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We Can't Dance

We Can't Dance is the fourteenth studio album by the English rock band Genesis, released on 11 November 1991 by Virgin Records in the UK and a day later by Atlantic Records in the US. It is their last studio album recorded with drummer and singer Phil Collins before his departure in 1996 to pursue solo projects full time. The album marked the return of band activity following an almost four-year hiatus after touring their previous album, Invisible Touch (1986). We Can't Dance was a worldwide commercial success for the band. It became the band's fifth consecutive No. 1 album in the UK and reached No. 4 in the US, where it sold over 4 million copies. Between 1991 and 1993, six tracks from the album were released as singles, including "No Son of Mine" and "I Can't Dance". The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993. Genesis toured in support of We Can't Dance from May to November 1992, playing large stadiums and arenas across North America and Europe.

Background
In July 1987, the Genesis line-up of drummer and singer Phil Collins, keyboardist Tony Banks, and bassist and guitarist Mike Rutherford wrapped their 1986–1987 world tour in support of their thirteenth studio album, Invisible Touch (1986). The 112-date tour, attended by an estimated 3.5 million people, was extremely taxing on the group, particularly for Rutherford following his father's death and almost losing his son Harry due to a difficult birth. The band then entered a three-and-a-half-year period of inactivity, during which each member continued with his respective solo projects. Collins achieved further worldwide commercial success following the release of his solo album ...But Seriously (1989), while Rutherford's band, Mike and the Mechanics, had also begun to have hits. Banks and Rutherford expected Collins to leave the band during this time, but he stayed on to record another Genesis studio album with them. The band had initially agreed to enter production in 1990, but it was pushed to 1991 because of Collins's lengthy solo tour. The album's title derived partly from the popularity of dance music and its presence in the charts at the time.

Recording
Genesis recorded We Can't Dance from March to September 1991 at their private recording studio named The Farm in Chiddingfold, Surrey. The trio were keen to work together after such an extensive break, and after two-and-a-half months of what Collins described as "chopping away, fine-tuning, and honing down all these ideas", they had completed some fifteen tracks. They originally considered releasing a double album, but realised most people would be listening to their work on CD which gave them the additional time they wanted to present more of their musical ideas. As with Genesis (1983) and Invisible Touch, none of the material on We Can't Dance was conceived beforehand, and the band instead developed songs through lengthy improvisational jams in the studio. This was a deciding factor for Collins to remain in the band despite his solo success as he enjoyed the task of writing songs with his bandmates from nothing. A typical session would involve Banks and Rutherford playing chords on the keyboard or guitar, respectively, with Collins devising a drum pattern with a drum machine, which allows him to sing notes and dummy lyrics. The words he sang may then be used to form a lyric or help create atmosphere for the song.

Genesis authorised the filming of some recording sessions for the first time for their No Admittance documentary, which aired on national television. Banks later admitted that the band avoided "any creative work" with the film crew present because they found it difficult, adding: "As soon as they were there, we shut off". Collins supported his view and pointed out a change in the atmosphere of working when someone from the filming crew entered the room.

In a departure from their previous albums, Rutherford avoided playing a guitar synthesiser and only plays a Fender Stratocaster and two Steinbergers, one of them a GM series model that was new for the time, but on the song "Tell Me Why", he is playing a Rickenbacker 12-string electric guitar. He had asked the manufacturer to customise one with a larger body to suit his tall frame but they declined, leaving him to use a cardboard cutout of a body he wished for and sending it to luthier Roger Giffin to make it. He played all his guitar parts with a Groove Tubes amplifier that was suggested to him by his roadie and technician Geoff Banks.

For recording, they enlisted then 28-year-old Nick Davis as co-producer and engineer who had previously worked with Banks and Rutherford on their solo projects, with the band also handling production duties. This marked the end of their association with Hugh Padgham which had begun with Abacab (1981). Rutherford said the group decided to switch producers before work on the album had begun, and insisted they were pleased with Padgham's contributions, but felt it was the right time for a change after having done three albums with him (Padgham had also produced Collins's four solo albums throughout the 1980s). Davis was keen to feature Rutherford's guitar more prominently as an instrument than previous Genesis albums, and felt his approach was successful on some of the tracks on We Can't Dance. Banks took a liking to some of Davis's strong opinions towards certain aspects of recording and instruments which presented him the challenge of finding other ways of recording.

Following a six-week break during the summer of 1991 the band reconvened and completed the mixing in late September, selecting a final 12-track running order that spanned 71 minutes. Banks said that compared to the more direct nature of Invisible Touch, the style of We Can't Dance offered more of a sense of mystery with effort put into each track having its own "individual quality", yet have an atmosphere that runs through the entire album.

Songs
In a similar way to the writing of Invisible Touch, the band initially allocated roughly one third of the album to each member, who was then responsible for the lyrics to their collection of songs. Banks said having one person work on a set of lyrics was a better way of carrying an idea through. In the end, We Can't Dance saw Collins contribute a greater amount of lyrics than before; his efforts praised by Rutherford who considered his words for its songs among his best in Genesis history. Collins went further and rated his lyrics on We Can't Dance as some of the best of his career and said, "Obviously, the music stimulated me". In a week during which Banks and Rutherford left the studio for promotional work, Collins started to write lyrical ideas; according to Rutherford "he just couldn't stop himself after that. He found he had dead time on his hands."

Several songs deal with serious matters and social issues. "No Son of Mine" tackles the subject of the domestic abuse of a 15-year-old boy, which originated with Collins repeating the phrase "no son of mine" as a dummy lyric during the writing sessions, rather than a song concerning social commentary.

"Dreaming While You Sleep" concerns a hit-and-run driver and his guilt after failing to stop at the scene of the accident. The former contains a sample of a sound that Rutherford achieved as he was "messing about bending two notes" that Banks had recorded from a microphone on his E-mu Emulator which he then sampled and slowed down, creating a noise he compared to an elephant's trumpeting.

The ten-minute "Driving The Last Spike" is about 19th-century Irish navvies who helped built the railways in the UK, and the poor and unsafe working conditions they had to endure. Collins wrote it after being given a book on the subject by a correspondent who sought to produce a television show about it. Banks used a Hammond organ patch on the track, which referenced his prominent use of the instrument early in Genesis' career.

The other long track, "Fading Lights", came out of group improvisation and it is sort of a goodbye song from Phil to the band Genesis, he left after the tour for this album.

"Since I Lost You" was written by Collins for his friend Eric Clapton, following the death of the guitarist's son Conor, on 20 March 1991. Banks and Rutherford were the only members in the studio that day, and played what music they had written to Collins the following day. Collins said, "Straight away, I was singing the things you hear on the record", and wrote a set of lyrics based on the incident, not revealing what they were about to his bandmates until he had finished them. Some lines were from a real-life conversation Collins had with Clapton following the incident.

"Tell Me Why" criticises the Gulf War and the plight of the Kurdish people in its aftermath. Collins got the idea from a television news report while he was having dinner with his wife and daughter. "So I just mixed my feelings with previous thoughts about Bangladesh and Ethiopia". Its original working title was "Rickenbacker" after the 12-string Rickenbacker guitar used by Rutherford on the song and known for their distinct "ringing" sound.

The serious material was balanced by shorter and lighter songs. "I Can't Dance" was a criticism of models who appeared in jeans adverts popular at the time, and built around a heavy Rutherford guitar riff. Banks noted his electric piano part was one of the most minimal riffs he has played on record and had thought of a style heard on the 1968 song "Feelin' Alright?" by Traffic.

"Jesus He Knows Me" was a barbed parody of the televangelist movement in the US, which the band members had seen while touring the country.

"Living Forever" deals with a cynical view of society's obsession with modern diets and lifestyles. Its original working title was "Hip-Hop Brushes" after Collins acquired new drum disks for his E-mu SP-1200 drum machine and devised a hip-hop oriented drum pattern using its brush sound, as he recalled, in around ten minutes which the group then played from and developed the song from it.

Two songs, "On the Shoreline" and "Hearts on Fire", were cut from the album due to time constraints; instead, both songs were released as B-sides for the singles "I Can't Dance" and "Jesus He Knows Me" respectively, as well as appearing in the Genesis Archive 2: 1976–1992 and Genesis 1983–1998 box sets.

Among the keyboards Banks plays on the album are the Korg 01/W Music Workstation, Korg Wavestation, Ensoniq VFX, Roland JD-800, Roland Rhodes VK-1000, and E-mu Emulator III; the latter enabled Banks to create samples in stereo.

Release
We Can't Dance was released worldwide on 11 November 1991 on Virgin Records and on 12 November 1991 by Atlantic Records in the United States. The album was a success in the charts, going to number one on the UK Albums Chart for two non-consecutive weeks beginning 23 November 1991 and 22 August 1992. In the United States, it debuted the Billboard 200 chart at number four, the week of 30 November 1991. It stayed at its peak for one week during its 72-week stay on the chart. The album also spawned several hit singles, including "No Son of Mine", "Hold on My Heart", "I Can't Dance" and "Jesus He Knows Me", the latter two supported by humorous videos.

On 1 December 1991, the album was certified double Platinum by the British Phonographic Industry (BPI) for shipment of 600,000 copies. A year later, sales grew to reach quadruple platinum, signifying 1.2 million copies sold. The album reached quintuple platinum status in March 1997, for 1.5 million copies sold. In the United States, We Can't Dance shipped 1 million copies by 27 December 1991. Five years later, the album was certified quadruple platinum by the Recording Industry Association of America (RIAA) for four million copies sold.

We Can't Dance was re-released in 2007 as a SACD/DVD set with new stereo and 5.1 surround sound mixes by Davis. It was also included as part of the band's Genesis 1983–1998 box set.

Reception
Rolling Stone chiefly commented on the album's lyrics. They criticised "Tell Me Why" and "Way of the World" for being soulless and impersonal social commentaries, but regarded most of the songs as outstanding, and summarised "Although We Can't Dance doesn't quite achieve the vulnerable grace of Duke or the exuberance of Abacab, Genesis has nevertheless delivered an elegantly spare – and even adventurous – album." David Browne of Entertainment Weekly gave a lacklustre review, stating: "At a time when everything is uncertain ... you almost have to admire a record like We Can't Dance. ... You know there will be a couple of fleeting moments when the band breaks out of its torpor – for instance, on the very polite primal stomp of 'I Can't Dance' – and that such moments will just as quickly be subsumed by the rest of the musical quicksand."

In a retrospective assessment, AllMusic also criticised the lyrics of "Tell Me Why" and "Way of the World", calling them "paeans for world understanding that sound miles away from any immediacy". However, they praised the album for returning to a less pop-oriented direction, and especially complimented the grittiness of "No Son of Mine", "Jesus He Knows Me", and "I Can't Dance". Ultimate Classic Rock ranked We Can't Dance as the 14th best album by Genesis, stating "Collins' final album with Genesis is full of obnoxious, overproduced pop pap; most of the tracks sound like castoffs from one of his solo albums. When the meager charms of a song like 'I Can't Dance' are a highlight, you’re in big trouble." Stevie Chick of The Guardian dismissed the album as "blandness" in a countdown of ten of the best Genesis songs.

The album garnered Genesis an American Music Award for Favorite Pop/Rock Band, Duo, or Group and two further nominations for Favorite Adult Contemporary Album and Favorite Adult Contemporary Artist. At the Brit Awards in 1993, the album was nominated for British Album while Phil Collins was nominated as British Male Artist for his contribution to the album.

Tour
Genesis supported the album with the 68-date We Can't Dance Tour across the United States and Europe from 8 May to 17 November 1992, with their longtime touring musicians Chester Thompson on drums and Daryl Stuermer on bass and lead guitars. It also marked the 25th anniversary of the band, and featured a 20-minute medley of their older material recorded in the 1970s. For the first time since 1978, the setlist did not include "In the Cage" from The Lamb Lies Down on Broadway (1974). Booking agent Mike Farrell said Genesis spent millions of their own earnings to put the tour together.

Designed specifically for stadiums, the set featured a 200 ft-long (60.9 m) stage designed by Marc Brickman and built to the band's specifications with 80 ft (24.3 m) sound towers and three 20 x 26 ft (6 x 7.9 m) moveable Sony Jumbotron screens that alone cost $5 million, all needing 42 lorries to transport. The advantages of these was that images from videos or artwork was projected on them to illustrate some songs, while live camera footage of the band gave everyone in the arena a front row view. Collins sang with an in-ear monitoring system which he credited to singing more in tune and more effortlessly than before as he felt he was always "fighting" with the band's sound. It also reduced his worry about the condition of his voice on tour. Collins would not tour with Genesis again until he returned in 2006 for their Turn It On Again: The Tour.

Recordings from several dates were released on the live albums The Way We Walk, Volume One: The Shorts (1992) and The Way We Walk, Volume Two: The Longs (1993). The dates at Earl's Court in London were filmed and released as The Way We Walk - Live in Concert.

Track listing
All music written by Tony Banks, Phil Collins, and Mike Rutherford. Lyricists specified below.

Personnel
Credits are adapted from the album's 1991 sleeve notes.

Genesis
 * Tony Banks – keyboards
 * Phil Collins – drums, percussion, vocals, drum machines
 * Mike Rutherford – guitars, bass guitar

Production
 * Genesis – production
 * Nick Davis – production, engineering
 * Mark Robinson – production and engineering assistant
 * Geoff Callingham – technical assistance
 * Mike Bowen – technical assistance
 * David Scheinmann/Icon Photography – cover and art direction
 * Felicity Roma Bowers – illustrations

title: We Can't Dance


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Talk:We Can't Dance

Accuracy
This page has an accuracy disupte message due to user: Michael having edited it. As far as I can tell, there are currently no inaccuracies in the article. Is there a process through which the dispute can be resolved and the dispute message removed? Satori 18:12, Jul 17, 2004 (UTC) MIGHT AS WELL

 * If you've checked everything in the article against another source, go ahead and remove it and note that in the summary. Guanaco 04:28, 18 Jul 2004 (UTC)

No Son of Mine video
Anyone know who played the teenager who played the protagonist in the video of "No Son of Mine"? Alex 06:56, 23 October 2005 (UTC)

Nope, I've spent about 1/2 an hour trying to find that, sorry. Maybe I didn't look hard enough, eh? Skully Collins 12:01, 14 February 2006 (UTC)

Commercial Success?
and the album didn't sell anywhere near as well as 'Invisible Touch.' By the release of 'I Can't Dance,' grunge had arrived, and Genesis sounded to many as decidedly old fashioned.

Aside from the weasel-word POV here, I feel this is somewhat misleading. According to Genesis, the sales were 22,000,000, which is only a bit less than Invisible Touch's 24,000,000 (which was their most successful album), and was still their second most successful album. It also made #1 in the UK album charts. But this sentence makes it sound like a flop - a statement more appropriate for Calling All Station. Mdwh 03:26, 16 March 2006 (UTC)

Chart Peak Position Of 'Hold On My Heart'?
I'd like to confirm what the peak position 'Hold On My Heart' got to in the US and the UK.

References / POV?
The long paragraph starting "While there were nods to the band's creative past...", whilst interesting in places, seems very much like someone's personal review. Are there references for any of this? There seems to be lots of POV ("series of relatively forgettable ballads") and speculation about what Genesis were trying to do with this album ("an attempt to combine Genesis 80's heyday with a more adult-contemporary sound"). Anyone got some references, before I start trimming and editing it? Mdwh 14:29, 5 August 2006 (UTC)

Dead external links to Allmusic website – January 2011
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title: Talk:We Can't Dance


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Talk:Matthew Smith

I question these page moves. Remeber Wikipedia is an encyclopedia that happens be on the Internet, not an Internet encyclopedia. It should thus not reflect the current biases of the Internet. - SimonP 22:05, Oct 19, 2004 (UTC)

I think that "Matthew Smith" or "Matt Smith" (with redirects, including from Mathew Smith) should be a disambiguation page. I don't think that any of the Matt Smiths are "clearly predominant" in the same way that Rome might mean a village in Ohio. --Mrwojo 00:00, 21 Mar 2005 (UTC)

If anyone is predominant, it's Matthew Smith the painter. There are entire books devoted to his works, and not just from vanity publishers. Here is a biography published by Faber in '97; here is another published by Lund Humphries in '95. The computer programmer seems a pipsqueak in comparison; indeed, borderline VfD fodder. Thus I suggest conversion of Matthew Smith into a disambiguation page. I'd "be bold" and do this myself, but it requires a deletion and I don't have the requisite superpowers. -- Hoary 09:17, 2005 Apr 23 (UTC)

even as a fan of this Matthew Smith I think it should be a disambiguation page - even the MobyGames page linked to confuses two different people involved in games called Matthew Smith.--Scatterkeir 03:47, 5 August 2006 (UTC)

title: Talk:Matthew Smith


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REAL Women of Canada

REAL Women of Canada (Vraies Femmes du Canada) is a socially conservative advocacy group in Canada. The organization was founded in 1983.

REAL stands for "Realistic, Equal, Active, for Life". The group believes that the nuclear family is the most important unit in Canadian society, and that the fragmentation of the Canadian family is a primary cause of social disorder. It lobbies the Government of Canada in favour of legislation to promote what it believes to be the Judeo-Christian-Islamic model of family life, and to support homemaking. REAL is also opposed to feminism, abortion and LGBT rights (and same-sex marriage in Canada as well).

Interventions
The group has intervened in Supreme Court of Canada cases including R. v. Morgentaler (1993) and M. v. H. (1999). In R. v. Sullivan (1991) it argued that a fetus is a person and the only thing different between a fetus and a baby is a short amount of time.

Objectives
According to its website, its aims are to emphasize the importance of the family and legally promote what it refers to as a "Judeo-Christian" understanding of marriage and a nuclear family, to promote homemaking, and to oppose abortion and assisted suicide.

Part of their economic policies to help meet their objectives are increased tax relief for single-income families, families with children, and individuals with children.

REAL Women is similar in political and social outlook to Phyllis Schlafly's Eagle Forum and to Concerned Women for America in the United States.

The organization has also criticized individuals who have spoken out against Uganda's criminalization of homosexual relations. On August 7, 2013, the group issued a statement criticizing Foreign Affairs Minister John Baird for speaking out on LGBT human rights issues in both Uganda and Russia as part of Canada's foreign policy.

History
In January 1983, Judy Erola, the federal cabinet minister for the status of women, proposed scrapping the tax exemption for dependent spouses, including mothers at home raising young children. Seeing this change as anti-family, persons active in the anti-abortion campaign began to speak out in opposition. On September 3, 1983, a group of Ontario women formed what would become known as REAL Women: Realistic, Equal, and Active for Life. REAL Women was dissatisfied with how feminist organizations addressed women's issues, and said that many housewives felt disparaged and attacked by these organizations. REAL Women was formed as an anti-feminist counterweight to the National Action Committee on the Status of Women. A press conference was held in 1984 officially announcing their formation. The group claimed initially to have 10,000 members, however this was later discredited. The year following their formation, the group held its first national conference, claiming to have 20,000 members, though this could not be verified.

REAL Women said it represented a silent majority of women within Canada. They promoted male-led, single-breadwinner families, and believed that women should be homemakers, mothers and wives. Their views and beliefs greatly differed from the stance taken by the National Action Committee on the Status of Women and its umbrella organizations, and the group argued against the equality guarantees already enacted in the Canadian Charter of Rights and Freedoms: they denounce the equal rights clause in the Canadian Charter of Rights and Freedoms and feminist movements and organizations, and they argue that government spending and funding of these feminist organizations is undermining traditional gender and family relations. 1987 its president Lynne Scime stated that "REAL women want to look at issues such as how a woman can pick a husband to fulfill her needs". They believed that women are naturally nurturing, emotional and dependent beings, suited to motherhood. They use the slogan "equal but different" while pushing for increased tax credits for stay-at-home mothers,. and have made  suggestions on how to augment the options and resources available to families.

REAL is directly opposed to issues that organizations such as the National Action Committee advocatet. One is abortion, which REAL opposes, claiming it is murder. In addition, the group opposes the idea of the universal childcare model, as they believe that governmental childcare represents a loss of parental control and increases the influence of the state on the family. They argue that the funding would be better spent on things such as courses on parenting skills. REAL also oppose laws guaranteeing equal pay for women, believing that this would reduce the income disparity between genders, draw women into the paid labour force, and incentivize the economic position of female-led households. They believe this represents a major threat to family values, demeans women and breaks down the traditional family. They also believe that women taking men's jobs will destroy the free market economy. Other viewpoints they oppose include programs to reduce family violence, which they claim encourage hatred toward men; no-fault divorce; and human rights protections for gays and lesbians. The overarching goal of REAL Women is to support the way of life traditionally associated with the 1950s nuclear family and arch-conservative values. Their belief is that their activism contributes to women's equality and will improve their lives. Their monthly newsletter, Reality, mirrors the American conservative movement. It regularly attacks feminists such as Flora MacDonald as well as feminist campaigns.

REAL Women of Canada endorsed Derek Sloan as candidate in the 2020 Conservative leadership election.

Archives
There is a REAL Women of Canada archival deposit at Library and Archives Canada. The archival reference number is R11007. The deposit covers the date range 1970 to 2015. It contains 16.7 meters of textual records; 2 videocassettes; 5 photographs.

title: REAL Women of Canada


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Talk:Code of Hammurabi

Another go at FAC?
The original nominator seems to have gone inactive without word, but the article is essentially FA standard already, having been more than half way through the actual FAC process. Perhaps another go at FAC might be worth it—, I see you assisted the nominator quite a bit, any interest in nominating the article with me?  Aza24  (talk)   06:04, 22 March 2023 (UTC)

 * I don't feel conversant enough with the source material to be a co-nominator; I wouldn't be able to respond knowledgeably to reviewers' questions. But I'd be happy to assist however I can. A. Parrot (talk) 06:33, 22 March 2023 (UTC)
 * @Aza24 Hi! Thanks for the interest. I do actually have time and I would like to re-nominate this. I stopped last time because of life events, though I'd also become a little frustrated by the edit suggestions, many of which seemed to be personal-preference style tweaks with no basis in house style. Anyway - I should have some more time now and would be happy to reopen noms myself this weekend. Emqu (talk) 23:55, 22 March 2023 (UTC)
 * , that is so wonderful to hear, the article is all yours. I'll keep an eye on the FAC incase any trouble arises. Best –  Aza24  (talk)   00:02, 23 March 2023 (UTC)
 * It's a bummer that your work hasn't gotten what it deserves. I'll try to attend to some of the issues raised by editors. Hopefully you can come back when you have time, as I would be happy to do a source review and perhaps show some sources that I've found. Wretchskull (talk) 10:43, 4 May 2023 (UTC)

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Duan tribe

The Duan was a tribe of Xianbei ethnicity during the era of Sixteen Kingdoms in China. They were a powerful tribe in the Liaoxi region and played a key role during the fall of the Western Jin dynasty. Unlike the Xianbei tribes of the steppe, the Duan were unique in that they were established within the borders of China. They ruled over their dukedom of Liaoxi and later established the Duan Qi state, although neither were considered part of the Sixteen Kingdoms. The tribe was conquered by the Murong-led Former Yan in 338, but remained politically influential as maternal relatives of the Murong.

Background
The founder of the Duan tribe was Rilujuan (or Jiulujuan), a Xianbei who was sold as a slave to a Wuhuan family in Yuyang Commandery known as the Kunuguan (庫辱官). When a famine broke out in Yuyang, the Kunuguan sent him to Liaoxi Commandery to scour for food, but he instead took the opportunity to escape. He gathered a group of exiles and established a base in Lingzhi (令支, in present-day Qian'an, Hebei), a city that had been abandoned during the Han dynasty. Rilujuan was succeeded by his younger brother Qizhen, who was then succeeded by his son, Duan Wuwuchen. By the Western Jin dynasty, the tribe had grown to have 30,000 families and around 45,000 cavalry soldiers under their wing.

Liaoxi dukedom (303–338)
During the War of the Eight Princes, the Jin Inspector of You province, Wang Jun sought to secure his position by allying with the surrounding Xianbei and Wuhuan people. He entered a marriage alliance with Duan Wuwuchen, offering him a fiefdom as the "Duke of Liaoxi" in return for his tribe's military service. Wang Jun's barbarian auxiliaries were a deciding factor in the civil wars, with the Duan playing a role in his victory against the Prince of Chengdu, Sima Ying in 304. The Duan continued to support Wang Jun in his war against the Xiongnu state of Han-Zhao, battling the Jie warlord, Shi Le with much success. Wuwuchen died in around 310, succeeded by his son, Duan Jilujuan.

In 313, after some negotiations, Jilujuan agreed with Shi Le to break off relations with Wang Jun and withdraw from the conflict. Wang Jun was defeated by Shi Le in 314, but soon after, Jilujuan's brother, Duan Pidi, led a branch of the Duan loyal to Jin and seized control of Wang Jun's old capital in Jicheng. The Duan was effectively split into two, but civil war only broke out following the death of Jilujuan in 318. That year, Jilujuan's cousin, Duan Mopei, seized power from his uncle, Duan Shefuchen, and fought with Pidi over full control of the tribe.

In 321, Pidi was captured and later killed by Shi Le's state of Later Zhao, making Mopei the sole leader of the Duan. At this point, the Duan's state of Liaoxi stretched from Yuyang Commandery to the Liao River. After Mopei died in 325, his brother and successor, Duan Ya was quickly overthrown by his cousin, Duan Liao after he attempted to move the capital. Throughout his reign, Duan Liao fought with the rival Murong-Xianbei tribe in Liaodong, but suffered repeated losses. In 338, the Murong, who by now had established the Former Yan, allied with the Later Zhao to destroy the Duan. Duan Liao was defeated and surrendered to Former Yan, thus ending the Duan's independent state.

Later history
While Duan Liao was killed for rebelling in 339, the Duan remained a prominent family within the Former Yan and their successors states of Later Yan, Western Yan and Southern Yan as maternal relatives due to a number of their women such as Duan Yuanfei and Duan Jifei marrying into the Murong family. Other Duan members fled to Later Zhao where they became generals, most notably Duan Lan and Duan Qin. During the collapse of the Later Zhao, Duan Lan's son, Duan Kan, founded the short-lived Duan Qi state in Shandong in 350, while Duan Qin declared himself the Emperor of Zhao in 352. However, both were eventually captured and executed by the Former Yan.

Language
Shimunek classifies Duan as a "Serbi" (i.e., para-Mongolic) language. Shimunek's "Serbi" linguistic branch also includes Taghbach, Tuyuhun, and Khitan.

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Vol. 3: (The Subliminal Verses)

Vol. 3: (The Subliminal Verses) is the third studio album by American heavy metal band Slipknot, released on May 25, 2004, by Roadrunner Records. A special edition, containing a bonus disc, was released on April 12, 2005. It is the band's only album produced by Rick Rubin. Following the band's tour to promote its second album in 2002, speculation regarding the future began. Some band members had already been involved in side projects including Murderdolls, To My Surprise, and the reformation of Stone Sour. In 2003, Slipknot moved into The Mansion to work on the album. Initially, the band was unproductive; lead vocalist Corey Taylor was drinking heavily. Nevertheless, the band managed to write more than enough material for a new album. Vol. 3 is credited as Slipknot's first to incorporate more traditional, melodic song structures, guitar solos and acoustic instruments.

The album received generally positive reviews. Slipknot was praised by AllMusic for its "dedication to making it a Slipknot album", while Q added that the album was "a triumph". The album peaked within the top ten in album sales across eleven countries, and went Platinum in the United States. The band also received the Grammy Award for Best Metal Performance for the song "Before I Forget". At the end of 2009, "Before I Forget" was listed as "AOL's Top Metal Song of the Decade". Roadrunner Records have listed the music video for "Duality" as the best music video in Roadrunner history.

Recording
""The first album was a lot of fun. The second album felt like we were saying, 'Fuck you, we're dying here.' And then the third record was the healing process." – Shawn Crahan"

Slipknot recorded Vol. 3: The Subliminal Verses with producer Rick Rubin at The Mansion in Los Angeles in 2003. There had been speculation regarding the possibility of a third album and the band's future, owing to members working on other musical projects. After the album was completed, the band said these side projects "saved the band" and "helped [them] break out of the box [they] were in". Coming back together and working out their differences hindered the writing process initially. In 2008, drummer Joey Jordison said, "We didn't talk to each other for three months, we just sat there wasting money in the fucking Houdini mansion." Percussionist Shawn Crahan stated, "Eventually we got sick of waiting for shit to happen. We got together, had a few beers and wrote a really artsy, fucked up song called 'Happy Ending'."

In a 2003 interview, Jordison explained that despite the initial problems more than enough material was written for the album and added that "it's better to have stuff to pick from than to settle for shit", in contrast to how Slipknot settled too soon with fewer songs on previous albums. Band members were divided over their experience of working with producer Rubin; some doubted his commitment to Slipknot as he split his time between many artists at once. Lead vocalist Corey Taylor admitted in an interview that he drank heavily throughout their time in the mansion, saying "I would drink from the moment I got up until the moment I passed out." He explained that; "everything I did while I was drinking sounded like shit", while expressing how unhappy he was with the choice of vocal takes which ended up on the album. During this time, percussionist Crahan worked on Voliminal: Inside the Nine, a video documenting the creation process of the album and the touring which would follow.

In a Q&A for his book You're Making Me Hate You, Taylor stated that the first verse and chorus of the track "Circle" was written and recorded during the Iowa tour in 2001, and that it was the same take that ended up on the album.

The group had mixed opinions regarding their experience of working with Rick Rubin. In 2008, Taylor said he met Rubin only four times during the entire recording of Vol. 3… and that Rubin barely showed up to the studio: "We were being charged horrendous amounts of money. And for me, if you're going to produce something, you're fucking there. I don't care who you are." He added: "He is overrated, he is overpaid, and I will never work with him again." Conversely, guitarist Jim Root said in that same interview, "A lot of the guys in the band say Rick was unavailable. And yeah, he takes on a lot of projects at one time, but he also does things that are beneficial. He would listen to what we'd done, then have us retrack things that needed work. He's kind of like Big Brother up on the hill. Even though he wasn't there physically every day, he was. [Vol. 3 is] my favorite record we've done." ""Vol.3… was really hard for me. I was in such a dark and depressing place. But about halfway through I got my shit together. That's when I started the battle against my drinking and my crappy behaviour… ['Pulse of the Maggots'] was the anthem we'd been missing. It was originally called 'Triggers Yearn' and I was going in a whole different direction with it. Then Joey said he'd got a name for the song… but no lyrics. From then on, the song became more about the fans than it was about us. Without the fans, we'd be a bunch of jerks from Iowa, picking fights with each other in our basements." – Corey Taylor"

Musical and lyrical themes
Before the release of Vol. 3, band members had promised a more experimental album; drummer Jordison said that "it's almost as if Slayer was tapping on Radiohead". For the first time in Slipknot's career, songs such as "Circle" and "Vermilion Pt. 2" were led by an acoustic rather than an electric guitar. According to Todd Burns of Stylus, songs such as "Pulse of the Maggots" and "Before I Forget" incorporate a "pounding metal" style. AllMusic wrote that tracks, such as "The Blister Exists", "Three Nil", and "Opium of the People", combine the two extremes of their recognizable metal edge with melody, and the most apparent shifts being in Taylor's vocal style, with relatively few songs relying solely on screamed vocals in comparison to their earlier work. Entertainment Weekly wrote that the album "[bounced] between over-powering speed-metal and haunting acoustic rock".

Vol. 3: The Subliminal Verses is Slipknot's first album that does not warrant a Parental Advisory label, mainly because the lyrics of Vol. 3, compared to other Slipknot albums, are much less explicit in terms of profanity and obscure dark themes. While the standard edition does not feature the warning label, the special edition does due to the heavy profanity found in its bonus content. In a 2008 interview, guitarist Mick Thomson explained that vocalist Corey Taylor made a point of avoiding the use of profanity in response to claims that he relied on use of it. Only two instances of profanity occur on the album, which are the use of the word "bitched" in "Duality" and "bastards" which appears in the intro monologue for "Pulse of the Maggots".

According to AllMusic, the lyrics of Vol. 3: (The Subliminal Verses) include metaphors and touch on themes that include anger, disaffection, and psychosis. Taylor's diversity in his vocal delivery was praised; Burns considered tracks like "Vermilion Pt. 2" to have "stately vocal harmonies". Taylor's performance on the closing track "Danger – Keep Away" was specifically praised; Stylus called it the most "depressing and emotional" track on the album. Burns concluded that overall "the riffs have lost none of their impact, but it seems like finally the group also wants you to appreciate their vocal and lyrical impact."

Artwork
The cover of the album features the "maggot mask" designed by Shawn Crahan. The name of the mask is a reference to the name given to fans by the band. The mask was made of stitched leather, with a zipper around the mouth area, and copies can be obtained as part of the band's merchandise. It is featured in the music video for the album's second single "Vermilion", in which the band appears whenever the protagonist wears the mask.

Promotion
Prior to the release of the album, the band released "Pulse of the Maggots" in its entirety as a free downloadable track on the now defunct SK Radio website, it was available for one day only on March 30, 2004. This also marked the beginning of Slipknot's touring cycle, The Subliminal Verses World Tour, starting with their appearance on the Jägermeister Music Tour. On May 4, 2004, "Duality" was released as their first official single. Vol. 3: (The Subliminal Verses) was finally released on May 25, 2004, to coincide with the release of the album "Duality" was released on a special edition 7-inch red vinyl. Alongside the normal edition of the album Roadrunner Records also released a limited edition CD that could connect to the Slipknot web site and obtain new songs and other promotional material, but as of 2009 the link on the CD has stopped working. Other singles from the album included "Vermilion", "Before I Forget" and "The Blister Exists". On April 12, 2005, a special edition version of the album, containing a bonus disc, was released.

Critical reception
Critical reception to Vol. 3: The Subliminal Verses was generally positive. It received a score of 70% on review aggregator Metacritic based on 12 reviews. Johnny Loftus of AllMusic called the album "not just another flashy alt-metal billboard", praising the band's "dedication to making it a Slipknot album". Todd Burns of Stylus wrote that people who accuse the band of having "softened" are "mistaking softness for maturation". Burns went on to call the album "the best pop inflected metal album since System of a Down's Toxicity". Sean Richardson of Entertainment Weekly gave the album an A− and wrote that it is a "deranged hippie update" of Slayer's "masterpiece" Reign in Blood, which was also produced by Rubin. Q hailed Vol. 3: The Subliminal Verses as "a triumph". John Robb of PlayLouder complimented Slipknot's unexpected rise to become "one of the biggest groups in the world", dubbing "Before I Forget" a "classic [Slipknot] anthem". Robb added that the album is better than Iowa, citing its "differing textures". Rolling Stone gave the album a rating of 3 out of 5, stating the album presented "newer extremes" for the band, "which in Slipknot's case means tunefulness and traditional song structures".

A review from the BBC praised the album, declaring that there "is no finer metal band on the planet". It cited the group's integration of "hyperactive bass drums, complex, compelling riffs and ridiculously fast fretwork" with more melodic styles and described Vermilion as "the key track ... an emotional, melodramatic, utterly convincing rollercoaster ride".

Alternative Press criticized the album, writing that it "plays out like a tepid, second-rate version of Iowa, which pretty much makes it a third-rate anything else." Yahoo!'s Chris Heath also reviewed the album negatively, writing that "The Nameless" combines "the ludicrously vicious and ridiculously placid" and that by doing so makes the track feel "awkward". Heath added, "the themes are predictably absurd ... yet mildly comical given the inclusion of such disparate styles stationed side by side."

Vol. 3: The Subliminal Verses peaked at position number two on the US Billboard 200, following selling 242,683 copies in its first week. The album also charted and peaked at number two on the Australian Recording Industry Association, and Canadian sales charts. The album was certified Platinum in the United States on February 21, 2005. In 2006, the band won their first Grammy for Best Metal Performance with "Before I Forget". In 2009, Metal Hammer called it one of the "Albums of the Decade". It was also rated 31st in UK magazine Kerrang!'s "The 50 Best Albums of the 21st Century" reader poll. In 2005, the album was ranked number 396 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time.

Track listing
All tracks written by Corey Taylor, Mick Thomson, Shawn Crahan, Craig Jones, Jim Root, Chris Fehn, Paul Gray, Joey Jordison and Sid Wilson. The vinyl version track listing misspells "Vermilion" and "Vermilion Pt. 2" as "Vermillion" and "Vermillion Pt. 2"

Personnel
Aside from their real names, members of the band are referred to by numbers zero through eight.

Slipknot

 * (#8) Corey Taylor – vocals
 * (#7) Mick Thomson – guitars
 * (#6) Shawn Crahan – percussion, backing vocals, art direction, photography
 * (#5) Craig Jones – samplers, keyboards
 * (#4) Jim Root – guitars
 * (#3) Chris Fehn – percussion, backing vocals
 * (#2) Paul Gray – bass, backing vocals
 * (#1) Joey Jordison – drums, mixing
 * (#0) Sid Wilson – turntables

Design

 * Michael Boland – design for The Boland Design CO.
 * Neil Zlozower – band photography

Production

 * Rick Rubin – producer
 * Greg Fidelman – mixing
 * Phillip Broussard – assistant engineer
 * Miles Wilson – assistant engineer
 * Dan Monti – assistant engineer
 * Lindsay Chase – album production coordination
 * Ted Jensen – mastering

Management

 * Monte Conner – A&R
 * Cory Brennan and Merck Mercuriadis – management for Sanctuary Artist Management Inc.
 * Michael Arfen – US booking agent for Writers and Artists Agency International
 * John Jackson – international booking agent for K2 Agency

title: Vol. 3: (The Subliminal Verses)


text:
User talk:Ashley Hewson

Who told you that we sign Wikipedia articles?? 66.245.119.206 00:55, 26 May 2004 (UTC)

title: User talk:Ashley Hewson


text:
Crito

Crito ( or  ; Κρίτων ) is a dialogue that was written by the ancient Greek philosopher Plato. It depicts a conversation between Socrates and his wealthy friend Crito of Alopece regarding justice (δικαιοσύνη), injustice (ἀδικία), and the appropriate response to injustice after Socrates's imprisonment, which is chronicled in the Apology.

In Crito, Socrates believes injustice may not be answered with injustice, personifies the Laws of Athens to prove this, and refuses Crito's offer to finance his escape from prison. The dialogue contains an ancient statement of the social contract theory of government. In contemporary discussions, the meaning of Crito is debated to determine whether it is a plea for unconditional obedience to the laws of a society. The text is one of the few Platonic dialogues that appear to be unaffected by Plato's opinions on the matter; it is dated to have been written around the same time as the Apology.

Background

Following his trial in the Apology, Socrates had been imprisoned for four weeks and would be executed in a matter of days. Historians are not aware of the exact location of Socrates' cell but according to archaeologists, the ancient Athenian prison is about 100 meters southwest of the Heliaia court, just outside the site of the agora.

Plato's representation of Socrates is intimate but because it is a literary work, the historical validity of what was said and how much of Plato's interpretation of Socrates aligns with his real beliefs is uncertain.

Socrates and Crito are the only characters in the story. Crito was a rich Athenian who like Socrates was from the deme of Alopece. Once Socrates was charged with corrupting the youth and impiety, Crito unsuccessfully vouched to pay his bail. To spare him the prison sentence after Socrates was sentenced to death, Crito was ready to pledge to the court that Socrates would not flee, a plea that was ultimately rejected. Through both the trial and the execution, Crito was present.

In other dialogues, Crito is portrayed as a conventional Athenian who could not understand Socrates' philosophy despite his attempts to do so.

In research published in 2009, Holger Thesleff doubted Crito's authenticity. However, unlike many of Plato's potential works, Crito is widely considered to be a genuine dialogue. Some researchers have said Crito is part of Plato's middle dialogues, which are characterised by a Socrates who dismantled opposing arguments by asking questions and then pointing out the flaws in the opposition's theory. However, consensus places it in his early bibliography, which is characterised by a Socrates who speaks as an expert on the subject.

According to Mario Montuori and Giovanni Reale, Crito was written closer in time to the Laws than to the Apology, whose date is controversial. The piece was written after Socrates' execution in 399 BCE.

According to Xenophon, Plato's friends drafted escape plans. The extent the theoretical plan aligned with the historical ones is unknown. Some historians of philosophy assume the Socratic figure depicted in Crito is similar to the historical figure. William K. C. Guthrie considers the social contract to be true to Socrates' philosophical interests.

Crito's arguments
In the early morning, before visitors may arrive to meet with prisoners, Crito arrives at Socrates' cell and bribes the guard for entry. Once inside, he sits beside Socrates until he wakes up. Upon waking, Socrates remarks that Crito arrived early. Crito expresses concern at Socrates' relaxed attitude to his upcoming execution. Socrates responds that he is almost 70 years old and that to be scared of death would be inappropriate.

Crito has come to see Socrates because he has learned his execution will take place the next day, and wishes to rescue his friend. Crito planned to bribe all of the guards who are part of the execution and assures Socrates he has enough money to see the plan through and that he has additional friends who are also willing to pay. After being rescued from prison, Socrates would be taken to a home in Thessaly, where Crito and his friends would be pleased to house and feed him.

Crito asserts that if Socrates is executed, Crito will suffer a personal misfortune through the loss of a great friend. Crito also says if Socrates is executed, his sons will be deprived of the privileges to which the sons of a philosopher would be entitled—a proper education and living conditions. He also points out that when one takes on the responsibility of having children, it is immoral to abandon that duty. Additionally, if Socrates did not go with them, it will reflect poorly upon Crito and his friends because people would believe they were too miserly to save Socrates. Crito also claims that it is important that they consider the thoughts of the majority as they "can inflict … the greatest evils if one is slandered among them". Finally, Crito argues that Socrates should not worry about the potential punishments that he and his conspirators could face as they feel that the risk is worth taking.

Socrates' arguments

After hearing Crito's arguments, Socrates asks to be allowed to respond with a discussion of related, open-ended issues, to which Crito may not respond. As Socrates continues with his arguments, Crito only affirms Socrates' words. Socrates first says the opinions of the educated should be taken into consideration and that the opinions of those with subjective biases or beliefs may be disregarded. Likewise, the popularity of an opinion does not make it valid. Socrates uses the analogy of an athlete listening to his physician rather than his supporters because the physician's knowledge makes his opinion more valuable. According to Socrates, damage to the soul in the form of injustice makes life worthless for a philosopher in the same way life for a person who has injured himself out of incompetence is pointless. A person's goal should be to live a virtuous and just life rather than a long one, thus escape from the prison would rely on a discussion on justice.

Socrates disregards Crito's fears of a damaged reputation and his children's futures, which are irrelevant to him. He compares such motivations to a person who sentences someone to death and then regrets the action. Socrates then says Crito and his friends should know better because they have shared the same principles for a long time and that abandoning them at their age would be childish. To wrong the state, even in reaction to an injustice, would be an injustice.

Laws and justice
Socrates then points out the question would then be whether he should harm someone or ignore a just obligation. To solve this question, he creates a personification of the Laws of Athens and speaks through its point of view, which is to defend the state and its decision against Socrates.

According to Socrates, the Laws would argue a state cannot exist without respect for its rules. They would criticise Socrates for believing he and every other citizen had the right to ignore court judgements because chaos could ensue. Thus, Socrates could refute this particular instance as an unjust decision of the law, while maintaining that the law itself is just and should be obeyed. Socrates could justify his disobeying this legal ruling as just on these grounds. This argument, which mirrors Martin Luther King’s argument on unjust laws, is perhaps the best answer to the form of social contract theory that Socrates puts forward. However, Crito is never allowed to make this argument because Socrates cuts him off.

According to the Laws, if Socrates had accepted Crito's offer, he would have exposed his accomplices to the risk of fleeing or losing their assets. As a fugitive in a well-established state, Socrates would be suspicious of good citizens because he would be suspected of violating the laws in his place of exile. He would have to be content with a region like Thessaly, which was chaotic and disorganised, and where he could only entertain crowds with the story of his unjust escape. As a philosopher who had become unfaithful to his principles, he would be discredited and would have to give up his previous life content and his sense of life would only be through food.

In conclusion, if Socrates accepts his execution, he will be wronged by men rather than the law, remaining just. If he takes Crito's advice and escapes, Socrates would wrong the laws and betray his lifelong pursuit of justice. After completing the imaginary plea of the Laws, Socrates claims he was chained to the laws as a dancer is to flute music and asks Crito to rebuff him if he wishes. Crito has no objections. Before Crito leaves, Socrates refers to the divine guidance he hopes to be helped by.

Philosophical implications
Crito emphasises reason, which it says should be the sole criterion for understanding ethics. Unlike Plato's other works, Socrates took a more objective stance on epistemology, being optimistic about the knowledge coming from experts in a subject.

The ethical and political implications of the Laws are barely discussed in Crito, in which the Laws are personified to explain the way Socrates should have behaved.

Social contract
The personification of the Laws is contrary to Plato's tendency to criticise the Athenian state and institutions. The state's demand for loyalty was a social contract theory in which citizens have a mutual agreement with the state and understand what being a citizen of the state entails. A person only became a citizen after undertaking a test called dokimasia (δοκιμασία); citizenship was not conferred at birth. The test is mentioned in Crito.

Legalism
One of the most controversial issues raised by Crito is Socrates' legalist representation of the laws as a human being. It presents a view of society in which citizens who are incapable of changing laws by convincing lawmakers have to abide by the laws to remain "just". Those who do not want to live under such laws are to emigrate if they desire an ethical life. Although Socrates ultimately rejects the idea of expulsion, he believes it to be ethical because the court had suggested it and because the ruling was unjust. It followed, however, from the overall context of Platonic ethics in the sense that it priorities the avoidance of injustice.

Authoritarian and liberal interpretations
Sandrine Bergès proposed a Liberal interpretation of the law in which the agreement between the state and the individual implies a mutual obligation. The legislation provides the citizens' livelihoods and an environment conducive to their prosperity and so they consider themselves to be loyal to the laws. Prosperity, in the sense of Socrates, means the formation of character – the acquisition of virtue as a prerequisite for a good life. In this sense, the analogy of the relationship between parent and child is to be understood as parents having the obligation to educate their children to be good people and can expect their children's obedience in return. The laws promote the virtue of citizens and should therefore be respected. In both cases, the parent entity must fulfil its obligation to be eligible for obedience. In the relationship between Socrates and the Athenian laws, this was the case despite the judgement of the court. If it was otherwise, there would be no obligation to comply with the laws.

According to Richard Kraut, the laws required a serious effort to command respect. If this attempt was to fail, civil disobedience would be permissible. A number of critics, however, argue this could not be inferred from the text; rather, in the event of a failure of the conviction attempt, unconditional obedience to the law was demanded.

The Liberal interpretation of the personified laws has been controversial but one measuring "authoritarian" starting points to a Liberal outcome has found favour in recent research. The representatives of this approach assume the personification of the laws is to be understood in an authoritarian sense but either disagrees or partially agrees with Socrates' own position. Thus, although Plato's Socrates makes a case for this authoritarian rule, his order of values differed from their own.

Although Socrates is impressed by the reasoning of the laws, according to the weaker version of this hypothesis this does not mean he identifies with all of his reflections and affirms their consequences. According to the stronger variant, he agrees to the laws only with regard to the result – the refusal to flee – but rejects the way in which they have come to the conclusion. In principle his approval of the ethical understanding of the laws is not serious but ironic.

According to representatives of this interpretation Socrates, at the end of the dialogue, compares the effect the pleading of the Laws has on him with the "frenzied dervishes of Cybele seem to hear the flutes". This was an irrational aspect that contrasts with the philosophical demand for unconditional reason. In Plato's works, Socrates appears as a philosopher who always acts rationally and stuns admirers with his extraordinary self-restraint while being exposed to strong emotions. The comparison with these "dervishes" is an indication there is a difference between the radical, suggestive demands of the law and Socrates' philosophically reflected position. Socrates' description of his emotion is ironic as in Apology, his defence speech to court, in which he ironically claims the persuasive power of his prosecutors has almost led him to forget himself.

The strong variant of the interpretation, which distinguishes Socrates' point of view from that of the Laws, is represented by Roslyn Weiss. She said although the dialogue's Crito is an old friend of Socrates and should have known Socratic ethics well, his reflections and reactions show he is not a philosophical man. According to Weiss's hypothesis, this was the reason Socrates let the Laws appear and assigns them the task of making it understandable to Crito – that is, authoritarian – that an escape would be wrong. Weiss saw this as an indication Socrates only introduces the Laws after Crito has told him he could not follow Socrates' philosophical argument. As a further indication, Weiss says Socrates describes the arguments as being in favour of respecting the law – like something a speaker would present. This expresses distancing because the Platonic Socrates generally rejects rhetoric as a dishonest, manipulative way of persuasion.

Thomas Alexander Szlezák also said the justification for Socrates' attitude towards his friend is emotional rather than not philosophically demanding because it is inevitably based on Crito's level of reflection. The crucial point for Socrates is in the Phaedo dialogue rather than Crito. Socrates in Crito avoids using the word "soul" – a concept that is introduced and discussed in various dialogues – and dealt with a metaphysically neutral paraphrase, apparently because Crito does not accept the philosophical assumption of an immortal soul.

According to David Bostock, the authoritarian concept is the exact view Plato wanted to convey in Crito. In later works Plato recognized the problems with this position and modified his point of view. A number of other commentators support the traditional interpretation that the position of the Laws was to identify with the Platonic Socrates.

Lawfulness and ethical autonomy
Multiple researchers have claimed that there is a purposeful rhetorical incongruity between the Apology and Crito from Plato's representation of Socrates' dialogues. In the Apology, Socrates explained that he would not obey a hypothetical court verdict that forced him to renounce public philosophising on pain of death, for such a demand would be an injustice to him.

Michael Roth claimed that there was no inconsistency, and that the real in Crito and the hypothetical in the Apology were two fundamentally different systems to be held to different standards. According to another solution, Socrates' argument in the Apology was of a purely theoretical nature, since a prohibition of philosophy had no legal basis and no situation was conceivable in which the court could have actually imposed such a penalty on Socrates, unless the defendant had proposed this himself.

Italian historians of philosophy Mario Montuori and Giovanni Reale used chronological distance to explain this difference: that The Apology and the Crito were written at different times and for different reasons. In the Apology — which was the younger work — Plato essentially reported what Socrates had said without much embellishment, but when writing Crito, he had given his thoughts on the matter through the mask of Socrates.

On the other hand, if Socrates' punishment could not occur, professor of morality Necip Fikri Alican argued that Socrates could not simply just be using meaningless thought experiments. Philosophy professor James Stephens simply believed the problem has no solution.

The (missing) soul
The soul is oddly missing throughout the Crito. This is despite the fact that Francis Cornford referred to the Platonic doctrine of the soul as one of the "twin pillars of Platonism," with the other being the theory of Forms. There seems to have been a deep uncertainty regarding the soul in the Crito. Socrates in the Crito alludes to the soul when he mentions the part of us that has justice or injustice inside it, but he does not even name it as the soul (47e–48a). This has puzzled scholars for centuries. Scholars have tended to suppose that Plato, at this early point in his career, simply has not yet worked out all the features of the soul: is it a self-mover, the principle of life? Is it the bearer of moral properties? Is it a mind? Erwin Rohde argued that Plato simply did not yet know what the soul was. David Claus conducted a thorough survey of all mentions of and references to the soul in pre-Platonic Greek literature (such as the sophists, natural philosophers, tragedians, comedians, and medical writers) and concluded that Plato was the first to combine all the features of the soul into one concept, but that this conception of the soul did not take place in Plato's mind until the Laws; the absence of the soul from the Crito reflects the inchoate status of the soul at this point in Plato's intellectual development. Campbell agrees that Plato was the first, but he argues that Plato's psychology was developed earlier, such that readers of earlier dialogues such as the Phaedo can observe the casual oscillation between different roles that the soul plays; he maintains that the soul is a thinker and a mover at the same time because it moves things by means of its thoughts.

Classical and Medieval
Roman philosopher and politician Cicero interpreted Crito to mean citizens are obliged to serve the state out of gratitude.

In anti-Platonic circles, the piece was not well regarded. The philosopher Athenaeus said Crito serves as Plato's means of attacking the real-life Crito. Athenaeus said because Crito showed no philosophical ability, his inability to present a proper argument is to be expected. Another anti-Platonic author, the Epicurean Idomenus of Lampsacus, said the escape plan came from Aeschines of Sphettus rather than Crito and the names were transposed Aeschines was not favored by Plato.

Early modern
The oldest manuscript of Crito was produced in 895 CE in Byzantium. In the Latin-speaking world, Crito was an unknown work but the Islamic world had produced translations of it for years. The Western world rediscovered Crito during the age of Renaissance humanism. The first Latin translation was made in 1410 by the Italian humanist and statesman Leonardo Bruni, who was not satisfied with this translation and worked upon another that was completed by 1427. Bruni was so satisfied with the arguments presented by the Laws that he had used them in his own work, De militia. A revision of Bruni's Latin translation was created by Rinuccio da Castiglione. Marsilio Ficino was the third humanist translator; he published the translation in Florence in 1484. The first edition of the Greek text was published in September 1513 in Venice by Aldo Manuzio in the complete edition of Plato's works, which was published by Marcus Musurus.

The philosopher David Hume (1711-1776) made reference to Crito as the only ancient text that holds the idea of a citizen's implicit promise of loyalty. He said Plato's Socrates founded the social contract in the manner of Whigs and influences passive obedience as seen from the Tories.

Literary aspects
Crito was esteemed by literary analysts including Paul Shorey, William Guthrie, and Thomas Alexander Szlezák, the last of whom said its "speech, argumentation and character are masterfully matched". Translator and philosopher Friedrich Schleiermacher said in his translation's introduction the work is not a dialogue invented by Plato but rather a successful conversation he had.

Philosophical aspects
The philologist Ulrich von Wilamowitz-Moellendorff found no philosophical content in Crito. According to him, the dialogue teaches "about the duty of the citizen, but not in the abstract, rather Socratic; Athenian". Gabriel Danzig states the text presents Socrates as an "embarrassingly obedient and dutiful citizen"; in doing so, Plato wanted to justify him "to the good citizens who did not care about philosophy".

Danzig added that in contemporary specialist literature, Plato is considered to be only concerned with making Socrates understandable to his readers rather than philosophically presenting and justifying universal principles. Olof Gigon saw the dialogue as a light work that is welcoming to aspiring philosophers. Despite this, the work was regarded as a key Western parallel to Legalism according to philosopher Reginald E. Allen. Hellmut Flashar argued that despite its initial appearances, Crito depth can be discerned through dialogue and that in doing so, it may be revealed as a difficult text.

In modern discussions of law and order, the responsibilities of citizens to follow rules unconditionally has many commonalities with Crito's presentation of Crito's lenient understanding of the Laws and Socrates' rigid one. The text is a foundation in Anglo-Saxon studies on legal ethics. According to Flashar, attempting to apply modern ideas to Platonic philosophy estranges the themes.

The quality of the Laws' arguments are relative to one's interpretation; in research literature, those who interpret the piece as being "authoritarian" view the Laws' as having a weak argument that is based more on feeling than rationality. For instance, the metaphor of one's parents being a parallel to the state implies a debatable view of obligation rather than an objective one. Some have said Socrates is a vessel for Plato's beliefs. Defenders of the piece say this view ignores the possibility the arguments' weaknesses are inherent for the dialectical process. Romano Guardini emphasised the Crito inherent correctness, it being "the basic philosophical experience of validity" exists beyond empiricism.

According to Austrian philosopher Karl Popper, the representation of Socrates in Crito is the quintessential version of him and the piece may have been a request by Socrates himself. In tandem with the Apology, Socrates' last will may be formed. Socrates, who was convicted as an Athenian, chose not to flee Athens because of his virtue as an Athenian and the loyalty to the state that follows. If he chose to go into self-exile as Crito had suggested, he would undermine the fundamental system the state he pledges allegiance to was based upon. Peter Sloterdijk said Crito is one of the "initial texts of philosophy par excellence" with which Plato founded "a new way of looking for the truth". Crito was the defender of this world against the death of his master. He played a "half ridiculous, half moving role". For Socrates, life was a lesson so he consequently "turned his last breath into an argument and his last hour into evidence".

Texts and translations

 * Greek text at Perseus
 * Plato: Euthyphro, Apology, Crito, Phaedo, Phaedrus. Greek with translation by Harold N. Fowler. Loeb Classical Library 36. Harvard Univ. Press (originally published 1914).
 * Fowler translation at Perseus
 * Plato: Euthyphro, Apology, Crito, Phaedo. Greek with translation by Chris Emlyn-Jones and William Preddy. Loeb Classical Library 36. Harvard Univ. Press, 2017. ISBN 9780674996878 HUP listing
 * Plato. Opera, volume I. Oxford Classical Texts. ISBN 978-0198145691
 * Plato. Complete Works. Hackett, 1997. ISBN 978-0872203495
 * The Last Days of Socrates, translation of Euthyphro, Apology, Crito, Phaedo. Hugh Tredennick, 1954. ISBN 978-0140440379. Made into a BBC radio play in 1986.

title: Crito


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User:Trep

Rather eccentric, a twenty two-year-old maths student who loves maths, physics, philosophy and running.

title: User:Trep


text:
Newmarket, New Zealand

Newmarket (Te Tī Tūtahi) is an Auckland suburb to the south-east of the central business district. With its high building density, especially of retail shops, it is considered New Zealand's premier retailing area, and a rival of local competitor Auckland CBD.

While as early as 1873, Newmarket has been referred to as a 'suburb' of Auckland, in fact until the amalgamation of the borough councils into Auckland City Council in 1989, local governance was by the Newmarket Borough Council, with its own mayor. The borough, while one of the smallest in the Auckland Region, was also one of the busiest. This is especially true of Broadway, the main street, which has large shopping centres and smaller retail tenancies (with a total of over 400 stores as of mid-2010), two movie theatres, and numerous restaurants, bars and cafés.

Māori beginnings

Tāmaki Māori called this area, particularly the south of the current Newmarket, Te Tī Tūtahi, 'the cabbage tree standing alone' or 'the cabbage tree of singular importance', referring to a tree which stood on the corner of Mortimer Pass and Broadway (according to other references at the corner of Clovernook Road and Broadway) until 1908. Some of the cabbage trees in the area are descended from this tree, after Alfred Buckland rescued a portion and replanted trees around Newmarket and as far away as Bucklands Beach.

In the general area of Nuffield Street / Mahuru Street, no remnants today are visible of the Mahuru Spring, once sacred to the local Māori iwi. It is noted that the spring was named after the Māori word for the season of spring.

European settlement
The earliest subdivision of land in this location took place in June 1841. In 1842 Epsom Road was formed, running from the bottom of town up through Parnell towards the middle of the Auckland isthmus. This was later called Manukau Road before being given its current name, Parnell Road. The position of Newmarket at the start of several major roads to the east and south, including Great South Road, was to strongly influence its character as a transport hub and "Gateway to the South".

In 1845 Khyber Pass Road was formed and the intersection of these three roads was called "Hobson's Bridge" referring to a  small wooden bridge that crossed over "Hobson's creek" (more or less where the railway track passes near the Olympic Swimming Pool). A very small bridge was the most noteworthy landmark of the area, giving some idea of the rather empty nature of the landscape.

Around 1851 this area received the name Newmarket because it was the site of the 'New Market' for livestock. Farmers would drive their stock up the Manukau, Great South, or Remuera Roads to the market which was better situated than the earlier stock market in Auckland proper. The presence of the Newmarket railway station connecting it with Auckland, opened in 1873 after the completion of the first Parnell Tunnel, was also a great advantage. The market was located to the south of Remuera Road and east of Manukau Road.

Overlooking Newmarket on a bluff to the south east is a 19th-century wooden house in the Gothic style called Highwic. The home of a local businessman Alfred Buckland, Highwic is now owned by the Auckland Council and administered by Heritage New Zealand. Another piece of Auckland land owned by Alfred Buckland located further out of town is still called "Bucklands Beach".

Thriving suburb

The main road of Newmarket is called Broadway. Originally Manukau Road, it was renamed Broadway in late 1912 by the Newmarket Borough Council to reflect the fact that it was no longer a muddy, dusty slushy street. The Broadway Cinema opened in 1911 as the Adelphi Theatre and changed its name in early 1915. The picture hall was a brick and corrugated iron shed linked by a passage to a retail block on Broadway. The cinema lasted until late 1925. Like its New York namesake, Newmarket's Broadway developed a rather bright 'Moderne' flashy image in the 1930s & 1940s and by the 1960s had the biggest collection of neon signs in the country.

The Olympic Swimming Pool was constructed in 1939 to the designs of the borough engineer N. F. Alcock. This Art deco building was opened by the Minister of Internal Affairs, the Hon William Parry in 1940. As well as being the borough's only public amenity the Olympic sized swimming pool was a great asset for the whole of Auckland. Over the years it has been well used and facilitated the hosting of many sporting events by Auckland including the Empire Games in 1950. Recently the pool's streamline art deco form was considerably changed when a cinema complex was built over the pool, which was previously open to the sky. To the north of the Olympic Swimming Pools is the Olympic Park War Memorial.

Located to the south of the Olympic Pools is Lumsden Green. The Green occupies a triangle of land at the intersection of Parnell Road, Broadway and Khyber Pass which had been put aside as a reserve in 1878. The park is ornamented by a modernist fountain, a 19th-century cannon and a stainless steel sculpture by Marte Szirmay installed in 1969 to mark the centenary of the Newmarket Highway district. The park is named in honour of David Lumsden, the last mayor of Newmarket before amalgamation with Auckland City in 1989.

For much of the 20th century, most road traffic leaving or entering Auckland passed through Newmarket. Leading off Broadway is the beginning of Remuera Road which is the way to the eastern suburbs while further south Broadway splits into Great South Road and the secondary southern route, Manukau Road. The constant flow of traffic only added to Newmarket's fast, modern image and helped a great deal with its prosperity. Around 1966, between 25,000-30,000 cars used the street per day.

A significant change to the skyline was the Newmarket Viaduct erected in 1966 to take one of the early sections of the Southern Motorway over the railway and half a dozen streets. The new motorway system opened up the new industrial suburbs to the south such as Penrose, Mount Wellington etc. This resulted in much of the local industry moving out of Newmarket and along with it many of the working-class people who lived in modest houses in the surrounding streets.

Since the 1960s Newmarket has been largely a retail destination, although a certain amount of light industry still existed in the surrounding streets, the most significant of which is the brewing trade. Ever since the 1840s Newmarket has been the location of several breweries. Water falling on nearby Mount Eden emerges in several reliable springs in the Khyber Pass area. Flowing through large amounts of volcanic scoria it is very well filtered. The brewery buildings on Khyber Pass Road have recently (2014) been demolished, the land has been redeveloped as part of the University of Auckland.

In 1994, Burger King opened its first store in NZ on 80A Broadway (closed down in 2020).

Modern days

Newmarket has become one of New Zealand's most significant retail and hospitality destinations, and also a major entertainment hub. At the same time, the location on one of the major thoroughfares into and out of the city also led to increasing bottleneck issues, with some claiming during the middle of the 2000s that council was neglecting the area (though projects like the Central Connector have helped to alleviate this). Traffic gridlock was one of the reasons why a plan for a major new Westfield Group shopping centre near the railway line was hotly contested by the Newmarket Protection Society, a group composed mostly of residents and some local business owners. Partly due to these objections, Westfield abandoned the plans and instead bought the Two Double Seven shopping centre, now the Westfield Centre, which underwent major redevelopment and expansion during 2017-2020.

Traffic remains a major factor in the area, as Broadway carries over 40,000 vehicles a day, limiting the ability of pedestrians in the shopping district to cross the main road. An ambitious earlier plan from 2003 to construct a "road over rail" above the railway line, from the northwest end of Newmarket near Park Road, to the southeast near the St Marks Road interchange, did not go ahead, even though this could have significantly reduced vehicle traffic on Broadway. A late 2000s upgrade has however provided new high-quality bluestone footpaths along Broadway and some of the side-streets.

The Auckland Regional Council has designated Newmarket as a 'strategic managed growth area' in the Regional Growth Strategy, meaning that high-density mixed use (residential and commercial) buildings are encouraged. This is to encourage areas in which work, living and entertainment can be achieved close to each other, limiting the average amount of [especially car-] traffic required every day. Good public transport connections are also considered to assist these policy goals. Partly due to the increasing attractiveness of living in the city, large apartment buildings are now increasingly springing up in the area, a process partly encouraged by council via new planning rules. However, many of the apartment buildings that were created in the suburb in the 2000s have been heavily criticised, and termed clusters of "shoe boxes" or "rabbit hutches", for their small unit sizes and bland exterior.

In 2007, the Lion Brewery declared its intention to leave Newmarket in the mid-term and sold its 5ha site north of Khyber Pass Road for NZ$162 million. The area is likely to become a mixed-use development within the next half decade, marking "the end of Newmarket's industrial age", especially after Hayes Metal Refineries Ltd, the other previously remaining industry, had also decided to move in 2008, after the owners had resisted development offers to be bought out in the 1980s.

In 2012 an initiative between Newmarket Business Association and the arts resulted in the creation of the town's first fully professional theatre company, Newmarket Stage Company. The brainchild of Adey Ramsel, the company's first Artistic Director, the company aimed to build on the infrastructure of transport, cafe's, restaurants and bars. Operating out of The Factory Theatre in Eden St, the company launched with Educating Rita by Willy Russell and Tuesdays With Morrie by Mitch Albom and Jeffrey Hatcher. Kiwi actor George Henare became the company's inaugural patron in 2014. Henare played the lead in the company's first two productions.

Newmarket shopping area's wireless CCTV system, a system cooperatively operated by the police and the Newmarket Business Association, has been described as "never having been done on this scale in a New Zealand town centre", and was credited partly for significant falls of some sorts of crime in Newmarket in recent (2009) years.

Demographics
Newmarket covers 0.85 km2 and had an estimated population of as of  with a population density of  people per km2.

Before the 2023 census, Newmarket had a larger boundary, covering 1.07 km2. Using that boundary, Newmarket had a population of 3,993 at the 2018 New Zealand census, an increase of 309 people (8.4%) since the 2013 census, and an increase of 1,731 people (76.5%) since the 2006 census. There were 1,608 households, comprising 1,854 males and 2,136 females, giving a sex ratio of 0.87 males per female. The median age was 35.2 years (compared with 37.4 years nationally), with 402 people (10.1%) aged under 15 years, 1,131 (28.3%) aged 15 to 29, 1,803 (45.2%) aged 30 to 64, and 657 (16.5%) aged 65 or older.

Ethnicities were 49.0% European/Pākehā, 2.9% Māori, 1.5% Pacific peoples, 48.5% Asian, and 3.5% other ethnicities. People may identify with more than one ethnicity.

The percentage of people born overseas was 57.0, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 51.8% had no religion, 34.0% were Christian, 0.1% had Māori religious beliefs, 2.6% were Hindu, 1.4% were Muslim, 2.9% were Buddhist and 1.7% had other religions.

Of those at least 15 years old, 1,725 (48.0%) people had a bachelor's or higher degree, and 216 (6.0%) people had no formal qualifications. The median income was $41,700, compared with $31,800 nationally. 936 people (26.1%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 1,788 (49.8%) people were employed full-time, 471 (13.1%) were part-time, and 138 (3.8%) were unemployed.

Governance
Newmarket had a local government just like other suburbs of Auckland at that time. The Borough of Newmarket was constituted on 7 May 1885. Before this date the affairs of the district were administered by the Newmarket Highway District (established 26 December 1868) and the Newmarket Road Board (established 19 March 1883). Newmarket Borough Council was merged into Auckland City Council in 1989, then eventually merged into Auckland Council in 2010. During the time when Newmarket was governing itself, it had its own mayor.

Mayors (1885–1989)

 * William John Suiter, 1885–1887
 * William Morgan, 1887–1891
 * George Kent, 1891–1893
 * Federick George Clayton, 1893–1895
 * John McIntyre Laxon, 1895–1899
 * John McColl, 1899–1904
 * Francis Bennett, 1904–1909
 * Ernest Hyam Davis, 1909–1911
 * David Teed, 1911–1915
 * James McColl, 1915–1917
 * Christopher Leek, 1917–1921
 * Samuel Donaldson, 1921–1944
 * Richard Edward Newport, 1944–1944
 * Charles Hugh Kay Mountain, 1944–1947
 * Frederick Phillpott, 1947–1953
 * George Albert Hardley, 1953–1957
 * William "Bill" White, 1957–1974
 * David Hadley Lumsden, 1974–1989

Newmarket Business Association (1937-present)
Newmarket's governance has always been driven by the business community. In the early days it was farmers, brewers, hoteliers, retailers and trades associated with the slaughterhouse that lent their voice. Some of whom became Wardens of the Hundred of Auckland or members of the Newmarket Highway Board or Roads Board or, from 1885, the Newmarket Borough Council. Since the dis-establishment of the borough council, the Newmarket Business Association (NBA), which was first incorporated in 1937, has filled that void. The NBA is the face and voice of the local business community's interests. Many of the issues affecting business owners today, were the same 100 years ago: traffic, roads, footpaths, safety and general infrastructure.

In the early 1990s the NBA became part of Auckland Council's Mainstreet funding programme and appointed its first official town centre manager, Sue Gunn, in 1994. Then followed Robin Winter, Cameron Brewer (2005-2010), Ashley Church (2010-2014) and the incumbent Mark Knoff-Thomas (2014-present).

Auckland Council eventually introduced the Business Improvement District (BID) Programme which the NBA became part of - with the support of the business community. Newmarket's defined BID area has a targeted rate applied to the commercial property values. The council collects this levy on behalf of the business association, and then pays out a quarterly grant to fund the associations operations.

These days the NBA has a team of 11 who focus on advocacy, marketing, arts & heritage, membership services and security for the Newmarket precinct.

Education
Newmarket School is a coeducational contributing primary school (years 1-6) with a roll of as of

The Senior Campus of ACG Parnell College is in Newmarket.

Railway history
Newmarket was once a centre of railway activity, with significant growth occurring after the rail line from the city was opened in 1873. Eventually, there was a junction station, two signal boxes, two railway workshop complexes, railway houses, a railway social hall and extensive goods yard. This changed in 1930 when the Newmarket Workshops closed and its functions were taken over by the Otahuhu Workshops. The workshops bordering Broadway on the other side of the Remuera Road overbridge were torn down. The workshops along Middleton Road were retained and transferred to the New Zealand Post Office for use as Post Office workshops and these structures remained in place until they were unceremoniously torn down in the mid-1990s.

On 22 February 1955 the Railway Lodge No 196 of the Royal Antediluvian Order of Buffaloes was established in the Newmarket Railway Social Hall with a strong presence of over 100 brothers of the order, many of whom had connection with the railways. The Lodge continued to thrive for many years because of its link with the railways. The Railway Lodge 196 is a lodge of the New Zealand constitution of the Grand Lodge of England and continues to function, albeit in Ponsonby, not Newmarket.

In the 1980s the Newmarket Railway Social Hall and many other railway buildings were demolished. By 1995 all that was left of Newmarket's railway heritage was the Fine Station, closed in 1983 and its signal box still staffed, and one of the last in New Zealand to utilise the old style lever frame. The old workshop buildings on Middleton Road were demolished in that year. By the 21st century little remained of Newmarket's railway heritage other than the station, the signal box, a few items of preserved rolling stock and the Railway Lodge No 196.

Construction proceeded in 2008 on a new railway station and plaza on the northern side of Remuera Road overbridge, as a part of the Auckland Regional Transport Authority's upgrade of rail stations across the city. Designed by Opus International Consultants, the station features two concourses, multiple escalators, and open access to Broadway via a wide plaza. A footbridge allows access to the station for pedestrians from Remuera Road. The station opened on 14 January 2010 and is the second busiest in Auckland after Britomart.

Notable buildings

Owing to redevelopment, Newmarket has lost many of its buildings of historical significance.

 * Highwic circa 1863, Gillies Avenue, old homestead of Alfred Buckland; extant & open to the public - has been called one of Auckland's most notable historic houses, built in the Carpenter Gothic style from an American pattern book.
 * Junction Hotel 1850s Cnr of Broadway, Great South & Manukau Roads demolished.
 * Newmarket Hotel 1850s, rebuilt 1920s Cnr Broadway & Morrow St demolished.
 * St Georges Hotel 1880s Broadway opposite Khyber Pass demolished.
 * Carlton Club 1890s corner of Broadway & Khyber Pass Road extant.
 * Former Newmarket Manual Training School 1903, Seccombes Rd, moved to this site from Mortimer Pass Road in 1925.
 * Captain Cook Brewery, 1870s - 1920s Khyber Pass road, demolished.
 * Newmarket Borough Council Chambers 1920s Broadway demolished.
 * Former Post Office, 1910, Broadway, John Campbell, altered.
 * Rialto Picture Theatre 1920s Broadway, Keith Draffin architect, altered.
 * St Peter's College and Christian Brothers House, 1939–1944, William Henry Gummer, architect, extant.
 * Former Auckland Electric Power Board Building 1949 Remuera Road, Lew Piper architect. The top floor by J.I. Van Pels, was added in 1964. extant.
 * Newmarket Train Station building, 1908, George Troup architect. extant but now refurbished and relocated to the platform at Parnell station.
 * Former Jubilee Institute for the Blind, 1907 Edward Bartley architect, Parnell Road, now Parnell Public Library.
 * Olympic Swimming Pool 1939, N.F Alcock borough engineer, Parnell Road. heavily altered, now covered by a cinema and car park.

title: Newmarket, New Zealand