Mormaer of Caithness

The Mormaer of Caithness was a vassal title mostly held by members of the Norwegian nobility based in Orkney from the Viking Age until 1350. The mormaerdom was held as fief of Scotland and the title was frequently held by the Norse Earls of Orkney, who were thus a vassal of both the King of Norway and the King of Scots. There is no other example in the history of either Norway or of Scotland in which a dynasty of earls owed their allegiance to two different kings.
The earliest reference to the title is however to that of a native Scots ruler, Donnchad, although the extent of the Scottish crown's influence so far north at the time, beyond the lands of the powerful Mormaers of Moray, is questionable. The Norse saga which mentions Donnchad does not provide a date, although the context suggests the early tenth century. Nonetheless, at least since the childhood of Thorfinn Sigurdsson in c. 1020, but possibly already several decades before, the Earls of Orkney were the controlling figures. In the Norse context the distinction between earls and kings did not become significant until the late 11th century and the Caithness mormaers therefore would have had considerable independence of action until that time.
The Pentland Firth, between Caithness and Orkney, was a stretch of water which divided the two earldoms but also united them, especially perhaps for the Norse, whose command of the seas was an important aspect of their culture. Indeed there are numerous incidents recorded in the "Orkneyinga saga" in which movement across these waters occurs as if the two polities were parts of a single political and cultural arena. Even in the mid-12th century it appears that a king of Norway - Eystein Haraldsson - had no difficulty in capturing Harald Maddadson, an Earl of Orkney, from his base in Thurso, Caithness. Meanwhile a Scottish king, David I, exercised control of both areas through promotion of the Scottish Church and other indirect rather than military means. In the 13th century, especially after the Norwegian defeat at the Battle of Largs and the subsequent Treaty of Perth in 1266, the distinctions hardened and the Firth became more like a "state border".
Sutherland was part of the Caithness mormaerdom for most of this title's history, but was "taken" by Alexander II from Magnus, the first "Angus" earl, and given to others for unknown reasons.
Most dates during the Norse period are approximate, but records become more detailed and historically accurate as the line of Norse "jarls" comes to an end. After the close of the "Jarls' Saga" on the death of Jon Haraldsson in 1230, the history of Caithness is "plunged into a darkness which is illuminated by very few written sources".
After the rule of Maol Íosa there was no mormaer of Caithness from c. 1350 to 1379. The title Earl of Caithness was granted to David Stewart, a younger son of the Scots king, and the mormaerdom effectively continued as an earldom from that point onwards.
Mormaers of Caithness.
The list is by necessity a fragmentary one, the archives being not fully preserved, the reigns of some supposed mormaers being not fully attested, and so forth. According to the Landnámabók, Thorstein Olafsson (fl c. 850-c. 880) and Sigurd Eysteinsson “conquered Caithness, Sutherland and Moray, and more than half of Argyll [and] Thorstein ruled over these territories as King”. There is no suggestion that Thorstein was beholden to any overlord although his son-in-law Donnchad is described as a "native earl".
Norwegian interlude.
In 1098 Magnus Barefoot, King of Norway deposed the Thorfinnsson brothers as Earls of Orkney and set his 8 year old son Sigurd Magnusson up in their place. This was an unprecedented occurrence, probably intended as a permanent step. Magnus then conducted two vigorous campaigns in the Hebrides and Irish Sea region. It is likely that "de facto" control of the mormaerdom was in his hands prior to his death during the second campaign in 1103 although "there does not seem to have been any intention on the Norwegian side" to formally take control of Caithness, which remained subject to the Scottish crown.
It is possible the native Celts regained the title at this time. in the late 11th or early 12th century, Ótarr son of Madadhan and brother-in-law of Haakon Paulsson is described as "jarl of Thurso". It is not certain that this second "Moddan of Dale" was a descendant of his earlier namesake, and there is no suggestion that Moddan himself was a jarl. Ótarr was the brother of Helga Moddansdóttir "fl." 1015-23 and a "curiously shadowy figure".
Later Norse jarls.
After the failure of Harald the Younger, c.1200 William of Scotland then asked King of the Isles
Rognvaldr Gudrodsson ("Raghnall mac Gofraidh") to take Caithness on behalf of the Scottish Crown. Rognvaldr marched north, subduing the region and then returned to the Isles leaving three stewards in charge. Although not descended from previous Orcadian earls, Rognvaldr was related to these Norse magnates through his paternal grandfather's marriage to Ingibjorg, daughter of Haakon Paulsson. There is no evidence of his installation as a Mormaer of Caithness, only that he was appointed to administer the province. His tenure in Caithness seems to have been short-lived and once again Harald Maddadsson became the undisputed ruler of his northern holdings.
Angus and Strathearn rulers.
Jon Haraldsson's son Harald had drowned in 1226 and as there were no male heirs two parties with a claim sought the jarldom from King Haakon Haakonsson of Norway. On their return to Orkney in the autumn of 1232 in a single ship the claimants and their supporters were all lost at sea. As early as 2 October of that year the Caithness title was claimed by a member of the family of the Earl of Angus and it was to this house that Caithness and Orkney were eventually granted.
There was no Mormaer of Caithness from c. 1350 to 1379. Alexander of Ard, the son of Maol Íosa's daughter Matilda and Weland of Ard (Aird, west of Inverness) was considered the rightful heir to Caithness but he resigned his interest in 1375 to King Robert II, possibly for a financial compensation or the king's support for his attempt to become Earl of Orkney. The power vacuum in Caithness was filled by William III, Earl of Ross. After this time the title "Earl of Caithness" was granted to David Stewart, 1st Earl of Caithness a younger son of Robert II whose successors have borne that title from then until the present day.


Dooley

Dooley is an Irish surname. Notable people with the surname include:


Song Deok-gi

Song Deok-Gi (); (19 January 1893- 23 July 1987) was a Martial artist from Korea. One of the last practionners of the ancient martial art of Taekkyon, he helped convey the art during the Japanese Occupation of Korea (1910-1945) and the Korean War (1950-1953). Based on his efforts, the South Korean government acknowledged Taekkyon as the 76th Important Intangible Cultural Properties of Korea and recognized him as a Human Cultural Asset (Ingan-munhwage). He used Hyeonam (현암; 玄庵) as a pen name.
Biography.
Song Deok-Gi was born in 1893 in Sajik-dong, Seoul, in a family of Taekkyon practitioners. He was introduced by his father to renowned Taekkyon Master Im Ho (임호; 林虎) when he was 12 years old and began training under his tutelage for about 10 years. At that time, Taekkyon was practised as a martial art and a folk game by people in the vicinity of Seoul. Song learnt in a glade located on the flanks of the Inwangsan mountain near the Archery center called Hwanghakjeong (황학정; 黄鹤亭). At the time, the High-village or Widaepae (윗대패) designated those who lived inside of Seoul town walls and Araedaepae or Low-village (아랫대패), those who lived outside . Song Deok-Gi was from the Widaepae so he competed a lot with Araedaepae. Both village had their own style and techniques. After the Japanese annexion of Korea, indigenous martial arts became prohibited under Japanese cultural assimilation policies. Nevertheless, Song kept practising his Taekkyon skills in secret and never stopped training. He also practised Korean archery (Gungdo) and became the first official referee of the sport. In 1958, he showed a demonstration of Korean martial arts in front of the president Lee Seung-man for his birthday with Kim Sung-hwan (1904?-1958), another pupil of Im Ho. This event sparked the renaissance of Taekkyon and introduced the art to a new public.
Career.
Song worked as a physical instructor for the Korean Army and the Royal guard before its dissolution by the Japanese. Later on, he became a professional soccer player and even won the Cup of Joseon in 1922.
After the Korean War, he was virtually the only practitioner able to teach Taekkyon left. In the following decades, he passed on his knowledge to a new generation of masters, thus laying the seeds for the art's regeneration. Until his passing, he was known as "The Last Taekkyon Master of Joseon ".
The first of June 1983, Song became a national treasure as Taekkyon was designated as the 76th Important Intangible Cultural Properties of Korea by the Cultural Heritage Administration. To this day, it remains one of only two martial arts which possesses such a classification (the other being Ssireum). This recognition attracted many more students and helped secure the transmission of the art. Most leaders of the current Taekkyon Associations started their formation during that time. Song established the Widae Taekkyon Preservation Society with his student Lee Jun-Seo the same year.
He died aged 94 in 1987.


David A. Boxley

David A. Boxley (born 1952) is an American artist from the Tsimshian tribe in Alaska, most known for his prolific creation of Totem Poles and other Tsimshian artworks.
Boxley was raised in Metlakatla, Alaska, home to many Tsimshian people. His works, done in traditional Tsimshian style and technique, have had international reach, and he is known as one of the most prolific contemporary makers of Totem Poles in the world. He has created over 70 poles, which have been displayed in notable places like Disney World, Florida and the Smithsonian National Museum of the American Indian, where it is permanently displayed. His other carvings are in the collections of various museums, and owned by royal families and nobles across Europe and Asia.
He has also played a part in reviving Tsimshian culture, creating Tsimshian dance groups, reviving the traditional ceremony called Potlatch, and passing on knowledge of Tsimshian language.
Boxley currently lives in Lynnwood, Washington, and his son’s, particularly David R. Boxley, are also successful artists and carvers.
He is a member of the Laxsgiik (Eagle clan), and his four Tsimshian names include one meaning "First to Potlatch" and one meaning "He Who Works with the Cedar."
Early life.
Boxley was born in Ketchikan, Revillagigedo Island, Alaska, in 1952, but grew up in Metlakatla, Alaska. He was mostly raised by his grandparents, and would spend most of his time with them as a child. Due to nearly a century of cultural oppression in Alaska towards the Tsimshian, traditional Tsimshian culture was nearly extinct in Metlakatla, and in the region as a whole, while Boxley was growing up.
Unlike most children around him, Boxley was surrounded by traditional Tsimshian culture in his childhood. This was on account of his grandparents, who both spoke the Tsimshian language and knew many traditions of the past. He first learned to carve from his Grandfather, who he often describes as his “hero”. He described his grandfather as a man who “could build anything” and would pass on knowledge to Boxley, such as what wood should be used to carve, and how to create his own tools. His first works were those he helped carve with his grandfather growing up, and he still currently uses an adze made with the help of his grandfather in every carving project. Apart from this, Boxley claims he had been interested in being an artist “since third grade”.
After High School, Boxley attended Seattle Pacific University, and graduated with a Bachelor of Science degree in 1974. He then spent ten years working as a High School teacher and basketball coach in Seattle, Metlakatla and Washington. During this time, he began to seriously research the traditional art and culture of the Tsimshian. He studied the works of previous Tsimshian artists, and artists of other Pacific Northwest Coast artists such as the Haida and Tlingit. He also studied the works that the ancestors of these tribes left behind. Boxley also used libraries, art classes, museums, heritage sites and others, as well as taking some classes from a prominent Tsimshian artist at the time- Jack Hudson. However, Boxley mostly taught himself from his own research, and learned many traditional art styles and methods that had been lost to time. This soon overtook his teaching, and Boxley eventually decided to become a full time artist and carver in the mid 1980s.
Career and works.
Early Work (mid-1980s – 1990s).
Since the mid 1980s, Boxley has worked on many commissions. One of his first major ones was for the ‘Talking Stick’ for the 1990 Goodwill Games. Boxley designed the crown of the stick, and made it a symbolic symbol of peace between the United States and then Soviet Union, depicting the American eagle and the Russian bear together. The stick even had messages by the countries respective leaders at the time- President George H.W. Bush. and President Mikhail Gorbachev- engraved in it. It was a significant work that had a global audience, with the stick being carried across states similar to the Olympic Torch. Since this period, his reputation has grown as an elite carver and he has garnered an international reach.
Totem Poles (1980s–present).
Boxley is best known for his Totem Poles, which have been displayed across the U.S, Canada and Europe. They have been displayed in various notable areas.
Walt Disney World.
Three of Boxley’s poles stand at the Canada Pavilion in Epcot Center in Walt Disney World, Florida. He was asked to create a new totem pole for the center in 1998, alongside the two fiberglass ones that already stood in the Center. This was done in an effort to give the Center greater authenticity, as the theme park was taking multiple initiatives to be more authentic. Then, in 2017, Disney commissioned Boxley to create two more poles to replace the fiberglass ones. These poles have since been lauded for their attempts at authenticity, but to some culture critics make the claim that putting the poles into a tourist setting might result in them losing their cultural significance.
National Museum of the American Indian.
Another of Boxley's poles is currently in the Smithsonian National Museum of the American Indian in Washington D.C, where it is permanently displayed. This is significant as the Museum usually rotates their exhibitions and keeps only popular or iconic artworks on permanent display. It was Boxley’s 70th pole, made out of a 500 year old cedar tree, and he was helped to carve it by his son David. The Museum is coveted by Native American artists, and a spot in the museum is very sought after. Boxley is very proud to have a pole in the museum, and was especially glad that the Tsimshian tribe and his village of Metlakatla were broadcast to a national and global audience due to the pole being raised. He is the second contemporary Totem Pole carver in the world to have a pole in the Museum, after Nathan Jackson.
Metlakatla and the U.S.
In addition to having poles stand internationally, he has carved most of the poles in his native village of Metlakatla. In 1982, he made the town’s first raised pole, and has since made others, alongside carver Wayne Hewson. Together, they have made 11 out of Metlakatla’s 13 totem poles. Most of his poles stand across the U.S and Canada. Many of these hold personal meaning, such as the one that stands outside Northwest Hospital in Seattle, dedicated to his deceased sister-in-law. Another is one of three poles in Metlakatla that stand next to each other. Boxley made the largest one, which stands 30 ft tall, in honour of his grandfather.
Other works (1980s–present).
In addition to Totem Poles, Boxley has made many other items, such as bentwood boxes, masks, rattles, prints, panels and paintings. Many of these works are in the collections of galleries, museums and art auctions across the United States and Europe. He has formed a strong relationship with Quintana Galleries in Portland, Oregon, where his work has become a permanent fixture. Many of the items are also in the collection of various world leaders, such as in Germany, the King of Sweden, and the Emperor of Japan.
Passing on Knowledge (2010s–present).
Boxley continues to carve today, and in recent years has dedicated efforts to training and teaching younger generations of Tsimshian people his knowledge and techniques. His sons, David and Zachery, have notably followed their father’s line of work and are both successful carvers in their own right. David R. Boxley in particular has garnered his own reputation as a talented carver, and has started making Totem Poles himself. Boxley now works with his sons, stepson and nephew on most of his works. In 2019, Boxley formally took on an apprentice, Dylan Sanidad, through The Washington State Arts Apprenticeship Program, whom he will teach traditional Tsimshian carving.
Art style and techniques.
Boxley’s works are done in a very traditional manner and he focuses on a uniquely Tsimshian art style. Boxley originally borrowed heavily from different Pacific North West Coast styles, such as Haida and Tlingit, but in the mid 1980s, his style began to look more explicitly Tsimshian. He has described his style as “Alaskan Tsimshian”- specific to the Alaskan branch of the Tsimshian. For his Totem Poles, he uses old red cedar trees, as they are the trees that his Tsimshian ancestors were surrounded by. However, he has given up some traditional materials for modern ones. An example is using latex paint instead of traditional Tsimshian pigments, such as copper oxide and charcoal mixed with salmon eggs and urine. Despite this, Boxley stresses the importance of keeping everything as traditional and authentic as possible.
Revival of Tsimshian culture.
Since the 1980s, Boxley has also contributed to the revival of Tsimshian culture as a whole, and his work in this regard has been praised by Tsimshian communities. As a result of his efforts, he was given the title of “culture bearer” by his Tsimshian tribe. He has stated that this title is the greatest honour he has received. His work has also been praised by others outside of the Tsimshian community. Quintana Galleries in Portland said of Boxley: “Not all of the artists [in the museum] were reviving a culture, but he was”. Similarly, the director of the National Museum of the American Indian, Kevin Gover, stated: “David Boxley has been instrumental in revitalizing the cultural traditions of carving, song, and dance in his Tsimshian community”.
One of Boxley’s revival efforts was restarting the “Potlatch”, a traditional ceremony practiced by indigenous groups in the Pacific North West Coast of the U.S and Canada. In 1982, Boxley lead the first Potlatch in Metlakatla in over a century, also making songs and dances for the event as well as raising a Totem Pole he made. He has since lead other Potlatches across the Pacific Northwest.
Another of Boxley’s contributions is the starting and leading of traditional Tsimshian dance groups. The most notable of these is the “Git-Hoan”, meaning “People of the Salmon”, currently lead by Boxley’s son David. The group has performed across the United States, Canada and Europe, to wide success and acclaim. The Git-Hoan combines traditional Tsimshian song, language and dance, along with masks, costumes and instruments made by Boxley. Boxley is also concerned with authenticity in the Git-Hoan performances, having researched song style, dances, costumes and ornaments using primary material such as a 1913 silent film and a wax audio reel. All of these authentic traditions are therefore showcased to an international audience. The Git Hoan dancers did multiple performances at the Disney Epcot Center, as part of the dedication ceremony for the two poles he raised there in 2017. These performances have been praised for bringing authenticity to the park and showcasing true Native American culture to audiences. It has been one of the few genuine Native American performances at the park since its creation.
Boxley is also concerned with the preservation of the Tsimshian language, which has only approximately 70 speakers left in Alaska. He has also played a role regarding this; with he and his son David being involved in Tsimshian language classes. In addition to this, both Boxleys write songs for their Git-Hoan dance group using the traditional Tsimsian language. They consciously do this to expose people to the language.
Due to his efforts, Metlakatla has had a strong revival in traditional culture, and younger generations of the Tsimshian tribe have had the chance to be surrounded by traditional Tsimshian culture.


Bowles (surname)

Bowles is an English and Irish surname of Norman origin. Notable people with the surname include:
Fictional characters:


Gebel el-Silsila

Gebel el-Silsila or Gebel Silsileh ( - Jabal al-Silsila or Ǧabal as-Silsila – "Chain of Mountains" or "Series of Mountains"; Egyptian: ẖny, Khenyt, Kheny or Khenu – "The Place of Rowing"; German: Dschabal as-Silsila – "Ruderort", or "Ort des Ruderns" – "Place of Rowing"; Italian: Gebel Silsila – "Monte della Catena" – "Upstream Mountain Chain") is 65 km north of Aswan in Upper Egypt, where the cliffs on both sides close to the narrowest point along the length of the entire Nile. The location is between Edfu in the north towards Lower Egypt and Kom Ombo in the south towards Upper Egypt. The name "Kheny" (or sometimes "Khenu") means "The Place of Rowing". It was used as a major quarry site on both sides of the Nile from at least the 18th Dynasty to Greco-Roman times. Silsila is famous for its New Kingdom stelai and cenotaphs.
Sandstone quarry.
During the 18th Dynasty the Egyptians switched from limestone to sandstone. At this time the quarries at Gebelein were not yielding as much limestone as before. Gebel el-Silsila became a source of sandstone. The use of this stone allowed for the use of larger architraves.
Many of the talatats used by Akhenaten were quarried from here and used in buildings at Luxor and Amarna. A stele from the early part of Akhenaten's reign shows the king offering to Amun beneath the winged sun-disk. The inscription records that stone was cut for the great Benben of Harakhty in Thebes. Akhenaten's sculptor Bek oversaw the opening of a stone quarry here.
Shrines, chapels and temples.
The site provided numerous stone quarries on both the west and east sides of the Nile. The site contains many shrines erected by officials who would have been in charge of quarrying the stone. Almost all of Ancient Egypt's great temples derived their sandstone from here, such as Karnak, Luxor, Ramesses III's Medinet Habu, Kom Ombo, and the Ramesseum.
Principal deity Sobek.
The principal deity of Gebel el-Silsila is Sobek, the god of crocodiles and controller of the waters. Silsila is located within the Ancient Egyptian nome of Kom Ombo (or Ombos), Kom Ombo being 15 km to the south or upriver. The Roman coins of the Ombite nome exhibit the crocodile and the effigy of the crocodile-headed god Sobek.
West bank subsites.
The rock-cut temple of Horemheb is referred to as the Great Speos and may have been created in a former sandstone quarry. The temple is dedicated to seven deities, including Amun, the local god Sobek and Horemheb himself. Later rulers included further scenes and inscriptions to this structure. The scenes on the facade of the Great Speos include Ramesses III offering Maat to Amun-Re, Mut, Khonsu and Sobek in one scene and offering Maat to Anhur-Shu in another scene. Elsewhere Ramesses II is depicted in the company of his Vizier Neferronpet, while offering Maat to Ptah and Sobek. The central doorway contains a stele showing Sety II before Amun-Re, Mut and Khons.
The Great Speos also contains two chapels belonging to Viziers. On the south end of the entrance is the chapel of Panehesy, Vizier to Merenptah. Panehesy is shown adoring Merenptah. Panehesy is also depicted on a stele showing Merenptah, Queen Isetnofret, and Prince Sety-Merenptah (later Seti II). On the northern end is a similar chapel of the Vizier Paser from the reign of Ramesses II. A stele in the doorway shows Ramesses II, Queen Isetnofret and Princess-Queen Bintanath. The king is offering Maat to Ptah and Nefertem.
South of Horemheb's Great Speos are a collection of erected royal stelae. The stelae date to a variety of reigns. They include a rock stela depicting Ramesses V before Amun-Re, Mut, Khons and Sobek. Ramesses III is shown offering Maat to Amun-Re, Mut and Khons. From a much later time is the stele of Shoshenq I. The scene shows Shoshenq accompanied by his son Iuput. The text is dated to year 21 of his reign. The goddess Mut leads the king and his son before Amun-Re, Re-Harakhti and Ptah.
South of the royal stelae several cut shrines are found. These include shrines for the Scribe of the Treasury of Thutmose, the Overseer of the Seal of Min (from the time of Hatshepsut and Thutmosis III), an official named Maa, and the Scribe of the Nome Ahmose (from the time of Hatshepsut and Thutmosis III).
North of the royal stelae more shrines can be found. One shrine belonged to an official dated to the reigns of Hatshepsut and Thutmosis III: User, vizier. A shrine at this site records User's family, including his father Amethu called Ahmose.
Further shrines were constructed near the river. Most of these date to the reigns of Hatshepsut and Thutmosis III. Included are the shrines of some high-ranking officials such as the Overseer of the Granaries Minnakht, the Overseer of the Seal and Royal Herald Sennufer, the Overseer of the Seal Nehesy, the Overseer of the Prophets of Upper and Lower Egypt Hapuseneb, and the Great Steward of the Queen Senenmut. Senenmut's is noteworthy because the inscriptions show a change in the status of Hatshepsut. She is said to be the "King's First-born Daughter" and she is depicted as a pharaoh in a striding fashion.
Additionally, three rock-cut shrines were constructed and the site also shows some royal stelae. The shrines belong to Seti I, Ramesses II and Merenptah. One of the stele depicts Ramesses III offering wine to Amun-Re, Re-Harakhty and Hapi. The stele mentions year 6 of the reign of Ramesses III. Adjoining this is another stele, this one depicting Horemheb adoring Sety I.
Between the shrines of Merenptah and Ramesses II a stele was erected depicting Merenptah and a son (likely Sety-Merenptah, but the name has been destroyed) offering Maat to Amun-Re. The royals are accompanied by the Vizier Panehesy.
East bank subsites.
Survey work of the east bank has revealed 49 quarries, the largest being Quarry 34 (Q34) (reviewed in 7 partitions due to its immensity) containing 54 stone huts.
The East bank holds several stele from the time of Amenhotep III. The stele and their texts are described in Karl Richard Lepsius' "Denkmahler". The stelae are damaged, but one of them was inscribed in year 35. Amenhotep is shown adoring Amun-Re and is called "beloved of Sobek" in the inscriptions. The stela have been studied and described by Georges Legrain.
A shrine with stele on three sides depicting Amenhotep III is located at Gebel el-Silisila East. In the scenes Amenhotep III is accompanied by an official named Amenhotep, who held the title "Eyes of the King in the whole land".
A stela was discovered showing Akhenaten—named Amenhotep IV—before Amun-Re.
Further finds date to the time of Sety I. An inscription from year 6 shows Sety I before Amun-Re, Ptah and a goddess. Another stele shows the Commander of troops of the fortress of the Lord of the Two Lands, named Hapi adoring the cartouche of Sety I.
The rediscovery of the Temple of Kheny is a significant find for the east bank. The other item of significance is the collection of over 5,000 epigraphic symbols and hieroglyphs collected from this site and all over Egypt. There appears to be an image depicting the actual transport of the sandstone blocks to temple sites.
The east bank also has two unfinished ram-headed sphinxes or criosphinxes.
Indications have been noted of possible stables providing horses to the Roman Caesars.
Table of monuments.
This is a list of notable monuments for Gebel el-Silsila.
Temple of Kheny (Temple of Sobek).
Remains of the Temple of Kheny have been rediscovered as surface remnants at Gebel el Silsila, showing the temple foundations and blockwork. The ruins are one of the few remnants of the settlement of Kheny or Khenu, the ancient Egyptian name, meaning "Rowing Place", for Gebel el-Silsila. The finding confirms that Gebel el Silsila is a sacred site in addition to its quarry function. It is unknown at this time to whom the temple is dedicated, but there are indications that it may be to Sobek. Further, the site seems to lean towards solar worship.
The worship center was described as a destroyed Ramesside temple on a 1934 published rudimentary map by Egyptologist Ludwig Borchardt after being recorded between 1906 and 1925. The temple was then forgotten and lost.
The temple appears to have four "dressed floor levels". Two painted sandstone fragments indicate that the temple's ceiling had an astronomical motif with stars and sky representing the celestial heavens.
The rediscovery and on-site work have been conducted since 2012 by teams led by archeologists Maria Nilsson and John Ward as part of the Gebel el Silsila Survey Project.
Possible official change from limestone to sandstone in Ancient Egypt.
The changeover of constructing temples in Ancient Egypt from limestone to sandstone may have started with the Temple of Kheny. It appears that the Temple of Kheny may be the "mother temple" to all future temples built with sandstone.
According to Nilsson:
Gebel el Silsila Epigraphic Survey Project.
The entire site of Gebel el Silsila covering about 20 square kilometers is in a multi-year epigraphic survey project directed by archaeologist Maria Nilsson under the auspices of Lund University, and assistant-director John Ward. As of 2015, the team had 13 members, 2 SCA inspectors, and assistants. Various teams organized by them have been working on-site since 2012. Emphasis has been placed on the east bank due to insufficient recording in the past and deteriorating conditions in the present epigraphically. Its major finding is the Temple of Kheny. The project is also noted for its use of digital archaeology.
The survey project has also found a blue scarab, an amulet depiction of a dung beetle.
Recent discoveries.
In February in 2019, joint Swedish-Egyptian archaeologists revealed a 16.4-feet longs and 11.5-feet high ram-headed sphinx (or a criosphinx) carved from sandstone dated back to the reign of Amenhotep III. In addition to this finding, an "uraeus" or wrapped cobra symbol and hundreds of stone fragment engraved with hieroglyphs were also found.
Climate.
The present-day climate of Gebel el-Silsila (Khenu) is extremely clear, dry, bright, and sunny year-round, in all seasons, with low seasonal variation, and with about 4,000 hours of annual sunshine, very close to the maximum theoretical sunshine duration. Silsila is located in one of the sunniest regions on Earth.
The Köppen-Geiger climate classification system classifies the weather of Gebel el-Silsila as a hot desert climate (BWh), like the rest of Egypt.
Winters are short, brief, and extremely warm. Wintertime is very pleasant and enjoyable while summertime is unbearably hot with blazing sunshine, made only more bearable because the desert air is dry.
The climate of Khenu is extremely dry year-round, with less than 1 mm of average annual precipitation. The desert locale is one of the driest ones in the world, and rainfall does not occur every year. The air is mainly dry here and becomes drier southward and upriver towards Aswan. The air becomes more humid northward and downriver towards Luxor.


Atenulfo


Double Dare (film)

Double Dare is a 2004 documentary film about stuntwomen, specifically Jeannie Epper and Zoë Bell, directed by Amanda Micheli. The documentary follows Epper and Bell over several years, Epper from 1997 and Bell from the end of "" in 2001, to 2003.
Plot.
The film begins with Bell finishing her work on "Xena" and Epper searching for continuing work in Hollywood despite her age, even considering liposuction before forgoing cosmetic surgery. "Xena" ends its run and Bell struggles with what to do next in her career. Meanwhile, Epper negotiates to have a women's category included in the Taurus World Stunt Awards (also called the World Stunt Awards). Bell is invited to the United States for a "Xena" convention. There she meets Epper and, obtaining a ticket with the help of the documentary crew, attends the stunt awards. Though initially receiving an offer to work on a series starring Victoria Pratt, Bell ultimately does not get the job and returns home to New Zealand.
The film resumes one year later with Bell still training, though unemployed, and planning a move to America. She stays with Epper, who is attempting to get a job working on "2 Fast 2 Furious" with Terry Leonard. Epper helps Bell assemble the necessary elements for her to start her career in America, such as a CV and head shots. She also warns Bell about the deceptive nature of Hollywood, instructing her to list her weight as 130 lbs when Bell actually judges herself to weigh 145. Epper takes her to a training session, where they encounter Quentin Tarantino's stunt scout Kenny Lesco, who is looking for someone to double Uma Thurman in "Kill Bill". Lesco arranges for an audition on the same day as the training session. Epper and Bell drive to Tarantino's Culver City training center for the audition, there meeting Tarantino himself as he evaluates Bell. Much to her delight, she earns the job doubling Thurman and is sent to train in Beijing with Yuen Wo Ping.
Eventually Bell begins filming for "Kill Bill Vol. 1"; the documentary shows her working on the fight between Beatrix Kiddo (Thurman) and O-Ren Ishii (Lucy Liu) and her bodyguards, as well as several other fight scenes. The film ends with Epper being honored by the Stuntmen's Association and Bell speaking optimistically about her future as an adult.


List of Recorded Texas Historic Landmarks (Anderson-Callahan)

The following is an introductory partial list in a series of Recorded Texas Historic Landmarks (RTHLs) arranged by county as designated by the Texas Historical Commission and local county historical commissions in Texas. This initial page includes RTHLs in the following counties: Anderson, Andrews, Angelina, Aransas, Archer, Armstrong, Atascosa, Austin, Bailey, Bandera, Bastrop, Baylor, Bee, Bell, Bexar, Blanco, Borden, Bosque, Bowie, Brazoria, Brazos, Brewster, Briscoe, Brooks, Brown, Burleson, Burnet, Caldwell, Calhoun, and Callahan.
KEY
Landmarks with multiple historic designations are colored according to their highest designation within the following hierarchy.


The Island of Desire

The Island of Desire is a lost 1917 silent film adventure directed by Otis Turner, produced and distributed by Fox Film Corporation and starring George Walsh.


Sudanese Arabic

Sudanese Arabic is the variety of Arabic spoken throughout Sudan and in parts of Eritrea. Some of the tribes in Sudan still have similar accents to the ones in Saudi Arabia.
History.
In 1889 the "Journal of the Royal Anthropological Institute" of Great Britain claimed that the Arabic spoken in Sudan was "a pure but archaic Arabic". The pronunciation of certain letters was like Hijazi, and not Egyptian, such as g being the pronunciation for the Arabic letter Qāf and J being the pronunciation for Jim.
Unique phonological characteristics.
Sudanese Arabic is similar to Egyptian Arabic. While it does not share some of the characteristic properties of northern Egyptian dialects (like that of Cairo), Sudanese Arabic is particularly close to central and southern Egyptian or Sa'idi Arabic. It is also closely related to Hejazi Arabic.
The Arabic letter ج maintains an archaic pronunciation in Sudanese (other dialects typically have , or , while Cairene Arabic has ).
Sudanese Arabic also maintains an archaic rendering of qaf as (Voiced uvular plosive) while Cairene Arabic (like some other modern Urban dialects) renders it as . The uvular rendering of qaf has been lost in most other Arabic dialects and is also considered a relic.
Also peculiar to Sudanese is the quality of the Arabic vowel transliterated as "u/ū"; this is usually transliterated as "o" in materials on Sudanese because the sound ranges from ~ rather than the typical ~.
In addition to differences in pronunciation, Sudanese Arabic also uses some different words when compared to Egyptian Arabic. For example, the interrogative pronoun "what" in Sudan is "shinu" rather than "eh" as in Egyptian Arabic.
Influence of Nubian languages.
In northern and central parts of Sudan, Sudanese colloquial Arabic has been influenced by the Nubian language, which in ancient times was the dominant language in northern and central Sudan. Many of the agricultural and farming terms in Sudanese Arabic were adopted from Nubian.
Regional variation.
Because of the varying influence of local languages in different parts of Sudan, there is considerable regional variation in Arabic spoken throughout the country. Sudanese Arabic typically refers to Arabic spoken mostly in northern and central parts of Sudan. The other most commonly mentioned derivative of Sudanese Arabic is Juba Arabic, a pidgin of Arabic spoken in South Sudan, which is much more heavily influenced by other local languages.
Greetings in Sudanese Arabic.
In northern Sudan, greetings are typically extended, and involve multiple questions about the other person's health, their family etc. When greeting an informal acquaintance, it is common to begin with the word "o", followed by the person's first name: "Ō, Khalafalla" or "Ō, kēf ya Khalafalla".
Formal greetings often begin with the universal "As-salām ˤalaykom" and the reply, "Wa ˤalaykom as-salām", an exchange common to Muslims everywhere. However, other greetings typical to Sudan include "Izzēyak" (to men) or " Izzēyik" (to women). A rather informal way to say "How are you", is "Inta shadīd? Inti shadīda?" "Are you well? (to a male and a female, respectively)", the response to which is usually "al-Hamdo lillāh" "Praise God" assuming you are indeed feeling well, "ma batal" "not bad" or "nosnos" "half-half)" if feeling only okay or "taˤban showayya" "a little tired" if not so well. Of course, there can be many other responses but these are used in everyday language.
Other everyday greetings include "kwayyis(a), alhamdulilah" "Good, thanks to allah", "Kēf al-usra?" "how is the family?" or "kēf al awlād?" "how are the children". For friends, the question "Kēf?" can also be formed using the person's first name, prefixed by "ya", for example; "kēf ya Yōsif?" "How are you, Joseph?". Another standard response in addition to "al-hamdu lillāh" is "Allāh ybarik fik" "God's blessing upon you". Additional greetings are appropriate for particular times and are standard in most varieties of Arabic, such as "Sabāh al-khēr? / Sabāh an-Nōr".
Sudanese that know each other well will often use many of these greetings together, sometimes repeating themselves. It is also common to shake hands on first meeting, sometimes simultaneously slapping or tapping each other on the left shoulder before the handshake (particularly for good friends). Handshakes in Sudan can often last as long as greetings. A handshake between well-acquainted Sudanese will often be preceded by raising one's right hand and touching each other's left shoulder simultaneously before engaging in the handshake, all while exchanging verbal greetings.
Assenting - saying yes.
The Sudanese Arabic word for "yes" depends on the tribe; "aye" is widely used, although "aywa" or "na‘am" are also commonly used.


Fort Norfolk (Norfolk County, Ontario)

Fort Norfolk was a minor fortification built at Turkey Point (now Norfolk County, Ontario, Canada) during the War of 1812 to defend the southwestern end of Upper Canada. It is a National Historic Site of Canada.
A redebout with single blockhouse structure surrounded by log palisades was built on the bluffs was built by the 37th Regiment of Foot during the winter of 1814-1815 to house several hundred soldiers. A larger fort and ship building facility was planned, but it was never built. The existence of the facility diminished and abandoned shortly after the War of 1812. A memorial cairn was added in 1922 to mark the site.


Colum

Colum may refer to:


Terror of the Range

Terror of the Range is a 1919 American Western film serial directed by Stuart Paton. The film is considered to be lost.


Fragmenta Vindobonensia

Fragmenta Vindobonensia, also known as the Vienna folios (; ), is the name of two illuminated Glagolitic folios that most likely originate from 11th- or 12th-century Croatia and Dalmatia.
They were discovered and first described by Vatroslav Jagić in 1890 and are kept in the National Library in Vienna. Some research puts their origin in western Croatia.
The folios include text from Genesis 12:17–13:14 and Genesis 15:2–15:12.


Menachem Mendel

Menachem Mendel is a masculine Jewish first name. The name is sometimes used as either just Menachem or just Mendel. Menachem means to console or comfort, Mendel is a diminutive of Menachem. In 2005, Menachem was the 79th most popular name for boys, and the 38th most popular for white boys, born in New York City, and 971st most popular name for boys born in the USA.
Notable people with this name include:


Sigmund (given name)

Sigmund, also spelled Siegmund, is a Germanic given name with roots in proto-Germanic "*segaz" and "*mundō", giving a rough translation of "protection through victory".


Nicola Sabbatini

Nicola Sabbatini (1574 – 25 December 1654), also known as Niccolò Sabbatini or Nicola Sabbattini, was an Italian architect of the Baroque.
A native of Pesaro, he was extremely influential at the time for his pioneering and inventive designs of theaters, stage sets, lighting and stage machinery. Working in the court of the Dukes of Urbino, he was among the first designers of sophisticated machines which created realistic visual and sound effects such as the sea (the column wave machine), storms, thunder, lightnings, fire, hell, flying gods and clouds, etc. He wrote one of the most important books on how to construct and use a number of devices, scenes and machinery for the stage, "Pratica di fabricar scene e macchine ne‘ teatri", which was published in 1638 . The internal architecture of theaters, such as plans for building seats for the audience, was also advanced by Sabbatini.
Sabbatini developed and described a number of novel stage lighting techniques, such as dimming mechanism to darken the whole stage, directed spotlights for illuminating certain parts of the stage (it is believed that he invented the first reflector spotlight, by attaching a polished basin behind a light source) and several others, thus effectively being, together with Sebastiano Serlio and Leone de Somi, one of the creators of stage lighting for dramatic purposes, including scripting lighting changes in synchronization with the play or opera. He developed a number of acoustic effects machinery, such as a "thunder box", a contraption which had heavy (15 kg) iron or stone balls which rolled down a case of wooden stairs when the effect was called for.
Sabbatini learned about theories on perspective by the mathematician and philosopher Guidobaldo del Monte, which had been published in his "Perspectivae Libri VI" at Pesaro in 1600. Asked to design the sets and stage machines in 1637 for a play in the Teatro del Sole in Pesaro, he used this knowledge to achieve perspective effects.
Among his many inventions devised for the design of more realistic decorations in the stage, he developed ways of quickly changing painted scenes, using several methods:
These innovations created surprising and marvelous illusionistic effects, which came to be known as "scènes à l'italienne".
In his researches on perspective for the sets, he defined the so-called œil du prince ("the eye of the prince"), as the ideal seat in the theatre's audience that affords the best possible perspective on the sets . In a chapter in his book, he describes ‘How to Place the Prince's Seat’, where ‘all the objects in the scene appear better... than from any other place’. It is located approximately in the middle of the seventh row and it is a coveted place.
Besides his important work in theatrical stage engineering, Sabbatini participated also as an architect and decorator in several of Pesaro's buildings, such as in the Palazzo Ducale, built by Duke Francesco Maria II della Rovere. Inside this building, he projected and built the "Vecchio Teatro di Corte" (old court theatre), which was later demolished. Later, he was commissioned by a group of Pesaro citizens to build the new "Teatro del Sole" (Sun Theater), which was inaugurated in 1637. Sabbatini was involved in the project of the new sea port of Pesaro and contributed to some works of art, such as in the design of three articulated panels painted by Giovanni Giacomo Pandolfi in the "Nome di Dio" oratory, also in Pesaro.


The Auction Block

The Auction Block is a 1926 American silent comedy film directed by Hobart Henley. The film stars Charles Ray and Eleanor Boardman. It is written by Fanny and Frederic Hatton and is based on the novel of the same name by Rex Beach. It is considered a lost film.
The film is a remake of the 1917 film of the same name, released by Goldwyn production starring Rubye De Remer and Tom Powers.
Plot.
Bob Wharton (Charles Ray) marries beauty queen Lorelei Knight (Eleanor Boardman), only to fall into the arms of Bernice Lane (Sally O'Neil) during their honeymoon. Lorelei abandons him to return home, but the husband goes after her to win her back. The opportunity presents itself at a charity auction.


Island Records discography

The history and the discography of the Island Records label can conveniently be divided into three phases:
Jamaican releases (1959 - 1962).
Blackwell released 28 singles and three LPs in this period.
Jamaican singles.
The very first records have been issued on 7" sides in Jamaica on a label called R&B
Jamaican LPs.
CB stands for Chris Blackwell; 22 for the age of Blackwell at the time; it is the first number of the LP catalogue.
UK releases 1960s.
After the company's start in London in 1962 Island Records diversified already in 1963 into various labels: Black Swan, Island, Sue and Jump Up.
Singles of the 1960s.
The first Island "white and red" label was used mainly for Jamaican productions released in the United Kingdom. Catalogue numbers started at WI-001. Many of these records had been released previously in Jamaica and other territories on small local labels. For a variety of reasons details of the artists and songs printed on the labels do not always match what is actually to be found in the grooves of the record! The main Island label was soon joined by another three labels: Sue for black American music with catalogue numbers starting at WI-300, Black Swan for more Jamaican music starting with WI-400, and Jump Up, for Calypso and Trinidadian music, starting with 500, but using another prefix (JU). The Aladdin label was started in about 1965 and used numbers starting with 600, using the WI prefix.
Island (white and red label).
Island singles were released with prefix WI and numbers starting with 001. The Island label itself was white with red lettering and logotypes - for the first 100 releases it had a round "Flaming sun" logo on a white label, then and for reprints of the early issues a red strip across the centre of the label like a "bow tie". The labels have the Rutland Gate Mews address on all first pressings up until about number 14; this was followed by the London England address which goes up to at least # 47, then came Cambridge Road.
Here are some missing numbers: (from Pete Smith, Planet Records)
178 FOUR ACES – RIVERBANK COBBERLEY
179 FOUR ACES – SWING LOW
182 UPCOMING WILLOWS – JONES TOWN SPECIAL
185 ERIC MORRIS – MANY LONG YEARS
 SUDDENLY
193 DERRICK & NAOMI – I WANT A LOVER
195 DON DRUMMOND – TREASURE ISLAND
 RIOTS – YOU DON’T KNOW
197 RIOTS – I’M IN LOVE
198 LAUREL AITKEN – BOOGIE IN MY BONES
 LITTLE SHEILA
201 JOE WHITE & CHUCK – LOW MINDED PEOPLE
202 DESMOND DEKKER – THIS WOMAN
203 JACKIE OPEL – COME BACK WHERE YOU BELONG (WIPE THOSE TEARS)
 DON’T TAKE AWAY MY LOVE
204 DON DRUMMOND – COOLIE BOY
205 DELROY WILSON – PICK UP THE PIECES
 OPPRESSION
207 SKATALITES – BALL O’ FIRE
 LINVAL SPENCER – CAN’T GO ON
208 DON DRUMMOND – MAN IN THE STREET
209 JACKIE OPEL – GO WHEY
211 PETER TOUCH & THE WALERS – HOOT NANNY HOOT
 DO YOU REMEMBER
212 THE WAILERS – HOOLIGANS
 MAGA DOG
216 THE WAILERS – DON’T EVER LEAVE ME
 DONNA
219 PHILIP JAMES – WIDE AWAKE IN A DREAM
220 KEN LAZARUS – FUNNY
 BYRON LEE & THE DRAGONAIRES – WALK LIKE A DRAGON
221 SONNY BURKE – GRANDPA
 KEITH PATTERSON – DEEP IN MY HEART
222 BLUES BUSTERS – WINGS OF A DOVE
 BYRON LEE – DAN IS THE MAN
225 DERRICK MORGAN – STARVATION
 I AM A BLACKHEAD AGAIN
226 SKATALITES – DICK TRACY
 RITA & THE SOULETTES – ONE MORE CHANCE
227 JACKIE OPEL – OLD ROCKING CHAIR
 SKATALITES – SKA IN VIENNA WOODS
228 BUNNY & RITA – BLESS YOU
 SKATALITES – BEARDMAN SKA
229 BABA BROOKS – GUNS FEVER
 DOTTY & BONNIE – DON’T DO IT
230 HORTENSE & ALTON – DON’T GAMBLE WITH LOVE
 ALTON ELLIS & THE FLAMES - SOMETHING YOU’VE GOT
233 BABA BROOKS – INDEPENDENCE SKA
 STRANGER & CLAUDETTE – SEVEN DAYS A WEEK
241 BABA BROOKS – TEENAGE SKA
 ALTON ELLIS – YOU ARE NOT TO BLAME
242 DON DRUMMOND – UNIVERSITY GOES SKA
 DERRICK & NAOMI – PAIN IN MY HEART
243 THEOPHILUS BECKFORD – GRUDGEFUL PEOPLE
 YOU ARE THE ONE GIRL
245 DERRICK HARRIOTT – MAMA DIDN’T LIE
 TOGETHER
247 THE RIOTS – YEAH YEAH
 BABA BROOKS – VIRGINIA SKA
248 THEOPHILUS BECKFORD – BAJAN GIRL
 WHAT A WOE
249 TWO KINGS – HIT YOU LET YOU FEEL IT
 HONEY I LOVE YOU
252 LAUREL AITKEN – HOW CAN I FORGET YOU
 OWEN GRAY – I’M GOING BACK
254 THE WAILERS – WHAT’S NEW PUSSYCAT
 WHERE WILL I FIND
255 JACKIE EDWARDS – WHITE CHRISTMAS
 MY LOVE AND I
258 OWEN GRAY & THE SOUND SYSTEM – YOU DON’T KNOW LIKE I KNOW
 TAKE ME SERIOUS
259 ROLANDO ALPHONSO – JAMES BOND
 LEE PERRY – JUST KEEP IT UP
260 THE WAILERS – JUMBIE JAMBORIE
 SKATALITES – INDEPENDENT ANNIVERSARY SKA
261 DAVID ISAACS – SEE THAT MAN
 I’D RATHER BE LONELY
263 AVALONS – EVERYDAY
 I LOVE YOU
264 JACKIE OPEL – A LOVE TO SHARE
 ROLAND ALPHONSO – DEVOTED TO YOU
266 LORD BRYNNER & THE SHEIKS – CONGO WAR
 TEACH ME TO SKA
267 OWEN GRAY – PARADISE
 BYE BYE LOVE
270 JACKIE EDWARDS – COME ON HOME
 SOMETIMES
271 PATSY COLE – DISAPPOINTED BRIDE
 EARL BOSTIC – HONEYMOON NIGHT
274 JACKIE EDWARDS – L O V E
 WHAT’S YOUR NAME
282 SOUL BROTHERS – GREEN MOON
 EGAL OK
283 FITSY & FREDDY – WHY DID YOU DO IT
 ROY RICHARDS – DOUBLE TROUBLE
287 JACKIE EDWARDS - THINK TWICE
288 DERRICK MORGAN – I FOUND A QUEEN
 DERRICK & PATSY – IT’S TRUE MY DARLING
289 DERRICK & PATSY – DON’T YOU WORRY
 DERRICK MORGAN – AMALETIA
292 KING PERRY – DOCTOR DICK
 SOUL BROTHERS – MAGIC STAR
293 JACKIE MITTOO – KILLER DILLER
 PATRICK HYLTON – OH LADY
294 SKATALITES – SKA BOSTELLO
 DON DRUMMOND – LOOKING THROUGH THE WINDOW
296 SOUL BROTHERS – SOUND ONE
 THE MARTINE – GRANDFATHERS CLOCK
Sue.
The Sue label, initiated in 1963, was a subsidiary to release black US-American music. The releases followed the catalogue numbers of Island's singles starting at number 300. The first 17 releases of the British Sue label were in fact related to Henry 'Juggy' Murray's New York based Sue label. Some earlier issues from the black-owned independent American label established in 1957 were released on the London American label. The original Island agreement with the American company ended in disagreement and all (U.S.) Sue records were deleted from their catalogue in July 1965, and American Sue issues returned to the London American label. Island records retained the use of the name Sue until the final release in 1968.
Black Swan.
The Black Swan label was one of Island's first subsidiaries with releases from 1963 to 1965. With a black and white label the catalogue covered the WI series numbers from 401 to 471. From 1970 to 1971 Trojan/B&C Records used the label for records within a BW series. Island reactivated the label in 1976/1977 within the WIP series and with a small series of 12" singles in a BS series.
Jump Up.
Jump Up started in 1963 and released singles mainly in calypso style until ca. 1967. Around 1970 Trojan/B&C continued to release with the label, continuing with both prefix and catalogue numbers. (Tapir's)
Aladdin.
Island's "first serious stab at setting up a pukka pop label". Releases were numbered in a WI-6xx series, but the matrix number of Jackie Edwards' "He'll Have To Go" was WI 2000, suggesting that it might have been intended to use that catalogue number series instead.
Brit.
A short-lived subsidiary whose releases came out in the spring of 1965. The handful of releases were numbered in the WI-1000 series.
Island (WI 3000 series).
The catalogue numbers 3000 ff. had been chosen after the first series ended at number 299 and 300 ff. had been used for the Sue label (see above).
Island WIP series.
This series commenced in January 1967 and initially ran alongside the existing WI 3000 series (see above). The "P" in WIP is variously said to stand for "Progressive" or "Pop" and reflects the fact that this new series was geared towards the new generation of rock/pop acts that Island had begun to accumulate from early 1967 onwards, as well as artists from its traditional roster who were being oriented towards the rock/pop audience, such as Jackie Edwards and Jimmy Cliff. Another change was that releases in the WIP series were normally stereo productions. Major UK top twenty singles' chart success for the label came very early in the WIP series, with WIP-6002 - Traffic's "Paper Sun" (#5, 6/1967), a classic slice of British psychedelia released just in time for the "summer of love", but quite a high proportion of the early WIP-series output was by artists who failed to develop as anticipated (e.g. Hard Meat, The Smoke) or represented one-off licensing deals with artists who never again appeared in the Island listings (e.g. WIP-6001, WIP-6013, etc.). The series continued throughout the 1970s and into the early 1980s (see below).
The first of a series of pink label designs was used for singles WIP-6000 to WIP-6051, inclusive. Sometimes referred to as the "eye" label design, it featured an orange and black elliptical device on the left-hand side of the label which could be said to resemble a grotesque eyeball when viewed sideways. "A" and "B" sides were clearly delineated on this early series of pink label singles, thus: WIP-6050-A (Traffic's "Medicated Goo") and WIP-6050-B (the same band's "Shanghai Noodle Factory").
Beginning with WIP-6052, a new series of matrix numbers was introduced for 7" singles. Henceforward, singles' sides were not usually identified as "A" or "B", but each bore a unique matrix number in a series starting at wipx 1002. The matrix number appeared on the label, usually upside-down directly beneath the main catalogue number. The matrix numbers seem to have been allocated to each release in numerical sequence, irrespective of the actual or proposed release date of the record; thus the two sides of WIP-6056 (Jethro Tull's "Living In The Past" b/w "Driving Song") have matrix numbers wipx 1010 and wipx 1011, respectively. Initially, the new matrix numbers were used in conjunction with the existing "eye" label design, but beginning with releases in June 1969 a new pink label design was introduced, known as the "block" design. The new design continued to feature the "eye" device in plain black enclosed within the push-out centre of the record, but the company name was now written in capital letters within a rectangular black block in the lower part of the label. The first release to feature the new label design appears to have been WIP-6060 and the last to feature the orange-and-black "eye" design WIP-6061, a reissue of "Incense" by the Anglos, which had actually been released the previous month. One or two earlier releases which were evidently still selling were re-pressed with the new design (e.g. WIP-6056, which exists with both the orange-and-black "eye" and the "block" label designs).
Towards the end of 1969, artists signed to Terry Ellis and Chris Wright's Chrysalis management company began to be favoured with a special Chrysalis label design - green with a red Chrysalis butterfly logo. Initially this applied to Jethro Tull and former Tull guitarist Mick Abrahams' band Blodwyn Pig. These early Chrysalis singles were allotted catalogue and matrix numbers in the main Island WIP and wipx series, respectively, and bore the legend "manufactured and distributed by island records basing st london" on the upper circumference of the label. Chrysalis continued to issue singles bearing Island catalogue numbers until Autumn 1971, after which the label broke away completely and began its own series of catalogue numbers in a CHS 2000 series.
IEP series.
Four track EPs in the 1960s
LPs of the 1960s.
For LPs the label chose the prefix ILP (meaning: Island Long Player) with a number of three figures beginning with 900, later supplemented by ILPS (meaning: Island Long Player Stereo) to distinguish between Mono and Stereo records. Some records were issued in both forms. For those records in stereo, the catalogue number was changed by adding a fourth figure (e.g.: ILP 970 was the mono equivalent of ILPS 9070).
ILP/ILPS series.
the above was the only Island LP released with a black and silver 'flaming sun' label. All following Island LPs had the white and red 'flaming sun' label. The Sue label LPs were incorporated into the island numerical system, and had the yellow and red 'bow tie' labels.
At this point, Island introduced the first of three pink label designs. These next releases had the first pink label, with an orange and black 'eyeball' logo on the left, unless otherwise indicated:
At this point, monaural releases are discontinued. Releases below this text are in stereophonic only.
At this point, Island introduced the second pink label. It is known as the 'black block' label, as it featured a thick, block-like letter i at the bottom, dotted by a black eyeball in the centre of the label. This was very quickly replaced by the third pink label, featuring a small white letter i logo. Due to variations in catalogue number assignation and the actual release dates of the records, there is a small cross-over period between the three pink label designs. The original label designs for the following LPs are detailed in parentheses.
All following LPs were originally issued on the third pink label, with 'white i' logo.
IWP/IWPS series.
During the same period Island Records released some sampler albums with the prefixes IWP/IWPS:
UK releases 1970s.
Singles in the 1970s.
Island WIP series.
The first release in 1970, WIP-6075, had the "block" label design, but the very next one, "John The Baptist" by John & Beverley Martyn, featured a third pink label design, characterised by a large white letter "i" on the left-hand side. This design was used for the remaining pink label issues, interrupted with increasing frequency by green Chrysalis label releases, as denoted in the listing below. Bronze label singles by artists such as Tony Hazzard and Uriah Heep began to appear in the Island listing from May 1971, for a couple of years until that label's own BRO- series was begun. An American record label, Blue Thumb, also released a small number of UK singles with WIP-series numbers in 1972/3. The one-off catalogue number WI-4002 was given to the flexi-single "Let There Be Drums" which came with the album "Rock On" by The Bunch in 1972.
In the second half of the decade the character of the label began to change and this is reflected in its singles releases from about 1976 onwards. There was a conscious move back towards the label's roots in Jamaican music in the form of commercial reggae aimed at the rock/pop audience. Names such as Bob Marley & the Wailers, Toots & the Maytals and Third World crop up in the listings with increasing frequency. They and others enjoyed considerable commercial success in the U.K. market. There is evidence too of an increasing number of one-off licensing deals featuring (mainly American) soul and R & B singers (e.g. Barbara Pennington and Betty Davis). Island also joined a growing trend amongst U.K.-based record companies at that time towards exploitation of its own back catalogue, and a substantial programme of reissues was undertaken, especially of ska and reggae titles, most of which seem to have been aimed at a small, specialist audience and did not enjoy widespread commercial success.
Also in 1976, another American record label, Shelter Records, began to issue U.K. singles through Island, which received WIP-series catalogue numbers. Artists included the Dwight Twilley Band, J.J. Cale and Tom Petty & the Heartbreakers, the last-named of whom enjoyed some success on the coat-tails of punk. Finally, the Black Swan label was reactivated for certain reggae-styled releases, some of which appeared with WIP-series numbers.
WIP-6089 was the last single to be released with a pink label. The next single, WIP-6090 was on the Chrysalis label, but from the one after that, WIP 6091, the "pink rim" palm tree label was introduced.
WIP 6245 is believed to have been the last single released with "pink rim" labels as subsequent releases appeared with the "orange & blue" palm tree label (referred to in this listing as "orange palm").
IDS/IDJ series.
The IDS prefix stands for Island Disco Sampler. The series was used for pre-releases in the seconds half of the 1970s, white labels. IDJ was a limited edition series for related releases on the colourful Island label.
IPR series.
These singels were released in the 12" format during 1977 and 1978.
Black Swan label.
Island released in 1976/1977 a small number of 12" "limited edition" singles in a BS series
LPs in the 1970s.
ILPS series.
Following on from the 1960s releases, these were originally released with pink labels featuring the 'white i' logo, except for the two Chrysalis albums. Possibly as a result of a pressing plant change, Jethro Tull's Chrysalis album "Benefit" was also pressed on the pink rim/palm tree Island label sometime between November 1970 (when that label design went into use) and July 1973 (when Tull's first four albums, including "Benefit", were reissued in the Chrysalis CHR 1000 series).
The pink label was replaced by the 'pink rim/palm tree' label at this point, but there was a small cross-over period. At the same time, Island changed its main pressing plants from those of Polydor to EMI.
From this point, all Island releases featured the pink rim/palm tree label. ILPS series albums on the Blue Thumb, Bronze and Chrysalis labels used those labels' designs.
HELP series.
A series of budget-priced albums. Those on the Island label used a black variation of the "white i" label with a pink "i" logo and silver print. HELP albums on the Blue Thumb and Bronze labels used their respective designs.
ICD series.
The ICD series comprised the following double albums:
IDP series.
Two "sampler" LPs were issued using numbers in this series:
ISLD Series.
This was another series used for the following double albums:
UK releases 1980s.
Singles of the 1980s.
WIP series.
For singles released during the years 1980 to 1983, which were numbered in this series, see Singles of the 1970s section, above.
IS series.
This new series of numbers was introduced in 1983 to replace the long-running WIP series for 7" singles (and other formats). As the CD format gained ascendancy during the later 1980s, so more and more singles were released with the prefix CID, indicating a CD release, initially alongside the "standard" 7" release.
LPs of the 1980s.
Island ILPS series (1979 - 1991).
During this period Island regained some more important artists on its roster and continued to release 20 to 50 albums a year. The catalogue numbers don't follow the release dates as the numbers were given to projects scheduled for release. Usually the "Day & Night" label was in use for albums. Some new labels entered the Island distribution and were given Island catalogue numbers received for UK release while retaining their original labels (e.g. ZE, Celluloid).
ZE ILPS series.
Around 1980 Island started to distribute a New York-based label, run by Michael Zilkha and Michael Esteban. In the UK the catalogue numbers were composed by the ILPS prefix and numbers starting at 7000. In the US the label was distributed via Islands Antilles label and division.
Artist related editions.
Tom Waits
U2
Island Reggae Greats.
In 1985, Island release 15 compilation albums dedicated to reggae, presenting twelve of its best (selling) reggae artists and three styles, "DJ", "lovers" and "rockers", on one disc each. The albums were compiled by Trevor Wyatt, the covers were illustrated by various artists on the basis of paintings and contain extensive liner notes.
This part of the Island Records discography can be found here: Island Reggae Greats
Island CID 101 series.
After the CD format was introduced on the record market Island reacted coolly by releasing only a small number of bestsellers during 1984/1985 introducing the CID (Compact Island Disc) prefix with catalogue numbers starting at 101. Soon after the company started to release new CDs and to re-release older material with the CID prefix and the "ILPS" catalogue numbers.
Island Masters.
In 1989, Island Records was sold to Polygram. Immediately Polygram started to re-release parts of the Island catalogue, mainly classics from the 1970s and good selling records from the 1980s within a CD series called Island Masters. The series ran with the prefix IMCD and catalogue numbers starting with 1. The first year of the label has seen more than 70 releases. Finally the catalogue comprised more than 300 titles, from the year 2000 on in re-mastered quality.
The discography can be seen under Island Masters.
UK releases 1990s.
Singles of the 1990s.
The IS/CID series.
As CD became the preferred format for the majority of sales, singles released in that format were prefixed CID. Otherwise, the series continued the numbering of the IS series begun in the 1980s. Singles released on a variety of vinyl formats (7", 10", 12", etc.) continued to be prefixed IS (or 10IS, 12IS, etc.). Frequently, CD and larger format releases included additional (or sometimes different) songs to those found on the traditional 7" format.
LPs/CDs in the 1990s.
The CID 8000 series.
1992 Island had reached catalogue number 9999 for its ILP/ILPS series and continued at number 8000; as the principal medium had changed since several years, CID became the general prefix. The independent catalogue numbers seem to end in 1998.
Island Jamaica/Island Jamaica Jazz.
Island released for a short while Jamaican music on new sub-labels Island Jamaica and Island Jamaica Jazz, the latter one obviously responding to the success of bands like Jazz Jamaica and the music by trombone soloists like Rico Rodriguez.
Island Masters.
The series that started in the late 1980s continued in the first half of the 1990s releasing more material from Island's back catalogue.
The discography can be found under Island Masters.
Reggae Refreshers.
This series started with 26 releases in 1990. Island used the new label to re-issue a part of its reggae catalogue. Confusing was that some of the titles were also released within the Island Masters series or deleted shortly after the release to be re-released otherwise (the Bob Marley & The Wailers catalogue). More titles had been reissued in 1995, while the parent label changed at least for the European releases from Island to Mango. The UK prefixes were RRCD for CD releases and RRCT for cassettes. Numbers started with 1. Two compilations (numbered 101 and 102 respectively) were released to accompany the series.
Island Masters/Island Re-Masters series.
While there was no clear label policy the Island Masters were reactivated under the title Island Remasters with remastered works of the back catalogue and more reissues to reach the catalogue number 320 in 2005.
The discography can be found under Island Masters.


Srpouhi Dussap

Srpouhi Dussap (Armenian: Սրբուհի Տիւսաբ) (1840–1901) was an Armenian feminist writer and the first female Armenian novelist. She was the sister of famed Ottoman Armenian politician Hovhannes Vahanian.
Biography.
Dussap was born as Srpouhi Vahanian in the Ortakoy district of Constantinople to a prosperous upper-class Armenian Catholic family. At the time, wealthy families regularly imitated the trends and customs of Western European, primarily French society. The young Dussap, being educated in Western European institutions, showed little interest in the Armenian language. However, after being tutored by revered Armenian poet Mkrtich Beshiktashlian, Dussap began to show a deep affection for the language as well as her heritage. Her first creative writing attempts were written in classical Armenian.
Dussap was married to a French musician, Paul Dussap, with whom she ran a European style salon where the city's prominent intellectuals, liberals, writers and activists would gather to discuss social and political issues, literature and poetry. She was active in philanthropic and charitable organizations that furthered the support and education of women. Dussap's oeuvre reflects nineteenth century European trends. She wrote mainly in the Romantic style.
Dussap had two children, Dorine and Edgar. Dorine died in 1891, after which Dussap ceased writing for publication. Dussap died in 1901.
Writings.
Dussap is the first Armenian writer who published works that today would be called feminist. The earliest of these were a series of essays on the status of women's education and employment. In 1883, she published the first novel by an Armenian woman, "Mayda", which treated the theme of women's unequal status. Dussap's concern with female subordination, inferior education, and lack of financial independence was developed in the later novels "Siranush" (1884) and "Araksia, or The Governess," (1887).
She was very much concerned about the situation of the female peasantry of the Ottoman Empire, attacking the traditional patriarchal structures behind their ignorance, and the male oppression that led to forced marriages in the countryside. She further noted that even in the more cultured and cosmopolitan Constantinople, women "were still deprived of their freedom and dominated by men." Dussap was certain that society would not be able to advance and progress without the emancipation of women. For these liberal ideas, she faced resentment from some prominent Armenian intellectuals, such as Krikor Zohrab, but was esteemed by progressivists.
Legacy.
Dussap is regarded today as a pioneer in addressing female inequality and the need for female education. She was an inspiration to other Armenian women writers and journalists such as Zabel Yesayan, who recalled reading her in her youth, "We used to read Madame Dussap's books together, and in the work of that feminist author, we tried to find solutions to the problems we faced." Later, she and her friends visited Dussap: "She immediately started asking questions and spoke to us with warmth and encouragement...Hearing that I hoped to become a writer, Madame Dussap tried to warn me. She said that, for women, the world of literature was full of many more thorns than laurels. She told me that in our day and age, a woman who wanted to carve out a place for herself in society was still not tolerated. To overcome all of these obstacles, I needed to exceed mediocrity. ..She made a deep impression on us...We both agreed that in order to exceed mediocrity, we needed to go to Europe to continue our education."
The first English translation of her novel "Mayda", by Nareg Seferian, was published in 2020.


Jefferson Theatre

The Jefferson Theatre is a historic performing arts theatre located on Fannin Street in downtown Beaumont, Texas. Designed by Emile Weil and built in 1927, it is an example of Old Spanish architecture and seats over 1400. The theatre was built by Jefferson Amusement Company, which was owned by Saenger Amusements. The theatre is featured on the National Register of Historic Places and recognized as a Recorded Texas Historic Landmark. The theatre recently underwent a comprehensive multimillion-dollar renovation. It is also one of the few theatres in the country containing its original Morton organ, produced by the Robert Morton Organ Company.
History.
Designed by the renowned architect Emile Weil, the Jefferson Theatre opened November 14, 1927 at a cost of nearly $1 million. Originally designed for Jefferson Amusement Company the theatre boasts a 3-manual, 8-rank Robert Morton organ. "It's A Wonderful Life" 1946 premier was held at the Jefferson Theatre, with star James Stewart and director Frank Capra in attendance. The theatre closed in 1972 due to a loss of interest in downtown.
 By 1997 the theatre was operational again, but was closed in September 2000 for a complete restoration and renovation. The 6.5 million dollar restoration was completed in 2003. , the City of Beaumont operates the theatre while the Jefferson Theatre Preservation Society oversees the preservation, promotion and use of the theatre.
Performances.
Since the renovation, a number of high-profile artists have performed at the theatre, including Joan Rivers, The Temptations, Lou Rawls, George Carlin, Doobie Brothers, and Lyle Lovett. The theatre also hosts various local acts and events and is home to an annual film festival.
Hurricane Rita.
In September 2005, the Vince Vaughn Wild West Comedy Show performance was canceled due to Hurricane Rita (which damaged the theatre and prompted a temporary closure for maintenance and repairs). The theatre reopened for business in December 2005.


Love, Marilyn

Love, Marilyn is a 2012 American documentary film about Marilyn Monroe's writings produced by Stanley F. Buchthal, Liz Garbus, Amy Hobby, and directed by Garbus. The film premiered at the Toronto International Film Festival on September 12, 2012 and is based on the 2010 non-fiction book "Fragments: Poems, Intimate Notes, Letters", edited by Stanley F. Buchthal and Bernard Comment. The production firms that produced the film included the Diamond Girl production company, Sol's Luncheonette Production and the French-based StudioCanal production company, whose parent company (Canal+ Group) owns the third-largest film library in the world.
The film was initially slated to be named "Fragments", but was later changed to "Love, Marilyn."
Synopsis.
50 years after her death, two boxes of Marilyn Monroe's writings—diaries, poems and letters—were discovered in the home of Lee Strasberg, her acting coach. The film features dramatic readings of Marilyn Monroe's writings by actors, film critics, journalists and authors; and archival footage of Hollywood insiders who knew her or worked with her in various films or acting school.
Reception.
Critical response.
"Entertainment Weekly", in its "The Must List: The Top 10 Things We Love This Week" section", picked "Love, Marilyn" as one of its selections the week of June 28, 2013, Volume #1265. The "EW" staff wrote, "The iconic star takes center stage in a revelatory HBO documentary that combines old footage and a slew of interviews with such actors as Viola Davis and Glenn Close. Catch it now on VOD or with the HBO Go app."
Matthew Gilbert, film critic with "The Boston Globe" reviewed the film positively, writing, "But yes, more Marilyn is just what we need, when the project is as exquisitely done as "Love, Marilyn." The new HBO documentary, which premieres Monday at 9 p.m., is an elegant pastiche based on the boxes of Monroe’s own writings that were discovered a few years ago. It’s not a traditional biographical film of the "American Masters" variety, because director Liz Garbus doesn’t attempt to be all-inclusive or to impose chronology onto the material ... Garbus adeptly patches together fragments of a life narrated, in a way, by Monroe herself. She inventively pieces together an impressionistic, revealing, and ultimately moving version of the story that so many of us know already."
Sara Stewart, liked the film as well and wrote in "The New York Post", "It's hard to imagine that absolutely everything hasn’t already been said about Marilyn Monroe. But for all the books and movies and tributes and myth-making, the iconic blonde has never had much of a chance to speak for herself...But the writings are the film’s reason for existing, and they are fascinating. Ranging from hastily scribbled jottings to lengthy letters to her acting coach Lee Strasberg, the handwritten notes add a refreshing complexity to a persona that’s been simplified over time into a two-dimensional, if ever-enduring, sex symbol."
American gossip columnist Liz Smith, writing for the "New York Social Diary", discussed the actors that appeared in the film, "It is the female stars Ms. Garbus lured that lift the film. Among them: Glenn Close, Ellen Burstyn, Lili Taylor, Uma Thurman, Evan Rachel Wood, Lindsay Lohan and the magnificent Viola Davis. It is the women who recite Marilyn’s own words — alternately scattered, precise, desperate, hopeful. There’s not a false note anywhere. Every woman seems deeply affected. As Garbus said, 'Marilyn speaks to every woman's inner self — love, family, the desire for perfection, satisfaction in her work. And the fears that she cannot 'have it all.' Sarah Churchwell, who wrote the best book on Monroe, "The Many Lives of Marilyn Monroe," also makes an important contribution."
The television critic for the "Los Angeles Times", Mary McNamara, discussed the "seductive power of theater", writing, "Yet for all the hope pinned on internal illumination, the first thing "Love, Marilyn" does is remind us how beautiful Monroe really was. Her face has been so thoroughly replaced in popular culture by commercialized replications that the real thing is a surprising thrill to behold. The film also reinforces the seductive power of theater. Having performers read Monroe's journal entries renders these often quite mundane sentences powerful and possibly revelatory. Through these women, Monroe becomes the serious actor she longed to be."
Still, there were some misgivings in the media regarding the film. Dennis Harvey, writing for "Variety" wrote, "And while there’s no question Garbus has recruited first-rate talent to pay homage here, some of the most impressive names prove heavy-handed or simply miscast in attempting to channel the love goddess’s fragile spirit; moreover, having them act against green-screened archival materials has a tacky, pop-up televisual feel ... It's all entertaining, and will doubtless fascinate the subject's many die-hard fans. But the revelatory quality that attended some of Garbus' prior docus, on topics from Bobby Fischer to modern incarceration, is absent from what ultimately feels like one more unnecessary excavation of perhaps the 20th century’s least resting-in-peace sex symbol."
Exhibition.
The film opened at the Toronto International Film Festival on September 12, 2012. The film was first televised on HBO on Monday, June 17, 2013.


Luxor

Luxor (; "", , ; Sahidic "Pape", ) is a city in Upper (southern) Egypt and the capital of Luxor Governorate. The population of Luxor is 127,994 (2020), with an area of approximately . It is among the oldest inhabited cities in the world.
The modern city includes the site of the Ancient Egyptian city of "Waset", also known as "Nut" () and to the Greeks as "Thebes" or "Diospolis". Luxor has frequently been characterized as the "world's greatest open-air museum", as the ruins of the temple complexes at Karnak and Luxor stand within the modern city. Immediately opposite, across the River Nile, lie the monuments, temples and tombs of the west bank Necropolis, which includes the Valley of the Kings and Valley of the Queens.
Thousands of tourists from all around the world arrive annually to visit these monuments, contributing greatly to the economy of the modern city.
Etymology.
The Egyptian name of the city is i-pA-t:pr and i-p:t-O45-M24-t:N21-Z1, The Greek name is Thebes or Diospolis, the Sahidic Coptic name "ⲡⲁⲡⲉ", comes from Demotic "Ỉp.t" "the adyton", which, in turn, is derived from the Egyptian. The Greek forms "Ἀπις" and "Ὠφιεῖον" come from the same source. and the Arabic name is Luxor meaning the castles.
The name "Luxor" is almost a literal translation of another Greek and Coptic toponym (τὰ Τρία Κάστρα "ta tria kastra" and ⲡϣⲟⲙⲧ ⲛ̀ⲕⲁⲥⲧⲣⲟⲛ "pshomt enkastron" respectively, both mean "three castles") and comes from the Arabic ' (), lit. "the palaces" or "the castles" from the collective plural of ' (), which may be a loanword from the Latin "castrum" "fortified camp".
History.
Luxor was the ancient city of Thebes, the great capital of Upper Egypt during the New Kingdom, and the glorious city of Amun, later to become the god Amun-Ra. The city was regarded in the ancient Egyptian texts as "wAs.t" (approximate pronunciation: "Waset"), which meant "city of the sceptre", and later in Demotic Egyptian as "ta jpt" (conventionally pronounced as "tA ipt" and meaning "the shrine/temple", referring to the jpt-swt, the temple now known by its Arabic name Karnak, meaning "fortified village"), which the ancient Greeks adapted as Thebai and the Romans after them as Thebae. Thebes was also known as "the city of the 100 gates", sometimes being called "southern Heliopolis" ('Iunu-shemaa' in Ancient Egyptian), to distinguish it from the city of Iunu or Heliopolis, the main place of worship for the god Ra in the north. It was also often referred to as "niw.t," which simply means "city", and was one of only three cities in Egypt for which this noun was used (the other two were Memphis and Heliopolis); it was also called "niw.t rst," "southern city", as the southernmost of them.
The importance of the city started as early as the 11th Dynasty, when the town grew into a thriving city. Montuhotep II, who united Egypt after the troubles of the First Intermediate Period, brought stability to the lands as the city grew in stature. The Pharaohs of the New Kingdom in their expeditions to Kush, in today's northern Sudan, and to the lands of Canaan, Phoenicia and Syria saw the city accumulate great wealth and rose to prominence, even on a world scale. Thebes played a major role in expelling the invading forces of the Hyksos from Upper Egypt, and from the time of the 18th Dynasty to the 20th Dynasty, the city had risen as the political, religious and military capital of Ancient Egypt.
The city attracted peoples such as the Babylonians, the Mitanni, the Hittites of Anatolia (modern-day Turkey), the Canaanites of Ugarit, the Phoenicians of Byblos and Tyre, the Minoans from the island of Crete. A Hittite prince from Anatolia even came to marry with the widow of Tutankhamun, Ankhesenamun. The political and military importance of the city, however, faded during the Late Period, with Thebes being replaced as political capital by several cities in Northern Egypt, such as Bubastis, Sais and finally Alexandria.
However, as the city of the god Amun-Ra, Thebes remained the religious capital of Egypt until the Greek period. The main god of the city was Amun, who was worshipped together with his wife, the Goddess Mut, and their son Khonsu, the God of the moon. With the rise of Thebes as the foremost city of Egypt, the local god Amun rose in importance as well and became linked to the sun god Ra, thus creating the new 'king of gods' Amun-Ra. His great temple at Karnak, just north of Thebes, was the most important temple of Egypt right until the end of antiquity.
Later, the city was attacked by Assyrian emperor Assurbanipal who installed a new prince on the throne, Psamtik I. The city of Thebes was in ruins and fell in significance. However, Alexander the Great did arrive at the temple of Amun, where the statue of the god was transferred from Karnak during the Opet Festival, the great religious feast. Thebes remained a site of spirituality up to the Christian era, and attracted numerous Christian monks of the Roman Empire who established monasteries amidst several ancient monuments including the temple of Hatshepsut, now called Deir el-Bahri ("the northern monastery").
Archaeology.
In April 2018, the Egyptian Ministry of Antiquities announced the discovery of the shrine of god Osiris- Ptah Neb, dating back to the 25th dynasty in the Temple of Karnak. According to archaeologist Essam Nagy, the material remains from the area contained clay pots, the lower part of a sitting statue and part of a stone panel showing an offering table filled with a sheep and a goose which were the symbols of the god Amun.
In November 2018, France's University of Strasbourg announced the discovery of two sarcophagi thought to be more than 3,500 years old with two perfectly preserved mummies and approximately 1,000 funerary statues in the Assasseef valley near Luxor. One of the tombs with paintings where the female body found, was opened to the public in front of the international media, but the other one was previously opened by Egyptian antiquities officials.
In October 2019, Egyptian archaeologists headed by Zahi Hawass revealed an ancient "industrial area" used to manufacture decorative artefacts, furniture and pottery for royal tombs. The site contained a big kiln to fire ceramics and 30 ateliers. According to Zahi Hawass, each atelier had a different aim – some of them were used to make pottery, others used to produce gold artefacts and others still to churn out furniture. About 75 meters below the valley, several items believed to have adorned wooden royal coffins, such as inlaid beads, silver rings and gold foil were unearthed. Some artefacts depicted the wings of deity Horus.
In October 2019, the Egyptian archaeological mission unearthed thirty well-preserved wooden coffins (3,000-year-old) in front of the Mortuary Temple of Hatshepsut in El-Assasif Cemetery. The coffins contained mummies of twenty-three adult males, five adult females and two children, who are believed to be from the middle class. According to Hawass, mummies were decorated with mixed carvings and designs, including scenes from Egyptian gods, hieroglyphs, and the Book of the Dead, a series of spells that allowed the soul to navigate in the afterlife. Some of the coffins had the names of the dead engraved on them.¸
On the 8th of April 2021, Egyptian archaeologists led by Zahi Hawass found Aten, a 3,400 years old "lost golden city" near Luxor. It is the largest known city from Ancient Egypt to be unearthed to date. The site was said by Betsy Brian, professor of Egyptology at Johns Hopkins University to be "the second most important archaeological discovery since the tomb of Tutankhamen". The site is celebrated by the unearthing crew for showing a glimpse into the ordinary lives of living ancient Egyptians whereas past archaeological discoveries were from tombs and other burial sites. Many artefacts are found alongside the buildings such as pottery dated back to the reign of Amenhotep III, rings and everyday working tools. The site is not completely unearthed as of the 10th of April 2021.
Geography.
Climate.
Luxor has a hot desert climate (Köppen climate classification BWh) like the rest of Egypt. Aswan and Luxor have the hottest summer days of any other city in Egypt. Aswan and Luxor have nearly the same climate. Luxor is one of the sunniest and driest cities in the world. Average high temperatures are above during summer (June, July, August) During the coldest month of the year, average high temperatures remain above while average low temperatures remain above .
The climate of Luxor has precipitation levels lower than even most other places in the Sahara, with less than of average annual precipitation. The desert city is one of the driest ones in the world, and rainfall does not occur every year. The air in Luxor is more humid than Aswan but still very dry. There is an average relative humidity of 39.9%, with a maximum mean of 57% during winter and a minimum mean of 27% during summer.
The climate of Luxor is extremely clear, bright and sunny year-round, in all seasons, with a low seasonal variation, with about some 4,000 hours of annual sunshine, very close of the maximum theoretical sunshine duration.
In addition, Luxor, Minya, Sohag, Qena and Asyut have the widest difference of temperatures between days and nights of any city in Egypt, with almost difference.
The hottest temperature recorded was on May 15, 1991 which was and the coldest temperature was on February 6, 1989 which was .
Coptic Catholic Eparchy.
The Coptic Catholic (Alexandrian Rite) minority established on November 26, 1895 an Eparchy (Eastern Catholic Diocese) of Luqsor (Luxor) alias Thebes, on territory split off from the Apostolic Vicariate of Egypt. Its episcopal see is a St. George cathedral in Luxor.
In turn, it lost territory on August 10, 1947 to establish the Eparchy of Assiut and again on 14 September 1981 to establish Sohag.
Economy.
The economy of Luxor, like that of many other Egyptian cities, is heavily dependent upon tourism. Large numbers of people also work in agriculture, particularly sugarcane. There are also many industries, such as the pottery industry used in eating and many other uses.
The local economy was hit by the Luxor massacre in 1997, in which a total of 64 people (including 59 visiting tourists) were killed, at the time the worst terrorist attack in Egypt (before the Sharm el-Sheikh terrorist attacks). The massacre reduced tourist numbers for several years. Following the 2011 Arab Spring, tourism to Egypt dropped significantly, again affecting local tourist markets.
To make up for shortfalls of income, many cultivate their own food. Goat's cheese, pigeons, subsidized and home-baked bread and homegrown tomatoes are commonplace among the majority of its residents.
Tourism development.
A controversial tourism development plan aims to transform Luxor into the biggest vast open-air museum. The master plan envisions new roads, five-star hotels, glitzy shops, and an IMAX theatre. The main attraction is an 11 million dollar project to unearth and restore the long Avenue of Sphinxes that once linked Luxor and Karnak temples. The ancient processional road was built by the pharaoh Amenhotep III and took its final form under Nectanebo I in 400 BCE. Over a thousand sphinx statues lined the road now being excavated which was covered by silt, homes, mosques and churches. Excavation started around 2004.
On 18 April 2019, the Egyptian Government announced the discovery of a previously unopened coffin in Luxor, dated back to 18th dynasty of Upper and Lower Egypt. According to the Minister of Antiquities Khaled el Anani, it is the biggest rock-cut tomb to be unearthed in the ancient city of Thebes. It is one of the largest, well-preserved tombs ever found near the ancient city of Luxor. On 24 November 2018, this discovery was preceded by the finding of a well-preserved mummy of a woman inside a previously unopened coffin dating back more than 3,000 years.
2013 hot air balloon crash.
Nineteen Asian and European tourists died when a hot air balloon crashed early on Tuesday, February 26, 2013 near Luxor following a mid-air gas explosion. It was one of the worst accidents involving tourists in Egypt and likely to push the tourism industry deeper into recession. The casualties included French, British, Hungarian, Japanese nationals and nine tourists from Hong Kong.
Infrastructure.
Transport.
Luxor is served by Luxor International Airport.
A bridge was opened in 1998, a few kilometres upstream of the main town of Luxor, allowing ready land access from the east bank to the west bank. Traditionally river crossings have been the domain of several ferry services. The so-called 'local ferry' (also known as the 'National Ferry') continues to operate from a landing opposite the Temple of Luxor.
Transport to sites on the west bank are serviced by taxi drivers who often approach ferry passengers. There are also local cars that reach some of the monuments for 2 L.E. , although tourists rarely use them. Alternatively, motorboats line both banks of the Nile all day providing a quicker, but more expensive (50 L.E.), crossing to the other side.
The city of Luxor on the east bank has several bus routes used mainly by locals. Tourists often rely on horse carriages, called "calèches", for transport or tours around the city. Taxis are plentiful, and reasonably priced, and since the government has decreed that taxis older than 20 years will not be relicensed, there are many modern air-conditioned cabs. Recently, new roads have been built in the city to cope with the growth in traffic.
For domestic travel along the route of the Nile, a rail service operates several times a day. A morning train and sleeping train can be taken from the railway station situated around from Luxor Temple. The line runs between several major destinations, including Cairo to the north and Aswan to the south.
Luxor University.
Luxor University, founded in 2019, is a non-profit governmental university that provides programs and courses for students.
Twin towns – sister cities.
Luxor is twinned with:


Amiri (surname)

Amiri (: "Amīrī" , , , ) is a surname of Persian, Hebrew and Arabic origins. It is primarily an Iranian surname that means "of Amir" or "descendant of Amir" in Persian language.
Meaning.
In Persian Amir has a different meaning with other languages, it consists of two parts; "A" which means "Un" and "mir" which is the root of the verb "Mordan" (to die), so Amir in Persian means "the one who [his spirit and his memory] will never die". The surname Amiri receiving the Persian suffix -i (ی) meaning "of", was derived from the same root (Amir) to be selected by the people (mostly Iranian and of Persian descent) as a surname for their family. So the surname literally means "of Amir" or "of house of Amir".
Notable people.
"Notable people with the surname include:"


The Runners production discography

This is the production discography of The Runners.
Songs.
2005.
Lil Wayne - "Tha Carter II" (2005)
Fat Joe - "All or Nothing" (2005)
2006.
Rick Ross - "Port of Miami"
Jim Jones - "Hustler's P.O.M.E. (Product of My Environment)"
Lil Scrappy - "Bred 2 Die - Born 2 Live"
Fat Joe - "Me, Myself & I"
Trick Daddy - "Back by Thug Demand" (2006)
2007.
Chris Brown - "Exclusive"
UGK - "UGK (Underground Kingz)"
T.I. - "T.I. vs. T.I.P."
DJ Khaled - "We the Best"
R. Kelly - "Double Up"
Trey Songz - "Trey Day"
Chamillionaire - "Ultimate Victory"
Keyshia Cole - "Just Like You"
DJ Drama - ""
2008.
Day26 - "Day26"
Ace Hood - "Gutta"
Lil Mama - "VYP (Voice of the Young People)"
Blood Raw - ""
Alfamega - "I Am Alfamega"
Danity Kane - "Welcome to the Dollhouse"
Rocko - "Self Made"
DJ Khaled - "We Global"
Girlicious - "Girlicious"
Ludacris - "Theater of the Mind"
Keyshia Cole - "A Different Me"
Mario Winans - "Untitled"
2009.
Teairra Mari - "At That Point"
Trae - "Streets Advocate"
Rick Ross - "Deeper Than Rap"
Ace Hood - "Ruthless"
Lil' Boosie - ""
Trick Daddy - ""
Lloyd -
Akon
Chris Brown - Graffiti
Usher - Raymond vs. Raymond
Wyclef Jean - From the Hut, To the Projects, To the Mansion
Lil Scrappy - Tha Grustle
RichGirl - RichGirl
Inkwell - Inkwell
Rico Love - Rico Love
Krave
Mary J. Blige - Stronger with Each Tear
Nu Jerzey Devil - The Introduction
Beyoncé - Unreleased
2010.
Flo Rida
Jessica Jarrell
Nipsey Hussle
Alley Boy
Justin Bieber - "My World 2.0"
Trey Songz
Mann
Ludacris - "Battle of the Sexes"
DJ Khaled - "Victory"
Rick Ross - "The Albert Anastasia EP"
Rick Ross - "Teflon Don (album)"
Ce Ce Segarra
J-Bar
DJ Freddy Fed
Akon - "Akonic"
Lisa Maffia - Miss Boss
Nelly - "5.0"
2011.
Billy Blue - "Blumanatti"
Torch - "U.F.O."
Cher Lloyd - Cher Lloyd
T.I. - "Unreleased"
DJ Khaled - "We the Best Forever"
Kelly Rowland - "Here I Am"
Ace Hood - "Blood, Sweat & Tears"
Kevin Cossom - "By Any Means"
Lloyd
Bali
Karmin
Trey Songz
Nicole Scherzinger - Killer Love
2012.
Ace Hood - "Starvation"
DJ Khaled - Kiss The Ring
Chris Brown - Fortune
Flo Rida - Wild Ones
Rita Ora - ORA
Tamia - Beautiful Surprise
Lupe Fiasco -
2013.
Ace Hood - "Trials & Tribulations"
Rich Gang - "Rich Gang"
John Legend - "Love in the Future"
2014.
Kid Ink - "My Own Lane"
Future - "Honest"
Kevin McCall - "A.D.H.D."
Young Money - ""
Kevin Gates - "By Any Means"


Frenchman Butte

Frenchman Butte is a butte located 45 km northeast of Lloydminster, is named after a Frenchman who was killed there by Indians in the 19th century. It is not known how or why this man was murdered. This was also the site of the Battle of Frenchman's Butte between Major-General Thomas Bland Strange and Cree Chief Big Bear.
The site of the battle was designated a National Historic Site of Canada in 1929.