South Sulawesi () is a province in the southern peninsula of Sulawesi, Indonesia. The Selayar Islands archipelago to the south of Sulawesi is also part of the province. The capital and largest city is Makassar. The province is bordered by Central Sulawesi and West Sulawesi to the north, the Gulf of Bone and Southeast Sulawesi to the east, Makassar Strait to the west, and Flores Sea to the south.

The 2010 census estimated the population as 8,032,551, which makes South Sulawesi the most populous province on the island (46% of the population of Sulawesi is in South Sulawesi), and the sixth most populous province in Indonesia. At the 2020 Census this had risen to 9,073,509, and the official estimate as at mid 2022 was 9,225,747. The main ethnic groups in South Sulawesi are the Buginese, Makassarese, Toraja, and Mandar. The economy of the province is based on agriculture, fishing, and mining of gold, magnesium, iron and other metals. The pinisi, a traditional Indonesian two-masted sailing ship, is still used widely by the Buginese and Makassarese, mostly for inter-insular transportation, cargo, and fishing purposes within the Indonesian archipelago.

During the golden era of the spice trade, from the 15th to 19th centuries, South Sulawesi served as the gateway to the Maluku Islands. There were a number of small kingdoms, including two prominent ones, the Kingdom of Gowa near Makassar and the Bugis kingdom located in Bone. The Dutch East India Company (VOC) began operating in the region in the 17th century. VOC later allied with the Bugis prince, Arung Palakka, and they defeated the kingdom of Gowa. The king of Gowa, Sultan Hasanuddin was forced to sign a treaty which greatly reduced the power of Bungaya Gowa.

History

Sulawesi was first inhabited by humans around 30,000 years ago. The archaeological remains of the earliest inhabitants were discovered in caves near limestone hills around Maros, about 30 km northeast of Makassar. Pebble and flake stone tools have been collected from the river terraces in the valley of Walanae, among Soppeng and Sengkang, including the bones from giant pig and elephant species that are now extinct. Hand print paintings, estimated to be around 35,000 to 40,000 years old, have been found in the Pettakere cave, located  from the town of Maros and  from Makassar.

Increase in commerce due to the rise of external demand for South Sulawesi rice encouraged major agricultural expansion and political centralization in the early 14th century. Swidden agriculture was increasingly replaced with intensive wet rice cultivation, leading to a rise in population density. New settlements were founded in the interior part of the peninsula as pristine forests were cleared. These changes accompanied the rise of new interior agricultural polities, such as the Bugis chiefdoms of Boné and Wajoq, as well as the Makassar polity of Gowa.

By the early 16th century, Boné had assumed a paramount position in the eastern part of the peninsula, while the Makassar twin kingdoms of Gowa and Talloq started to expand their influence throughout the western part. Their competition for hegemony over South Sulawesi caused Gowa-Talloq and Boné to clash in the 1560s.

In 1582, Boné, Soppéng, and Wajoq signed a mutual defense pact known as the Treaty of Timurung. The alliance, also referred to as the Tellumpocco ("Three Powers", lit. "Three Peaks"), sought to stop Gowa's expansionism and to reclaim the autonomy of the Bugis polities under Gowa's vassalage. Gowa's campaigns against the alliance in 1582, 1585, and 1588 were all successfully repulsed, with another one in 1590 abandoned following the death of Gowa's ruler. By the early 17th century, however, Gowa and Talloq had become the dominant powers in South Sulawesi as they supported international commerce and embracing Islam. Gowa waged successful campaigns against the Bugis kingdoms, defeating Soppéng in 1609, Wajoq in 1610, and Boné in 1611.

The Dutch East India Company (VOC) began operating in the region in the 17th century and saw the Kingdom of Gowa as an obstacle for its desire to control of the spice trade in this area. VOC later allied with the Bugis prince, Arung Palakka, who was living in exile after the fall of the Bugis. After a year-long battle, they defeated the kingdom of Gowa. And the king of Gowa, Sultan Hasanuddin was forced to sign a treaty greatly reducing the power of Bungaya Gowa. Furthermore, Palakka became ruler in South Sulawesi.

A Bugis queen later emerged to lead the resistance against the Dutch, who were busy dealing with the Napoleonic Wars in Europe, but after the end of the Napoleonic Wars, the Dutch returned to South Sulawesi and eradicated the queen's rebellion. But resistance of the Bugis people against colonial rule continued until 1905. In 1905, the Dutch also managed to conquer Tana Toraja.

Before the proclamation of the Republic of Indonesia, South Sulawesi consisted of a number of independent kingdoms' territory and was inhabited by four ethnic groups namely the Bugis, Makassar, Mandar, and Toraja.

On June 16, 2022, a tornado struck in the province, damaging 63 homes. One man died of a stress-induced medical issue during the tornado, but was not a direct tornado-related fatality.

Geography
South Sulawesi is located at 4°20'S 120°15'E and covers an area of 46,717.48 square kilometres. The province is bordered by Central Sulawesi and West Sulawesi to the north, the Gulf of Bone and Southeast Sulawesi to the east, Makassar Strait to the west, and Flores Sea to the south.

Administrative divisions

Five years after independence, the government issued Law No. 21 of 1950, which became the basis of the legal establishment of what was then the Sulawesi province. Ten years later, the government passed Law No. 47 of 1960 which endorsed the formation of the South/Southeast Sulawesi province. Four years after that, with Act No. 13 of 1964, the provinces of South Sulawesi and Southeast Sulawesi were separated. Forty years later, the South Sulawesi government was split into two, with the regencies of Majene, Mamasa, Mamuju, Pasangkayu, and Polewali Mandar being separated off into a new West Sulawesi province on 5 October 2004 under Act No. 26 of 2004.

The remaining South Sulawesi Province is divided into 21 regencies and three independent cities.

Demographics

Ethnic groups

The main religion in South Sulawesi is Islam at 89.62% (7,200,938). Other major religions include Protestantism 7.62% (612,751), Roman Catholicism 1.54% (124,255), Buddhism 0.24% (19,867), Hinduism 0.72% (58,393), and Confucianism 0.004% (367).

South Sulawesi has a diverse range of ethnic groups. The main three are:
 The Buginese (Suku Bugis) are the largest ethnic group in South Sulawesi, comprising almost 4 million people. These people inhabit the middle of the southern peninsula of South Sulawesi. Many of these people have migrated to the outer islands around Sulawesi, even as far as Malaysia.
 The Makassarese (Suku Makassar) are the second largest ethnic group in South Sulawesi. Their language is Makassar. Makassar people inhabit the southern part of the southern peninsula of South Sulawesi including the Jeneponto, Takalar, Bulukumba, Bantaeng, Gowa and Maros Regencies, Pangkajene and Islands, and Makassar city. The total population is over 2 million people.
 The Torajan (Suku Toraja) are the indigenous ethnic group which inhabits the mountainous region of South Sulawesi. Their population is approximately 800,000, 70% of which still live in the regencies of Tana Toraja ("Land of Toraja") and North Toraja.

Language
There are various languages and dialects spoken in South Sulawesi. The majority of them belong to the Malayo-Polynesian branch of Austronesian languages. Below is the list of major languages spoken in the province.

 Makassarese is spoken in the southwestern part of the province, including the city of Makassar. It has a total of 2.1 million speakers.
 Buginese is spoken in an area stretching from Pinrang in the northwest to Bulukumba in the southeast. This language is the predominant language used by many communities in South Sulawesi. It is natively spoken by around 5 million people as a first language, plus 500,000 as a second language speakers, making it one of the most widely spoken language in both South Sulawesi and the island of Sulawesi.
 The Tae' language is mostly spoken in Tana Luwu, the region in the north-east of the province comprising the Luwu, North Luwu and East Luwu Regencies, together with Palopo city. It had approximately 400,000 native speakers in 2020.
 The Toraja language is the native language of Tana Toraja, comprising Tana Toraja Regency and Toraja Utara Regency. It has a total of over 800,000 speakers.
 Mandar, Mamuju and Pattae' are the languages spoken by the Mandar people in the province of West Sulawesi, especially in Mamuju, Polewali Mandar, Majene and Pasangkayu Regencies. In addition to the core in the tribal areas, they are also scattered in coastal parts of South Sulawesi. It is spoken by around 400,000 people.
 The Duri language is a language spoken in the north of Mount Bambapuang, Enrekang and into the border of Tana Toraja. There are an estimated around 130,000 native speakers. It is the prestige variety of the Massenrempulu languages.
 The Konjo language is divided into two groups: the Coastal Konjo language and the Highland Konjo language. The Coastal Konjo live in coastal areas, notably the Bulukumba area, in the southeastern corner of the southern part of the island of Sulawesi. The Mountain Konjo live in the mountains of southeastern Sulawesi, around Bawakaraeng. It has a total of almost 300,000 native speakers.

In 2010 there were 3,921,543 males and 4,111,008 females with 1,848,132 housing units, with an average of 4.34 people per unit versus national average of 3.86. Some 13.3 percent of the population was under the national poverty line.

 The Human Development Index (HDI) for South Sulawesi in 2008 reached 70.22.
 Life expectancy was 69.60 in 2008.
 Poor population was at 12.31 percent in 2009, amounting to 963.6 thousand persons.
 There was an unemployment rate of 8.90 percent in 2009, amounting to 296,559 people.

Religion

Economy

The Sulawesi economy grew 7.78 percent in 2008 and grew by 6.20 percent in 2009. Economic Growth in the First Quarter of 2010 reached 7.77 percent. The GDP in 2009 (ADHK) amounted to Rp 47.31 trillion and 99.90 Trillion (ADHB).

Natural resources

As one of the national rice granaries, South Sulawesi annually produces 2,305,469 tons of rice. Of that amount, rice designated for local consumption is around 884,375 tons and 1,421,094 tons of reserves remain for distribution to other eastern areas. Rice is even exported to Malaysia, to the Philippines, and to Papua New Guinea. The locations of the largest rice production are in the Bone regency, in Soppeng, in Wajo, in Sidrap, in Pinrang, and in Luwu (Bodowasipilu Area).

Food

In addition to corn, the South Sulawesi region also produces cassavas, sweet potatoes, green beans, peanuts, and soybeans.  Some luxuries such as hybrid coconuts, cocoa, coffee, pepper, vanilla, tea, cashews, and cotton are also produced. The Tata Guna Horan Agreement (TGHK) of 2004 protects a lot of the forest in South Sulawesi creating a limited output of timber related products.

Tuna and snapper-grouper are caught in large proportions and seaweed is grown to eat. Farms also have all of the typical animals such as chickens, cows, pigs, goats, etc.

Mining

One of the factors that contributes to the high GRDP of South Sulawesi is the mining sector. Nickel, gold, magnesium, iron, granite, lead, and stone products are mined.

Transportation

Trans-Sulawesi Railway is being constructed. It will connect Makassar and Parepare. 44 km of the railway, connecting Barru to Palanro is targeted to operate in the end of 2018. The entire Makassar-Parepare railway, with a length of 150 km, will be completed in 2019.

Airports in South Sulawesi include Sultan Hasanuddin International Airport (Makassar), Palopo Lagaligo Airport (Palopo), Pongtiku Airport (Tana Toraja), and Haji Aroepala Airport (Selayar), Andi Jemma Airport (Masamba), Soroako Airport (Soroako).

Ports include Soekarno-Hatta (Makassar), Tanjung Ringgit (Palopo), Nusantara, (Pare-Pare) and Pattumbukang (Selayar).

Culture

Philosophy
 Siri Na Pacce (ᨔᨗᨑᨗ ᨊ ᨄᨌᨙ) is one cultural philosophy of the  Bugis-Makassar Society which must be upheld. If one is a siri' na pacce (not a person), then that person does not exceed the behavior of animals, because it has no sense of shame, self-esteem, and social concerns. The people of Bugis-Makassar teach morality in the form of advice about decency, prohibition, and the rights and obligations that dominate human action to preserve and defend himself and his honor. They have a very strong relationship with the view of Islam in terms of spirituality, where the strength of the soul can conquer the body. The core concept of siri' na pacce covers all aspects of community life and is the identity of the Bugis-Makassar.
 Siri Nipakasiri (ᨔᨗᨑᨗ ᨊᨗᨄᨀᨔᨗᨑᨗ) occurs when someone insulted or treated someone outside the boundaries of reasonableness. Then he or his family had to enforce siri' (ᨔᨗᨑᨗ) to restore the honour that has been deprived of, if not it would be called "mate siri' (ᨆᨈᨙ ᨔᨗᨑᨗ)" or dead status and dignity as a human being. The Bugis-Makassar would rather die than live without siri'.
 Siri Masiri (ᨔᨗᨑᨗ ᨆᨔᨗᨑᨗ) is a way of life that intends to maintain, improve, or achieve a feat performed by earnest and hard.

Traditional costume
Baju Bodo (ᨅᨍᨘ ᨅᨚᨉᨚ)[Mks] or Waju Tokko (ᨓᨍᨘ ᨈᨚᨀᨚ)[Bug] is the traditional costume of the women. Baju Bodo is rectangular and is usually short sleeved. According to customs, every color of the clothes worn by women shows the age or the dignity of the wearer. Clothing is often used for ceremonies such as weddings. But now, Baju Bodo is worn in other events such as dance competitions or to welcome guests.

Traditional dance

The traditional dance in South Sulawesi is a combination of dance elements in the form of movement, music, lighting and fashion used by dancers. The combination tells the message about the story of the habits of the community in the past. Like there is a dance that tells about the war, an expression of community excitement and welcoming guests.

In this case, the Bugis-Makassar tribe, whose numbers dominate in representing dance styles in South Sulawesi. However, the Toraja also have many traditional dances that are ritualistic. Some Mandar tribes also inhabit this province and have their own uniqueness in the arts. The rest are tribes of Duri, Pattinjo, Maiwa, Endekan, Pattae, and Ammatoa Kajang, who also paint the distinctive art of South Sulawesi.

Traditional ship

The pinisi or phinisi (ᨄᨗᨊᨗᨔᨗ) is a traditional Indonesian two-masted sailing ship. It was mainly built by the Konjo tribe, a sub-ethnic group but was, and still is used widely by the Buginese and Makassarese, mostly for inter-insular transportation, cargo, and fishing purposes within the Indonesian archipelago.

The hull of the ships looks similar to that of a dhow while the fore-and-aft rigging is similar to that of western schooners, although it might be more correctly termed to resemble a ketch, as the front mast is the larger.
The large mainsails differ from western style gaff rigs though, as they often do not have a boom and the sail is not lowered with the gaff. Instead it is reefed towards the mast, much like a curtain, thus allowing the gaff to be used as deck crane in the harbor. The lower part of the mast itself may resemble a tripod or is made of two poles. Pinisi may be 20 to 35 meters long and can weigh up to 350 tons. The masts may be as high as 30 meters above the deck.

Traditional houses
South Sulawesi has three types of traditional houses. The most known are the Rumah Panggung (Balla/Bola) from Bugis Makassar and the Tongkonan from Toraja.

 Rumah Panggung ( Balla ᨅᨒ[Mks] / Bola ᨅᨚᨒ[Bug] )  Some of the considerations for the building of the house are should it face the sunrise, overlook a plateau, or overlook a cardinal direction.

 Usually a good day or a month to build the house is determined by those who have the skill in that regard. Building the house is preceded by a ritual ceremony.

 Tongkonan is the traditional ancestral house, or rumah adat of the Torajan people. Tongkonan have a distinguishing boat-shaped and oversized saddleback roof. Like most of Indonesia's Austronesian-based traditional architecture, tongkonan are built on piles. The construction of a tongkonan is laborious work and it is usually built with the help of all of one's family members. In the original Toraja society, only nobles had the right to build tongkonan while commoners lived in smaller and less decorated homes called banua.

Traditional food

Rice and other crops such as bananas are abundant so almost all dishes are, like the Bugis Makassar cake, made from rice and bananas. Coastal areas of South Sulawesi eat Bolu (milkfish), Shrimp, Sunu (grouper), and Crab.

In South Sulawesi, the traditional food is diverse, ranging from soup to traditional cakes.

Traditional weapons

 Badik (ᨅᨉᨗ)[Mks] or Kawali (ᨀᨓᨒᨗ)[Bug] A badik is a knife with a specific form developed by the Bugis and Makassar. The Badik is sharp, single or double sided, and has a length of about half a meter. Like with a kris, the blade shape is asymmetric and often decorated with prestige. However, different from the kris, the badik never had a ganja (buffer strip). Some versions from Sulawesi are decorated with inlaid gold figure on the blade called jeko. The handle is made of wood, horn or ivory in a shape of a pistol grip at a 45° to 90° angle and is often decorated with carvings. From Sulawesi, the badik soon spread to neighbouring islands like Java, Borneo, Sumatra, and as far as the Malay Peninsula, creating a wide variety of badik according to each region and ethic group.

As with other blades in the Malay Archipelago, traditionally-made badik are believed to be imbued with a supernatural force during the time of their forging. The pamor in particular is said to affect its owner, bringing either well-being and prosperity or misfortune and poverty. Aside from being used as a weapon and hunting tool, the badik is a symbol of cultural identity in Sulawesi. The Bugis and Makassar people still carry badik as part of their daily attire. The badik is worn on the right side, with the butt end of the handle pointing to the rear.

See also

Ma'jonga
Polewali-Mamasa

References

Notes

Bibliography

Provinces of Indonesia
States and territories established in 1960

South Sulawesi


Seven Kings School (used to be known as Seven Kings High School) is a mixed comprehensive (primary and secondary) school in Ilford in East London, England. For students aged 4–18 years old, Seven Kings School has a separate Primary school and Secondary school buildings, which are close to each other. Seven Kings has also took part in and won awards (which are well known around the UK), such as, The Jack Petchey Award and are known as a National Teaching School. Seven Kings were the first to work to include pupils with special needs and disabilities.

Primary
Seven Kings Primary School is a four-form entry school (they have four classes for each year group), with 120 reception children who started in September 2015.  While they move up, a 120 more children will start going to the school, every year. The school will be full by September 2021, when the original class of reception children becomes Year 6. These first children will be the original year groups of the school and will see the school grow, as they move up through it. All children who go to Seven Kings Primary will be allowed to move on to Seven Kings High School, if they or their parents choose to do so.

Sixth Form

Seven Kings also has a sixth form (Year 12 and Year 13). The sixth form allows more students than the secondary school and allows pupils from boroughs and towns next to Redbridge. More than a hundred students are from another school but this can change on how many Year 11s carry on. You can pick up to four A-Levels there.

Ofsted Reports
In 2007, the school inspectors (Ofsted) gave Seven Kings High School a Grade 1 or an 'outstanding' - this is the highest award they can give.

In 2009, Ofsted have said that SKHS is one of the twelve 'outstanding' schools that help people who wouldn't have found any or 'disadvantaged communities'.

References

Ilford
Schools in London

Seven Kings School


Improvised nuclear devices or (INDs) are theoretical illicit nuclear weapons bought, stolen, or otherwise originating from a nuclear state, or a weapon fabricated by a terrorist group from illegally obtained fissile nuclear weapons material that produces a nuclear explosion. An IND could be bought, or it could be built from the components of a stolen weapon or from scratch using nuclear material (plutonium, uranium, or highly enriched uranium).  A successful detonation would result in catastrophic loss of life, destruction of infrastructure, and nuclear contamination of a very large area.

Types
One type of an improvised nuclear device [IND] attack could be conducted by terrorists with radiological materials using a radiological dispersal device (RDD), or so-called "dirty bomb." An RDD causes no nuclear explosion but instead uses chemical explosive to spread harmful radioactivity. It could cause severe economic disruption and panic in an urban area, without causing large numbers of fatalities. Due to their common use in industry, agriculture, and medicine, these materials would be easier for terrorists to obtain.

Design considerations

The INDs when built from scratch would most likely be of gun-type which is fairly easy to design and manufacture (however, requiring highly enriched uranium).

Improvised nuclear devices are likely to cause more nuclear fallout because of incomplete fission - due to overengineering the pit (making it heavier to ensure fission occurs at least in part of it); using the gun-type design; or as a result of a fizzle (yield lower than planned due to engineering/manufacturing errors) — and are likely to be exploded at ground level rather than at an altitude, which causes ground materials to be irradiated and drawn up into the mushroom cloud.

See Also
 Dirty bomb
 Nuclear weapon

References

Nuclear weapons
Improvised explosive devices

Improvised nuclear device


Galatea is a novel of Miguel de Cervantes published in 1585 in Alcalá de Henares with the title of First part of Galatea, divided in six books. Ascanio Colonna Is the dedicatario of Galatea, the one who in the decade of 1580 found  completing his studies in two Spanish colleges: the University of Alcalá and the University of Salamanca.

The novel began probably to draft  when Cervantes went back of his captivity in Algiers (December of 1580). Had little success in the bookshops, especially, if it compares  with the great of the Target of Montemayor and the grandísimo of the enamoured Target of Gil Polo. Cervantes had during all his life a very high concept of his novel and the intention to publish the second part, but died without having it done.

Novels
Spanish literature
1580s books

La Galatea


The miracle fruit is the berry of Synsepalum dulcificum, a plant from West Africa. The chemical produced by the fruit makes other food taste sweet. This chemical is called miraculin.  Miraculin is a glycoprotein molecule, with some trailing carbohydrate chains.

The berry has a low sugar content and a mildly sweet taste. When the fruit is eaten, miraculin binds to the tongue's taste buds, causing sour foods to taste sweet. At neutral pH, miraculin binds and blocks the receptors, but at low pH (after eating sour food) miraculin binds protons and activates the sweet receptors. This is what causes the sweet taste. This effect lasts until the protein is washed away by saliva (up to about 60 minutes).

Miraculin is now being produced by transgenic tomato plants.

References

Sapotaceae

Miracle fruit


Binding Corporate Rules (BCRs) were developed by the European Union Article 29 Working Party (today the European Data Protection Board) to allow multinational corporations, international organizations, and groups of companies to make intra-organizational transfers of personal data across borders in compliance with EU Data Protection Law. BCRs are a framework for having different elements (internal legal agreements, policies, trainings, audits, etc.) that allow for compliance with EU data protection regulations and privacy protection. The BCRs were developed as an alternative to the "standard contractual clauses" (SCCs) and the now defunct U.S. Department of Commerce EU Safe Harbor (which was for US organizations only, but has been declared invalid).

BCRs are required to be approved by the data protection authority in each EU member state (such as the CNIL in France and AEPD in Spain) in which the organization will rely on the BCRs. The EU has developed a mutual recognition process under which BCRs approved by one member state's data protection authority (known as the "lead" authority) and two other "co-lead" authorities, may be approved by the other relevant member states who may make comments and ask for amendments. Other members states, not part of mutual recognition process, will be also involved by the lead authority and will apply their own independent review process within a limited time-frame. The overall process for BCR acceptance takes usually between 6 and 9 months. This time frame does not include the required Data Protection setup, which should be already implemented within the company in order to comply with the current directive and its local implementation.

BCRs typically form stringent, intra-corporate global privacy policies, set of practices, processes and guidelines that satisfy EU standards and may be available as an alternative means of authorizing transfers of personal data (e.g., customer databases, HR information, etc.) outside of Europe. BCRs are considered the most "robust" and accepted regime for data transfers.

It has to be noticed that, while originally designed for providing legal ground to international transfers, BCRs became de facto a corporation demonstration of its capacity to comply "at large" with personal data processing requirements. A corporation having BCRs applies this framework independently of international transfers and should be seen as part of the "Corporate Governance" or "Data Governance".

References

External links
 https://edpb.europa.eu/our-work-tools/accountability-tools/bcr_en

International business
Privacy law

Binding corporate rules


Jürgen Kröger (16 November 1856 in Haale, Germany – 27 February 1928 in Aukrug) was a German architect, active from 1880 to 1920. He bore the title "(kaiserlicher) Baurat" in 1908, and was an architectural advisor to German Emperor Wilhelm II.  Kröger is most notable for his construction of Protestant church buildings.  The poet Timm Kröger was his uncle.

Biography
Kröger began his training in 1873 at the Göttsche master carpentry school in Hohenwestedt.  He passed his architecture exams with honors in 1880 from a school in Eckernförde.  Then he worked as a construction specialist in the construction division of the War Department in Altona, Hamburg.  In 1882, he was hired to work in the Berlin office of the famous architect Johannes Otzen.  In 1888, Kröger became independent and primarily erected Protestant churches, especially in the neogothic style, in the following decades.  His greatest achievements included the Gare de Metz-Ville.  At its inauguration on 17 August 1908, Kaiser Wilhelm II appointed him "(kaiserlicher) Baurat".

Work
For a complete listing, see the corresponding article in the German Wikipedia.

1856 births
1928 deaths
19th-century German architects
People from Rendsburg-Eckernförde
20th-century German architects

Jürgen Kröger


Revival is the ninth studio album by American rapper Eminem. The album was released on December 15, 2017, through Aftermath Entertainment, Shady Records and Interscope Records. Production for the album took place during 2016 to 2017 at various recording studios. In addition to Eminem himself, music production was handled by various record producers, including Rick Rubin, Fredwreck, Skylar Grey, Alex da Kid, and executive producer Dr. Dre. Revival features guest appearances from artists Beyoncé, Phresher, Ed Sheeran, Alicia Keys, X Ambassadors, Skylar Grey, Kehlani, and Pink.

Eminem first revealed that he was working on an album following the release of "Campaign Speech" in October 2016. A year later, he performed a viral freestyle at the 2017 BET Hip Hop Awards, criticizing then-President Donald Trump. The album has many lines critiquing Trump's presidential campaign and election.

The album's lead single, "Walk on Water", featuring Beyoncé, was released on November 10, 2017. "Untouchable" was released as a promotional single a week prior to the album's release. Revival was leaked online on December 13, 2017, two days before the album's release date. The album issued several more singles, including "River", featuring Ed Sheeran, "Nowhere Fast", featuring Kehlani, and "Remind Me". A music video for "Framed" was also released on April 3, 2018.

Reception to Revival was mixed to generally negative, with critics panning its rock-influenced production on several songs and the heavy use of pop artists for guest appearances. The album debuted at number one in Australia, Canada, Finland, the UK, and the US. In addition, it was the UK Christmas number one album of 2017 and has been certified platinum in the UK. It was followed by Kamikaze (2018), Eminem's tenth studio album, in which he reacts to criticism of Revival.

Background
Eminem first revealed that he was working on an album when he announced the song "Campaign Speech" on his Twitter in October 2016, writing, "Don't worry I'm working on an album! Here's something meanwhile." Rumors about the release date started in late 2016, saying the album would be called Success and would be released sometime in January 2017. A fake tracklist also was leaked at the same time, with Adele, Chance the Rapper, Kid Cudi, Vince Staples, The Weeknd and Mástein Bennett as featured artists. Rumors were sparked again in February and March 2017, when Eminem announced he was headlining three shows in Reading, Glasgow and Leeds. Various news articles said that because he was performing, he would have to release new material to perform, or at least preview, at the festivals.

On October 10, 2017, Eminem performed a freestyle titled "The Storm" at the 2017 BET Hip Hop Awards, criticizing former President Donald Trump. The freestyle went viral, garnering millions of views and hundreds of thousands of likes on YouTube within weeks.

On October 25, 2017, Paul Rosenberg posted a photo to Instagram of Yelawolf's Trial by Fire. In the background of the photo, there is a billboard ad promoting a drug called "Revival". Suspicion was aroused when fans noticed that the 'E' in "Revival" was reversed, similar to Eminem's previous logos. Visiting the website listed on the billboard ad revealed several clues. On the website, a promotional video about Revival makes references to Eminem's song "Lose Yourself". The website also references "Sing for the Moment", "Brain Damage", "Fack", "Role Model", and "Any Man". According to the website, "Revival" treats "Atrox Rithimus", a nonexistent medical condition. One translation of Atrox Rithimus, from Latin, is 'terrible rhyme'. The website is also registered to one of Eminem's labels, Interscope Records. When the phone number for "Revival" is called, it plays the background music of Dr. Dre's "I Need a Doctor", which Eminem features on. These details led fans to believe Eminem's new album will be called Revival. This would follow suit with the names of two of his last three solo albums, Relapse and Recovery.

Release

The lead single, "Walk on Water", was first performed by Eminem at the 2017 MTV Europe Music Awards on November 12, 2017, with co-producer and writer Skylar Grey on vocals. Both performed the song and a medley of "Stan" / "Love the Way You Lie" on Saturday Night Live on November 18.

The album release date was teased multiple times. On November 28, 2017, the release date of the album was announced to be December 15 via both Dr. Dre's and Eminem's social media accounts, while also revealing the fake drug campaign of the record. On December 5, Eminem shared a complete list of all the tracks featuring on his album via his Instagram account. The list features a total of 19 tracks, including an interlude track to Revival, featuring artists such as Phresher, Ed Sheeran, Skylar Grey, Alicia Keys, X Ambassadors, Pink and Kehlani.

On December 7, 2017, the album cover was revealed and projected onto a Detroit building. That night, the song "Untouchable" was released and a pre-order was set up on iTunes. Billboard's Tatiana Cirisano listed the cover as one of the worst of 2017, dubbing it "provocative but undeniably cringeworthy".

Singles
On November 8, 2017, Eminem tweeted a picture of a doctor's prescription note with the words "Walk on Water" and "Take as needed" written on it. Additionally, the doctor's note was labeled with the logo for Revival. This caused speculation that the first single would be titled "Walk on Water". On November 9, Paul Rosenberg shared a video on Instagram linking the drug "Revival" with "Walk on Water" and confirming the song, which was subsequently released the next day. An audio video was uploaded to Eminem's YouTube channel. As of December 16, 2017, the video had nearly 50 million views and over 1.1 million likes. On December 23, 2017, the music video for the song was released exclusively on Apple Music and Eminem's official Vevo channel. "Walk on Water" debuted at number 14 on the Billboard Hot 100, becoming the 57th entry for both artists on the chart.

"River", featuring Ed Sheeran, was released as a second single of the album. The song was released to radio on January 5, 2018, and was released a single on February 7. An audio video was uploaded to Eminem's YouTube channel on December 14, 2017. As of January 15, 2018, the video has over 60 million views and 1 million likes. On February 14, 2018, the music video for the song was released on Eminem's official Vevo channel. Commercially, it has reached number one in the United Kingdom, Norway, and Sweden as well as the top 10 in Australia, Austria, Canada, Denmark, Finland, Germany, Hungary, Ireland, Italy, the Netherlands, New Zealand, Portugal, and Switzerland, and the top 20 in Belgium and the United States.

The album's third single, "Nowhere Fast" featuring Kehlani, impacted US Contemporary hit radio on March 27, 2018. The two artists performed the song at the 2018 iHeartRadio Music Awards. "Remind Me" was released to Italian radio as the fourth single from the album on July 6, 2018.

"Framed", a horrorcore song, received a music video on April 3, 2018, inspired by 1980s horror films.

Promotional singles
"Untouchable" was released as a promotional single on December 8, 2017. The song features a sample from the song "Earache My Eye" by comedy duo Cheech & Chong. A remix of "Chloraseptic" featuring 2 Chainz and Phresher was released as a promotional single on January 8, 2018.

Content
According to Eminem, the album's title is "kind of a double entendre. It's a revival for myself and (that's) the theme of the album. But there's also hopefully the revival of America."

Revival has many lines critiquing Donald Trump's presidential campaign and election. On "Like Home", he raps his regret over having collaborated with Trump on a mock national convention in which Trump endorses his Slim Shady persona. Such criticisms are contrasted by lyrics such as those on "Like Home" celebrating the sanctity of U.S. civil liberties and calling for a "brand new America" without Trump. On "Heat", Eminem jokes that he agrees with the then-president about one thing—grabbing women by the "pussy".

On "Untouchable", Eminem addresses racism in America, including police brutality, blaming it on Republicans and criticizing the philosophy of 'pull yourself up by the bootstraps', retorting, "where the fuck are the boots?" "Nowhere Fast" deals with gun violence in the U.S., with an extended version naming the National Rifle Association as being largely responsible.

Two joke-laden tracks focus on newfound romance and related sexual escapades: "Remind Me", which samples Joan Jett & the Blackhearts' "I Love Rock 'n' Roll", and "Heat", which samples clips from the film Boogie Nights (1997). Framed is a horrorcore track that calls back to the rapper's older work.

The last three songs, "In Your Head", "Castle", and "Arose" deal with the rapper's personal life. The first of these, sampling The Cranberries' "Zombie", expresses regret regarding some of his early lyrics related to his Slim Shady persona. "Castle" is structured as a series of letters to his daughter, Hailie Mathers, climaxing in a series of events in 2007 which led to him overdosing, also expressing a struggle with fame which made him consider quitting rap. Continuing the theme, in "Arose", Eminem pens thoughts to his family from the perspective of his near-death experience. Finding his strength to continue living, he rewinds to the near the end of the previous track, where he considers quitting the industry, then continues in a new direction to his sobriety and the success of his more recent work, with high hopes for the current album.

Critical reception

Upon release, Revival generally polarized music critics, as many were divided over its perceived lack of focus, lyrics, heavy sampling of rock music in the production, and the abundance of pop artists for guest appearances. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 50, based on 24 reviews, indicating "mixed or average" reviews.

Don Needham of The Guardian criticized the album's production and focus, stating that "If Eminem thinks his verbal box of tricks can overcome the weakness of any backing track, his recent albums get demonstrated otherwise." In a positive review, Andy Gill of The Independent complimented the album's lyrical themes: "But ultimately, it's all about Eminem himself, and nowhere more dynamically than in the berserk self-assessment "Offended", where he asserts, amongst other things, that if the time he spent writing were taken into account, he'd be a minimum-wage slavea faintly ludicrous claim, but immediately backed up by a bravura extended burst of rapid-rap babble that both explains and exemplifies his skills, and leaves one wondering not just how long it took to write, but how on earth he manages to pronounce such a polysyllabic torrent so perfectly." Neil McCormick of The Daily Telegraph stated that Revival "represents Eminem on top form, which is to say unstoppable, unbeatable yet often indefensible."

The Irish Times concluded that Revival is "mildly more admirable than previous outings but no more enjoyable. A chance to bust out of the slump has passed Eminem by. It just might never happen for him." In a mixed review, Jon Caramanica of The New York Times remarked that while the album is "probably the best of his recent albums", he criticized Eminem's apparent lack of awareness to the evolution of hip hop's sound in general, arguing that he is too "beholden to his own aesthetic." In a negative review, Consequence of Sound gave the album an "F" rating, calling the album "ugly, arthritic, and pleasureless" and "a disaster".

Comparing Revival to Eminem's previous bodies of work, Matthew Ismael Ruiz of Pitchfork stated that "Musically, Revival is no different, chock full of piano ballads and pop-star features that echo the most cynically commercial corners of his catalog. The shock value comes not from the album's overwhelmingly bland hooks or cringe-worthy humor (of which there is plenty), but from the moments where his growth as a human is most apparent", concluding that "Revival is another late-career album that does little for his legacy." Writing for Vice, Robert Christgau found the album "much cleverer than lemmings claim, bluntly and intelligently political too, but so received in its cartoon misogyny and pop grandeur you know he felt irrelevance bearing down even before #MeToo killed this album on the vine". He singled out "Untouchable", "Chloraseptic", and "Like Home" as highlights.

Trent Clark from HipHopDX said that "Eminem's dedication to wrecking mics like Robert Mueller can never be questioned but the production choices still remain an enigma. When he doesn't bath in lamely visible rock samples like Joan Jett and the Blackhearts' "I Love Rock 'n' Roll" or The Cranberries' "Zombie" (on "Remind Me" or "In Your Head" respectively), he's mostly square pegging his intensified lyrics on mechanical slabs of assembly line pop hybrids." He singled out "Framed" and "Castle" as highlights:it's largely the retreads of past glory where he hits his stride the hardest. On the hypnotically-produced "Framed," Marshall dons the hockey mask for old times sake and pulls up off homicidal fantasies that for better or worse, feature the album's most in-pocket rhyme moment. And when he plunges into his drug-altered psyche to speak on his greatest love — his daughter Haile Jade — the ever-reliable DJ Khalil steps up to the plate on "Castle" with a darkened soundbed of macabre guitars and deathly drum marches that feature the album's most vintage Eminem moment.Mitch Findlay from HotNewHipHop wrote: "Revival is, by far, Eminem's most pop-friendly album to date. While previous albums merely flirted with the sound, Revival has bought a ring and proposed to it. Therefore, if you're somebody who finds no pleasure in the production of 'pop-rap,' you'll find no solace here." He singled out "Framed," "Castle" and "Arose" as highlights, with the latter two being "among Revivals strongest tracks. Conceptually and lyrically, the closing pair find Eminem in excellent form, and longtime fans will no doubt cite these two as album highlights."

Commercial performance

Revival is Eminem's eighth consecutive album to top the US Billboard 200, debuting with 267,000 album-equivalent units, 197,000 being traditional album sales. As a result, Eminem became the first musical act to get eight entries in a row debut at its summit.

Revival entered atop the UK Albums Chart with 132,000 album-equivalent units, becoming the year's second largest opening behind Ed Sheeran's ÷ and giving the rapper his eighth consecutive number-one album. As of October 2018, it sold 321,000 album-equivalent units in the UK.

It additionally arrived at number one in Australia, becoming his ninth entry to top the ARIA Albums Chart. The album then fell behind ÷ the following week.

In 2018, Revival was ranked as the 32nd most popular album of the year on the Billboard 200.

Track listing
Credits adapted from Tidal.

Track notes
  signifies a co-producer.
  signifies an additional producer.
 "Remind Me" features backing vocals by Mr. Porter.
 "Revival (Interlude)" features vocals by Alice and the Glass Lake.
 "Offended" features vocals by Kent Jones.
 "Castle" features vocals by Liz Rodrigues.

Sample credits
 "Chloraseptic" contains elements of "It's My Thing", written by Erick Sermon and Parrish Smith and performed by EPMD.
 "Untouchable" contains samples of "Earache My Eye", written by Tommy Chong, Gaye Delorme, Richard Marin and performed by Cheech & Chong, and "Born to Roll", written by Duval Clear, Andre Brown, Tyrone Kelsie and Eric McIntosh and performed by Masta Ace Incorporated.
 "Remind Me" contains samples of "I Love Rock 'n' Roll", written by Alan Merrill, Jake Hooker and performed by Joan Jett and the Blackhearts; "Saturday Night", written and performed by Schoolly D and "Bust a Move", written by Matt Dike, Luther Rabb, James Walters and Marvin Young and performed by Young MC.
 "Revival (Interlude)" contains elements of "Human of the Year", written and performed by Regina Spektor.
 "Framed" contains samples of "Pilgrim", written by David John Byron and Kenneth William Hensley and performed by C&K Vocal.
 "Heat" contains samples of "King of Rock", written by Darryl McDaniels, Joseph Simmons and Larry Smith and performed by Run-DMC, "Girls", written by Adam Horovitz and Rick Rubin and performed by the Beastie Boys and an uncredited sample of "Intro (Feel the Heat)" from the film Boogie Nights and performed by John C. Reilly and Mark Wahlberg.
 "Offended" contains samples of "In You (I Found a Love)", written by Charles Bradley, Thomas Brenneck, David Guy and Leon Michels and performed by Charles Bradley.
 "In Your Head" contains samples of "Zombie", written by Dolores O'Riordan and performed by The Cranberries.
 "Arose" contains samples of "I'm Gonna Love You Just a Little More Baby", written and performed by Barry White and "The Rose", written by Amanda McBroom and performed by Bette Midler.

Personnel
Credits adapted from the album's liner notes.

Performers
 Eminem – vocals
 Beyoncé – vocals
 Phresher – vocals
 Ed Sheeran – vocals
 Alicia Keys – vocals
 X Ambassadors – vocals
 Skylar Grey – vocals
 Kehlani – vocals
 Pink – vocals

Technical
 Mike Strange – recording engineer , mixing engineer
 Joe Strange – recording engineer
 Jason Lader – recording engineer
 Stuart White – recording engineer
 Rob Bisel – assistant recording engineer
 Johnnie Burik – assistant recording engineer
 Tony Campana – assistant recording engineer
 Manny Marroquin – mixing engineer
 Eminem – mixing engineer
 Mauricio "Veto" Iragorri – recording engineer
 Robert Reyes – assistant recording engineer
 Charles "CharlieRed" Garcia – assistant recording engineer
 Dr. Dre – mixing engineer
 Quentin "Q" Gilkey – mixing engineer
 Frequency – recording engineer
 Aalias – recording engineer
 Just Blaze – recording engineer
 Andrew Wright – recording engineer
 Ann Mincieli – recording engineer
 Brendan Morawski – assistant recording engineer
 Travis Ference – recording engineer
 Sam Harris – recording engineer
 Chris Galland – mixing engineer
 Robin Florent – assistant mixing engineer
 Scott Desmarais – assistant mixing engineer
 Steve Hammons – recording engineer
 Adam Comstock – recording engineer
 Darwin Sanchez – recording engineer
 Scram Jones – recording engineer
 Myles William – percussion, programming

Production
 Rick Rubin – producer
 Skylar Grey – producer
 Eminem – producer , co-producer
 Luis Resto – additional producer
 Mr. Porter – additional producer , producer
 Mark Batson – producer
 Emile Haynie – producer
 Dr. Dre – producer
 Neff-U – producer
 Trevor Lawrence – producer
 Frequency – producer
 Aalias – producer
 Just Blaze – producer
 Alex da Kid – producer
 Fredwreck – producer
 Rock Mafia – producer
 Hit-Boy – producer
 Illa da Producer – producer
 Scram Jones – producer
 DJ Khalil – producer

Charts

Weekly charts

Year-end charts

Certifications and sales

Legacy
Eminem said of the reaction to Revival: "I think there's things to be taken away from this album and the reaction to it. Were there too many songs? Were there too many features? There were certain songs like 'Tragic Endings' and 'Need Me' where I felt like lyrically they would give the listener a second to breathe. I spend a lot of time writing shit that I think nobody ever gets." Later he said: "When the Revival tracklist came down the pipe, it was like overwhelmingly, 'This shit is going to be trash.' Nobody really wanted to be wrong about it. I'm not saying everybody, but a lot of people had already formed their opinion." He also stated that he is proud of the album, saying: "I'm good with Revival. Fuck it. Because I couldn't have made this album [Kamikaze] without it."

On the Kamikaze opener, "The Ringer", Eminem criticizes detractors of Revival but apologizes for alienating fans who supported Trump while maintaining that he believes Trump is an "evil serpent"  and says that he was questioned by the U.S. Secret Service for his seemingly threatening lyrics against the president. This led BuzzFeed to file a Freedom of Information Act request with the Secret Service to find out if the claim was true. In October 2019, the agency revealed to BuzzFeed that, in response to an email from a TMZ employee pressing the agency to investigate Eminem for his "threatening lyrics" about Donald and Ivanka Trump, they had conducted a background check and arranged an interview, in which the interviewers read the verse out loud to Eminem—and he rapped along. The agency subsequently decided against referring the case to a federal prosecutor.

Revival is widely considered Eminem's worst and most polarizing album by fans and critics. The CD case for Revival appears in the music videos for two songs from Kamikaze: "Fall" and "Venom".

References
Footnotes

Citations

2017 albums
Aftermath Entertainment albums
Albums produced by Alex da Kid
Albums produced by DJ Khalil
Albums produced by Dr. Dre
Albums produced by Emile Haynie
Albums produced by Eminem
Albums produced by Fredwreck
Albums produced by Hit-Boy
Albums produced by Just Blaze
Albums produced by Mark Batson
Albums produced by Mr. Porter
Albums produced by Rick Rubin
Albums produced by Rock Mafia
Albums produced by Scram Jones
Albums produced by Skylar Grey
Eminem albums
Interscope Records albums
Shady Records albums
Albums recorded at Shangri-La (recording studio)
Rap rock albums by American artists
Political hip hop albums

Revival (Eminem album)


David "Tuffy" Knight (born May 17, 1936) is a former coach of Canadian university football and a member of the Canadian Football Hall of Fame.

Knight was a high school football, track, and basketball coach in Southeastern Ohio who moved to Canada in 1965 to become head coach of the Wilfrid Laurier Golden Hawks in Waterloo, Ontario. He coached the Hawks until 1983. Knight then joined the Toronto Argonauts as director of player personnel, returning to Waterloo in 1988 to coach Laurier's cross-town rivals at the University of Waterloo. At the time, the Waterloo Warriors hadn't won a game since 1985. He missed the entire 1988 season after suffering a mild heart attack, and the Warriors had an 0-7 season in his absence.  Knight came back to be Canadian university football coach of the year in 1989. He coached the Warriors to the Yates Cup provincial title in 1997 and then retired.(3 December 1997). Tuffy Knight leaves UW, Univ. of Waterloo - Press Release  Knight came out of retirement in 2000 to be an assistant coach for the Golden Hawks, working three seasons under head coach Rick Zmich.

Knight won four Yates Cups over his career as head coach (1972, 1973, 1978, 1997). At the time of his retirement, he was the winningest coach in Canadian university football history with 153 career wins (record surpassed in 2003). He was a three-time winner of the Frank Tindall Trophy as the top university football coach in Canada. Knight was inducted into the Canadian Football Hall of Fame in 2007.(20 February 2007). Flutie tapped for hall, Toronto Star

In 2006 he came out of retirement again to coach football at the high school level. He coached the Phoenix of Resurrection Catholic Secondary School (Kitchener, Ontario). Under his coaching, the Phoenix won the following titles:

WCSSAA Division B Champions 2006
WCSSAA Division B Champions 2007
WCSSAA Division A Champions 2008
CWOSSA AAA/AAAA Champions 2008
OFSAA (Western Bowl) Champions 2008

See also
 List of University of Waterloo people

References

1936 births
Living people
Sportspeople from Waterloo, Ontario
Canadian Football League executives
Canadian Football Hall of Fame inductees
Toronto Argonauts personnel
Wilfrid Laurier University
U Sports coaches
Sportspeople from Clarksburg, West Virginia
Wilfrid Laurier Golden Hawks football coaches
Waterloo Warriors football coaches

Tuffy Knight


Laurynas Ivinskis (; 1810-1881) was a Lithuanian teacher, publisher, translator and lexicographer, from a Samogitian noble family. He is notable for a series of annual calendars published between 1847 and 1877, in which he summarized the daily life of Samogitian peasantry. He also published literary works by some of the most renowned local authors. He was the first to publish Antanas Baranauskas' most famous work, Anyksčių Šilelis.

Biography

Ivinskis was born in Bambaliai on 15 August 1810. In 1841 Ivinskis passed the teacher's exams, and soon afterwards he received a Kaunas city teacher's certificate. He prepared the first Lithuanian calendar back in 1845, however due to lack of funds the calendar was not printed in Vilnius until a year later. His calendar Metu skajtlus ukiszkas ant metu Wieszpaties circulated until the Lithuanian press ban in 1864. The calendars were a form of an almanach, informing the readers of upcoming fairs and festivities, but also of basic news on medicine, veterinary science, agriculture and housekeeping. From 1852 they also included a literary section. Out of 22 Lithuanian language calendars published between 1847 and 1864, and then again in 1877, three were in Cyrillic, while the remaining 19 were in the Latin alphabet, used by most people for the Lithuanian language. As publishing books and newspapers in Lithuanian was banned by the tsarist authorities, Ivinskis' calendars served the role of press for a large number of Lithuanian speakers. During the ban, Ivinskis lectured in a secret Lithuanian school, established in Lubiai.

Ivinskis settled in Rietavas and lived there between 1874 and 1878. During this period he wrote a book entitled Pasauga, which is considered as one of the first Lithuanian books dedicated to the theme of environmental protection. Apart from publishing his calendars, Ivinskis was also an active translator from German and English. He also started working on a Polish-Lithuanian and Russian-Lithuanian dictionary, as well as numerous works in the Polish language. Ivinskis died on August 29, 1881, and was buried in Kuršėnai.

External links
 Biography and works

References
1810 births
1881 deaths
Lithuanian publishers (people)
Lithuanian translators
Lithuanian schoolteachers
Lithuanian lexicographers
Translators to Lithuanian
People from Kelmė District Municipality
19th-century translators
19th-century lexicographers

Laurynas Ivinskis


Mike Holober (born April 21, 1957) is an American jazz pianist, composer, arranger, and educator.

Holober moved to New York in 1986, and worked as a composer and sideman pianist. After working with baritone saxophonist Nick Brignola in the late 1990s, he formed The Mike Holober Quintet, featuring original compositions and arrangements performed by Tim Ries (saxophone), Wolfgang Muthspiel (guitar), Brian Blade (drums), and Scott Colley and John Patitucci (bass). The quintet recorded two albums on Sons of Sound: Canyon (2003) and Wish List(2006).

Holober's big band, The Gotham Jazz Orchestra, released two recordings: thought Trains (Sons of Sound, 2004) and Quake (Sunnyside, 2009). The group's most recent recording, Hiding Out, is due for release August 2019 on ZOHO. The double CD features Hiding Out, commissioned for by The Philadelphia Museum of Art (funded by the Pew Foundation), Flow, commissioned by the Westchester Jazz Orchestra (funded by a NYSCA Individual Artist's Grant), and Jumble, commissioned by The U.S. Army Jazz Knights of West Point.  The recording also includes an arrangement of Jobim's Caminhos Cruzados, commissioned by the Westchester Jazz Orchestra and written for and featuring trumpet master Marvin Stamm.  Other featured artists on Hiding Out include Billy Drewes, Jason Rigby, Scott Wendholt, Adam Kolker, Jon Gordon, Steve Cardenas, and Jesse Lewis.

Holober is a 2017-18 recipient of a Chamber Music America New Jazz Works Grant for Don't Let Go, a song-cycle in the tradition of Robert Schumann, Samuel Barber, and Ralph Vaughn-Williams, and premiered at Symphony Space (The Leonard Nimoy Thalia) in June 2018.  Don't Let Go was written for Holober's octet Balancing Act, whose premiere recording Balancing Act was released in 2015 (Palmetto), featuring Mike's original compositions (several with lyrics), performed by Kate McGarry, Dick Oatts, Jason Rigby, Marvin Stamm, Mark Patterson, John Hebert, and Brian Blade.

Holober was the musical director of the Westchester Jazz Orchestra from 2007 to 2013, a non-profit organization based in Westchester New York.  Under his leadership, the organization commissioned over 140 new works for jazz orchestra. Guest artists included Joe Lovano, Kate McGarry, Janis Siegal, John Scofield, John Patitucci, Randy Brecker, and Paquito D'Rivera. Holober also served as conductor, artistic director, and lead arranger for WJO's 2011 release, Maiden Voyage Suite, a reworking of Herbie Hancock's 1965 Blue Note recording.

Holober has worked with several big bands in Europe, including the HR-Bigband (Frankfurt), where he served as Associate Guest Conductor from 2011-2015, and the WDR Big Band(Cologne). Projects for the HR Big Band include arranging and conducting concert length projects for Kurt Rosenwinkel, Billy Cobham, Jane Monheit, Terje Rypdal, Dr. Lonnie Smith, Miguel Zenon, and Jazz From Hell, a concert of the works of Frank Zappa for the 2015 Frankfurt Jazz festival. With the WDR Big Band (WestDeutsche Rundfunk - Cologne, Germany) he has written and conducted projects for Avishai Cohen and Eli Degibri, and for legendary drummer Al Foster.  Other projects include arrangements for a concert featuring Eli Degibri with jazz orchestra and strings, which was performed at the National Opera House in Tel Aviv in 2014.

Holober is a full professor at The City College of New York and was named the inaugural Stuart Z. Katz Professor of Humanities and the Arts in 2018.  He is a five-time MacDowell Fellow, Ucross Foundation Fellow and Yaddo Guest.  He also teaches composing and arranging at The Manhattan School of Music.  From 2007 - 2015 he served as Associate Director of the BMI Jazz Composer's Workshop, where he taught with Musical Director Jim McNeely.

Discography
 The Mike Holober Quintet, Canyon (Sons of Sound, 2003)
 The Gotham Jazz Orchestra, T Thought Trains (Sons of Sound, 2004)
 The Mike Holober Quintet, Wish List (Sons of Sound, 2006)
 The Gotham Jazz Orchestra, Quake (Sunnyside, 2009)
 Mike Holober & Balancing Act, Balancing Act (Palmetto, 2015)
 The Gotham Jazz Orchestra, Hiding Out (Zoho Music, 2019)

References

External links
 Artist's official website
 Sons of Sound, Label page for Mike Holober
 Manhattan School of Music faculty profile
 CCNY Stuart Katz Professorship announcement
 Interview with WBGO's Gary Walker

Videos
 Westchester Jazz Orchestra - promotional video written and directed by Darryl Estrine 2013
 "Oh No" - hr-Bigband plays Frank Zappa; Deutsches Jazzfestival Frankfurt 2015
 "We Are Not Alone" - hr-Bigband plays Frank Zappa; Deutsches Jazzfestival Frankfurt 2015
 "G-Spot Tornado - hr-Bigband plays Frank Zappa; Deutsches Jazzfestival Frankfurt 2015

"Star of Jupiter" - Kurt Rosenwinkel & hr-Bigband; Kurt Rosenwinkel & hr-Bigband im hr-Sendesaal 12.06.2015
 "Heavenly Bodies" - Kurt Rosenwinkel & hr-Bigband; Kurt Rosenwinkel & hr-Bigband im hr-Sendesaal 12.06.2015
 "East Coast Love Affair" - Kurt Rosenwinkel & hr-Bigband; Kurt Rosenwinkel & hr-Bigband im hr-Sendesaal 12.06.2015
 "Brooklyn Sometimes" - Kurt Rosenwinkel & hr-Bigband; Kurt Rosenwinkel & hr-Bigband im hr-Sendesaal 12.06.2015
 Al Foster feat. by WDR BIG BAND - Douglas (Rehearsal) - WDR rehearsal featuring Al Foster; 04.14.2016
 Al Foster feat. by WDR BIG BAND - Aloysius (Rehearsal) - WDR rehearsal featuring Al Foster; 04.14.2016

American jazz pianists
American male pianists
20th-century classical composers
21st-century classical composers
Living people
21st-century American composers
American male classical composers
American classical composers
Palmetto Records artists
20th-century American composers
21st-century American pianists
20th-century American male musicians
21st-century American male musicians
American male jazz musicians
Westchester Jazz Orchestra members
Sunnyside Records artists
Zoho Music artists
1957 births

Mike Holober


The Carolingian Renaissance was the first of three medieval renaissances, a period of cultural activity in the Carolingian Empire. It occurred from the late 8th century to the 9th century, taking inspiration from "ancient Roman and Greek culture" and the Christian Roman Empire of the fourth century. During this period, there was an increase of literature, writing, visual arts, architecture, music, jurisprudence, liturgical reforms, and scriptural studies.

The movement occurred mostly during the reigns of Carolingian rulers Charlemagne and Louis the Pious. It was supported by the scholars of the Carolingian court, notably Alcuin of York. Charlemagne's Admonitio generalis (789) and Epistola de litteris colendis served as manifestos.

The effects of this cultural revival were mostly limited to a small group of court literati. According to John Contreni, "it had a spectacular effect on education and culture in Francia, a debatable effect on artistic endeavors, and an unmeasurable effect on what mattered most to the Carolingians, the moral regeneration of society". The secular and ecclesiastical leaders of the Carolingian Renaissance made efforts to write better Latin, to copy and preserve patristic and classical texts, and to develop a more legible, classicizing script, with clearly distinct capital and minuscule letters. It was the Carolingian minuscule that Renaissance humanists took to be Roman and employed as humanist minuscule, from which has developed early modern Italic script. They also applied rational ideas to social issues for the first time in centuries, providing a common language and writing style that enabled communication throughout most of Europe.

Background

As Pierre Riché points out, the expression "Carolingian Renaissance" does not imply that Western Europe was barbaric or obscurantist before the Carolingian era. The centuries following the collapse of the Roman Empire in the West did not see an abrupt disappearance of the ancient schools, from which emerged Martianus Capella, Cassiodorus and Boethius, essential icons of the Roman cultural heritage in the Middle Ages, thanks to which the disciplines of liberal arts were preserved. The 7th century saw the "Isidorian Renaissance" in the Visigothic Kingdom of Hispania in which sciences flourished and the integration of Christian and pre-Christian thought occurred, while the spread of Irish monastic schools (scriptoria) over Europe laid the groundwork for the Carolingian Renaissance.

There were numerous factors in this cultural expansion, the most obvious of which was that Charlemagne's uniting of most of Western Europe brought about peace and stability, which set the stage for prosperity. This period marked an economic revival in Western Europe, following the collapse of the Western Roman Empire. Local economies in the West had degenerated into largely subsistence agriculture by the early seventh century, with towns functioning merely as places of gift-exchange for the elite. By the late seventh century, developed urban settlements had emerged, populated mostly by craftsmen, merchants and boaters and boasting street grids, artisanal production as well as regional and long-distance trade. A prime example of this type of emporium was Dorestad.

The development of the Carolingian economy was fueled by the efficient organization and exploitation of labor on large estates, producing a surplus of primarily grain, wine and salt. In turn, inter-regional trade in these commodities facilitated the expansion of towns. Archaeological data shows the continuation of this upward trend in the early eighth century. The zenith of the early Carolingian economy was reached from 775 to 830, coinciding with the largest surpluses of the period, large-scale building of churches as well as overpopulation and three famines that showed the limits of the system. After a period of disruption from 830 to 850, caused by civil wars and Viking raids, economic development resumed in the 850s, with the emporiums disappearing completely and being replaced by fortified commercial towns.

One of the major causes of the sudden economic growth was the slave trade. Following the rise of the Arab empires, the Arab elites created a major demand for slaves with European slaves particularly prized. As a result of Charlemagne's wars of conquest in Eastern Europe, a steady supply of captured Slavs, Avars, Saxons and Danes reached merchants in Western Europe, who then exported the slaves via Ampurias, Girona and the Pyrenees passes to Muslim Spain and other parts of the Arab world. The market for slaves was so lucrative that it almost immediately transformed the long-distance trade of the European economies. The slave trade enabled the West to re-engage with the Muslim and Eastern Roman empires so that other industries, such as textiles, were able to grow in Europe as well.

Import
Kenneth Clark was of the view that by means of the Carolingian Renaissance, Western civilization survived by the skin of its teeth. However, the use of the term renaissance to describe this period is contested, notably by Lynn Thorndike, due to the majority of changes brought about by this period being confined almost entirely to the clergy, and due to the period lacking the wide-ranging social movements of the later Italian Renaissance. Instead of being a rebirth of new cultural movements, the period was more an attempt to recreate the previous culture of the Roman Empire. The Carolingian Renaissance in retrospect also has some of the character of a false dawn, in that its cultural gains were largely dissipated within a couple of generations, a perception voiced by Walahfrid Strabo (died 849), in his introduction to Einhard's Life of Charlemagne, summing up the generation of renewal:
Charlemagne was able to offer the cultureless and, I might say, almost completely unenlightened territory of the realm which God had entrusted to him, a new enthusiasm for all human knowledge. In its earlier state of barbarousness, his kingdom had been hardly touched at all by any such zeal, but now it opened its eyes to God's illumination. In our own time the thirst for knowledge is disappearing again: the light of wisdom is less and less sought after and is now becoming rare again in most men's minds.

Scholarly efforts

A lack of Latin literacy in eighth-century western Europe caused problems for the Carolingian rulers by severely limiting the number of people capable of serving as court scribes in societies where Latin was valued. Of even greater concern to some rulers was the fact that not all parish priests possessed the skill to read the Vulgate Bible. An additional problem was that the vulgar Latin of the later Western Roman Empire had begun to diverge into the regional dialects, the precursors to today's Romance languages, that were becoming mutually unintelligible and preventing scholars from one part of Europe being able to communicate with persons from another part of Europe.

To address these problems, Charlemagne ordered the creation of schools in a capitulary known as the Charter of Modern Thought, issued in 787.  A major part of his program of reform was to attract many of the leading scholars of the Christendom of his day to his court. Among the first called to court were Italians: Peter of Pisa, who from 776 to about 790 instructed Charlemagne in Latin, and from 776 to 787 Paulinus of Aquileia, whom Charlemagne nominated as patriarch of Aquileia in 787. The Lombard Paul the Deacon was brought to court in 782 and remained until 787, when Charles nominated him abbot of Montecassino. Theodulf of Orléans was a Spanish Goth who served at court from 782 to 797 when nominated as bishop of Orléans. Theodulf had been in friendly competition over the standardization of the Vulgate with the chief among the Charlemagne's scholars, Alcuin of York.  Alcuin was a Northumbrian monk and deacon who served as head of the Palace School from 782 to 796, except for the years 790 to 793 when he returned to England. After 796, he continued his scholarly work as abbot of St. Martin's Monastery in Tours. Among those to follow Alcuin across the Channel to the Frankish court was Joseph Scottus, an Irishman who left some original biblical commentary and acrostic experiments. After this first generation of non-Frankish scholars, their Frankish pupils, such as Angilbert, would make their own mark.

The later courts of Louis the Pious and Charles the Bald had similar groups of scholars many of whom were of Irish origin. The Irish monk Dicuil attended the former court, and the more famous Irishman John Scotus Eriugena attended the latter becoming head of the Palace School at Aachen.

One of the primary efforts was the creation of a standardized curriculum for use at the recently created schools. Alcuin led this effort and was responsible for the writing of textbooks, creation of word lists, and establishing the trivium and quadrivium as the basis for education.

Another contribution from this period was the development of Carolingian minuscule, a "book-hand" first used at the monasteries of Corbie and Tours that introduced the use of lower-case letters. A standardized version of Latin was also developed that allowed for the coining of new words while retaining the grammatical rules of Classical Latin. This Medieval Latin became a common language of scholarship and allowed administrators and travellers to make themselves understood in various regions of Europe.

The earliest concept of Europe as a distinct cultural region (instead of simply a geographic area) appeared during the Carolingian Renaissance of the 9th century, which reflected the territories of Western Christianity.

Carolingian workshops produced over 100,000 manuscripts in the 9th century, of which some 6000 to 7000 survive. The Carolingians produced the earliest surviving copies of the works of Cicero, Horace, Martial, Statius, Lucretius, Terence, Julius Caesar, Boethius and Martianus Capella. No copies of the texts of these authors were made in the Latin West in the 7th and 8th centuries.

Reform of Latin pronunciation

According to Roger Wright, the Carolingian Renaissance is responsible for the modern-day pronunciation of Ecclesiastical Latin. Up until that point there had been no conceptual distinction between Latin and Romance; the former was simply regarded as the written form of the latter. For instance in early medieval Spain the word for 'century'—which would have been pronounced */sjeglo/— was properly spelled ⟨saeculum⟩, as it had been for the better part of a millennium. The scribe would not have read aloud ⟨saeculum⟩ as /sɛkulum/ any more than an English speaker today would pronounce ⟨knight⟩ as */knɪxt/ rather than /naɪt/.

Non-native speakers of Latin, however—such as clergy of Anglo-Saxon or Irish origin—appear to have used a rather different pronunciation, presumably attempting to sound out each word according to its spelling. The Carolingian Renaissance in France introduced this artificial pronunciation for the first time to native speakers as well. No longer would, for instance, the word ⟨viridiarium⟩ 'orchard' be read aloud as the equivalent Old French word */verdʒjǽr/. It now had to be pronounced precisely as spelled, with all six syllables: /viridiarium/.

Such a radical change had the effect of rendering Latin sermons completely unintelligible to the general Romance-speaking public, which prompted officials a few years later, at the Council of Tours, to instruct priests to read sermons aloud in the old way, in rusticam romanam linguam or 'plain roman[ce] speech' (while the liturgy retained the new pronunciation to this day).

As there was now no unambiguous way to indicate whether a given text was to be read aloud as Latin or Romance, and native Germanic speakers (such as church singers) numerous in the empire might have struggled to read words in Latin orthography according to Romance orthoepy, various attempts were made in France to devise a new orthography for the latter; among the earliest examples are parts of the Oaths of Strasbourg and the Sequence of Saint Eulalia. As the Carolingian Reforms spread the 'proper' Latin pronunciation from France to other Romance-speaking areas, local scholars eventually felt the need to create distinct spelling systems for their own vernaculars as well, thereby initiating the literary phase of Medieval Romance. Writing in Romance does not appear to have become widespread until the Renaissance of the Twelfth Century, however.

Carolingian art

Carolingian art spans the roughly hundred-year period from about 800–900. Although brief, it was an influential period. Northern Europe embraced classical Mediterranean Roman art forms for the first time, setting the stage for the rise of Romanesque art and eventually Gothic art in the West. Illuminated manuscripts, metalwork, small-scale sculpture, mosaics, and frescos survive from the period.

Carolingian architecture

Carolingian architecture is the style of North European architecture promoted by Charlemagne. The period of architecture spans the late eighth and ninth centuries until the reign of Otto I in 936, and was a conscious attempt to create a Roman Renaissance, emulating Roman, Early Christian and Byzantine architecture, with its own innovation, resulting in having a unique character. This syncretic architectural style can be exemplified by the first church of St Mark's in Venice, fusing proto-Romanesque and Byzantine influences.

There was a profusion of new clerical and secular buildings constructed during this period, John Contreni calculated that "The little more than eight decades between 768 to 855 alone saw the construction of 27 new cathedrals, 417 monasteries, and 100 royal residences".

Carolingian currency

Around AD 755, Charlemagne's father Pepin the Short reformed the currency of the Frankish Kingdom. A variety of local systems was standardized. Minor mints were closed and royal control over the remaining bigger mints strengthened, increasing purity. In place of the gold Roman and Byzantine solidus then common, he established a system based on a new .940-fine silver penny (; ) weighing 1/240 of a pound (, , or ; ). (The Carolingian pound seems to have been about 489.5 grams, making each penny about 2 grams.) As the debased solidus was then roughly equivalent to 11 of these pennies, the shilling (; ) was established at that value, making it 1/22 of the silver pound. This was later adjusted to 12 and 1/20, respectively. During the Carolingian period, however, neither shillings or pounds were minted, being instead used as notional units of account. (For instance, a "shilling" or "solidus" of grain was a measure equivalent to the amount of grain that 12 pennies could purchase.) Despite the purity and quality of the new pennies, however, they were repeatedly rejected by traders throughout the Carolingian period in favor of the gold coins used elsewhere, a situation that led to repeated legislation against such refusal to accept the king's currency.

The Carolingian system was imported to England by Offa of Mercia and other kings, where it formed the basis of English currency until the late 20th century.

Gallery

See also
 Iconography of Charlemagne
 Golden Age of medieval Bulgarian culture

Notes

References

Citations

Bibliography
 .

 .
 .
 .
 .
 .
 .
 .
 .
 Panofsky, Erwin. Renaissance and Renascences in Western Art. New York/Evanston: Harpers Torchbooks, 1969.
 .
 .
 .
 .

External links
 The Carolingian Renaissance, BBC Radio 4 discussion with Matthew Innes, Julia Smith & Mary Garrison (In Our Time, Mar, 30, 2006)

Renaissance

Carolingian Renaissance


In ancient Egyptian art, the Set animal, or sha, is the totemic animal of the god Set. Because Set was identified with the Greek monster Typhon, the animal is also commonly known as the Typhonian animal or Typhonic beast.

Unlike other totemic animals, the Set animal is not easily identifiable in the modern animal world. Today, there is a general agreement among Egyptologists that it was never a real creature and existed only in ancient Egyptian imagination.  In recent years, there have been many attempts by zoologists to find the Set animal in nature. Whether or not the animal existed is currently unknown, yet it had much significance for the Egyptians. The Set animal is one of the most frequently demonstrated animal determinatives.

Hieroglyphic representation
The Set animal, Gardiner E20, E21, is one of the portrayals of the god Set. The other common hieroglyph used to represent Set is a seated god with the head of the Set animal.

The linguistic use of these hieroglyphs in the Egyptian language is as the determinative for words portraying "items with chaos", example words related to "suffering, violence, perturbation", and also for "violent storms" of the atmosphere, a "tempest".

According to Egyptologist Richard H. Wilkinson, the first known use of the Set animal was upon the Scorpion Macehead of Scorpion II of Naqada III. It was soon thereafter portrayed mounted upon the serekhs of Seth-Peribsen and Khasekhemwy.

According to some scientists, the Set animal hieroglyph does not actually represent a living animal. It is currently not possible to determine from what living creature the hieroglyph derived. Some Egyptian texts suggest that Set took the form of a dangerous animal, such as a bull or crocodile.

Physical characteristics
The sha is usually depicted as a slender canid, resembling a greyhound or a jackal, with three distinguishing features: a stiff tail, often forked at the end, which stands straight up or at an angle, whether the animal is sitting, standing, or walking; its ears, also held erect, are usually depicted as squarish or triangular, narrowest at the base and widest at the squarish tops; and a long nose, often with a slight downward curve. It is normally depicted as black, but may also have been reddish.

The Set animal is usually depicted at rest, either lying down or seated. The shape of the head often resembles a giraffe, causing confusion between the two signs. The general body shape is that of a canine.

Ancient Egypt
Drawings of the sha appear in Egyptian artwork from Naqada III until at least the period of the New Kingdom, a period of some two thousand years.  Although sometimes described as a fantastic or composite animal, it was depicted in a realistic manner more typical of actual creatures.  The sha is found on the ceremonial Scorpion Macehead dating to Naqada III; on the serekhs of the Second Dynasty kings Seth-Peribsen and Khasekhemwy; in Twelfth Dynasty tombs at Beni Hasan; and, in the form of Set, in the royal cartouches of the Nineteenth Dynasty pharaohs Seti I and Seti II and the Twentieth Dynasty king Setnakhte and his descendants.

Association with Set

The god Set was usually depicted as a man with a head resembling that of the sha, which is why the sha is referred to by Egyptologists as the Set animal or Typhonic beast. When Set was depicted as a human with only the head of the Set animal, he usually had a long, slightly curved nose, and erect ears, squared at the tops. Occasionally he was represented in animal form as the sha itself, with a long, down-turned snout, squared ears, erect forked tail and a canine-like body, although he was also depicted in the form of an onager or as a black pig. Other animals sacred to Set included the antelope, hippopotamus, wild boar, crocodile and scorpion, all of which represented strength, power, protection, or wildness. The sha was also used as a determinative in the names of Set and the goddess Nut, who may be identified with Nephthys, the wife of Set.

Was-sceptres represent the Set-animal or Khnum. Was-sceptres were carried by gods, pharaohs and priests as a symbol of power and, in later use, control over the force of chaos (Set). The head and forked tail of the Set-animal are clearly present. Was scepters are often depicted in paintings, drawings and carvings of gods and remnants of real was-sceptres have been found constructed of Egyptian faience or wood.

Both the Second Dynasty pharaohs Peribsen and Khasekhemwy, whose serekhs depict the sha, identified themselves as divine manifestations of Set on Earth, as previous kings had identified themselves with Horus. During the Old Kingdom of Egypt, Horus and Set were generally viewed as twin supporters and defenders of the god Ra, head of the Egyptian pantheon; and they were often depicted anointing the king, as the divine source of his authority. The association of Horus and Set probably reflected the reconciliation of a struggle between two royal cults. Following the unification of Egypt, Narmer and the kings of the First Dynasty embraced the worship of Horus, by adopting the Horus name as part of their official nomenclature. This name identified the king as the god's representative on Earth. Seth-Peribsen, however, chose a Set name in place of a Horus name, while Khasekhemwy's royal title invoked both of the great gods, presumably in an attempt to reconcile the followers of each cult.

Disappearance of the Sha
Although Set was originally viewed as the son and defender of Ra and the Egyptian kings, his reputation among the people declined along with the rise of the cult of Osiris. Originally a vegetation-god, Osiris became one of the pre‑eminent gods of the Egyptian pantheon. Worship in the Osiris cult stressed the role of Set as violence personified; the murderer of his brother and usurper of his throne who, instead of standing alongside Horus, became his eternal enemy. This view of Set was encouraged during the Second Intermediate Period, when Egypt was invaded by the Hyksos from Western Asia. Their god Sutekh became identified with Set; a contrary view holds that Sutekh is an Egyptian name only, and an epithet of Set, and was not the name the Hyksos used for their god.

Set continued to be revered during the New Kingdom. Several kings of the Nineteenth and Twentieth Dynasties had royal names indicating their devotion to Set, and these names were written with a hieroglyphic representation of the god as a determinative. Here, Set is depicted as a seated deity with a Set animal's head.

During the Third Intermediate Period, however, Set was deeply unpopular: his worship was abandoned, and many depictions of him were destroyed or defaced. References to and depictions of the Set animal must have suffered a similar fate.

Identification
Hieroglyphs and artwork of Set evolved over millennia until becoming standardized, making identification a difficult process; there is debate as to which hieroglyphs actually depict Set and the associated animal.

The sha has no independent mythology associated with it that could aid with identification in either reality or fantasy, outside of its association with Set. Although the Set animal is called the "Typhonic Beast", it is so-named because the Greeks equated Set or Sutekh with their own chaos-monster Typhon. Some Egyptologist speculate that it is a purely fantastic or composite animal, which never existed in nature – the opinion of E.A.W. Budge, among others.

Depictions of the Set animal as an animal appear distinctly canine, but the precise identity of the animal has never been firmly established. It is sometimes described as a jackal or some other wild dog, although the jackal is usually identified with the god Anubis. In connection with Anubis, the jackal is never depicted with the distinguishing features of the Set animal: The stiff, typically forked tail; the squared ears; and the long, slightly curved nose. It is conceivable that these features were added to representations of the jackal as a contrivance to distinguish Set from Anubis. Early representations of the Set animal frequently omit the fork at the end of the tail, or show it resembling a more naturalistic tuft instead, so the idea of the forked tail may have been symbolic rather than intended to show a trait of an actual animal.

Saluki (sight hound)

Egyptologist Ken Moss suggested the Set animal is in fact the Saluki: It is one of the oldest breeds of domesticated dog, has a curved snout, and nearly identical body to the hieroglyph, and is native to the region; when the Saluki runs, its ears and tail become vertical. Further it was historic practice and remains common throughout the Levant to crop ears of hunting dogs. The Saluki is also depicted in hieroglyphs with no ostensible connection to Set, suggesting it was well known to ancient Egyptian people.

Other proposed animals
In addition to the jackal or the Saluki, mentioned above, some scholars have historically suggested the Set animal may be a stylized representation of some other animal, such as an oryx, donkey, fennec fox, jerboa, camel, okapi, elephant shrew, aardvark, giraffe, pig, elephant-snout fish, or that it might represent a species that was rare and has since become extinct. Some of the suggested animals would be known to ancient Egyptians, but rarely or never seen.

Since Set was typically depicted as a donkey or as a man with the head of a donkey from the Late Period onwards, it is possible the donkey was the inspiration for the Set animal.

See also

Citations

General and cited references
  A primer based on Gardiner's sign list, focussing on major signs in seven categories.

External links

Egyptian hieroglyphs: mammals
Egyptian legendary creatures
Mythological dogs
Mythological hybrids
Naqada III
Set (deity)

Set animal


Sir James Macdonald Cobban  (14 September 1910 – 19 April 1999) was an English educator and headmaster, as well as a prominent lay leader in the Church of England.  He was the headmaster of Abingdon School from 1947 to 1970 and is largely credited with bringing the school from relative obscurity to national recognition in Britain.

Biography
Cobban was born in Scunthorpe, Lincolnshire, and received his early education at Pocklington School in Yorkshire. He was granted a scholarship to Jesus College, Cambridge, where he read classics and had great success. Cobban received a double first in the Classical Tripos examinations, receiving the Thirwell Medal and Gladstone Prize and receiving marks second only to his contemporary Enoch Powell.  Cobban continued his education at the University of Vienna in 1932, where he witnessed a Jewish student being chased by a gang of young Nazis wielding cudgels, an experience which Cobban described in his memoir as "seared in my mind".

In 1933 Cobban took a position teaching Latin and Greek at King Edward VI School, Southampton.  Whilst there, he wrote a Latin reader, "Civis Romanus", which was widely used in the latter half of the 20th century, selling over half a million copies.  In 1936, he took a post at Dulwich College, where he worked until the outbreak of the Second World War.  During the war, Cobban served with the Directorate of Military Intelligence and rose to the rank of Lieutenant-Colonel.  An attack of appendicitis during the run-up to D-Day prevented his participation in the Normandy invasion, and he arrived in France six days after the Allied landing.  Many of Cobban's responsibilities before and after the invasion involved planning for the occupation of Germany.  When that became a reality, Cobban was assigned to help organise local governments in Germany on a democratic basis.  In his memoir, he fondly recalls working alongside German civil servants, occasionally using Latin as a common tongue when his German and their English failed.

Cobban briefly returned to Dulwich in 1946 before arriving at Abingdon School as Headmaster in 1947.

Marriage and children

Cobban married Lorna Marlow in 1942 and had four daughters (Mary, Diana, Hilary, and Helena) and one son (John, who died at the age of two from a fall). Lorna died of bronchiectasis in 1961, leaving James to raise his four daughters on his own, although his sister Katie later gave up her own career as an educator to assist in the children's care.

Religious views

Cobban was a lifelong member of the Church of England and in later life a prominent lay leader. He served in the General Synod for fifteen years, and for three years served as its chairman, the highest position a layman can hold in the Church of England. Cobban preached and officiated in his retirement at a group of six parishes in Dorset from 1986 to 1997.

In the epigraph of his memoir One Small Head he wrote, "I may not be a very good Christian, but I cannot imagine any life without the Christian church."

Retirement
He moved to Steventon, then to Sherborne, and finally to sheltered housing run by one of his daughters in Yeovil.  He died at Tyndale Nursing Home, Yeovil, Somerset, on 19 April 1999, and his ashes were interred on 26 April in Trent churchyard, Somerset.

Honours
James Cobban received the Territorial Decoration (TD) for long service in the Territorial Army.
 He was appointed as a Commander of the Order of the British Empire (CBE) in the Civil Division in the 1971 Queen's Birthday Honours List.
 He was knighted in the 1982 New Years Honours List.
 He served as a Deputy Lieutenant (DL) for both Berkshire and Oxfordshire.

Works
Civis Romanus, a collection of readings for beginning students of Latin co-written with Ronald Colebourn, continuously in print from 1936–1986 and recently reprinted. .
Senate & Provinces, 78 - 49 B.B., (Cambridge University Press, 1935). Now out-of-print.
One Small Head, privately printed memoir, 1998. Now out-of-print.

Notes

References

 T. Hinde and M. St John Parker, The Martlet and the Griffen, 1997

1910 births
1999 deaths
Military personnel from Lincolnshire
British Army officers
British Army personnel of World War II
English Anglicans
Heads of schools in England
People from Scunthorpe
People from Abingdon-on-Thames
Commanders of the Order of the British Empire
Deputy Lieutenants of Berkshire
Knights Bachelor
Alumni of Jesus College, Cambridge
People educated at Pocklington School
Heads of Abingdon School

James Cobban


Pierre Frolla (born 14 February 1975) is a Monegasque freediver. He is a triple world record holder in Free Immersion (including -80 meters on 17 August 2001 in Monaco).

In 1998, Pierre took his first French record in variable weight, improving the time of Loic Leferme by 2 meters (-82m).

In 2000, he took his second World record, -73m in Free Immersion. Following this competition, Leferme and Frolla travelled around the world with VM Production to produce a movie called The Fish-Men, a 52-minute production by France Television. The movie took one year and included Frolla's third world record of -80 meters, set in 2001.

Frolla is today a member of the Champions for Peace, a group of 54 elite athletes who promote peace in the world through sport, created by Peace and Sport, a Monaco-based international organization.

See also

References

1975 births
Living people
Monegasque freedivers
Place of birth missing (living people)

Pierre Frolla


Chaubier is a washed rind French Cheese made from half goat's milk and half cow's milk.  The cheese was produced by the Soignon division of DCI's cheese section.  The cheese was discontinued in 2012 with small amounts of the cheese being available in 2013 from distributors.

DCI has discontinued all references to the cheese on their website as of 1/1/2013.

References
 http://www.nalascheese.com/store/Cheese/Cheese-Type/Firm-Cheese/Chaubier/
 http://www.igourmet.com/shoppe/Chaubier.asp
 http://www.crackerscheese.com/home/chaubier

French cheeses
Goat's-milk cheeses
Cow's-milk cheeses

Chaubier


The House of Ulloa (Spanish: ) is a novel by Emilia Pardo Bazán, published in Spanish in 1886, and translated into English by Paul O'Prey and Lucia Graves, published by Penguin Classics in 1990. It was republished by Pocket Penguins in 2016. The story continues in the 1887 novel .

Plot Synopsis
The story is set in rural Galicia, in the mid-to-late 19th century. The main character is Julian Alvarez, a meek, dainty and profoundly religious priest who has been assigned as chaplain to the estate of the marquis of Ulloa, the arrogant Pedro Moscoso. The marquis' house is almost in ruins, but Don Pedro cares only to go hunting and leaves the day-to-day running of the estate to his majordomo, the sly Primitivo. Julian is shocked that a nobleman would allow a roguish character such as he to manage his affairs, and is even more perturbed to find that Primitivo's beautiful daughter Sabel is the mother of Don Pedro's illegitimate son, Perucho.

As he lives on the Ulloa estate and tries to sort out the long-neglected affairs of the marquis, Julian becomes more and more disillusioned with his role. He is unable to get rid of Primitivo and Sabel; the house is constantly inhabited by scoundrels and vagabonds; and by failing to act he feels he is officially sanctioning the marquis' illegitimate union with Sabel.

Eventually, Don Pedro violently beats Sabel after she dances with another man at a feast, but doesn't banish her from the house. The marquis reveals to Julian that he is afraid of Primitivo, who is the real master of the estate through his connections with the peasants and his ruthless methods. Through Sabel, Don Pedro is also controlled by Primitivo. Julian convinces the marquis to change his life and travel to the city to find a wife.

Don Pedro and Julian travel to Santiago, where they are hosted by the marquis' uncle, who is also Julian's patron. The uncle has four daughters, and Don Pedro resolves to marry one of them. He is initially attracted to the buxom and provocative Rita, who returns his advances, but after a heart-to-heart conversation with Julian he proposes to Marcelina, nicknamed Nucha, a much more meek and modest girl. Nucha reluctantly accepts, causing a rift with the rest of her family and her sisters. They get married and return to the Ulloa estate in the countryside.

Nucha soon becomes pregnant, and, much to Don Pedro's dismay, gives birth to a girl. He grows apart from his wife and starts sleeping again with Sabel. Without her family and estranged from her husband, Nucha dedicates herself wholly to her newborn daughter, with only Julian to give her company. Her mental and physical state deteriorates after she starts to suspect that the boy Perucho is Don Pedro's illegitimate son. Julian also becomes more and more distraught; he notices signs of physical abuse in Nucha and blames himself for having brought this woman, whom he considers saintly and without error, to a remote estate surrounded by people who don't deserve her.

Don Pedro stands as a candidate in the provincial election, but even though Primitivo uses all of his wiles and resources to have his master elected, the marquis is defeated. Privately, the local political leaders believe Primitivo to have betrayed them. Don Pedro becomes furious at the election loss and Nucha, who had hoped that they could move to Madrid if he had been elected, realises that there is nothing more for her at the dilapidated estate.

Nucha asks Julian to help her escape back to her father; as they conspire, Primitivo informs Don Pedro of their whereabouts and reinforces a rumor that they might be having an affair. Don Pedro confronts the two with great violence but as he does so Primitivo is shot dead as retaliation for the electoral loss. Upon seeing Don Pedro threaten to beat his wife, Julian finally stands up for himself and leaves the estate for good. He is assigned to a mountain parish where he works with great abnegation for ten years, and eventually receives a notice that Nucha has died.

In the epilogue, Julian returns to the Ulloa estate to pay his respects to his former mistress. There, he encounters Nucha's daughter and Perucho, now both grown up and handsome. The story continues in .

Adaptation
Televisión Española (TVE) in co-production with Radiotelevisione italiana (RAI), adapted the novel and its sequel to the television series Los pazos de Ulloa, directed by Gonzalo Suárez and premiered in 1985.

References

1886 novels
19th-century Spanish novels
Penguin Books books

The House of Ulloa


Dark side, Dark Side, or Darkside may refer to:

Popular culture
 Dark side (Star Wars), the dark side of the Force in the Star Wars universe
 Dark Side (video game), a 1988 video game from Incentive Software
 The Dark Side (book), a 2008 book by Jane Mayer
 The Dark Side (magazine), a UK horror film publication
 Darkside (novel), a 2007 children's novel by Tom Becker
 Darkside, a horror novel by Dennis Etchison
 Darkside (radio play), a 2013 drama by Tom Stoppard, based on Pink Floyd's album The Dark Side of the Moon
 Darkside, Scottish professional wrestler known for winning the ICW World Heavyweight Championship (Scotland)
The Darkside (film), anthology film directed by Warwick Thornton

Music
 Darkside (band), an American electronica duo
 The Darkside (band), a British indie band
 Darkside, a subgenre of grime
 Darkside, name for the genre sometimes also called Darkcore

Albums
 The Dark Side (DarkSun album), 2007
 The Dark Side (Gregorian album), 2004
 Darkside (Necrophobic album), 1997
 Darkside (Tim Minchin album), 2005
 Darkside / Stay Awake or the title song, an EP by Kisschasy, 2004
 The Darkside Vol. 1, by Fat Joe, 2010
 The Darkside Vol. 2, by Fat Joe, 2011
 The Darkside III, by Fat Joe, 2013
 The Dark Sides, by King Diamond, 1988
 No More Heroes Sound Tracks: Dark Side, from the video game No More Heroes, 2008
 "The Dark Side", disc one of the Dream Theater album  Greatest Hit (...And 21 Other Pretty Cool Songs), 2008

Songs ("(The) Dark Side")
 "Dark Side" (Blind Channel song), 2021
"Dark Side" (Kelly Clarkson song), 2012
 "Dark Side" (Phoebe Ryan song), 2017
 "Dark Side" (R5 song), 2016
 "The Dark Side" (song), by Muse, 2018
 "Dark Side", by Erich Church from The Outsiders, 2014
 "Dark Side", by The Shadows of Knight, 1966

Songs ("Darkside")
"Darkside" (Alan Walker song), 2018
"Darkside" (Blink-182 song), 2019
"Darkside", by Bring Me the Horizon from Post Human: Nex Gen, 2024
"Darkside", by Crazy Town from The Gift of Game, 1999
"Darkside", by Lil Wayne from Funeral, 2020
 "Darkside", by Lindsey Stirling from Artemis, 2019
"Darkside", by Shinedown from Attention Attention, 2018
 "Darkside", by Ty Dolla Sign and Future from Bright: The Album, 2017
 "DarkSide", by Zara Larsson from Allow Me to Reintroduce Myself, 2013

Other uses
 DarkSide (dark matter experiment), an affiliation of physicists searching for dark matter
 DarkSide (hacker group), a hacking group responsible for ransomware attacks.
 The night portion of a planetary body, defined by the terminator line

See also
 Darksyde, a ship in the Beast Wars television series
 Darkseid, a DC Comics supervillain
 Dark Side of the Moon (disambiguation)
 The Dark Side of the Sun (disambiguation)

 The Bright Side (disambiguation)
 Light side (disambiguation)
 Shadyside (disambiguation)

Dark side