Afrobeats (not to be confused with Afrobeat or Afroswing), or Afro-pop or Afro-fusion, is an umbrella term to describe popular music from West Africa and the diaspora that initially developed in Nigeria, Ghana, and the UK in the 2000s and 2010s. Afrobeats is less of a style per se, and more of a descriptor for the fusion of sounds flowing out of Nigeria and Ghana. Genres such as hiplife, jùjú music, highlife and naija beats, among others, were amalgamated under the "Afrobeats" umbrella.

Afrobeats is primarily produced in Lagos, Accra, and London. Historian and cultural critic Paul Gilroy reflects on the changing London music scene as a result of shifting demographics:

We are moving towards an African majority which is diverse both in its cultural habits and in its relationship to colonial and postcolonial governance, so the shift away from Caribbean dominance needs to be placed in that setting. Most of the grime folks are African kids, either the children of migrants or migrants themselves. It's not clear what Africa might mean to them.

In his earlier book, The Black Atlantic, Gilroy rejects the notion that Black culture and music can be bound to one geographical region (Gilroy 16). Afrobeats definitely exemplifies this syncretism as a transnational genre that is now getting international attention. David Drake writes particularly about popular Nigerian music and notes it is "Picking up on trends from the U.S., Jamaica, and Trinidad, they reimagine diasporic influences and—more often than not—completely reinvent them" (Drake).

Afrobeats began to experience widespread global mainstream acclaim in the late 2010s, with artists achieving success across Africa, Europe, and North America. In response, it has been referred to as one of Africa's 'biggest cultural' or 'musical' exports.

Characteristics
Afrobeats (with the s) is commonly conflated with and referred to as Afrobeat (without the s), however, these are two distinct and different sounds and are not the same. Afrobeat is a genre that developed in the 1960s and 1970s, taking influences from Fuji music and highlife, mixed in with American jazz and funk. Characteristics of Afrobeat include big bands, long instrumental solos, and complex jazzy rhythms. The name was coined by Nigerian afrobeat pioneer Fela Kuti. Fela Kuti and his longtime partner, drummer Tony Allen, are credited for laying the groundwork for what would become afrobeats.

This is in contrast to the afrobeats sound, pioneered in the 2000s and 2010s. While afrobeats takes on influences from Afrobeat, it is a diverse fusion of various different genres such as British house music, hiplife, hip hop, dancehall, soca, Jùjú music, highlife, R&B, ndombolo, Naija beats, Azonto, and palm-wine music. Unlike Afrobeat, which is a clearly defined genre, afrobeats is more of an overarching term for contemporary West African pop music. The term was created in order to package these various sounds into a more easily accessible label, which were unfamiliar to the UK listeners where the term was first coined. Another, more subtle contrast between the two sounds, is that while Fela Kuti used his music to discuss and criticise contemporary politics, afrobeats typically avoids such topics, thereby making it less politically charged than afrobeat.

Afrobeats is most identifiable by its signature driving drum beat rhythms, whether electronic or instrumental. These beats harken to the stylings of a variety of traditional African drum beats across West Africa as well as the precursory genre Afrobeat. The beat in Afrobeats music is not just a base for the melody, but acts as a major character of the song, taking a lead role that is sometimes equal to or of greater importance than the lyrics and almost always more central than the other instrumentals. Afrobeats share a similar momentum and tempo to house music. Usually using the 4/4 time signature common in Western music, afrobeats commonly features a 3–2 or 2–3 rhythm called a clave. Another distinction within Afrobeats is the notably West African, specifically Nigerian or Ghanaian, accented English that is often blended with local slangs, pidgin English, as well as local Nigerian or Ghanaian languages depending on the backgrounds of the performers.

Sampling is sometimes used within Afrobeats music. Burna Boy and Wizkid, for example, have both sampled Fela Kuti.

Name
London-based DJ Abrantee was credited by The Guardian for coining the name "Afrobeats", in order to package and present the sound to a British audience. Of the name, DJ Abrantee stated:
I cannot say I invented Afrobeats. Afrobeats was invented before I was born. It was invented by Fela Kuti. But what you've got to remember is the genre of music artists themselves are now producing — the likes of Wizkid, Ice Prince, P-Square, Castro, May7ven are calling their music Afrobeats. So that's what I call it when I put them on my mix tapes.

Afrobeats is less of a style like afrobeat is, and more of an overarching term for the contemporary sound of African pop music and that of those influenced by it. DJ 3K criticised the label for being a contemporary marketing category. According to David Drake, the eclectic genre "reimagines diasporic influences and—more often than not—completely reinvents them". However, some caution against equating Afrobeats to contemporary pan-African music, in order to prevent the erasure of local musical contributions. Some artists have distanced themselves from the term 'afrobeats' due to the overt similarity it has with 'afrobeat', even though they are different sounds.

Afrobeats is also sometimes referred to as Afro-pop and Afro-fusion. A few artistes have used the same alternative names to describe their music; Don Jazzy has stated he prefers "Afro-pop" rather than afrobeats. Wizkid, Burna Boy, and Davido all use Afro-fusion or Afro-pop to describe their music. Mr Eazi also refers to his music as 'Banku Music' to denote the influence Ghana has had on his music (Banku is a Ghanaian dish). Rema coined the term "Afrorave", which is a subgenre of Afrobeats with influences of Arabian and Indian music.

Yeni Kuti, daughter of Fela Kuti, expressed distaste for the name 'afrobeats' and instead preferred if people referred to it as "Nigerian Pop", "Naija Afropop", or "Nigerian Afropop". Similarly, Seun Kuti, the youngest son of Fela Kuti, has maintained that the music made by Dbanj and P-Square should be classified as afropop. In defence, he said, "You cannot just call some pop music Afrobeat just because it's coming from Africa...". Music critic Osagie Alonge criticised the pluralisation of 'afrobeat'. Sam Onyemelukwe of Trace Nigeria, a television show, however noted that he liked 'afrobeats', noting that it acknowledges the foundation set by afrobeat while also recognising that it's a different and unique sound. Nigerian artist Burna Boy has stated that he does not want his music referred to as afrobeats. However, most of these monikers, including afrobeats, have been criticised for using the 'afro' prefix, presenting Africa as a monolithic entity, rather than one with diverse cultures and sounds.

Reggie Rockstone, a pioneering hiplife artist, felt conflicted over artists referring to their music as 'afrobeats' rather than 'hiplife', a genre that is often placed under the 'afrobeats' umbrella. He stated in an interview with Gabriel Myers Hansen:
It's like 'Oh come on! We work so hard for you to get on, and now you're gonna deny what it is that we did? Come on!' Sometimes I get that vibe, but then, in the same breath, I'm like, well, it is one Africa, and I'm pan-African to the bone. So do I really care if it's called Afrobeats or hiplife? As long as Black people are getting it, and young people are making money, feeding their kids, I think I'm okay. So, to each their own.

History

Beginnings
Styles of music that make up afrobeats largely began sometime in the late 90s and early-mid-2000s. With the launching of MTV Base Africa in 2005, West Africa was given a large platform through which artists could grow. Artists such as MI Abaga, Naeto C and Sarkodie were among the first to take advantage of this, however most of the artists were merely making interpretations of American hip hop and R&B. Prior to this, groups such as Trybesmen, Plantashun Boiz, and The Remedies were early pioneers that fused modern American influences from hip-hop and R&B with local melodies. While this allowed them to build local audiences, it blocked them from a wider platform due to the language barriers in-place. P-Square released their album Game Over in 2007, which was unique for its usage of Nigerian rhythms and melodies. Meanwhile, artists such as Flavour N'abania  embraced older genres, such as highlife, and remixing it into something more modern, as seen in his song "Nwa Baby (Ashawo Remix)". By 2009 artists within the burgeoning scene were beginning to become stars across the continent and beyond. The style of music had a variety of names which made it difficult to market outside of Africa.

However it wasn't until the launch of Choice FM's New Afrobeats Radio Show' birthed and presented by DJ Abrantee in April 2011 that the genre gained traction and saw 'Afrobeats' trending for the first time in history. The launch of the show gained popularity and provided a launch pad for both UK Based and African artists to submit songs for playlist consideration. Abrantee used his daytime show to test day time play of Afrobeats. Some of the first Afrobeats songs to be playlisted on daytime radio across the UK were Mista Silva "Boom Boom tah", May7ven's "Ten Ten", D'Banj's "Oliver Twist", and Moelogo's "Pangolo" in March 2012. P-Square released "Chop My Money (Remix)" alongside popular Senegalese-American artist Akon in 2012. "Oliver Twist", released online by Nigerian artist D'banj in the summer of 2011 charted at number 9 on the UK Singles Chart in 2012 (making him the first afrobeats artist to make it to the top 10 in the UK) and number 2 in the UK R&B Charts. In 2012, P-Square remixed their 2009 hit single 'E No Easy' with Matt Houston, and it became the first afrobeats song to reach top 5 on the French SNEP music chart, as well as top 10 on the Belgian Ultratop music chart, spending 29 weeks and 16 weeks respectively. The song was the first afrobeats summer hit in France, which in turn boosted afrobeats visibility in the francophone countries. Mr Eazi later credited D'banj in an interview with Sway In The Morning in 2019 for helping encourage Nigerians to embrace their accents and music, rather than looking outwards and trying to emulate American accents and music.
British DJ's such as DJ Edu, with his show Destination Africa on BBC Radio 1Xtra, and DJ Abrantee, with his show on Choice FM, granted African music a platform in the United Kingdom. DJ Abrantee has been credited for coining the name "afrobeats". DJ Abrantee launched his Afrobeats Charts on Capital Xtra in 2014. DJs and producers like DJ Black, Elom Adablah, and C-Real, were also crucial in spreading afrobeats, often giving songs a burst of popularity after being played on their shows.

Azonto and dance crazes

Ghanaian British artist Fuse ODG helped popularise afrobeats in the UK. He was also the first to top the iTunes World Chart and received the Best African Act award at the 2013 MOBO Awards. In 2009, Fuse ODG described his sound as "hip hop with an African vibe". In 2011, Fuse ODG travelled to Ghana where he discovered the Azonto dance, and became inspired by hip hop-influenced Afro-pop and Naija beats. Once he returned to London, he fused the sounds he had found in Ghana into what he described as "Afrobeats, but with my U.K. thing added to it", fusing the sound with influences from UK funky and grime. In 2012, he saw his first success with the song "Antenna" which peaked at number 7 on the UK Singles Chart. He followed that up with "Azonto", which further helped popularise afrobeats and the dance in the UK. Such songs, and the Azonto dance craze, helped encourage Black Brits to embrace their African heritage rather than, as was the norm before, attempting to fit into British-Caribbean communities. Afrobeats night clubs became primary features of UK's nightlife with clubs opening in most major cities.

More viral dances would follow which played an important part in popularising afrobeats. In 2011, Nigerian singer Iyanya released "Kukere". The song became popular and known for its adaption of a traditional dance called Etighi. Another dance was popularised by Nigerian artist Davido when he released "Skelewu" in 2013. Davido promoted the song by uploading an instructional dance video of it onto YouTube on 18 August 2013. The video was directed by Jassy Generation. The release of the instructional video accompany the announcement of the Skelewu dance competition. In order to win the competition, participants were told to watch the instructional dance video and upload videos of themselves dancing to the song. According to Pulse Nigeria, the number of dance videos uploaded to YouTube by fans aggregated to over 100,000 views.

Other British afrobeats artists also emerged around 2012–2013, such as Mista Silva, Vibe Squad, Weray Ent, Naira Marley, Kwamz, Flava, Moelogo, and Timbo, who collectively set the foundation for future UK afrobeats and its derivative genre, Afroswing. Mista Silva's songs "Bo Won Sem Ma Me" and "Boom Boom Tah" were notable early hits in the UK afrobeats scene. Mista Silva and Skob credited Fuse ODG's "Azonto" song for encouraging them to create afrobeats.

Ghanaian artist Guru also popularised his own dance in 2013 called "Alkayida" with the release of the song "Alkayida (Boys Abrɛ)". Nigerian artist MC Galaxy also popularised a dance called "Sekem".

"Shekini", off of P-Square's "Double Trouble" album (released in 2014), played a role in increasing the visibility of afrobeats in the Middle East and North Africa. The song influenced a lot of recordings and parodies in the Arab World, notably from acts like Arash and Black Cats.

Another method of utilising social media in order to boost a song was seen in the promotion of "Dorobucci", released in 2014, wherein Don Jazzy encouraged people to record themselves singing the song prior to release. The song won Best Pop Single at The Headies 2014, and Song of the Year at the 2015 MTV Africa Music Awards. It gained over 20 million views by 2016.

Ghanaian artist Sarkodie won Best International Act Africa at the MOBO Awards in 2012, and Best Hip Hop award at the 2014 MTV Africa Awards. In 2011, his song "U Go Kill Me" became a hit in Ghana and helped popularise the Azonto dance craze.

Mid-2010s
American artists such as Michelle Williams, French Montana, Rick Ross, and Kanye West have all collaborated with Afrobeats artists. Michelle Williams released "Say Yes" in 2014, a gospel song based on the Nigerian hymn When Jesus Say Yes. The song's beats are said to resemble the popular four-beat of house music, but in fact follows the 3–2 or 2–3 of Afrobeats. This beat is known as the clave and mixes a rhythm with a normal 4/4 beat, it is commonly seen in many forms West African music. Another notable hit was "Million Pound Girl (Badder Than Bad)" by Fuse ODG, which reached 5 on the UK Singles Chart in 2014.

In 2014, a genre derivative of afrobeats known as afroswing emerged in the UK, which fused the sound with influences from road rap, grime, dancehall, trap, and R&B. The genre was popularised by J Hus. This has led to many people referring to afroswing as 'afrobeats', however the two genres are distinct from each other.

Canadian artist Drake also began to experiment with afrobeats in the mid-2010s, which arguably helped afrobeats gain international mainstream appeal. In 2014, he featured on "Ojuelegba (Remix)" by Nigerian artist Wizkid alongside British MC Skepta, and in 2016 when he released "One Dance" alongside British singer Kyla and Wizkid. "One Dance" became Spotify's most streamed song, with over a billion streams, and was number 1 in 15 countries. Drake's 2017 album More Life contains many Afrobeats and Dancehall influences. In 2017, Wizkid signed to RCA Records, which became the biggest ever deal an African musician has ever received. Wizkid and Drake have both been credited in helping popularise Afrobeats worldwide. "One Dance" has been credited with helping push afrobeats into worldwide mainstream appeal, which would only continue the rise within the following years. Wizkid was later entered into the Guinness Book of Records 2018 for featuring on the most streamed Spotify single of all time, "One Dance". He is the first afrobeats artist to enter the Guinness Book of Records.

Nigerian artist Mr Eazi began to gain popularity in 2016 with his breakout singles "Skin Tight" and "Bankulize", both produced by British-Ghanaian producer Juls. He won Best New Artist at the Soundcity MVP Awards Festival in 2016. Mr Eazi initially gained his popularity in the UK after Juls reached out to him resulting in the song "Bankulize". Mr Eazi soon after became a star in Ghana and Nigeria. He has stated UK, Ghanaian and Nigerian music have all influenced his music. Mr Eazi calls his music 'Banku Music'. He was the first African pop artist to gain an extensive Apple Music artist page.

In 2016, Beat FM in North London became the first British radio station dedicated to afrobeats.

Nigerian artist Tekno signed a multi-million dollar deal with Columbia Records. In August 2017, he released "Pana". The song was a hit in Nigeria, but failed to propel Tekno's career into America as was hoped. On October 1, 2017, Wizkid became the first African artist to hold a sold-out headline show at the Royal Albert Hall.

2017 also saw the rise of Shaku Shaku, another dance craze. Though the origins are not known, the dance is believed to have been popularized by street urchins in Agege around mid-2017. The Shaku Shaku dance move first appeared in Olamide's "Wo" music video. Much like the Azonto dance, Shaku Shaku also gave rise to its own genre of music, pioneered by artists such as Mr Real, Slimcase, Idowest.

Late-2010s
In the late 2010s, international record labels Universal and Warner Music began to invest money into Afrobeats artists.

In 2018, French-Malian singer Aya Nakamura released "Djadja". The song became a number 1 hit in France and the Netherlands, as well as becoming certified gold in Belgium and Switzerland. The song gained over 400 million views on YouTube. She became the first French artist to secure seven top 10 songs in the French Singles chart and the first French singer to gain a number 1 album in the Netherlands since Edith Piaf in 1967, and became the most streamed French female artist in the world. Her sophomore album Nakamura became certified gold in France. Her rise has been notable due to the relative difficulty French black women have had in gaining mainstream popularity in France.

In June 2018, prominent American rapper Kanye West released his album titled Ye. Fans of Kanye West that searched for his album also, unintentionally, came across Burna Boy's song called "Ye" (released in January). This led to a 200% spike in streams for Burna Boy, gaining over 11.2 million streams in the United States.

In August 2019, Mr Eazi launched emPawa Africa, a talent incubation initiative to nurture and support up-and-coming artistes in Africa. The platform will be used to help promote upcoming artists and give them a major platform. The initiative is also supported by YouTube Music.

The latter half of the 2010s also saw prominent American artists experiment with Afrobeats music. This is notable due to the difficulty Afrobeats has previously had in accessing the American market. In 2016, Nigerian Popstar Ayo Jay enlisted the help of American artists Chris Brown and Fetty Wap to release a remix to his single "Your Number". In 2017, Wizkid linked up with Chris Brown for a single titled "African Bad Gyal." In 2018, Swae Lee and Drake released "Won't Be Late", produced by Nigerian artist Tekno. In 2019, Janet Jackson released "Made for Now" with production by Harmony Samuels. The song was afrobeats, and became a top 10 hit on Adult R&B radio. In 2019 two prominent American artists, GoldLink and Beyoncé, both released albums with afrobeats influence. GoldLink released Diaspora on June 12, 2019, featuring an afrobeats song as the lead single, "Zulu Screams" and production from P2J. GoldLink had also previously made  "No Lie" alongside Wizkid back in 2014. Beyoncé released The Lion King: The Gift, coinciding with the release of Lion King film released by Disney, on July 19, 2019. The album featured artists such as Burna Boy, Mr Eazi, Wizkid, P2J, Yemi Alade, Maleek Berry, Tiwa Savage, and Shatta Wale. Mr Eazi and GuiltyBeatz predicted the album would help afrobeats reach a higher level of popularity, especially in the US, than it has yet to achieve. In July 2019, Yemi Alade's "Johnny" set the record for the most viewed female African music video on YouTube which made her the second artist with the most views on a single video after Davido. In July 2019, Davido and Chris Brown released a music video for their collaboration "Blow My Mind", which at the time became the first video by a Nigerian artist to amass 2 million YouTube views within the first 24 hours of release. Afrobeats artist Rema was the first Nigerian musician to land a song on former US president Barack Obama's yearly summer music playlist. On August 23, 2019, Jidenna released the afrobeats album 85 to Africa. On October 1, Chris Brown released "Lower Body", an afrobeats single featuring Davido. On October 25, 2019, Akon released a new afrobeats album titled Akonda.

The rising attention of afrobeats in the US also reached music radio stations, which began airing afrobeats, something they typically would not do before. Davido's "Fall" became a top 20 radio hit in America, 24 months after it was initially released. "Fall" also began rising on the Billboard R&B/Hip-Hop Airplay and U.S. Shazam charts, also becoming the longest charting Nigerian song in Billboard history. The song later became certified Gold in Canada and the U.S. Nigerian artist Burna Boy also saw some success, performing to over 9,000 people in Brooklyn, and gaining over 11.2 million streams from the US on his single "Ye". His album African Giant was nominated for 'Best World Music Album' at the Grammy Awards. Wizkid's "Come Closer" became certified RIAA Gold in 2020, 3 years after initial release. His song "Soco" also received a Canadian Gold certification in 2020. Despite gaining popularity in the US there stands some contention between the African American community and the greater African Diaspora. Afrobeats has been treated as an "other" category at BET awards despite being a black genre. These awards are catered toward Black Americans highlighting their lack of solidarity the diaspora says Boima Tucker. Afrobeats artists are tired of being treated like "second class citizens" in African-American Music award shows in the United States. In December 2019, YouTube announced it would be supporting four afrobeats artists: Kizz Daniel, Reekado Banks, Simi, and Teni. Announced at an event titled "A celebration of Afrobeats" hosted in Lagos, Nigeria, YouTube stated it would be providing them with tools to "propel their music, grow their presence on YouTube and accelerate the growth of their audience globally".

2020s
In July 2020, the British Official Charts Company announced it would be creating an 'Official UK Afrobeats Chart' to track the sales and streaming data of afrobeats songs in the UK. In the year prior, afrobeats artists had spent a collective 86 weeks on the Official Chart Top 40, compared to 24 in 2017, and the amount of afrobeats artists in the UK Top 40 had doubled in that period. The company claimed it was one of the 'world's first official charts' for afrobeats music.

During the Nigerian End SARS protests in October, Davido's song "Fem" was described as a 'protest song' for the movement. The song was prominently played outside the government secretariat in Lagos, to protest and drown out the Lagos governor who was attempting to speak to the protestors.

In April 2021, Davido's song "Fall" became the first Nigerian afrobeats song to receive over 200 million views on YouTube. In the same year, Wizkid and Tems became the first Nigerian pop artists to earn a spot on the Billboard Hot 100 with their song "Essence", while Burna Boy became the first African artist to earn 100 million streams across three albums each on Spotify.

A range of new artists, such as Rema, Fireboy DML, Tems, and Joeboy, began to gain widespread popularity around the early 2020s, with a defining sound of R&B-infused, and sometimes trap-influenced, afrobeats music. In January 2022, Fireboy DML was the first Nigerian artist to reach the number two position on the UK Singles Chart with his "Peru" remix featuring Ed Sheeran. Rema released his debut album Raves & Roses in March 2022.

In September 2021, Ckay became the second Nigerian pop artist to debut on the Billboard Hot 100 with his song "Love Nwantiti" which peaked at number one in India, the Netherlands, Norway and Switzerland, and gained popularity across TikTok. CKay personally dubbed his sound 'Emo-afrobeats', noting the additional focus on emotional and romantic-focused lyricism in his music. In the same month Wizkid's "Essence" became the first African song to be certified platinum and to reach the top ten of the Billboard Hot 100.

In March 2022, the United States Billboard announced it would be creating an 'Official U.S Afrobeats Songs Chart' to track the sales and streaming data of afrobeat songs in the U.S. In the year prior, Wizkid had spent a collective 27 weeks on the radio domination Chart with Essence, after which Kodak Black's "Super Gremlin" claimed the number one spot. Currently, the genre has yielded some of the biggest success stories of the young decade — including songs like Wizkid's "Essence" featuring Tems, CKay's "Love Nwantiti (Ah Ah Ah)" and Fireboy DML's "Peru".

In 2023, Tyla became the first South African artist to land on the Billboard Hot 100 in 55 years, with her single "Water".

Subgenres

Azonto
The Azonto is a Ghanaian dance and music genre. Although the origins of the dance are unclear, Ghanaian artist Sarkodie helped popularise the dance with his 2011 song "U Go Kill Me", produced by EL and Krynkman, which became a hit in Ghana. This wasn't the first Azonto song however. Azonto music first emerged sometime in 2010, with songs such as "Kpo Kpo Body" by Gafacci and "I Like Your Girlfriend" by Bryte and Gafacci being among the first to showcase the new style. The dance craze that followed, in turn, created a subgenre of afrobeats specifically dedicated to the dance, utilising simplistic, faster, and easier to dance to rhythms and simple, memorable hooks. In 2011, Fuse ODG traveled to Ghana where he discovered the Azonto dance. Once he returned to London, he realised nobody knew what the dance was, and so he made the song "Azonto", which further catapulted the dance's popularity globally and in the UK. This was also the first time afrobeats was being played on daytime British radio. The song was followed up by another Azonto song, "Antenna".

In 2013, Bronx-based rapper 2 Shy released "Azonto Girl", produced by Ghanaian-British producer Rude Boy, helping spread the genre and dance to the United States.

Banku music
Banku music is a subgenre of afrobeats pioneered by Mr Eazi. The core of the genre is Ghanaian highlife bounce while mixing them with Nigerian chord progressions, then mixed in with various other genre influences such as reggae, R&B, and hip-hop. Mr Eazi's style is also mellowed and laid back, with heavy usage of Pidgin English, and percolating rhythms. The genre is called 'Banku' in reference to the Ghanaian dish. The dish contains a multitude of different ingredients, much like how Banku is a fusion of various genres. Eazi credited Ghana for the mellowed sound in his music, in contrast to the typical high energy of Lagos, Nigeria.

Pon Pon
Pon Pon is a subgenre that was briefly the main sound in the Nigerian afropop music scene during the mid-2010s. The subgenre has been used to describe songs influenced by dancehall and highlife. Sess The Problem Kid, a producer, characterised the genre by its "mellow vibe and soft-hitting synths, mostly in pairs". The name of the subgenre is an onomatopoeia of the synths that feature in Pon Pon songs. There has however been confusion over exactly what defines the subgenre. It's unknown exactly where the genre originated, but Tekno's song "Pana" has been credited for popularising the sound. Krizbeatz, one of the producers behind "Pana", instead prefers to call the genre "Afro Dance Music" (ADM), denoting the influence of EDM.

Davido's songs "If" and "Fall" both fall under the Pon Pon subgenre. Other songs include "Mad Over You" and "For Life" by Runtown,  "Away" by P-Square, "Medicine" and "Odoo" by Wizkid, "Gaga Shuffle" by 2Baba, "Mama" by Mayorkun, "Ma Lo" by Tiwa Savage, "Jeje" by Falz, and "Ur Waist" by Iyanya.

The subgenre began to fade away by the late 2010s.

Fusion and derivative genres

Afrosoca
Afrosoca is a fusion genre of afrobeats and soca music with some influences from dancehall. The genre was pioneered in Trinidad & Tobago by Nigerian and Trinidadian artists. The genre has been pioneered by artists such as Olatunji, Machel Montano, and Timaya. Olatunji's song "Ola" was one of the most popular songs in Trinidad's 2015 carnival season, leading Olatunji to earn the prize "Groovy Soca Monarch" for his performance at the International Soca Monarch competition. Another notable song is the remix of "Shake Your Bum Bum" by Timaya and Machel Montano released in 2014, which was a hit in Trinidad. By 2016, a wave of Afro Soca songs were released coinciding with the years carnival season in Trinidad. Notable songs include Olatunji's "Oh Yah" and Fay-Ann Lyons and Stonebwoy B's song "Block D Road".

Shakira Marshall, a New York-based choreographer, has been credited with coining the name 'afrosoca' for her dance class in 2012 in order to describe the unique fusion of Western, Southern and Central African, and Caribbean dance styles she was teaching. Afrosoca songs typically have a similar tempo to Groovy Soca (110 to 135 BPM), often with West African-influenced melodies.

Gospel singer and songwriter Isaac Blackman and DJ Derek "Slaughter" Pereira have both criticised the name and the implication that it's a new sound, particularly due to the fact that the origins of soca are African music to begin with.

Afroswing

Afroswing, also known as Afrobashment, is a British genre that developed in London around 2014. The genre is derivative of afrobeats, mixing it with various influences from British dancehall, grime, R&B, trap, and hip hop. British rapper J Hus and producers such as Jae5, Blairy Hendrix, Joshua Beatz have been credited for pioneering the new sound. The genre has commercially been very successful in the UK.

Afroswing is largely defined by its melody rather than a specific tempo. Producer Steel Banglez stated the key elements of afroswing were happy or dark chords that "make you feel a certain way", and that "drum pattern is the most important thing about this whole sound, it's the snare that comes on the third. In hip-hop it comes on the fourth. Coming off the third beat comes from afrobeats".

Martin Connor, an expert in vocal melodies and rap analysis, described the characteristics of the genre as being "[..] technically in 4/4, what you will hear over and over again is this recurring pattern made up of three notes that are still repeated in the framework of a 4/4 time signature [..] You can hear the inspirations of Jamaican music in the rhythm except Jamaican music doesn't have a bass kick and the snare – that's hip hop, that's traditional rap. So this is that translation of cultures happening subtly in the instrumentation. Yet it still has a hip hop sensibility in terms of lyrical focus and music videos: cars, money, authenticity, hardness".

Bakosó
In Cuba, a new genre of music known as Bakosó emerged in the mid-2010s pioneered in Santiago de Cuba by artists such as Ozkaro and Maikel el Padrino and producers like Kiki Pro. Africans who were studying in Cuba helped influence local Cuban artists by introducing them to African genres, leading to the creation of Bakosó, a fusion of genres such as afrobeats, kuduro, and azonto with local Cuban genres such as rumba and conga. An artist named Inka has been credited with coining the name of the genre. Originally the word "Bakosó" was used to mean "party". In 2019, Havana-based DJ Jigüe debuted a documentary titled "Bakosó: AfroBeats of Cuba" (or "Bakosó: Afrobeats de Cuba") about the genre at various film festivals, until it was globally released in 2021.

Afro trap

Afro trap (also written as "Afro-trap") is a genre that takes inspiration from both Sub-Saharan African music traditions and modern rap music.  The genre was coined in the mid-2010s by French rapper MHD. MHD, who is of West African descent, stated he judged the world of French-language rap was too much influenced by American trends, so he decided to create Afro-Trap by incorporating elements of West African culture, such as traditional music and languages such as Fula or Wolof. The genre is only very loosely influenced by trap music.

The genre has since spread across Europe, especially in Germany where artists such as Bonez MC and RAF Camora have been pushing the genre, however with a heavier lean towards dancehall than afrobeats.  The German variation of the genre has been criticized by Ghanaian Stallion for the lack of actual African influences, with the only thing remaining being a dancey rhythm.

Alté

The late 2010s saw the emergence of a new commercially successful Nigerian genre, Alté, which fused a wide array of influences from Afrobeats, rap, R&B, soul, dancehall, and others. The term was coined by DRB LasGidi member BOJ on his 2014 song "Paper", and was later used to describe left field styles of music. TeeZee explained the term saying "Alté is Nigerian lingo for 'alternative' which means freedom of expression essentially through any medium. It's been going on since the '60s as Africans always experimented with music. It became recognised as a style or genre from about 2012 upwards and it broke into the mainstream in 2016 with the rise of its new stars." Other Alté artists and pioneers include Cruel Santino, Odunsi (The Engine), Zamir, Tems, Lady Donli, Nonso Amadi, Tay Iwar, and Amaarae.

See also

 Afrobeat
 Afroswing
 Bongo Flava
 Dancehall
 Hiplife
 Music of Ghana
 Music of Nigeria

Notes

References

21st-century music genres
African electronic dance music
African popular music
Music genres
2010s in music
African music
African music genres
West African music
Nigerian music
Ghanaian music

Afrobeats


JADE1 is a protein that in humans is encoded by the JADE1 gene.

Family
A small family of proteins named Gene for Apoptosis and Differentiation (JADE) includes three members encoded by individual genes: Plant Homeo-domain-17 (PHF17, JADE1), PHF16 (JADE3), and PHF15 (JADE2). All JADE family proteins bear two notable mid molecule domains: the canonical Plant Homeo-domain (PHD) zinc finger and extended PHD-like zinc finger. JADE1 therefore is classified as a member of the PHD protein family. There are two known protein products of the PHF17 gene, the full length JADE1 (JADE1L) and its splice variant missing the C-terminal fragment also called short isoform (JADE1S).

Discovery
Nagase et al. cloned and sequenced 100 individual cDNAs from fetal brain cDNA library, including clone KIAA1807 which was designated PHF17. The predicted 702-amino acid protein product of that clone was similar to the human zinc finger protein BR140 (BRPF1). Based on sequence database analysis the study suggested that PHF17 may function in nucleic acid managing pathway. Using yeast two hybrid pull down approach to search for new partners of protein product of the Von Hippel Lindau gene (pVHL) another study identified cDNA which matched to KIAA1807 clone. The protein product of that cDNA was given name JADE1 (Jade-1, PHF17). The deduced 509 amino acid long protein product of JADE1 cDNA was further confirmed as physical partner of pVHL. In a genetic screen study searching for genes involved in embryogenesis, the mouse orthologue of JADE1 was identified. That study, provided first characterization of the JADE1 gene and defined novel JADE family. The study yielded mice with knock out of JADE1 gene.

Jade1 transcripts in both humans and mice undergo alternative splicing and polyadenylation producing two major transcripts, the full length 6 kb mRNA and 3.6 kb mRNA. Two resultant protein products of the JADE1 gene were designated JADE1S for the short (which is same as(3)) and JADE1L for the long isoform. Several minor transcripts are also detected. The database analysis revealed two additional JADE1 paralogues and members of JADE family, JADE2, and JADE3. JADE3 is identical to E9 protein identified in an earlier independent study which suggested role in apoptosis for PHF16/JADE3/E9 in breast cancer cells.

JADE1 has been mapped to chromosome 4 (4q26-q27). JADE1 is conserved and its orthologues have been found or predicted in most every metazoan. Gene structure and sequences, variants, conservation, orthologues and paralogs, JADE1 phylogenetic tree and large scale screening of JADE1 tissue expression can be found in several extensive databases (https://www.genecards.org; http://useast.ensembl.org).

Structure
The full length JADE1 polypeptide bears one canonical and one extended PHD zinc finger domains.  Other domains include the N-terminal candidate PEST domain, Enhancer of polycomb-like domain and the C-terminal nuclear localization (NLS) signal (prosite.expasy.org). JADE1 protein is a target for post translational modifications, including phosphorylation (Fig 1). Six amino acid residues were identified to be phosphorylated in cell cycle-dependent manner via Aurora A kinase pathway. JADE1 is a target of phosphorylation by Casein kinase 2 (CK2). In addition, multiple phosphorylation sites are found by high throughput screening approaches and in silico analysis.  Summary schematic for JADE1L and JADE1S proteins phosphorylation sites with references are found in.

Proteins bearing in tandem canonical and extended PHD fingers form a small subfamily within the large PHD protein family (www.genenames.org). Other proteins bearing tandem of PHD fingers and related to JADE1 include proteins that are components of chromatin binding and modifying complexes BRPF1, BRPF3, BRD1. The crystal structure of JADE1 PHD domains has not been solved. Canonical PHD finger motif has signature C4HC3, represents relatively small, stable structure, and is distinct from the C3HC4 type RING finger. PHD domains are able to recognize and bind specific methylated lysine of histone H3, which defined these domains as epigenetic histone code readers. Reviews describing structure and properties of PHD fingers in depth are available.

Cellular function
JADE1 proteins are multifunctional and interact with several protein partners.

Histone acetylation
Function of JADE1 in histone acetylation and transcription activation which required the second extended PHD zinc finger was reported in 2004(16). JADE1 dramatically increases levels of acetylated histone H4 within chromatin, but not histone H3, a specificity characteristic to the MYST family HAT TIP60 and HBO1. TIP60 physically associates with JADE1 and augments JADE1 HAT function in live cells. TIP60 and JADE1 mutually stabilized each other. Transcriptional and HAT activities of JADE1 require PHD2. Results suggest the chromatin targeting role for JADE1 PHD2. In addition, PHD2 of JADE1 binds the N-terminal tail of histone H3 within chromatin context irrespective of methylation status.

Studies analyzing native complexes of INhibitor of Growth (ING) PHD finger family of proteins revealed that ING4 and ING5 proteins are associated with JADE1S and HAT HBO1, while ING3 is associated with EPC1 (JADE1 homolog), TIP60 (HBO1 homolog) and several other partners. Both complexes also included a small Eaf6 protein. The biochemical and in silico analysis of complexes formed by HBO1 and TIP60 suggested common architecture and supported the role for JADE1 in bulk histone H4 acetylation. Characterization of JADE1 and HBO1 functional interactions show structural and functional similarities between the complexes(16, 19). Similarly to TIP60, JADE1 and HBO1 mutually stabilize each other. JADE1 binds to and enables HBO1 to enhance global histone H4 acetylation, which requires intact PHD2 finger.
Similarly to HBO1, JADE1 is responsible for bulk histone H4 acetylation in cultured cells. H4K5, H4K12, and most likely H4K8 are targets of JADE1-dependent acetylation in cultured cells and in vivo.
Several potential transcription targets of JADE1 have been suggested from experiments using screening approaches. According to screening genomic analysis done by ChIP-chip assay JADE1L complex is found mainly along the coding regions of many genes and JADE1L abundance correlates mostly with H3K36me3 histone mark. JADE1L over expression correlates with increased quantities of H4acK8 in the coding region of many genes. The two PHD zinc fingers of JADE1 appear to bind preferentially non-methylated N-terminal peptide of histone.
JADE1 isoforms assemble at least two different complexes, JADE1L-HBO1-ING4/5 and JADE1S-HBO1 complex. Due to the lack of the C-terminal fragment, JADE1S is incapable of binding ING4/5 partners. A small less characterized protein Eaf6 is also another component of JADE1 complexes.

Cell cycle
Acetylation of N-terminal fragments of bulk histone H4 has been known to correlate with DNA synthesis and cell division. Several studies support cell cycle role for JADE1 linked to HBO1 pathway. Both, JADE1 and HBO1 are independently required for the acetylation of bulk histone H4 in cultured cells. The depletion of JADE1 proteins by siRNA results in 1) decreased levels of histone H4 bulk acetylation; 2) slower rates of DNA synthesis in cultured cells; 3) decreased levels of the total and chromatin-bound HBO1; 4) abrogation of chromatin recruitment of MCM7. Agreeing with these results, JADE1L over-expression increases chromatin-bound MCM3 protein. The effects of JADE1 depletion on DNA replication events are similar to those described originally for HBO1 and suggests adaptor role for JADE1 in HBO1-mediated cell cycle regulation.

JADE1 role in DNA damage has been suggested. A recently discovered non-coding RNA lncRNA-JADE regulates JADE1 expression and provides a functional link between the DNA damage response (DDR) and bulk histone H4 acetylation. Results support role in DNA synthesis linked to histone H4 acetylation. In cultured cells knock down of lncRNA-JADE increased cells sensitivity to DNA damaging drugs. In mice tumor xenograft model, the knock down of lncRNA-JADE inhibited xenograft mammary tumor growth. In a pilot human study, higher levels of lncRNA-JADE as well as JADE1 protein were detected in breast cancer tissues compared to normal tissues. Lastly, the higher levels of JADE1 protein inversely correlated with survival rates of patients with breast cancer. The study suggests that lncRNA-JADE might contribute to breast tumorigenesis, and that JADE1 protein mediates at least part of this effect.
JADE1 and cytokinesis. JADE1S negatively regulates cytokinesis of the epithelial cell cycle, a function specific to the small isoform. First report that suggested JADE1 function in G2/M/G1 transition showed that during the late G2 phase, JADE1S undergoes phosphorylation linked to its dissociation from chromatin into the cytoplasm. Mass Spectral analysis identified that total of six individual amino acid residues are phosphorylated by a mitotic kinase. Based on pharmacological analysis, JADE1 phosphorylation and compartmentalization is regulated by Aurora A and Aurora B pathways. Other kinases have been reported and may play a role. Upon completion of mitosis around telophase, the main pool of the JADE1S protein undergoes de-phosphorylation and re-associates with apparently condensing chromatin inside the reformed nuclei. A discrete pool of JADE1S associates with the cleavage furrow and subsequently appears in the midbody of the cytokinetic bridge. Only JADE1S, but not JADE1L or HBO1 was found in the midbody of the cells undergoing cytokinesis. The spatial regulation of JADE1S during the cell division suggested role in G2/M to G1 transition, which includes cytokinesis and final abscission.
Cytokinesis is the final step of cell cycle which controls fidelity of division of cellular content, including cytoplasm, membrane, and chromatin. Cytokinetic bridge is severed during the final abscission which occurs near the midbody and may take up to 2 hours. Cytokinesis and final abscission are tightly controlled by regulatory protein complexes and checkpoint proteins. The number of reports concerning cytokinesis control has been growing over the past decade.

JADE1 role in cytokinesis was demonstrated by use of several functional assays and cell culture models. DNA profiling by FACS showed that JADE1S depletion facilitated rates of G1-cells accumulation in synchronously dividing HeLa cells. The depletion of JADE1S protein in asynchronously dividing cells decreased the proportion of cytokinetic cells, and increased the proportion of multi-nuclear cells. The data demonstrated that JADE1 negatively controls cytokinesis, presumably by contributing to cytokinesis delay. JADE1 down-regulation increased number of multi-nuclear cells indicative of failed cytokinesis, while JADE1S moderate overexpression augmented the number of cytokinetic cells indicative of cytokinetic delay. Inhibition of Aurora B kinase by specific small molecule drugs resulted in the release of JADE1S-mediated cytokinetic delay and allowed progression of abscission. Since Aurora B is a key regulator of the NoCut, JADE1S is likely to regulate cytokinesis at the abscission checkpoint control.
JADE1S but not JADE1L or HBO1 was found in centrosomes of dividing cells throughout the cell cycle, and neither of these proteins was found in cilia. In contrast, another study reported JADE1 localization to the cilia and centrosome. The study did not communicate on JADE1 isoform specificity. Centrosomes are the cytoskeleton nucleation centers. Centrosome signaling contributes to the definition of cell shape, motility, orientation, polarity, division plane and to the fidelity of sister chromosome separation during mitosis and cytokinesis.

pVHL
The first protein partner of JADE1S has been identified in 2002 in a study searching for new partners of the pVHL, which is a tumor suppressor. A few follow up studies characterized binding and provided some insights on functional interactions of JADE1-pVHL.
The human pVHL is mutated in von Hippel–Lindau hereditary disease, and in majority of sporadic clear cell renal carcinomas. Properties and function of pVHL have been investigated for many decades and extensive literature is available. One of the better known functions of pVHL is to mediate protein ubiquitination and proteosomal degradation. As a component of ubiquitin ligase E3 complex pVHL binds and targets several known factors, including HIF1a and HIF2a for ubiquitination. Mechanism of HIF1a activation by hypoxia and role of pVHL in this pathway has been reported over a decade ago. The VHL protein has been intensely studied and the link of naturally occurring mutations to cancers established. Other causative HIF-1a-independent pVHL pathways have been considered. The pVHL-JADE1S physical interaction was identified by yeast-two hybrid screening analysis and was further confirmed biochemically. Co-transfection of pVHL increased JADE1S protein half-life and abundance, suggesting potential positive relationship. Certain pVHL cancer-derived truncations but not point mutations diminished pVHL-JADE1 stabilization function, suggesting link to pVHL-associated cancers.
Molecular pathways and cellular significance of JADE1-pVHL interactions are not well understood. Single study describing JADE1S intrinsic ubiquitin-ligase activity and ubiquitination of beta-catenin has been reported in year 2008. Based on that study a model has been proposed that pVHL regulates beta-catenin through JADE1, and PHD zinc fingers are required for this activity.

Apoptosis
JADE1S function in apoptosis has been proposed but the mechanisms remain elusive and results are hard to reconcile. According to studies, JADE1 overexpression slows rates of cellular growth and induces cell cycle arrest protein p21. Several attempts to establish dependable cell lines stably expressing JADE1S protein have not been successful, presumably due to the negative cells self-selection. Contrary to that, another study shows that JADE1 downregulation decreased rates of DNA synthesis in synchronously dividing cells. According to indirect immunofluorescence and microscopy analysis of cultured cells, cultured cells overload with JADE1 protein causes cell toxicity and side effects. Cells undergo morphological changes that do not resemble apoptosis but suggest severely impaired cell cycle  including dyeing cells with abnormal shapes and large, multi-lobular nuclei. Based on JADE1S-mediated regulation of cell cycle other interpretations are considered: JADE1 overload might cause prolonged NoCut and stalled cytokinesis or severe cell cycle misbalance rather than direct transcription activation of apoptosis.

Biological role
The biological role of JADE1 has not been elucidated. Limited number of publications addresses this question using mice models. The most comprehensive study which was published in 2003, identified mice orthologue of human JADE1, Jade1, and investigated Jade1 expression during mice embryogenesis. Searching for developmentally regulated genes the authors used gene trap screen analysis and identified mouse Jade1 as gene strongly regulated during embryogenesis. Insertion of the vector into the third intron of the Jade1 gene lead to the production of a 47-amino-acid truncated protein. The gene trap insertional mutation resulted in Jade1-beta-galactosidase reporter fusion product and Jade1 null allele. While the homozygotes for the gene trap integration did not produce strong developmental phenotype, the fusion product revealed Jade1 gene spatial-temporal expression in mouse embryonic cells and tissues of developing embryo up to 15.5-d.p.c. In addition the study reports experimental and in silico comparative analysis of Jade1 mRNA transcripts, Jade1 gene structure and analysis of Jade1 protein orthologues from mouse human and zebra fish.
Jade1 expression was detected in extraembryonic ectoderm and trophoblast, which are placental components important for vasculogenesis, as well as in sites enriched with multipotent or tissue-specific progenitors, including neural progenitors(2). The dynamics of Jade1 reporter expression in these areas indicates the involvement in the determination and elongation of anterior posterior axis, an important point of the study). The potential role for human JADE1 in the renewal of embryonic stem cell and embryonal carcinoma cell cultures was suggested in another screening study which showed that, in cultured stem cells activation of stem cell transcription factor OCT4 pathway upregulated JADE1 gene expression along with stem cell factors NANOG, PHC1, USP44 and SOX2.
Role of JADE1 in epithelial cell proliferation was addressed in a murine model of acute kidney injury and regeneration. Expression patterns and dynamics of HBO1-JADE1S/L were examined in regenerating tubular epithelial cells. Ischemia and reperfusion injury resulted in an initial decrease in JADE1S, JADE1L, and HBO1 protein levels, which returned to the baseline during renal recovery. Expression levels of HBO1 and JADE1S recovered as cell proliferation rate reached maximum, whereas JADE1L recovered after bulk proliferation had diminished. The temporal expression of JADE1 correlated with the acetylation of histone H4 (H4K5 and H4K12) but not that of histone H3 (H4K14), suggesting that the JADE1-HBO1 complex specifically marks H4 during epithelial cell proliferation. The results of the study implicate JADE1-HBO1 complex in acute kidney injury and suggest distinct roles for JADE1 isoforms during epithelial cell recovery.

Disease associations
Role of JADE1 in human disease has not been elucidated. A recent study searched for novel submicroscopic genetic changes in myelofibrosis, which is a bone marrow cancer. The study identified seven novel deletions and translocations in small cohort of patients with primary myelofibrosis. JADE1 and the adjacent gene called Sodium channel and clathrin linker 1 (SCLT1) were significantly modified. As a result of mutation, JADE1 gene has deletions of intron 5-6 and exons 6-11, which would produce JADE1 missing a large chunk of protein starting from the PHD zinc finger. The relevance to pathogenesis is under investigation.
In a handful of pilot studies JADE1 expression was examined in colon cancers and renal carcinomas. The results in these studies do not always reconcile. The results of some studies are generated mostly from the histochemical analysis of tumor specimens using JADE1 antibody with uncharacterized specificities towards JADE1 in general, and JADE1S or JADE1L in particular. Results of study using in silico microarray algorithm analysis shows, that PHF17 mRNA may play a role in the development of pancreatic cancer. These promising lines of investigations require further controls and additional assessments.

Interactions
Several proteins interact with JADE1, including: pVHL, TIP60, HBO1, ING4, ING5, β-catenin, NPHP4.

Notes

References

Further reading

External links

Transcription factors

JADE1


In grammar, the dative case is the grammatical case used to show the object of an action (the thing the verb acts on).

For example, "Maria gave Jacob a drink". In this example, Jacob is the dative as he is being given the drink, he is what the verb ("gave") is acting upon.

Grammar

Dative case


William Robert Quimby (September 30, 1936 – June 20, 2018) was an American author, columnist, editor and publisher who specialized in subjects related to big game hunting for more than four decades.

Biography
William Robert Quimby was born on 30 September 1936 in Tucson, Arizona as the second child of Isaac William Quimby and Helen Dixon Quimby. Quimby attended public schools in Yuma, Arizona, and obtained a degree in Marketing from the University of Arizona. He worked in the advertising and public relations fields for eleven years before pursuing a second career in journalism and publishing. He was married to Jean Potts until his death, with whom he had a daughter, Stephanie, and two grandchildren Natalie and Logan.

Bill and Jean Quimby divided their year between their home in Tucson and a cabin near the New Mexico border in eastern Arizona's high country.

Writing career
After closing the Arizona Outdoor News, the monthly hunting and fishing newspaper he founded four years earlier, Quimby joined the Tucson Daily Citizen (a Gannett Company newspaper) as its outdoor editor in 1967. The hundreds of feature articles and nearly 3,000 twice-weekly columns he wrote over the next 27 years for the Citizen, as well as his articles in Safari magazine and various hunting and shooting magazines, made him one of the southwest's best-known outdoor writers. His series on overgrazing by cattle in Arizona's Kofa and Cabeza Prieta National Wildlife Refuges resulted in his being named Arizona Conservation Communicator of the Year by then-Governor Jack Williams in 1973. Other award-winning investigative series included his exposés of the increasing loss of access to Arizona's public lands and the looting of ancient southwestern Indian burial sites by commercial pothunters. He retired from the Citizen in 1994. The Citizen, Arizona's oldest newspaper at the time, ceased publication in 2009.

Beginning in 1983, Quimby was also director of publications for Safari Club International (SCI), a worldwide organization of big game hunters with headquarters in Tucson. With a staff of editors and artists, he edited and published Safari magazine and the SCI Record Books of Trophy Animals, and conceived and launched Safari Times and Safari Times Africa newspapers. For three years after he retired in 1999, Bill and Jean Quimby co-edited "Safari Cub," a bimonthly magazine for the club's young members. He moderated SCI's longest-running seminar, "Your First African Safari," at the club's annual conventions in Nevada from 1989 to 2012.

Quimby successfully hunted more than 60 types of big game animals in twelve countries on six continents, including all ten species indigenous to Arizona. He edited, wrote or co-authored more than two dozen published books (including the memoirs he ghostwrote in 2007 and 2011 for two well-known international hunters).

Writings and editings
 McElroy Hunts Asia, by C.J. McElroy, Bill Quimby editor, Sincere Press (1989) No ISBN
 McElroy Hunts Dangerous Game, by C.J. McElroy, Bill Quimby editor, Trophy Room Books (2000)
 McElroy Hunts Mountain Game, by C.J. McElroy, Bill Quimby editor, Trophy Room Books (2001)
 McElroy Hunts The Antelope Of Africa and Antlered Game, by C.J. McElroy, Bill Quimby editor, Trophy Room Books (2002)
 Yoshi, The Life And Travels Of An International Big Game Hunter, by Watson Yoshimoto with Bill Quimby, Safari Press (2003)
 The Heck With It I'm Going Hunting, by Arnold Alward with Bill Quimby, Safari Press (2003)
 Royal Quest, The Hunting Saga Of H.I.H. Prince Abdorreza Of Iran, by Bill Quimby, Safari Press (2004)
 Wind In My Face, The Shikars And Safaris Of A Cazador de Mexico, by Hubert Thummler with Bill Quimby, Safari Press (2006)
 Memories from Greer, Tales Told Of a Unique Arizona Village, Bill Quimby and Nadine Stanley editors, Greer Library Friends (2007).
 Around The World and Then Some, by David Hanlin with Bill Quimby, Safari Press (2009)
 Sixty Years A Hunter, by Bill Quimby, Safari Press, (2010)
 Divine Assistance, The Best And The Last Of The Golden Age of International Big Game Hunting", by Jimmie Rosenbruch with Bill Quimby and David Cabela. Safari Press (2014)
 Hunting In Our Genes by Steve Isaacs, Bill Quimby editor. Raptor Ridge Ranch Australia (2014)
 Penfold. Life And Times Of A Professional Hunting Guide Down Under, by Bob Penfold. Edited by Bill Quimby. Privately published. (2015).

Safari Club International publications
SCI Record Books Of Trophy Animals, multiple volumes annually, (1985-1999) Bill Quimby, editor,
"SCI World Bowhunting Record Book", Edition One (1996) Bill Quimby, director of publications.
Safari (1983-1999) bimonthly magazine. Bill Quimby, editor
Deer (1984) Bill Quimby, editor
Safari Africa (1985) Bill Quimby, editor
North of the '48 (1986) Bill Quimby, editor
Safaris Revisited, Best Of Safari Magazine of the 1970s, Bill Quimby and Sally Antrobus, editors, (1991)
Safaris Revisited, Best of Safari Magazine of the 1980s, Bill Quimby and Sally Antrobus, editors, (1992)
 "Safari Times" monthly newspaper.  (1990-1999) Bill Quimby director, Doug Fulton and Guy Sagi, editors.
 "Safari Times Africa" monthly newspaper. (1996-1999) Bill Quimby director, Pierre van der Walt, editor.
"Safari Cub" (1999-2001) bimonthly magazine. Bill and Jean Quimby, editors
"The History of SCI", by Bill Quimby. (2005)

Awards
Arizona Conservation Communicator of the Year, Arizona Wildlife Federation, 1973
Peter Hathaway Capstick International Literary Award, Fiona Claire Capstick, 2003.
Arizona Outdoor Hall of Fame, inducted 2007, Wildlife For Tomorrow Foundation.

References

External links

Safari Press website
Safari Club International website

Living people
Writers from Tucson, Arizona
1936 births

Bill Quimby


Frederick Charles Inglis (born 17 May 1937) is Emeritus Professor of Cultural Studies at the University of Sheffield in the UK. Previously Professor of Cultural Studies at the University of Warwick, he has been a member of the School of Social Science at the Institute for Advanced Study, Princeton, Fellow-in-Residence at the Netherlands Institute for Advanced Study, and Visiting Fellow Humanities Research Centre, Australian National University, Canberra.

He was born in Stockton-on-Tees, County Durham, and was educated at the fee-paying Oundle School in Northamptonshire. He graduated from Gonville and Caius College, Cambridge in 1960 with a degree in English Literature, before studying for his MPhil at Southampton University while employed there as a government research fellow. His two doctorates (PhD, DSc) were awarded by the University of Bristol on the basis of published work.

Inglis has frequently written for The Nation, the New Statesman and The Independent and contributes regularly to BBC Radio. He is a member of the Fabian Society and has stood as a Labour Party candidate for the UK Parliament on four occasions. In 1970 and February 1974 he fought West Derbyshire, going on to contest Cheltenham in October 1974 and Winchester in 1987, but he was beaten by the Conservatives on each occasion.

Principal publications
 History Man: the Life of R. G. Collingwood, Princeton: Princeton University Press, 2009.
 A Short History of Celebrity, Princeton: Princeton University Press, 2010.
 Culture: key concepts in the social sciences, Cambridge and Cambridge MA: Polity Press, 198 pp. 2004.
 People's Witness: the journalist in modern politics, London and New Haven: Yale University Press, 2002, 416pp.
 The Delicious History of the Holiday, London and New York: Routledge, 2000, 206pp + 23 illustrations.
 Clifford Geertz: culture, custom and ethics, Cambridge and Cambridge MA: Polity Press, 2000, 206pp.
 Raymond Williams: the life, London and New York: Routledge, 1995, xx + 332pp.
 Cultural Studies, Oxford and Cambridge MA: Basil Blackwell, 1993, 270pp.
 The Cruel Peace: everyday life and the Cold War, New York: Basic Books, 1991, xx + 402pp, London: Aurum Books, 1992.
 Media Theory, Oxford and Cambridge: Basil Blackwell, 1990, 214pp + tables (translated into Japanese and Portuguese 1993; into Croatian 1997; into Finnish 1998).
 Radical Earnestness: English social theory 1880-1980, Oxford and Cambridge MA: Martin Robertson with Basil Blackwell, 1982, 253pp.

References

External links

 'Celebrity Gods', review of A Short History of Celebrity in The Oxonian Review

1937 births
Living people
British social scientists
Academics of the University of Sheffield
Alumni of the University of Southampton
Academics of the University of Warwick
Institute for Advanced Study visiting scholars
Alumni of Gonville and Caius College, Cambridge
Labour Party (UK) parliamentary candidates
People educated at Oundle School

Fred Inglis


Jafar Ashraf Kashani (, March 21, 1944 – October 2, 2019) was an Iranian football player. He played for Persepolis F.C. until 1974 when he was captain. Then he was hired by Ministry of Foreign Affairs and worked in embassies in Germany and UAE.

He was also a member of board of directors at IRIFF and Persepolis. From 1968 through 1974, he played for the national team.

Kashani was born in Tehran. He died on 2 October 2019 from a heart attack in Tehran at the age of 75.

References

1944 births
2019 deaths
Deaths from myocardial infarction
Iranian footballers
Sportspeople from Tehran

Jafar Kashani


Net Worth is a 2000 drama film that starred Todd Field, Craig Sheffer, Daniel Baldwin,  Michael T. Weiss, Tara Wood, Ernie Garrett, and Alix Koromzay. It was directed by Kenny Griswold from a script written by Kenny Griswold and Bill Kerig.

Plot
Four competitive friends agree to a bet: they will all go to a city where none of them know anybody, with only $100 in their pockets. As the winner will be the person who has the greatest net worth at the end of 30 days. Despite all having a different philosophy about work and wealth they all believe they will win the bet.

References

External links

2000 films
2000 drama films
2000s English-language films

Net Worth (2000 film)


The Toho Labor Dispute (東宝争議, Tōhō sōgi) is a major worker strike at the Toho Movie Studio in Tokyo that lasted from 1946 to 1948. In particular, the third dispute in 1948 was a large-scale one when the Tokyo Metropolitan Police Department and the United States Army, which were part in the occupation of Japan as a member of the Allied Forces, were dispatched to requisition the studio staffs. It is said to be the biggest labor dispute after the Pacific War.

Summary
In early 1946, American journalist for the Supreme Commander for the Allied Powers, David W. Conde, visits Japan and was concerned about radical groups who are planning to sabotage Japan's reconstruction policy. He was hastened about the formation of a labor union at the studio and also set up a union party on how to negotiate with the company. Back in December 1945, the Toho Employees' Union (subordinate union) was formed in Toho due to the postwar turmoil and the rise of the socialist movement. The subordinates also joined the All Japan Trade Union Conference and frequently went on strike.

The labor movement was booming at once, partly because the Japanese Communist Party members such as Tadashi Imai and Satsuo Yamamoto were enrolled during the war. And with a huge force of 90% of employees and 5,600 members, they began to confront the company. The first dispute began in March 1946, and the second in October of that same year. The first strike was relatively mild. But the second one allowed the company to approve various new agreements, such as restrictions on working hours, by the workers. Due to the strike and the turmoil of the new agreement, movie shooting were not easily, and Toho produced 18 films, which was half than other companies.

In November, Kazuo Hasegawa, Ranko Hanai and others agreed with Denjirō Ōkōchi, who said that he would not be able to use the strike, although he was against the strike. A big star formed the "Flag of Ten People" and left the union. Director Kunio Watanabe also withdrew from the union, and employees in the distribution department who were in conflict over the policy formed a second union and withdrew. In March 1947, they formed Shintoho, mainly by the members of the "Ten no Hana no Kai" and more than a hundred volunteers who left the union at the same time. Although it was difficult for Toho to operate soundly, the management team at that time dared to leave the group as the "first production department" and the group leaving the group as the "second production department" in order to avoid a direct confrontation with the huge subordinate group.

In addition, new young actors such as Toshiro Mifune and Hajime Izu refused to joined the studio and left to do some cast audition. They were called the "Toho New Face".

The Third Strike
In December 1947, the Supreme Commander for the Allied Powers issued an expulsion order to Toho, and the management team was replaced. President Katamaru Tanabe, was appointed as chairman, and the new president was invited from outside by Tetsuzō Watanabe, a former managing director of the Japan's Chamber of Commerce and Industry and a member of the House of Representatives.

Watanabe, who known as an "anti-communist" for some time, set up a hardliner as a director in charge of labor and a director of the studio, and on April 8, 1948, 270 employees of the Tokyo Dadeumi studio. Suddenly, the company fired him and his name was removed from the list. In addition, it announced a plan to dismiss 1,200 people to reduce personnel.

On April 15, the followers entered the production control struggle, occupied the Tokyo Hibiki studio, placed materials and equipment under control, and made a barricade at the front entrance to prevent the police from enter the building. This marks the beginning of the Third Strike. On the other hand, the management side declared that the company will be closed on May 1 (which would latter celebrate as May Day). The subordinate group applied to the Tokyo District Court for a provisional disposition requesting the resumption of business of the company, but the company also applied for a provisional disposition requesting the release of possession and countered it. The following day, on the 14th, a court executive headed to the Shikkōkan Studio, but at this time, 800 members of the union members were denied admission.

The provisional disposition will be decided again on August 19, but before that, 2,500 workers stayed at the Hibiki Studio. Film directors such as Heinosuke Gosho, producers such as Akira Iwasaki and Takerô Itô, screenwriters like Yūsaku Yamagata, cinematographers like Yoshio Miyajima, and actresses like Setsuko Wakayama, Yoshiko Kuga, and Chieko Nakakita also participated. In front of the studio of each set, multiple large barrels filled with non-combustible paint were lined up, and a large fan for special effects equipped with a Zero fighter plane engine was brought out and installed on each barrel. When the police rushed in, the wind pressure used to blow gravel, glass fragments, and paint, which was actually used it. There was also a mechanism to drop a bag filled with pieces of wood and glass balls from the roof and windows.

A current-carrying trap was also set up. In the morning of the same day, Major General William C. Chase, commander of the 1st Cavalry Division of the U.S. Army, stationed at Camp Drake, a part of the Allied Forces that was engaged in Japan's occupation, sending 150 GI soldiers, military police armed with M1 carbines and 1 infantry vehicle unit. He led a platoon of six armored vehicles, three M4 medium tanks, and three aircraft to seized Camp Asaka. These units were US ground forces under the command of Lieutenant Henry F.T. Hoffman while Chase took command from the Air Force. At 8:30 AM on the same day, 2,000 troopers of the Metropolitan Police Reserve began to surrounded Dadeumi to assist in the execution of provisional disposition.

Getting on and off at the Seijogakuenmae Station and since the Odakyu Line was prohibited, the road leading to the Hibiki Photo Studio was blocked by protesters. At 9:30 AM, the chief of the Seijo police station (along with executive officer and the lawyer of the company's agency) boarded the US military truck and drove out of the station while being protected by a dozen police officers. Requested the acceptance of provisional disposition by the executive officer, they negotiated with the representative of the subordinate group. Around 10:30 AM, police reserve unit began to deploy at the front main gate of the Hibiki studio, followed by tanks. Film director Fumio Kamei put up a piece of paper to the reserve team in front of the main gate of the Tsuki Photo Studio, it read "Justice cannot be trampled by violence."

After that, the subordinates decided that it was impossible to resist by force because they were surrounded by the army, and held a staff meeting to accept provisional disposition. At 11:00 AM, 2,500 union members crossed their arms, sang "The Internationale" songs, left the studio, and withdrew to the Theater Institute. Subsequently, an executive officer entered the office and posted a notice of provisional disposition execution. At this time, the Toho Branch of the Nikkei Performance occupied the Toho Sales Department (cinema) in addition to the Toho Photo Studio. Businessman Tetsuzo Watanabe sought to break down the dispute from a commercial perspective, as the closure of the movie theater would directly affect the company's management.

Kunio Watanabe, the filmmaker of Toho, was sent to Toichi Mannen, the leader of the Foolish League, to ask him to strike a movie theater in Hibiya. Every day, Mannen attacked the movie theater with 50 to 100 subordinates, including "Komitsu" Mitsuya Kobayashi and "Shinjuku Emperor" Kano Mitsugu, and expelled the union members. He also demanded Toho for daily struggle costs, but did not receive a success fee. On October 18, Takero Ito and Yoshio Miyajima, the top executives of the union, met with President Watanabe and others. At this point, an agreement was reached to withdraw the dismissal of the remaining 250 union executives, in exchange for the voluntary departure of 20 union executives.

In addition, a large-scale freeze on personnel reduction was recognized, and the Third Toho Dispute was finally officially settled by the signing of a memorandum of understanding by the union and the company. In 1950, Toho dismissed 200 people whose dismissal was withdrawn due to Toho Dispute in the form of a red purge.

Allied Forces Dispatch
Since the February 1 General Strike, which was planned in 1947, was a large-scale labor dispute between government agencies, there was a tentative reason that GHQ / SCAP would be "contrary to the welfare of the people" in order to intervene. In addition, the cancellation method was a brute force but "peaceful" solution, in which the leader was made to broadcast the cancellation. However, despite the fact that this case was a labor dispute by a company, when he saw that he refused the provisional disposition of the court, he carried out a rough business of disbanding the labor movement by force.

At the time of the February strike, Commander-in-Chief Douglas MacArthur was very concerned about the eyes of the American people, as he intended to run for the presidential election the following year from the Republican Party. The Republican Party had a large support base for the labor union, and did not want to crack down on the Japanese labor movement and damage its reputation, so it did not move directly until the strike happen. Moreover, dispatching the army was nothing more than a matter of fact (except in the days of McCarthyism and the Red Scare, the Communist Party is legal in the United States, and the Communist Party of America exists as a political party. General MacArthur once put down the veterans' demonstrations gathered in Washington, D.C. by force in 1932 (alleging that they were being manipulated by the Communist Party) while serving in the National Guards.

However, MacArthur was defeated in the 1948 United States presidential election and was not elected as a candidate. From this time on, MacArthur did not have to worry about the eyes of the American people, and the Toho Dispute was forcibly died down at that time. In August 1948, the Soviet Union began setting up its forces around the Eastern Bloc due to the Berlin Airlift that ended Stalin's blockade policy and the United States, which cannot tolerate this communist activities by Russians, began setting up relationship with Japan in order to prevent this spread of communism. In any case, it was also an incident that showed that the GHQ / SCAP was no longer on the side of the communist-influenced labor movement.

Unknown of the Fourth Toho Dispute
The number of participants in the 4th Toho Dispute Strike was about 180 members at the Toho branch of the Japan Film Theater Labor Union (Nichiei) and 140 at the Hibiki studio, which is extremely compared to the 3rd Dispute. It lasted from May 17, 1950 to December 29, 1950, although it is not widely known because of its small number. Even after the end of the third strike in 1948, Toho continued to increase its popularity due to incongruity with internal factions and Shintoho, and its debt and other debts at the end of January 1950 were about ¥1.3 billion. It amounted to ¥150 million and there was an urgent need for new personnel reductions.

On May 17, 1950, the company announced a notice of personnel reduction for 300 people. The target of the arrangement was mainly the Japan's Motion Picture and Theatrical Worker's Union (JMTW), but in addition to that, the members of the National Film Theater Labor Union (All Screening Performance), which was born by splitting from the Nikkei Performance, are also targeted. Has become For this reason, the 4th Toho Dispute was led by the Japan Film Theater Labor Union (Nichiei), which is greatly affected by personnel reductions.

On May 24, Daiei and Shochiku studios also resolved to collaborate with the Niei Performance & Toho Photography Studio Branch. On May 25, director Kōzaburō Yoshimura also showed an opposition to the decapitation. On May 26, Isuzu Yamada announced that she would join the Japan Film Theater Labor Union (Nikkei). Support has expanded, with the Directors Guild of Japan and the Scenario Writers Association taking a non-cooperative attitude toward film production on the Toho Company side.

The full-scale performance that issued the strike order on June 2, but was canceled on June 3 until June 16. On the other hand, Nikkei, which has led the dispute, applied to the Tokyo District Court for provisional disposition of dismissal invalid status protection on June 25, and on August 10, a recommendation was issued by the Tokyo District Court and the memorandum of understanding was made at the Tokyo District Court on May 28. On December 29, a tentative signing was made at the Japanese company, ending the dispute. Kinuta Productions, which produced the feature film "Haha Nareba Onna", directed by Fumio Kamei and starring Isuzu Yamada in 1952, was paid to Nikkei for the settlement of the 4th Toho Dispute. Of course it is said that it was established with a capital of ¥2 million.

Labor

Toho Labor Dispute


This is a list of notable Jews in religion.

Biblical figures

See: List of Jewish Biblical figures.

High Priests

See: List of High Priests of Israel.

Rabbis

See: List of rabbis.

Rosh yeshivas

See: List of rosh yeshivas.

Karaite Jewish Hakhamim

See: List of Karaite Jews.

Religious figures by country

Germany

Scholars
 Felix Adler
 Hugo Bergmann (born in Prague)
 Max Bodenheimer
 David Cassel
 Ismar Elbogen
 Emil Ludwig Fackenheim
 Jonas Fränkel
 Heinrich Graetz, Jewish historian (born in Posen)
 Manuel Joël, Jewish philosopher
 Isaak Markus Jost, Jewish historian
 Marcus Kalisch, Biblical scholar
 Jakob Klatzkin
 Israel Lewy
 Moses Mendelssohn, Jewish Enlightenment philosopher
 David Rosin
 Gershom Scholem, Jewish scholar and historian
 Ernst Simon
 Friedrich Weinreb (born in Lemberg)
 Benedict Zuckermann
 Leopold Zunz, Jewish scholar

Other
 Ayya Khema, Buddhist teacher (born Jewish)
 Adolf Lasson
 Georg Lasson
 Johannes Pfefferkorn, antisemitic controversialist (born Jewish)
 Friedrich Adolf Philippi
 Johann Peter Spaeth (Moses Germanus Ashkenazi), a Christian German Proselyte
 Edith Stein, canonized nun, Holocaust victim (born Jewish)

Hungary
 Joseph Breuer
 Henrik Bródy
 J. H. Hertz, Chief Rabbi of Great Britain
 Abraham Hochmuth
 Sanz-Klausenberger rebbe from Kolozsvár (now Cluj-Napoca, Romania)
 Ludwig Lichtenstein
 Yosef Greenwald, Puppa rebbe
 Sándor Scheiber, rabbi and director of the Budapest Rabbinical Seminary
 Solomon Marcus Schiller-Szinessy, rabbi and first Jewish professor in Cambridge
 Isaac Tyrnau
 Joachim Jacob Unger
 Wahrmann family
 Michoel Ber Weissmandl
 Béla Wenckheim

United Kingdom

Other religious leaders
 Selig Brodetsky, President of the British Board of Deputies
 Barnett Janner, President of the British Board of Deputies
 Greville Janner, President of the British Board of Deputies
 Ewen Montagu, President of the United Synagogue
 Claude Montefiore, co-founder of British Liberal Judaism
 Anthony Rothschild, first president of the United Synagogue

United States

Rebbetzins
Rebbetzin Esther Jungreis, Hungarian born founder of Hineni
Chaya Mushka Schneerson, rebbetzin of Chabad

Other religious leaders (including Jews associated with religions outside of Judaism)
 Apostles, the "Twelve Apostles", first followers of Jesus
 Ram Dass, modern American Hindu author
 Jacob Frank, self-proclaimed messiah in Poland, founder of Frankists
 Maurice Frydman Polish Jew who lived in India and was involved in translating Nisargadatta's "I am That." Was close to Gandhi and Nehru
 Jesus, inspired the creation of Christianity
 John the Baptist, revered by Christians
 Jean-Marie Lustiger, French Cardinal (raised Catholic)
 John Joseph O'Connor
 Saint Peter, considered the first Pope
 Saul of Tarsus, early Christian leader
 Edith Stein, Catholic nun, Holocaust victim
 St. Teresa of Avila, Catholic saint (parents were Conversos)

References

Religion

List of Jews in religion


The Beatles 1964 world tour was the Beatles' first world tour, launched after their 1964 UK tour. The reception was enthusiastic, with The Spectator describing it as "hysterical". It was followed by their subsequent North American tour in August that year.

Tour history

The Jimmie Nicol replacement

On the morning of 3 June 1964, the day before setting off on a world tour, Ringo Starr fell ill during a photo session. He fainted and was taken to hospital with a strong fever. He was diagnosed with severe tonsillitis, and hospitalized for a few days in London.

The Beatles, especially George Harrison, wanted to postpone the tour, but then the manager Brian Epstein and the producer George Martin after a frantic phone call decided to use drummer Jimmie Nicol to temporarily replace Starr.

When the Beatles asked Nicol during rehearsals how he was doing, his answer was always "It's getting better". The phrase was later used in "Getting Better", a song from the 1967 album Sgt. Pepper's Lonely Hearts Club Band. Years later he confessed that he would have done it for free, but Epstein offered him £2,500 per performance and a £2,500 bonus. "I couldn't sleep that night, I was one of the fucking Beatles!" he said in a 1988 interview.

The next day, 4 June 1964, there was a show in Copenhagen, Denmark and with the Beatles he did more shows, until Starr, recovered, joined the group in Melbourne, Australia, on 14 June.

Nicol, with a very shy character, was unable to say goodbye to the group and left at night while they were sleeping. At the airport, Brian Epstein handed him £500 and a gold watch with the inscription "From The Beatles and Brian Epstein to Jimmie - with appreciation and gratitude". On the return journey on the plane he was very sad, he felt "like a bastard child rejected by his new family".

Tour dates

Typical set list
The typical set list for the shows was as follows (with lead singers noted):

"I Saw Her Standing There" (Paul McCartney)
"I Want To Hold Your Hand" (John Lennon) and (Paul McCartney) or You Can't Do That" (John Lennon)
"All My Loving" (Paul McCartney)
"She Loves You" (John Lennon, Paul McCartney and (George Harrison)
"Till There Was You" (Paul McCartney)
"Roll Over Beethoven" (George Harrison)
"Can't Buy Me Love" (Paul McCartney)
"This Boy" (John Lennon, Paul McCartney and George Harrison)
"Twist and Shout" (John Lennon)
"Long Tall Sally" (Paul McCartney)

See also
 List of the Beatles' live performances

Notes

External links
The Beatles tour New Zealand.

References

The Spectator, Volume 213, 1964

1964 concert tours
1964 World
Concert tours of Australia
Concert tours of New Zealand
June 1964 events
July 1964 events
August 1964 events

The Beatles' 1964 world tour


John Williams (July 3, 1860 – March 2, 1931) was a politician in Manitoba, Canada.  He served in the Legislative Assembly of Manitoba from 1907 to 1910, and again from 1914 to 1922.  Williams was a member of the Manitoba Liberal Party, and briefly served as a cabinet minister in the government of Tobias Norris.

Born at Ysceifiog in Flintshire, Wales, the son of Thomas Williams and Hannah Phillips, Williams was educated at common schools. After reaching the age of thirteen, he worked in the lead means and farmed and then came to Canada in May 1881 with "absolutely no capital".  After living in Hamilton, Ontario, where he worked on a farm, for a year and a half, he moved to Manitoba in November 1882 to become a farmer.  He remained in this vocation until 1906, and served for a time as director of the Melita Farmers' Elevator Company. Williams also served as president of the local Grain Growers' Association and Agricultural Society and was reeve for the Rural Municipality of Arthur.

Williams first sought election to the Manitoba legislature in the 1903 provincial election, running in the southwestern constituency of Arthur.  He lost to Conservative incumbent Allen Thompson by forty-eight votes.  Thompson retired at the 1907 election, and Williams defeated new Conservative candidate Amos Lyle by a margin of three votes (536 to 533).  Williams served as an opposition member for the next three years.

In the provincial election of 1910, Lyle defeated Williams by 175 votes to regain Arthur for the Conservatives.  Control of the riding shifted again in the 1914 campaign, when Williams defeated Lyle by sixty-six votes.  He again served as an opposition member.

Early in 1915, the governing Conservative Party of Rodmond Roblin was forced from office amid scandal.  The Liberals won a landslide victory in the 1915 provincial election, and Williams was elected by an increased margin in Arthur.  After this election, he served as a backbench supporter of Norris's ministry.  In the 1920 election, Williams defeated Farmer candidate Duncan Lloyd McLeod by only ten votes.

Norris's Liberals were reduced to a minority government in the 1920 election, and had difficulty passing legislative initiatives in the next two years.  The government was defeated in the legislature in early 1922, and elections were called for later in the year.  Williams was called on to play a prominent role in the campaign, and was promoted to cabinet on June 6, 1922 as Minister of Agriculture.

The Liberals were defeated by the United Farmers of Manitoba in the 1922 provincial election, and Williams lost his seat to McLeod by 353 votes.  He resigned from cabinet with the rest of the Norris ministry on August 8, 1922.

In the 1925 federal election, Williams run for the House of Commons of Canada as the candidate for the Liberal Party of Canada in Souris.  He finished third against Progressive candidate James Steedsman.

In 1928, Williams was named Canadian commissioner of immigration for Wales.

He was married to Clementine Rogers in 1892.

Williams died on his farm in Melita at the age of 70.

References

1860 births
1931 deaths
Manitoba Liberal Party MLAs
British emigrants to Canada

John Williams (Manitoba politician)