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Herman Kahn

Herman Kahn (February 15, 1922 – July 7, 1983) was an American physicist and a founding member of the Hudson Institute, regarded as one of the preeminent futurists of the latter part of the twentieth century. He originally came to prominence as a military strategist and systems theorist while employed at the RAND Corporation. He analyzed the likely consequences of nuclear war and recommended ways to improve survivability during the Cold War. Kahn posited the idea of a "winnable" nuclear exchange in his 1960 book On Thermonuclear War for which he was one of the historical inspirations for the title character of Stanley Kubrick's classic black comedy film satire Dr. Strangelove. In his commentary for Fail Safe, director Sidney Lumet remarked that the Professor Groeteschele character is also based on Herman Kahn. Kahn's theories contributed to the development of the nuclear strategy of the United States.

Early life and education
Kahn was born in Bayonne, New Jersey, the son of Yetta (née Koslowsky) and Abraham Kahn, a tailor. His parents were Jewish immigrants from Eastern Europe. He was raised in the Bronx, then in Los Angeles following his parents' divorce. Raised Jewish, he later became an atheist. Kahn graduated from Fairfax High School in 1940 and served in the United States Army during the Burma campaign in World War II in a non-combat capacity as a telephone lineman. He received a Bachelor of Science at UCLA and briefly attended Caltech to pursue a doctorate before dropping out with a Master of Science due to financial constraints. He joined the RAND Corporation as a mathematician after being recruited by fellow physicist Samuel Cohen.

Cold War theories
Kahn's major contributions were the several strategies he developed during the Cold War to contemplate "the unthinkable" – namely, nuclear warfare – by using applications of game theory. Kahn is often cited (with Pierre Wack) as a father of scenario planning.

Kahn argued for deterrence and believed that if the Soviet Union believed that the United States had a second strike capability then it would offer greater deterrence, which he wrote in his paper titled "The Nature and Feasibility of War and Deterrence".

The bases of his work were systems theory and game theory as applied to economics and military strategy. Kahn argued that for deterrence to succeed, the Soviet Union had to be convinced that the United States had second-strike capability in order to leave the Politburo in no doubt that even a perfectly coordinated massive attack would guarantee a measure of retaliation that would leave them devastated as well:

"At the minimum, an adequate deterrent for the United States must provide an objective basis for a Soviet calculation that would persuade them that, no matter how skillful or ingenious they were, an attack on the United States would lead to a very high risk if not certainty of large-scale destruction to Soviet civil society and military forces."

In 1962, Kahn published a 16-step escalation ladder. By 1965 he had developed this into a 44-step ladder.

 * 1) Ostensible Crisis
 * 2) Political, Economic and Diplomatic Gestures
 * 3) Solemn and Formal Declarations
 * 4) Hardening of Positions – Confrontation of Wills
 * 5) Show of Force
 * 6) Significant Mobilization
 * 7) "Legal" Harassment – Retortions
 * 8) Harassing Acts of Violence
 * 9) Dramatic Military Confrontations
 * 10) Provocative Breaking off of Diplomatic Relations
 * 11) Super-Ready Status
 * 12) Large Conventional War (or Actions)
 * 13) Large Compound Escalation
 * 14) Declaration of Limited Conventional War
 * 15) Barely Nuclear War
 * 16) Nuclear "Ultimatums"
 * 17) Limited Evacuations (20%)
 * 18) Spectacular Show or Demonstration of Force
 * 19) "Justifiable" Counterforce Attack
 * 20) "Peaceful" World-Wide Embargo or Blockade
 * 21) Local Nuclear War – Exemplary
 * 22) Declaration of Limited Nuclear War
 * 23) Local Nuclear War – Military
 * 24) Unusual, Provocative and Significant Countermeasures
 * 25) Evacuation (70%)
 * 26) Demonstration Attack on Zone of Interior
 * 27) Exemplary Attack on Military
 * 28) Exemplary Attacks Against Property
 * 29) Exemplary Attacks on Population
 * 30) Complete Evacuation (95%)
 * 31) Reciprocal Reprisals
 * 32) Formal Declaration of "General" War
 * 33) Slow-Motion Counter-"Property" War
 * 34) Slow-Motion Counterforce War
 * 35) Constrained Force-Reduction Salvo
 * 36) Constrained Disarming Attack
 * 37) Counterforce-with-Avoidance Attack
 * 38) Unmodified Counterforce Attack
 * 39) Slow-Motion Countercity war
 * 40) Countervalue Salvo
 * 41) Augmented Disarming Attack
 * 42) Civilian Devastation Attack
 * 43) Controlled General War
 * 44) Spasm/Insensate War

Hudson Institute
In 1961, Kahn, Max Singer and Oscar Ruebhausen founded the Hudson Institute, a think tank initially located in Croton-on-Hudson, New York, where Kahn was living at the time. He recruited sociologist Daniel Bell, political philosopher Raymond Aron and novelist Ralph Ellison (author of the 1952 classic Invisible Man).

The Year 2000
In 1967, Herman Kahn and Anthony J. Wiener published The Year 2000: A Framework for Speculation on the Next Thirty-Three Years, which included contributions from staff members of the Hudson Institute and an introduction by Daniel Bell. Table XVIII in the document contains a list called "One Hundred Technical Innovations Very Likely in the Last Third of the Twentieth Century". The first ten predictions were:
 * 1) Multiple applications of lasers
 * 2) Extreme high-strength structural materials
 * 3) New or improved superperformance fabrics
 * 4) New or improved materials for equipment and appliances
 * 5) New airborne vehicles (ground-effect vehicles, giant or supersonic jets, VTOL, STOL)
 * 6) Extensive commercial applications of shaped-charge explosives
 * 7) More reliable and longer-range weather forecasting
 * 8) Extensive and/or intensive expansion of tropical agriculture and forestry
 * 9) New sources of power for fixed installations
 * 10) New sources of power for ground transportation

Later years
In Kahn's view, capitalism and technology held nearly boundless potential for progress, while the colonization of space lay in the near, not the distant, future. Kahn's 1976 book The Next 200 Years, written with William Brown and Leon Martel, presented an optimistic scenario of economic conditions in the year 2176. He also wrote a number of books extrapolating the future of the American, Japanese and Australian economies and several works on systems theory, including the well-received 1957 monograph Techniques of System Analysis.

In 1970, Kahn published the book The Emerging Japanese Superstate in which he claimed that Japan would play a large role in the world equal to the Soviet Union and the United States. In the book, he claimed that Japan would pursue obtaining nuclear weapons and that it would pass the United States in per-capita income by 1990, and likely equal it in gross national product by 2000. During the mid-1970s, when South Korea's GDP per capita was one of the lowest in the world, Kahn predicted that the country would become one of the top 10 most powerful countries in the world by the year 2000.

In his last year, 1983, Kahn wrote approvingly of Ronald Reagan's political agenda in The Coming Boom: Economic, Political, and Social and bluntly derided Jonathan Schell's claims about the long-term effects of nuclear war. On July 7 that year, he died of a stroke, aged 61.

Personal life
His wife was Rosalie "Jane" Kahn. He and Jane had two children, David and Debbie.

Cultural influence
Along with John von Neumann, Edward Teller and Wernher von Braun, Kahn was an inspiration for the character "Dr. Strangelove" in the eponymous film by Stanley Kubrick released in 1964. After Kubrick read Kahn's book On Thermonuclear War, he began a correspondence with him which led to face-to-face discussions between Kubrick and Kahn. In the film, Dr. Strangelove refers to a report on the Doomsday Machine by the "BLAND Corporation". Kahn gave Kubrick the idea for the "Doomsday Machine", a device which would immediately cause the destruction of the entire planet in the event of a nuclear attack. Both the name and the concept of the weapon are drawn from the text of On Thermonuclear War. Louis Menand observes, "In Kahn’s book, the Doomsday Machine is an example of the sort of deterrent that appeals to the military mind but that is dangerously destabilizing. Since nations are not suicidal, its only use is to threaten."

Kahn also inspired the character of Professor Groeteschele (Walter Matthau) in the 1964 film Fail Safe.

Publications
Outside physics and statistics, works written by Kahn include:
 * 1960. On Thermonuclear War. Princeton University Press. ISBN 0-313-20060-2
 * 1962. Thinking about the Unthinkable. Horizon Press.
 * 1965. On Escalation: Metaphors and Scenarios. Praeger. ISBN 1-41283004-4
 * 1967. The Year 2000: A Framework for Speculation on the Next Thirty-Three Years. MacMillan. ISBN 0-02-560440-6. With Anthony Wiener.
 * 1968. Can We Win in Viet Nam? Praeger. Kahn with four other authors: Gastil, Raymond D.; Pfaff, William; Stillman, Edmund; Armbruster, Frank E.
 * 1970. The Emerging Japanese Superstate: Challenge and Response. Prentice Hall. ISBN 0-13-274670-0
 * 1971. The Japanese Challenge: The Success and Failure of Economic Success. Morrow; Andre Deutsch. ISBN 0-688-08710-8
 * 1972. Things to Come: Thinking about the Seventies and Eighties. MacMillan. ISBN 0-02-560470-8. With B. Bruce-Briggs.
 * 1973. Herman Kahnsciousness: the Megaton Ideas of the One-Man Think Tank. New American Library. Selected and edited by Jerome Agel.
 * 1974. The Future of the Corporation. Mason & Lipscomb. ISBN 0-88405-009-2
 * 1976. The Next 200 Years: A Scenario for America and the World. Morrow. ISBN 0-688-08029-4
 * 1979. World Economic Development: 1979 and Beyond. William Morrow; Croom Helm. ISBN 0-688-03479-9. With Hollender, Jeffrey, and Hollender, John A.
 * 1981. Will She Be Right? The Future of Australia. University of Queensland Press. ISBN 0-7022-1569-4. With Thomas Pepper.
 * 1983. The Coming Boom: Economic, Political, and Social. Simon & Schuster; Hutchinson. ISBN 0-671-49265-9
 * 1984. Thinking about the Unthinkable in the 1980s. New York: Simon and Schuster. ISBN 0-671-47544-4
 * The Nature and Feasibility of War, Deterrence, and Arms Control (Central nuclear war monograph series), (Hudson Institute)
 * A Slightly Optimistic World Context for 1975–2000 (Hudson Institute)
 * Social Limits to Growth: "Creeping Stagnation" vs. "Natural and Inevitable" (HPS paper)
 * A New Kind of Class Struggle in the United States? (Corporate Environment Program. Research memorandum)

Works published by the RAND Corporation involving Kahn:
 * The nature and feasibility of war and deterrence, RAND Corporation paper P-1888-RC, 1960
 * Some specific suggestions for achieving early non-military defense capabilities and initiating long-range programs, RAND Corporation research memorandum RM-2206-RC, 1958
 * (team led by Herman Kahn) Report on a study of Non-Military Defense, RAND Corporation report R-322-RC, 1958
 * Herman Kahn and Irwin Mann, War Gaming, RAND Corporation paper P-1167, 1957
 * Herman Kahn and Irwin Mann, Ten common pitfalls, RAND research memorandum RM-1937-PR, 1957
 * Herman Kahn, Stochastic (Monte Carlo) attenuation analysis, Santa, Monica, Calif., RAND Corp., 1949

title: Herman Kahn


text: Talk:Philistus

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

title: Talk:Philistus


text:
Talk:White people

Semi-protected edit request on 23 November 2023 (3)
In the United Kingdom section, add a summary about Gypsies, Roma and Travellers. They may ot may not be considered white in the UK census.

https://www.ethnicity-facts-figures.service.gov.uk/summaries/gypsy-roma-irish-traveller 209.216.77.18 (talk) 23:36, 23 November 2023 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. Pinchme123 (talk) 04:18, 26 November 2023 (UTC)

Semi-protected edit request on 13 April 2024
This article is severely lacking in citations. E.g. the paragraph about 17th century use of white to describe people of pan-European identity in the context of racialized slavery. No sources for this claim are provided. Who wrote this? Where are the sources for these claims? For all I know these are just opinions extrapolated from contemporary viewpoints that the author heard from a pundit. How about some actual research on the subject? Some of us are genuinely curious. 2607:D600:986E:7300:49FE:4D3F:C287:CE5B (talk) 18:25, 13 April 2024 (UTC)
 * Red information icon with gradient background.svg Not done: Thanks for your request. The article is in fact fairly well sourced, with many references throughout the text and further reading listed. The section you are referring to is known as the "lead". The lead serves as an overview of the article content and, although it may include some sources, in cases where the section repeats content from the main body, it does not. In this case, the content in question does come up later and uses reference 18: Dee, James H. (2004). "Black Odysseus, White Caesar: When Did 'White People' Become 'White'?". The Classical Journal. 99 (2): 157–167. JSTOR 3298065. It could certainly be argued that this part of the lead would benefit from being explicitly cited, but that requires consensus – you are welcome to argue that point, but be aware that edit requests should be used once consensus has already been reached, so having the discussion would not be an appropriate reason for re-opening the edit request template. I hope this adequately answered your question and that the source mentioned satisfies your curiosity! Irltoad (talk) 20:03, 13 April 2024 (UTC)

Significant Issues with Population Figures
I might just be radically misreading the chart under "Census and social definitions in different regions," but I'm seeing wild population numbers and nonsensical Year entries. Looks like someone went through and entered or edited numbers at random. CommissarOfMysticalPastaShapes (talk) 03:39, 23 April 2024 (UTC)
 * Sadly that is entirely normal for demographic data on Wikipedia. An absurd attempt to compile a single table from multiple sources, dating from different times, answering different questions, all in regard to a subject where anyone even remotely familiar with the topic will be aware that 'whiteness' is inherently subjective, and that the same people will give differing responses depending on context. And more often than not, such tables are riddled with 'data' that doesn't match the source cited - sometimes due to ill-informed attempts to 'update' the table without also updating the source, but often simple vandalism, or ethnoboosting for one reason or another - the last clearly assisted through the ability to cherry-pick ones preferred data source to cite in a table. Wikipedia policy on original research supposedly forbids synthesis, and were it properly enforced, would prohibit such data-concoctions, but nobody much seems to give a damn. Tables look like real data, and appearance trumps reliability. AndyTheGrump (talk) 09:56, 15 May 2024 (UTC)
 * Andy makes some very good points here. I've been concerned about this problem for a long time and my suspicion is that any systematic analysis of demographic tables would reveal that the majority contain at least some figures that are made up or not supported by reliable sources. I've sometimes thought about what a serious attempt to deal with this would look like, but the problem feels too overwhelming for me to even know where and how to start that conversation. Cordless Larry (talk) 10:25, 15 May 2024 (UTC)
 * When I posted this earlier today, I was reminded of a previous discussion we had about this. I've just found it, at Administrators' noticeboard/IncidentArchive1123. Perhaps we should write an essay on the characteristics of what Andy there called "dubious ethno-boosterism". Cordless Larry (talk) 19:54, 15 May 2024 (UTC)

Semi-protected edit request on 14 May 2024
Add white trash to see also section. 2600:6C50:7EF0:71E0:850:28DB:D2EE:6D8E (talk) 07:18, 14 May 2024 (UTC)
 * ✅ Charliehdb (talk) 09:39, 14 May 2024 (UTC)
 * I feel that this term is too specific to the US for it to be included here in this more general article, so I'm reverting this addition pending further discussion. Cordless Larry (talk) 09:01, 15 May 2024 (UTC)
 * I didn't want to wade into this when I first saw the edit request (which I just decided to ignore), but I guess I will now that there is a request for discussion. As a white American, yeah, this seems way too specific to the US for a "See also" inclusion. In particular, while anyone described as white trash would be white, that term is heavily class-based and not really applied to white people in general by anyone's usage. And again, I doubt it's used outside the US, making it dubious for this article which is much broader. CAVincent (talk) 09:33, 15 May 2024 (UTC)

This article needs to be cleaned up.
We absolutely need more emphasis on the social significance of this topic, and much less bloat consisting of regional definitions of whiteness. This article is severely cluttered with the latter. Alexander Shipfield (talk) 12:10, 11 July 2024 (UTC)

title: Talk:White people


text:
Talk:Timaeus (historian)

Untitled
This entry was originally from the 1911 Encyclopedia Britannica.

Source
Having read the source and a number of other sources on this historian, I can confirm that in fact this source is superior to any other sources one might cite for this subject. It contains and consolidates within itself all other English sources on the subject, and quite a few more besides, and reviews them in relation to each other. It would not improve this article to cite additional sources. 68.37.237.100 (talk) 04:09, 23 April 2012 (UTC)

Transcription
Which is the correct form, Τιμαῖος, as is written now, or Τίμαιος, as in the name of the Greek article and as is said in the Wikidata page and the Polish article? Liadmalone (talk) 00:08, 29 March 2021 (UTC)

title: Talk:Timaeus (historian)


text:
Talk:Caecilius of Calacte

Untitled
Originally from 1911 encyclopedia britannica.

"Of Calacte Caecilius" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Of Calacte Caecilius. Please participate in the redirect discussion if you wish to do so. -- Tavix ( talk ) 20:28, 15 December 2019 (UTC)

title: Talk:Caecilius of Calacte


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Oriolus

Orioles are colourful Old World passerine birds in the genus Oriolus, the type genus of the corvoidean family Oriolidae. They are not closely related to the New World orioles, which are icterids (family Icteridae) that belong to the superfamily Passeroidea.

Taxonomy and systematics
The genus Oriolus was erected in 1766 by the Swedish naturalist Carl Linnaeus in the 12th edition of his Systema Naturae. The type species is, by tautonomy, Oriolus galbula Linnaeus, 1766. This is a junior synonym of Coracias oriolus Linnaeus, 1758, the Eurasian golden oriole. In 1760, French ornithologist Mathurin Jacques Brisson in his Ornithologie used Oriolus as a subdivision of the genus Turdus, but the International Commission on Zoological Nomenclature ruled in 1955 that "Oriolus Brisson, 1760" should be suppressed. Linnaeus added more than a dozen additional genera when he updated his 10th edition, but he generally based new genera on those that had been introduced by Brisson in his Ornithologie. Oriolus is now the only genus for which Linnaeus's 12th edition is cited as the original publication. The name is derived from the old French word oriol, which is echoic in origin, derived from the call of the bird, but some authors have suggested origins in classical Latin aureolus meaning "golden". Various forms of "oriole" have existed in Romance languages since the 12th and 13th centuries.

Extant species
The genus contains 32 species:

Former species
Formerly, some authorities also considered these species (or subspecies) as species within the genus Oriolus:
 * Green figbird (as Oriolus viridis)
 * Brown-eared bulbul (squamiceps) (as Oriolus squamiceps)

Distribution and habitat
The orioles are a mainly tropical group, although one species, the Eurasian golden oriole, breeds in temperate regions.

title: Oriolus


text:
Blessid Union of Souls

Blessid Union of Souls (sometimes abbreviated to Blessid Union or BUOS) is an American alternative rock band from Cincinnati, Ohio, that was formed in 1990 by friends Jeff Pence and Eliot Sloan.

The band's first studio album, Home, had some success which lay with its lead single, "I Believe". The song popularized the band with local-area DJs and is the group's most successful song. Their second album, the self-titled Blessid Union of Souls, did not have nearly the success of Home, but their third album, Walking Off the Buzz, spawned the hit single "Hey Leonardo (She Likes Me for Me)".

After the release of their greatest-hits album, Blessid Union of Souls: The Singles, which actually collected more outtakes and B-sides than previous hits, they released Perception. The band's sixth album, Close to the Edge, was released in 2008.

Early years
Blessid Union of Souls formed in 1990 with guitarist Jeff Pence (Morrow, Ohio), vocalist/pianist Eliot Sloan (Cincinnati, Ohio), keyboardist C.P. Roth (who had been in Ozzy Osbourne's touring band), and drummer Eddie Hedges. Sloan and Hedges had previously played together in a band in the 1980s called The Movies (not to be confused with the British pub rock band of the same name). The band's name originated from an episode of the TV series M*A*S*H.

The band was heavily influenced by the cowpunk scene that was burgeoning around the time they formed. The band spent several years in the early- to mid-1990s honing their craft in Newport News, Virginia and their song "Oh Virginia" is a tribute to their "second home."

In 1992, the band sent a demo to EMI Records who immediately offered them a contract and spread the word about them.

Home (1994–1996)
They began writing more songs in about 1993 for their debut album, Home. It took over two years to complete, but before it was released, DJs in the Cincinnati area began playing "I Believe", which would become the album's most popular single.

They finally released Home in March 1995. Later that year, it was certified gold by the RIAA. It is now certified platinum. The album's most popular song was the aforementioned "I Believe", with reached #8 on the Billboard Hot 100, #2 on the magazine's Mainstream Top 40 chart, and #1 on the CHR/Pop survey from Radio & Records. It also spawned the Top 40 hits "Oh Virginia" and "Let Me Be the One", which was featured in the soap opera All My Children.

Blessid Union of Souls (1996–1998)
After EMI Records collapsed in 1996, the band signed with Capitol Records and added bassist Tony Clark in the process.

They released their second album, Blessid Union of Souls in 1997. This album was not as popular as Home, but still released two Top 40 hits, "I Wanna Be There" and "Light in Your Eyes".

Walking Off the Buzz (1999–2000)
They released their third album, Walking Off the Buzz, in 1999. This album was moderately popular due to "Hey Leonardo (She Likes Me for Me)", a single from the album that reached the Top 40 but stalled at No. 33 on the Billboard Hot 100. The single did, however, reach the top ten on both the Billboard Mainstream Top 40 chart, where it peaked at number eight and gave the band its second top ten hit there, and the CHR/Pop chart published by Radio & Records, peaking at number seven and giving Blessid Union of Souls its third (and, to date, last) top ten on that particular chart.

2001–2005
Between 2001 and 2005, Blessid Union of Souls stayed away from the studio, but they released a greatest hits album that also featured a few previously unreleased songs that were recorded around 2000. During this time, they still toured. One of their shows was at Great Valley High School in Pennsylvania. Roth and Hedges left the band in 2002 and were replaced by Kyle Robinson, and then by Shaun Schaefer on drums and Bryan Billhimer on guitar.

Perception and reemergence (2005–2008)
At the end of this period, the band's fourth studio album Perception was released.

In the beginning of 2008, Blessid Union of Souls began touring with members Eliot Sloan, Tony Clark, Bryan Billhimer, and Shaun Schaefer, as Jeff Pence had amicably left the band in order to focus on his multimedia production career.

Close to the Edge (2008–2010)
Blessid Union of Souls's fifth studio album, Close to the Edge, was released on September 16, 2008, on Torque Records. Eight of its twelve tracks were taken from their previous album, Perception. There was only one single released for the album, "Could've Been with You".

The Mission Field (2011–2012)
The band's debut Contemporary Christian album, The Mission Field, was released on Salvation Road Records through Sony/Provident in March 2011. The first single, "The Only Song", reached number 32 on the Nielsen BDS Christian AC chart. The video for "The Only Song" was also added to the Gospel Music Channel & JCTV. The second single, "Pray for You", was released on July 15, 2011.

Home 25 (2020–present)
To celebrate the 25th anniversary of their debut album, the band released Home 25, a limited-edition vinyl album that included vintage live versions of Home classics and Home-era demo recordings.

Other projects
In 1995, they covered the song 'Way Over Yonder' by Carole King for the tribute album Tapestry Revisited: A Tribute to Carole King.

In 1998, the band recorded "Brother My Brother" for Pokémon: The First Movie, where it was used during the battle between Mew, Mewtwo, the original Pokémon, and their clones. The song was only featured in the dubbed release of the movie, as the original Japanese release contained a composed score for the battle.

In 2000, several of the band's songs were scheduled for use during the production of a film titled Standing at the Edge of the Earth by Fizzle Freak Productions. The film would have co-starred the band's bassist Tony Clark, and the rest of the band would have been featured in prominent roles as well. The film's production was canceled in around the end of 2000 due to legal and financial issues.

In 2003, the band released Blessid Union of Souls: Play Ball, an album about the Cincinnati Reds. The title track was used to promote the team in their first season in Great American Ballpark. This album did not receive much attention outside of Cincinnati.

In 2005, the band recorded "We are the Washington Nationals." A song to mark the 2005 Washington Nationals season, Washington, D.C.'s first MLB season since 1971.

In 2006, Jeff Pence headed a project in which the band contributed two tracks for Clutch Hits, a CD that featured a variety of artists who contributed songs about the Cincinnati Reds. The songs were titled "Play Ball" and "Me, Marty, Joe, Ted & Louise". The project was a fundraiser for the Reds Community Fund.

In 2012, they began the project Hear 2 Heal which is an interactive, performing arts project featuring Eliot Sloan along with the performing arts students of selected schools in order to give the students an opportunity to be heard and address their issues through the music of Blessid Union and their media of choice (choir/band/theatre/AV/dance) and heal through the process of expression and opening lines of communication. The project began with Brownsburg High School in Brownsburg, Indiana, on November 2 and sought to reach to other schools in Indiana, Illinois, Missouri, and Kentucky.

Singles
They also performed a track in Pokémon: The First Movie titled "Brother My Brother" and the main theme for Ace Ventura: When Nature Calls titled "It's Alright".

title: Blessid Union of Souls


text:
The Orioles

The Orioles were an American R&B group of the late 1940s and early 1950s, one of the earliest such vocal groups who established the basic pattern for the doo-wop sound.

The Orioles are generally acknowledged as R&B's first vocal group. Baltimore natives, they blended rhythm with group harmonies. Dubbing themselves after Maryland's state bird, the Orioles started the trend of bird groups (The Cardinals, The Crows, The Flamingos, The Larks, The Penguins, The Ravens, The Wrens, etc.). They brought their winning formula to their first charted hit "It's Too Soon to Know"; a #1 record in November 1948, soon followed by the group's second hit, "(It's Gonna Be a) Lonely Christmas", in December that same year.

Original members

 * Sonny Til (born Earlington Carl Tilghman, August 18, 1928, Baltimore, Maryland — died December 9, 1981, Washington, D.C.) (lead tenor)
 * Alexander Sharp (born December 1919, Baltimore — died January 3, 1970) (high tenor)
 * George Nelson (born 1925, Baltimore — died June 30, 1959) (baritone)
 * Johnny Reed (born August 16, 1923, Baltimore — died June 18, 2005) (bass vocals and double bass)
 * Lloyd Thomas "Tommy" Gaither III (born March 5, 1920, Baltimore — died November 5, 1950, Baltimore) (guitar)

Early years
Around 1947, Sonny Til sang regularly in amateur shows at the Avenue Cafe in Baltimore, where he met Nelson, Sharp and Gaither. They decided to form a group, calling themselves The Vibra-Naires, and aspiring songwriter Deborah Chessler became their manager. In April 1948 the group appeared on the Arthur Godfrey radio talent show in New York City, with Richard Williams as bass singer, but he was then replaced by Johnny Reed.

The group won a recording deal with the "It's A Natural" record label, a subsidiary of Jubilee Records, and changed their name to The Orioles in honor of the state bird of Maryland and in emulation of another popular group, The Ravens. In July 1948, they recorded Chessler's song "It's Too Soon to Know", with Sonny Til taking lead vocals. The record reportedly sold 30,000 copies in its first week, rising to #1 on the national R&B charts in November 1948, and leading to cover versions by artists such as the Ravens, Ella Fitzgerald and Dinah Washington. It was also one of the first "race" songs to cross over into mainstream markets, reaching # 13 on the pop charts.

The Orioles then began touring widely, and started recording for the Jubilee label. Their next smash hit was "Tell Me So" in 1949, which again reached # 1 in the R&B chart but this time failed to cross to the pop charts. Other hits included "Forgive And Forget" and "Lonely Christmas".

In performance, The Orioles were a phenomenon, with girls in the audiences screaming, fainting, and attempting to reach their idol Sonny Til in particular. They differed from groups like the Mills Brothers and the Delta Rhythm Boys in that they made vocal music with limited orchestration and accompanied only with the guitar of Tommy Gaither and the bass Johnny Reed. From 1948 to 1954, they cut over 120 sides for the Natural and Jubilee labels. By late 1950 they were major stars, although their supply of hit records had dried up.

Tragedy struck in November 1950. The group was traveling in two cars near Baltimore. Gaither drove one, with Reed and Nelson as passengers. He took a corner too fast and lost control of the car, which rolled down an embankment and crashed into a drive-in restaurant. Gaither was killed and Nelson and Reed were severely injured. Til and Sharp, in the other car, were not near enough to witness the accident and only heard about it when they arrived home.

For a short time, only Til and Sharp performed as the Orioles, but soon added two new members, guitarist/second tenor Ralph Williams and pianist Charlie Harris. Nelson returned in a few days, and Reed a few weeks later. Just a year after their tragic accident, the group were involved in another accident in Akron, Ohio, but there were no injuries. In 1952, they had another R&B hit with blues song "Baby Please Don't Go", which was an early 45rpm issue available only on red vinyl.

Early in 1953, George Nelson, who had a drinking problem, left the Orioles, and was replaced by John "Gregory" Carroll, formerly of another Baltimore group, the Four Buddies. In June 1953, they recorded a version of Darrell Glenn's country song "Crying in the Chapel". This was to become The Orioles' biggest hit, staying at # 1 in the R&B charts for five weeks in August and September, and reaching # 11 on the pop charts. it sold over one million copies and was awarded a gold disc. It was also to be their last big hit, with only a version of "In The Mission Of St. Augustine" later in the year reaching the R&B charts.

Williams left the group briefly in late 1953, and in 1954 the group's manager Deborah Chessler quit. In February 1955, Reed left and eventually joined a version of The Ink Spots. He was replaced by Maurice Hicks. Williams and Harris left soon after. The group continued a short time, but then disbanded.

Later years
Left without the Orioles, Til picked up another group, the Regals, whose members were Tex Cornelius, Diz Russell, Jerry Holeman, Billy Adams, and pianist Paul Griffin. This group became the New Orioles. Til liked the Regals' modern harmony style, and the existing tunes were rearranged to match the Regals' style (in many cases, sounding rather different than they formerly had). During this time, they were often billed as "Sonny Til and his New Orioles". They left Jubilee and signed with Vee-Jay Records.

They continued with this arrangement until 1957 when Cornelius left the group. He was replaced for a short time by Frank Todd, who was replaced by Jimmy Brown. This line-up went until the last day of 1959. Holeman left the group, and Russel the next day, after finding Sonny's car (their means of transportation) repossessed. This was the end of the second Orioles.

Til recorded briefly as a solo artist before putting together the third Orioles group, with members Delton McCall, Billy Taylor, and Gerald Gregory, former bass of The Spaniels. They continued recording, this time for Charlie Parker Records. Gregory left after a couple of years and was replaced by Lawrence Joyner. This group split up in the mid 1960s.

In 1966, Til met Bobby Thomas, a long time Orioles fan. Bobby was singing in a group known as the Vibrannaires — coincidentally the same as the Orioles' original name. This group consisted of Thomas, Clarence Young, Harry Accoo, and Mike Robinson. Thomas, Young, and Robinson joined Til to become the fourth Orioles group. Gregory Carroll was occasionally a member of this group. They recorded until 1975.

Following the breakup of that Orioles group, Til joined George Holmes' Ink Spots, who were Til, Holmes, Ann Lawson, and Larry Reed. With the addition of George "Pepi" Grant in 1977, they began touring as both The Ink Spots and The Orioles (as the Orioles, Lawson was billed as a special guest). Til and Grant alternated leads, and Holmes sang bass. They recorded briefly in 1977.

In 1977, Til formed the sixth Orioles group with former members: Diz Russell and Jerry Holeman from the second group, and Billy Taylor from the third group. The group also sometimes featured Eddie Palmer. This group was together in 1981, when Til died from a heart attack. He was 53.

The group continued, and by the late 1990s featured Russell, Reese Palmer, Skip Mahoney, Larry Jordan and musical director Eddie Jones, who also works with The Cadillacs. Jones and Mahoney were later replaced by George Spann and Royal Height. Bobby Thomas started his own Orioles group following Til's death. Johnny Reed played with this group until his death in June 2005.

Bobby Thomas died on May 3, 2012, from complications of diabetes at the age of 77. John Gregory Carroll died on January 25, 2013, in Creston.

Lead singer Albert "Diz" Russell died November 16, 2016, from congestive heart failure at the age of 83.

Dwight Datcher died on November 23, 2019

Skip Mahoney died on March 20, 2020

Recognition
The original five members of The Orioles were inducted into the Rock and Roll Hall of Fame in 1995 as early influences.

Both groups were featured in the PBS special Doo Wop 51 in 2000, with the groups alternating verses on "Crying in the Chapel" (with Bobby Thomas and Larry Jordan on lead).

In 2015 the musical theater production, Soul Harmony, telling the story of Deborah Chessler, Sonny Til, and the Orioles, premiered in Portland, Oregon.

They were inducted into the Vocal Group Hall of Fame in 1998.

title: The Orioles


text:
Shawn Mullins

Shawn Mullins (born March 8, 1968) is an American singer-songwriter who specializes in folk rock, instrumental rock, adult alternative, and Americana music. His 1998 single "Lullaby", hit number one on the Adult Top 40 and was nominated for a Grammy Award.

Early life and military career
Mullins was born in Atlanta, Georgia. He cultivated an interest in music beginning in his days at Clarkston High School in Clarkston, Georgia (where he made the acquaintance of friend and mentor Amy Ray of the Indigo Girls). Later, he honed his craft in his college days at University of North Georgia (then known as North Georgia College) as a solo acoustic musician and bandmaster of the military marching band (Golden Eagle Band). He attended the University of North Georgia on an Army ROTC scholarship with an intention of possibly pursuing a military career. Although he quickly abandoned this notion in favor of songwriting, the contract nonetheless obliged him after graduation to serve a short term as an inactive infantry officer in the Individual Ready Reserve component of the U.S. Army Reserve. He served in an inactive status, reaching the rank of 1st lieutenant before fulfilling his service obligation and resigning honorably.

Shawn Eric Mullins with Twice Removed and solo career
Soon, he added a drummer (Mickey Hendrix) and bassist (Carlton Brown) to form the power pop trio billed as "Shawn Eric Mullins with Twice Removed", a combo that would help carry him to campus-wide and regional renown. Eventually the "Twice Removed" trio parted ways under amicable terms, and Mullins began using a variety of collaborative lineups while building his reputation as a solo artist.

Commercial success
His critical breakthrough came when his song "Lullaby", from the album Soul's Core, became a radio and video hit. In the video for "Lullaby", directed by Roger Pistole, actress Dominique Swain appeared. His song, "All in My Head", featured on the sitcom Scrubs, was written in response to an e-mail sent by producers of the show searching for a theme song. Mullins wrote a demo version and sent it in within 24 hours. It wasn't selected as the theme song, but the demo version was used in a season one episode of the series.

Another single, "Shimmer", was included on the soundtrack for Dawson's Creek and was a minor hit. "Shimmer" was also used in Australia as part of its promotional campaign during the 2000 Summer Olympics, and is still considered in Australia as the unofficial anthem of the games. To date he has yet to match the overwhelming commercial success of "Lullaby", which was also released as a live performance on the charity album Live in the X Lounge II in 1999. In early 2002, he formed the band The Thorns with Matthew Sweet and Pete Droge.

Vanguard Records
In 2006, Mullins released his first album on new label Vanguard Records, 9th Ward Pickin Parlor, as well as a new single, entitled "Beautiful Wreck", from the album. The single enjoyed modest success by reaching number one on the Americana and AAA (Adult Album Alternative), and was featured in the Cities 97 Sampler Volume 18.

On March 11, 2008, Mullins released his second album on Vanguard, entitled Honeydew. On October 12, 2010, Mullins released his third album on Vanguard, Light You Up.

Sugar Hill and Rounder Records
On October 23, 2015, Mullins released his new album, titled My Stupid Heart, under Sugar Hill and Rounder Records.

Personal life
Mullins has been married and divorced three times. He has one son.

Studio albums

 * Better Days (1992)
 * Big Blue Sky (1994)
 * Eggshells (1996)
 * Soul's Core (1998, Sony) US number 54, Platinum
 * Beneath the Velvet Sun (2000)
 * 9th Ward Pickin Parlor (2006)
 * Honeydew (2008)
 * Light You Up (2010)
 * My Stupid Heart (2015)
 * Soul's Core Revival (2018)

Other albums

 * Shawn Mullins (1990) [independent album]
 * Ever Changing World (1991) [independent album]
 * Jeff's Last Dance, Volume 1 (1995) [live album]
 * Jeff's Last Dance, Volume 2 (1995) [live album]
 * The First Ten Years (1999) [compilation album]
 * The Essential Shawn Mullins (2003) [compilation album]
 * Live From Portland Bootleg (2004) [live album]
 * Jeff's Last Dance, Volume 3 (2005) [live album]
 * Lullaby: Hits, Rarities, & Gems (2007) [compilation album]
 * Live at the Variety Playhouse (2008) [live album]

title: Shawn Mullins


text:
Howling Wolf

Howling Wolf may refer to:

 * Howlin' Wolf (1910–1976), Chicago blues musician
 * Howling Wolf (Cheyenne) (1849–1927), Native American artist and witness to the Sand Creek massacre of 1864
 * The Howling Wolf, a 1919 German silent film
 * Howling, a wolf communication characteristic

title: Howling Wolf


text:
Talk:Black people

Black, White Or Both
This may sound stupid but I have crossed countless people who have called themselves black althought they physically look white. So that made me ask: Can a person who looks white but has black people in their bloodline be labeled “black?” 80.200.150.84 (talk) 11:16, 9 September 2023 (UTC)

 * As our article makes entirely clear, 'Blackness' is ultimately a social construct. What constitutes 'looking black' (or 'looking white') varies from place to place, and time to time. It is routinely contested. Attempts to divide humanity with its complex patterns of diversity into simplistic binary categories are rooted in the realms of politics, not science. And to be more specific with regards to your question, there have been contexts where having any 'black people in your bloodline' made you 'black' in the eyes of (white) social norms, regardless of appearance, and regardless of any own personal identification: see the so-called one-drop rule in the United States. 'Appearance' is but a small part of what society constructs its arbitrary racial categories from. AndyTheGrump (talk) 13:05, 9 September 2023 (UTC)
 * What's the difference of black people and African people 2601:2C3:C77E:F3D0:645C:7CEC:508:FBE9 (talk) 23:58, 5 April 2024 (UTC)
 * The difference is like that between being white and being European. Not all white people are European, and not all Europeans are white, although whiteness is generally thought to apply to Europeans and people of European descent.
 * More specifically, Africans may or may not be Black (e.g., white South Africans). And even if we might consider them Black, they may not consider themselves to be Black. Blackness is a relative term that was invited by Europeans, so it doesn't apply universally. I have known Africans who said they only "became" Black when they moved to the UK, because they didn't see themselves as part of a wider Black race before that (they saw themselves as Nigerian, or Igbo, etc).
 * While Nigerians and Kenyans may see themselves as distinct in Africa, if they moved to Germany or the USA, they may later find/gain/develop a shared Black identity, because their skin colour and the prejudice they face because of it may make them feel greater solidarity with each other. National and regional differences become less important than the shared experiences they have in white majority societies.
 * Similarly, some Black people in the diaspora don't see themselves as African, even though they have African descent. E.g., Black Caribbeans may see themselves as uniquely Caribbean, even if they have African heritage.
 * A very simplistic way to look at it is (assuming people of sub-Saharan African descent):
 * In Africa, such people tend to see themselves as African and they may or may not see themselves as Black
 * In the diaspora, such people tend to see themselves as Black and they may or may not see themselves as African
 * Others may not see you the same way you see yourself
 * Moving to the diaspora may change how you see yourself
 * In either case, "Blackness" is relative to another population so it's not a universal experience Lewisguile (talk) 06:23, 12 July 2024 (UTC)

Semi-protected edit request on 7 January 2024
Black also includes the Indigenous people of India as Well as The original Dravidian speakers of india. This is non inclusive and must be changed immediately.

Also need to add the Indigenous People of India and Dravidian people onto the page Under South Asia 2600:1702:3C80:9850:D1AB:E63E:8D0C:454 (talk) 16:04, 7 January 2024 (UTC)
 * Red information icon with gradient background.svg Not done: please provide reliable sources that support the change you want to be made. The Herald (Benison) (talk) 17:08, 7 January 2024 (UTC)

Black as a Social class in South Africa
In 1950, the Apartheid government of South Africa introduced the Population Registration Act No.30 which effectively forced the Xhosa people and other nations organic to the land to be registered under the National Socialist system into either one of four categories, Black, White, Colored and Asian.

This Act effectively alienated the Xhosa people from their collective identity as a nation unto themselves and forced the label "Black African" on them as a social and legal status.

This Act not only alienated the Xhosa from their collective identity but also from their resources and property as well with the implementation of the Black Codes from the 1913 Black's land Act and Groups Areas Act.

This has been the cause of cultural erosion in this community and has prevented the redressing of many injustices that were committed against the Xhosa people. Benjamin knox (talk) 23:34, 22 March 2024 (UTC)

title: Talk:Black people


text:
Ralph Abraham (mathematician)

Ralph Herman Abraham (born July 4, 1936) is an American mathematician. Since 1968, he has been a member of the faculty of the University of California, Santa Cruz, where he is currently professor emeritus of mathematics.

Life and work
Abraham earned his BSE (1956), MS (1958) and PhD (1960) from the University of Michigan. Prior to joining Santa Cruz, he held positions at the University of California, Berkeley (research lecturer in mathematics; 1960-1962), Columbia University (postdoctoral fellow and assistant professor of mathematics; 1962-1964) and Princeton University (assistant professor of mathematics; 1964-1968). He has also held visiting positions in Amsterdam, Paris, Warwick, Barcelona, Basel, and Florence.

He founded the Visual Math Institute at Santa Cruz in 1975; at that time, it was called the "Visual Mathematics Project". He is editor of World Futures and for the International Journal of Bifurcations and Chaos. Abraham is a member of cultural historian William Irwin Thompson's Lindisfarne Association.

Abraham has been involved in the development of dynamical systems theory since the 1960s and 1970s. He has been a consultant on chaos theory and its applications in numerous fields, such as medical physiology, ecology, mathematical economics, and psychotherapy.

Another interest of Abraham's concerns alternative ways of expressing mathematics, for example visually or aurally. He has staged performances in which mathematics, visual arts and music are combined into one presentation.

Abraham developed an interest in "Hip" activities in Santa Cruz in the 1960s and has a website gathering information on the topic. He credits his use of the psychedelic drug DMT for "swerv[ing his] career toward a search for the connections between mathematics and the experience of the Logos".

Works

 * Publications
 * 1978. Foundations of Mechanics, 2nd edn. With Jerrold E. Marsden; 1st edition 1967.
 * 1982. Manifolds, Tensor Analysis, and Applications, 2nd edn. With Jerrold E. Marsden and Tudor Ratiu.
 * 1992. Dynamics, the Geometry of Behavior, 2nd edn. With C. D. Shaw.
 * 1992. Trialogues on the Edge of the West. With Terence McKenna and Rupert Sheldrake),
 * 1992. Chaos, Gaia, Eros.
 * 1995. The Web Empowerment Book. With Frank Jas and Will Russell.
 * 1995. Chaos in Discrete Dynamical Systems. With Laura Gardini and Christian Mira.
 * 1997. The Evolutionary Mind. With Terence McKenna and Rupert Sheldrake.
 * 2000. The Chaos Avant-garde. With Yoshisuke Ueda.
 * 2011. Bolts From the Blue.
 * 2016. Hip Santa Cruz, Vol. 1.
 * Film
 * 1989. The Strange New Science of Chaos, as himself
 * 2009. Cognition Factor 2009, as himself
 * 2010. DMT: The Spirit Molecule, as himself

title: Ralph Abraham (mathematician)


text:
Peter Arshinov

Peter Andreyevich Arshinov (Пётр Андре́евич Арши́нов; 1887–c. 1937), was a Russian anarchist revolutionary and intellectual who chronicled the history of the Makhnovshchina.

Initially a Bolshevik, during the 1905 Revolution, he became active within the Ukrainian anarchist movement, taking part in a number of terrorist attacks against Tsarist officials. He was arrested for his activities and imprisoned in Butyrka prison, where he met Nestor Makhno.

Following the 1917 Revolution, he was released from prison and returned to Ukraine to join Makhno's partisan movement. Arshinov became a leading intellectual figure within the Makhnovist movement, as editor of its main newspaper, and chronicled the development of events as the movement's official historian.

When the movement was suppressed by the Bolsheviks, he went into exile, where he participated in the publication of the Organisational Platform and the debates surrounding it. By the 1930s, he had moved back towards Bolshevism and decided to return to the Soviet Union, where he was executed during the Great Purge.

Biography
In 1887, Peter Andreyevich Arshinov was born into a working-class family, in a village in Penza Governorate of the Russian Empire. At the age of 17, Arshinov moved to Turkestan, where he worked as a machinist.

Early revolutionary activities
With the outbreak of the 1905 Revolution, he joined the Bolshevik faction of the Russian Social Democratic Party and edited its underground newspaper Molot (The Hammer). When Arshinov caught the attention of the police for his revolutionary activity, he moved to the Ukrainian city of Katerynoslav, where he split with the Bolsheviks over ideological disagreements and became a member of the anarchist movement. In December 1906, following the repression of revolutionary elements, Arshinov led the formation of an anarchist terrorist cell in Katerynoslav and organised a series of attacks, including the bombing of a police station and the assassination of a government official.

On 7 March 1907, Arshinov publicly assassinated a railway boss in Oleksandrivsk. He was quickly arrested and sentenced to be hanged, but his sentence was commuted and he used this time to plan an escape. He broke out of prison on Easter Sunday, and fled first to France then to Austria-Hungary, where he engaged in arms trafficking and the smuggling of anarchist propaganda into the Russian Empire. In 1911, he was arrested again and extradited to Russia, where he was sentenced to 20 years in Butyrka prison.

With the Makhnovshchina
In prison, Arshinov was acquainted with the young Ukrainian anarchist Nestor Makhno, who he took under his wing as a pupil, teaching him Russian language and literature, mathematics, geography, history, economics and politics. Following the February Revolution, they were released from prison as part of a general amnesty. While Makhno returned home to Ukraine, Arshinov remained behind in Moscow and began organising with the local Anarchist Federation, spending most of his time in Moscow publishing the works of Mikhail Bakunin and Peter Kropotkin.

Following the October Revolution, he quickly became demoralised by the direction of events and lost interest in himself returning to Ukraine. As a consequence of the Treaty of Brest-Litovsk, Ukraine was invaded and occupied by the Central Powers, with support from the Ukrainian nobility. The peasants reacted by carrying out a campaign of guerrilla warfare against the occupation forces and their Ukrainian collaborators, as part of a war of independence that spread throughout the country. One of these peasant insurgent bands was led by Nestor Makhno, who defeated the occupation forces at the battle of Dibrivka and captured much of his home region, becoming the leader of a mass movement of the Ukrainian peasantry which declared him their Bat'ko (Father).

In the wake of the anarchist victory, Arshinov joined a number of other Russian anarchist intellectuals in emigrating to Ukraine, where they established the Nabat, a confederation of anarchist organisations. In April 1919, Arshinov arrived in Huliaipole, where he was reunited with Makhno and joined his movement, becoming a leading ideologue within the Cultural-Educational Department. The following month, Arshinov began editing the movement's newspaper The Road to Freedom, which published 50 issues in the Katerynoslav region until November 1920. During this period, Arshinov observed the nascent Makhnovist movement establishing agricultural communes, organised according to the communist principle of "from each according to their ability, to each according to their needs".

The anarchist region soon came under attack by the White movement, which forced them to negotiate an alliance with the Red Army, which had also invaded Ukraine. While on their way to meet the Bolshevik delegate Lev Kamenev in Huliaipole, Arshinov witnessed Makhno execute one of his own followers for antisemitism. He then observed Makhno and Kamenev's meeting, which initially seemed amicable, but which Arshinov later came to question the intent of. By May 1919, relations between the Bolsheviks and anarchists had become strained by political divisions and by the collapse of the Donbas front, which Arshinov blamed on Red Army commanders, who he claimed had deliberately deprived the insurgents of weaponry. Makhno soon resigned his command and, now under attack by both the Reds and the Whites, resolved to retreat into the west.

Arshinov joined the Makhnovists in their westward retreat, during which he witnessed large numbers of people joining the newly constituted Insurgent Army, was present for the assassination of Nykyfor Hryhoriv, and at the battle of Peregonovka. There the Insurgent Army defeated the Volunteer Army and subsequently captured most of southern Ukraine, to which Arshinov himself attributed the defeat of the entire White movement. Arshinov then observed what he considered to be a failure to establish either political or military control over left-bank Ukraine, which he blamed on the outbreak of epidemic typhus within the ranks of the Makhnovshchina. The Red Army took the opportunity to attack the Makhnovshchina, which Arshinov estimated to have eventually resulted in the execution of almost 200,000 Ukrainian peasants by the Bolsheviks.

After months of fighting between the Makhnovists and Bolsheviks, a White offensive into Taurida forced them into an agreement, which brought about the brief cessation of hostilities between the two factions. Arshinov himself justified the pact as a way of bringing them closer together with the mass base that the Bolsheviks had in the proletariat. But following their combined victory over the Whites in the siege of Perekop, Arshinov witnessed the subsequent Bolshevik offensive against the Makhnovshchina on 26 November, in what Arshinov insisted to have been a premeditated attack.

He then witnessed the subsequent period of guerrilla warfare against the Red Army, documenting their pursuit across the country. Despite the danger, Arshinov remained with Makhno until the spring of 1921, when he and his wife clandestinely crossed the border into Poland and then went on to Germany.

Exile
In 1922, Arshinov arrived in Berlin, where he completed his History of the Makhnovist Movement. He then moved on to Paris in 1925, where he established the anarchist journal Delo Truda (The Cause of Labor). Meanwhile, he earned a living by making handmade shoes, as part of a scheme for Russian refugees, which lasted until competition from a French industrial manufacturer made it no longer profitable.

On 20 June 1926, Arshinov participated in the publication of the Organisational Platform of the General Union of Anarchists, which lay out a framework for how anarcho-communists could politically organise, through theoretical and tactical unity, collective responsibility and federalism. This caused an immediate controversy within the anarchist movement, with Arshinov being accused of Bolshevism by anarchists such as Alexander Berkman and Volin, the latter of whom claimed Arshinov intended to establish an anarchist political party along bureaucratic and centralist lines.

By 1931, Arshinov had broken with the anarchist movement and began openly expressing support for the Soviet government of Joseph Stalin. By this time, Arshinov's wife grown weary of life in exile and wanted their family to return to Russia, which the Bolshevik politician Sergo Ordzhonikidze offered to sponsor. Despite warnings by Volin, who predicted that he would be executed for his anarchist past, in 1934, Arshinov finally returned to the Soviet Union, where he found work as a proofreader. Only three years later, Arshinov was arrested and shot during the Great Purge, on charges of having allegedly propagandised for anarchism upon his return to Russia.

Works

 * History of the Makhnovist Movement (1923)
 * The Two Octobers (1927)
 * Reply to Anarchism's Confusionists (1927)
 * The Old and New in Anarchism (1928)
 * Elements Old and New in Anarchism (1928)
 * Anarchism and the Dictatorship of the Proletariat (1931)
 * Anarchism in our age (1933)

title: Peter Arshinov


text:
Korpokkur

Korpokkur (コㇿポックㇽ; コロポックル), also written Koro-pok-kuru, korobokkuru, korbokkur, or koropokkur, koro-pok-guru, are a race of small people in folklore of the Ainu people of the northern Japanese islands. The name is traditionally analysed as a tripartite compound of kor ("butterbur plant"), pok ("under, below"), and kur ("person") and interpreted to mean "people below the leaves of the Fuki" in the Ainu language.

The Ainu believe that the korpokkur were the people who lived in the Ainu land before the Ainu themselves lived there. They were short of stature, agile, and skilled at fishing. They lived in pits with roofs made from butterbur leaves. Long ago, the korpokkur were on good terms with the Ainu, and would send them deer, fish, and other game and exchange goods with them. The little people hated to be seen, however, so they would stealthily make their deliveries under the cover of night.

One day, a young Ainu man decided he wanted to see a korpokkur for himself, so he waited in ambush by the window where their gifts were usually left. When a korpokkur came to place something there, the young man grabbed it by the hand and dragged it inside. It turned out to be a beautiful korpokkur woman, who was so enraged at the young man's rudeness that her people have not been seen since. Their pits, pottery, and stone implements, the Ainu believe, still remain scattered about the landscape.

Anthropologic and Folkloric Discussions
Some anthropologists of the 19th and 20th centuries believed that the korpokkur were in fact a "race that predated the Ainu". Arnold Henry Savage Landor proposed a theory about the indigenous people of Hokkaido, which suggested that the Ainu, migrating from the north, overtook and displaced an earlier population known as the Koro-pok-kuru. He believed the Koro-pok-kuru shared similarities with the Eskimo people and may have arrived in Yezo from the Aleutian Islands. Allen P. McCartney equated the Okhotsk culture with the Korpokkur. Early ethnographer Tsuboi Shogoro believed the Koropok-Guru legends pointed to a previous population that the Ainu displaced or even eradicated. These conclusions mostly come from misinterpretations of Hokkaido Jomon artifacts (such as pottery, tools, and arrowheads), which were understudied at the time and markedly different from what contemporaneous Ainu used.

Alexander Akulov refutes early anthropologists, stating that the pit-dwellings supposedly associated with the pre-Ainu aboriginal people were also built by the Ainu themselves in the Kurils and Sakhalin, an argument also used by John Batchelor. Based on the evidence presented, Akulov concludes that the Koropok-Guru legend is nothing more than a story. It does not signify a mysterious pre-Ainu race, but rather reflects a traditional Ainu dwelling practice that predates significant Japanese influence. He cites Pozdneyev, arguing that the legend "was spread there where Ainu were already more or less japanized", quoting:"Further northward the legend has terminated, in the northern Kuril Islands there nobody knows anything about it, and Ainu of Northern Kurils not only tell that the islands were not inhabited by someone else but insisted that they had lived in these islands since very deep antiquity. Being interrogated about the remains of the Stone Age they confidently responded that these remains belong to their ancestors."In his Ainu–English–Japanese Dictionary, John Batchelor says that certain pit-dwellings associated with the korpokkur were called "Koropok-un-guru koro chisei kot" or "Toi chisei kotcha utara kot chisei kot", respectively meaning "sites belonging to people who dwelt below ground" and "house sites of people who had earth houses." He arguments that the original meaning of Koropok-guru was not "people of the Petasites plant" (Petasites being synonymous with butterbur), since Koropok can only be translated as “under, beneath, below.” The full name would be Koropok-un-guru, “people dwelling below,” un being a locative particle, which doesn't carry the idea of dwarves or little people. He further argues that, even if "Koropok-guru" literally meant "people under the Petasites" plant, it wouldn't imply dwarfish stature. Batchelor himself, standing nearly 5 ft. 8 in., could comfortably walk and even ride a pony amongst the Petasites leaves. He found it humorous to imagine how tall the people who named the pit-dwellers "dwarves" must have been if they considered movement beneath the plant indicative of short stature.

title: Korpokkur


text:
Howlin' Wolf

Chester Arthur Burnett (June 10, 1910 – January 10, 1976), better known by his stage name Howlin' Wolf, was an American blues singer and guitarist. He was at the forefront of transforming acoustic Delta blues into electric Chicago blues, and over a four-decade career, recorded blues, rhythm and blues, rock and roll, and psychedelic rock. He is regarded as one of the most influential blues musicians of all time.

Born into poverty in Mississippi as one of six children, he went through a rough childhood where his mother kicked him out of her house, and he moved in with his great-uncle, who was particularly abusive. He then ran away to his father's house where he finally found a happy family, and in the early 1930s became a protégé of legendary Delta blues guitarist and singer Charley Patton. He started a solo career in the Deep South, playing with other notable blues musicians of the era, and at the end of a decade had made a name for himself in the Mississippi Delta.

After going through some legal issues and spending some time in jail and a particularly rough experience while serving in the Army, he moved to Chicago, Illinois, in adulthood and became successful. He started his recording career in 1951 after being heard singing by 19-year-old Ike Turner, and then formed his own band in Chicago. Five of his songs got on the Billboard national R&B charts. He released several albums in the 1960s and 1970s, and made several television performances. His studio albums include The Howlin' Wolf Album (1969), Message to the Young (1971), and The London Howlin' Wolf Sessions (1971). He released his final album The Back Door Wolf in 1973, and made his last public performance in November 1975 with fellow blues legend B.B. King. After years of severely declining health, Burnett died in 1976. He was posthumously inducted in the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991.

With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists. AllMusic has described him as "a primal, ferocious blues belter with a roster of classics rivaling anyone else, and a sandpaper growl of a voice that has been widely imitated". The musician and critic Cub Koda noted, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." Producer Sam Phillips recalled, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies. Several of his songs, including "Smokestack Lightnin', "Killing Floor" and "Spoonful", have become blues and blues rock standards. "Smokestack Lightnin'" was selected for a Grammy Hall of Fame Award in 1999, and three of his songs were listed by the Rock and Roll Hall of Fame in its "500 Songs That Shaped Rock and Roll". In 2011, Rolling Stone magazine ranked him number 54 on its list of the "100 Greatest Artists of All Time".

Early life
Chester Arthur Burnett was born on June 10, 1910, at White Station, near West Point, Mississippi, to Gertrude Jones and Leon "Dock" Burnett. He later said that his father was "Ethiopian", while Jones had Choctaw ancestry on her father's side. He was named for Chester A. Arthur, the 21st President of the United States. The name "Howlin' Wolf" originated from Burnett's maternal grandfather, John Jones; Burnett had been squeezing his grandmother's chicks so hard he was likely to kill them, and his grandfather told him wolves would come and get him. The blues historian Paul Oliver wrote that Burnett once claimed to have been given his nickname by his idol Jimmie Rodgers.

Burnett's parents separated when he was a year old. Dock, who had worked seasonally as a farm laborer in the Mississippi Delta, moved there permanently while Jones and Burnett moved to Monroe County. Jones and Burnett would sing together in the choir of the Life Boat Baptist Church near Gibson, Mississippi, and Burnett would later claim that he got his musical talent from her. Jones kicked Burnett out of the house during the winter when he was a child for unknown reasons. At the peak of his success, he returned from Chicago to see his mother in Mississippi and was driven to tears when she refused to take money offered by him, saying it was from his playing the "devil's music".

He moved in with his great-uncle Will Young, who had a large household and treated him badly. While in the Young household he worked almost all day and did not receive an education at the school house. When he was thirteen, he killed one of Young's hogs in a rage after the hog had caused him to ruin his dress clothes; this enraged Young who then whipped him while chasing him on a mule. He then ran away and claimed to have walked 85 mi barefoot to join his father, where he finally found a happy home with his father's large family. During this era he went by the name "John D." to dissociate himself from his past, a name by which several of his relatives would know him for the rest of his life.

His physique garnered him the nicknames "Big Foot Chester" and "Bull Cow" as a young man: he was 6 ft tall and weighed 275 lb.

Beginnings, 1930s
On January 15, 1928, at the age of 17, Burnett gathered enough money to buy his first guitar. It was a date that Burnett reportedly never forgot until "the day he died".

In 1930, Burnett met Charley Patton, the most popular bluesman in the Mississippi Delta at the time. He would listen to Patton play nightly from outside a nearby juke joint. There he remembered Patton playing "Pony Blues", "High Water Everywhere", "A Spoonful Blues", and "Banty Rooster Blues". The two became acquainted, and soon Patton was teaching him guitar. Burnett recalled that "the first piece I ever played in my life was... a tune about hook up my pony and saddle up my black mare"—Patton's "Pony Blues". He also learned about showmanship from Patton: "When he played his guitar, he would turn it over backwards and forwards, and throw it around over his shoulders, between his legs, throw it up in the sky". Burnett would perform the guitar tricks he learned from Patton for the rest of his life. He played with Patton often in small Delta communities.

Burnett was influenced by other popular blues performers of the time, including the Mississippi Sheiks, Blind Lemon Jefferson, Ma Rainey, Lonnie Johnson, Tampa Red, Blind Blake, and Tommy Johnson. Two of the earliest songs he mastered were Jefferson's "Match Box Blues" and Leroy Carr's "How Long, How Long Blues". The country singer Jimmie Rodgers was also an influence. Burnett tried to emulate Rodgers's "blue yodel" but found that his efforts sounded more like a growl or a howl: "I couldn't do no yodelin', so I turned to howlin'. And it's done me just fine". His harmonica playing was modeled after that of Sonny Boy Williamson II, who taught him how to play when Burnett moved to Parkin, Arkansas, in 1933.

During the 1930s, Burnett performed in the South as a solo performer and with numerous blues musicians, including Floyd Jones, Johnny Shines, Honeyboy Edwards, Sonny Boy Williamson II, Robert Johnson, Robert Lockwood, Jr., Willie Brown, Son House and Willie Johnson. By the end of the decade, he was a fixture in clubs, with a harmonica and an early electric guitar. It was around this time that Burnett got into some legal trouble in Hughes, Arkansas: While he was in town, he tried to protect a female acquaintance from an angry boyfriend, and the two men fought, with Burnett killing the man with a hoe. What happened after this is a matter of dispute; Burnett either fled the area, or did some jail time.

Military service, 1940s
On April 9, 1941, he was inducted into the U.S. Army and was stationed at several bases around the country. Years later, he stated that the plantation workers in the Delta had alerted military authorities because he refused to work in the fields. He was assigned to the 9th Cavalry Regiment, which was famous for being one of the units dubbed "Buffalo Soldiers". Burnett was first sent to Pine Bluff, Arkansas, for basic training, and was given long hours performing menial work. Then he was transferred to Camp Blanding, in Starke, Florida, where he was assigned to the kitchen patrol. During the day he would cook food for the enlisted soldiers, and at night he would play the guitar in the assembly room. Burnett was later sent to Fort Gordon in Georgia, and he would play his guitar on the steps of the mess hall, which is where a young James Brown, who came to the Fort nearly every day to earn money shining shoes and performing buck dances for the troops, first heard him play.

Burnett was then sent to a tutoring camp in Tacoma, Washington, where he was in charge of decoding communications. Because Burnett was functionally illiterate, having never received formal education, he was repeatedly beaten by the drill instructor for reading and spelling errors. Soon, Burnett began having uncontrollable shaking fits, dizzy spells, fainting, and also began experiencing mental confusion.

Burnett participated in the Louisiana Maneuvers in 1941, where one of the earliest photographs of him was taken cleaning the frog of a horse's hoof. In 1943, he was evaluated at an Army mental hospital. In November 1943, Burnett was found unfit for duty and given an honorable discharge on November 3. Recalling his experiences in the Army years later, Burnett stated, "The Army ain't no place for a black man. Jus' couldn't take all that bossin' around, I guess. The Wolf's his own boss."

He returned to his family, which had recently moved near West Memphis, Arkansas, and helped with the farming while also performing, as he had done in the 1930s, with Floyd Jones and others. In 1948 he formed a band, which included the guitarists Willie Johnson and Matt "Guitar" Murphy, the harmonica player Junior Parker, a pianist remembered only as "Destruction" and the drummer Willie Steele. Radio station KWEM in West Memphis began broadcasting his live performances, and he occasionally sat in with Williamson on KFFA in Helena, Arkansas.

First recordings and initial success, 1950s
In 1951, Ike Turner, who was a freelance talent scout, heard Howlin' Wolf in West Memphis. Turner brought him to record several songs for Sam Phillips at Memphis Recording Service (later renamed Sun Studio) and the Bihari brothers at Modern Records. Phillips praised his singing, saying, "God, what it would be worth on film to see the fervour in that man's face when he sang. His eyes would light up, you'd see the veins come out on his neck and, buddy, there was nothing on his mind but that song. He sang with his damn soul." Howlin' Wolf quickly became a local celebrity and began working with a band that included the guitarists Willie Johnson and Pat Hare. Sun Records had not yet been formed, so Phillips licensed his recording to Chess Records. Howlin' Wolf's first singles were issued by two different record companies in 1951: "Moanin' at Midnight"/"How Many More Years" released on Chess, "Riding in the Moonlight"/"Morning at Midnight," and "Passing By Blues"/"Crying at Daybreak" released on Modern's subsidiary RPM Records. In December 1951, Leonard Chess was able to secure Howlin' Wolf's contract, and at the urging of Chess, he relocated to Chicago in late 1952.

In Chicago, Howlin' Wolf assembled a new band and recruited the Chicagoan Jody Williams from Memphis Slim's band as his first guitarist. Within a year he had persuaded the guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin's understated solos and surprisingly subtle phrasing perfectly complemented Burnett's huge voice. The lineup of the Howlin' Wolf band changed often over the years. He employed many different guitarists, both on recordings and in live performance, including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Big Smokey" Smothers, his brother Little Smokey Smothers, Jimmy Rogers, Freddie Robinson, and Buddy Guy, among others. Burnett was able to attract some of the best musicians available because of his policy, unusual among bandleaders, of paying his musicians well and on time, even including unemployment insurance and Social Security contributions. With the exception of a couple of brief absences in the late 1950s, Sumlin remained a member of the band for the rest of Howlin' Wolf's career and is the guitarist most often associated with the Chicago Howlin' Wolf sound.

Howlin' Wolf had a series of hits with songs written by Willie Dixon, who had been hired by the Chess brothers in 1950 as a songwriter, and during that period the competition between Muddy Waters and Howlin' Wolf was intense. Dixon reported "Every once in a while Wolf would mention the fact that, 'Hey man, you wrote that song for Muddy. How come you won't write me one like that?' But when you'd write for him he wouldn't like it." So, Dixon decided to use reverse psychology on him, by introducing the songs to Wolf as written for Muddy, thus inducing Wolf to accept them.

In the 1950s, Howlin' Wolf had five songs on the Billboard national R&B charts: "Moanin' at Midnight", "How Many More Years", "Who Will Be Next", "Smokestack Lightning", and "I Asked for Water (She Gave Me Gasoline)". His first LP, Moanin' in the Moonlight, was released in 1959. As was standard practice in that era, it was a collection of previously released singles.

Album releases and European tours, 1960s and 1970s
In the early 1960s, Howlin' Wolf recorded several songs that became his most famous, despite receiving no radio play: "Wang Dang Doodle", "Back Door Man", "Spoonful", "The Red Rooster" (later known as "Little Red Rooster"), "I Ain't Superstitious", "Goin' Down Slow", and "Killing Floor", many of which were written by Willie Dixon. Several became part of the repertoires of British and American rock groups, who further popularized them. Howlin' Wolf's second compilation album, Howlin' Wolf (often called "the rocking chair album", from its cover illustration), was released in 1962.

During the blues revival in the 1950s and 1960s, black blues musicians found a new audience among white youths, and Howlin' Wolf was among the first to capitalize on it. He toured Europe in 1964 as part of the American Folk Blues Festival, produced by the German promoters Horst Lippmann and Fritz Rau. In 1965, he appeared on the popular television program Shindig! at the insistence of the Rolling Stones, whose recording of "Little Red Rooster" had reached number one in the UK in 1964. In the late 1960s and early 1970s, Howlin' Wolf recorded albums with others, including The Super Super Blues Band, with Bo Diddley and Muddy Waters; The Howlin' Wolf Album, with psychedelic rock and free-jazz musicians like Gene Barge, Pete Cosey, Roland Faulkner, Morris Jennings, Louis Satterfield, Charles Stepney and Phil Upchurch; and The London Howlin' Wolf Sessions, accompanied by the British rock musicians Eric Clapton, Steve Winwood, Ian Stewart, Bill Wyman, Charlie Watts and others.

The Howlin' Wolf Album, like rival bluesman Muddy Waters's album Electric Mud, was designed to appeal to the hippie audience. The album had an attention-getting cover: large black letters on a white background proclaiming "This is Howlin' Wolf's new album. He doesn't like it. He didn't like his electric guitar at first either." The album cover may have contributed to its poor sales. Chess co-founder Leonard Chess admitted that the cover was a bad idea, saying, "I guess negativity isn't a good way to sell records. Who wants to hear that a musician doesn't like his own music?"

The London Howlin' Wolf Sessions, like Muddy Waters's London album, proved more successful with British audiences than American.

Wolf's last album was 1973's The Back Door Wolf. Entirely composed of new material, it was recorded with musicians who regularly backed him on stage, including Hubert Sumlin, Detroit Junior, Andrew "Blueblood" McMahon, Chico Chism, Lafayette "Shorty" Gilbert and the bandleader Eddie Shaw. The album is shorter (a little more than 35 minutes) than any other he recorded, as a result of his declining health.

Wolf's last public performance was in November 1975 at the International Amphitheatre in Chicago. He shared the bill with B.B. King, Albert King, Luther Allison, and O.V. Wright. Wolf reportedly gave an "unforgettable" performance, even crawling across the stage during the song, "Crawling King Snake." The crowd gave him a five-minute standing ovation. When he got off the stage after the concert was over, a team of paramedics had to revive him.

Musical style
Wolf is among the most influential blues musicians of the postwar years. He was at the forefront of transforming the rural acoustic blues of the South, to the electric, more urban blues of Chicago. When Wolf first formed his band in West Memphis, Arkansas, his sound was much more aggressive, with guitarist Willie Johnson's raucous, distorted guitar playing being the signature sound of his early recordings. When Wolf switched guitarists and added Hubert Sumlin to his lineup, his sound became less aggressive with Sumlin adding "angular riffing" and "wild soloing". He also adopted the backbeat that Chicago blues was mainly known for.

Equipment
Although Sumlin was the main guitar player in Wolf's band, Wolf played a number of guitars himself throughout the years. He played a 1965 Epiphone Casino on his musical tour in Europe, a Fender Coronado, a Gibson Firebird V in the "Down in the Bottom" video recorded in 1966, a white Fender Stratocaster, a Teisco Tre-100, and he also played a Kay K-161 ThinTwin in his earlier years. The Kay K-161 ThinTwin is currently residing in the Rock & Roll Hall of Fame located in Cleveland, Ohio.

Personal life
Burnett was noted for his disciplined approach to his personal finances. Having already achieved a measure of success in Memphis, he described himself as "the onliest one to drive himself up from the Delta" to Chicago, which he did, in his own car on the Blues Highway and with $4,000 in his pocket, a rare distinction for a black bluesman of the time. Although functionally illiterate into his forties, Burnett eventually returned to school, first to earn a General Educational Development (GED) diploma and later to study accounting and other business courses to help manage his career.

Burnett met his future wife, Lillie Handley (1925–2001), when she attended one of his performances at a Chicago club. She and her family were urban and educated and were not involved in what was considered the unsavory world of blues musicians. Nevertheless, he was attracted to her as soon as he saw her in the audience. He immediately pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together, they raised two daughters Betty and Barbara, Lillie's daughters from an earlier relationship. West Coast rapper Skeme is his great nephew, who was born 14 years after his death.

After he married Lillie, who was able to manage his professional finances, Burnett was so financially successful that he was able to offer band members not only a decent salary but benefits such as health insurance; this enabled him to hire his pick of available musicians and keep his band one of the best around. According to his stepdaughters, he was never financially extravagant (for instance, he drove a Pontiac station wagon rather than a more expensive, flashy car).

Health
Burnett's health began declining in the late 1960s. He suffered his first heart attack in 1969 as he and Hubert Sumlin were traveling to a show at University of Chicago. He fell against the dashboard of the car he was riding in, and Sumlin, who was driving, pulled over and grabbed a two-by-four piece of wood that was lying in the road. Sumlin then rammed the wood into Burnett's back, which kick-started his heart. Three weeks later, while he was in Toronto for a gig, Burnett suffered additional heart and kidney problems, but refused an operation recommended by doctors, telling his wife that "he needed to keep working".

In 1970, Burnett was involved in a serious car accident that sent him flying through the windshield, which caused extensive damage to his kidneys. For the rest of his life, he received dialysis treatments every three days, which was administered by his wife Lillie. In May that same year, while he was in the United Kingdom to record The London Howlin' Wolf Sessions, his health problems worsened. A year later, Burnett suffered another heart attack, and his kidneys had failed. He also began suffering from high blood pressure as well. By May 1973, Burnett was back performing again. The bandleader, Eddie Shaw, was so concerned for Burnett's health that he limited him to performing six songs per concert.

Death
In January 1976, Burnett checked into the Edward Hines Jr. Veterans Administration Hospital in Hines, Illinois, for kidney surgery. Three days before his death, a carcinoma was found in his brain. He died from a combination of the tumor, heart failure, and kidney disease on January 10, 1976, at the age of 65. He was buried in Oakridge Cemetery, outside Chicago, in a plot in Section 18, on the east side of the road. His gravestone has an image of a guitar and harmonica etched into it.

Legacy
In 1980, Burnett was posthumously inducted into the Blues Foundation's Blues Hall of Fame. He was also inducted into the Rock & Roll Hall of Fame as an early influence, and the Hall of Fame located in his hometown of West Point, Mississippi, in 1995.

On September 17, 1994, the U.S. Postal Service issued a 29-cent commemorative postage stamp depicting Howlin' Wolf.

On September 1, 2005, the Howlin' Wolf Blues Museum opened at 57 E. Westbrook Street in West Point, Mississippi. An annual festival is held there.

The Howlin' Wolf Foundation, a nonprofit corporation organized under the US tax code, section 501(c)(3), was established by Bettye Kelly to preserve and extend Howlin' Wolf's legacy. The foundation's mission and goals include the preservation of the blues music genre, scholarships to enable students to participate in music programs, and support for blues musicians and blues programs.

The experimental rock band Swans performs a song titled "Just A Little Boy (for Chester Burnett)" on their 2014 album To Be Kind. The song takes heavy blues inspiration and features lead singer Michael Gira vocalizing in a manner similar to Burnett's howling style.

In 2023, Rolling Stone ranked Howlin' Wolf at number 59 on its list of the 200 Greatest Singers of All Time.

Awards and nominations
In 1972, Howlin' Wolf was awarded an honorary doctor of arts degree from Columbia College in Chicago.

Grammy Hall of Fame
A Howlin' Wolf recording of "Smokestack Lightning" was selected for a Grammy Hall of Fame Award, an award established in 1973 to honor recordings that are at least 25 years old and have "qualitative or historical significance".

Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame listed three songs by Howlin' Wolf in its "500 Songs That Shaped Rock and Roll".

Albums

 * 1959: Moanin' in the Moonlight (Chess) 1951–1958 recordings
 * 1962: Howlin' Wolf (Chess) 1957–1962 recordings
 * 1962: Howling Wolf Sings the Blues (Crown) 1951–1952 recordings
 * 1965: The Real Folk Blues (Chess) 1956–1965 recordings
 * 1967: More Real Folk Blues (Chess) 1953–1956 recordings
 * 1968: The Super Super Blues Band (Chess) with Muddy Waters and Bo Diddley
 * 1969: The Howlin' Wolf Album (Cadet Concept)
 * 1971: Message to the Young (Chess)
 * 1971: The London Howlin' Wolf Sessions (Chess)
 * 1972: Chester Burnett A.K.A. Howlin' Wolf (Chess) 1951–1965 recordings
 * 1972: Live and Cookin' (Chess)
 * 1973: The Back Door Wolf (Chess)
 * 1974: London Revisited (Chess) split album with Muddy Waters
 * 1975: Change My Way (Chess) 1958–1966 recordings
 * 1977: The Legendary Sun Performers: Howlin' Wolf (Charly)
 * 1979: Heart Like Railroad Steel (Memphis & Chicago Blues 1951–57) (Blues Ball)
 * 1979: Can't Put Me Out (Chicago 1956–72, Volume II) (Blues Ball)
 * 1984: Muddy & the Wolf (Chess) split album with Muddy Waters
 * 1984: His Greatest Sides, Volume One (Chess)
 * 1991: The Chess Box—Howlin' Wolf (Chess/MCA)
 * 1991: Howlin' Wolf Rides Again (Flair/Virgin)
 * 1994: Ain't Gonna Be Your Dog (Chess Collectibles, Vol. 2) (Chess/MCA)
 * 1997: His Best (Chess/MCA); reissued as The Definitive Collection (Geffen, 2007)
 * 1999: His Best, Vol. 2 (Chess/MCA)
 * 2011: Smokestack Lightning (The Complete Chess Masters 1951–1960) (Hip-O Select/Geffen)

title: Howlin' Wolf


text:
Concordat of 1801

The Concordat of 1801 was an agreement between the First French Republic and the Holy See, signed by First Consul Napoleon Bonaparte and Pope Pius VII on 15 July 1801 in Paris. It remained in effect until 1905, except in Alsace–Lorraine, where it remains in force. It sought national reconciliation between the French Revolution and Catholics and solidified the Roman Catholic Church as the majority church of France, with most of its civil status restored. This resolved the hostility of devout French Catholics against the revolutionary state. It did not restore the vast Church lands and endowments that had been seized during the Revolution and sold off. Catholic clergy returned from exile, or from hiding, and resumed their traditional positions in their traditional churches. Very few parishes continued to employ the priests who had accepted the Civil Constitution of the Clergy of the revolutionary regime. While the Concordat restored much power to the papacy, the balance of church-state relations tilted firmly in Bonaparte's favour. He selected the bishops and supervised church finances.

Bonaparte and the Pope both found the Concordat useful. Similar arrangements were made with the Church in territories controlled by France, especially Italy and Germany.

History

During the Revolution, the National Assembly had taken Church properties and issued the Civil Constitution of the Clergy, which made the Church a department of the state, effectively removing it from papal authority. At the time, the nationalised Gallican Church was the official church of France, but it was essentially Catholicism. The Civil Constitution caused hostility among the Vendeans towards the change in the relationship between the Catholic Church and the French government. Subsequent laws abolished the traditional Gregorian calendar and Christian holidays.

The Concordat was drawn up by a commission with three representatives from each party. Napoleon Bonaparte, who was First Consul of the French Republic at the time, appointed Joseph Bonaparte, his brother, Emmanuel Crétet, a counselor of state, and Étienne-Alexandre Bernier, a doctor in theology. Pope Pius VII appointed Cardinal Ercole Consalvi, Cardinal Giuseppe Spina, archbishop of Corinth, and his theological adviser, Father Carlo Francesco Maria Caselli. The French bishops, whether still abroad or returned to their own country, had no part in the negotiations. The concordat as finally arranged practically ignored them.

While the Concordat restored some ties to the papacy, it was largely in favour of the state; it wielded greater power vis-à-vis the Pope than previous French regimes had, and church lands lost during the Revolution were not returned. Napoleon took a utilitarian approach to the role of religion. He could now win favour with French Catholics while also controlling Rome in a political sense. Napoleon once told his brother Lucien in April 1801, "Skillful conquerors have not got entangled with priests. They can both contain them and use them." As a part of the Concordat, he presented another set of laws called the Organic Articles.

Contents
The main terms of the Concordat of 1801 between France and Pope Pius VII included:
 * A declaration that "Catholicism was the religion of the great majority of the French" but not the official state religion, thus maintaining religious freedom, in particular with respect to Protestants.
 * The Papacy had the right to depose bishops; the French government still, since the Concordat of Bologna in 1516, nominated them.
 * The state would pay clerical salaries and the clergy swore an oath of allegiance to the state.
 * The Catholic Church gave up all its claims to Church lands that were confiscated after 1790.
 * Sunday was reestablished as a "festival", effective Easter Sunday, 18 April 1802. The rest of the French Republican calendar, which had been abolished, was not replaced by the traditional Gregorian calendar until 1 January 1806.

According to Georges Goyau, the law known as "The Organic Articles", promulgated in April 1802, infringed in various ways on the spirit of the concordat. The document claimed Catholicism was "the religion of the majority of Frenchmen," and still gave state recognition to Protestants and Jews as well.

The Concordat was abrogated by the law of 1905 on the separation of church and state. However, some provisions of the Concordat are still in effect in the Alsace–Lorraine region under the local law of Alsace–Moselle, as the region was controlled by the German Empire at the time of the 1905 law's passage.

title: Concordat of 1801