 1812
He moved to York, Upper Canada, just before the War of 1812, where he became rector of St. James' Church (which would later become his cathedral) and headmaster of the Home District Grammar School. This school, also known as "The Blue School," taught students from five to seventeen and emphasized a practical means of learning. Students recited abridged speeches from the House of Commons, learned Latin, and were encouraged to ask questions of their fellow pupils.

A conservative, Strachan supported his nation during the War of 1812, using his sermons to support the suspension of civil liberties. Upon hearing that of the fall of Fort Detroit to British forces, Strachan declared in a sermon: "The brilliant victory... has been of infinite service in confirming the wavering & adding spirit to the loyal". Strachan had the young women of York knit flags for the militia regiments in which their menfolk were serving in and organized fundraising drives to give the militiamen serving on the Niagara frontier shoes and clothing.

In December 1812, Strachan founded the Loyal and Patriotic Society of Upper Canada which raised £21,500 to support the families of militiaman and care for the wounded. During the Battle of York in 1813, along with senior militia officers, Strachan negotiated the surrender of the city with American general Henry Dearborn. The Americans violated the terms by looting homes and churches and locked the wounded British soldiers and Upper Canada militiamen into a hospital without food or water for two days. Strachan went to meet to complain in person to Dearborn about the violation of the terms of surrender and shamed Dearborn into imposing order on his troops. He is credited with saving the city from American troops, eager to loot and burn it.

After the sack of York, Strachan sent his wife Anne and their children to Cornwall because he believed they would be safe there. A few months later, Cornwall was taken by the Americans, who looted the Strachan home and likely raped a then-pregnant Anne Strachan.

Family Compact
After the war, he became a pillar of the Family Compact, the conservative elite that controlled the colony. He was a member of the Executive Council of Upper Canada from 1815 to 1836 as well as the Legislative Council from 1820 to 1841. He was an influential advisor to the Lieutenant-Governors of Upper Canada and the other members of the Councils and Assemblies, many of whom were his former students. The "Family Compact" were the elite who shared his fierce loyalty to the British monarchy, his strict and exclusive Toryism and the established church (Anglicanism), and his contempt for slavery, Presbyterians, Methodists, American republicanism, and reformism. Strachan was a leader of anti-American elements, which he saw as a republican and democratic threat that promised chaos and an end to a well-ordered society. In 1822 he was appointed an honorary member of the Bank of Upper Canada.

Strachan invented the "militia myth" to the effect that the local militia had done more to defend Canada than the British Army, which has been rejected by Canadian historians.

Strachan supported a strict interpretation of the Constitutional Act of 1791, claiming that clergy reserves were to be given to the Church of England alone, rather than to Protestants in general. In 1826, his interpretation was opposed by Egerton Ryerson, who advocated the separation of church and state and argued that the reserves should be sold for the benefit of education in the province. Although Strachan long controlled the reserves through the Clergy Corporation, he was ultimately forced to oversee the selling off of most of the land in 1854.

Educational interests
Much of Strachan's life and work was focused on education. He wanted Upper Canada to be under Church of England control to avoid American influence. He tried to set up annual reviews for grammar schools to make sure they were following Church of England doctrines and tried to introduce Andrew Bell's education system from Britain, but those acts were vetoed by the Legislative Assembly. In 1827 Strachan chartered King's College, an Anglican university, although it was not actually created until 1843.

In 1839, he was consecrated the first Anglican bishop of Toronto alongside Aubrey Spencer, the first Bishop of Newfoundland, at Lambeth Palace August 4. He founded Trinity College in 1851 after King's College was secularized as the University of Toronto.

In 1835, he was forced to resign from the Executive Council, and he resigned from politics in 1841 after the Act of Union. He continued to influence his former students although the Family Compact declined in the new Province of Canada. Strachan helped organize the Lambeth Conference of Anglican bishops in 1867 but died that year before it was held. Strachan was buried in a vault in the chancel of St. James' Cathedral. He was succeeded by Alexander Neil Bethune.

Strachan was elected a member of the American Antiquarian Society in 1846.

First Nations
Strachan was concerned with the Natives and called on people to embrace the "sons of nature" as brothers. He claimed that the United States desired Upper Canada primarily to exterminate the indigenous tribes and free up the West for American expansion. Strachan defended the autonomy of the Natives, the superiority of British governance, and the centrality of Upper Canada in the theatre of war against the US. He rejected the prevalent assumption at the time that Natives were simply pawns in the contest and gave an original and influential explanation of why Upper Canada was vital to both Native and Imperial concerns.

High-church views
Strachan was intensely devoted to the promotion of the Anglican position in Canada. He was born a Presbyterian in Scotland, but he never fully accepted it and first received communion at an Anglican church in Kingston. He was strongly influenced by the high-church bishop of New York, John H. Hobart. Strachan preached that the Anglican Church was a branch of the universal church and that it was independent of both pope and king.

Strachan defended the Church of England from opponents who wanted to reduce its influence in Upper Canada. He published a sermon that said a Christian nation needs a religious establishment, referring to the Anglican church as the establishment. He rejected the notion that clergy reserves were intended for all Protestant denominations and appealed to the Colonial Office to maintain that Anglican Church's monopoly on these plots of land.

Like most Protestants of the era, he denounced the Roman Catholic Church for corruption. He rejected the revivalism of the Methodists as an American heresy and stressed the ancient practices and historic liturgy of his church. While a high churchman, Strachan's view alienated many of his clergy and laity who were drawn from the ranks of Irish Protestant immigrants of more low-church persuasion.

Strachan wanted more funds disseminated to build church infrastructure in rural Upper Canada. While fundraising in England his trustworthiness was challenged when he created an Ecclesiastical Chart of the religious statistics of Upper Canada that contained numerous errors. He actively promoted missionary work, using the Diocesan Theological Institute at Cobourg to train clergy to handle frontier conditions. Much of his effort after 1840 was undermined by theological disputes in the church, such as between high-church tractarians and low-church evangelicals. He also faced external attacks from political reformers and rival denominations.

Death and legacy
Strachan died on 1 November 1867 in Toronto. His funeral procession took place on November 5, and wound through the city streets from his home at Front and York to St. James Cathedral.

A plaque at the University of Toronto erected by the Ontario Archaeological and Historic Sites Board commemorates the residence of Strachan. The Bishop's Palace is the site where assembled the Loyalist forces that defeated William Lyon Mackenzie during the Rebellion of 1837. "On this site stood the "Bishop's palace", residence of Bishop John Strachan (1778–1867), built in 1817–18 while he was the incumbent of St. James Church. Born in Scotland, he came to Upper Canada in 1799 where he achieved prominence as an educator and churchman and was consecrated first Anglican Bishop of Toronto in 1839. He served as a member of the province's Legislative Council 1820–41 and of the Executive Council 1815–36. During the Rebellion of 1837, the Loyalist forces that defeated William Lyon Mackenzie near Montgomery's Tavern assembled on the grounds of the Palace.""

In the summer of 2004, a bust of John Strachan was erected in the quadrangle of Trinity College at the University of Toronto. Strachan Avenue, running from the original site of Trinity College to Lake Shore Blvd., is also named in his honour.

title: John Strachan


text:
Talk:Selected Ambient Works Volume II

Non-capitalized Track Titles
MMBKG added to the article:

 * all of the unofficial track names are traditionally not capitalized

Indeed, after searching a dozen Web pages, it seems like this is the typical naming standard. Do you, or anyone else, happen to know why the track names are not usually capitalized? --Rookkey 23:27, 6 May 2004 (UTC)

It is likely because the tracks on the album are not "titled" in the normal sense, but rather a picture represents each track on the album. Essentially the "titles" are descriptions of the representative pictures rather than the actual names of the tracks. Methylene 03:08, 11 November 2005 (UTC)

I Think the only one capitalised is Blue Calx, also being the only one with an actual name. —Preceding unsigned comment added by 24.68.204.208 (talk) 06:47, 30 January 2010 (UTC)

Lucid Dreaming
Lucid Dreaming my arse. This article repeats the press claims made by James (who admitted lying to sell more records to the guardian newspaper). It's quite obvious: SAW85-92: Invented acid house aged 14/master tapes survived a car crash. SAW II: Lucid Dreaming, RDJ album: dead twin brother, drukqs: Lost 300 songs on an mp3 player on an aeroplane. It looks good on press releases, and it sells more copies, but it probably shouldn't stay in the form it is now on the main page of an online encyclopedia.Joyrex 08:34, 31 August 2005 (UTC)

According to http://www.aphextwin.nu/learn/98136154898147.shtml, the "standing in a power station on acid" line came from an article written by David Toop in the March 1994 issue of The Face. As Joyrex noted though, Aphex Twin never tells the truth during interviews. Zoeb (talk) —Preceding undated comment added 16:43, 27 August 2009 (UTC).

"Standing in a powerstation on acid" isn't true or false, it's an opinion. Being that it's the opinion of the man that made the album that this article is about, I think it can safely stay on the article. As for the lucid dreaming, it is absolutely impossible to prove that, (unless there is some way that I'm not aware of to analyse dreams and R.E.M. via brainwaves,) so we can simply say that RDJ claims this. 222.152.181.35 (talk) 09:00, 5 February 2010 (UTC)

Fair use rationale for Image:Selected Ambient Works Volume II cover.jpg
Image:Selected Ambient Works Volume II cover.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 Wikipedia articles 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 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 21:17, 2 June 2007 (UTC)

mould or mold?
Is track 6 of the first CD called "mould", as stated, or "mold", as I see it referred to everywhere else? YellowFever 20:36, 19 July 2007 (UTC)
 * I checked the edits a long time ago, and the spelling is British English, not American English, as Richard D. James is from the UK. Either way, Warp calls it "SAW2 CD1 TRK 6" 'cause there's no official title. see also "matchsticks" instead of "match sticks", etc. --209.146.241.90 12:22, 17 August 2007 (UTC)

Are these the correct track times? Mine seem to be off around 10 seconds for each track. Sloclops 13:35, 9 August 2007 (UTC)

[stone in focus]

 * The second most complete versions are the regular vinyl release and the Warp Records (UK) CD release, which has every track except for "[stone in focus]", omitted due to the capacity limit of the CD format.

So...does anyone actually own a vinyl copy? I have the chance to purchase either the limited edition brown pressing or the regular colour pressing, and since "[stone in focus]" means a lot to me, I'd like to know which pressing it can be found on before I purchase it. It should be the second track of four on the fifth side (the red one), and is the longest. I ask because discogs.com and Wikipedia say differently about its appearance on the regular edition. Thanks. --209.146.241.90 15:01, 20 August 2007 (UTC)

yes. you're not having it though. —Preceding unsigned comment added by 86.22.148.33 (talk) 23:48, 8 November 2007 (UTC)

I own the black vinyl version and it also has track E2 (Stone In Focus) included. Article changed today to reflect this. 74.69.71.242 (talk) 17:24, 4 October 2008 (UTC)

Some things I plan to do
After that this article should look a bit more up to scratch. Feel free to improve it as you see fit. Pasta of Muppets (talk) 23:53, 5 February 2010 (UTC)
 * Write a reception section and move the "professional reviews" template to it.
 * Find some citations for some claims where I see necessary (such as the 'citation needed' parts)
 * Upload the fold out artwork for the album. It may not get through Wiki's fair-use policy, but apparently the pictures are the "names" of the songs, so if if someone wants to know the "name" of a song, they can see what it really is. In my opinion a lot of the popularly interpreted names don't describe the pictures accurately enough, so this should be a really good kicker in getting it through fair-use, as I've seen pictures that are claimed to be difficult or impossible to interpret with words.
 * I think you should leave the fan-names in though. If you've ever been to any place where aphex twin is discussed, you'll notice people using the unofficial names all the time. - 220.239.227.105 (talk) 04:26, 11 February 2010 (UTC)
 * It's a no-brainer. Those names have nothing to do with Aphex Twin, only AT's fans. 60.234.247.247 (talk) 01:16, 13 February 2010 (UTC)
 * It's still relevant to the album. You'll notice the third track has been scrobbled on last.fm far more times as "Rhubarb" than as anything else. I'm putting them back in for the benefit of this article, I can't see how that information would be detrimental in the slightest. Also Wikipedia:SPECULATION isn't really relevant here, none of the unofficial track names are predicting any future events (or are they????) and besides, they relate to the corresponding images in the CD/LP insert. - Drthatguy (talk) 00:15, 20 April 2010 (UTC)

As this is the kind of page that people who love this album might visit, it is probably useful to mention here that the On Remixes EP from this era contains the "28 mix" which is most likely track 28 of the tracks considered for this album. Zoeb (talk) 21:36, 15 April 2010 (UTC)
 * Going to be bold and remove the fan titles. I can't see them recognized anywhere as official. They are strictly fan-created and I have not seen any published work that recognizes them. Andrzejbanas (talk) 04:50, 8 February 2016 (UTC)
 * Since people keep reinserting the fan titles, I thought it best to have both an official titles column and a fan titles column. The fan titles are actually used in the 33 ⅓ book, so that's a published work that recognizes them. It's irritating, though, that track #19 is called Stone in Focus, when it's actually a picture of wall-to-wall carpet. Kawayama (talk) 02:39, 15 August 2017 (UTC)

Remove list of the use of the song in media
I'm suggesting removing this list "Media featuring tracks from the album", for the following reasons:
 * It's uncited and has been uncited (WP:RS) for years. It's unlikely anyone is trying to add citations to it.
 * Fails Verifiability. as " Even if you're sure something is true, it must be verifiable before you can add it.". There is no suggestion here that any of it accurate.
 * Fails WP:OR as "Wikipedia articles must not contain original research. The phrase "original research" (OR) is used on Wikipedia to refer to material—such as facts, allegations, and ideas—for which no reliable, published sources exist.["
 * It doesn't follow the Manual of Style for albums seen here.

This information has been removed and re-added twice with "simply remove the valid information outright and then force others to reinvent the wheel.)", which stating the above, is not the case since I can't find any notability or secondary sources discussing the music here being used in other articles. The second was that "some of it was cited.", which linked to a youtube video which makes it fail as a reliable source. If there is no further information to add, I'll remove this section in a few days. Andrzejbanas (talk) 07:20, 9 February 2015 (UTC)

 * It has many citations, including Wikipedia links that are itself cited, such as the GTA 4 soundtrack. Thus the claim that you say you cannot find any notability or secondary sources is quite alarming and should demonstrate the lack of effort on your part.

 * A video is not simply failed as a reliable source just because it is from Youtube, as indicated here. It is from the original editor himself and, unless you can disprove this, is a form of primary source itself.

 * From the Manual of Style, second sentence: "the Album article style guide, which documents recommendations...It is intended only as a guide"

You will not be removing any section in this article. I fully support a sprucing up of the section, including adding lacking citations, but outright removal is out of the question.216.24.69.35 (talk) 07:43, 10 February 2015 (UTC)
 * It has one citation. Which goes to a youtube link. Which is not notable, and there is no sufficient proof that the creator uploaded it. Anyone can claim they are anyone on YouTube. You have ignored that this still fails Verifiability and WP:OR. Which are not guides. Andrzejbanas (talk) 04:55, 16 February 2015 (UTC)

 * Remove all - now, per WP:BURDEN and WP:TRIVIA. Re-add only with sources, and in better form than a random collection of bulletpoints. Sergecross73   msg me  05:02, 16 February 2015 (UTC)
 * It's been over a month, and no effort has been made to add sources, or confirm current source under question. I'll remove this section now per WP:RS, WP:OR, and WP:BURDEN. Andrzejbanas (talk) 07:28, 1 March 2015 (UTC)
 * As it keeps getting added back not only without sources but with users removing the banners stating it requires sources, I've removed this section again. Please remember WP:BURDEN, if you want it included. Find sources for it. Andrzejbanas (talk) 16:38, 7 February 2016 (UTC)
 * For the record, PER WP:WPNOTRS, we don't use other wikipedia articles for sources. Unless you can find sources. Do not re-add them. Thank you. Andrzejbanas (talk) 00:01, 8 February 2016 (UTC)

The majority of this page lacks citations, unless you're removing all unsourced content (thereby nearly blanking the page) your point is moot as the article stands. 73.152.154.221 (talk) 02:39, 8 February 2016 (UTC)
 * The others are not as controversial, but I'd rather have nothing that uncited material. Per WP:UNSOURCED, "All content must be verifiable. The burden to demonstrate verifiability lies with the editor who adds or restores material, and is satisfied by providing a citation to a reliable source that directly supports the contribution. Attribute all quotations and any material challenged or likely to be challenged to a reliable, published source using an inline citation. The cited source must clearly support the material as presented in the article. Cite the source clearly and precisely (specifying page, section, or such divisions as may be appropriate)" Andrzejbanas (talk) 02:42, 8 February 2016 (UTC)

Very well. By your definition, I will now remove uncited material on this article. 73.152.154.221 (talk) 02:43, 8 February 2016 (UTC)

And it's done. If you'd like to readd those sections, please find and add sources for them appropriately as per WP:UNSOURCED. 73.152.154.221 (talk) 02:48, 8 February 2016 (UTC)
 * Just to clarify, this is not my definition. This is general rules and standards. I'd suggest reading up on Identifying reliable sources, before tackling it again. I'm glad your interested in the Aphex Twin and this article, but it's best to have it up to code. Cheers. Andrzejbanas (talk) 02:51, 8 February 2016 (UTC)

Rhubarb = a confirmed title.
Richard, in his SYROBONKERS interview, included a lot of tracks to be embedded into the interview. One of these was a reversed orchestral cover of, what is technically, CD1 Track 3, titled "rhubarb orc. 19.53 rev". This was later re-released on his Soundcloud here. I think this is the first official acknowledgment of any of the fan titles. — Preceding unsigned comment added by 80.192.215.210 (talk) 16:30, 6 March 2017 (UTC)

Conversion of the tracklist
Hey yall, would it be an issue if the tracklist was converted to a format like on drukQs ? It would be more legible to read this:

 * Vinyl and cassette pressings

than this:

I suggest having the headers in this section to be 'Vinyl and Cassette pressings'; 'CD pressing' (with a note that "Hankie" is only on UK CD in the table's Notes field); and then 'aphextwin.warp.net Bonus Track' for that. The terrible US vinyl reissue can be mentioned underneath all tracklistings as a note. Again, way easier to read and organize, and it's already a standard across the rest of Wikipedia. Thoughts ?

Seems easier to read in the first example. I would also suggest that the tracks should not include fan titles, as these are not, as far as I know, in any way authorized. I find it a bit of an imposition. Putting them in a paragraph or section discussing their origin or linking out would be preferable. Spiralford (talk) 16:43, 1 August 2022 (UTC)

title: Talk:Selected Ambient Works Volume II


text: User talk:66.245.18.154

title: User talk:66.245.18.154


text:
Jessie R. Fauset

Jessie Redmon Fauset (April 27, 1882 – April 30, 1961) was an editor, poet, essayist, novelist, and educator. Her literary work helped sculpt African-American literature in the 1920s as she focused on portraying a true image of African-American life and history. Her black fictional characters were working professionals which was an inconceivable concept to American society during this time. Her story lines related to themes of racial discrimination, "passing", and feminism.

From 1919 to 1926, Fauset's position as literary editor of The Crisis, a NAACP magazine, allowed her to contribute to the Harlem Renaissance by promoting literary work that related to the social movements of this era. Through her work as a literary editor and reviewer, she encouraged black writers to represent the African-American community realistically and positively.

Before and after working on The Crisis, she worked for decades as a French teacher in public schools in Washington, DC, and New York City. She published four novels during the 1920s and 1930s, exploring the lives of the black middle class. She also was the editor and co-author of the African-American children's magazine The Brownies' Book.

She is known for discovering and mentoring other African-American writers, including Langston Hughes, Jean Toomer, Countee Cullen, and Claude McKay.

Life and work
She was born Jessie Redmona Fauset (later known as Jessie Redmon Fauset) on April 27, 1882, in Fredericksville, Camden County, Snow Hill Center Township, New Jersey (now known as Lawnside, New Jersey).

She was the seventh child of Redmon Fauset, an African Methodist Episcopal minister, and Annie (née Seamon) Fauset. Jessie's mother died when she was young, and her father remarried. He had three children with his second wife Bella, a white Jewish woman who converted to Christianity. Bella brought three children to the family from her first marriage. Both parents emphasized education for their children. Civil rights activist and anthropologist Arthur Fauset was her half-brother. Her father died when she was young; two of her half-siblings were still under the age of five. She attended the Philadelphia High School for Girls, the city's top academic school. She graduated as valedictorian of her class and likely the school's first African-American graduate. She wanted to study at Bryn Mawr College, and the valedictorian of Girls' High was traditionally awarded a scholarship to the college. However, Bryn Mawr president M. Carey Thomas raised money for Fauset to attend Cornell University instead. Carey Thomas would prevent any black or Jewish students from attending Bryn Mawr during her tenure.

She continued her education at Cornell University in upstate New York, graduating in 1905 with a degree in classical languages. During her time at Cornell University in 1903 through part of 1904, Fauset lived at Sage College. She would win Phi Beta Kappa honors. For many years she was considered to be the first black woman accepted to the Phi Beta Kappa Society, but later research revealed this was actually Mary Annette Anderson. Fauset later received her master's degree in French from the University of Pennsylvania (1919). Following college, Fauset became a teacher at Dunbar High School (then named as M Street High School), the academic high school for black students in Washington, DC, which had a segregated public school system. She taught French and Latin, and went to Paris for the summers to study at la Sorbonne.

In 1919, Fauset left teaching to become the literary editor for The Crisis, founded by W. E. B. Du Bois of the NAACP. She served in that position until 1926. Fauset became a member of the NAACP and represented them in the Pan African Congress in 1921. After her Congress speech, the Delta Sigma Theta sorority made her an honorary member.

In 1926, Fauset left The Crisis and returned to teaching, this time at DeWitt Clinton High School in New York City, where she may have taught a young James Baldwin. She taught in New York City public schools until 1944.

In 1929, when she was 47, Fauset married for the first time, to insurance broker Herbert Harris. They moved from New York City to Montclair, New Jersey, where they led a quieter life. Harris died in 1958. She moved back to Philadelphia with her step-brother, one of Bella's children. Fauset died on April 30, 1961, from heart disease and is interred at Eden Cemetery in Collingdale, Pennsylvania.

Literary editor at The Crisis
Jessie Fauset's time with The Crisis is considered the most prolific literary period of the magazine's run. In July 1918, Fauset became a contributor to The Crisis, sending articles for the "Looking Glass" column from her home in Philadelphia. By the next July, managing editor W. E. B. Du Bois requested she move to New York to become the full-time Literary Editor. By October, she was installed in the Crisis office, where she quickly took over most organizational duties.

As Literary Editor, Fauset fostered the careers of many of the most well-known authors of the Harlem Renaissance, including Countee Cullen, Claude McKay, Jean Toomer, Nella Larsen, Georgia Douglas Johnson, Anne Spencer, George Schuyler, Arna Bontemps, and Langston Hughes. Fauset was the first person to publish Hughes. As editor of The Brownies' Book, the children's magazine of The Crisis, she had included a few of his early poems. In his memoir The Big Sea, Hughes wrote, "Jessie Fauset at The Crisis, Charles Johnson at Opportunity, and Alain Locke in Washington were the people who midwifed the so-called New Negro Literature into being."

Beyond nurturing the careers of other African-American modernist writers, Fauset was also a prolific contributor to both The Crisis and The Brownies' Book. During her time with The Crisis, she contributed poems and short stories, as well as a novella, translations from the French of writings by black authors from Europe and Africa, and a multitude of editorials. She also published accounts of her extensive travels. Notably, Fauset included five essays, including "Dark Algiers the White," detailing her six-month journey with Laura Wheeler Waring to France and Algeria in 1925 and 1926.

After eight years serving as Literary Editor, Fauset found that conflicts between her and Du Bois were taking their toll. In February 1927, she resigned her position. She was listed as a "Contributing Editor" the next month.

After leaving the magazine, Fauset concentrated on writing novels, while supporting herself through teaching. From 1927 to 1944, she taught French at DeWitt Clinton High School in the Bronx, while continuing to publish novels.

Novels
Between 1924 and 1933, Fauset published four novels: There is Confusion (1924), Plum Bun (1928), The Chinaberry Tree (1931), and Comedy, American Style (1933). She believed that T. S. Stribling's novel Birthright, written by a white man about black life, could not fully portray her people. Fauset thought there was a dearth of positive depictions of African-American lives in contemporary literature. She was inspired to portray African-American life both as realistically, and as positively, as possible, and wrote about the middle-class life she knew of as an educated person. At the same time, she worked to explore contemporary issues of identity among African Americans, including issues related to the community's assessment of skin color. Many were of mixed race with some European ancestry.

The Great Migration resulted in many African Americans moving to industrial cities; in some cases, individuals used this change as freedom to try on new identities. Some used partial European ancestry and appearance to pass as white, for temporary convenience or advantage: for instance, to get better service in a store or restaurant, or to gain a job. Others entered white society nearly permanently to take advantage of economic and social opportunities, sometimes leaving darker-skinned relatives behind. This issue was explored by other writers of the Harlem Renaissance in addition to Fauset, who was herself light-skinned and visibly of mixed race. Vashti Crutcher Lewis, in an essay entitled "Mulatto Hegemony in the Novels of Jessie Redmon Fauset", suggests that Fauset's novels illustrate the evidence of a color hierarchy with lighter-skinned blacks enjoying more privilege."

 * There is Confusion was widely praised upon release. In the New York Times, Ernest Boyd wrote: "Compared with the ordinary story of negro life Jessie Redmon Fauset's There is Confusion assumes the proportions of an important book; it is well executed, so well, in fact, that no Ku Kluxer could stand it." Alain Locke wrote in The Crisis: "[H]ere in refreshing contrast with the bulk of fiction about the Negro, we have a novel of the educated and aspiring classes." This novel traces the family histories of Joanna Mitchell and Peter Bye, who must each come to terms with their complex racial histories.
 * Plum Bun has warranted the most critical attention. It explores the theme of "passing". The mixed-race protagonist, Angela Murray, who has partial European ancestry, passes for white in order to gain some advantages. In the course of the novel, she eventually reclaims her African-American identity.
 * The Chinaberry Tree has not received much critical attention. Set in New Jersey, this novel explores the longing for "respectability" among the contemporary African-American middle class. The protagonist Laurentine seeks to overcome her "bad blood" through marriage to a "decent" man. Ultimately, Laurentine must redefine "respectable" as she finds her own sense of identity.
 * Comedy, American Style, Fauset's last novel, explores the destructive power of "color mania" among African Americans, some of whom discriminated within the black community on the basis of skin color. The protagonist's mother Olivia brings about the downfall of the other characters due to her own such internalized racism.

Contemporary reviews
Fauset was admired by many literary intellectuals during the 1920s. Her first novel, There is Confusion, was applauded by Alain Locke in the 1924 February issue of the Crisis. Locke felt the novel would "mark an epoch" because he believed it was educated literary material that the educated reader anticipated as it shone light on a higher class of black people rather than the usual "servant" type of character that was portrayed in past literature. In the 1924 June academic journal Opportunity, Howard University professor Montgomery Gregory gave praise to Fauset’s work because he felt she made clear of the "better elements" of African-American life "to those who know us only as domestic servants, 'uncles', or criminals". Although Fauset received many positive reviews on her literary work in the 1920s, she also faced negative feedback as well. Her new literary perspective was not received with open arms by everyone because it went against the stereotypical image white Americans made of middle-class African Americans. The first publisher ever to see the There is Confusion manuscript rejected it, saying that "white readers just don’t expect negroes to be like this". Despite the mixed discussion on Fauset’s work in the 1920s, by the 1930s people stopped talking about her and she became a forgotten writer. Locke felt that the reason people stopped talking about Fauset was due to a change in the literary scene because of the Great Depression and Second World War.

Current scholarship
It was not until after the 1970s, a period of a feminist movement, that Fauset began to regain praise. In 1981, author Carolyn Wedin Sylvander wrote a book about Fauset, Jessie Redmon Fauset, Black American Writer, which analyses and shows great appreciation of her novels, short stories and poems. Other critics such as Wilbert Jenkins acknowledge Fauset in his 1986 essay "Jessie Fauset: A Modern Apostle of Black Racial Pride" for showing "awareness of African American cultural history" and demonstrating how to celebrate "black identity". Jenkins also argues that Fauset is alongside other early black feminists because in addition to focusing on racial identity, she explores "female consciousness". Fauset is recognized today as an important contributor to the Harlem Renaissance. American and African-American literature professor Ann duCille compares Fauset to other Harlem Renaissance writers such as Nella Larsen for expressing feminism in her literary work.

Selected works

 * Novels
 * There Is Confusion (Boni & Liveright (US), Chapman & Hall (UK), 1924) (ISBN 1-55553-066-4) Available online in part.
 * Plum Bun: A Novel Without a Moral (1928) (a further study of the passing phenomenon; ISBN 0-8070-0919-9)
 * The Chinaberry Tree: A Novel of American Life (1931) (ISBN 1-55553-207-1)
 * Comedy, American Style (1933)

 * Poems
 * "Rondeau." The Crisis. April 1912: 252.
 * "La Vie C'est La Vie." The Crisis. July 1922: 124.
 * "'Courage!' He Said." The Crisis. November 1929: 378
 * "Dead Fires" 1309

 * Short stories
 * "Emmy." The Crisis. December 1912: 79–87; January 1913: 134–142.
 * "My House and a Glimpse of My Life Therein." The Crisis. July 1914: 143–145.
 * "Double Trouble." The Crisis. August 1923: 155–159; September 1923: 205–209.

 * Essays
 * "Impressions of the Second Pan-African Congress." The Crisis. November 1921: 12–18.
 * "What Europe Thought of the Pan-African Congress." The Crisis. December 1921: 60–69.
 * "The Gift of Laughter." In Locke, Alaine. The New Negro: An Interpretation. New York: A. and C. Boni, 1925.
 * "Dark Algiers the White." The Crisis. 1925–26 (vol. 29–30): 255–258, 16–22.

title: Jessie R. Fauset