Gender incongruence is the state of having a gender identity that does not correspond to one's sex assigned at birth. This is experienced by people who identify as transgender or transsexual, and often results in gender dysphoria. The causes of gender incongruence have been studied for decades.

Transgender brain studies, especially those on trans women attracted to women (gynephilic), and those on trans men attracted to men (androphilic), are limited, as they include only a small number of tested individuals. Studies conducted on twins suggest that there are likely genetic causes of gender incongruence, although the precise genes involved are not known or fully understood.

Biological factors

Genetics
A 2008 study compared the genes of 112 trans women who were mostly already undergoing hormone treatment, with 258 cisgender male controls. Trans women were more likely than cisgender males to have a longer version of a receptor gene (longer repetitions of the gene) for the sex hormone androgen, which reduced its effectiveness at binding testosterone. The androgen receptor (NR3C4) is activated by the binding of testosterone or dihydrotestosterone, where it plays a critical role in the forming of primary and secondary male sex characteristics. The research weakly suggests reduced androgen and androgen signaling contributes to trans women's identity. The authors say that a decrease in testosterone levels in the brain during development might prevent complete masculinization of trans women's brains, thereby causing a more feminized brain and a female gender identity.

A variant genotype for the CYP17 gene, which acts on the sex hormones pregnenolone and progesterone, has been found to be linked to transsexuality in trans men but not in trans women.  Most notably, transmasculine subjects not only had the variant genotype more frequently, but had an allele distribution equivalent to cisgender male controls, unlike the cisgender female controls. The paper concluded that the loss of a female-specific CYP17 T -34C allele distribution pattern is associated with transmasculinity.

Gender incongruence among twins
In 2013, a twin study combined a survey of pairs of twins where one or both had undergone, or had plans and medical approval to undergo, gender transition, with a literature review of published reports of transgender twins. The study found that one third of identical twin pairs in the sample were both transgender: 13 of 39 (33%) monozygotic or identical pairs of assigned males and 8 of 35 (22.8%) pairs of assigned females. Among dizygotic or genetically non-identical twin pairs, there was only 1 of 38 (2.6%) pairs where both twins were trans. The significant percentage of identical twin pairs in which both twins are trans and the virtual absence of dizygotic twins (raised in the same family at the same time) in which both were trans would provide evidence that transgender identity is significantly influenced by genetics if both sets were raised in different families.

Brain structure

General
Transgender brain studies, especially those on trans women attracted to women (gynephilic), and those on trans men attracted to men (androphilic), are limited, as they include only a small number of tested individuals.
Several studies have found a correlation between gender identity and brain structure. A first-of-its-kind study by Zhou et al. (1995) found that in the bed nucleus of the stria terminalis (BSTc), a region of the brain known for sex and anxiety responses (and which is affected by prenatal androgens), cadavers of six trans women had female-normal BSTc size, similar to the study's cadavers of cisgender women. While the trans women had undergone hormone therapy, and all but one had undergone sex reassignment surgery, this was accounted for by including cadavers of non-trans female and male controls who, for a variety of medical reasons, had experienced hormone reversal. The controls still had sizes typical for their sex. No relationship to sexual orientation was found.

In a follow-up study, Kruijver et al. (2000) looked at the number of neurons in BSTc instead of volumes. They found the same results as Zhou et al. (1995), but with even more dramatic differences. One transfeminine subject who had never received hormone therapy was also included, and nonetheless matched up with the female neuron counts.

In 2002, a follow-up study by Chung et al. found that significant sexual dimorphism in BSTc did not establish until adulthood.  Chung et al. theorized that changes in fetal hormone levels produce changes in BSTc synaptic density, neuronal activity, or neurochemical content which later lead to size and neuron count changes in BSTc, or alternatively, that the size of BSTc is affected by the generation of a gender identity inconsistent with one's assigned sex.

It has been suggested that the BSTc differences may be a result of hormone replacement therapy. It has also been suggested that because pedophilic offenders have also been found to have a reduced BSTc, a feminine BSTc may be a marker for paraphilias rather than transgender identity.

In a review of the evidence in 2006, Gooren considered the earlier research as supporting the concept of gender incongruence as a sexual differentiation disorder of the sexually dimorphic brain. Dick Swaab (2004) concurred.

In 2008, Garcia-Falgueras & Swaab discovered that the interstitial nucleus of the anterior hypothalamus (INAH-3), part of the hypothalamic uncinate nucleus, had properties similar to the BSTc with respect to sexual dimorphism and gender incongruence. The same method of controlling for hormone usage was used as in Zhou et al. (1995) and Kruijver et al. (2000). The differences were even more pronounced than with BSTc; control males averaged 1.9 times the volume and 2.3 times the neurons as control females, yet regardless of hormone exposure, trans women were within the female range and the trans men within the male range.

A 2009 MRI study by Luders et al. found that among 24 trans women not treated with hormone therapy, regional gray matter concentrations were more similar to those of cisgender men than of cisgender women, but there was a significantly greater volume of gray matter in the right putamen compared to cisgender men. Like earlier studies, researchers concluded that transgender identity was associated with a distinct cerebral pattern. MRI scanning allows easier study of larger brain structures, but independent nuclei are not visible due to lack of contrast between different neurological tissue types, hence other studies on e.g. BSTc were done by dissecting brains post-mortem.

Rametti et al. (2011) studied 18 trans men who had not undergone hormone therapy using diffusion tensor imaging (DTI), an MRI technique which allows visualizing white matter, the structure of which is sexually dimorphic. Rametti et al. discovered that the trans men's white matter, compared to 19 cisgender gynephilic females, showed higher fractional anisotropy values in posterior part of the right SLF, the forceps minor and corticospinal tract". Compared to 24 cisgender males, they showed only lower FA values in the corticospinal tract. The white matter patterns in trans men were found to be shifted in the direction of non-trans males.

Hulshoff Pol et al. (2006) studied gross brain volume in 8 trans men and in 6 trans women undergoing hormone therapy. They found that hormones altered the sizes of the hypothalamus in a gender-consistent manner: treatment with masculinizing hormones shifted the hypothalamus towards the male direction in the same way as in male controls, and treatment with feminizing hormones shifted the hypothalamus towards the female direction in the same way as female controls. They concluded: "The findings suggest that, throughout life, gonadal hormones remain essential for maintaining aspects of sex-specific differences in the human brain."

A 2011 review published in Frontiers in Neuroendocrinology found that "Female INAH3 and BSTc have been found in MtF transsexual persons. The only female-to-male (FtM) transsexual person available to us for study so far had a BSTc and INAH3 with clear male characteristics. (...) These sex reversals were found not to be influenced by circulating hormone levels in adulthood, and seem thus to have arisen during development" and that "All observations that support the neurobiological theory about the origin of transsexuality, i.e. that it is the sizes, the neuron numbers, and the functions and connectivity of brain structures, not the sex of their sexual organs, birth certificates or passports, that match their gender identities".

A 2015 review reported that two studies found a pattern of white matter microstructure differences away from a transgender person's birth sex, and toward their desired sex. In one of these studies, sexual orientation had no effect on the diffusivity measured.

A 2016 review agreed with the other reviews when considering androphilic trans women and gynephilic trans men. It reported that hormone treatment may have large effects on the brain, and that cortical thickness, which is generally thicker in cisgender women's brains than in cisgender men's brains, may also be thicker in trans women's brains, but is present in a different location to cisgender women's brains. It also stated that for both trans women and trans men, "cross-sex hormone treatment affects the gross morphology as well as the white matter microstructure of the brain. Changes are to be expected when hormones reach the brain in pharmacological doses. Consequently, one cannot take hormone-treated transsexual brain patterns as evidence of the transsexual brain phenotype because the treatment alters brain morphology and obscures the pre-treatment brain pattern."

A 2019 review in Neuropsychopharmacology found that among transgender individuals meeting diagnostic criteria for gender dysphoria, "cortical thickness, gray matter volume, white matter microstructure, structural connectivity, and corpus callosum shape have been found to be more similar to cisgender control subjects of the same preferred gender compared with those of the same natal sex."

A 2020 paper tried to investigate and differentiate between the two competing hypotheses of a neurodevelopmental cortical hypothesis that suggests the existence of different brain phenotypes vs a functional-based hypothesis in relation to regions involved in the own body perception.  Trans men, trans women, and cisgender women all had decreased connectivity compared with cisgender men in superior parietal regions, as part of the salience (SN) and the executive control (ECN) networks. Trans men also had weaker connectivity compared with cisgender men between intra-SN regions and weaker inter-network connectivity between regions of the SN, the default mode network (DMN), the ECN and the sensorimotor network. Trans women had lower small-worldness, modularity and clustering coefficient than cisgender men.

A 2021 review of brain studies published in the Archives of Sexual Behavior found that "although the majority of neuroanatomical, neurophysiological, and neurometabolic features" in transgender people "resemble those of their natal sex rather than those of their experienced gender", for trans women they found feminine and demasculinized traits, and vice versa for trans men. They stated that due to limitations and conflicting results in the studies that had been done, they could not draw general conclusions or identify-specific features that consistently differed between cisgender and transgender people. The review also found differences when comparing cisgender homosexual and heterosexual people, with the same limitations applying.

Androphilic vs. gynephilic trans women
A 2016 review reported that early-onset androphilic transgender women have a brain structure similar to cisgender women's and unlike cisgender men's, but that they have their own brain phenotype.
It also reported that gynephilic trans women differ from both cisgender female and male controls in non-dimorphic brain areas.
The available research indicates that the brain structure of androphilic trans women with early-onset gender dysphoria is closer to that of cisgender women than that of cisgender men. It also reports that gynephilic trans women differ from both cisgender female and male controls in non-dimorphic brain areas. Cortical thickness, which is generally thicker in cisgender women's brains than in cisgender men's brains, may also be thicker in trans women's brains, but is present in a different location to cisgender women's brains. For trans men, research indicates that those with early-onset gender dysphoria and who are gynephilic have brains that generally correspond to their assigned sex, but that they have their own phenotype with respect to cortical thickness, subcortical structures, and white matter microstructure, especially in the right hemisphere. Hormone therapy can also affect transgender people's brain structure; it can cause transgender women's brains to become closer to those of cisgender women, and morphological changes observed in the brains of trans men might be due to the anabolic effects of testosterone.

While MRI taken on gynephilic trans women have likewise shown differences in the brain from non-trans people, no feminization of the brain's structure has been identified. Neuroscientists Ivanka Savic and Stefan Arver at the Karolinska Institute used MRI to compare 24 gynephilic trans women with 24 cisgender female and 24 cisgender male controls. None of the study participants were undergoing hormone therapy. The researchers found sex-typical differentiation between the trans women and cisgender females, and the cisgender males; but the gynephilic trans women "displayed also singular features and differed from both control groups by having reduced thalamus and putamen volumes and elevated GM volumes in the right insular and inferior frontal cortex and an area covering the right angular gyrus".

The researchers concluded that:Berglund et al. (2008) tested the response of gynephilic trans women to two steroids hypothesized to be sex pheromones: the progestin-like 4,16-androstadien-3-one (AND) and the estrogen-like 1,3,5(10),16-tetraen-3-ol (EST). Despite the difference in sexual orientation, the trans women's hypothalamic networks activated in response to the AND pheromone, like the androphilic cis female control groups. Both groups experienced amygdala activation in response to EST. Gynephilic cis male control groups experienced hypothalamic activation in response to EST. However, the trans women also experienced limited hypothalamic activation to EST. The researchers concluded that in terms of pheromone activation, trans women occupy an intermediate position with predominantly female features. The transfeminine subjects had not undergone any hormonal treatment at the time of the study, according to their own declaration beforehand, and confirmed by repeated tests of hormonal levels.

Gynephilic trans men
Fewer brain structure studies have been performed on transgender men than on transgender women. A team of neuroscientists, led by Nawata in Japan, used a technique called single-photon emission computed tomography (SPECT) to compare the regional cerebral blood flow (rCBF) of 11 gynephilic trans men with that of 9 androphilic cis females. Although the study did not include a sample of cisgender males so that a conclusion of "male shift" could be made, the study did reveal that the gynephilic trans men showed significant decrease in blood flow in the left anterior cingulate cortex and a significant increase in the right insula, two brain regions known to respond during sexual arousal.

A 2016 review reported that the brain structure of early-onset gynephilic trans men generally corresponds to their assigned sex, but that they have their own phenotype with respect to cortical thickness, subcortical structures, and white matter microstructure, especially in the right hemisphere. Morphological increments observed in the brains of trans men might be due to the anabolic effects of testosterone.

Prenatal androgen exposure
Prenatal androgen exposure, the lack thereof, or low sensitivity to prenatal androgens are commonly cited as mechanisms to explain the above discoveries. To test this, studies have examined the differences between trans and cisgender individuals in digit ratio (a generally accepted marker for prenatal androgen exposure). A meta-analysis concluded that the effect sizes for this association were small or nonexistent.

In people with XX chromosomes, congenital adrenal hyperplasia (CAH) results in heightened exposure to prenatal androgens, resulting in masculinization of the genitalia. Individuals with CAH are typically subjected to medical interventions including prenatal hormone treatment and postnatal genital reconstructive surgeries. Such treatments are sometimes criticized by intersex rights organizations as non-consensual, invasive, and unnecessary interventions. Individuals with CAH are usually assigned female and tend to develop similar cognitive abilities to the typical females, including spatial ability, verbal ability, language lateralization, handedness and aggression. Research has shown that people with CAH and XX chromosomes will be more likely to experience same-sex attraction, and at least 5.2% of these individuals develop serious gender dysphoria.

In males with 5-alpha-reductase deficiency, conversion of testosterone to dihydrotestosterone is disrupted, decreasing the masculinization of genitalia. Individuals with this condition are typically assigned female and raised as girls due to their feminine appearance at a young age. However, more than half of males with this condition raised as females come to identify as male later in life. Scientists speculate that the definition of masculine characteristics during puberty and the increased social status afforded to men are two possible motivations for a female-to-male transition.

Onset
According to the DSM-5, gender dysphoria in those assigned male at birth tends to follow one of two broad trajectories: early-onset or late-onset. Early-onset gender dysphoria is behaviorally visible in childhood. Sometimes gender dysphoria will stop for a while in this group, and they will identify as gay or homosexual for a period of time, followed by recurrence of gender dysphoria. This group is usually androphilic in adulthood. Late-onset gender dysphoria does not include visible signs in early childhood, but some report having had wishes to be the opposite sex in childhood that they did not report to others. Trans women who experience late-onset gender dysphoria are more likely be attracted to women and may identify as lesbians or bisexual. It is common for people assigned male at birth who have late-onset gender dysphoria to experience sexual excitement from cross-dressing. In those assigned female at birth, early-onset gender dysphoria is the most common course. This group is usually sexually attracted to women. Trans men who experience late-onset gender dysphoria will usually be sexually attracted to men and may identify as gay.

Blanchard's typology

In the 1980s and 1990s, sexologist Ray Blanchard developed a taxonomy of male-to-female transsexualism built upon the work of his colleague Kurt Freund, which argues that trans women have one of two primary causes of gender dysphoria. Blanchard theorized that "homosexual transsexuals" (a taxonomic category referring to trans women attracted to men) are attracted to men and develop gender dysphoria typically during childhood, and characterizes them as displaying overt and obvious femininity since childhood; he characterizes "non-homosexual transsexuals" (trans women who are sexually attracted to women) as developing gender dysphoria primarily due to autogynephilia (sexual arousal by the thought or image of themselves as a woman), and as attracted to women, attracted to both women and men (Blanchard calls this "pseudo-bisexuality", believing attraction to males to be not genuine, but part of the performance of an autogynephilic sexual fantasy), or asexual.

Blanchard's theory has received support from J. Michael Bailey, Anne Lawrence, and James Cantor. Blanchard argued that there are significant differences between the two groups, including sexuality, age of transition, ethnicity, IQ, fetishism, and quality of adjustment. However, the theory has been criticized in papers from Veale, Nuttbrock, Moser, and others who argue that it is poorly representative of trans women and non-instructive, and that the experiments behind it are poorly controlled and/or contradicted by other data. A 2009 study by Charles Moser of 29 cisgender women in the healthcare field based on Blanchard's methods for identifying autogynephilia found that 93% of respondents qualified as autogynephiles based on their own responses.

See also
 Genetic diagnosis of intersex
 Feminine essence concept of transsexuality
 Intersex and LGBT
 Sexual identity

References

Transgender studies
Psychological theories
Neuroscience
Behavioral neuroscience
Transsexualism
Behavioural genetics

Causes of gender incongruence


Grin Low is a hill overlooking Buxton in Derbyshire, in the Peak District. The summit is  above sea level.

Grin Low was the main location for the early Buxton lime industry. It was an extensive area of limestone quarrying and was licensed for lime burning from 1662 by the 1st Duke Of Devonshire. Demand for lime grew dramatically during the Industrial Revolution. There are widespread remains of over 100 large 'pudding' lime kilns, built of earth and rock, which date from the 17th–19th centuries. The land is also covered in spoil heaps of waste material. Coal came from local collieries at Axe Edge and Goyts Moss. In 1820 the 6th Duke of Devonshire commissioned the 'Grin Plantation' (now the wooded Buxton Country Park) to shield the scarred lime-burning landscape from visitors to the spa town of Buxton. The Cromford and High Peak Railway opened in 1831 and passed by Grin Low. The railway allowed the lime to be transported to canals and generated expansion of quarrying in Buxton. In the 1850s lime production at Grin Low moved to a new large quarry on the south side of the hill (which was operated until its closure in 1952). In 1890 Grin Low produced 90,000 tonnes of lime. The quarry is now a caravan park and campsite.

In the 1830s Solomon Mycock (proprietor of the Cheshire Cheese Inn) leased the land at the top of Grin Low. In 1840 he built Solomon's Temple (on behalf of the 6th Duke of Devonshire) at the summit, over an ancient burial mound, providing work to the unemployed of the town. By 1894 the structure of the folly had become dilapidated and the 8th Duke of Devonshire approved the replacement Grinlow Tower. The two-storey tower,  high, was designed by architects W. R. Bryden and George Garlick. The building was partly funded by public subscription. The new tower was opened by the Duke's cousin (and successor) Victor Cavendish in 1896. The tower was restored in 1987 with a partial contribution by Buxton residents. Grinlow Tower is a Grade II listed building. The structure is open with a spiral staircase inside to the viewing platform. There are panoramic views over Buxton to Mam Tor, Rushup Edge, Corbar Hill with Corbar Cross and in the opposite direction to Axe Edge. Temple Road in Buxton leads from the town to Grin Low.

In 1894, local archaeologist Micah Salt excavated the burial barrow at the summit of Grin Low hill, before the tower was rebuilt. He discovered the remains of three burials and two cremations, as well as a decorated bowl, a flint tool and other artefacts.

Buxton Country Park is operated by Buxton Civic Association and the park has 100 acres of mature woodland, with a network of woodland trails. The variety of trees include Beech, Ash, Elm, Sycamore, Willow, Birch, Hawthorn and Rowan. The woods are habitat to common birds (such as thrushes, tits and finches) but are also home to nuthatches, woodpeckers and tawny owls. The country park has had a 'Go Ape' tree-top adventure course with zip wires since 2007.

Poole's Cavern is at the foot of the hill on the north side, on the edge of Buxton town. This natural limestone cavern is two million years old, formed by underground water dissolving the rock. It has several large chambers with numerous stalactites and stalagmites. Stone Age, Bronze Age and Roman artefacts have been discovered inside. The cavern is named after a medieval outlaw named Poole who used it as a hiding place. It has been a tourist attraction since the 1600s when it was named as one of the Seven Wonders of the Peak by Thomas Hobbes (in his book De Mirabilibus Pecci). Mary Queen of Scots is believed to have visited during her stay in Buxton in 1582. A branch of the River Wye flows through the cave system. The cavern is open to the public with tours along its 300m main passage. The temperature is a constant 7 °C.

Poole's Cavern and Grin Low Wood are a designated Site of Special Scientific Interest (SSSI).

The Dane Valley Way trail crosses the west side of the hill.

References

Mountains and hills of the Peak District
Mountains and hills of Derbyshire
Buxton
Sites of Special Scientific Interest in Derbyshire

Grin Low


Grupo Silvio Santos (Silvio Santos Group in English), is a Brazilian holding led by the Brazilian billionaire media-man Silvio Santos.

The principal member of the holding is SBT, the second biggest network television in Brazil. The group also controls the Tele Sena, the Teatro Imprensa, Jequiti, Sisan Empreendimentos  and many other investments such as hotels and shopping malls.

The group may also be recognized by its initials,  GSS. In 2008, it was considered the 63rd largest company in Brazil.

The branch of communication represented by SBT and TV Alphaville is the third largest media conglomerate in the country behind only of the Grupo Globo owner of TV Globo and Grupo Abril.

Holdings

 SBT — Network TV, the 2nd largest network TV of Brazil.
 SBT HD
 SBT Jaú
 SBT Rio de Janeiro
 SBT São José dos Campos
 SBT Nova Friburgo
 SBT São Paulo
 SBT Belém
 SBT Porto Alegre
 SBT Ribeirão Preto
 SBT Brasília
 101 SBT affiliates
 SBT International Corporation
 SBT Music
 SBT Filmes
 CDT da Anhanguera
 Auto Moto Shopping Vimave
 Silvio Santos Participações
 Liderança Capitalização
 Perícia Administradora e Corretora de Seguros
 Promolíder Promotora de vendas
 SSF Fomento Comercial
 Sisan Empreendimentos Imobiliários
 TV Alphaville
 Canal TV Alphaville
 Centro Cultural do Grupo Silvio Santos
 Baú em Casa
 GSS Centro de Serviços Compartilhados
 Hotel Jequitimar
 SS Comércio de Cosméticos e Produção de Higiene Pessoal
 Lojas do Baú Crediário
 Teleton Brasil
 Teatro Imprensa
 Baú da Felicidade
 Tele Sena

Companies that belonged to the GSS

 TV Corcovado, CNT today.
 Rádio Record São Paulo, sold to Edir Macedo.
 Rede Record, sold to Edir Macedo. At the time of sale Rede Record was the 4th largest network TV in the country. After a heavy investment in 2008 it became the 3rd network television in audience.
 Banco Panamericano sold to investment bank BTG Pactual
 Hydrogen, sold to Hypermarcas
 Lojas do Baú da Felicidade, was the groups retail company, but was sold to Magazine Luíza
 Braspag, sold to Cielo

Mass media companies of Brazil
Mass media companies based in São Paulo
Conglomerate companies of Brazil
Mass media companies established in 1958
1958 establishments in Brazil
Privately held companies of Brazil
Brazilian companies established in 1958
Conglomerate companies established in 1958
Multinational companies headquartered in Brazil

Grupo Silvio Santos


Wolfmother is an Australian hard rock band from Sydney. Formed in 2004, the group is centred around vocalist and guitarist Andrew Stockdale, who is the only constant member of the line-up. The band has been through many personnel changes since their formation, with the current incarnation including drummer Hamish Rosser and bassist Brad Heald, both of whom are former members of The Vines. The original – and most commercially successful – line-up included bassist and keyboardist Chris Ross and drummer Myles Heskett. Ross and Heskett left Wolfmother after four years in 2008.

Stockdale, Ross and Heskett formed Wolfmother in 2004 after several years of informal jamming. Signing with independent label Modular Recordings, the band released their self-titled debut album in Australia in 2005, which reached number 3 on the domestic albums chart. It was released internationally by Interscope and Island Records the following year, and to date has sold in excess of 1.5 million copies worldwide. After Ross and Heskett departed, Stockdale rebuilt the band with the addition of bassist and keyboardist Ian Peres, rhythm guitarist Aidan Nemeth and drummer Dave Atkins, who released Cosmic Egg in 2009.

In recent years, the line-up of Wolfmother has continued to change frequently, with their commercial popularity fluctuating. The band's planned third album Keep Moving was released as Stockdale's solo debut in 2013, with a new line-up including drummer Vin Steele issuing New Crown independently the following year. In 2016, the group released Victorious as their first album on a major label since Cosmic Egg, and subsequently toured with Alex Carapetis on drums. Wolfmother's personnel have continued to change, with Stockdale subsequently releasing and touring in promotion of his second solo album Slipstream in 2018.

History

2004–08: Formation, early years and self-titled debut
The genesis of Wolfmother began in 2000, when founding members Andrew Stockdale, Chris Ross, and Myles Heskett started jamming together, before officially forming the band in 2004. Prior to this, Stockdale was a photographer, Ross worked in digital media and Heskett worked as a graphic designer. Ross came up with the name of the band. The first live performance of the newly christened Wolfmother took place on 14 April 2004 at Vic in the Park, a pub in Sydney. The group were signed by Australian independent label Modular Recordings in August 2004, with whom they released their self-titled debut extended play (EP) Wolfmother the following month. The EP reached number 35 on the ARIA Australian Singles Chart. The band toured in promotion of the release for approximately six months, during which time they signed an international recording deal with the Universal Music Group.

After producing a demo for Universal US imprint Interscope Records in Sydney, Wolfmother began recording their full-length debut studio album in California with producer Dave Sardy in May 2005. The band rehearsed for six weeks at Cherokee Studios, before recording at Sound City, Pass and Sunset Sound Studios. Sardy took a minimalist approach to production, aiming to capture the "raw, emotive" nature of the band's live shows and prioritising "the perfect feeling" over a "faultless performance". Additional contributors to the record included Lenny Castro (percussion), Dan Higgins (flute) and Sardy himself (percussion). "Mind's Eye" was released as the first single from the upcoming album on 16 October 2005, which reached number 29 on the Australian Singles Chart.

Wolfmother was originally released in Australia by Modular on 31 October 2005 and reached number 3 on the ARIA Australian Albums Chart, remaining on the chart for a total of 78 weeks. By the end of 2007, it had been certified five times platinum by the Australian Recording Industry Association (ARIA), indicating domestic sales in excess of 350,000 units. Wolfmother was recognised by radio station Triple J with its inaugural J Award, given to "an album of outstanding achievement as an Australian musical work of art – for its creativity, innovation, musicianship and contribution to Australian music." It went on to be nominated for the ARIA Award for Album of the Year in 2006 (and won the awards for Breakthrough Artist – Album and Best Rock Album). Eight of the group's songs were included on the Triple J Hottest 100 lists in 2004, 2005 and 2006. In promotion of the album, the band toured throughout Australia in October and November 2005. They also performed at the Big Day Out festival in January and February 2006.

After its success in Australia, Wolfmother was later released internationally in early 2006 – on 24 April in the UK, where it reached number 25 on the UK Albums Chart, and on 2 May in the US, where it reached number 22 on the Billboard 200. A number of singles were released from the album, including "Woman" which reached number 34 in Australia, number 31 on the UK Singles Chart, and number 7 on the US Billboard Mainstream Rock chart. The song later won the Grammy Award for Best Hard Rock Performance at the 49th Annual Grammy Awards, the nomination for which Heskett had previously described as "an honour". The final single from the album, "Joker & the Thief", later reached the top ten in Australia. The subsequent worldwide tour included appearances at festivals such as Fuji Rock in Tokyo, Japan, the inaugural Virgin Festival, and Reading and Leeds Festivals in the UK. On 14 November 2006, the band performed a cover version of "Communication Breakdown" by English hard rock band Led Zeppelin as a tribute to the band for their induction into the UK Music Hall of Fame.

Stockdale, Ross and Heskett commenced work on the follow-up to Wolfmother in 2007, although Stockdale had previously revealed that he had been planning ideas for the band's second album as early as 2006. One of the new tracks revealed as in the works was "Love Attacker", which the frontman explained was about "people who use love as a weapon to manipulate and get their way through desire". This song was later released as "Pleased to Meet You" on the Spider-Man 3 soundtrack in March 2007. Stockdale described the new material as "cinematic" and "epic", predicting that the resulting album would be released in early 2008. In September 2007 the band released Please Experience Wolfmother Live, which reached number 7 in Australia and was certified platinum by ARIA.

2008–11: Lineup change and return with Cosmic Egg

After their performance at Splendour in the Grass on 3 August 2008, it was reported that Wolfmother "looked tense and uncommunicative with each other", leading to rumours that the band were to imminently break up. In response to the rumours, the band's manager John Watson revealed that he would be "releasing a statement about their status soon". Days later, it was confirmed that the group had split up – in a statement released by Universal Music Australia, it was reported that Ross had left the band straight after the Splendour in the Grass performance due to "irreconcilable personal and musical differences", after which Heskett decided that he would rather leave than remain in the band without Ross. Ross and Heskett continued to work together on a number of musical projects, including The Slew and Good Heavens.

Just a week after the departure of Ross and Heskett, Stockdale returned to recording the second Wolfmother album in Los Angeles, initially working briefly with The Raconteurs drummer Patrick Keeler. After returning to Australia, he enlisted new members Ian Peres (bass, keyboards), Aidan Nemeth (rhythm guitar) and Dave Atkins (drums) for "Wolfmother Phase II". The new members officially joined on 5 January 2009, before performing their first live shows under the alias "White Feather" in February. Recording for a new album commenced in March with producer Alan Moulder, with Stockdale describing the material as "a little bit heavier".

The first song released by the second line-up of Wolfmother was "Back Round", which was made available as a free digital download on the band's official website on 30 March 2009, after its debut live performance the previous week at the MTV Australia Awards 2009. After the rest of the album was recorded, "New Moon Rising" debuted on Triple J in August and was later released as the album's lead single. The album, Cosmic Egg, was released internationally by Modular in October. It was another commercial success, reaching number 3 in Australia, number 16 in the US, and number 35 in the UK. Cosmic Egg was supported on the New Moon Rising World Tour, which started in Australia and later visited North America and Europe. The group also supported AC/DC on the Black Ice World Tour in Australia. The following year, the album was nominated in the Classic Rock Roll of Honour Awards for Album of the Year, although it lost out to guitarist Slash's self-titled debut solo album (on which Stockdale is featured on the song "By the Sword").

In March 2010, Wolfmother contributed the song "Fell Down a Hole" to the Almost Alice soundtrack. At the end of the month, it was announced that drummer Dave Atkins had left the band. A press release was later issued explaining that the drummer had "decided to leave the band to spend much-needed time at home with his family". It was announced at the same time that Atkins' replacement would be Will Rockwell-Scott, known for his work with Har Mar Superstar and The Mooney Suzuki. The group continued to tour with Rockwell-Scott, although they had to cancel a string of European dates, including a number of festival appearances, in June and July due to an unspecified illness suffered by Stockdale. The following January and February, the band performed at Big Day Out in Australia and New Zealand.

2011–13: Planned third album, Stockdale's solo debut
Wolfmother began working on their third studio album in March 2011. In May and June they played a number of European shows, performing new material from the upcoming album for the first time. Interviewed in June, Stockdale revealed that approximately "12 or 13 songs" had been completed and that he was self-producing the album, with engineering to be handled by Aidan Nemeth. The release date of the album was estimated as early 2012, with a number of shows taking place in Australia in promotion; new song titles leaked from set lists included "The Year of the Dragon", "Meridian" and "Everyday Drone/On the Beach". In October 2011, a cover version of the ZZ Top song "Cheap Sunglasses" was featured on the various artists tribute album ZZ Top: A Tribute from Friends.

After relatively few updates regarding the upcoming album, in February 2012 both Nemeth and Rockwell-Scott left Wolfmother. Stockdale claimed at the time that the former had chosen to focus on engineering, while the latter was forced to leave due to health concerns. The following month, it was reported that former Vines drummer Hamish Rosser had joined the band. Around the same time, new rhythm guitarist Vin Steele replaced Nemeth, and keyboardist and percussionist Elliott Hammond was also added to the group. Both members' departures were compared in the media to those of original members Ross and Heskett, although Stockdale has denied accusations from some critics that he was to blame for former members leaving the group. The new five-piece line-up continued recording material for the new album, which was delayed further for a 2013 release. At the end of 2012, Stockdale announced that the album was "nearly complete", and that it would be titled Gatherings.

In March 2013, however, Stockdale announced that he would not be releasing the new album under the Wolfmother moniker. Describing the project as "a different trip now", he revealed to Billboard magazine in April that the album would be released as his solo debut with the title Keep Moving in June. "Long Way to Go" was released as the lead single from the album. Stockdale later elaborated on the decision to cease using the Wolfmother name; he noted that his desire to self-produce an album played a part in the change, adding the band had a "big producer" in line to work on their third album but he wanted to release the material he had already recorded, and so he decided to do so under his own name. Keep Moving reached number 32 on the Australian Albums Chart.

2013–17: Band's return with New Crown and Victorious

Just two months after Stockdale dropped the band's name, it was announced that Wolfmother were due to return. The news was broken when Stockdale's solo shows were cancelled, shortly before a number of Wolfmother shows in the US were announced in their place. In an interview with Triple M in 2014, Stockdale claimed that he did not intend to drop the Wolfmother name permanently, but instead that it had been temporarily "shelved" for Keep Moving. Shortly after the band's return, Rosser left and Hammond moved over to drums; however, just a month later Hammond himself left as well, citing scheduling conflicts with his other band The Delta Riggs. Hammond later claimed in 2019 that the announcement was in fact "a publicity angle to smooth it over". He was replaced briefly by Tony McCall, who left just a few weeks later due to "personal reasons". Drummer Gregg Bissonette was briefly enlisted to record with the band, although his parts were ultimately not used.

In November 2013, Wolfmother returned after a brief hiatus as a trio for the first time since 2008, with rhythm guitarist Vin Steele moving over to drums. The new line-up's first performance took place at The Northern in Byron Bay, and it was hinted at the same time that the group would be working on new material for an album to be released in March or April 2014. The album in question, New Crown, was released without a prior announcement on 24 March 2014 as a digital download on Bandcamp. Self-produced by Stockdale, New Crown was also self-released by the band without a record label; speaking about the decision to do this, Stockdale complained that "it's a very long process getting anything done" with a label, noting that to avoid potential delays they took the decision to self-release the album. Despite the lack of promotion, New Crown charted on the US Billboard 200 at number 160. The album was promoted on tour in North America during the months after its release.

Wolfmother's self-titled debut album was re-released in September 2015 to coincide with its tenth anniversary. In addition to the original 13 tracks, the album contains five B-sides and 15 rare tracks, including 11 previously unreleased recordings. In February 2016, the group's fourth album Victorious was released. The album, produced by Brendan O'Brien, features contributions from drummers Josh Freese and Joey Waronker, in addition to Ian Peres on keyboards. It reached number 17 on the Australian Albums Chart, number 25 in the UK, and number 71 in the US. Lead single "Victorious" registered at number 26 on the Billboard Mainstream Rock chart. Wolfmother promoted Victorious on the Gypsy Caravan Tour, which featured Alex Carapetis on drums. In July 2016, the group supported Guns N' Roses at two US dates on the Not in This Lifetime... Tour. They later returned for shows in Australia and New Zealand in early 2017.

2017–present: Single releases, Slipstream and Rock'n'Roll Baby
Following the conclusion of the Victorious touring cycle, Hamish Rosser returned to Wolfmother. In March 2017, Stockdale released a self-produced song called "Special Lady", which he recorded on a laptop using the program GarageBand and only a vocal microphone. This was followed in November by the single "Freedom Is Mine", recorded and produced at Stockdale's home studio in Byron Bay, and "Happy Wolfmothers Day" in May 2018. Peres left in early 2018 after nine years with the band, committing to tour dates with Xavier Rudd instead. Stockdale and Rosser have performed with multiple touring line-ups of the group since Peres' departure: in April 2018 with Dave Atkins on rhythm guitar and Jake Bennett on bass, from May with Brad Heald on bass and Lachy Doley on keyboards, and later in the year with Katie McGurl in place of Doley. Bobby Poulton began playing bass and keyboards in October 2018 and is now the current session player in the band. In September 2018, Stockdale released his second solo album, Slipstream, which he promoted on a short concert tour.

In April 2019, Stockdale began recording material for a fifth Wolfmother album at Dave Grohl's Studio 606 in Northridge, Los Angeles. This album, titled Rock'n'Roll Baby, wound up being released on 29 December 2019.

On 24 October 2020, Stockdale performed "Joker & the Thief" at the 2020 AFL Grand Final.

On 11 January 2023, Stockdale performed under the name Wolfmother with Dutch band  as his backing band in Paradiso, Amsterdam.

Musical style and critical reception
Upon the release of their debut album, Wolfmother received comparisons to influential hard rock and heavy metal bands of the 1960s and 1970s, particularly Led Zeppelin, Black Sabbath, and Blue Cheer. More contemporary comparisons have included Roadkit and White, The White Stripes, The Darkness, and Queens of the Stone Age. Similarly, the vocals of frontman Andrew Stockdale have been compared stylistically to those of Led Zeppelin frontman Robert Plant, Black Sabbath's Ozzy Osbourne, The Who vocalist Roger Daltrey, and Jack White of The White Stripes. AskMen went as far as to rank the band as the second top Led Zeppelin "rip-off" band. Many of these comparisons to other bands continued in reviews for Cosmic Egg, New Crown, and Victorious.

Despite these comparisons to other artists, Wolfmother was praised by the majority of commentators – aggregating website Metacritic reports a normalised rating of 76, indicating "generally favourable reviews", with 18 of the 22 included critical reviews categorised as positive. Many elements of the band's music on their debut album were praised by critics, including the psychedelic subject matter of the lyrics, the interplay between each member of the band, and the combination of classic and modern elements. Critical reception to Cosmic Egg was less positive, with Metacritic reporting a normalised rating of 65 and many critics noting a lack of invention or progression on the album.

Members

Current members
Andrew Stockdale – lead vocals, guitar
Jesper Albers – drums
Paul Dokman – bass
James Wassenaar-bass guitar(2022 current AU)
Christian Condon-drums(2022 current AU)

Discography

Wolfmother (2005)
Cosmic Egg (2009)
New Crown (2014)
Victorious (2016)
Rock'n'Roll Baby (2019)
Rock Out (2021)

Awards

References

External links

2004 establishments in Australia
APRA Award winners
ARIA Award winners
Australian hard rock musical groups
Australian heavy metal musical groups
Australian psychedelic rock music groups
Australian musical trios
Grammy Award winners
Musical groups established in 2004
Musical groups from Sydney
Australian stoner rock musical groups
Modular Recordings artists

Wolfmother


"Searching" is the fourth single from the album Elegantly Wasted by INXS. It was never officially released although scheduled for the UK market. The song was written by Michael Hutchence and Andrew Farriss and recorded by the band in Dublin during the summer of 1996. It is also the final single to feature original lead vocalist Michael Hutchence, who died two months after the song was released.

Trivia
The song was previewed several months before the album's release in September 1996 at the Australian ARIA Music Awards.

Due to record company red tape, "Searching", the scheduled third single from Elegantly Wasted, was never commercially released.

According to a Mercury Records spokesman, a minimal quantity of around 2,000 copies of each disc were pressed for promotional purposes, but upon the single's retraction all available copies were destroyed.  Inevitably, a relatively small and unknown quantity of the discs had already been circulated thus making the singles very attractive collector's items – especially as a complete set.  However, most of the actual recordings and remixes have since appeared elsewhere on other promo items.

B-sides
As well as the new mixes of "Searching", the CD Singles included further live tracks from the Aspen show and two Acoustic performances at BBC Radio 1 of "I'm Just a Man" and "Never Tear Us Apart".

Video
The video for "Searching" was directed by longtime collaborator Nick Egan and would be the last the band worked on before Hutchence's death. "Searching" was shot in San Francisco at the end of July 1997 and was unusually set to the 'Leadstation Radio Mix' of the song, not the album version.

The narrative of the video is of the band "Searching" the streets for the girl who appears on the front cover of the 'Elegantly Wasted' album, video and single.

Track listings

CD Promo – MECP319 – Mercury/US
 Searching (Leadstation Radio Mix)
 Searching (LP version)

CD Promo – INXCJ30 – Mercury/UK
 Searching (Leadstation Radio Mix)
 Searching (LP version)

CD5 – INXCD30 – Mercury/UK (withdrawn)
 Searching (Leadstation Radio Mix)
 Searching (LP version)
 Searching (Alex Reece Drum and Bass Mix)
 Searching (Linslee Campbell R&B Mix)

CD5 – INXD30 – Mercury/UK (withdrawn)
 Searching (Leadstation Funk Workout)
 Searching (Live in Aspen '97)
 Elegantly Wasted (Live in Aspen '97)
 Need You Tonight (Live in Aspen '97)

CD5 – INXDD30 – Mercury/UK (withdrawn)
 Searching (Leadstation Main Mix)
 Searching (Bosch Mix)
 I'm Just a Man (acoustic live – Radio One, 20 May 1997)
 Never Tear Us Apart (acoustic live – Radio One, 20 May 1997)

References

1997 singles
INXS songs
Songs written by Andrew Farriss
Songs written by Michael Hutchence
Song recordings produced by Bruce Fairbairn
1997 songs
Mercury Records singles

Searching (INXS song)


"Pilot" is the first episode of the American sitcom television series Abbott Elementary. It was written by series creator and star Quinta Brunson, and was directed by Randall Einhorn. It premiered on the American Broadcasting Company (ABC) in the United States on December 7, 2021.

The episode sees the introduction of the primary school teachers portrayed by Brunson, Tyler James Williams, Chris Perfetti, Lisa Ann Walter and Sheryl Lee Ralph, with Janelle James portraying Principal Coleman at the poorly-funded Willard R. Abbott Elementary, a fictional predominantly Black school in Philadelphia. The pilot has achieved numerous awards and nominations for its writing, directing and acting by the ensemble cast.

Plot
Janine Teagues (Quinta Brunson) reveals that she has been teaching at Abbott Elementary for a year and, although she is proud to have survived the Philadelphia school system, her main problem is the school's lack of money. When Janine's student Jamal pees on the classroom rug, Janine is forced to remove the rug. She tries to get her students to sit down to no avail, until Kindergarten teacher Barbara Howard (Sheryl Lee Ralph), a senior teacher at Abbott, gets them to sit down easily.

In the teachers' lounge, Janine tells her fellow teachers Jacob Hill (Chris Perfetti) and Melissa Schemmenti (Lisa Ann Walter) that she needs a rug, and it turns out that both Jacob and Melissa also need rugs. The school's principal, Ava Coleman (Janelle James), walks in and asks the teachers what they think about the camera crew she brought into the school, to which Melissa replies that it's "distracting" and makes their job harder. The teachers are informed that overwhelmed first grade teacher Tina Schwartz (Kate Peterman) kicked a student in the hallway. This incident results in Tina being fired and Ava has Mr. Johnson, the school's janitor, temporarily teach Tina's class.

Later that day, Gregory Eddie (Tyler James Williams) arrives to sub for Ms. Schwartz. The following day, Janine goes to Barbara for her opinion on the rug request email she composed for Ava. Barbara insists that she shouldn't expect anything and to just do her job. Ava then makes an announcement via PA system about some improvements to the school. However, it is revealed that Ava had used the entire provided budget for a new school sign instead of hiring the much-needed aides and the requested rugs. Janine is indignant and decides to e-mail the superintendent about what Ava has done. However, Barbara and Melissa inform her that the superintendent never receives any of their e-mails and that they are bounced back to the person in charge of where they came from, which is Ava. Ava makes another announcement telling all the teachers to report to the library during lunch for a "trust workshop" because of disrespect she has received. There, Ava openly criticizes Janine and tells the other teachers to do the same, but the other teachers refuse. Janine tells everyone that she was the one who disrespected Ava and apologizes to everyone. Before she walks out, she explains that she did it because of Ava spending the money on a sign and because she cared about the students. The other teachers follow her out.

Janine shows the other teachers one of her students who is napping on the classroom floor. Barbara suggests that they chip in for a new rug, but Janine tells her that they don't have the money for it, but Melissa uses her contacts to get them new rugs. Janine lays out the new rug in her classroom and her students cheer. Janine is happy that even without help from the higher-ups, she is still able to help her students and the school.

Reception

Viewership
The episode was viewed by 2.88 million people during its first broadcast on ABC. Including viewership recorded over a 35-day period through "linear and digital platforms" (known as MP35) after its original broadcast, the pilot episode on December 7, 2021, increased to a 2.4 demographic rating, with 7.1 million viewers. ABC said the 300% increase was its "largest percentage growth for any new comedy premiere".

Awards and nominations
The episode has racked up numerous awards, including Brunson winning the Outstanding Writing, Comedy Series award for writing the pilot at the Black Reel Television Awards. At the Hollywood Critics Association Awards, Brunson won the Best Writing in a Broadcast Network or Cable Series, Comedy award, while Randall Einhorn was nominated for Best Directing in a Broadcast Network or Cable Series, Comedy for his directorial duties in the pilot. At the 74th Primetime Emmy Awards, Brunson won the Outstanding Writing for a Comedy Series for writing the episode.

References

2021 American television episodes
Abbott Elementary
Abbott Elementary
Television episodes directed by Randall Einhorn
Emmy Award-winning episodes

Pilot (Abbott Elementary)


The , sometimes translated as The Chronicles of Japan, is the second-oldest book of classical Japanese history. The book is also called the . It is more elaborate and detailed than the , the oldest, and has proven to be an important tool for historians and archaeologists as it includes the most complete extant historical record of ancient Japan. The  was finished in 720 under the editorial supervision of Prince Toneri with the assistance of Ō no Yasumaro and presented to Empress Genshō. The book is also a reflection of Chinese influence on Japanese civilization. In Japan, the Sinicized court wanted written history that could be compared with the annals of the Chinese.

The  begins with the Japanese creation myth, explaining the origin of the world and the first seven generations of divine beings (starting with Kuninotokotachi), and goes on with a number of myths as does the , but continues its account through to events of the 8th century. It is believed to record accurately the latter reigns of Emperor Tenji, Emperor Tenmu and Empress Jitō. The  focuses on the merits of the virtuous rulers as well as the errors of the bad rulers. It describes episodes from mythological eras and diplomatic contacts with other countries. The  was written in classical Chinese, as was common for official documents at that time. The , on the other hand, is written in a combination of Chinese and phonetic transcription of Japanese (primarily for names and songs). The  also contains numerous transliteration notes telling the reader how words were pronounced in Japanese. Collectively, the stories in this book and the  are referred to as the Kiki stories.

The first translation was completed by William George Aston in 1896 (English).

Chapters

Chapter 01: (First chapter of myths) Kami no Yo no Kami no maki.
Chapter 02: (Second chapter of myths) Kami no Yo no Shimo no maki.
Chapter 03: (Emperor Jimmu) Kan'yamato Iwarebiko no Sumeramikoto.
Chapter 04:
(Emperor Suizei) Kamu Nunakawamimi no Sumeramikoto.
(Emperor Annei) Shikitsuhiko Tamatemi no Sumeramikoto.
(Emperor Itoku) Ōyamato Hikosukitomo no Sumeramikoto.
(Emperor Kōshō) Mimatsuhiko Sukitomo no Sumeramikoto.
(Emperor Kōan) Yamato Tarashihiko Kuni Oshihito no Sumeramikoto.
(Emperor Kōrei) Ōyamato Nekohiko Futoni no Sumeramikoto.
(Emperor Kōgen) Ōyamato Nekohiko Kunikuru no Sumeramikoto.
(Emperor Kaika) Wakayamato Nekohiko Ōbibi no Sumeramikoto.
Chapter 05: (Emperor Sujin) Mimaki Iribiko Iniye no Sumeramikoto.
Chapter 06: (Emperor Suinin) Ikume Iribiko Isachi no Sumeramikoto.
Chapter 07:
(Emperor Keikō) Ōtarashihiko Oshirowake no Sumeramikoto.
(Emperor Seimu) Waka Tarashihiko no Sumeramikoto.
Chapter 08: (Emperor Chūai) Tarashi Nakatsuhiko no Sumeramikoto.
Chapter 09: (Empress Jingū) Okinaga Tarashihime no Mikoto.
Chapter 10: (Emperor Ōjin) Homuda no Sumeramikoto.
Chapter 11: (Emperor Nintoku) Ōsasagi no Sumeramikoto.
Chapter 12:
(Emperor Richū) Izahowake no Sumeramikoto.
(Emperor Hanzei) Mitsuhawake no Sumeramikoto.
Chapter 13:
(Emperor Ingyō) Oasazuma Wakugo no Sukune no Sumeramikoto.
(Emperor Ankō) Anaho no Sumeramikoto.
Chapter 14: (Emperor Yūryaku) Ōhatsuse no Waka Takeru no Sumeramikoto.
Chapter 15:
(Emperor Seinei) Shiraka no Take Hirokuni Oshi Waka Yamato Neko no Sumeramikoto.
(Emperor Kenzō) Woke no Sumeramikoto.
(Emperor Ninken) Oke no Sumeramikoto.
Chapter 16: (Emperor Buretsu) Ohatsuse no Waka Sasagi no Sumeramikoto.
Chapter 17: (Emperor Keitai) Ōdo no Sumeramikoto.
Chapter 18:
(Emperor Ankan) Hirokuni Oshi Take Kanahi no Sumeramikoto.
(Emperor Senka) Take Ohirokuni Oshi Tate no Sumeramikoto.
Chapter 19: (Emperor Kinmei) Amekuni Oshiharaki Hironiwa no Sumeramikoto.
Chapter 20: (Emperor Bidatsu) Nunakakura no Futo Tamashiki no Sumeramikoto.
Chapter 21:
(Emperor Yōmei) Tachibana no Toyohi no Sumeramikoto.
(Emperor Sushun) Hatsusebe no Sumeramikoto.
Chapter 22: (Empress Suiko) Toyomike Kashikiya Hime no Sumeramikoto.
Chapter 23: (Emperor Jomei) Okinaga Tarashi Hihironuka no Sumeramikoto.
Chapter 24: (Empress Kōgyoku) Ame Toyotakara Ikashi Hitarashi no Hime no Sumeramikoto.
Chapter 25: (Emperor Kōtoku) Ame Yorozu Toyohi no Sumeramikoto.
Chapter 26: (Empress Saimei) Ame Toyotakara Ikashi Hitarashi no Hime no Sumeramikoto.
Chapter 27: (Emperor Tenji) Ame Mikoto Hirakasuwake no Sumeramikoto.
Chapter 28: (Emperor Tenmu, first chapter) Ama no Nunakahara Oki no Mahito no Sumeramikoto, Kami no maki.
Chapter 29: (Emperor Tenmu, second chapter) Ama no Nunakahara Oki no Mahito no Sumeramikoto, Shimo no maki.
Chapter 30: (Empress Jitō) Takamanohara Hirono Hime no Sumeramikoto.

Process of compilation

Background
The background of the compilation of the  is that Emperor Tenmu ordered 12 people, including Prince Kawashima, to edit the old history of the empire.

Shoku Nihongi notes that "" in the part of May 720. It means "Up to that time, Prince Toneri had been compiling Nihongi on the orders of the emperor; he completed it, submitting 30 volumes of history and one volume of genealogy".

References
The  is a synthesis of older documents, specifically on the records that had been continuously kept in the Yamato court since the sixth century. It also includes documents and folklore submitted by clans serving the court. Prior to , there were Tennōki and Kokki compiled by Prince Shōtoku and Soga no Umako, but as they were stored in Soga's residence, they were burned at the time of the Isshi Incident.

The work's contributors refer to various sources which do not exist today. Among those sources, three Baekje documents (Kudara-ki, etc.) are cited mainly for the purpose of recording diplomatic affairs. Textual criticism shows that scholars fleeing the destruction of the Baekje to Yamato wrote these histories and the authors of the  heavily relied upon those sources. This must be taken into account in relation to statements referring to old historic rivalries between the ancient Korean kingdoms of Silla, Goguryeo, and Baekje.

Some other sources are cited anonymously as aru fumi (; "some document"), in order to keep alternative records for specific incidents.

Temporal Discrepancies
Most emperors reigning between the 1st and 4th century have reigns longer than 70 years, and aged 100. This could be due to the writers' attempt to overwrite the history of Himiko, and fabricate a fictitious figure of Empress Jingū to replace her.

Many records in the Nihon shoki show clear signs of taking records from other sources but shifting the dates. Most notable are the records of events during Jingū and Ōjin's reigns, where most seem to have a calendrical shift of exactly two cycles of the sexagenary cycle, or 120 years.

Not all records in the Nihon Shoki are consistently shifted according to this pattern, making it difficult to know which dates are accurate.

For example, according to the Song Shu, the Wa paid tribute to Liu Song dynasty in 421, and until 502 (Liu Song ended in 479), five monarchs sought to be recognized as Kings of Wa. However, the Nihon Shoki only shows three successive emperors in this time period; Emperor Ingyō, Ankō, and Yūryaku.

Nihon Shoki's records of events regarding Baekje after Emperor Yūryaku start matching with Baekje records, however.

The lifetimes of those monarchs themselves, especially for the Emperors Jingū, Ōjin, and Nintoku, have been exaggerated. Their lengths of reign are likely to have been extended or synthesized with others' reigns, in order to make the origins of the imperial family sufficiently ancient to satisfy numerological expectations. It is widely believed that the epoch of 660 BCE was chosen because it is a "xīn-yǒu" year in the sexagenary cycle, which according to Taoist beliefs was an appropriate year for a revolution to take place. As Taoist theory also groups together 21 sexagenary cycles into one unit of time, it is assumed that the compilers of  assigned the year 601 (a "xīn-yǒu" year in which Prince Shotoku's reformation took place) as a "modern revolution" year, and consequently recorded 660 BCE, 1260 years prior to that year, as the founding epoch.

Skepticisms in history
Most scholars agree that the purported founding date of Japan (660 BCE) and the earliest emperors of Japan are mythical. This does not necessarily imply that the persons referred to did not exist, merely that there is insufficient material available for further verification and study. Dates in the  before the late 7th century were likely recorded using the Genka calendar system brought by the Buddhist monk Gwalleuk of Baekje.

Kesshi Hachidai
For the eight emperors of Chapter 4, only the years of birth and reign, year of naming as Crown Prince, names of consorts, and locations of tomb are recorded. They are called the Kesshi Hachidai (", "eight generations lacking history") because no legends (or a few, as quoted in Nihon Ōdai Ichiran) are associated with them. Some studies support the view that these emperors were invented to push Jimmu's reign further back to the year 660 BCE.  itself somewhat elevates the "tenth" emperor Sujin, recording that he was called the Hatsu-Kuni-Shirasu (": first nation-ruling) emperor.

Other
The tale of Urashima Tarō is developed from the brief mention in  (Emperor Yūryaku Year 22) that a certain child of Urashima visited Horaisan and saw wonders. The later tale has plainly incorporated elements from the famous anecdote of "Luck of the Sea and Luck of the Mountains" (Hoderi and Hoori) found in . The later developed Urashima tale contains the Rip Van Winkle motif, so some may consider it an early example of fictional time travel.

See also
 Iki no Hakatoko no Sho
 Shaku Nihongi
 William George Aston
 Hiromichi Mori
 Historiographical Institute of the University of Tokyo
 International Research Center for Japanese Studies
 Japanese Historical Text Initiative
 Historiography of Japan

Notes

References
(Nihongi / Nihon Shoki texts)
, English translationNihongi: Chronicles of Japan from the Earliest Times to A.D. 697. 2 vols. Kegan Paul. 1972 Tuttle reprint.

, original kanbun text; uncommon kanji (incl. ) undisplayed but Norton safeweb OK as of accessdate.
 , searchtext resource to retrieve kanbun text vs. English tr. (Aston) in blocs.
, modern Japanese translation.

(Secondary literature)
 Brownlee, John S. (1997) Japanese historians and the national myths, 1600–1945: The Age of the Gods and Emperor Jimmu. Vancouver: University of British Columbia Press.   Tokyo: University of Tokyo Press.
Brownlee, John S. (1991). Political Thought in Japanese Historical Writing: From  (712) to Tokushi Yoron (1712). Waterloo, Ontario: Wilfrid Laurier University Press.

External links
 Searchable version of Aston's translation.

  Text (六国史全文) Downloadable lzh compressed file
 Online English Translations
Manuscript scans at Waseda University Library: ,

History books about Japan
Old Japanese texts
8th-century history books
Nara-period works
Japanese mythology
Shinto texts
Nara period
Japanese literature in Classical Chinese
N
720
8th century in Japan
Kanbun

Nihon Shoki


Parkhead () is a district in the East End of Glasgow. Its name comes from a small weaving hamlet at the meeting place of the Great Eastern Road (now the Gallowgate and Tollcross Road) and Westmuir Street. Glasgow's Eastern Necropolis cemetery was laid out in the area in 1847 beside the Gallowgate.

History
The area flourished with the discovery of coal in 1837 and grew into an industrial centre. In 1897 William Beardmore and Company became famous with the production of high grade steel and castings at the local Parkhead Forge, founded about 1837 and extended between 1884 and 1914. After years of decline, the massive plant was closed in 1976, and in 1986 the construction of the first phase of The Forge Shopping Centre began on the site.  The shopping centre opened in the autumn of 1988, and in 1994 an indoor market was added adjacent to it.  The final element, a retail park, was completed in three stages between 1996 and 2002.

Parkhead Cross is a major road junction which is the meeting point of Gallowgate, Duke Street, Westmuir Street, Tollcross Road and Burgher Street, which together form a turreted Edwardian five-way junction, including several fine buildings making the junction notable, such as the former Glasgow Savings Bank. The junction, which also incorporates the northern termination of the major Springfield Road thoroughfare, can become very busy due to traffic for football games at nearby Celtic Park.

Most of the district's amenities and places of worship are situated within a few blocks of the Cross.

Hospitals
Belvidere Hospital, built on the Belvidere estate which extended from London Road to the River Clyde, originally consisted of wooden huts thrown up rapidly when the city's older fever hospital at Parliamentary Road was overwhelmed by a typhus epidemic in 1870. A self-contained smallpox hospital of five brick pavilions was built from 1874. After this, nineteen pavilions of red-and-white striped brick were set up for the fever hospital. In recent times, with the general closure of infectious disease hospitals, care of elderly people became its main function before closing in 1999.

Parkhead Hospital, which opened on 12th November 1988, was said to be the only new psychiatric hospital to be built in Scotland in the 20th century. (However, some 18th and 19th century institutions did move to new buildings during the 20th century.) It was built on part of the old forge land, next to the Parkhead Health Centre, and replaced the psychiatric and psycho-geriatric admission wards of both Duke Street Hospital (formerly known as the Eastern District Hospital) and Gartloch Hospital - both units moved into the new hospital in 1988 on the day of a Rangers-Celtic match at the nearby Celtic Park. The hospital closed in 2018, with the intention of building a new health facility on the site.

Libraries
Parkhead also has one of Glasgow's original Carnegie libraries, deftly designed in the Edwardian Baroque style by James Robert Rhind.

Sport

Celtic Park and Barrowfield

Parkhead is perhaps best known as the home of Celtic Football Club and their stadium Celtic Park, which opened in 1892 after the club moved across the road from their old ground, which they had been playing on for their first three years. A journalist covering the event reported that it was like "moving from the graveyard to paradise", referencing the proximity of the adjacent cemetery, hence the nickname "Paradise". Celtic Park is located at 95 Kerrydale Street, just off London Road. The stadium itself is commonly referred to as 'Parkhead' because of its location.  The stadium was substantially rebuilt between 1994 and 1998 and is Scotland's largest football stadium by seating capacity.

From the early 1960s, Celtic conducted most of their training routines at a facility on the periphery of Parkhead named Barrowfield, east of Celtic Park (it is not located in the Barrowfield residential area which lies to the west of the stadium toward Bridgeton). By 2005, those facilities were seen as antiquated, particularly in comparison to those of their Old Firm rivals Rangers at Auchenhowie. Celtic considered building new facilities at their site in Barrowfield, but instead decided to develop the Lennoxtown training centre outside the city. Today there are still football pitches on the land as well as a large Celtic social club; the Celtic first team temporarily resumed training at Barrowfield in November 2011, after a spate of training ground injuries led manager Neil Lennon to fear that the Lennoxtown pitches were responsible. In 2019, Celtic announced plans to redevelop Barrowfield for use by their youth academy and women's team, including an indoor pitch and a matchday venue, augmenting the Lennoxtown base which would continue to be used by the first team squad and strengthening their connection to their roots in the East End of Glasgow.

Other
Prior to its dissolution, Parkhead FC was one of the most successful Junior sides of the first half of the 20th century. Two other strong teams of the time, Bridgeton Waverley and Strathclyde also had their grounds in close proximity (New Barrowfield and Springfield Park respectively); none of the three clubs survived into the late 20th century. Parkhead's ground Helenslea Park is now a landscaped public park.

There are also two bowling clubs and a derelict sports ground (Helenvale Park, formerly used by the Glasgow Corporation Transport department which had a large bus and tram depot nearby) in the vicinity – Crownpoint Sports Complex, a replacement modern outdoor athletics track, is located beyond the western border of the district adjacent to St Mungo's Academy. After the 2014 Commonwealth Games was held in Glasgow, Parkhead now has international-class sporting facilities within walking distance: the Commonwealth Arena and Sir Chris Hoy Velodrome are located in nearby Dalmarnock.

Rail
Parkhead North railway station
Parkhead Stadium railway station

Famous Residents
John Scott Russell, engineer
Jim Cairney, footballer
John Cairney, writer

See also
 Glasgow tower blocks

References

External links

Parkhead History
Parkhead and Dalmarnock, socio-economic profile at Understanding Glasgow (2012)

Areas of Glasgow

Parkhead


Bear is a gay slang term. It describes a hairier and/or heavy-set gay or bisexual man. A bear typically projects an image of rugged masculinity. Some bears present a very masculine, over-the-top image of a ruggedly masculine man. Bears also exhibit masculine behavior comparable to romanticized brotherhood, often engaging in masculine hobbies such as outdoor activity, sports, and gaming with others from their community in a romanticized fashion. There are many different labels for different kinds of bears, based upon amount of fat, muscle, hair, masculinity, and age, though higher amounts of each of these qualifications are what more commonly define the bear community (Also called the International Bear Brotherhood).

Feminine traits and typical traits of more common gay men aren't often seen as attractive to bears, as they are less definitive of the group, which has lead to discrimination in the past. Bears often form clubs modeled on biker clubs. Clubs are formed for bears to hang out with their own kind. These clubs may have bylaws, membership requirements, and charities the clubs support. They may host bear-related events such as "Mr. Bear" male beauty contests.

Some of the more common labels for bears are Cubs, Otters, Chasers, Muscle-Bears, and Chubs. A younger (or younger looking) version of a bear is called a cub. Cubs are often younger or less mature or masculine-looking. The term is sometimes used to imply the passive partner in a relationship. An "otter" is a slimmer or less hairy bear regardless of age, and a Chaser is a member of the bear community who is attracted to any kind of bear without being one themselves.

Bears have scrapped within their communities from time to time. Discrimination has been had between the types of bears more commonly at earlier dates. Some bears and "muscle bears" have not welcomed Chubs, bears who favor and exhibit mostly fat as a bear, at their events. Because of what bears and members of the bear community are most often attracted too, exclusion of those kinds of people has often occurred. Fat (or lack of it) has become an issue. Many men in the Bear Community regard their overweight condition as a form of self-acceptance and sign of coming of age, overlapping with the Gay Gainer community in this regard. The majority of bears are white because of prior Gaelic views of the bear animal and masculinity, and because of genetics. Hairiness is regarded as a standard of physical attractiveness that genetically favors white men aesthetically, socially, and sexually.

Although typically excluded from the mainstream gay media, there are several publications that exist for the bear community. Although most are more beefcake and porn-focused, there are some, such as Bear World Magazine, which focus on the bear lifestyle, covering a range of topics and celebrating the bear community as a whole. There is also a genre of manga called Bara or Gei Komi which focuses on the gay romance of bigger and more masculine men, though Bara has never been translated into anime.

References

Other websites
 Camille Paglia's commentary on Bears for Salon
 "I am Bear, hear me roar," Andrew Sullivan's article for Salon
 "Gay Cliques Census from Noodles and Beef captures characteristics of self-identified bears"
Bear World Magazine

Bear (gay male)

Bear (gay slang)


Abbott Handerson Thayer (August 12, 1849May 29, 1921) was an American artist, naturalist, and teacher. As a painter of portraits, figures, animals, and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio.

Early life

Thayer was born in Boston to William Henry Thayer and Ellen Handerson, members of the Thayer family. The son of a country doctor, he spent his childhood in rural New Hampshire, near Keene, at the foot of Mount Monadnock. In that rural setting, he became an amateur naturalist (in his own words, he was "bird crazy"), a hunter and a trapper. Thayer closely studied Audubon's Birds of America, experimented with taxidermy, and made his first artworks: watercolor paintings of animals.

At the age of fifteen he was sent to the Chauncy Hall School in Boston, where he met Henry D. Morse, an amateur artist who painted animals. With guidance from Morse, Abbott developed and improved his painting skills, focusing on depictions of birds and other wildlife, and soon began painting animal portraits on commission. He also taught his sister, Ellen Thayer Fisher, techniques that he was learning.

At age 18, he relocated to Brooklyn, New York, to study painting at the Brooklyn Art School and the National Academy of Design. studying under Lemuel Wilmarth. He met many emerging and progressive artists during this period in New York, including his future wife, Kate Bloede and his close friend, Daniel Chester French. He showed work at the newly formed Society of American Artists, and continued refining his skills as an animal and landscape painter. In 1875, after having married Kate Bloede, he moved to Paris, where he studied for four years at the École des Beaux-Arts, with Henri Lehmann and Jean-Léon Gérôme, and where his closest friend became the American artist George de Forest Brush. Returning to New York, he established his own portrait studio (which he shared with Daniel Chester French), became active in the Society of American Painters, and began to take in apprentices.

Return to New Hampshire

Life became all but unbearable for Thayer and his wife during the early 1880s, when two of their small children died unexpectedly, one year apart. Emotionally devastated, they spent the next several years relocating from place to place. Although he was not yet secure financially, Thayer's growing reputation resulted in more portrait commissions than he could accept. Among his sitters were George Washington Cable, Mark Twain, and Henry James. He also made numerous portraits of the three remaining Thayer children, Mary, Gerald, and Gladys, and used them as models for symbolic compositions such as Angel (1887) and Virgin Enthroned (1891).

After her father died, Thayer's wife lapsed into an irreversible melancholia, which led to her confinement in an asylum, the decline of her health, and her eventual death on May 3, 1891, from a lung infection. Soon after, Thayer married their long-time friend, Emmeline "Emma" Buckingham Beach, whose father  Moses Yale Beach owned  The New York Sun. He and his second wife spent their remaining years in rural New Hampshire, living simply and working productively. In 1901, they settled permanently in Dublin, New Hampshire, where Thayer had grown up. The Thayer family frequently entertained prominent guests there such as Ralph Waldo Emerson and Mark Twain.

Eccentric and opinionated, Thayer grew more so as he aged, and his family's manner of living reflected his strong beliefs: the Thayers typically slept outdoors year-round in order to enjoy the benefits of fresh air, and the three children were never enrolled in a school. The younger two, Gerald and Gladys, shared their father's enthusiasms, and became painters. In 1898, Thayer visited St Ives, Cornwall and, with an introductory letter from C. Hart Merrian, the Chief of the US Biological Survey in Washington, D.C., applied to the lord of the Manor of St Ives and Treloyhan, Henry Arthur Mornington Wellesley, the 3rd Earl Cowley, for permission to collect specimens of birds from the cliffs at St Ives. During this latter part of his life, among Thayer's neighbors was George de Forest Brush, with whom (when they were not quarreling) he collaborated on camouflage.

Artistic achievements

It is difficult to categorize Thayer simply as an artist. He was often described in first-person accounts as eccentric and mercurial, and there is a parallel contradictory mixture of academic tradition, spontaneity and improvisation in his artistic methods. For example, he is largely known as a painter of "ideal figures", in which he portrayed women as embodiments of virtue, adorned in flowing white tunics and equipped with feathered angel's wings. At the same time, he did this using methods that were surprisingly unorthodox, such as purposely mixing dirt into the paint, or (in one instance at least, according to Rockwell Kent) using a broom instead of a brush to lessen the sense of rigidity in a newly finished, still-wet painting.

Thayer was largely surrounded by women, be they his family, housekeepers, models or students. Biographer Ross Anderson believed that in his mind "feminine virtue and aesthetic grandeur were inextricably linked"; Thayer felt that the press and even other artists contributed to the degradation of women by emphasizing their sexuality, rather than exalting their moral attributes. When he began to add wings to his figures in the late 1880s, he was making more obvious the transcendent qualities he saw in the female subject: Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures."

Thayer's first use of the theme was the painting Angel. The wings were nailed into a board, in front of which his daughter Mary stood. The poignancy of Thayer's imagery was found wanting by art critic Clarence King, who suggested the use of buckets "to catch the dripping sentiment", yet other critics like Mariana Van Rensselaer were impressed by the serenity of Thayer's vision, and saw a "distinctly modern" approach in his traditional compositions.

He survived with the help of his patrons, among them the industrialist Charles Lang Freer. Some of his finest works are in the collections of the Freer Gallery of Art, Metropolitan Museum of Art, National Academy of Design, Smithsonian American Art Museum, and Art Institute of Chicago.

Teaching
Thayer was resourceful in his teaching, which he saw as a useful, inseparable part of his own studio work. Among his devoted apprentices were Rockwell Kent, Louis Agassiz Fuertes, Richard Meryman, Barry Faulkner (Thayer's cousin), Alexander and William James (the sons of Harvard philosopher William James), and Thayer's own son and daughter, Gerald and Gladys. He also had a profound influence on Dennis Miller Bunker, who, while not a formal pupil, was invited to paint alongside the older artist in 1886, and wrote "Thayer's the first great man I ever knew, and I can't quite get used to it."

In a letter to Thomas Wilmer Dewing (, in the collection of the Archives of American Art, Smithsonian Institution), Thayer reveals that his method was to work on a new painting for only three days. If he worked longer on it, he said, he would either accomplish nothing or would ruin it. So on the fourth day, he would instead take a break, getting as far from the work as possible, but meanwhile instruct each student to make an exact copy of that three-day painting. Then, when he did return to his studio, he would (in his words) "pounce on a copy and give it a three-day shove again". As a result, he would end up with alternate versions of the same painting, in substantially different finished states.

Camouflage contributions
Further information: Concealing-Coloration in the Animal Kingdom

Thayer is sometimes referred to as the "father of camouflage". While he did not invent camouflage, he was one of the first to write about  disruptive patterning to break up an object's outlines, about distractive markings, about masquerade, as when a butterfly mimics a leaf (though here he was anticipated by Bates, Wallace, and Poulton), and especially about countershading.

Beginning in 1892, he wrote about the function of countershading in nature, by which forms appear less round and less solid through inverted shading, by which he accounted for the white undersides of animals. This finding is still accepted widely, and is sometimes now called Thayer's Law. However, he became obsessed with the idea that all animals are camouflaged, spoiling his case by arguing that conspicuous birds like peacocks and flamingoes were in fact cryptically colored. He was vigorously attacked for this in a long paper by Theodore Roosevelt.

Thayer first became involved in military camouflage in 1898, during the Spanish–American War, when he and his friend George de Forest Brush proposed the use of protective coloration on American ships, using countershading. The two artists did obtain a patent for their idea in 1902, titled "Process of Treating the Outsides of Ships, etc., for Making Them Less Visible", in which their method is described as having been modeled on the coloration of a seagull.

Thayer and Brush's experiments with camouflage continued into World War I, both collaboratively and separately. Early during that war, for example, Brush developed a transparent airplane, while Thayer continued his interest in disruptive or high-difference camouflage, which was not unlike what British ship camouflage designer Norman Wilkinson would call dazzle camouflage (a term that may have been inspired by Thayer's writings, which referred to disruptive patterns in nature as "razzle dazzle".)

Gradually, Thayer and Brush entrusted their camouflage work to the responsibility of their sons. Concealing-Coloration in the Animal Kingdom (1909), which had taken seven years to prepare, was credited to Thayer's son, Gerald. At about the same time, Thayer once again proposed ship camouflage to the U.S. Navy (and was again unsuccessful), this time working not with Brush, but with Brush's son, Gerome (named in honor of his father's teacher).

In 1915, during World War I, Thayer made proposals to the British War Office, trying unsuccessfully to persuade them to adopt a disruptively patterned battledress, in place of monochrome khaki, though he was too anxious to attend the meeting in person. Meanwhile, Thayer and Gerome Brush's proposal for the use of countershading in ship camouflage was approved for use on American ships, and a handful of Thayer enthusiasts (among them Barry Faulkner) recruited hundreds of artists to join the American Camouflage Corps.

Later years

Despite rapid changes in the art world in the early 20th century, Thayer's reputation remained strong. Yale University offered him an honorary degree in 1916, and the Carnegie Institute in Pittsburgh mounted an exhibition of his work in 1919 that included over fifty paintings. The view from his home of Mt. Monadnock became a favorite subject, and when the area was threatened with development Thayer campaigned successfully for its preservation.

By his own admission, Thayer often suffered from a condition that is now known as bipolar disorder. In his letters, he described it as "the Abbott pendulum", by which his emotions alternated between the two extremes of (in his words) "all-wellity" and "sick disgust". This condition apparently worsened as the controversy grew about his camouflage findings, most notably when they were denounced by former U.S. President Theodore Roosevelt. As he aged, he suffered increasingly from panic attacks (which he termed "fright-fits"), nervous exhaustion, and suicidal thoughts, so much so that he was no longer allowed to go out in his boat alone on Dublin Pond. Thayer continued to paint, but was compelled to stop working for weeks at a time due to nervous exhaustion. In an effort to avert suicidal thoughts, he sought help at a sanatorium in Wellesley, Massachusetts.

At age 71, Thayer, disabled by a series of strokes, died quietly at home on May 29, 1921.

Legacy
In October 2008, a documentary film about Thayer's life and work premiered at the Smithsonian American Art Museum. Titled Invisible: Abbott Thayer and the Art of Camouflage, it featured a wide selection of his drawings and paintings, archival photographs, historic documents, and interviews with humorist P. J. O'Rourke, Richard Meryman, Jr. (whose father was Thayer's student), camouflage scholar Roy R. Behrens, Smithsonian curator Richard Murray, Thayer's friends and relatives, and others.

See also
 Stevenson Memorial, a 1903 painting by Thayer to commemorate the writer Robert Louis Stevenson
 The Sisters, an 1884 oil on canvas painting by Thayer
 Thayer family

References

Unpublished sources
 "Abbott Handerson Thayer And Thayer Family Papers", Archives of American Art Smithsonian Institution, consisting of Thayer's correspondence, photographs, and other manuscript material
 "Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists", Archives of American Art, Smithsonian Institution
 Letter from Thayer to the land agent of Earl Cowley, dated June 2, 1898, at the Cornwall Record Office, Ref. No. GHW/12/3/6/1/91/43.

Published sources
 Ross Anderson (1982). Abbott Handerson Thayer. Syracuse, NY: Everson Museum.
 Roy R. Behrens, "The Theories of Abbott H. Thayer: Father of Camouflage" in Leonardo. Vol 21 No 3 (1988), pp. 291–296.
 Roy R. Behrens, "Abbott H. Thayer's Anticipation of a Computer-Based Method of Working" in Leonardo. Vol 34 No 1 (2001), pp. 19–20.
 Roy R. Behrens, "The Meaning of the White Undersides of Animals: Abbott H. Thayer and the Laws of Disguise" in False Colors: Art, Design and Modern Camouflage (Bobolink Books, 2002). .

 Mary Fuertes Boynton (1952) Abbott Thayer and Natural History. St. Catherine Press
 Nancy Douglas Bowditch, George de Forest Brush (William Bauhan, 1970).
 Barry Faulkner, Sketches from an Artist's Life (William Bauhan, 1973).

 Erica E. Hirshler, Dennis Miller Bunker: American Impressionist. Museum of Fine Arts, Boston, 1994.
 Kevin M. Murphy, "Not Theories but Revelations" The Art and Science of Abbott Handerson Thayer. Williams College Museum of Art, 2016.
 Elizabeth Prelinger, The Gilded Age: Treasures from the Smithsonian American Art Museum. Watson-Guptill, New York, 2000.
 Hanna Rose Shell, '"Instantaneous Photography and Abbott Thayer's Modeling of Invisibility in Nature and Man" in Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance (Zone Books, 2012).
 Abbott H. Thayer and Gerald H. Thayer, Concealing Colouration in the Animal Kingdom (New York: Macmillan, 1909/1918).
 Nelson C. White, Abbott H. Thayer: Painter and Naturalist (Connecticut Printers, 1951).
 Nancy Stula with Nancy Noble,  American Artists Abroad and their Inspiration (New London: Lyman Allyn Art Museum, 2004).

External links

 Abbott Handerson Thayer exhibition catalogs from The Metropolitan Museum of Art Libraries
 "A Painter of Angels Became the Father of Camouflage"  article that first appeared in Smithsonian Magazine
 "Abbott Thayer's Camouflage Demonstrations: Countershading, Disruption and Background Picturing"
 Exhibition of paintings by Abbott H. Thayer : Pittsburgh, Carnegie Institute, 1919

1849 births
1921 deaths
Painters from Boston
19th-century American painters
American male painters
20th-century American painters
American landscape painters
People from Keene, New Hampshire
American alumni of the École des Beaux-Arts
Camoufleurs
People with bipolar disorder
People from Dublin, New Hampshire
19th-century American male artists
Chapel Hill – Chauncy Hall School alumni
20th-century American male artists

Abbott Handerson Thayer


The Criminal Justice (Theft and Fraud Offences) Act, 2001 (No. 50 of 2001) updates and consolidates the law relating to dishonesty and fraud in the Republic of Ireland.

The main sections of the statute include:

Theft and Related Offences
Making gain or causing loss by deception
Making off without payment
Unlawful use of computer
False accounting
Suppression of documents
Burglary
Robbery
Possession of certain articles
Handling Stolen Property and other Proceeds of Crime
Forgery
Counterfeiting

See also
Garda Bureau of Fraud Investigation (GBFI)
Criminal Justice Act Republic of Ireland
Deception (criminal law) Republic of Ireland
Michael Fahy Misappropriation conviction

References

External links
 Criminal Justice (Theft and Fraud Offences) Act, 2001

2001 in Irish law
Acts of the Oireachtas of the 2000s
Irish criminal law
Fraud in the Republic of Ireland
Fraud legislation

Criminal Justice (Theft and Fraud Offences) Act 2001


Jimmy Allen Oliver (born July 12, 1969) is an American former professional basketball player who played several seasons in the National Basketball Association (NBA). He was selected by the Cleveland Cavaliers in the second round (39th pick overall) of the 1991 NBA draft.

College career

Jimmy "Slice" Oliver attended Community College for one year and then transferred to Purdue University, located in West Lafayette, Indiana and played under head coach Gene Keady. The 6'6", 208 lb guard-forward appeared in 31 games in his sophomore season, playing behind Center Steve Scheffler and alongside guard Matt Painter. He averaged 5.3 points while averaging 18.2 minutes per game in his first eligible season.

Jimmy started his junior season out receiving more minutes and improved his shooting percentage to nearly 50%, while also improving his points average to 8 a game. He helped lead the Boilers to a 2nd-place finish in the Big Ten Conference and to the Second Round of the NCAA Tournament with a 22-8 record.

Averaging 19.2 points a game during his senior year, fourth in the conference, and owning an .861 free throw percentage to lead the conference, he was an All-Big Ten First Team selection. Jimmy led Purdue to a second straight NCAA Tournament appearance. He finished his college career with a 40.6% accuracy from 3-point land. Jimmy led the Boilers in assists (89) and minutes per game (35.4) in his senior season. He played his last collegiate game in the NABC All-America Game at the 1991 NCAA Final Four, where he recorded a game-high 25 points.

Professional career

Oliver was selected in the second round with the 39th pick by the Cleveland Cavaliers in the 1991 NBA draft. Oliver played his rookie season for the Cavaliers, averaging 3.6 ppg in 27 games. After being invited to the Detroit Pistons' pre-season camp, he joined the CBA for the 1992–93 season, where he averaged 17.3 ppg in 15 games. After one season in the CBA, Oliver returned to the NBA for the 1993–1994 season. He played for the Boston Celtics, where he averaged 4.9 ppg and started six of the 44 games he played. After leaving the league for two seasons, he returned for the expansion draft, where he played a season with the Toronto Raptors for the 1996–97 season. He finished his last two NBA seasons with the Washington Bullets (1997–98) and the Phoenix Suns (1998–99). Playing on five different NBA teams throughout five seasons, he played in a total of 78 games (14 starts) and scored 331 points with 34% three point and .772% free throw accuracy.

After his NBA tenure, Jimmy Oliver played for several European clubs, including the Greek club Maroussi Athens; he won the FIBA Saporta Cup with them in 2001. He scored 31 points in the final match against Chalon.

Earlier, he had won the 1993 Copa Galicia, with Pescanova Ferrol, of Spain; in 2006, he led KK Olimpija to both the Slovenian League and Slovenian Cup titles.

National team career

During the NBA lockout, Jimmy played for the US national team in the 1998 FIBA World Championship, teamed up with the likes of another former Boilermaker, Brad Miller. Jimmy Oliver was the leading scorer of Team USA averaging 11.8 points per game, leading them to the bronze medal.

References

External links

NBA Historical Profile
Euroleague.net Profile
FIBA Europe Profile
Italian League Profile
Spanish League Profile

1969 births
Living people
20th-century African-American sportspeople
21st-century African-American sportspeople
1998 FIBA World Championship players
ABA League players
African-American basketball players
American expatriate basketball people in Canada
American expatriate basketball people in Croatia
American expatriate basketball people in France
American expatriate basketball people in Greece
American expatriate basketball people in Italy
American expatriate basketball people in Russia
American expatriate basketball people in Slovenia
American expatriate basketball people in Spain
American men's basketball players
Apollon Patras B.C. players
Basketball players from Arkansas
BC Dynamo Moscow players
Boston Celtics players
Cleveland Cavaliers draft picks
Cleveland Cavaliers players
Irakleio B.C. players
KK Split players
KK Olimpija players
Liga ACB players
Maroussi B.C. players
Mens Sana Basket players
Oklahoma City Cavalry players
People from Conway County, Arkansas
Phoenix Suns players
Purdue Boilermakers men's basketball players
Quad City Thunder players
Rockford Lightning players
San Diego Wildcards players
Shooting guards
Sioux Falls Skyforce (CBA) players
SLUC Nancy Basket players
Small forwards
Toronto Raptors players
United States men's national basketball team players
Washington Wizards players

Jimmy Oliver (basketball)