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Percy

The English surname Percy is of Norman origin, coming from Normandy to England, United Kingdom. It was from the House of Percy, Norman lords of Northumberland, and derives from the village of Percy-en-Auge in Normandy. From there, it came into use as a mostly masculine and rarely feminine given name. It is also a short form of the given name Percival, Perseus, etc.

Surname

 * Alf Percy, Scottish footballer
 * Algernon Percy (disambiguation)
 * Charles H. Percy (1919–2011), American businessman and politician
 * Eileen Percy (1900–1973), Irish-born American actress
 * George Percy (governor) (1580–1632), English explorer, author, and colonial governor
 * Henry Percy (disambiguation)
 * Hugh Percy, 2nd Duke of Northumberland (1742–1817), British lieutenant-general in the American Revolutionary War
 * Isabelle Clark Percy West (1882–1976), American artist and educator
 * James Gilbert Percy (1921–2015), American Marine officer, flying ace and Navy Cross recipient
 * John Percy (disambiguation)
 * LeRoy Percy (1860–1929), American planter and politician
 * Pierre-Francois Percy (1754–1825), French surgeon
 * Richard Percy (died 1648), English soldier
 * Samuel Percy (1750-1820) Irish-born wax-modeller of portraits
 * Thomas Percy (disambiguation)
 * Walker Percy (1916–1990), American author
 * William Percy (disambiguation)

Given name

 * Percy Abercrombie (1884–1964), Australian football player
 * Percy Addleshaw (1866–1916), English barrister and writer
 * Percy Adlon (born 1935), German film and television director, writer, and producer
 * Percy Barnevik (born 1941), Swedish business executive
 * Percy Williams Bridgman (1882–1961), Nobel Prize winner in physics
 * Percy Butler (disambiguation), multiple people
 * Percy Cherrett (1899–1984), English footballer
 * Percy Cox (1864–1937), British administrator and diplomat
 * Percy Dawson (disambiguation)
 * Percy Dearmer (1867–1936), English priest and liturgical writer
 * Percy Dickie (1907–1987), Scottish footballer with Aberdeen, St Johnstone, Blackburn
 * Percy Edwards (1908–1996), English entertainer, ornithologist and animal impersonator
 * Percy Faith (1908–1976), Canadian-born bandleader, orchestrator, composer and conductor
 * Percy Fawcett (1867–?), British soldier, archaeologist and explorer
 * Percy Fernando, Sri Lankan Sinhala army major general
 * Percy French (1854–1920), Irish songwriter, entertainer and painter
 * Percy Gardner (1846–1937), English classical archaeologist
 * Percy Grainger (1882–1961), Australian-born composer and pianist
 * Percy Grant (Royal Navy officer) (1867–1952), Royal Navy admiral and Chief of Navy of the Royal Australian Navy
 * Percy Stickney Grant (1860–1927), American Episcopal priest
 * Percy Greene (1897–1977) American newspaper editor and journalist
 * Percy Harvin (born 1988), American football player
 * Percy Haswell (1871-1945), American Silent film actress
 * Percy Heath (1923–2005), American jazz bassist
 * Percy Helton (1894–1971), American actor
 * Percy Herbert (disambiguation)
 * Percy Jones (disambiguation)
 * Percy Hague Jowett (1882–1955), British artist and arts administrator
 * Percy Lavon Julian (1899–1975), American research chemist
 * Percy William Justyne (1812–1883), English artist
 * Percy Kachipande (born 1944), Malawian diplomat
 * Percy Kilbride (1888–1964), American actor
 * Percy Ludgate (1883–1922), Irish amateur scientist who designed the second analytical engine in history
 * Percy Lynsdale (born 1928), Iraqi football player
 * Percy Lowe (1870–1948), English surgeon and ornithologist
 * Percy MacKaye (1875–1956), American dramatist and poet
 * Percy Mahendra Rajapaksa (born 1945), Prime Minister of Sri Lanka
 * Percy Marmont (1883–1977), English actor
 * Percy Metcalfe (1895–1970), English artist and currency designer
 * Percy Robert Miller, aka Master P, hip-hop artist and entrepreneur
 * Percy Romeo Miller (born 1989), aka Romeo Miller, hip-hop artist, college basketball player, entertainer and son of Percy Robert
 * Percy Montgomery (born 1974), South African rugby player
 * Percy Erskine Nobbs (1875–1964), Scottish-born Canadian architect
 * Percy Noble (Royal Navy officer) (1880–1955), British Second World War admiral, Royal Navy Commander-in-Chief, Western Approaches
 * Percy Verner Noble (1902–1996), Canadian Member of Parliament
 * Percy Orthwein (1888–1957), American businessman
 * Percy Paris, Canadian Politician
 * Percy Parsons (1878–1944), American actor
 * Percy Pepoon (1861–1939), American politician
 * Percy Quin (1872–1932), American politician
 * Percy Avery Rockefeller (1878–1934), American businessman
 * Percy Rodriguez (disambiguation)
 * Percy Rojas (born 1949), Peruvian football player
 * Percy Ross (1916–2001), American philanthropist
 * Percy Schmeiser (1931-2020), Saskatchewan Member of Legislative Assembly, farmer, and Canadian Supreme Court defendant
 * Percy Shaw (1890–1976), English inventor and businessman
 * Percy Bysshe Shelley (1792–1822), English poet
 * Percy Sledge (1940–2015), American R&B and soul singer
 * Percy Smith (disambiguation)
 * Percy Spencer (1894–1970), American engineer and inventor of the microwave oven
 * Percy Spender (1897–1985), Australian politician and diplomat
 * Percy Stone (1856–1934), British architect
 * Percy Sutton (1920–2009), American politician, civil rights activist and businessman
 * Percy Tau (1994), South African football player
 * Percy Thrower (1913–1988), British gardener, horticulturist, broadcaster and writer
 * Percy Trompf (1902–1964), Australian commercial artist
 * Percy Vear (1911–1983), British professional boxer
 * Percy Wenrich (1887–1952), American composer
 * Percy White (1888–1918), Australian rugby player
 * Percy White (cricketer) (1868–1946), New Zealand cricketer
 * Percy White (nuclear scientist) (1916–2013), British chemist, metallurgist and nuclear scientist
 * Percy Whitlock (1903–1946), English organist and composer
 * Percy Wickremasekera, Sri Lankan Sinhala Trotskyist politician, lawyer, and trade unionist
 * Percy Williams (disambiguation)
 * Perce Wilson (1890–1936), American football player
 * Percy Wilson (footballer) (1889–1941), Australian football player
 * Percy Wyndham (disambiguation)
 * Percy M. Young (1912–2004), British musicologist, editor, organist, composer, conductor and teacher
 * Percy Yutar (1911–2002), South African attorney-general and prosecutor of Nelson Mandela in the 1963 Rivonia treason trial

Fictional characters

 * Sir Percy Blakeney, the Scarlet Pimpernel in Baroness Orczy's 1905 novel of the same name and various related works
 * Percy Dovetonsils, created and played by American television comedian Ernie Kovacs
 * Percy Jackson, a son of Poseidon and main character in the Percy Jackson & the Olympians book series
 * Judge Percy Merrick, character in High Noon
 * Percy Pea, from the VHS and DVD series VeggieTales
 * Percy Polie, on the animated children's series Rolie Polie Olie
 * Percy Patterson, character in Smallfoot
 * Lord Percy Percy, two related characters in the popular British sitcom Blackadder
 * Percival "Percy" Fredrickstein Von Musel Klossowski de Rolo III, a human gunslinger in the D&D web series Critical Role
 * Percy Sugden, on the British soap opera Coronation Street
 * Percy Weasley, in the Harry Potter series
 * Percy Wetmore, from Stephen King's novel The Green Mile
 * Percy the Park Keeper, in the British children's television series of the same name
 * Black Knight (Sir Percy), a Marvel Comics character
 * Percy the Dog, in Pocahontas
 * Percy the Penguin, on the animated children's series Jake and the Never Land Pirates
 * Percy the Small Engine, in the Railway Series and Thomas & Friends
 * Percy, on the animated American television series Clarence
 * Percy, on the animated American television series Amphibia
 * Percy, a hunter in the video game Identity V

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Koss Corporation

Koss Corporation is a company in Milwaukee, Wisconsin, US that manufactures headphones. The company introduced the first high fidelity stereophones.

History
John C. Koss founded the J.C. Koss Hospital Television Rental Company in 1953. After a short time Koss was looking for new ideas, and partnered with Martin Lange to eventually develop a stereo headphone. Based in Milwaukee, Wisconsin, United States, in 1991 Koss Audio & Video Electronics started producing and selling consumer electronics products as a separate company in Hazelwood, Missouri, United States. The Koss family owns more than 75% of the firm.

Having only a high school education, John C. Koss worked with Lange, an engineer, to develop the headphone that launched the company almost by accident, as they came upon the headphone idea as a result of an attempt to market a portable phonograph. What made this product unique was the privacy switch feature, which gave listeners the opportunity to listen to the first Koss SP/3 Stereophones. Initially, the product's purpose was to demonstrate to consumers the high-fidelity stereo sound of the portable phonograph.

Until then headphones had only been used in communications applications. In 1958 the design was introduced at a hi-fi trade show in Milwaukee, and audiences approved of it. Soon after the trade show, Koss went into business manufacturing and marketing stereophones from his basement apartment. The technology was imitated by competing manufacturers.

In the early 1970s, Koss worked out of two locations near each other. One was Koss TV-Rental, which also did electronics and musical instrument repairs; the second was the main facility two blocks to the east. At this time, Koss pioneered the high-end "electro-static" "ES series" headphone market. These headphones set the standard for wide-range frequency response. Being very durable, they required service for wear and tear on cords and earpads during their lifespan, by K&M Electronics (Klenworth & Midwest based in Minneapolis), working out of the TV Rental location. Koss headphones were easy and cost-effective to repair. At this site, a separate garage was set up to support the musical instrument and electronics repair business. The TV rental and repair site was managed by John's brother Pete Koss. Eventually, Koss dominated the headphone market, competing mainly with Telex. Koss was considered a higher quality unit at the time, offering a wide line of models.

In the late 1970s, to accommodate rapid growth, Koss moved to its present location on the north side of Milwaukee.

in the 1980s, Koss tried to diversify, unsuccessfully, into related areas of electronics; in 1984 the company filed for bankruptcy protection after a net loss that year of US$6 million (equivalent to $ million in ). Koss emerged from Chapter 11 bankruptcy proceedings in 1985.

In 1991, Michael J. Koss, son of founder John C. Koss, took over as president and chief executive officer.

In December 2009, former vice president of finance Sujata "Sue" Sachdeva was charged in federal court with wire fraud after the firm discovered her embezzlement of US$34 million (equivalent to $ million in ), and sentenced to eleven years in federal prison, of which she served six years. Koss was forced to restate five years of financials. It was able to recoup over US$12 million from its former auditor, from Sachdeva's credit card company, and by auctioning Sachdeva's stolen merchandise.

In 2020, Koss sued Apple, Bose, JLAB Audio, Plantronics Inc., and Skullcandy for patent infringement. In July 2022 Koss and Apple reached a settlement for an undisclosed amount regarding the alleged patent infringement on Koss' intellectual property.

During the 2021 GameStop short squeeze, the executives and directors of Koss earned US$40 million by selling company stock. This was more than the value of the Koss Corporation at the end of 2020.

Products
Koss headphones were also sold in RadioShack stores under their own brand. The Koss Plug and Koss Spark Plug are in-ear passive noise-isolating earphones; they can be adapted to take the high-end Etymotics ear tip, becoming the "Koss Hybrid". Other models include the Koss Porta Pro and well-regarded budget-priced headphones including the KSC series. Since 1989, all headphones manufactured in North America by KOSS come with a limited lifetime warranty covering normal use by the initial owner. Returning to the pre-Koss use of headphones, Koss produces communications headsets with microphone.

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

title: Koss Corporation


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Talk:Percy

Untitled
You say how it is pronounced in France, but how about in the United States?? 66.245.107.126 19:30, 22 May 2004 (UTC)

 * Uh, they're towns in FRANCE. I think you already know how Americans say "Percy."  The point is how they're pronounced by the people who live there. Moncrief 19:31, May 22, 2004 (UTC)

House of Percy
All the names should be listed in a a separate article, called House of Percy, which can have a list in one section. It seems a number of articles are link to this disambig page for the family. Given so many notable members of it, the family as a whole would presumably warrant its own article. Currently its a redirect to Earl of Northumberland, which seems somewhat arbitrary. I'm hoping a history buff can do this, rather then me. --Rob 21:11, 21 January 2006 (UTC)

title: Talk:Percy


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User:Nizhny Novgorod

This is the page for the User: Nizhny Novgorod.

title: User:Nizhny Novgorod


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Talk:Er (Cyrillic)

You say "always transliterated into English as R". Can you make sure what this is opposed to by saying, "always transliterated as R, never as..." to make sure you know what people might expect?? 66.245.107.126 19:31, 22 May 2004 (UTC)

hard or soft consonant?
is P considered a hard or soft consonant? im wondering whether, for spelling issues, if i should make a word begin like "Pэ" (if P = hard consonant) or like "Pe" (if P = soft consonant)? —Preceding unsigned comment added by 71.35.177.189 (talk) 17:26, 9 May 2009 (UTC)
 * That's not quite how the Cyrillic alphabet works. P represents both a hard consonant and a soft consonant.  It all depends on the following vowel so that if it's а, it's hard and if it's е then it's soft.  In consonant clusters and word-finally, it's usually hard.  — Æµ§œš¹  [aɪm ˈfɻɛ̃ⁿdˡi]  18:31, 9 May 2009 (UTC)

title: Talk:Er (Cyrillic)


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Périers

Périers or Perrières is the name or part of the name of several communes in France:

 * Périers, Manche, in the Manche département
 * Périers-en-Auge, in the Calvados département
 * Périers-sur-le-Dan, in the Calvados département
 * Perrières, in the Calvados département

title: Périers


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Selling England by the Pound

Selling England by the Pound is the fifth studio album by the English progressive rock band Genesis, released on 5 October 1973 on Charisma Records. It reached  in the United Kingdom and   in the United States. A single from the album, "I Know What I Like (In Your Wardrobe)", was released in February 1974 and became the band's first top 30 hit in the UK.

The album was recorded in August 1973 following the tour supporting the previous album, Foxtrot (1972). The group set aside a short period of time to write new material, which covered a number of themes, including the loss of English folk culture and an increased American influence, which was reflected in the title. Following the album's release, the group set out on tour, where they drew an enthusiastic reception from fans.

Critics and the band members themselves have given mixed opinions of the album, though guitarist Steve Hackett has said it is his favourite Genesis record. Its reputation has improved over time, appearing on various critical and fan-voted rankings of the best progressive rock albums. The album has continued to sell and has reached Gold certification by the British Phonographic Industry and the Recording Industry Association of America. It was remastered for CD in 1994 and 2007. Several of the album tracks became fan favourites and featured as a regular part of the band's live setlist into the 1980s.

Background
In May 1973, the Genesis line-up of frontman and singer Peter Gabriel, keyboardist Tony Banks, bassist and guitarist Mike Rutherford, guitarist Steve Hackett and drummer Phil Collins completed their 1972–1973 tour supporting their previous album Foxtrot (1972). The tour marked the band's first full-scale North American tour, which drew positive responses, but journalists were still criticising the band and comparing them to other progressive rock bands of the time such as Emerson, Lake & Palmer, Jethro Tull, and Pink Floyd. Charisma pushed to release new Genesis material to capitalise on the band's newfound commercial success despite the band's wishes against it, and released a compilation of live recordings from early 1973, originally intended for broadcast on the King Biscuit Flower Hour radio show in the US, as their first live album Genesis Live (1973). This budget-priced release also compensated for the cancellation of a proposed gig at Wembley Arena in May 1973, which was cancelled due to the inability to print tickets in time, and to act as a bridging album in between Foxtrot and the next studio album. It became their highest charting album in the UK at the time, peaking at No 9.

The group were too busy touring to write new material, so after coming off the road they set aside time to create new songs. Due to the success of Foxtrot, the group's record label, Charisma Records, allowed them two to three months to come up with a new studio album, which Rutherford considered to be "the kiss of death". Early into the sessions Collins formed a pick-up band with former Yes guitarist Peter Banks for a few gigs, and Rutherford revealed in an interview to Sounds in 1976 that "there had been worries that Phil might want to leave the group". Despite this, Gabriel recalled this time as a "relatively happy and calm period".

Writing and recording
The album was not written in a single session or location, and Banks recalled the group had some difficulty in coming up with musical ideas. The extra time that Charisma allowed caused the band to adopt a more relaxed pace of working at first, which included periods of unproductive work, such as the constant reworking of ideas to the point where they no longer worked or those that led them back to where they started. The first sessions took place in what reporter Jerry Gilbert described as "a rambling old stately home" in Chessington, Kingston upon Thames, the group practising in the living room causing the neighbours to complain about the noise and impose a curfew. Collins did not remember the album being particularly difficult to put together, but said the Chessington sessions was where the basis of "The Cinema Show" was put together. He had been listening to the jazz fusion group Mahavishnu Orchestra which influenced him to play more complicated time signatures on the drums for "Dancing With the Moonlit Knight" and other parts on the album. Rehearsals then moved to London in a space beneath the Una Billings School of Dance in Shepherd's Bush, during which "I Know What I Like (In Your Wardrobe)" was developed further. Hackett had not contributed a great deal of material to the group at this point, which was made difficult by the breakdown of his first marriage going on around the same time. Rather than pitch whole songs he instead devised guitar licks, all of which were used, and believed it gave the album a jazz fusion feel yet still remained very English.

Two sections that were brought into the sessions from the start were a simple guitar riff that Hackett had been playing that the band liked and wanted to develop further and became "I Know What I Like (In Your Wardrobe)", and three bits from Banks that he initially thought were for different songs but were instead used in the final arrangement of "Firth of Fifth". The third section developed early on became the opening of "The Battle of Epping Forest", and the band repeatedly performed these three pieces daily for a short while which Banks thought resulted in the latter song being too overworked. Despite the setbacks, biographer Robin Platts wrote: "There were enough magic moments and inspired jam sessions to produce such enduring compositions".

One of the ideas that Gabriel wanted to convey with the album was the idea of looking at "Englishness in a different way". This included his suggestion of the album's title, itself a slogan adopted by the Labour Party manifesto, to ensure that the British press would not accuse the band of "selling out" to America. Rutherford later deemed the title to be among the band's best album titles. Overall, it represented a decay of English folk culture and an increase in Americanisation. Banks said the English theme across the album was not an intentional idea at first, but merely the way the songs naturally developed. Gabriel later said he wrote all his lyrical contributions to the album in two days.

Having rehearsed and written enough material for an album, the group entered Island Studios in London in August 1973. As with Foxtrot, John Burns helped with production. Burns' technical skills resulted in a good recorded sound and environment, and this motivated the group to play better and tackle more complex arrangements. Gabriel was conscious of the greater use of lengthy instrumental sections on the album which he thought presented the risk of the material becoming boring.

Side one
"Dancing with the Moonlit Knight" evolved from a number of short piano pieces composed by Gabriel, which was combined with some of Hackett's guitar figures to make up the track. The second sections contains improvisations from the whole band, and the outro section was written by Rutherford. Gabriel added English-themed lyrics to counter the impression from the music press that Genesis were trying too hard to appeal to the American audience, including references to Green Shield Stamps. Banks had upgraded to a new model of Mellotron and used the choir sound on the track. The track ends with a series of 12-string guitar figures that were originally supposed to segue into "The Cinema Show" to make a piece around 20 minutes in length, but this idea was dropped as the result was too comparable to the 23-minute "Supper's Ready" on Foxtrot. Its original working title was "Disney". Rutherford thought the song's opening provided a good start to the album, but felt less enthusiastic towards it overall, calling it "a bit busy".

"I Know What I Like (In Your Wardrobe)" came out of a jam session by the group around one of Hackett's guitar riffs. He had presented the riff to the group previously, but it had been rejected because it sounded too much like the Beatles. Then Banks helped him to write the chorus. Gilbert described an early listening of the song as "Hints of quaint English romanticism" that, according to Gabriel, was initially intended to have more of a folk-oriented melody. The percussion sounds heard at the beginning are Gabriel playing with a talking drum that Burns had purchased from Nigeria. It was released as a single from the album, which became the first of the group's to chart in the UK.

Banks wrote most of "Firth of Fifth" on his own, and had presented it to the group for Foxtrot, but it was rejected. He reworked some sections of the song for Selling England by the Pound, where it drew a more positive reception. The track opens with a solo piece for piano, that is repeated by the band later in the song. Banks recalled the difficulty to remove the noise created by the piano pedal in the studio, so he played the passage without it which he found difficult. Hackett took one of Banks' piano figures and rearranged it as a guitar solo, which dominates the latter part of the track. Banks later deemed the lyrics, to which he contributed with assistance from Rutherford, as one of the worst he had worked on. He had aimed to follow "the idea of a river and then I got a bit caught up in the cosmos and I don't quite know where I ended up".

"More Fool Me" is the second of two songs, the other being "For Absent Friends" from Nursery Cryme, to feature Collins on lead vocals before he became the band's lead singer in 1975. Uncharacteristically for the group's output at the time, the song was a tender, romantic ballad. Its music was written quickly by Rutherford, with lyrics by both him and Collins, while sitting on the steps outside the recording studio. Gabriel considered the pair's contributions "quite a breakthrough".

Side two
"The Battle of Epping Forest" was inspired by a news story that Gabriel had read several years previously about the territorial battles by two rival gangs in the East End of London that would fight in Epping Forest. He placed an advertisement in The Times and looked through library archives in attempt to find more about the story, but was unable to find any further information, so he created his own fictional characters, including "Liquid Len", "Harold Demure" and "The Bethnal Green Butcher". Upon hearing a rehearsal take of the song in July 1973, reporter Chris Welch wrote: "'The 'Battle' has a catchy march theme with typical Genesis drum and bass lines, clean and precise". The lyrics have since been praised for their humour and wit, but the band later said they did not gel well with the music and made the piece complicated for the sake of being so. Gabriel thought its ending, which had each gang settling the issue over the toss of a coin, tied up the story well but is too much of an anti-climax. The song was composed by Banks with some help from Rutherford and Collins.

"After the Ordeal" is an instrumental written by Hackett with Rutherford; the song originated as more of an electric piece but neither he nor the other band members could adapt it into something that they felt worked, so it was transformed with an acoustic introduction with an electric guitar solo to finish. Hackett mentioned in a homemade video capsule that this was the first Genesis track on which he ever used a nylon guitar. Banks and Gabriel did not want to include the song on the album, but Hackett insisted it should be kept; Banks expressed little interest in its "pseudo classical" style. It was ultimately left on after Gabriel and Banks argued about the length of "The Cinema Show", which meant everything was included as a compromise. Banks later said the compromise led to the album overrunning its desirable length on vinyl, resulting in a sound quality he thought came out as "pretty rough".

"The Cinema Show" is divided into two sections. The first section is a 12-string guitar-based piece written by Rutherford, featuring vocal harmonies between Gabriel and Collins, as well as a short flute and oboe solo. The song concludes with a four-and-a-half-minute keyboard solo on the ARP Pro Soloist, with Rutherford and Collins playing a rhythm in a time signature. Rutherford come up with the main riff, then Banks and Collins improvised on it. The final melody on the synth was written by Collins. The lyrics, written by Banks and Rutherford, draw much of their inspiration from the T. S. Eliot poem The Waste Land.

The album closes with a segue from the end of "The Cinema Show" into "Aisle of Plenty", a reprise of "Dancing with the Moonlit Knight" which gives the album a book-end effect. The track uses word play such as "Easy, love there's the safe way home" and "Thankful for her fine fare discount, Tess co-operates", referring to British supermarkets.

Additional material
During the album's sessions Gabriel and Hackett developed a track named "Déja Vu", but it remained unfinished and left off the album. Hackett prepared a finished version of the song for his album Genesis Revisited (1996). He performed the song live on his 2019 tour which featured Selling England by the Pound performed in its entirety.

Sleeve design
The album cover is a painting by Betty Swanwick titled The Dream. Swanwick had designed posters for London Transport between the 1930s and 1950s. The original painting did not include a lawn mower; the band had Swanwick add it later as an allusion to the track "I Know What I Like" because Swanwick told them she did not have enough time to paint a new picture for the cover.

Release
Selling England by the Pound was released on 5 October 1973, reaching No. 3 in the UK charts and No. 70 on the U.S. Billboard Pop Albums chart. The album's success in the U.S. benefitted from a switch from Buddah Records to Atlantic. "I Know What I Like (In Your Wardrobe)" was released as a single, with "Twilight Alehouse" on the B-side, in February 1974. It was the band's first single to enter the UK chart, and peaked at No. 21. It was successful enough for Genesis to be invited to perform the song on the British television show Top of the Pops, which the band declined. In 2013, the album was certified Gold by the British Phonographic Industry for selling 100,000 copies.

The album was digitally remastered for compact disc in 1994 and again in 2007 by Rhino Records.

Critical reception and legacy
Contemporary reviews for the album were mixed. Rolling Stone's Paul Gambaccini praised the band for attempting something utterly different amidst "a stagnant pop scene", but criticised the album's lyrics, feeling they overused British pop culture references, and complained about some musical passages. Despite this, Gambaccini thought the album "merits some recognition". NME's Barbara Charone said the album was "the band's best, most adventurous album to date". The Guardian's Robin Denselow wrote that "much of the material is indistinctive and tedious". Writing for The Village Voice in June 1974, Robert Christgau assessed the record as "down-to-earth progressive, which means that it indulges in snooty satire about the vulgar futility of working class youth. Would T.S. Eliot be proud? I doubt it. But I have the feeling that they're saying right out what all their co-workers in the genre are thinking, and there's some pretty dense music here."

Retrospective reviews have been more favourable. AllMusic and BBC Music remarked that the album returned to the whimsical eccentricity of Nursery Cryme while retaining the hard rock intensity and pessimism of Foxtrot, combining the best of both elements to make Genesis's best album up to that point. Christgau, later writing in Christgau's Record Guide: Rock Albums of the Seventies (1981), admitted that the songs "Firth of Fifth" and "The Battle of Epping Forest" have "a complexity of tone that's pretty rare in any kind of art", though he summarised the rest of the album by saying "it sounds as snooty as usual".

In 2012, the album ranked seventh in Rolling Stone's "Readers' Poll: Your Favorite Prog Rock Albums of All Time". It was also included in IGN's list "10 Classic Prog Rock Albums" in 2008, who praised its "subtle elegance, sublime textures, and lyrical splendor". Rock author Edward Macan has mixed feelings towards the album, praising "Firth of Fifth" and "The Cinema Show" but questioning some of the other material. Motoring journalist and broadcaster Jeremy Clarkson is a fan of the album and wrote sleeve notes for it when it was included in the box set Genesis 1970–1975.

Hackett has considered the album to be his favourite Genesis record, and was happy with his extensive contributions to it. In 2017, he explained, "It was an important watershed album for the band, and it was at the beginning of us struggling to find gigs in the States. If we could get into a club somewhere, wherever it was, that was good news for us at that time. A young, struggling band, but with an album that was due to become a classic in time." Banks and Rutherford have had mixed feelings, saying there are a lot of high points but also some lows. Charisma owner Tony Stratton Smith was disappointed with the album, which he thought contained too many instrumental sections. Band friend and former roadie Richard Macphail thought the power of Genesis live had not been captured on record properly until Burns started to work with them and that by the time of Selling England, the group had acquired better equipment.

Selling England by the Pound has been praised by other songwriters and musicians. Rush drummer Neil Peart has said: "I think Selling England by the Pound is an enduring masterpiece of drumming. Beautiful drumming, lovely sound, and the arrangements, I think they really nailed the best of what that band as an entity could have done with that album." Fish, solo artist and former lead singer of Marillion, has called it "the definitive Genesis album", praised its "emotive" quality, said the wordplay was "one of the things that became quite an influence on me – the games within the lyrics" and concluded it "took a whole jump forward and was the album that really got me into Genesis". According to Hackett, John Lennon said he liked the album during a radio interview, which the band took great encouragement from. Swedish guitarist Yngwie Malmsteen also cites the album as a major influence. In an interview, Robert Pollard of Guided by Voices said that "Selling England by the Pound is one of my top 10 records of all time" and that "Genesis with Peter Gabriel might be my biggest influence."

Tour

Genesis supported the album with a concert tour of Europe and North America from September 1973 to May 1974. Initially they were to perform with a new and more elaborate stage set than before, that included inflatable objects that had images projected onto them, but a change in fire regulations following the Summerland disaster in August 1973 led to the idea being scrapped. Gabriel devised new stories before songs, and wore a full costume with a helmet and shield representing the Britannia character for "Dancing With the Moonlit Knight" and sang "The Battle of Epping Forest" with a stocking over his head.

The tour began with a sold-out tour of the UK, but had to cancel the first date at the Green's Playhouse, Glasgow due to electrical safety issues minutes before its start. The group realised they were substantially in debt and needed better management, so recruited Tony Smith (no relation to Charisma boss Tony Stratton Smith). In October 1973 a pair of dates in the tour were filmed by Charisma for a possible cinema release, but the plan was rejected by the band who felt the film was not up to standard. Instead, the band performed a five-song set in front of an invited audience at Shepperton Studios that was filmed and broadcast as Tony Stratton Smith Presents Genesis in Concert. The group returned to the U.S. in December 1973 that included six shows in three nights at The Roxy in Los Angeles, and a performance of "Watcher of the Skies" and "The Musical Box" on the late night television show The Midnight Special. January 1974 saw the band perform five nights at Theatre Royal, Drury Lane which saw Gabriel lifted in the air by a wire during "Supper's Ready".

Track listing
All tracks credited to Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Actual songwriters listed below. All tracks produced by Genesis and John Burns.

Personnel
Adapted from the album's 1973 sleeve notes.

Genesis
 * Peter Gabriel – vocals, flute, oboe, percussion
 * Tony Banks – Hammond organ, Mellotron, Hohner Pianet, ARP Pro Soloist, piano, 12-string guitar
 * Steve Hackett – electric guitar, nylon guitar
 * Mike Rutherford – 12-string guitar, bass, electric sitar, cello
 * Phil Collins – drums, assorted percussion, lead vocals on "More Fool Me", backing vocals

Production
 * John Burns – producer, engineer
 * Genesis – production
 * Rhett Davies – assistant engineer
 * Betty Swanwick – cover painting

title: Selling England by the Pound


text:
Périers-en-Auge

Périers-en-Auge (, literally Périers in Auge) is a commune in the Calvados department in the Normandy region in northwestern France.

title: Périers-en-Auge


text:
Talk:Selling England by the Pound

Stadium rock?
Pardon my pedantry, but is the 13-minute pastoral folky "Cinema Show", with its lyrics about Greek myth, and lenghthy mellotron-back synthesizer solo in 7/4 time, really what we'd "particularly" call "stadium rock" (or "arena rock")?

If we must talk about genres, it seems pretty "prog" to me.... --feline1 07:26, 7 September 2005 (UTC)

I agree. Takin' that down.--Someoneinmyheadbutit'snotme 04:25, 30 October 2005 (UTC)

I know that there's been speculation about who wrote what, and some later interviews on that matter, but I think that the individual songwriting credits should be removed, because 1) the official releases of the album credit each of the songs to Genesis as a whole, 2) the band's official website, which is current, also credits each of the songs on this album to Genesis as a whole, and 3) part of the friction leading to Gabriel's departure has been attributed to the 'all songs done by all' attitude. --Hriped 07:59, 16 March 2006 (UTC)

 * Agreed. It is also legally incorrect, as the copyright ownership in the songs is indeed split equally between all band members.--feline1 11:15, 16 March 2006 (UTC)

I think Banks wrote the cinema show and firth of fifth lyrics,they just dont sound very gabriel
 * From what I've read, he cowrote both songs' lyrics with Rutherford, but Gabriel contributed the idea to say "Romeo" and "Juliet" in the former. Ftg3plus4 (talk) 19:29, 9 April 2008 (UTC)

 * While the current wording is legally correct, this shouldn't prevent us from adding more detail in a footnote section (with sources, of course). CJCurrie 04:51, 13 April 2006 (UTC)

I'm not sure that it is a good idea for an encylopedic entry to use a sentence such as "It is considered by many fans to be one of the best overall albums the band produced.", particularly without citation, even if it is true. -- 68.239.49.94 03:28, 19 October 2006 (UTC)Thomas G. Marshall

Backing vocals
Where does the information come from that Steve Hackett sang backup on "I Know What I Like"? He rarely, if ever, did backing vocals for Genesis. This needs a citation, or it should be removed.

Length
I am curious as to how the album fit on the LP. From my limited knowledge of LPs, I know there is about 20 minutes per side, so I was wondering how the whole album fit as it is 53 minutes long?Nathanalex 04:36, 30 November 2006 (UTC)
 * An LP can easily hold 30 minutes per side. Longer sides are possible, sacrificing sound quality by using a narrower groove. MFNickster 05:24, 7 January 2007 (UTC)

 * No, LPs most certainly did not "easily hold 30 minutes per side," the number is more like 25 minutes, "easily," with a bit more at the risk of reduced audio quality. Todd Rundgren famously tried to squeeze as much music as he could on the sides of his "A Wizard, A True Star" LP released in 1973, and that one timed out at slightly less than 56 minutes total. AWATS was notorious for having inferior sound quality as a result. For the benefit of Nathanalex, the first side of the LP of "Selling England By The Pound" ended with "More Fool Me," and the second side began with "Battle of Epping Forest," if you'd like to figure out how much time was on each side. (This is from personal knowledge; I had this LP till I wore the grooves off it in the early-to-late seventies).--B. Polhemus (talk) 06:18, 1 March 2008 (UTC)

 * Based on the track times on the CD version, side two of this album came out to 28:41. That qualifies as unusually long, though other LPs have had longer sides. For example, one LP by ex-Genesis member Anthony Phillips, "Twelve", is about 65 minutes long. (And while we're mentioning Todd Rundgren, his "Initiation" LP was longer than any other album mentioned here.) BTW, LP sides exceeding 25 minutes were common for Genesis from "Foxtrot" thru "Duke" (the latter of which ran over 55 minutes). Ftg3plus4 (talk) 19:29, 9 April 2008 (UTC)

Just for the record, I removed the tracklisting of the remastered album using more heavily edited pages such as Pink Floyd's as an example. The listing was identical and only served to demonstrate a second's difference in track two. --Pixel Eater (talk) 12:29, 19 September 2009 (UTC)
 * Karlheinz Stockhausen had a group of vocalists fit his a cappella piece Stimmung on a single LP. And conductor André Cluytens put Beethoven's ninth symphony on one LP, splitting the slow third movement at a full pause in the middle. Each side ran to 30 minutes or more. Stimmung is around 75 minutes, and both of those records sound great in terms of audio quality (as well as musicianship), though they were done already in the 1960s: no slackening of the sound (both are stereo, of course). I know a good number of album sides that clock in past 30 minutes and still sound flawless. The limit is more to do with volume, with how loud the music is or how much variation of volume there is - more volume dynamics and a more "surroundive" sound with larger number of sources mean wider grooves - than any precise limit on the duration. But then I personally own several Beethoven LPs where one or both sides are 30 to 35 minutes, and Beethoven wasn't known for avoiding dynamism. Strausszek (talk) 15:20, 8 February 2010 (UTC)

Swanwick painting
"The original painting did not feature a lawn mower; Gabriel added it later as an allusion to the song 'I Know What I Like'."

According to 'Genesis: A biography' by Bowler and Dray, "The band approached [Swanwick] to do a new painting for the sleeve..because of time restrictions she modified the existing one, adding the lawnmower and garden fork." Whitespacebug 22:12, 6 March 2007 (UTC)

 * Apologies...my mistake. I corrected it. Jphillst 16:17, 27 March 2007 (UTC)

Requesting More Information for "More Fool Me"
Hello, I created an article for "More Fool Me" because all of the other tracks off of "Selling England by the Pound" have articles but "More Fool Me" did not. I have no idea what time signatures are, thus I have no idea what time signature More Fool Me is in. If anybody knows what time signature this song is in, please add it to the article. Also, did Steve Hackett provide the guitar on this track? I'm assuming it was him, as the album credits don't say that Mike Rutherford or Tony Banks provided it. If one of them did, please make revisions. Thank you.

Like father like son, nor flesh nor fish nor bone. I am Teh_Squonkz 06:51, 24 October 2007 (UTC)

 * The guitar on More Fool Me was played exclusively by Mike. In fact, when this was played during the SEBTP tour, the rest of the band would leave the stage, as Peter and Steve did during the second half of Cinema Show. MarkRae (talk) 15:23, 22 August 2008 (UTC)

"Teh Squonkz," a "time signature" refers to the number of "beats" per measure of music, a convenient way to chart out how the music proceeds. The most typical "time signature" (or, if you prefer, "rhythm") is "four-four," or 4/4, or "common time," variously. This would be ONE-two-Three-four, with a big emphasis on the first beat of the measure and a slightly lesser emphasis on the third beat. The "second-most" typical time is "three-four," or "3/4" time, often called "waltz time" as the music for that dance is always in 3/4. The rhythm is ONE-two-three, with a big emphasis on the first beat.

"More Fool Me" is in "common time," or four-four. It is really not necessary to mention that time signature in your article, since it isn't very noteworthy. All the discussions of time signatures for other songs on the album are because they are UNUSUAL, such as the 7/8 time signature during the extended vamp section in "Cinema Show." Other Genesis-related songs with "unusual" time signatures are Peter Gabriel's "Solsbury Hill," which is primarily in 7/4 time, and "Dance On A Volcano" with its alternating 7/8 and 6/8 bars.

Hope that helps.--B. Polhemus (talk) 06:31, 1 March 2008 (UTC)

Assessment
As Start Class. All the relevant info is there, and it just needs some references, esp to UK chart position, see for these. Also there is a lot of unsourced opinion in the "Sound & Live performance" section. References to Gabriel's "bluebell" hat, corn stalk & miming during "lawnmower", and pictured if possible, would be a useful addition. -- Rodhullandemu  (talk - contribs) 02:20, 10 November 2007 (UTC)

Songwriting Credits
As noted above, all tracks are credited to the members of Genesis jointly; if anyone feels they should be added as separate attributions, this should go in a separate section, and be sourced. Meanwhile there's a ton of original research here which should go, or be supported. If anyone's got Gallo's book, that is a good place to source stuff (mine is many miles away). This album deserves a proper rewrite. -- Rodhullandemu  (Talk) 01:46, 8 January 2008 (UTC)

I'm confused at where people are getting the info for who wrote the lyrics from, its not noted anywhere. —Preceding unsigned comment added by 65.110.137.50 (talk) 15:58, 3 July 2008 (UTC)

 * Check the Genesis Discography, which can be downloaded in PDF format here:
 * http://cyberreviews.skwc.com/genesis.html

 * Pages 100-101 discuss who wrote which lyrics. Jphillst (talk) 14:52, 11 July 2008 (UTC)

 * You're joking, yeah? Page 100-101 contains no sources or references to any interviews or anything, and admits that many of its assertians are "educated guesses". FAIL :)--feline1 (talk) 15:13, 11 July 2008 (UTC)

 * No, I'm not joking. It's not my fault if the discography doesn't cite any sources.  It clarifies which lyrics have been cited for certain and which ones are just guesses.  These have been discussed on message boards for a long time.  Jphillst (talk) 11:38, 13 July 2008 (UTC)

I think it's best to say the tracks were "credited to" (not "written by") all the members, and leave it at that. It's known that not every member contributed to every song ("More Fool Me" alone proves that), but details of just who wrote what (even lyrically) in Genesis' "all songs by the band" days are often unclear & sometimes conflicting.Ftg3plus4 (talk) 14 October 2008

The way the credits are given on these Genesis pages can lead one to think Rutherford was the main driving force of the band, when it was actually Phillips in the beginning and after that, Banks. 177.19.27.237 (talk) 15:46, 18 October 2014 (UTC)

Silver
Under certifications someone should mention how the album went silver. —Preceding unsigned comment added by 65.110.137.50 (talk) 14:03, 9 July 2008 (UTC)

Merger proposal
I propose that Dancing With the Moonlit Knight, Firth of Fifth, More Fool Me, The Battle of Epping Forest, After the Ordeal, The Cinema Show, and Aisle of Plenty all be merged into Selling England by the Pound. This was done for Nursery Cryme almost four years ago (see Articles for deletion/The Fountain of Salmacis(Genesis song)), and it's high time we it for this article. None of the seven songs in question have any notability outside of the album, and none of the articles on them have any sources, so they completely fail to meet WP: NSONGS. Moreover, having separate articles for every song on the album means we've effectively divided one article into nine, which makes it a lot harder to do maintenance on Selling England by the Pound info, since a lot of information has to be duplicated across articles. So, in the interest of both conforming to WP policy and having two good articles on Selling England by the Pound rather than nine lousy ones, let's merge these guys.Martin IIIa (talk) 13:46, 27 November 2011 (UTC)

Alright, it's been over a week, and obviously no one but me cares about this one way or another, so I'll go ahead and perform the merge.--Martin IIIa (talk) 14:01, 4 December 2011 (UTC)

Citations to RIAA Searchable Database
I have added recently a citation referencing the RIAA Gold & Platinum searchable database for the Gold certification of this album. To make the search to display the Selling England by the Pound entry, I found only one way, namely to use the album name as search input with field "artist". If anybody knows a better way how to do this, please let me know.--Cdl obelix (talk) 15:01, 2 May 2013 (UTC)

Initial US release of Selling England by the Pound
The initial US release of Selling England by the Pound was actually on the Charisma label, though Atlantic did distribute the album. As far as US releases went, it was their last album to be released on Charisma as all other subsequent albums were released on subsidiary label Atco and the main label, Atlantic for the remainder of their tenure on US Atlantic. I know this to be true because I have this on vinyl myself as I am a vinyl collector and enthusiast and it is on Charisma.

I just thought that I would point that out.Frschoonover (talk) 16:41, 5 June 2013 (UTC)

Infobox: 'recorded'/'released'
"Recorded August 1973 at Island Studios in London, England"

This can hardly be exactly true if the single "I Know What I Like.." was released, as the infobox says, on 3 August 1973. I wonder whether more accurate dating for the sessions is available? Harfarhs (talk) 21:19, 21 February 2014 (UTC)
 * I've traced the August 73 date to multiple sources, so it must be false. I'll tag it and find another source. Ritchie333 (talk) (cont)  09:58, 1 February 2015 (UTC)

Credits
The sleeve notes and several other reliable sources say all tracks were credit to the whole band. Individual credits only started on A Trick of the Tail. To suggest otherwise is original research and should not go in the article. Ritchie333 (talk) (cont)  10:02, 4 February 2015 (UTC)
 * Yep. This is a hard point for people to understand, since it's somewhat intuitive to assume that Wikipedia songwriting credits should reflect who actually wrote the songs rather than the songs' owners. Most people aren't aware that official songwriting credits differing from the actual writers is actually commonplace, and that in many cases we can't establish exactly who wrote a given song.--Martin IIIa (talk) 21:08, 5 February 2015 (UTC)

 * Yep. Peter Gabriel remarked in some interview in later years that "Firth of Fifth strikes me as an example of a song that's all /written by/ Tony". That certainly sounds right - keyboard/piano-driven track, a kind of romantic feel that squares with some other songs he would write after Gabriel left, and lyrics that sound like Banks too. Unfortunately Gabriel's statement is borderline first-hand source, and he's not known for being 100% reliable in interviews, so the attribution remains a near-safe bid about who wrote the song, but it doesn't change the credit thing. 83.251.170.27 (talk) 07:43, 18 November 2015 (UTC)

title: Talk:Selling England by the Pound


text:
First Amendment of the Constitution of Ireland

The First Amendment of the Constitution Act 1939 amended the Constitution of Ireland to extend the constitutional definition of "time of war" to include a period during which a war occurs without the state itself being a direct participant. It was introduced and signed into law on 2 September 1939, the day after the Invasion of Poland by Germany and allowed the government to exercise emergency powers during World War II (known in Ireland as The Emergency) although the state was neutral.

Background
Article 28.3.3° of the Constitution grants the state sweeping powers during a state of emergency, but in the form in which the article was adopted in 1937, they could be invoked only during a "time of war or armed rebellion". The First Amendment specified that "time of war" could include an armed conflict in which the state was not actually taking part.

The amendment was introduced by the Fianna Fáil government of Éamon de Valera on 2 September 1939, and passed swiftly through both houses of the Oireachtas. Unlike later amendments, the First and Second Amendments were not submitted to a referendum because under the terms of Article 51, one of the Transitory Provisions of the Constitution, the Constitution could be amended by a vote of the Oireachtas alone from 1938 to 1941.

Changes to the text
Addition of the text in bold to Article 28.3.3°:

Irish text
The First Amendment was passed only in English. That created a constitutional difficulty, as the Irish text of the Constitution has legal precedence. The error was rectified by the Second Amendment, passed in 1941, which included in its provisions, at Reference No. 21, the Irish text of the First Amendment.

Legislation
The Emergency Powers Act 1939 was passed and signed on the same day as the First Amendment. Further Acts were passed over the course of World War II. The Emergency Powers Act 1976 was passed in response to The Troubles.

Later amendments
Article 28.3.3° was amended on two further occasions. The Second Amendment, passed in 1941, also under Article 51, clarified that emergency provisions must be within the time of war or armed rebellion itself and added a clause at the end of the last sentence, which specified that a "time of war" could extend beyond the termination of hostilities. The Twenty-first Amendment, passed in 2001, prohibited the use of the death penalty in a new subsection in Article 15.5.2°, and provided that the emergency provisions of the Constitution could not be used to allow the death penalty. Those later changes are highlighted in bold:

Oireachtas debates
First Amendment of the Constitution Bill 1939 on the Oireachtas Beta website

Legislation

 * First Amendment of the Constitution Act 1939
 * Full text of the Constitution of Ireland
 * Emergency Powers Act 1939
 * Emergency Powers (Amendment) Act 1940
 * Emergency Powers (Amendment) (No. 2) Act 1940
 * Emergency Powers (Continuance) Act 1940
 * Emergency Powers (Continuance) Act 1941
 * Emergency Powers (Continuance and Amendment) Act 1942
 * Emergency Powers (Continuance) Act 1943
 * Emergency Powers (Continuance) Act 1944
 * Emergency Powers (Continuance and Amendment) Act 1945
 * Emergency Powers Act 1976


text:
Talk:Ramparts (magazine)

Comment
Since there is no other entry for the term ramparts why don't we rename this article Ramparts? -- Viajero 19:35, 22 May 2004 (UTC)

More info?
Why was it called Ramparts and why did it close?--Jack Upland 05:53, 3 April 2006 (UTC)

 * According to former executive editor Warren Hinckle, founder Edward Keating thought Ramparts was "a terrifically symbolic name because it could mean either defending the Church from the ramparts against secular attack, or Catholic intellectuals striking forth at the world with their ideas, from the ramparts" (If You Have a Lemon, Make Lemonade, p. 36). --Peter Richardson 04:19, 27 August 2007 (UTC)

 * The magazine shut down twice for lack of funds--once briefly in 1969 while they reorganized under Chapter XI, and for the final time in 1975. The first time, circulation was quite high but the costs outstripped the revenue.  They began republishing again in April 1969 and trimmed costs substantially.  The second time, circulation had fallen below 60,000--a fraction of its peak.

 * http://www.insecure.org/stf/hacker_crackdown.txt says they closed after they published a blue box schematic and the feds seized and ruined their shit. The bad publicity and confiscated equipment cut too deeply into their sales. But that book could be wrong, and I can't be arsed verifying it right now. Maybe later. 72.40.101.236 22:43, 29 May 2006 (UTC)

Copyright issues
This article is largely based on an article in Folio, which I've linked to on the main page. It probably came to Wikipedia by way of this article on Sourcewatch wiki. On SourceWatch, the source was at least acknowledged. The last paragraph is the real problem - its a direct cut-and-paste from the original copyrighted source article. Peter G Werner 23:47, 6 June 2006 (UTC)

Vietnam veteran Don Duncan was military editor for Ramparts and gained strong media coverage for that.

http://en.wikipedia.org/wiki/Donald_W._Duncan Mike Kolvenbach (talk) 19:35, 24 August 2012 (UTC)

CIA financed Ramparts?
According to the following source, the CIA actually financed Ramparts, could that be possible? Can this article address this issue? Here: Cord Meyer (1980). Facing Reality: From World Federalism to the CIA. pp. 86–89. --192.223.243.6 (talk) 18:06, 5 April 2013 (UTC)

Sevendays
Sevendays magazine appeared in the mid-70's shortly after Ramparts' demise and openly stated that it was attempting to carry on the legacy. It put out a few monthly issues and might have gotten to biweekly for a little while; it admitted that the title was mostly aspirational, but it attempted to be a high-quality, glossy lefty magazine aimed at least a somewhat young, somewhat hip audience, something that The Nation of that (or maybe any) era could never do. I would guess that it was 1976-1978 or something like this; I don't know any area libraries that have it in their bound periodicals now, but it either needs its own, linked article or at least a section here, but someone would need the resources to research it, which I lack. 2600:1004:B104:6E3A:F0C4:B6F9:6683:8256 (talk) 02:12, 27 May 2014 (UTC)

Moved from article
This article is grossly deficient in that it fails to mention the major role played by Ramparts in 1966-67 by exposing the activities of the Central Intelligence Agency in the funding and infiltration of American and Foreign student, youth, labor and press organizations. — Preceding unsigned comment added by Nsaer (talk • contribs) 04:08, September 7, 2014

 * A great deal of significant content is now missing from this article, including a list of important contributors. Because a lot of research went into my book about the magazine, I tried to monitor this page for a while, but really, life is too short. Peter Richardson (talk) 13:11, 4 February 2015 (UTC)

JFK
The article states:

 * Ramparts also unearthed the first conspiracy theory about the Kennedy assassination.

However, according to John F. Kennedy assassination conspiracy theories (which doesn't mention Ramparts at all):

 * Among conspiracy theorists, Mark Lane has been described as writing "the first literary shot" with his article, "Defense Brief for Oswald," in the December 19, 1963, edition of the National Guardian.--Jack Upland (talk) 02:11, 26 August 2016 (UTC)

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title: Talk:Ramparts (magazine)


text:
Périers-sur-le-Dan

Périers-sur-le-Dan is a commune in the Calvados department in the Normandy region in northwestern France.

title: Périers-sur-le-Dan


text:
Third Amendment of the Constitution of Ireland

The Third Amendment of the Constitution Act 1972 is an amendment to the Constitution of Ireland that permitted the State to join the European Communities, which would later become the European Union, and provided that European Community law would take precedence over the constitution. It was approved by referendum on 10 May 1972, and signed into law by the President of Ireland Éamon de Valera on 8 June of the same year.

The incorporation of the law of the European Communities into Irish domestic law was put into effect by the European Communities Act 1972, which became law on the day Ireland acceded to the European Communities on 1 January 1973.

Background
Belgium, France, West Germany, Italy, Luxembourg and the Netherlands formed the European Coal and Steel Community in 1951. In 1957, the same six countries formed the European Economic Community and European Atomic Energy Community. Together, these were known as the European Communities and shared common institutions.

In 1961, Ireland applied to join the European Communities. This application was withdrawn after President of France Charles de Gaulle exercised a veto in respect of the application of the United Kingdom. A second application was made in 1967, and in 1972, the six member states signed a Treaty of Accession with Denmark, Ireland, Norway and the United Kingdom. As Ireland had no nuclear power programme, nor any important coal and steel industries, membership of the Communities primarily concerned the European Economic Community.

In Costa v ENEL (1964), the European Court of Justice established the primacy of European Community law. Therefore, an amendment was needed in order to avoid a conflict with the Constitution of Ireland, which had granted powers exclusively to the Oireachtas (parliament) and the Government of Ireland. It was also possible that many provisions of the Constitution might be found to be incompatible with European law.

Changes to the text
Addition of a new subsection to Article 29.4 of the Constitution:

Oireachtas debate
The Third Amendment of the Constitution Bill 1971 was introduced in the Dáil by Tánaiste Erskine H. Childers of Fianna Fáil. Among the opposition parties, it was supported by Fine Gael and opposed by the Labour Party. At the Second Stage debates, it was moved by Taoiseach Jack Lynch. The Labour Party sought to defeat the reading of the bill at second stage; a government motion to prevent this passed by 106 votes to 17, and the bill proceeded to Committee Stage. At Committee Stage, the government accepted a Fine Gael amendment to the final sentence. As initiated, this sentence had begun, "No provision of this Constitution invalidates laws enacted, acts done or measures adopted by the State consequent on membership of the Communities […]"; the amendment replaced the words highlighted in bold with the words "necessitated by the obligations of". It passed all stages in the Dáil on 26 January 1972. It passed all stages in the Seanad on 8 March 1972.

Views on accession
As well as parties represented in the Oireachtas, accession was also supported by employers' and farmers' interest groups. Then President Éamon de Valera privately opposed the state's entry and voted 'no', citing the loss of sovereignty.

Official Sinn Féin (now the Workers Party) opposed the state's entry, citing anti-imperialism and calling the EC a "rich man's club". Provisional Sinn Féin (now Sinn Féin) also opposed the entry, saying it would undermine Irish sovereignty and that the "Common Market Empire would threaten Irish ownership of Irish land".

Result
The Third Amendment was approved with 83.1% in favour to 16.9% against. It was the first amendment to the Constitution to be approved by Irish voters in a referendum.

Aftermath and later developments
The European Communities Act 1972 was signed into law on 6 December 1972. This provided a legislative basis for the primacy and direct effect of European Community law. On 1 January 1973, Ireland, Denmark and the United Kingdom became member states of the European Communities (Norway had rejected membership in a referendum).

Unlike in the United Kingdom, where membership to the European Communities was the subject of continued political debate and a post-accession referendum, in Ireland the outcome of the Third Amendment referendum immediately settled the issue of Ireland's place in Europe amongst both the Irish people and its politicians. In the decades that followed Irish support for continued membership would in fact continue to grow.

In Crotty v. An Taoiseach (1987), the Supreme Court of Ireland held that further transfer of power to the European Communities that were not in themselves necessitated by membership of the European Communities (in that instance, approval of the Single European Act) would require further amendments to the Constitution, and therefore require approval by referendum. Subsequent changes to the Treaties of the European Communities and later of the European Union have also required amendments to the Constitution, and therefore have required approval by referendum. These amendments have substantially altered the initial wording of 29.4.3° as inserted by the Third Amendment. in particular, the Twenty-eighth Amendment of the Constitution of Ireland approved in 2009, allowing the ratification of the Treaty of Lisbon, created a different structure to the subsections in Article 29.4.

In later years the various European organisations (with the exception of EAEC) were integrated by the ratification of subsequent treaties into the European Union.


text:
Périgny

Périgny may refer to:

Canada

 * Périgny River, a tributary of the O'Sullivan River in Quebec

France

 * Périgny, Allier
 * Périgny, Calvados
 * Périgny, Charente-Maritime
 * Périgny, Loir-et-Cher
 * Périgny, Val-de-Marne
 * Périgny-la-Rose, in the Aube département

title: Périgny


text:
Manishtushu

Manishtushu (Man-ištušu) (, Ma-an-ish-tu-su) c. 2270-2255 BC (middle chronology) was the third (or possibly second) king of the Akkadian Empire, reigning 15 years from c. 2270 BC until his death in c. 2255 BC. His name means "Who is with him?". He was the son of Sargon the Great, the founder of the Akkadian Empire, and he was succeeded by his son, Naram-Sin who also deified him posthumously. A cylinder seal, of unknown provenance, clearly from the reign of Naram-Sin or later, refers to the deified Manishtushu i.e. "(For) the divine Man-istusu: Taribu, the wife of Lugal-ezen, had (this seal) fashioned". Texts from the later Ur III period show offerings to the deified Manishtushu (spelled ᵈMa-iš-ti₂-su or ᵈMa-an-iš-ti₂-su). The same texts mention a town of ᵈMa-an-iš-ti₂-su where there was a temple of Manishtushu. This temple was known in the Sargonic period as Ma-an-iš-t[i-s]uki.

Biography
Manishtushu was the third king of the Akkadian Empire according to Old Babylonian tradition though listed as the 2nd, after Sargon, in the Ur III recension of the Sumerian King List. He was the son of Sargon of Akkad and Queen Tashlultum, brother of Enheduanna, Rimush, and Shu-Enlil, and the father of Naram-Sin. Only one year name is known. An unprovenanced tablet at the Baghdad Museum, from the Umma region on epigraphic grounds, reads "In the year that Dūr-Maništusu was established". From this it is also known that a "fortress of Manishtusu" was built though the location is unknown.

He became king in c. 2270 BC after the death of his brother Rimush. Manishtushu, freed of the rebellions of his brother's reign, led campaigns to distant lands. According to a passage from one of his inscriptions, he led a fleet down the Persian Gulf where 32 kings allied to fight him. Manishtushu was victorious and consequently looted their cities and silver mines, along with other expeditions to kingdoms along the Persian Gulf. He also sailed a fleet down the Tigris River that eventually traded with 37 other nations, conquered the city of Anshan in Elam, and rebuilt the destroyed temple of Inanna in Nineveh in c. 2260 BC. In Elam and Pashime, in the coastal area of Iran, Manishtushu had governors installed for the Akkadian Empire: Eshpum was in charge of Elam, while Ilshu-rabi was in charge of Pashime.

An ellipsoidal axehead (copper or bronze) from the region of Elam (provenance is uncertain as it is in a private collection) reads "(For) Maništušu, king of Kiš, Māšum, the charioteer, his servant". This form of axehead is known from other examples and from Akkadian Empire iconography. A marble mace head found at Sippar (BM 91018) reads "Man-istusu, king of the world, dedicated (this mace) to the goddess Belat-Aia.". An alabaster mace head found at Isin (IB 1878 - Iraqi Museum number unknown), in the shrine of Ninurta of the Gula temple, reads "Man-istusu, king of the  world, dedicated (this mace) to the goddess Ninisina.". Some inscriptions of the underlings of Manishtushu are known. A votive statue found at Susa reads "Man-istusu, king of the  world: Espum, his servant, dedicated (this statue) to the goddess Narunte." and a copper spear point found at Assur (VA 8300) read "Man-istusu, king of the world: Azuzu, his servant, dedicated (this spear) to the god Be'al-SI.SL". "'ma-an-iš-tu-su / lugal / kiš / eš18-pum / ARAD2-su / a-na / {d}na-ru-ti / a mu-na-ru For Manishtushu king of Kish, Eshpum his servant, dedicated this statue to Narundi'"

In c. 2255 BC Manishtushu died, possibly assassinated by members of his own court, and was succeeded by his son Naram-Sin. This supposed manner of his death is based on an Old Babylonian period extispicy omen text which reads "if the heart is like the testicle(s) of a sheep, it is an omen of Manishtushu, whom his palace killed". He held the title "King of Kish" in some of his inscriptions.

The Manishtushu "standard inscription" is known from at least eight exemplars, statue fragments found at Nippur (CBS 19925), Sippar (BM 56630 and BM 56631), Susa (SB 51 and SB 15566), and Khafajah (KH II 162) as well as Old Babylonian tablet copies of Manishtushu inscriptions found at Nippur (CBS 13972 and NI 3200) and Ur (U 7725): "'Man-istusu, king of the world: when he conquered Ansan and Sirihum, had ... ships cross the Lower Sea. The cities across the Sea, thirty-two (in number), assembled for battle, but he was victorious (over them). Further, he conquered their cities, [st]ru[c]k down their rulers and aft[er] he [roused them (his troops)], plundered as far as the Silver Mines. He quarried the black stone of the mountains across the Lower Sea, loaded (it) on ships, and moored (the ships) at the quay of Agade. He fashioned a statue of himself (and) dedicated (it) to the god [Enlil]. By the gods Samas and Ilaba I swear that (these) are not falsehoods (but) are indeed true. As for the one  who removes this inscription, may the gods Enlil and Samas tear  out foundations and destroy his progeny. - Man-istusu, king  of the world, dedicated (this object) to the god Enlil.'"

An inscribed door socket was found at an unexcavated mound on the Adaim river near where it meets the Tigris river, Khara'ib Ghdairife. It read "Manistusu, king of Kis, builder of the temple of the goddess Ninhursaga in HA.A KI. Whoever removes this tablet, may Ninhursaga and Samas uproot his seed and destroy his progeny."

Cruciform Monument of Manishtushu
In the early days of ancient Near Eastern archaeology a cross shaped (from above) monument of Manishtushu (BM 91022), inscribed in twelve columns, was discovered in 1881 by Hormuzd Rassam at Sippar. The monument mainly deals with the refurbishment of the Ebabbar temple in Sippar. It was assumed to be a legitimate Old Babylonian period copy of an Old Akkadian period monument. Later research showed that it was actually an Old Babylonian forgery. More recently, scholarship has dated the forging of the cruciform monument even later, to the Neo-Babylonian period. Several Late Babylonian copies of the cruciform monument have also been found. "'I am Maništušu, son of Sargon, strong king, king of Kish, anointed of Anum, vicar of Enlil, viceroy of Aba, molder of countless bricks, shrine builder to Aya, the bride, my mistress I built a twelve-bur cloister (and) a horse for Šamaš and Aya, the bride, my mistress ... '"

Manishtushu Obelisk
The diorite obelisk, damaged at the top and bottom, was found at the site of Susa in Elam in 1897 by Jacques de Morgan. The origin of the monument, considered a kudurru i.e. a land grant, is unknown though generally thought to be from Sippar based on locations mentioned in it and the fact that most texts carried back to Susa by the Elamites came from the Ebabbar temple of the god Shamash in Sippar. It is currently held in the Louvre Museum (SB 20). It records the purchase by Manishtushu of eight parcels of land totaling 3430 hectares. The kudurru is 144 centimeters in height (including a small plaster base added to the bottom to stabilize it). It has four inscribed sides (A-50 centimeters wide, B-45 centimeters wide, C-52 centimeters wide, and D-39 centimeters wide) which include a total of 76 columns of text with some lines at the top lost. The text is written in Akkadian language but with Sumerian orthography. This is the first written use of the talent measurement "3 talents 33 minas silver (as) the price of a field". A sample passage: "'Field of E-kum and Zimanak; the field's border to the north is the field of An-za-ma-tim; the field's border to the west is the Abgal canal; the field's border to the south is the field of M.; the field's border to the east is the field of Mi-zu-a-NI-im.'"

A number of locations and personal names are mentioned on the long text of the obelisk. The fields being procured are noted as being around four cities, Dur-Sin, Girtab, Marda, and Kish, with only the location of Dur-Sin unknown in modern times. All lie in the general area of Babylon, Nippur, and Kish near the ancient course of the Euphrates river. One of the personal names mentioned on the obelisk is "(Son of) Ilshu-rabi, Governor of Pashime". It has been suggested that this refers to Ilshu-rabi, a vassal of Manishtushu and governor of Pashime. This is based on the discovery of a stele at Tell Abu Sheeja reading "For the God Shuda, Ilsu-rabi of Pashime, the soldier, brought in this statue. May the one who erases the name (on this inscription) not find an heir; may he not acquire a name (for himself)".

Miscellaneous fragments
Various bits and pieces of the statues and monuments of Manishtushu have been found. They are identified by contemporary inscriptions, by added later inscriptions (mostly in the Elamite language where the name was rendered Ma-an-iš-du-uz-z) and, somewhat more controversial, on stylistic and iconographic bases. An example is the combination of fragment SB 49 (stool) and SB 50 (legs), held at the Louvre Museum, sometimes referred to as the "throne of Manishtushu". It was found at Susa and carried an Elamite language inscription by ruler Shutruk-Nahhunte (c. 1184 to 1155 BC) who carried it away from Eshnunna after a raid.

Another exemplar, found at Susa and inscribed a millennium later by Shutruk-Nakhunte is the statue composed of fragments fragments SB 47 (body) + SB 9099 (hands) said by Shutruk-Nakhunte to be of Manishtushu. "'I am Shutruk-Nahhunte, son of Hallutush-Inshushinak, beloved servant of the god Inshushinak, king of Anshan and Susa, who has enlarged the kingdom, who takes care of the lands of Elam, the lord of the land of Elam. When the god Inshushinak gave me the order, I defeated Akkad. I took the stele of Manishtushu and carried it off, bringing it to the land of Elam.'"

title: Manishtushu


text:
Perrigny

Perrigny is the name or part of the name of several communes in France:

 * Perrigny, Jura, in the Jura département
 * Perrigny, Yonne, in the Yonne département
 * Perrigny-lès-Dijon, in the Côte-d'Or département
 * Perrigny-sur-Armançon, in the Yonne département
 * Perrigny-sur-l'Ognon, in the Côte-d'Or département
 * Perrigny-sur-Loire, in the Saône-et-Loire département

title: Perrigny


text:
Fourth Amendment of the Constitution of Ireland

The Fourth Amendment of the Constitution Act 1972 is an amendment to the Constitution of Ireland which lowered the voting age for all national elections and referendums in the state from twenty-one to eighteen years of age. It was approved by referendum on 7 December 1972 and signed into law on 5 January 1973.

Background
The Fourth Amendment altered Article 16 which deals with elections to Dáil Éireann (the house of representatives of the Oireachtas). However other provisions of the constitution state that anyone entitled to vote in Dáil elections is also entitled to participate in the election of the President and in referendums, so the amendment affected these votes as well. The amendment did not, however, affect the minimum age at which one could be elected to the Dáil, and this remained at twenty-one.

It was submitted to a referendum on the same day as the Fifth Amendment, which removed from the constitution reference to the "special position" of the Catholic Church and recognition of certain other named denominations.

Changes to the text
The Amendment altered the text of Article 16.1.2° in the following manner:

Deletion from Article (removed text in bold):

Addition to Article 16.1.2 (added text in bold):

Oireachtas debate
On 16 February 1972, Brendan Corish, leader of the Labour Party, proposed a constitutional amendment as a private member's bill to lower the voting age to 18. This was opposed by the Fianna Fáil government as it did not wish to hold such a referendum until after the referendum on the proposed Third Amendment on Accession to the European Communities (which was passed on 10 May 1972).

On 28 June 1972, the Minister for Foreign Affairs Patrick Hillery moved the Fourth Amendment of the Constitution Bill 1972 on behalf of the Fianna Fáil government. At second stage, it was proposed by the Minister for Local Government Bobby Molloy. It was supported by the opposition parties Fine Gael and the Labour Party, and passed final stages in the Dáil on 11 July. It passed all stages in the Seanad on 13 July, and proceeded to a referendum on 7 December 1972.

Implementation
The 19th Dáil was dissolved on 5 February 1973 and a general election was held on 28 February. However, the electoral register was updated only every 15 April, so those under 21 were unable to vote despite the amendment. A 20-year-old student, represented by Seán MacBride, asked the High Court to postpone the election to vindicate his right to vote. He lost his case, although he was awarded his costs due to its "public importance".

Although the names of under-21s had already been added to the provisional register, it was the Electoral (Amendment) Act 1973 passed on 9 April which reduced the age limits in statute law in line with the amended constitution. The first under-21s to vote were a few graduates of the National University and Dublin University elections to the 13th Seanad.

The later Ninth Amendment passed in 1984 altered the text of Article 16.1.2° in a manner which would permit legislation to include certain people who are not citizens to be added to the register for elections to Dáil Éireann. However, the franchise for presidential elections and referendums remained restricted to Irish citizens.


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Périgny, Calvados

Périgny is a commune in the Calvados department in the Normandy region in northwestern France.

Geography
The commune is part of the area known as Suisse Normande.

The commune is made up of the following collection of villages and hamlets, Danne, Périgny and Le Bout de Là.

The river La Druance plus The Cresme stream are the only watercourses flowing through the commune.

title: Périgny, Calvados


text:
Perrières

Perrières is a commune in the Calvados department in the Normandy region in northwestern France.

History
Around 1075, the Lord of Courcy founded a priory under the protection of the Marmoutier Abbey close to Tours.

title: Perrières


text:
Talk:Empathy

Shoddy definition
Empathy goes beyond understanding what other person is feeling. Psychopaths (to some extent autistic people, too, and other types of disorders) have no empathy yet claim to understand the thought processes as well as emotion of other people. They just utilize it as a tool, they do not form boundaries within themselves based on the Golden Rule of Ethics, which stems from empathy.

I think the definition should include that internalization, or mirroring of another person's feelings, an acknowledgement that goes beyond "understanding." Galehautt (talk) 08:58, 24 January 2023 (UTC)

Removed paragraph from practical issues section
I removed the following paragraph:

" indicators for a lack of empathy:
 * 1) Frequently finding oneself in prolonged arguments
 * 2) Forming opinions early and defending them vigorously
 * 3) Thinking that other people are overly sensitive
 * 4) Refusing to listen to other points of view
 * 5) Blaming others for mistakes
 * 6) Not listening when spoken to
 * 7) Holding grudges and having difficulty to forgive
 * 8) Inability to work in a team"

Original revision where the list was added: https://en.wikipedia.org/w/index.php?title=Empathy&diff=prev&oldid=819626540

It was a highly specific list for which a source was not added since 2018. I will try finding some source for it and maybe it can be added again; I made this section in case someone wishes to help finding sources or wants to discuss whether the list belongs to the article.

Thank you for reading this. Apolo234 (talk) 08:50, 3 February 2023 (UTC)

Clinical Empathy
Clinical empathy is the skill for doctors, physicians, and other practicing medical professionals ought to take into their practices daily. Medical professionals also tend to change the meaning of empathy, seeing as detachment can be helpful in high stress situations. However, understanding how patients feel in these similar situations can be beneficial to treating many individuals as well. ~ Ethanbonham (talk) 03:26, 26 September 2023 (UTC)

Wiki Education assignment: Gender, Race and Computing
— Assignment last updated by Jonathany1pp (talk) 23:57, 11 November 2023 (UTC)

inaccurate, biased, uniformed statement perpetuates the myth that autistic people lack empathy
This part of this article is not true nor is it founded in research. This inaccurate, biased, uniformed statement perpetuates the myth that autistic people lack empathy. This myth has been imagined and disseminated by non-autistic 'researchers' who view autistic behaviour and appearances from a normative, neurotypical framework. Here is the harmful statement: "Because empathy is rooted in our ability to imitate their painful experience, people with disorders that inhibit them from social understanding/connection may experience difficulty portraying empathy for others. The people could include individuals diagnosed with Asperger's or autism." Please delete these sentences for the above reasons, but also because humans can also experience empathy for positive experiences not just painful. Samoidsamurai (talk) 22:54, 13 February 2024 (UTC)

 * I understand that this can seem biased. According to various research, even ones that have been done in the last five years, there are connections between struggles with empathy and autism. I agree that it should be reworded nonetheless. I will search for another source to add that clarifies your point. Mic20020 (talk) 20:41, 15 March 2024 (UTC)

title: Talk:Empathy


text:
Supreme Council of Antiquities

The Supreme Council of Antiquities (SCA; المجلس الأعلى للآثار) was a department of the Egyptian Ministry of Culture from 1994 to 2011. It was the government body responsible for the conservation, protection and regulation of all antiquities and archaeological excavations in Egypt, and was a reorganization of the Egyptian Antiquities Organisation, under Presidential Decree No. 82 of Hosni Mubarak.

In January 2011, it became an independent ministry: the Ministry of State for Antiquities (MSA).

The first government body was the Department of Antiquities, established in 1858. This became the Egyptian Antiquities Organisation in 1971.

Role
The Secretary-General directed the SCA through the Administrative Council. He answered to the Minister of Culture.

The SCA was the only agent permitted to restore or preserve Egyptian monuments. It defined the boundaries around archaeological sites and required foreign archaeologists working in Egypt to report all discoveries and finds to the SCA before publication. This somewhat controversial rule led to the expulsion of some archaeologists from Egypt, but reduced the theft of archaeological finds dramatically and notified the authorities to set up security around new finds.

The SCA was also responsible for the recovery of antiquities previously stolen or illegally exported from Egypt: between 2002 and 2008, it retrieved 3,000 artefacts. It became embroiled in a dispute with the Egyptian Museum of Berlin over the bust of Nefertiti, which it claimed was removed from the country by deceit; previously it had asked for the return of the Rosetta Stone from the British Museum and the Dendara Zodiac from the Louvre.

Antiquities service
Those who serve to preserve antiquities are in charge of the conservation and preservation of antiquities, as well as research and often give interviews and report on discoveries and work being done. In the 21st century they also face the difficult task of keeping monuments safe from a fringe of Islamist radicals who want the destruction of pharanoic monuments. Their official titles, depending on the years they served, have ranged from Director, to Director-General, to Chairman to Minister. The position may entail also, as was done by Zahi Hawass for many years, to stimulate tourism to Egypt, with charm and charisma. Sayed Tawfik was an Egyptologist who served from 1989–1990, when the body was called the Egyptian Antiquities Organization. At the end of 2011, Dr. Mohamed Ibrahim Aly was named antiquities minister and he promised to give new life to the body, by bringing in young archeologists and restarting projects which had been put on hold.

History
In the 1850s, Auguste Mariette made discoveries at Saqqara and revived an interest in Egyptology. The government of Egypt was keen to tap the skills and the publicity Mariette could bring to the country and created the post of Conservator for him.
 * Department of Antiquities

Mariette needed little persuasion in any case, and brought his family with him. The following year, in 1859, the Department of Antiquities was created, a respected body that would endure for more than a century. Mariette's organisation did not always place the welfare of Egypt and the Egyptians at the top of its priorities; the prestige of France, if not of Mariette himself, could seem equally important to him. Nevertheless, he did provide the infrastructure that was required and his energy and determination gave the body the strong foundation of an identity and a credibility.

Mariette was followed by Gaston Maspero "as Director General of the Excavations and Antiquities of Egypt, and his big achievement was his examination of the mummy of Ramses II, found in 1884, in the presence of the Khédive and other high dignitaries. The mummy of this great conqueror was well preserved, revealing a giant frame and a face expressive of sovereign majesty, indomitable will, and the pride of the Egyptian king of kings. He then unbandaged the mummy of Ahmose-Nefertari, wife of King Ahmose I. of the Eighteenth Dynasty, beside which, in the same sarcophagus, had been discovered the mummy of Ramses III. The physiognomy of this monarch is more refined and intellectual than that of his warlike predecessor; nor was his frame built upon the same colossal plan. The height of the body was less, and the shoulders not so wide. In the same season Maspero also discovered an ancient Egyptian romance inscribed on limestone near the tomb of Sinuhe at Thebes. A fragment on papyrus had been preserved at the Egyptian Museum of Berlin, but the whole romance was now decipherable."

"Professor Maspero resigned his office of directorship on June 5, 1886, and was succeeded in the superintendency of excavations and Egyptian archaeology by M. Eugène Grébaut. In the same month Grébaut started upon the work of unbandaging the mummy of the Theban king Seqenenra Tao, of the Seventeenth Dynasty. It was under this monarch that a revolt against the Hyksos, or Shepherd Kings, had originated, in the course of which the Asiatics were expelled from Egypt. The history of this king has always been considered legendary, but from the signs of wounds present in the mummy, it is certain that he had died in battle. In the same season the mummy of Seti I. was unbandaged, and also that of an anonymous prince."

"The next season the work of clearing away the sand from around the Great Sphinx was vigorously prosecuted by Grébaut. In the beginning of the year 1887, the chest, the paws, the altar, and plateau were all made visible. Flights of steps were unearthed, and finally accurate measurements were taken of the great figures. The height from the lowest of the steps was found to be one hundred feet, and the space between the paws was found to be thirty-five feet long and ten feet wide. Here there was formerly an altar; and a stele of Thutmosis IV. was discovered, recording a dream in which he was ordered to clear away the sand that even then was gathering round the site of the Sphinx."

By the 1970s, the value of Antiquities to Egypt was well-understood: both as a permanent advertisement for its tourist industry, and as an instrument of cultural prestige, imbuing a sense of pride in the post-colonial era, and maintaining morale during the numerous internal and external conflicts affecting Egypt since its independence. After more than a century of existence, the Department of Antiquities was therefore renamed in 1971.The new title sounded less bureaucratic, and suggested a dynamic agency: reflecting the value of the past to the present.
 * Egyptian Antiquities Organization

The concept appeared sound, but the value, both metaphorical and literal, of the antiquities 'industry' to Egypt indicated that, if anything, even more support and protection should be given. This led to the upgrade, firstly to a Supreme Council in 1994, then - in 2011 - to a full Ministry of State, devoted exclusively to a judicious development of the nation's heritage.

Sale room in the Egyptian Museum

In January 1881, Gaston Maspero succeeded Mariette as director of the Antiquities service (Service des Antiquités d'Egypte). In August of the same year, Amelia Edwards wrote to Maspero that thefts and robberies would probably decrease if the museum offered certified objects for sale, and that travellers would prefer to buy their ‘souvenirs’ at regulated prices at the Bulaq Museum rather than from locals. The decree of 16 May 1883 stipulated that the antiquities of the Bulaq Museum, or those that might be kept there or in other museums established in the future, were the property of the Egyptian state and for this reason were "inaliénables, insaisissables et imperscriptibles" (inalienable, unseizable, indispensable).

Nevertheless, probably in the same year, Maspero, assisted by Emil Brugsch, began to make a selection of the less important pieces to sell before they were included in the Bulaq collection. Gradually, the director introduced the official sale of antiquities in order to increase the financial resources of the Department of Antiquities and especially of the excavations. From June 1884, the sale of various objects and mummies is duly registered in the account books. It represents an important source of income for the service. Maspero himself buys small objects from the Antiquities Service for his personal collection. Many of them are now in the Egyptian collection of the Institut d'Egyptologie Victor Loret in Lyon.

The official sale of antiquities initiated by Maspero proved to be very lucrative for the Service des Antiquités d'Egypte (Antiquities service).

For this reason, a sale room (Salle de ventes) was opened in 1892 in the palace of Ismail Pasha in Giza, which became the seat of the Egyptian Museum in the last decade of the 19th century. It was located in room 91 on the ground floor, directly accessible from the outside. When the Egyptian Museum moved to Tahrir, in the early years of the 20th century, the sale room was located in room 56 on the ground floor, accessible from the western entrance. The Egyptian state continued to operate the sale room in the Egyptian Museum until 1979, selling original ancient Egyptian artworks and other artefacts there. From a packing list as well as from other sources, such as the pages of the register of the sale room or the museums' inventories and archives, which have already been checked or reconciled, it can be deduced that the objects sold were: Reliefs, architectural elements, offering tables, coffins, complete or fragmentary statues, statue heads or torsos, headrests, capitals (mostly Coptic), canopic jars, as well as stone or glass vessels, ushabtis, weights, amulets and scarabs. Despite the opinion that the objects sold to public institutions were more important than those sold to private collectors or dealers, we can see from the register of the sale room that the latter were also able to acquire very important objects. All of these works could subsequently be legally exported. Many objects that are now kept in private collections or public museums originated here.

Department of Antiquities
Director:
 * Auguste Mariette (1858–1881)
 * Gaston Maspero (1881–1886)
 * Eugène Grébaut (1886–1892)
 * Jacques de Morgan (1892–1897)
 * Victor Loret (1897–1899)
 * Gaston Maspero (1899–1914) (bis)
 * Pierre Lacau (1914–1936)
 * Étienne Drioton (1936–1952)
 * Mostafa Amer (1953–1956)
 * Abbas Bayoumi (1956–1957)
 * Moharram Kamal (1957–1959)
 * Abd el-Fattah Hilmy (1959)
 * Mohammed Anwar Shoukry (1960–1964)
 * Mohammed Mahdi (1964–1966)
 * Gamal Mokhtar (1967–1971)

Egyptian Antiquities Organization
Director:
 * Gamal Mokhtar (1971–1977)
 * Mohammed Abd el-Qader Mohammed (1977–1978)
 * Shehata Adam (1978–1981)
 * Fuad el-Oraby (1981)
 * Ahmed Khadry (1982–1988)
 * Mohammed Abdel Halim Nur el-Din (1988)
 * Sayed Tawfik (1989–1990)
 * Mohammed Ibrahim Bakr (1990–1993)

Supreme Council of Antiquities
Secretary-General:
 * Mohammed Abdel Halim Nur el-Din (1993–1996)
 * Ali Hassan (1996–1997)
 * Gaballa Ali Gaballa (1997–2002)
 * Zahi Hawass (2002–2011)
 * Mohamed Abdel Fattah (July–September 2011)
 * Moustapha Amine (29 September 2011–2013)
 * Mohammad Ibrahim (2013–?)
 * Mostafa Waziri (September 2017 to March 2024)
 * since March 2024: Mohamed Ismail Khaled

Ministry of State of Antiquities
Minister of State:
 * Abdelfattah al-Banna [nominated]
 * Zahi Hawass (2011)
 * Mohamed Ibrahim Aly

Ministry of Tourism and Antiquities

 * Zahi Hawass 31 January 2011 – 3 March 2011
 * Mamdouh Eldamaty from June 2014
 * Khaled al-Anani from 23 March 2016

 * Ahmed Issa (since 2022)

title: Supreme Council of Antiquities


text:
Pertheville-Ners

Pertheville-Ners is a commune in the Calvados department in the Normandy region in northwestern France.

History
The commune resulted from the fusion in 1858 of Pertheville (259 inhabitants in 1856) and Ners (113 inhabitants).

Administration
The mayor from 1990 to March 2008 was Michel Mallet, a farmer, who was politically independent. The mayor from 2008 until 2014 was Joël Patard, a teacher, also an independent. The current mayor, elected in 2014 and 2020, is Séverine Lepetit.

Sights

 * The church of Saint-Aubin at Ners
 * The church of Saint-Pierre at Pertheville
 * The chateau
 * The Manoir du Chêne Sec (Manor House of the Dry Oak)

title: Pertheville-Ners