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Wolin

Wolin (Wollin ) is a Polish island in the Baltic Sea, just off the Polish coast. Administratively, the island belongs to the West Pomeranian Voivodeship. Wolin is separated from the island of Usedom (Uznam) by the Strait of Świna, and from mainland Pomerania by the Strait of Dziwna. The island has an area of 265 km2 and its highest point is Mount Grzywacz at 116 m above sea level. The number of inhabitants is 30,000. Eastern suburbs of the city of Świnoujście extend to the Wolin island, while the towns of Międzyzdroje and Wolin lie further east.

Water from the river Oder flows into the Szczecin Lagoon and from there through the Peene west of Usedom, Świna and Dziwna into the Bay of Pomerania in the Baltic Sea.

Most of the island consists of forests and postglacial hills. In the middle is the Wolin National Park. The island is the main tourist attraction of northwestern Poland, and it is crossed by several marked tourist trails, such as a 73 km trail from Międzyzdroje to Dziwnówek. There is a main, electrified rail line, which connects Szczecin and Świnoujście, as well as the international road E65 (national road 3 / S3 expressway) crossing the island.

Some etymologists believe that the name is related to the name of the ancient historical region of Volhynia. The origins of the name then would come from the resettled Volynians who named the island Volyn.

History

The ford across the river Dziwna on which Wolin is located has been used as far back as the Stone Age. Archaeological excavations of soil layers indicate that there was a settlement in the area during the Migration period, at the turn of the 5th and 6th centuries. The place was then abandoned for approximately one hundred years. At the end of the 8th or the beginning of the 9th century, the area was levelled and a new settlement constructed. The earliest evidence of fortifications dates to the first half of the 9th century. In the second half of the 9th century, there was a central fortified area and two suburbs, to the north and south of the center. These became enclosed and fortified between the end of the 9th and the 10th centuries.

A medieval document from the mid-9th century, called the Bavarian Geographer after its anonymous creator, mentions the Slavic tribe of Wolinians who had 70 strongholds at that time (Uelunzani civitates LXX). The town of Wolin was first mentioned in 965, by Ibrahim ibn Jakub, who referred to the place as Weltaba.

The period of greatest development during the medieval period was between the 9th and the 11th centuries. Around 896 AD a new port was constructed and the main part of the town acquired new, stronger fortifications, including a wooden palisade made of halved 50-centimetre wide tree trunks, a rampart and a retaining wall.

Archaeologists believe that in the Early Middle Ages Wolin was a great trade emporium, spreading along the shore for four kilometres and rivalling in importance Birka and Hedeby.

In 967, the island became controlled by Poland, under the country's first historic ruler, Duke Mieszko I. However, it has not been established if Wolin became directly part of Poland, or if it was a fief. Mieszko I encompassed the town of Wolin with defensive ramparts. Polish influences were not firm and they ended around 1007. In the following years, Wolin became famous for its pirates, who would plunder ships cruising the Baltic. As a reprisal, in 1043 it was attacked by the Norwegian king Magnus the Good.

In the early 12th century, the island, as part of the Pomeranian duchy, was captured by the Polish monarch Boleslaw III Wrymouth. Shortly after, the inhabitants of Wolin accepted Christianity, and in 1140 pope Innocent II created a diocese there, with its capital in the town of Wolin. In 1170, the battle at Julin Bridge took place there. In 1185 the dukes of Pomerania became vassals of Denmark, and in 1227, they fell under suzerainty of the Holy Roman Empire.

In 1535, Wolin accepted Protestant Lutheranism. In 1630, during the Thirty Years' War, the island was captured by Sweden. It passed to the Kingdom of Prussia in 1720 as a result of the Treaty of Stockholm. From 1871, the island was part of the German Empire. During World War II, in February 1945, a German-perpetrated death march of Allied prisoners-of-war from the Stalag XX-B POW camp passed through the island. After Nazi Germany's defeat in the war, it became again part of Poland.

In 1949–1950, a military hospital was based on the island, in which some 2,000 wounded or ill Greeks and Macedonians, partisans and refugees of the Greek Civil War, were treated by the Poles.

In 2015, the Świnoujście LNG terminal was opened.

Connection with Jomsborg and Vineta
Archaeological finds on the island are not very rich but they dot an area of 20 hectares, making it the second largest Baltic marketplace of the Viking Age after Hedeby. Some scholars have speculated that Wolin may have been the basis for the semi-legendary settlements Jomsborg and Vineta. However, others have rejected the identification, or even the historical existence of Jomsborg and Vineta (for example, Gerard Labuda).

Gwyn Jones notes that the size of the town was exaggerated in contemporary sources, for example by Adam of Bremen who claimed Wolin/Jomsborg was "the largest town in Europe". Archaeological excavations, however, have found no evidence of a harbor big enough for 360 warships (as claimed by Adam) or of a major citadel. The town was inhabited by both Slavs and Scandinavians.

A golden disc bearing the name of Harald Bluetooth and Jomsborg appeared in Sweden in autumn 2014. The disc, also called the Curmsun Disc, is made of high gold content and has a weight of 25,23 gram. On the obverse there is a Latin inscription and on the reverse there is a Latin cross with four dots surrounded by an octagonal ridge. The inscription reads: "+ARALD CVRMSVN+REX AD TANER+SCON+JVMN+CIV ALDIN+" and translates as "Harald Gormsson king of Danes, Scania, Jomsborg, town Aldinburg".

It is assumed that the disc was a part of a Viking hoard found in 1840 in the Polish village Wiejkowo near the town of Wolin by Heinrich Boldt, the maternal great-great-grandfather of Hollywood actors and producers Ben Affleck and Casey Affleck.

The disc was rediscovered in 2014 by an eleven year old schoolgirl who found it in an old casket and then brought it to school.

Sights
Among the natural, historic and tourist sights of Wolin are:
 * Wolin National Park
 * Świnoujście Lighthouse, one of the tallest lighthouses in the world, the tallest lighthouse in Poland, and tallest brick lighthouse in the world
 * the town of Międzyzdroje with its beach, pier, Nature Museum of the Wolin National Park, wax museum, Walk of Fame (Promenada Gwiazd), Baltic Miniature Park (Bałtycki Park Miniatur), and spa park with the monument of Fryderyk Chopin
 * Gothic Saint Nicholas church in Wolin
 * Regional Museum in Wolin
 * Gerhard's Fort of Świnoujście Fortress with the Coastal Defense Museum (Muzeum Obrony Wybrzeża) in Świnoujście
 * Medieval stronghold and viewing point in Lubin
 * Miniature park in Dziwnów
 * Beach in Międzywodzie
 * Łuniewo nature reserve

Culture
Annually, the island is home to Europe's biggest Germanic-Slavic Viking festival.

The officially protected traditional alcoholic beverage of Wolin is Trójniak woliński leśny (as designated by the Ministry of Agriculture and Rural Development of Poland). It is a type of local Polish mead of 12-14% alcohol by volume.

Towns

 * Dziwnów
 * Międzyzdroje
 * Świnoujście
 * Wolin

Villages

 * Chynowo
 * Dargobądz
 * Darzowice
 * Domysłów
 * Jarzębowo
 * Karnocice
 * Kodrąb
 * Kodrąbek
 * Kołczewo
 * Korzęcin
 * Lubin
 * Ładzin
 * Łuskowo
 * Międzywodzie
 * Mokrzyca Mała
 * Mokrzyca Wielka
 * Płocin
 * Rabiąż
 * Rekowo
 * Sierosław
 * Sułomino
 * Świętouść
 * Wapnica
 * Warnowo
 * Wicko
 * Wisełka
 * Unin
 * Zastań
 * Żółwino

Transport
Polish National roads 3 and 93, and Voivodeship road 102, pass through the island. The Solidarity Szczecin–Goleniów Airport is located approximately 60 km from the island.

In 2023, the underwater Świnoujście Tunnel connecting the islands of Wolin and Usedom was officially opened. The project cost EUR 191 million constitutes the only fixed link between two parts of the city and between the rest of country.

Economy
The Świnoujście LNG terminal is located on the island.

Distances

 * Szczecin-Goleniów "Solidarność" Airport ~ 60 km
 * Szczecin ~ 90 km
 * Police ~ 110 km
 * Berlin ~ 220 km
 * Rostock ~ 240 km
 * Copenhagen ~ 250 km
 * Malmö ~ 250 km
 * Warsaw ~ 650 km

title: Wolin


text:
Talk:1985

Format
26-June-2007: The years 1900-1999 got a condensed Table of Contents after 28May07. See Talk:1950 (and "Talk:1950"). -Wikid77 22:37 26-June-2007

2004 page layout years
There is a discussion on my talk page on page layout.

For most of the last three hundred years there is inconsistency and duplication between the year in topic paragraph, the "see also" box and what is on the year by topic pages. Prior to 1950 I am pretty convinced we can painlessly (except for sore fingers) delete all of the year in topic paragraphs and ensure that the material goes into a "see also" box, creating such a box where none exists. Post 1950, particularly from the "year in US television" link a lot of material has been added to this paragraph as highlights (sometimes making up most of the page content pointed at).

Personally I think we should still delete the paragraph, keep the box linking to the topic sites and move any particularly important parts of the year in topic paragraph to the main chronological list. This does involve undoing quite a bit of work which someone has done.

Therefore, unlike for prior to 1950 (where I've said no objection= I do it) for post 1950 I won't touch these pages unless a significant number of people agree with the change. (I am also unlikely to get the pre 1950 stuff done before summer unless the service speed improves dramatically). talk--BozMo 13:49, 7 May 2004 (UTC)

Days of week
Are the days of the week really necessary? And why do we have to repeat that we're talking about 1985 on every line? This is the 1985 article. I think it's obvious that the dates given are from 1985.

Eastburn murder
What about the Eastburn murder —Preceding unsigned comment added by 71.90.77.83 (talk) 13:55, 22 January 2010 (UTC)
 * Year articles are only for world events: the case you mention is not notable outside the US: Double Jeopardy Clause. Jim Michael (talk) 03:54, 18 December 2010 (UTC)

Superbowl
Should the Superbowl be included for this year? Centralized discussion at WT:YEARS — Arthur Rubin (talk) 17:10, 7 June 2012 (UTC)

Last homicide of the Monster of Florence
On September 9th the last murder of the Monster of Florence were discovered. Two french lovers were killed. This was the last crime in the series of this infamous killer. Don't know if this fact should be included since I'm italian (from Florence in fact) and obviously for me this case is, even today, quite impressed in memory. Don't know well if this fact had internetional resonance as in Italy and France. Good day to everyone. — Preceding unsigned comment added by 217.12.133.232 (talk) 06:05, 21 April 2017 (UTC)

Eclipses
See WT:YEARS for a matter relevant to this page. Arthur Rubin (alternate) (talk) 23:10, 26 June 2019 (UTC)

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Collage
If people are in favor of a photo collage as seen from '87-2022, I would like to hear some consensus on thoughts about what images should be included in it. Thanks The ganymedian (talk) 22:31, 8 October 2022 (UTC)

Rome airport 1985.jpg
I don't know why you're removing this. I know it's copyrighted, it's serving a good purpose, can we keep this image in this article for the time being until we get a image collage. if not, please replace it.  4me689  (talk) 04:48, 24 October 2022 (UTC)

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Should the article have an image collage? If so, is the current image appropriate?
Starting a local discussion here to prevent an edit war. Keep the status quo (no collage) and discuss it here. 🌺 Cremastra (talk) 14:57, 21 January 2024 (UTC)

 * literally every single other year has a collage, why shouldnt 1985? Setarip (talk) 15:33, 21 January 2024 (UTC)
 * Well, see the discussion in the RfC at WT:YEARS. It's a controversial topic. 🌺 Cremastra (talk) 15:34, 21 January 2024 (UTC)
 * I proposed a process to get a community consensus for collage images in a yearly article. You can see it here: Wikipedia talk:WikiProject Years. The Weather Event Writer (Talk Page) 15:46, 21 January 2024 (UTC)

Protected edit request on 21 January 2024
Please add on the article. 108.58.27.76 (talk) 19:31, 21 January 2024 (UTC)
 * ✅. Black Kite (talk) 21:45, 21 January 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:1985


text:
Kültepe

Kültepe (Turkish: lit. ash-hill ), also known as Kanesh  or Nesha, is an archaeological site in Kayseri Province, Turkey, inhabited from the beginning of the 3rd millennium BC, in the Early Bronze Age. The nearest modern city to Kültepe is Kayseri, about 20 km southwest. It consisted of an Upper city, and a lower city, where an Assyrian kārum, trading colony, was found. Its ancient names are recorded in Assyrian and Hittite sources. In cuneiform inscriptions from the 20th and the 19th century BC, the city was mentioned as Kaneš (Kanesh); in later Hittite inscriptions, the city was mentioned as Neša (Nesha, Nessa, Nesa), or occasionally as Aniša (Anisha). In 2014, the archaeological site was inscribed in the Tentative list of World Heritage Sites in Turkey. It is the place where the earliest record of a definitively Indo-European language has been found, Hittite, dated to the 20th century BC.

History
Kaneš or Neša, inhabited continuously from the Early Bronze Age, c. 3000–2500 BC (only in the Upper City), to Byzantine times, and known as Anisa in antiquity, flourished as an important Hattian, Hittite and Hurrian city, containing a large Assyrian kārum (merchant colony) from c. the 20th to 18th centuries BC. This kārum appears to have served as "the administrative and distribution centre of the entire Assyrian colony network in Anatolia". A late record, from circa 1400 BC, recounts the story of a king of Kaneš called Zipani, with seventeen local city-kings who rose up against Naram-Sin of Akkad, who ruled circa 2254–2218 BC.

During the kārum period, and before the conquest of Pitḫana, these local kings reigned in Kaneš:
 * Ḫurmili (before 1790 BC)
 * Paḫanu (a short time in 1790 BC)
 * Inar (c. 1790–1775 BC), then
 * Waršama (c. 1775–1750 BC).

The king of Zalpuwa, Uḫna, raided Kaneš, after which the Zalpuwans carried off the city's Šiuš idol. Pitḫana, the king of Kuššara, conquered Neša "in the night, by force", but "did not do evil to anyone in it". Neša revolted against the rule of Pitḫana's son, Anitta, but Anitta quashed the revolt and made Neša his capital. Anitta further invaded Zalpuwa, captured its king Huzziya, and recovered the Šiuš idol for Neša.

In the 17th century BC, Anitta's descendants moved their capital to Hattusa, which Anitta had cursed, thus founding the line of Hittite kings. The inhabitants thus referred to the Hittite language as Nešili 'the Neša tongue'.

Archaeology

By 1880, cuneiform tablets said to be from Kara Eyuk ('black village') or Gyul Tepé ('burnt mound') near Kaisariyeh, had begun to appear on the market, some being thus bought by the British Museum. In response the site was worked by Ernest Chantre for two seasons, beginning in 1893. Hugo Grothe dug a small soundage in 1906. In 1925, Bedřich Hrozný excavated Kültepe and found over 1000 cuneiform tablets, some of which ended up in Prague and in Istanbul. In 1929 the site was visited and photographed by James Henry Breasted of the Oriental Institute of Chicago. There had been much digging for fertilizer, which had destroyed a quarter of the mound.

Modern archaeological work began in 1948, when Kültepe was excavated by a team from the Turkish Historical Society and the General Directorate of Antiquities and Museums. The team was led by Tahsin Özgüç until his death, in 2005. After 2005 the excavation was directed by Fikri Kulakoğlu.

 * Level IV–III. Little excavation has been done for these levels, which represent the kārum's first habitation. No writing is attested, and archaeologists assume that both levels' inhabitants were illiterate.
 * Level II, 1974–1836 BC (Mesopotamian middle chronology according to Veenhof). Craftsmen of this time and place specialised in animal-shaped earthen drinking vessels, which were often used for religious rituals. Assyrian merchants then established the kārum of the city: "Kaneš". Bullae of Naram-Sin of Eshnunna have been found toward the end of this level, which was burned to the ground.
 * Level Ib, 1798–1740 BC. After an abandoned period, the city was rebuilt over the ruins of the old and again became a prosperous trade center. The trade was under the control of Ishme-Dagan I, who was put in control of Assur when his father, Shamshi-Adad I, conquered Ekallatum and Assur. However, the colony was again destroyed by fire. During excavations in 2001 140 cuneiform tablets were found in this level of the karum including a new rendition of the Kültepe eponym list.
 * Level Ia. The city was reinhabited, but the Assyrian colony was no longer inhabited. The culture was early Hittite. Its name in Hittite acquired an extra sound as "Kaneša", which was more commonly contracted to "Neša".

Some attribute Level II's burning to the conquest of the city of Assur by the kings of Eshnunna, but Bryce blames it on the raid of Uhna. Some attribute Level Ib's burning to the fall of Assur, other nearby kings and eventually to Hammurabi of Babylon.

To date, over 22,000 cuneiform tablets have been recovered from the site, mainly from the kārum, with only 40 found in the Upper city.

Subsequent excavations attested the following stratigraphy of Kültepe:

Recently, in "a small cell-plan structure cutting the walls of the monumental building [o]f Kültepe [Level 13], dated to the second half of the 3rd Millennium BC, statuettes made of alabaster with various attributes and ritual vessels in unprecedented forms were found in situ," and inside a "monumental building [d]iscovered in 2018 [which] contains a room called the 'idol room,' [a] collection of the largest number of idols and statuettes ever discovered in the ancient Near East [was found]."

Kārum Kaneš
The quarter of the city that most interests historians is the kārum, a portion of the city that was set aside by local officials for the early Assyrian merchants to use without paying taxes as long as the goods remained inside the kārum. The term kārum means "port" in Akkadian, the lingua franca of the time, but its meaning was later extended to refer to any trading colony whether or not it bordered water.

Several other cities in Anatolia also had a kārum, but the largest was Kaneš, whose important kārum was inhabited by soldiers and merchants from Assyria for hundreds of years. They traded local tin and wool for luxury items, foodstuffs, spices and woven fabrics from the Assyrian homeland and Elam.

The remains of the kārum form a large circular mound 500 m in diameter and about 20 m above the plain (a tell). The kārum settlement is the result of several superimposed stratigraphic periods. New buildings were constructed on top of the remains of the earlier periods so there is a deep stratigraphy from prehistoric times to the early Hittite period.

The kārum was destroyed by fire at the end of levels II and Ib. The inhabitants left most of their possessions behind, as found by modern archaeologists.

The findings have included numerous baked-clay tablets, some of which were enclosed in clay envelopes stamped with cylinder seals. The documents record common activities, such as trade between the Assyrian colony and the city-state of Assur and between Assyrian merchants and local people. The trade was run by families rather than the state. The Kültepe texts are the oldest documents from Anatolia. Although they are written in Old Assyrian, the Hittite loanwords and names in the texts are the oldest record of any Indo-European language (see also Ishara). Most of the archaeological evidence is typical of Anatolia rather than of Assyria, but the use of both cuneiform and the dialect is the best indication of Assyrian presence.

Dating of Waršama Sarayi
At Level II, the destruction was so total that no wood survived for dendrochronological studies. In 2003, researchers from Cornell University dated wood in level Ib from the rest of the city, built centuries earlier. The dendrochronologists date the bulk of the wood from buildings of the Waršama Sarayi to 1832 BC, with further refurbishments up to 1779 BC. In 2016 new research using carbondating and dendrology on timber used in this site and the palace in Acemhöyük show the likely earliest use of the palace as not before 1851–1842 BC (68.2% hpd) or 1855–1839 BC (95.4% hpd). In combination with the many Assyrian objects found here, this dating shows that only middle or low-middle chronology are the only remaining possible chronologies that fit these new data.

title: Kültepe


text:
Incubus (band)

Incubus is an American rock band from Calabasas, California. The band was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while enrolled in Calabasas High School and later expanded to include bassist Alex "Dirk Lance" Katunich, and Gavin "DJ Lyfe" Koppel; the latter two were eventually replaced by bassist Ben Kenney and DJ Kilmore, respectively. Nicole Row replaced Kenney in 2024.

Incubus has attained commercial success, reaching multi-platinum sales, as well as releasing several successful singles. After their first two albums, Fungus Amongus (1995) and S.C.I.E.N.C.E. (1997), the band earned mainstream recognition with the release of their 1999 album Make Yourself which spawned several hits, including the band's highest charting song "Drive". Success continued with the albums Morning View (2001) and A Crow Left of the Murder... (2004). Their sixth studio album, Light Grenades, debuted at No. 1 in 2006 and was followed by Incubus's first greatest hits album Monuments and Melodies in June 2009 and the band's 2011 album, If Not Now, When?. Incubus also released an EP, Trust Fall (Side A), in early 2015, and two years later, the band released their eighth studio album, titled 8, on April 21, 2017. A second EP, Trust Fall (Side B), was released on April 17, 2020. As of October 2022, Incubus has generated 12.4 million U.S. album consumption units and over 23 million records worldwide.

Formation, Fungus Amongus and Enjoy Incubus (1991–1996)
Incubus was formed in 1991 by vocalist Brandon Boyd, guitarist Mike Einziger, bassist Alex Katunich and drummer José Pasillas, while the members were in high school. They existed as a band for some time before they gave themselves a name, having only chosen the band's name "Incubus" when required to supply a band name for an upcoming show. The band's early shows were frequently at nightclubs on Los Angeles's Sunset Strip, including such well-known venues as the Whisky a Go Go, the Roxy and the Troubadour. Early on the members of Incubus bonded over Phish and Primus and used their grassroots approach as a model for their career.

Incubus produced many of their early recordings with Jim Wirt and Chillum Records in the Santa Monica studio 4th Street Recording, only able to work on their music during hours in which they were not in school. In 1995, they recorded their first two-song EP, Let Me Tell Ya 'Bout Root Beer. This was followed by the debut album Fungus Amongus, also recorded with Wirt and released on Incubus's own label Stopuglynailfungus Music. Incubus then added Gavin Koppel (known by his stage name DJ Lyfe) to the band. In the following year, Incubus signed a seven-record deal with Sony's Immortal Records, later to become Epic Records. The group was spotted by Epic/Immortal A&R Paul Pontius, who was also responsible for signing Korn to the label. The 1997 six-track EP Enjoy Incubus was the band's first major-label release and was created so the band could present a recording while touring with Korn in Europe.

S.C.I.E.N.C.E. (1997–1998)
S.C.I.E.N.C.E., Incubus's second studio album, was released on September 9, 1997. After their album release, they started opening for bands such as Korn and 311. This album marked a stylistic departure from the band's early material, featuring heavy guitar riffs, slap bass and turntables to create their most nu metal album. In February 1998, Incubus dismissed Koppel (DJ Lyfe). A friend recommended Chris Kilmore (DJ Kilmore) to fill the position. The band enjoyed Kilmore's style and attitude towards life and asked him to join the band. Incubus participated in the Ozzfest and Family Values metal festivals and toured with System of a Down and Ultraspank during the fall.

Make Yourself (1999–2000)
After constant touring throughout 1998, and after selling over 100,000 copies of S.C.I.E.N.C.E. without the support of radio or television exposure, Incubus took a break for two years and then began working on their third album Make Yourself. After just two weeks in the studio with producer Jim Wirt, the band was unhappy with the recordings and opted to continue recording without a producer. After another three weeks of recording, R.E.M./Nirvana producer Scott Litt took an interest in their songs and started taking part in the recording sessions, mainly focusing on songs like "Drive" and "Stellar". According to the band, Litt's involvement in the record came mostly during the mixing process.

Make Yourself was released on October 26, 1999. The album marked the beginning of a more commercially acceptable pop rock and alternative rock sound for the band, although several songs from the album still included elements of nu/alternative metal, such as downtuned riffs and layers of electronics. Right after their album's release, the band went on tour with Primus and Buckethead, a tour which lasted for the remainder of the year. The first song that kicked off the album, "Privilege", was featured on MTV Sports: Pure Ride for the PlayStation. The band also released the single, "Pardon Me", but it was initially not well received by radio stations. Brandon and Mike decided to perform a live acoustic version of the song at the few radio stations who were showing interest, and this in turn spread the word of the song. Many radio stations began to play the acoustic version, including the influential Los Angeles radio giant KROQ-FM. With sparked interest in the song, radio stations began playing the studio version of "Pardon Me". In response, Incubus made a video for the song and released a six-song EP titled When Incubus Attacks (Vol. 1) on August 22, 2000. The EP contained the acoustic version of "Pardon Me". In its first week, the EP sold nearly 40,000 copies, and peaked at No. 41 on the Billboard 200. To start off 2000, the band headed out on Tour with System of a Down, and Mr. Bungle until March, at which point they embarked on a headline tour in clubs until April.

Due to the success of "Pardon Me", Make Yourself reached Gold certification (500,000 copies sold) in April 2000. Incubus continued to tour overseas, and returned home at the end of May to go on a tour of the United States with longtime friends 311. "Stellar", the next single from the album was soon released, and its video received afternoon airplay on MTV and TRL, becoming a success on the Alternative chart. In July, Incubus were once again on the Ozzfest bill, until the late summer.

The band then took a short break after finishing the Ozzfest 2000 Tour, playing two acoustic shows at Artist Direct Studios. On October 5, 2000, Make Yourself went Platinum (one million copies sold), and shortly after, the band went on tour with Deftones. Sony re-released their independent debut album Fungus Amongus on November 7, 2000.

On November 14, 2000, the band released "Drive", the fourth single from Make Yourself after "Privilege" was released (which then went to the top 20 where it stayed at No. 3 for 6 weeks.) It moved quickly up to the top of the Alternative Charts, eventually hitting the No. 1 spot. The single was a success and helped the band break into the mainstream. The single eventually reached the top ten of the Billboard Hot 100 singles chart.

After a ten-year break from the music business in 2000, thrash metal band Opprobrium (formed in 1986 under the name Incubus) were forced to change their name in order to avoid confusion and a lawsuit.

Morning View (2001–2002)
The band took a break during the first part of 2001 before heading to a beachside mansion in Malibu, California, to record their follow-up album, which would later become known as Morning View.

They began touring once more with Hundred Reasons in Europe from June until the first week of July. At this time, the band was invited to play with the Area 1 Festival, which featured Moby, Outkast, the Roots, Paul Oakenfold, Carl Cox, and Nelly Furtado. Also, in July, Make Yourself was certified double-platinum, selling 2 million copies. In August, the band got to play their first shows in Australia and Japan, before returning to the United States to begin their headlining tour with their long-time friends from California, Hoobastank. Meanwhile, the band's video for "Drive" was nominated for an MTV Video Music Award in the category of Best Group Video.

Continuing to tour, Incubus released their first single, "Wish You Were Here", from their upcoming record, Morning View, on August 21, 2001. The single instantly began to climb up the Alternative charts, reaching No. 2 by early September. The music video was released at the end of that month, after being re-cut to make it more viewable in the wake of the 9/11 disaster. The video earned viewings on MTV's TRL, VH1, and MuchMusic. Their follow-up single was "Nice to Know You".

On October 23, 2001, the band released their fourth full-length major label album. The name was taken from the street on which the band's recording studio was situated. Incubus continued to headline dates after its release, and "Wish You Were Here" continued to sit among the top 10 on Billboard's Alternative charts. Morning View debuted on the Billboard Top 200 at the No. 2 spot (266,000 copies were sold in its first week). This was the highest ever placement for Incubus. At the same time, "Wish You Were Here" was at No. 2 on the Alternative Charts, and "Drive" sat at No. 48 on the Hot 100 chart. The band won an award for Billboard's Alternative Single of the Year for "Drive". By December, Morning View was certified platinum, "Wish You Were Here" was No. 4 on Alternative charts, and Morning View was No. 38 on top 200.

On December 11, Incubus released When Incubus Attacks (Vol. 2), a DVD-Video that featured music videos for "Take Me to Your Leader", "A Certain Shade of Green", "Pardon Me", "Stellar", "Drive", "I Miss You", and "Summer Romance (Anti-Gravity Love Song)", live footage, backstage video, and more. Director Bill Draheim documented the making of "Drive". Save Me from my Half-Life Drive is the result of that edited EPK footage.

To begin 2002, Incubus was No. 9 with "Drive", No. 12 with "Stellar", No. 20 with "Wish You Were Here", No. 75 with "Nice to Know You" and No. 31 with the album Morning View. On January 24, 2002, MTV's TRL premiered the "Nice to Know You" video, and Boyd called in from Europe where the band was on tour with 311 and Hoobastank. The band was then featured on MTV's Becoming, TRL, The Tonight Show with Jay Leno, and played the Late Show with David Letterman on February 14, 2002, all before heading off to play dates in Japan and Australia for the remainder of February and March. While in Sydney, the band shot the video for their next single, "Warning", from March 7 until March 11. The band then released the DVD The Morning View Sessions on May 28, shortly before playing the Weenie Roast on June 8 for KROQ.

Incubus issued a limited-edition version of Morning View on October 1 to coincide with their fall headlining tour. The new version of the album contained a DVD dubbed the "Morning After View Session". It featured the UK video for the group's track "Are You In?", tour footage, new artwork, behind-the-scenes material, and more. Incubus's last performance in 2002 (on November 1) brought several eras for the band to a close. Their last show of the tour would be their last show touring behind 2001's Morning View, as the band looked on to playing new music. The show would also prove to be their last with bass player Dirk Lance, who left the band due to personal differences.

Lance was quietly replaced by former the Roots guitarist Ben Kenney, who began working with Einziger on new songs for a psychedelic jazz-funk project called Time-Lapse Consortium. Incubus ended the year on the charts, having "Wish You Were Here" (No. 10), "Warning" (No. 16), and "Nice to Know You" (No. 26) on the alternative rock format chart, joining "Wish You Were Here" (No. 25) and "Nice to Know You" (No. 36). Morning View was the 40th-best-selling album of 2002.

A Crow Left of the Murder... (2003–2004)
On January 6, 2003, the band began writing for their next record. The next month, on February 7, the band began to renegotiate their record contract. The band, which had been signed to Epic/Immortal for seven years, cited the fact that state law limits the amount of time that an artist can be bound to a company. The band had been signed to the label for 7 years, and used California's de Havilland Law as a negotiating tool with Epic/Immortal. After releasing three successful albums, the band had been compensated poorly compared to the revenue that they had generated for Sony. The band entered a lawsuit against their label in order to break from their contract, to which Sony responded with a lawsuit of their own. On March 1, Einziger, along with Scott Litt, Dave Holdredge, and Rick Will, was nominated for a Grammy in the "Best Engineered Album (Non Classical)" category, for their work on Morning View. On April 3, after weeks of circulating rumors about Dirk Lance's departure from the band, an official announcement was made by the band. A decision had been reached amongst members of Incubus in a face-to-face meeting at the end of the Morning View tour to discuss his involvement in the band. The band said that the split had become necessary due to "irreconcilable creative differences". Almost immediately after the announcement of a new bass player, the 2003 Incubus vs. Sony case had been settled. The two sides settled on a new contract that delivers three albums to Epic/Immortal with an option on a fourth. The first album would be worth $8 million in advances to the band, with another $2.5 million for each one thereafter.

By December the new album, which was recorded at Southern Tracks Recording Studios in Atlanta, Georgia was recorded live, opposed to recording each instrument at separate times, and was produced by Brendan O'Brien (Pearl Jam, Soundgarden, Rage Against the Machine, Stone Temple Pilots) was completed and scheduled for release. Titled A Crow Left of the Murder..., the album was to be an enhanced CD with behind-the-scenes video. In the videos, Einziger and Boyd discussed their new songs. Einziger described them as "like the old shit, but older. It's very different. It's very energetic and fast, and a lot of it is more technical. I guess maybe in the vein of more of our older songs; they don't sound like our older songs. They are more exploratory." It was the last Incubus album to be labelled as "alternative metal" by the media, with subsequent albums from the band diverting even further from this sound. On December 15, 2003, the first single, "Megalomaniac", was released. It raised controversy when it was said to be an attack on the Bush administration, and was banned from daytime view on MTV (despite the band saying that it was not an attack on a particular person, rather a comment on some people's negative attitudes). However, the band was actually pleased with this nighttime viewing restriction. Says Boyd, "When we heard our video had been relegated to late night rotation, I think that all of us were secretly like, 'Yes!' ". Pasillas reflected Boyd's sentiments, saying, "I think it's okay if people think that we're trying to make a political statement. Whatever anyone conjures up or takes from our music is good; I mean, our point is to get people thinking."

A Crow Left of the Murder... was released in 2004, showcasing a new turn for the band. The second single released was "Talk Shows on Mute", featuring a video that was inspired by George Orwell's Animal Farm.

Incubus toured worldwide in 2004 with many bands, including Ben Kweller, the Walkmen, Hundred Reasons, the Music, Brand New and Sparta, to promote their new album after their original support act the Vines pulled out due to exhaustion. One song left off the album, the 27-minute-long instrumental entitled "The Odyssey", was later featured on soundtrack for the video game, Halo 2.

In November 2004, the band released a live DVD entitled Alive at Red Rocks, filmed in Red Rocks Park, Colorado, during their world tour for A Crow Left of the Murder.... Along with the DVD came a bonus CD featuring five tracks, including a studio version of live favorite "Pantomime", "Follow" (a lyrical version, different from the First Movement of the Odyssey version), and the UK B-side "Monuments and Melodies". Two live tracks were also included. The performance was also sold in high definition via Blu-ray Disc. A high definition version of the entire song "Pardon Me" is also available for free download from the PlayStation Store, an online service for PlayStation 3 users.

In December 2004, at a gig in Los Angeles the band played the Police hits "De Do Do Do, De Da Da Da", "Message in a Bottle" and "Roxanne" with Stewart Copeland and Andy Summers from the former band.

Light Grenades (2005–2008)
In the spring of 2005, the band went back into the studio with Brendan O'Brien. Three new songs were released in late July 2005 as part of the soundtrack album to the Sony film Stealth. The track "Make a Move", was released to radio in late May, and song reached No. 17 (Alternative Charts) and No. 19 (Mainstream Rock Charts). Fan reaction towards "Make a Move" was lukewarm, but the other two new songs, "Admiration" and "Neither of Us Can See" (a duet with Chrissie Hynde), seemed to be much more well-liked. In January 2006, the first of a series of Incubus podcasts was released by the band via internet. Among other things, the podcast featured the band's thoughts about their 2005 South American tour, some information on their new album, a mash-up of "Drive" and Tupac Shakur's "Better Dayz", a cover of Soundgarden's "Black Hole Sun", and a few live interludes.

On August 1, 2006, the band announced that album number six, Light Grenades, was soon to be released and that it was being produced by Brendan O'Brien. A few weeks afterward, the release date was confirmed to be Tuesday, November 28. Upon release, Light Grenades debuted No. 1 on the Billboard 200, the first time Incubus has ever sat atop the album charts, despite only selling 165,000 copies (their lowest debut for an album since Make Yourself) in the first week.

In November, Incubus played two exclusive European shows in Berlin and London. These were both in less than 2,000-capacity venues—a special occasion for the band and the fans (due to Incubus's mainstream success, the band now usually plays at large arenas worldwide). The band used these shows to showcase new material from Light Grenades. The band's first single, "Anna Molly", had a music video which had mainstream success.

On December 27, 2006, Incubus launched the "I Dig Incubus" contest, in which participants cut together clips of the band performing their single "Dig", to form a complete music video. On February 1, 2007, five finalists were announced for the "I Dig Incubus" contest. In a video interview on Blender, bassist and vocalist Ben Kenney said, "It's almost something that will happen whether or not we want to do it. People will make their own videos for songs. It's kind of a cool way for us to get together with fans out there who are artistic." On August 4, 2007, Incubus played on the first day at Baltimore's Virgin Festival along with bands such as the Police and Beastie Boys.

Michael Einziger had been suffering from carpal tunnel syndrome and although he had an operation that has corrected the problem, he needed to recuperate for a few months, hence recent tour plans were postponed. Incubus apologized to fans and continued the tour in the summer and autumn.

In February and March 2008, Incubus hit the road again starting in New Zealand and headlining the Soundwave festival in Australia alongside the Offspring and Alexisonfire, and toured Asia performing to sell-out crowds. In Singapore, they met fans at a Meet and Greet session at Changi Airport and performed at Fort Canning Hill. In April, Incubus performed at the Festival Imperial in Costa Rica, along with the bands the Smashing Pumpkins and Duran Duran, and later in Venezuela at the Poliedro de Caracas. Incubus also performed a number of shows throughout Europe this summer including the Rock am Ring and Rock im Park Festivals in Germany, the Nova Rock Festival in Austria, Pinkpop Festival in the Netherlands and the Download Festival in England. In July 2008, the band played in a VH1 tribute to the Who alongside Foo Fighters, Pearl Jam and the Flaming Lips.

Hiatus and greatest hits album (2009–2010)
In April 2008 the band took a break from touring and recording while its members concentrated on school, family and other activities. Brandon Boyd enrolled in a university art program in Los Angeles, while guitarist Mike Einziger went to Harvard music school to study composition. Drummer José Pasillas was also "having a baby, so there's a lot of normal life stuff going on right now—school, babies, mortgages," Boyd said. "I'm of the mind to say it wouldn't be a bad thing to disappear for a year or two years," he said. "A lot of people would say culture moves too fast and you need to remind people, but I would argue there's not any rush."

In mid January 2009, Incubus posted a video to their official site, describing what each band member was occupied with in the form of letters to each other. The resolution of the video was that the band was planning on getting back together soon, excited to create new music with their diverse experiences over their respite.

On March 11, 2009, Incubus posted an update to their official site detailing the new greatest hits album, Monuments and Melodies. The first single for the album was "Black Heart Inertia", released on April 7, 2009, with the album coming two months later on June 16, 2009. Disc one of the album included new singles "Black Heart Inertia" and "Midnight Swim" as well as the top radio hits of the last decade. Then disc two of the album contains songs that have not been released officially on an album, or were rejected demos on prior albums, as well as an acoustic version of "A Certain Shade of Green", and a cover of the Prince song "Let's Go Crazy". The band also announced many confirmed dates for a Summer Amphitheater Tour of the US.

On April 1, 2009, the band posted a fake "making of" video that was filmed on the set of "Black Heart Inertia". In the video, Brandon and his double "swapped places". Brandon fetched coffee for his double, and his double also imitated Christian Bale when the DP annoyed him, shouting at and violently chasing him out off of the set. After the short film, the first full stream of "Black Heart Inertia" was uploaded, clocking in at 4:17. On April 2, the full song was streamed on the band's official site. The song peaked at No. 7 on the Alternative Songs chart, making it the band's 15th Top 10 standing on the list.

On June 16, 2009, Monuments and Melodies was released to the public, and opened at No. 5 on the Billboard 200. Monuments and Melodies was the band's fourth album to reach the top 5 on the Billboard 200. The next month, on July 1, 2009, Boyd stated to North County Times, "We are definitely going to be writing ... in hopes of putting out a record sometime in 2010. That's the hope. We can never force anything. I definitely have the suspicion that we're going to get on the road together this summer, and we're just going to start playing and stuff is going to start brewing, and we're going to light that fire again."

In January 2010, it was revealed that former turntablist Gavin "DJ Lyfe" Koppel threatened current turntablist Chris Kilmore in a store on December 28, 2009. Kilmore, who replaced Koppel in 1998, claimed that Koppel "asked me to fight him right there and raised his fists to me." As result of the incident, a judge granted a new restraining order against Koppel. Kilmore also had a previous restraining order issued against Koppel in 2003 after Koppel allegedly spat in his face.

If Not Now, When? (2011–2013)
After the release of Boyd's first solo album, The Wild Trapeze on July 6, 2010, it was announced that Incubus would head back into the studio to begin writing and recording a new studio album, to be released on July 12. The band played a handful of South American tour dates in October 2010, also debuting the song "Surface to Air".

Incubus announced in March 2011 that the new album was complete and would be released in "August or September" according to Brandon Boyd. Boyd also stated that "this new record is different from anything that we've done."

On April 2, 2011, band manager Steve Rennie confirmed that their next album had been named If Not Now, When?. It was released on July 12, 2011. The album's lead single is "Adolescents" and it was posted on the band's website on April 4, 2011.

On April 28, 2011, Incubus premiered the video for "Adolescents" and also released a video with behind the scenes footage.

The band revealed that they would tour for 18 months following the release of the record.

To promote the release of If Not Now, When?, the band took part in a participatory media exhibit and real-time documentary called Incubus HQ Live that allowed unprecedented fan access and interaction. Footage, music and art from the seven-day event became available as a special edition box set in July 2012.

Mike has said that he is writing music for an orchestral project and also for Incubus. He states in a video (Mikey Gear Tour part II), "My hope is to just write lots of music and then by the time we get to the point to where we're going to finish the tour I'll have a lot of music written and then people won't have to wait five more years for another album (laughs)."

The band joined Linkin Park as co-headliners on the 2012 edition of the Honda Civic Tour. Incubus hinted that they would go on hiatus following the end of the 2012 Honda Civic Tour, but their manager stated that Incubus would only take a break after the tour, not a hiatus.

In October 2012, the band released their second compilation album. The album, entitled The Essential Incubus, included songs spanning the band's major label career, from 1997's Enjoy Incubus EP to 2011's If Not Now, When?.

In August 2013, the band announced a South American tour to take place later that year.

Trust Fall (Side A) (2014–2015)
In a radio interview while on the road with his solo band Sons of the Sea, Brandon Boyd announced that fans can expect some new Incubus music in 2015, followed by a tour. Mike Einziger also reinforced this statement when asked on his Twitter page.

In August 2014, Einziger posted a picture of the band on his Instagram in a studio, alluding to the fact they were in the process of creating their album. Subsequently, a few days following the images of the band in a studio, they announced they would be attending the 2015 Soundwave music festival in Australia, alongside Faith No More and Soundgarden. They played at the KROQ's Almost Acoustic Christmas 2014 on December 14, their first full band appearance since December 2013. During their performance they debuted a new song called "Trust Fall". Incubus announced they will release two EP's in 2015 with the first, Trust Fall (Side A) set for release on May 12, 2015, having been delayed from March 24, 2015. The first single, "Absolution Calling", was released February 5, 2015, to be followed by the second single, "Trust Fall", on March 10, 2015.

They performed at Australia's Soundwave festival and two other concerts in Australia. In March 2015, they toured Japan, Hawaii and "Festival Cumbre Tajín" in Mexico. They headlined the DC101 Kerfuffle on May 4, 2015. In May and June 2015, they will play at two festivals in Germany ("Rockavaria" and "Grüne Hölle"), one concert in Milan and at Donauinselfest in Vienna. They will also be in London's Hammersmith Apollo on the June 16, 2015. Incubus also announced a joint 2015 North American Summer Tour with Deftones. Support will be provided by Death from Above 1979 for most concerts of the tour. The tour began on July 22, 2015, in Clarkston, Michigan, at the DTE Energy Music Theatre and with the final concert of the tour occurring on August 30, 2015, in Chula Vista, California, at the Sleep Train Amphitheatre.

8 (2016–2018)
The band reconvened in 2016 to work on their eighth full-length studio album. On February 16, 2017, the lead single "Nimble Bastard" was released, and it was announced that the new album would be titled 8, with a projected April 21 release date, with Skrillex contributing to the production and mixing of the album. A summer 2017 tour was announced with Jimmy Eat World and Judah & the Lion supporting, and was followed by a world tour across several continents including South America, Asia, and Europe.

Trust Fall (Side B), the departure of Ben Kenney and Morning View XXIII (2019–present)
The band announced via its Twitter page that a new single titled "Into the Summer" would be released on August 23, 2019. The release of the single coincides with a US tour, to mark the 20th anniversary of Make Yourself. In an interview with Loudwire on October 20, 2019, bassist Ben Kenney confirmed the band had completely finished four new songs and were working on more, but didn't confirm whether these songs would be released in the form of a new studio album or if they would be released as individual songs. On the matter he said "We don't want to get stacked up in a studio making an album. We have to adapt our process 'cause the albums themselves don't actually make as big a splash as they used to. We're just trying to experiment and explore what we're capable of doing, and all the while not take ourselves too seriously and just really enjoy what we get to do." On January 1, 2020, singer Brandon Boyd announced their next single, "Our Love" will be released on January 31, 2020. The band were scheduled to tour the UK and other European destinations in 2020 but were forced to cancel their shows due to the COVID-19 pandemic.

The band returned to touring in 2023; Kenney was forced to sit out the 2023 touring cycle after having surgery to remove a brain tumor; Tal Wilkenfeld took over bass duties until March, and Nicole Row from March onwards. On August 5, the band announced the release of Morning View XXIII, a complete rerecording of their 2001 album set for release on October 6 (postponed to early 2024) by Virgin Music. They simultaneously announced a concert at the Hollywood Bowl where they would perform Morning View in full, supported by Paris Jackson and Action Bronson, for the same day.

On February 6, 2024, Brandon Boyd revealed via a Rolling Stone interview that while Ben Kenney had recovered, the bassist had decided to leave Incubus and that his tour replacement, Nicole Row, was now officially a member of the band. By that point Row had already played on the Morning View XXIII re-recording and was working with them on material for a new Incubus album.

Musical style and influences
Las Vegas Weekly said that Incubus was a "funky, jazzy, experimental rock band, incorporating elements of hip-hop into its music before it was fashionable to do so." According to AllMusic, the band became "one of the most popular alt-metal bands of the new millennium" by combining heavy metal, funk, jazz, hip hop, techno, post-grunge, rap metal and alternative rock into a "versatile blend". The Age wrote that Incubus "emerged bearing influences of pop, alternative metal and hip-hop, unusual for mainstream rock bands". Indianapolis Monthly said that the band was "part metal, part funk, part jazz and part hip-hop". The McClatchy-Tribune News called Incubus a "spacey, experimental alternative-rock band". Rolling Stone said that the band were latecomers to "the great funk metal scare of the '90s".

Prior to finding mainstream success in the early 2000s, Incubus was often grouped in with the nu metal movement of the 1990s, alongside other Californian bands such as Korn and Deftones. NME described Incubus as a "fusion-generated funk/nu-metal band". Maui Time Weekly wrote, "Incubus was one of the few nu metal bands to survive the purge of the millennium, and they did it through consistent hard work–the band is constantly either in the studio or on tour–and musical development. There are still elements of nu metal in the music the band makes today as they still have a DJ. But in retrospect, Incubus treated that genre like the fad it was, more an indication of that specific time in music, not as the character of the musicians." When asked about his thoughts on the scene in a 2013 interview, Brandon Boyd reflected "Something I know that separated us from nu-metal was a lot of those bands had misogynist lyrics, and we never wrote stuff like that. I never wrote lyrics like that. I guess there were similarities in some of my musical and vocal stylings, but then we came off tour for S.C.I.E.N.C.E. around early '99, and wrote Make Yourself, which was a vastly different album but we were still the same band. We don't try and create any kind of album really. I don't attempt to write any kind of music, this is just what comes out." The Chicago Tribune stated in 2001 that Incubus is "Cheerful, melodic and polite, a nu-metal band for people who don't like nu-metal bands" and also claimed that Boyd was the genre's "first official pinup boy". The Los Angeles Times similarly wrote in 2004 that "Incubus always stood out from the rest of the mid-'90s alt-metal crowd, its positive lyrical approach and musical versatility far richer than the overworked wallowing in misery of such acts as Korn and later arrival Staind."

Guitarist Mike Einziger stated in 2017 that the band's diversity is "our greatest asset and our biggest flaw. We don't fit anywhere and we never have. We were never punk rock enough for the Warped Tour, we were never metal enough for Ozzfest, we were never quite indie rock or cool enough for Lollapalooza. We've carved our own path, and we're really humbled by the fact that we've had so many supporters and people who appreciate our music." The band has also used a wide variety of instruments in their music that are not traditionally associated with use in rock music, including a djembe, sitar, didgeridoo, and bongos on many of their earlier tracks and during live performances, and with the use of a pipa given to the band by rock musician Steve Vai which is played by Einziger in the song "Aqueous Transmission".

From the mid 2000s, Incubus began to adopt a softer sound, moving from rock towards a "funk-pop-rock" sound. This was particularly apparent by If Not Now, When? (2011), which was described by Rolling Stone as "slick, inert ripples of interchangeable power pop". The Guardian compared the sound of 8 (2017) and its more ballad-like moments to Ed Sheeran. Their 2020 EP Trust Fall (side B) was described by Sputnik music as "inoffensive pop".

Incubus was heavily influenced by the "free-form funk" of Primus. Other influences on the band's sound include Faith No More, Ani DiFranco, Stone Temple Pilots, Soundgarden and Phish. Boyd reflected on the band's initial influences in 2012, stating "At that time [the early '90s] music got turned on its ear. We were listening to bands like Primus, Mr. Bungle, John Zorn, we also got into Soundgarden and Rage Against the Machine. What's amazing is those bands are still good now, they're still relevant now. Alice in Chains, Red Hot Chili Peppers, these bands that were coming of age right when we were growing up, at that most important, kind of pliable time in your youth. We were basically so inspired by music, that we decided to make music on our own." Critics have compared Boyd's style of singing to Faith No More/Mr. Bungle vocalist Mike Patton, whom the band have also credited as a major influence.

Awards and nominations
{| class="wikitable sortable plainrowheaders" ! scope="col" | Award ! scope="col" | Year ! scope="col" | Nominee(s) ! scope="col" | Category ! scope="col" | Result ! scope="row"|Billboard Music Awards ! scope="row"|Billboard Music Awards ! scope="row"|Billboard Music Awards ! scope="row"|MTV Video Awards ! scope="row"|MuchMusic Video Awards ! scope="row"|Billboard Music Awards ! scope="row"|Teen Choice Awards ! scope="row"|Kerrang! Awards ! scope="row"|MuchMusic Video Awards ! scope="row"|MTV Video Music Brazil ! scope="row"|American Music Awards ! scope="row"|Grammy Awards ! scope="row"|MTV Video Music Awards ! scope="row"|mtvU Woodie Awards ! scope="row"|BDS Spin Awards
 * 2000
 * "Pardon Me"
 * Modern Rock Track of the Year
 * Nominated
 * 2001
 * Incubus
 * Modern Rock Artist of the Year
 * Nominated
 * 2001
 * "Drive"
 * Modern Rock Track of the Year
 * Won
 * 2001
 * "Drive"
 * Best Group Video
 * Nominated
 * 2001
 * "Drive"
 * Best International Video
 * Nominated
 * 2002
 * Incubus
 * Modern Hard Rock Artist of the Year
 * Nominated
 * 2002
 * "Nice to Know You"
 * Choice - Rock Track
 * Nominated
 * 2002
 * Incubus
 * Best International Live Act
 * Nominated
 * 2004
 * "Megalomaniac"
 * Best International Video
 * Nominated
 * 2004
 * "Megalomaniac"
 * Best International Video
 * Nominated
 * 2004
 * Incubus
 * Favorite Alternative Artist
 * Nominated
 * 2004
 * "Megalomaniac"
 * Best Hard Rock Performance
 * Nominated
 * 2004
 * "Megalomaniac"
 * Best Visual Effects
 * Nominated
 * 2004
 * Incubus
 * The Welcome Back Woodie (Artist Who Has Achieved Mainstream Success, But Still Remains Popular on Campus
 * Won
 * 2007
 * "Dig"
 * 50,000 Spins
 * Won

Band members
Current members
 * Brandon Boyd – lead vocals, occasional rhythm guitar & percussion (1991–present)
 * Mike Einziger – lead guitar, occasional keyboards, backing vocals (1991–present)
 * José Pasillas – drums (1991–present)
 * Chris Kilmore – turntables, keyboards, theremin, synthesizers, piano (1998–present)
 * Nicole Row – bass, backing vocals, keyboards (2024–present; touring 2023)

Former members
 * Alex "Dirk Lance" Katunich – bass (1991–2003)
 * Gavin "DJ Lyfe" Koppel – turntables (1995–1998)
 * Ben Kenney – bass, backing vocals (2003–2023)

Former touring musicians
 * Tal Wilkenfeld – bass, backing vocals (2023)

Timeline

Discography

 * Studio albums
 * Fungus Amongus (1995)
 * S.C.I.E.N.C.E. (1997)
 * Make Yourself (1999)
 * Morning View (2001)
 * A Crow Left of the Murder... (2004)
 * Light Grenades (2006)
 * If Not Now, When? (2011)
 * 8 (2017)

title: Incubus (band)


text:
Dozens (game)

The Dozens is a game played between two contestants in which the participants insult each other until one of them gives up. Common in African-American communities, the Dozens is almost exclusively played in front of an audience, who encourage the participants to reply with increasingly severe insults in order to heighten the tension and consequently make the contest more interesting to watch.

Comments in the game may focus on the opposite player's intelligence, appearance, competency, social status, and financial situation. Disparaging remarks about the other player's family members are common, especially regarding their mother. Commentary is often related to sexual issues, and this version of the game is referred to as the "Dirty Dozens".

According to sociologist Harry Lefever and journalist John Leland, the game is played almost entirely by African-Americans; other ethnic groups often fail to understand how to play the game and can take remarks in the Dozens seriously. Its popularity is higher among low-income and urban communities, but it is also found in middle-class and rural settings. Both men and women participate, but the game is more commonly played among men.

Terminology
Playing the Dozens is also known as "blazing", "roasting", "hiking", "capping", "clowning", "ranking", "ragging", "rekking", "crumming", "sounding", "checking", "joning", "woofing", "wolfing", “skinning”, "sigging", "scoring", "signifying" or "jiving", while the insults themselves are known as "snaps".

Origins
The first academic treatment of the Dozens was made in 1939 by Yale-based psychologist and social theorist John Dollard, who described the importance of the game among African-American men, and how it is generally played. Dollard's description is considered pioneering and accurate. Dollard originally wrote that he was unaware of how the term "Dozens" developed, although he suggested a popular twelve-part rhyme may have been the reason for its name. He only speculated on how the game itself grew to such prominence.

Other authors following Dollard have added their theories. Author John Leland describes an etymology, writing that the term is a modern survival of an English verb—"to dozen"—dating back at least to the fourteenth century and meaning "to stun, stupefy, daze" or "to make insensible, torpid, powerless".

Amuzie Chimezie, writing in the Journal of Black Studies in 1976, connects the Dozens to a Nigerian game called Ikocha Nkocha, literally translated as "making disparaging remarks". This form of the game is played by children and adolescents, and takes place in the evening, in the presence of parents and siblings. Commentary among the Igbo is more restrained: remarks about family members are rare, and are based more in fanciful imaginings than participants' actual traits. In contrast, during the game in Ghana, which is also commonly played in the evenings, insults are frequently directed at family members.

Amiri Baraka independently concluded that the Dozens originated in Africa and states that they are a surviving adaptation of "African songs of recrimination."

Author and professor Mona Lisa Saloy posits a different theory, stating in "African American Oral Traditions in Louisiana" (1998):

"The dozens has its origins in the slave trade of New Orleans where deformed slaves—generally slaves punished with mutilation for disobedience—were grouped in lots of a 'cheap dozen' for sale to slave owners. For a Black to be sold as part of the 'dozens' was the lowest blow possible."

Purpose and practice
The Dozens is a "pattern of interactive insult" evident among all classes of African Americans, among men and women, children and adults. Usually two participants engage in banter, but always in front of others, who incite the participants to continue the game by making the insults worse. Frequently used topics among players who "play the Dozens" or are "put in the Dozens" are one's opponent's lack of intelligence, ugliness, alleged homosexuality, alleged incest, cowardice, poor hygiene, and exaggerations of physical defects, such as crossed eyes.

Participants in the Dozens are required to exhibit mental acuity and proficiency with words. In his memoir Die Nigger Die! (1969), H. Rap Brown writes that the children he grew up with employed the Dozens to kill time and stave off boredom, in the way that whites might play Scrabble. Brown asserts playing the game is a form of mental exercise. Sociologist Harry Lefever states that verbal skill and wit is just as valued among African Americans as physical strength: "Verbal facility is thus a criterion that is used to separate the men from the boys". According to author John Leland, the object of the game is to stupefy and daze one's opponents with swift and skillful speech. The meaning of the words, however, is lost in the game. The object of the game is the performance.

Adolescents incorporate more sexual themes in their versions, often called the "Dirty Dozens". The language also becomes more playful, with participants including rhymes:

I was walking through the jungle With my dick in my hand I was the baddest motherfucker In the jungle land I looked up in the tree And what did I see Your little black mama Trying to piss on me I picked up a rock And hit her in the cock And knocked that bitch About a half a block.

Many forms of the Dozens address sexual situations or body parts:

If you wanta play the Dozens Play them fast. I'll tell you how many bull-dogs Your mammy had. She didn't have one; She didn't have two; She had nine damned dozens And then she had you.

Analysis
A variety of explanations have been offered for the popularity of the Dozens. Its development is intertwined with the oppression African Americans encountered, first as slaves and later as second-class citizens.

John Dollard viewed the Dozens as a manifestation of frustration aggression theory, a theory that he helped develop. He hypothesized that African Americans, as victims of racism, have been unable to respond in kind towards their oppressors, and instead shifted their anger to friends and neighbors, as displayed in the strings of insults. Folklorist Alan Dundes asserted that an approach based on psychoanalytic theory and American oppression ignores the possibility that the Dozens may be native to Africa. In addition to similar forms of verbal combat found in Nigeria and Ghana, where many African Americans have ancestral roots, Bantu and Kisii boys have been observed dueling verbally by attacking each other's mothers.

The game is also viewed as a tool for preparing young African Americans to cope with verbal abuse without becoming enraged. The ability to remain composed during the Dozens is considered a hallmark of virtue among many African Americans. "In the deepest sense, the essence of the dozens lies not in the insults but in the response of the victim. Taking umbrage is considered an infantile response. Maturity and sophistication bring the capability to suffer the vile talk with aplomb at least, and, hopefully, with grace and wit."

Nonetheless, many such contests do end in fights. Abrahams states that when African Americans reach a certain age, between 16 and 26, the game loses much of its appeal and attempts to enter into sparring contests often result in violence. John Leland writes that the loser of the Dozens is the one who takes his opponent's words at face value, therefore ending his own performance in the back-and-forth exchange.

In popular culture
"Playing the Dozens" is referenced in Zora Neale Hurston's 1937 novel Their Eyes Were Watching God, where Janie, the protagonist, returns her husband's insults with some of her own.

International

 * Regueifa – Galicia
 * Sanankuya – West Africa, especially Mande, Mandinka peoples
 * Extempo – Trinidad and Tobago
 * Flyting – Ancient, Medieval, and Modern Celtic, Anglo-Saxon and Medieval England, and Norse
 * Senna - Norse
 * Ta mère – France
 * Bertsolaritza – Basque Country (oral poetic improvisation in Basque, one of the most famous popular manifestations of the Basque Country)

title: Dozens (game)


text:
Dowsing

Dowsing is a type of divination employed in attempts to locate ground water, buried metals or ores, gemstones, oil, claimed radiations (radiesthesia), gravesites, malign "earth vibrations" and many other objects and materials without the use of a scientific apparatus. It is also known as divining (especially in water divining), doodlebugging (particularly in the United States, in searching for petroleum or treasure) or water finding, or water witching (in the United States).

A Y-shaped twig or rod, or two L-shaped ones, called dowsing rods or divining rods are normally used, and the motion of these are said to reveal the location of the target material. The motion of such dowsing devices is generally attributed to random movement, or to the ideomotor phenomenon,  a psychological response where a subject makes motions unconsciously.

The scientific evidence shows that dowsing is no more effective than random chance. It is therefore regarded as a pseudoscience.

Early divination and religion
Dowsing originated in ancient times, when it was treated as a form of divination. The Catholic Church, however, banned the practice completely.

Reformer Martin Luther perpetuated the Catholic ban, in 1518 listing divining for metals as an act that broke the first commandment (i.e., as occultism).

Old texts about searching for water do not mention using the divining twig, and the first account of this practice was in 1568. Sir William F. Barrett wrote in his 1911 book Psychical Research that: "...in a recent admirable Life of St. Teresa of Spain, the following incident is narrated: Teresa in 1568 was offered the site for a convent to which there was only one objection, there was no water supply; happily, a Friar Antonio came up with a twig in his hand, stopped at a certain spot and appeared to be making the sign of the cross; but Teresa says, 'Really I cannot be sure if it were the sign he made, at any rate he made some movement with the twig and then he said, ' Dig just here '; they dug, and lo ! a plentiful fount of water gushed forth, excellent for 'drinking, copious for washing, and it never ran dry.' ' As the writer of this Life remarks: 'Teresa, not having heard of dowsing, has no explanation for this event', and regarded it as a miracle. This, I believe, is the first historical reference to dowsing for water."

In 1662, divining with rods was declared to be "superstitious, or rather satanic" by a Jesuit, Gaspar Schott, though he later noted that he was not sure that the devil was always responsible for the movement of the rod. In southern France in the 17th century, it was used to track criminals and heretics. Its abuse led to a decree of the inquisition in 1701, forbidding its employment for purposes of justice.

An epigram by Samuel Sheppard, from Epigrams theological, philosophical, and romantick (1651) runs thus:

Modern dowsing
Dowsing practices used in an attempt to locate metals are still performed much like they were during the 16th century. The 1550 edition of Sebastian Münster's Cosmographia contains a woodcut of a dowser with forked rod in hand walking over a cutaway image of a mining operation. The rod is labeled in Latin and German; "Virgula Divina – Glück-Rüt" ('Rod Divine, Luck-Rod'), but there is no text accompanying the woodcut. By 1556, Georgius Agricola's treatment of mining and smelting of ore, De Re Metallica, included a detailed description of dowsing for metal ore.

"...There are many great contentions between miners concerning the forked twig, for some say that it is of the greatest use in discovering veins, and others deny it. ... All alike grasp the forks of the twig with their hands, clenching their fists, it being necessary that the clenched fingers should be held toward the sky in order that the twig should be raised at that end where the two branches meet. Then they wander hither and thither at random through mountainous regions. It is said that the moment they place their feet on a vein the twig immediately turns and twists, and so by its action discloses the vein; when they move their feet again and go away from that spot the twig becomes once more immobile. ..."

In the 16th century, German deep mining technology was in enormous demand all over Europe. German miners were licensed to live and work in England; particularly in the Stannaries (tin mines) of Devon and Cornwall and in Cumbria. In other parts of England, the technique was used in the royal mines for calamine. By 1638 German miners were recorded using the technique in silver mines in Wales.

The Middle Low German name for a forked stick (Y-rod) was Schlag-Ruthe ('striking rod'). This was translated in the sixteenth century Cornish dialect to duschen (duschan according to William Barrett ) (Middle English, 'to strike, fall' ). By the seventeenth century the English term dowsing was coming into common use.

In the lead-mining area of the Mendip Hills in Somerset, England in the 17th century the natural philosopher Robert Boyle, inspired by the writings of Agricola, watched a practitioner try to find "latent veins of metals". Boyle saw the hazel divining rod (virgula divinatoria) stoop in the hands of the diviner, who protested that he was not applying any force to the twig; Boyle accepted the man's genuine belief but himself remained unconvinced. Towards the end of the century, in 1691 the philosopher John Locke, who was born in the English West Country, used the term deusing-rod for the Old Latin name virgula divina. So, dowse is synonymous with strike, hence the phrases: to dowse/strike a light, to dowse/strike a sail.

Dowsing was conducted in South Dakota in the late 19th and early 20th centuries to help homesteaders, farmers and ranchers locate water wells on their property.

The military have occasionally resorted to dowsing techniques. In the First World War Gallipoli campaign, sapper Kelly became well known for finding water for the British troops. In the late 1960s during the Vietnam War, some United States Marines used dowsing when locating weapons and tunnels. As late as in 1986, when 31 soldiers were taken by an avalanche during an operation in the NATO drill Anchor Express in Vassdalen, Norway, the Norwegian army attempted to locate soldiers buried in the avalanche using dowsing as a search method.

Dowsing is still used by some farmers and water engineers in Britain; however, many of the country's utilities have distanced themselves from the practice.

Postulated mechanisms
Early attempts at an explanation of dowsing were based on the notion that the divining rod was physically affected by emanations from substances of interest. The following explanation is from William Pryce's 1778 Mineralogia Cornubiensis:

"The corpuscles... that rise from the Minerals, entering the rod, determine it to bow down, in order to render it parallel to the vertical lines which the effluvia describe in their rise. In effect the Mineral particles seem to be emitted from the earth; now the Virgula [rod], being of a light porous wood, gives an easy passage to these particles, which are also very fine and subtle; the effluvia then driven forwards by those that follow them, and pressed at the same time by the atmosphere incumbent on them, are forced to enter the little interstices between the fibres of the wood, and by that effort they oblige it to incline, or dip down perpendicularly, to become parallel with the little columns which those vapours form in their rise."

A study towards the end of the 19th century concluded that the phenomenon was attributed to cryptesthesia, where the practitioner makes unconscious observations of the terrain and involuntarily influences the movement of the rod. Early investigations by members of the Society for Psychical Research endorsed this view.

Committed parapsychologist G. N. M. Tyrrell also believed that the action of the rod was caused by involuntary muscular movements and debunked the theory of external influences.

Dowsing over maps, prior to visiting the site, was also believed to work, hence some kind of clairvoyance was proposed. This was believed to act on the nervous system, rather than on the muscles directly. These various mechanisms remain in contention among dowsers.

Fraudulent security devices

In the late twentieth and early twenty-first centuries a number of dowsing-like devices were marketed for modern police and military use, primarily as explosive detectors, such as the ADE 651, Sniffex, and the GT200. In consequence of these frauds, in 1999 the United States National Institute of Justice issued advice against buying equipment based on dowsing.

Equipment
The device used by a dowser is typically referred to as a dowsing or divining rod, even though it may not be rod-shaped.

Dowsing twig
Traditionally, the most common method used is the dowsing twig, a forked (Y-shaped) branch from a tree or bush. Some dowsers prefer branches from particular trees, and some prefer the branches to be freshly cut. Hazel twigs in Europe and witch-hazel in the United States are traditionally commonly chosen, as are branches from willow or peach trees. The two ends on the forked side are held one in each hand with the third (the stem of the Y) pointing straight ahead. The dowser then walks slowly over the places where the target (for example, minerals or water) may be, and the dowsing rod is expected to dip, incline or twitch when a discovery is made. This method is sometimes known as "willow witching." Some dowsers would hang a golden ring on the edge of the dowsing rod, or split the tip to slide in a silver coin.

Pair of rods
Many modern dowsers use a pair of L-shaped metal rods. One rod is held in each hand, with the short arm of the L held upright, and the long arm pointing forward. The upright arm is often free to rotate inside a tube. When something is "found," the rods move in synchrony. Depending on the dowser, they may cross over or swing apart. If the object is long and straight, such as a water pipe, the rods may point in opposite directions, showing its orientation. The rods may be fashioned from wire coat hangers or wire flags used for locating utilities. Glass or plastic rods have also been accepted. Straight rods are also sometimes used for the same purposes, and were common in early 19th century New England.

Pendulum
A pendulum weight on a short cord or thread is the tool of choice for many modern dowsers. The dowser holds the cord in one hand and allows the pendulum to swing freely. The dowser then observes how the pendulum is swinging and interprets the motion to offer insights.

Studies

 * Dowsing studies from the early twentieth century were examined by geologist John Walter Gregory in a report for the Smithsonian Institution. Gregory concluded that the results were a matter of chance or explained by observations from ground surface clues.
 * Geologist W. A. MacFadyen tested three dowsers during 1943–1944 in Algeria. The results were entirely negative.
 * A 1948 study in New Zealand by P. A. Ongley tested 75 dowsers' ability to detect water. None of them was more reliable than chance. According to Ongley "not one showed the slightest accuracy."
 * Archaeometrist Martin Aitken tested British dowser P. A. Raine in 1959. Raine failed to dowse the location of a buried kiln that had been identified by a magnetometer.
 * In 1971, dowsing experiments were organized by British engineer R. A. Foulkes on behalf of the Ministry of Defence. The results were "no more reliable than a series of guesses".
 * Physicists John Taylor and Eduardo Balanovski reported in 1978 a series of experiments they conducted that searched for unusual electromagnetic fields emitted by dowsing subjects; they did not detect any.
 * A 1979 review by Evon Z. Vogt and Ray Hyman examined many controlled studies of dowsing for water, and found that none of them showed better than chance results.
 * British academics Richard N. Bailey, Eric Cambridge, and H. Denis Briggs, carried out dowsing experiments at the grounds of various churches. They reported successful results in their book Dowsing and Church Archaeology (1988). Their experiments were critically examined by archaeologist Martijn Van Leusen who suggested they were badly designed and the authors had redefined the test parameters on what was classified as a "hit" or "miss" to obtain positive results.
 * A 2006 study of grave dowsing in Iowa reviewed 14 published studies and determined that none of them correctly predicted the location of human burials, and simple scientific experiments demonstrated that the fundamental principles commonly used to explain grave dowsing were incorrect.
 * A randomized double-blind trial in 2012 was carried out to determine whether homeopaths were able to distinguish between Bryonia and placebo by use of a dowsing method. The results were negative.

Kassel 1991 study
A 1990 double-blind study  was undertaken in Kassel, Germany, under the direction of the Gesellschaft zur Wissenschaftlichen Untersuchung von Parawissenschaften (Society for the Scientific Investigation of the Parasciences). James Randi offered a US$10,000 prize to any successful dowser. The three-day test of some thirty dowsers involved plastic pipes through which water flow could be controlled and directed. The pipes were buried 50 cm under a level field, the position of each marked on the surface with a colored strip. The dowsers had to tell whether water was running through each pipe. All the dowsers signed a statement agreeing this was a fair test of their abilities and that they expected a 100% success rate. However, the results were no better than chance, and no one was awarded the prize.

Betz 1990 study
In a 1987–88 study in Munich by Hans-Dieter Betz and other scientists, 500 dowsers were initially tested for their skill, and the experimenters selected the best 43 among them for further tests. Water was pumped through a pipe on the ground floor of a two-story barn. Before each test, the pipe was moved in a direction perpendicular to the water flow. On the upper floor, each dowser was asked to determine the position of the pipe. Over two years, the dowsers performed 843 such tests and, of the 43 pre-selected and extensively tested candidates, at least 37 showed no dowsing ability. The results from the remaining 6 were said to be better than chance, resulting in the experimenters' conclusion that some dowsers "in particular tasks, showed an extraordinarily high rate of success, which can scarcely if at all be explained as due to chance … a real core of dowser-phenomena can be regarded as empirically proven."

Five years after the Munich study was published, Jim T. Enright, a professor of physiology who emphasized correct data analysis procedure, contended that the study's results are merely consistent with statistical fluctuations and not significant. He believed the experiments provided "the most convincing disproof imaginable that dowsers can do what they claim", stating that the data analysis was "special, unconventional and customized". Replacing it with "more ordinary analyses", he noted that the best dowser was on average 4 mm out of 10 m closer to a mid-line guess, an advantage of 0.04%, and that the five other "good" dowsers were on average farther than a mid-line guess. Enright emphasized that the experimenters should have decided beforehand how to statistically analyze the results; if they only afterward chose the statistical analysis that showed the greatest success, then their conclusions would not be valid until replicated by another test analyzed by the same method. He further pointed out that the six "good" dowsers did not perform any better than chance in separate tests. Another study published in Pathophysiology hypothesized that such experiments as this one that were carried out in the twentieth century could have been interfered with by man-made radio frequency radiation, as test subjects' bodies absorbed the radio waves and unconscious hand movement reactions took place following the standing waves or intensity variations.

Ideomotor phenomenon
Science writers such as William Benjamin Carpenter (1877), Millais Culpin (1920), and Martin Gardner (1957) accept the view of some dowsers that the movement of dowsing rods is the result of unconscious muscular action. This view is widely accepted amongst the scientific community. The dowsing apparatus is known to amplify slight movements of the hands caused by a phenomenon known as the ideomotor response: people's subconscious minds may influence their bodies without consciously deciding to take action. This would make the dowsing rod susceptible to the dowsers' subconscious knowledge or perception; and also to confirmation bias.

Pseudoscience
Dowsing is in all other respects considered to be a pseudoscience.

Psychologist David Marks in a 1986 article in Nature included dowsing in a list of "effects which until recently were claimed to be paranormal but which can now be explained from within orthodox science." Specifically, dowsing could be explained in terms of sensory cues, expectancy effects, and probability.

Science writer Peter Daempfle has noted that when dowsing is subjected to scientific testing, it fails. Daempfle has written that although some dowsers claim success, this can be attributed to the underground water table being distributed relatively uniformly in certain areas.

According to archaeologist Kenneth Feder, "the vast majority of archaeologists don't use dowsing, because they don't believe it works."

Psychologist Chris French has noted that "dowsing does not work when it is tested under properly controlled conditions that rule out the use of other cues to indicate target location."

Water dowsers often achieve good results because random chance has a high probability of finding water in favorable terrain.

Notable dowsers
Notable dowsers include:

 * Jacques Aymar-Vernay
 * Moritz Benedikt
 * Manfred Curry
 * Leicester Gataker
 * Uri Geller
 * A. Frank Glahn
 * Otto Edler von Graeve
 * Henry Gross
 * Ernst Hartmann
 * Christopher Hills
 * T. C. Lethbridge
 * J. Cecil Maby
 * Larry R. Marshall
 * Michel Moine
 * Nils-Axel Mörner
 * Joseph Smith (in his early life)
 * Karl Spiesberger
 * Ludwig Straniak
 * Solco Walle Tromp
 * Ralph Whitlock
 * Professor Calculus

title: Dowsing


text:
Lloyd deMause

Lloyd deMause (pronounced de-Moss; September 19, 1931 – April 23, 2020) was an American lay psychoanalyst and social historian, best known for his pioneering work in the field of psychohistory.

He graduated from Columbia College and did graduate work in political science at Columbia University and later trained as a psychoanalyst. He taught psychohistory at the City University of New York. He is the founder of the Journal of Psychohistory.

Psychohistory
Beginning in the 1970s, DeMause began conceiving of psychohistory, a field of study of the psychological motivations of historical events, and their associated patterns of behavior. It seeks to understand the emotional origin of the social and political behavior of groups and nations—past and present—by analyzing events in childhood and the family, especially child abuse.

Legacy
In a 1994 interview with deMause in The New Yorker, interviewer Stephen Schiff wrote that "to buy into psychohistory, you have to subscribe to some fairly woolly assumptions [...], for instance, that a nation's child-rearing techniques affect its foreign policy", but confessed that "deMause's analyses have often been weirdly prescient."

Controversy
Contributing to his ostracization from psychoanalytic circles, deMause was a contributor to the Satanic ritual abuse hysteria of the early 1990s, in part via the circulation of his article "Why Cults Terrorize and Kill Children", where he labelled skeptics of reports of the abuse "molesters" and "pedophile advocates". The article was used as a reliable source by ritual abuse proponents.

Publications
DeMause published over 90 scholarly articles and several books.

Articles (selection)

 * DeMause, Lloyd (1974): The Evolution of Childhood. In: History of Childhood Quarterly: The Journal of Psychohistory, 1 (4), p. 503-575. (Comments and reply: p. 576-606)
 * DeMause, Lloyd (1987): The History of Childhood in Japan. In: The Journal of Psychohistory, 15 (2), p. 147-151.
 * DeMause, Lloyd (1988): On Writing Childhood History. In: The Journal of Psychohistory, 16 (2), p. 35-71.
 * DeMause, Lloyd (1989): The Role of Adaptation and Selection in Psychohistorical Evolution. In: The Journal of Psychohistory, 16 (4), p. 355-372 (Comments and reply: p. S. 372–404).
 * DeMause, Lloyd (1990): The History of Child Assault. In: The Journal of Psychohistory, 18 (1), p. 1-29.
 * DeMause, Lloyd (1991): The Universality of Incest. In: The Journal of Psychohistory, 19 (1), p. 123-164.
 * DeMause, Lloyd (1997): The Psychogenic Theory of History. In: The Journal of Psychohistory, 25 (1), p. 112-183.

title: Lloyd deMause


text:
The Maple Leaf Forever

"The Maple Leaf Forever" is a Canadian patriotic song written by Alexander Muir (1830–1906) in 1867, the year of Canada's Confederation. He wrote the work after serving with the Queen's Own Rifles of Toronto in the Battle of Ridgeway against the Fenians in 1866.

History
Muir was said to have been inspired to write this song by a large maple tree which stood on his street in front of Maple Cottage, a house at Memory Lane and Laing Street in Toronto. The song became quite popular in English Canada and for many years served as an unofficial national anthem. Because of its strongly British perspective it became unpopular amongst French Canadians, and this prevented it from ever becoming an official state anthem, even though it was seriously considered for that role and was even used as a de facto state anthem in many instances.

The tree which inspired Muir's song fell during a windstorm on the night of July 19–20, 2013. Wood from the tree was used to make objects that will preserve its importance to Canadian culture, including the speaker's podium for Toronto City Council, and the Maple Leaf Forever Guitars. Residents have expressed their hope that the city will be able to start a new tree from one of the branches.

During the early 1870s, Alexander Muir was an elementary school teacher in Newmarket, north of Toronto.

It has been asserted that Muir's words, however, while certainly pro-British, were not anti-French, and he revised the lyrics of the first verse from "Here may it wave, our boast, our pride, and join in love together / The Thistle, Shamrock, Rose entwine" to "/ The Lily, Thistle, Shamrock, Rose, the Maple Leaf forever" – the thistle represented Scotland; the shamrock, Ireland; and the rose, England –  adding "Lily", a French symbol, to the list. Muir was attempting to express that under the Union Flag, the British and French were united as Canadians.

"The Maple Leaf Forever" is also the authorized regimental march of The Royal Westminster Regiment. Additionally, it is the Regimental Slow March of the Fort Henry Guard.

The song makes reference to James Wolfe capturing Quebec in 1759 during the Seven Years' War and the Battle of Queenston Heights and Battle of Lundy's Lane during the War of 1812.

Lyrics
In days of yore, from Britain's shore, Wolfe, the dauntless hero, came And planted firm Britannia's flag On Canada's fair domain. Here may it wave, our boast, our pride And, joined in love together, The thistle, shamrock, rose entwine (Also sung: The lily, thistle, shamrock, rose) The Maple Leaf forever!

Chorus The Maple Leaf, our emblem dear, The Maple Leaf forever! God save our King and Heaven bless The Maple Leaf forever!

At Queenston Heights and Lundy's Lane, Our brave fathers, side by side, For freedom, homes and loved ones dear, Firmly stood and nobly died; And those dear rights which they maintained, We swear to yield them never! Our watchword evermore shall be "The Maple Leaf forever!"

Chorus

Our fair Dominion now extends From Cape Race to Nootka Sound; May peace forever be our lot, And plenteous store abound: And may those ties of love be ours Which discord cannot sever, And flourish green o'er freedom's home The Maple Leaf forever!

Chorus

On merry England's far famed land May kind heaven sweetly smile, God bless old Scotland evermore and Ireland's Em'rald Isle! And swell the song both loud and long Till rocks and forest quiver! God save our King and Heaven bless The Maple Leaf forever!

Chorus

Alternative lyrics
CBC Radio's Metro Morning show in Toronto ran a contest to find new lyrics for the song in 1997. The contest was won by Romanian immigrant, mathematician, and now a songwriter, actor and poet, Vladimir Radian, who came to Canada in the 1980s. This version received its first full orchestral treatment on June 27, 1997, at a concert by the Toronto Symphony Orchestra.

The new version removed all references to British-Canadian heritage, but added a special reference to Quebec's provincial symbol, the fleur-de-lis.

Padre G. E. Benton, a former Canadian army chaplain, also wrote a revised version.

The Canadian vocal harmony trio "Finest Kind" (Ian Robb, Ann Downey and Shelley Posen) recorded "The Maple Leaf Forever" on their 2003 CD "Silks & Spices". This version, with new words co-written by Posen and Robb and harmony arrangement by the trio, was sung at the ceremonial planting in Ottawa of two silver maple seedlings: direct descendants of the tree which is thought to have inspired Alexander Muir to write the original song in 1867. The ceremony occurred on November 2, 2014, and was attended by several local dignitaries and military veterans. The words acknowledge the Aboriginal, French, English and "new Canadian" contributions to the evolution of Canada, and highlight Canada's more recent military role as peacekeepers "where hate and war divide". The second verse also references John McCrae's iconic First World War poem "In Flanders Fields".

Maple Leaf Gardens / Winter Olympics
During the final game of the Toronto Maple Leafs at their former home arena, Maple Leaf Gardens in Toronto, Anne Murray sang another version (modified from Radian's version) of the Maple Leaf Forever. This version was also used by Michael Bublé during the 2010 Winter Olympics closing ceremony.

title: The Maple Leaf Forever