text:
Talk:Carob

Smells?
Recent article in Seattle Times cautions about landscaping with Carobs because of pungent smell. Flowers only? — Preceding unsigned comment added by 97.126.14.76 (talk) 00:25, 4 March 2017 (UTC)

Conflict?
Okay, so carob is simultaneously a laxative AND a diarrhea corrective? Am I a biology idiot, or are these in conflict? 96.10.70.66 02:30, 21 September 2007 (UTC)

 * Some people in northern India claim Rhino horn is a natural aphrodisiac. I'm assuming these are merely claims based on tradition (of which carob has a long history). I don't know whether these claims are true (i.e. whether Egyptians and others actually made them), but the article should probably distinguish between cultural uses of carob and scientific/experimentally verified information. Good point though. LostCause 07:35, 6 October 2007 (UTC)

 * I contacted User talk:Deb who added the original claim. Samfreed 08:54, 7 October 2007 (UTC)

 * She says that she must have copied it from somewhere but has no reference or knowledge to this effect. I am removing the "diarrhea corrective" thing. Samfreed 15:54, 7 October 2007 (UTC)

 * I was told by an herbologist at Wild Oats that carob is indead a diarrhea corrective, due to its effectiveness as a thickening agent. -- Logotu 18:46, 2 November 2007 (UTC)

 * It has been used as a diarrhea corrective. I cannot personally vouch for it as I have not had need of it, but there are papers on the subject and Nestlé used to market a product made from carob called Arobon that was to help correct diarrhea in infants. I have seen the old marketing materials for Arobon myself in the special collections of UC Riverside. Spidra (talk) 21:22, 15 June 2014 (UTC)spidra

Chocolate?
Can anybody write on the use of carob as an alternative to chocolate? wjl Mar 27, 05

Does carob taste just like chocolate, or does it just taste similar? I've taste carob before and I noticed that it tasted slightly different from chocolate. Scorpionman 00:37, 10 May 2005 (UTC)
 * Personally I think it tastes more like syrupy banana than chocolate, in its unprocessed form. illspirit|talk 11:47, 28 August 2006 (UTC)

There is not reason to even state carob tastes ANYTHING like chocolate it does NOT. It is not even the same color. It's got a similar dark color and a similar texture but that is all. The taste is NOT close to chocolate and would never be confused with chocolate in any form. 4.142.126.213 22:30, 27 March 2007 (UTC)Nick
 * Fixed that, to what I consider an appropriate degree. BTW, you may want to get yourself an account on wikipedia and edit stuff yourself. Just read up a bit about the wikipedia first!Samfreed 23:12, 27 March 2007 (UTC)
 * Carob is definitely an alternative to chocolate. It does has a different taste (often more bitter), but carob is used in a lot of products where chocolate isn't wanted. They also have "carob chips" and "carob powder", used for baking. -- MacAddct1984 19:40, 13 April 2007 (UTC)
 * Carob is used for diabetic chocolate, IIRC. illspirit|talk 02:01, 14 April 2007 (UTC)

Why would Carob be preferred to chocolate during the "natural food" movement as stated in the text? They are both natural products. — Preceding unsigned comment added by 108.202.33.17 (talk) 16:12, 5 April 2022 (UTC)

Misc
What is the green fungus at the base of carob trees & Will it kill the tree ?
 * "Green fungus" is not description of anything, and this is not a gardening Q&A forum. Samfreed 23:12, 27 March 2007 (UTC)

I have just learned that the Carob tree is planted to honor righteous gentiles on the Avenue of Righteous Gentiles in the garden of Yad Vashem. Will Juntunen 5/6/2005

References to months of the year of flowering should refer to which hemisphere and the country as Carobs are grown outside of the Mediterranean centres of origin. Zeki Murad 25 Sept 2010. —Preceding unsigned comment added by 124.171.197.37 (talk) 10:19, 25 September 2010 (UTC)

Confusion of species
Algarrobo redirects here. Unfortunately, the Spanish name "algarrobo" is not just this carob tree, but also refers to several South American species, such as Prosopis alba, which is called "algarrobo blanco"; the name was given by the Spanish precisely because it looked similar to the European carob tree. To maintainers of tree articles, I suggest keeping an eye on this. I'm about to change Algarrobo into a disambig, just like Palo santo (for the same reason). --Pablo D. Flores 18:02, 22 August 2005 (UTC)

Honi HaM'agel
I just stumbled across a story about Honi HaM'agel and a carob tree, in which the long time (70 years?) required for such a tree to reach maturity and bear fruit is central. Worth mentioning? --Stickler 10:53, 10 January 2006 (UTC)

health food
Whether or not the designation of carob as a health food alternative is subjective or not, the inference is that it is. That, and since the link moves to a page that specifically speaks about a healthy diet, makes the inference highly loaded. It either needs a large caveat (as I placed), or should be removed.

Halogenated 00:38, 13 November 2007 (UTC)

 * You are pretty much right. But things get complex when you introduce new factors, maybe more complex than necessary. Consider just these three points:

 * Carob does not need to be ingested together with those fats
 * Many people would beg to differ regarding large-scale "commercial" chocolate being (still) made with cocoa butter. Only "fine" chocolates are.
 * In "my days", which is a while ago, the claim made about carob being more healthy was because of the excitant theobromine in chocolate, which "spiritually" made it similar to evil coffee. Health food freaks didn't approve of being excited.

 * So I'd think that my last formulation had at least the advantage of leaving all these hornet's nests unopened.

· Michel 11:56, 13 November 2007 (UTC)

I hear you, but i'm willing to open this Pandora's Box. Cocoa can be served without fat additives too in the same manner as carob. We need to compare apples to apples. Perhaps a more clear distinction between chocolate and prepared carob candy vs. cocoa powder and carob powder might clarify this. I'm not making comparisons between cocoa butter and other fats, just suggesting that a roasted product flavouring a sweetened fatty base is probably equally unhealthy whether it be carob or cocoa flavoured. As for health freaks and theobromine, let them continue to freak out over pseudo-science fears ;) Halogenated 18:14, 13 November 2007 (UTC)

 * Agreed about apples & apples. But I think that considerations about 1. the health value of this or that, or lack of such and 2. about what is pseudo-science and what is not (talking of POV hornets!) are beyond the scope of this article and as such have no place in it. Which is why a simple formulation like "some claim that..." or "it is considered by some..." is as truthful, objective, neutral and to the point as can be. A sensible approach for instance would be to refer to an internal or an external link discussing that particular claim.

 * Now, I landed on this article from another side, searching for something else, and I realized that it wrongly stated that carob was also a native American plant. So it's not like it's among my highest priorities (should remember to check off the Watch this page box), but I'm willing to discuss it with you.

 * · Michel 09:13, 14 November 2007 (UTC)

 * It looks much better this way, Halogenated. However, I still have a problem with the phrasing of “However the use of alternative oils and saturated fats in place of cocoa butter offers no health advantages compared to chocolate”, as it is not really relevant to the article, and for this reason on the borderline of POV. Maybe, if you insist on having it there, introduce something along the line that Certain nutritionists [?], however, consider that the use of... (if that is the case of course, ref. needed). Also: I'd find another wording than the “psychoactive substances” bit. Following that link in this particular context, one would almost be induced to believing that people get stoned on coffee or chocolate. Under caffeine, it only says that it acts as a psycho etc. Under theobromine, it's not even mentioned. I don't have a suggestion offhand, though. · Michel (talk) 15:21, 20 November 2007 (UTC)

I edited that section extensively, and I think I managed to remove all the debate that has to do with health food as such, while keeping anything that pertains to the Carob tree and its fruit. Also, I hope the section is a better read. Samfreed (talk) 15:41, 21 November 2007 (UTC)
 * Yep. · Michel (talk) 17:31, 21 November 2007 (UTC)

 * Simplicity is good, I like the reduction. I didn't put the material in r.e. psychoactive substances in the first place, I just tried to accomodate what was in place.  My only concern with the new lines are that it again makes some reference to carob as a health food alternative.  This is a loaded term, and implies that it is healthier than chocolate which is not the case; this is particularly obvious when the health food link is opened.  The whole point of my edits were to note that while certain people may feel this way, it is a matter of choice not to consume these substances in chocolate, and people with problems consuming caffeine for example may find carob a "healthier" alternative, but for the average person there is no health benefits.  By opening with "Some claim..." this does not neuter the effect.  Also, there should be sources for these claims, otherwise let's not bother to mention it at all perhaps. Halogenated (talk) 01:10, 23 November 2007 (UTC)
 * I just fixed it. I removed the line "health food" as in health food substitute.  The link does not suit the statement, as again, the inference is that it is a healthier food.  The same intended meaning is conveyed without the advocacy effect.  Agreed?Halogenated (talk) 01:13, 23 November 2007 (UTC)
 * Excellent. Samfreed (talk) 08:08, 23 November 2007 (UTC)

Christian Tradition
The author of the sited article clearly states "more squeamish Christian commentators" & himself believe John the Baptist ate carob pods, not Christians in general as the uncorrected statement might have implied —Preceding unsigned comment added by Zerothis (talk • contribs) 20:00, 6 April 2008 (UTC)

moved propaganda out of the article
This little gem reads like propaganda. Maybe the bit about Carob being a traditional food plant in Africa can be salvaged, but the rest is just POV.--99.233.126.97 (talk) 15:49, 17 August 2008 (UTC)

 * A traditional food plant in Africa, this little-known fruit has potential to improve nutrition, boost food security, foster rural development and support sustainable landcare.

new ecology information
For a university project I'd like to ad some more information. The new ecology section would look like this:

As a xerophytic (drought-resistant) species, carob is well adapted to the ecological conditions of the Mediterranean region with 250 to 500 mm of rainfall per year. . Carob trees can survive long drought periods but to grow fruit they need 500 to 550 mm rainfall per year. Trees prefer well-drained sandy loams and are intolerant of waterlogging, but the deep root systems can adapt to a wide variety of soil conditions and are fairly salt-tolerant (up to 3% NaCl in soil). After irrigation with saline water in summer Carob trees could possibly also recover during rainfalls in winter. In some experiments young carob trees could uphold basical physiological functions at 40 mmol NaCl/L

Not all legume species can develop a symbiosis with Rhizobia to use atmospheric Nitrogen. For Carob it remains unclear if it has this ability: Some findings suggest that it is not able to form nodules with Rhizobia while in an other study trees have been found with nodules containing bacteria believed to be from the Rhizobium genus. However measuring the 15N-signal in plant tissue did not support that carob trees in the field can use atmospheric nitrogen. Rueeggjo (talk) 18:59, 26 November 2014 (UTC)

New information and structure for "Uses" chapter
I would also like to add Information on the uses of Carob. Therefore I would restructure the chapter and add some subchapters with the new Information. It would then look like that:

The carob pod consists of two main parts which have very different composition and are seprarately used to produce different goods: The pulp accounts for 90% and the seeds for 10% of the pod weight.

Composition and use of the pulp
The pulp contains about 48 - 56% of sugars and 18% of cellulose and hemicellulose. There are some differences in sugar contents between wild and cultivated types: Sucrose = 531g ± 93 g/kg dry  weight for  cultivated varieties and 437 ± 77 g/kg  in wild type  varieties. Fructose and glucose levels do not differ between cultivated  and wild  type carob. Carob pulp is sold as flour or chunks. It can be also consumed directly from the dried (and sometimes roasted) pod. Carob is mildly sweet and is used in powdered, chip, or syrup form as an ingredient in cakes and cookies. From the pulp substitutes for cocoa can be produced. Chocolate contains theobromine, which is poisonous to some mammals, but carob does not, and is used to make chocolate-flavored  treats for dogs.

Composition and use of the seeds
The production of Locust Bean Gum (LGB) a thickening agent used in food industry is the economically most important use of the carob seeds (and of the carob as a whole) today. It is produced from the endosperm which accounts for 42 - 46% of the seed and is rich in galactomannans (88% of endosperm dry mass). For 1 kg LBG 3kg of kernels are needed which come from approximately 30 kg carob tree fruit. Galactomannans are hydrophile and swell in water. LGB is used as a thickening agent, stabilizer, gelling agent or as a substitute for gluten in low-calory-products. If galactomannans are mixed with other gelling substances like carrageenan they can be used to thicken food. This is used extensively in canned food for animals to get the jellied texture.

The embryo (20-25% of the seeds weight) is rich in proteins (50%) and its flour can be used in human and animal nutrition. The testa (30-33% of the seeds weight) is the seed coat and consists of cellulose, lignin and tannin.

Animal feeding
Traditionally the pulp for animal feeding was the most important use of carob fruits. In the Iberian Peninsula, carob pods were used mainly as animal fodder, especially to feed donkeys. Carob pod meal is used as an energy-rich and palatable feed for livestock, particularly for  ruminants, though its high tannin  content may limit its use.

Traditional uses
Beside the traditional use as livestock feeding there are various traditions in different countries for using the carob pods:

...here I would put the existing information about usesearticle

This sentence I would delete, as I found no evidence of it: Carob pods were an important source of sugar before sugarcane and sugar beets became widely available.[citation needed]

Ornamental use of the carob tree
...existing article again Rueeggjo (talk) 19:11, 26 November 2014 (UTC)

Cultivation
And last but not least I would like to add a chapter for Cultivation and the first subchapter of it: harvest and post-harvest treatment:

Harvest and post-harvest treatment
The most labour intensive part of carob cultivation is harvesting which is often done by knocking the fruit down with a long stick and gathering them together with the help of lied-out nets. This is a difficult task because at the same time the trees are flowering and care has to be taken not to damage the flowers. Research to get the fruit to ripen more uniformely or also for cultivars which can be mechanically harvested (by shaking) is recommended in the literature.

After harvest carob pods have a moisture content of 10-20% and should be dried down to a moisture content of 8% so the pods don't rot. Further processing is done to separate kernels (seeds) from the pulp. This process is called kibbling and results in pieces of carob pods (kibbles). Processing of the pulp includes grinding for animal feed production or roasting and milling for human food industry. The seeds have to be peeled which happens with acid or through roasting. Then the endosperm and the embryo are separated for the different uses. Rueeggjo (talk) 19:15, 26 November 2014 (UTC)

Cultivation and Orchard-Management
The vegetative propagation of Carob is restricted due to it's low adventitious rooting potential, which could be improved by using better grafting-techniques such as air-laying . Therefore seeds are still widely used as the propagation medium. The sowing occurs in pot nurseries in early spring and the cooling- and drying-sensitive seedlings are then transplanted to the field in the next year after the last frost. Carob trees enter slowly into production phase. Where in areas with good growing conditions the cropping starts 3-4 years after budding, the nonbearing  period can take up to 8 years in regions with marginal soils. Full bearing of the trees occurs mostly at a tree-age of 20-25 years where the yield stabilizes. The orchards are traditionally planted in low densities of about 25-45 trees/hectare. Hermaphrodite plants or male trees, which do not produce pods, are usually planted in lower densities in the orchards as pollinators. Intercropping with other tree species is widely spread. There is not much cultivation management required. Only light pruning and occasional tilling to reduce weeds is necessary. Nitrogen-fertilizing of the plants has been showed to have positive impacts on yielding-performance.

Pests and Diseases
There are only few pests known to cause severe damage in carob orchards therefore it has traditionally not been treated with pesticides. Some generalist pests like the larva of the leopard moth (Zeuzera pyrina L.), small rodents like rats (Rattus spp.) and gophers (Pitymys spp.) can cause damage occasionally in some regions. Only some cultivars are severely susceptible to mildew disease (Oidium ceratoniae C.). One pest directly associated with carobs is the larva of the carob moth (Myelois ceratoniae Z.) which can cause extensive post-harvest-damage.

Cultivars and Breeding-aims
Most of the approximately 50 known cultivars are of unknown origin and only regionally distributed. The cultivars show high genetic and therefore morphological and agronomical variation. No conventional breeding by controlled crossing has been reported but there has been done selection from orchards or wild populations. Domesticated carobs (var. edulis) can be distinguished from their wild relatives (var. silvestris) by some fruit-yielding traits like building of greater beans, more pulp and higher sugar contents. Also there was an genetic adoption of some varieties to the climatic requirements of their growing-regions. Though there was a partially successful breaking of the dioecy, the yield of hermaphroditic trees still can't compete with that of female plants as their pod-bearing properties are worse . Future breeding would be focused on processing-quality-aspects as well as on properties for better mechanization of harvest or better yielding hermaphroditic plants. The use of modern breeding techniques is restricted due to low polymorphism for molecular markers.   Caecusvanarbus (talk) 15:44, 27 November 2014 (UTC)

I would like to add as follows some more details about the agricultural traits and practices of the carob:

Cultivation and Orchard-Management
The vegetative propagation of Carob is restricted due to it's low adventitious rooting potential, which could be improved by using better grafting-techniques such as air-laying . Therefore seeds are still widely used as the propagation medium. The sowing occurs in pot nurseries in early spring and the cooling- and drying-sensitive seedlings are then transplanted to the field in the next year after the last frost.Carob trees enter slowly into production phase. Where in areas with good growing conditions the cropping starts 3-4 years after budding, the nonbearing  period can take up to 8 years in regions with marginal soils. Full bearing of the trees occurs mostly at a tree-age of 20-25 years where the yield stabilizes .The orchards are traditionally planted in low densities of about 25-45 trees/hectare. Hermaphrodite plants or male trees, which do not produce pods, are usually planted in lower densities in the orchards as pollinators. Intercropping with other tree species is widely spread.There is not much cultivation management required. Only light pruning and occasional tilling to reduce weeds is necessary. Nitrogen-fertilizing of the plants has been showed to have positive impacts on yielding-performance.

Pests and Diseases
There are only few pests known to cause severe damage in carob orchards therefore it has traditionally not been treated with pesticides.Some generalist pests like the larva of the leopard moth (Zeuzera pyrina L.), small rodents like rats (Rattus spp.) and gophers (Pitymys spp.) can cause damage occasionally in some regions. Only some cultivars are severely susceptible to mildew disease (Oidium ceratoniae C.).One pest directly associated with carobs is the larva of the carob moth (Myelois ceratoniae Z.) which can cause extensive post-harvest-damage.

Cultivars and Breeding-aims
Most of the approximately 50 known cultivars are of unknown origin and only regionally distributed. The cultivars show high genetic and therefore morphological and agronomical variation. No conventional breeding by controlled crossing has been reported but there has been done selection from orchards or wild populations.Domesticated carobs (var. edulis) can be distinguished from their wild relatives (var. silvestris) by some fruit-yielding traits like building of greater beans, more pulp and higher sugar contents. Also there was an genetic adoption of some varieties to the climatic requirements of their growing-regions. Though there was a partially successful breaking of the dioecy, the yield of hermaphroditic trees still can't compete with that of female plants as their pod-bearing properties are worse .Future breeding would be focused on processing-quality-aspects as well as on properties for better mechanization of harvest or better yielding hermaphroditic plants. The use of modern breeding techniques is restricted due to low polymorphism for molecular markers. Caecusvanarbus (talk) 15:44, 27 November 2014 (UTC)

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Hebrew transcription incorrect
The Hebrew word "חרוב" was transcribed as "harub" while it is actually "haruv" (or: charoov/haroov etc. Personally I prefer "Kharoov"). --37.46.38.81 (talk) 05:50, 19 June 2017 (UTC)

Requested move 20 June 2018

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: no consensus to move the page to the proposed title at this time, per the discussion below. Dekimasu よ! 17:37, 26 June 2018 (UTC)

Ceratonia siliqua → Carob tree – This is a more common and relatable name. That way people know this is where carob comes from. It is a better name. Bod (talk) 05:49, 20 June 2018 (UTC)

 * Move as per WP:COMMONNAME Biexx (talk) 12:16, 20 June 2018 (UTC)
 * Yep, move per WP:COMMONNAME. — Jon C.  ॐ  15:08, 20 June 2018 (UTC)
 * Oppose per Naming conventions (flora). Did it escape your notice that almost all plant articles use their scientific names? What makes this one so special and why should it be at carob tree and not carob bush or locust bean? —Xezbeth (talk) 12:08, 21 June 2018 (UTC)
 * Comment this is the common name for an edible and widely known and cultivated plant. Carob is the most common one, although I have heard of "locust bean". See the next comment for apple, etc. Bod (talk) 16:53, 21 June 2018 (UTC)
 * Oppose as per Xezbeth's comment. If it were moved, it should certainly not be to "Carob tree ". We don't put Apple at "Apple tree" or Strawberry at "Strawberry plant". it's wrong to anticipate a move, as you did, by changing the first sentence to start with the new title you're proposing. Please don't do it again. Peter coxhead (talk) 15:14, 21 June 2018 (UTC)
 * Comment Yes, that was wrong as I felt the move was guaranteed. Ok, I won't do it again. So putting that aside, don't you think it makes sense to have the title of this article be Carob? I actually agree more with that one. The reason I suggested the "carob tree" name is because that is used in the article and I have been trying to move acai palm to acai in a similar manner... Bod (talk) 16:53, 21 June 2018 (UTC)
 * Oppose Absolutely should not be at "carob tree ". That's inconsistent with almost every other article covering a fruit and the plant that produces it that is titled with a vernacular name (the two exception I'm aware of acai palm, and date palm (and including "palm" for dates is a form of natural disambiguation from the date dab page)). Including "tree" in the title is also not concise as well as being inconsistent. I think a case could be made here for splitting an article on carob as an ingredient from an article about the botanical aspects of the plant (a la tea/Camellia sinensis or vanilla/Vanilla planifolia). I don't see much point in moving to carob; people aren't having trouble finding their way to the article at its present title (see |Carob|Carob_tree page views). Plantdrew (talk) 01:38, 26 June 2018 (UTC)
 * Oppose in agreement with Xezbeth and Plantdrew. --Zefr (talk) 14:34, 26 June 2018 (UTC)
 * Oppose. A "Redirect" using "Carob tree" is sufficient, as it will automatically direct readers to this page. Besides, the lede already makes note of the fact that the taxonomic name refers specifically to the Carob tree.Davidbena (talk) 14:50, 26 June 2018 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

This article should be structured similarly to apple
It should be titled "Carob" and the first sentences should be "The carob pod is an edible fruit produced by the carob tree (Ceratonia siliqua). Carob trees are native to the Mediterranean region and the tree is widely cultivated for its edible fruit or as an ornamental tree in gardens."

The apple article begins "An apple is a sweet, edible fruit produced by an apple tree (Malus pumila). Apple trees are cultivated worldwide, and are the most widely grown species in the genus Malus." Bod (talk) 21:19, 20 August 2018 (UTC)

Requested move 12 June 2019

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved. Most editors believe that "Carob" is the common name of the plant, and is more concise than the scientific name. (non-admin closure) —  Newslinger  talk   04:41, 26 June 2019 (UTC)

Ceratonia siliqua → Carob – This is the common name for this common food plant. A very similar tree is Mesquite and that is even less well known. An argument could be made for Locust bean, but I have noticed common usage and labeling going towards "carob". 71.198.89.109 (talk) 00:43, 12 June 2019 (UTC) --Relisting. DannyS712 (talk) 02:55, 19 June 2019 (UTC)
 * Support per WP:NCFLORA: Scientific names are to be used as article titles in all cases except when a plant has an agricultural, horticultural, economic or cultural use that makes it more prominent in some other field than in botany, as well as WP:COMMONNAME and WP:CONCISE. Carob is a bit marginal but still sufficiently well-known crop to use the common name, and it also has sufficient historical importance. Most of the article is about non-botanical aspects anyway. No such user (talk) 15:29, 13 June 2019 (UTC)
 * Oppose. It might be reasonable to split off an article about Carob as a cooking ingredient (a la chocolate/Theobroma cacao). Are readers actually being harmed by having the scientific name as the title of an article covering carob as an ingredient and the plant species? Plantdrew (talk) 05:08, 18 June 2019 (UTC)
 * Support as more recognizable, natural, and concise. Also meets the criteria given in WP:NCFLORA for using non-scientific name (is of significant interest in fields outside botany). When the article title is X but the prose of the article overwhelmingly refers to the subject as Y, that strikes me as a red flag. Colin M (talk) 06:27, 19 June 2019 (UTC)
 * Support per nom, No such user, and Colin M. Randy Kryn (talk) 11:16, 19 June 2019 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

External links removed
This edit was justified by WP:ELNO as low-value additional links that do not improve the article, WP:NOTRECIPE and WP:NOTHOWTO (Wikipedia is not a cookbook or reference book for recipes), and WP:NOTNEWS (such as the Australian link added here). Zefr (talk) 01:35, 13 October 2020 (UTC)

reference in conflict with clause referenced
From [43], concerning the theobromine and caffeine content of carob products, : "Theobromine and caffeine levels in carob products ranged from 0-0.504 mg/g and 0-0.067 mg/g, respectively." This reference is cited for the clause : "While chocolate contains the chemical compound theobromine in levels that are toxic to some mammals, carob contains none, and it also has no caffeine, so it is sometimes used to make chocolate-like treats for dogs. [43],[44],[45] " Stupid. 172.243.144.242 (talk) 18:03, 29 February 2024 (UTC)

title: Talk:Carob


text:
Gavin Brown

Gavin Brown may refer to:

 * Gavin Brown (academic) (1942–2010), former Vice-Chancellor of the University of Sydney
 * Gavin Brown (art dealer), British art dealer
 * Gavin Brown (diver) (1984–2007), English diver
 * Gavin Brown (footballer) (born 1967), former Australian rules footballer in the Australian Football League
 * Gavin Brown (musician), Canadian musician and record producer
 * Gavin Brown (politician) (born 1975), Member of the Scottish Parliament
 * Gavin Brown (rugby league) (born 1977), English former rugby league footballer

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

title: Gavin Brown


text: User talk:68.93.73.107

title: User talk:68.93.73.107


text:
JAST USA

JAST USA is a publisher of English-language versions of Japanese video games, specifically bishōjo games, dating sims, visual novels and Japanese RPGs. It was founded in 1996, and their first game releases were Sakura Soft's Season of the Sakura and JAST's Three Sisters' Story. It has had several brands: Peach Princess, G-Collections, JAST Densetsu, and JAST Blue.

JAST USA was so named because it was originally affiliated with JAST (the Japanese company), but with the closure of JAST in 2000, the company created the subsidiary Peach Princess (because there was no longer a JAST to be affiliated with). As Peach Princess, the company published mostly Crowd and Will titles. In 2005, JAST acquired G-Collections from CD Bros., as it left the US market. In 2006, JAST USA merged its subsidiaries as JAST USA brands. In 2011, the brand JAST Densetsu was created with the goal of separating visual novels games away from the image of dating-sims. In 2015, all brands were folded back into the parent company, JAST USA, to improve overall brand recognition in a glowingly competitive market. In 2018 during Anime EXPO, its newer branch called JAST BLUE, which will focus towards Boys-love games, announced license acquirements of Nitro+chiral's titles sweet pool, Lamento: Beyond the Void, Togainu no Chi, DRAMAtical Murder and Slow Damage.

In addition to publishing their own games, JAST USA also acts as distributor for titles published by MangaGamer. In the past, they have also been the US distributor for games translated by the London-based company Otaku Publishing, Ltd., such as True Love.

Games published
This list are the titles from JAST USA, including ones from its past subsidiaries and acquisitions.

title: JAST USA


text:
Timeline of Northfield, Minnesota

This is a timeline of historical events relating to Northfield, Minnesota.

Nineteenth century
1851- The U.S. government imposed a treaty on the Dakota people, Siouan-speaking Native Americans who had been in this territory since at least the 17th century. Indigenous peoples of varying cultures had lived in the area for thousands of years before that. The treaty allowed European-American settlement in southern Minnesota. Most of the Dakota were removed to a reservation near New Ulm, Minnesota. The treaty marked part of the decline of the Dakotah Nation, adversely affected by infectious disease and warfare. The people have undergone a revival since the later 20th century, however. The treaty paved the way for the foundation of Northfield.

1851- William Marshall surveyed land and helped John W. North, a migrant from Syracuse, New York, pick out land to build mills and a town, to be called Northfield.

1854- May, Daniel Kuykendall was the first European-American pioneer to arrive in the area. Others soon followed.

1855- On August 17, 1855, North purchased 160 acres (647,000 m²) of land from each of the other two original pre-emptors.

1856- September, Miron W. Skinner and his brother moved to Northfield and opened the second town store. He was instrumental in the establishment of Northfield College, now known as Carleton College. (See 1916 note about building of Skinner Chapel on the campus.)

1856- Herman Jenkins built the first hotel in Northfield.

1857 John L. Schofield came to Northfield and was the town’s first doctor. He built the first drugstore, which was attached to his house. John North suffered financial failure in the Panic of 1857.

1859- Charles Augustus Wheaton bought John North's financial interests and became one of the early town leaders. 1865- Jesse Ames moved to town and bought mills from Charles Augustus Wheaton. 1866- The Minnesota Conference of Congregational Churches and Charles M. Goodsell established Northfield College, later named Carleton College. 1867- Wheaton and Goodsell each gave a 10 acre plot of land to the fledgling Northfield College to establish the college campus north of the main part of town.

1871- Northfield College changes its name to Carleton College, after benefactor William Carleton of Charlestown, Massachusetts, who had given US$50,000 to the fledgling institution. 1875- Hiram Scriver was elected first mayor of Northfield.

1874- St. Olaf College was founded by Rev. B.J. Muus, Harold Thorson and two area farmers, members of the Norwegian Lutheran Church.

1876- September 7, Attempted robbery of the First National Bank by the James-Younger gang. Bank treasurer Joseph Lee Heywood was killed after refusing to open bank safe.

1877- James D. Archer opened the second hotel in the Northfield area. (see 1959 note about Dallas Haas below)

1882- W. S. Pattee was superintendent of schools and also taught at Carleton College. Later he practiced law in Northfield, and became dean of the law school at the University of Minnesota.

1884—Joel P. Heatwole arrived in Northfield. He bought The News and made it the leading weekly newspaper in the state. Technologically, it was a model of what a printing office should be.

1889- Margaret Evans' administrative title at Carleton College was changed to “lady principal” and in 1898 to “dean of the women’s department.” Known as Dean Evans, she was a towering figure in Carleton history.

1893- J. C. Nutting, president of First National Bank, planned and financed the construction of the Nutting Block to house the Northfield Knitting Company.

1895- W. F. Schilling came to Northfield. Once an editor of the Northfield News, Schilling became a Holstein breeder and a prominent agriculturalist in the state and the nation. He wrote the book, "My first Eighty Years”, which was published in 1952 by Mohn Printing.

1897- Link Fey, built one of the first successful gasoline-powered automobiles in Minnesota.

1898- Laura M. Baker opened a school to serve special students under the age of fourteen.

Twentieth century
1914- Northfield adopted a town slogan, “Northfield: Cows, Colleges and Contentment.” The slogan was replaced by "Northfield: A Special Place," in the 1960s. In the 1980s, sentiment, a sense of humor, and marketing savvy lead to the renewed use of the old slogan.

1916- Emily Willey Skinner, wife of Miron W. Skinner, gave a large, Gothic style chapel to Carleton College on its 50th anniversary.

1918- W. M. Savage founded the Dan Patch Train Line.

1924- R.C. Phillips joined the fire department, where he served for 42 years as chief. He holds the record in the U.S. for being present at every fire fought by his firemen.

1927- John S. Campbell founds of Malt-O-Meal.

1934- George Gibson, who taught geology and coached football at Carleton College (His 611 career victories is the second-best among coaches with four or more seasons as the head coach.) He received many honors and awards in his field, among them election to the Petroleum Museum Hall of Fame in 2001.

1955- G. T. Schjeldahl started Sheldahl Company. It manufactured laminated products such as fabric for the inflatable "Echo" satellites and under-dashboard circuits for cars. After a merger in 2004, it became Multek Flexible Circuits, Inc.

1959- Dallas Haas, a building contractor, moved to Northfield with his wife Sandra and found a ready housing market. In June 1981, Haas and his wife, Sandra, purchased the Stuart Hotel and began work on what became Division Street’s most famous building (after the First National Bank), the Archer House. Dallas Haas Construction was named Industry of the Year by the Northfield Industrial Corporation in 1983.

1967- Maggie Lee becomes Editor of The Northfield News.

1975- Longtime Northfield News writer and editor, Maggie Lee, helped found the Northfield Historical Society. She was awarded the Hometown Spirit Award October 19, 1993.

1991- Greg Heyman opens Hogan Brothers’ Acoustic Café

Twenty-first century
2004- Maggie Lee celebrated 50 years in journalism. She continues to write columns and features for the newspaper.

2008- Mary Rossing becomes the first female mayor and a female majority is elected to the city council for the first time.

2020- The Archer House Inn, a hotel which had been operating since 1877, is destroyed in a fire caused by a faulty smoker in a barbecue restaurant stationed in the building.

title: Timeline of Northfield, Minnesota


text:
CHEMKIN

CHEMKIN is a proprietary software tool for solving complex chemical kinetics problems. It is used worldwide in the combustion, chemical processing, microelectronics and automotive industries, and also in atmospheric science. It was originally developed at Sandia National Laboratories and is now developed by a US company, Reaction Design.

CHEMKIN solves thousands of reaction combinations to develop a comprehensive understanding of a particular process, which might involve multiple chemical species, concentration ranges, and gas temperatures.

Chemical kinetics simulation software allows for a more time-efficient investigation of a potential new process compared to direct laboratory investigation.

One important driver for the development and use of CHEMKIN is the reduction of pollutants, such as NOx. As these pollutants become more tightly regulated through agreements by agencies such as the United States Environmental Protection Agency and the California Air Resource Board (CARB), researchers are making increasing use of simulation technology.

One limitation of CHEMKIN is that it assumes the reaction vessel has a relatively simple geometry, whereas sometimes this is not the case. For that reason, a related program called KINetics is often used in conjunction with Computational Fluid Dynamics tools. CFD programs are better able to account for geometric complexity, at the expense of being more limited in their treatment of the underlying chemistry of the reactive process being studied.

Reaction Design was acquired by ANSYS in 2014 so Chemkin and related products are now available through ANSYS.

title: CHEMKIN


text:
Fabiano (footballer, born 1978)

Fabiano Pereira da Costa (born 6 April 1978) is a former footballer who last played as a midfielder for XV de Piracicaba.

Career
Born in Marília, Brazil, Fabiano began his professional career with São Paulo in 1996, where he remained until 2001, when he moved to Portuguesa. He moved again in 2002, playing for Santos for a year, before transferring to Spain, where he played for Albacete Balompié during the 2003–04 season.

Following his stay with Albacete, Fabiano moved to Necaxa, where he appeared in 16 games during the 2004 Apertura, scoring three goals.

He was traded to Puebla F.C. for the Apertura 2008 season, on 12 March 2009 Clube Atlético Mineiro bought midfielder, the ex player of São Paulo FC, arrives from Puebla ( Mexican club ). Fabiano has signed with the Brazilian club until 31 December 2010.

Fabiano competed for Brazil at the 2000 Summer Olympics.

title: Fabiano (footballer, born 1978)


text:
Talk:Porch

Untitled
There are many kinds of porches. 4 x 4 feet plain wood platforms to 12 x 20 screen porches complete with chandeliers and pool tables. and they aren't all in front of (single family detached) houses. Apartment buildings might have them. Arguably, the landing at the top of an external stair might be called a porch. - bill, 2004 Dec 9, 03:36 UTC
 * Welldone, Bill, that's just what this article needed. You are absolutely right and I'll leave it to you to add further content. I had only got involved in this because the originator seemed somewhat concerned about his style. Dieter Simon 22:37, 9 Dec 2004 (UTC)

Integral Porches
Not all porches project from a house.

"An integral porch is one whose floor is set within the main structure, rather than being attched to the house, as in a projecting porch. Also called an inset porch." From page 182 of American Architecture by Cyril M. Harris, published 1998 by Norton.

--Fredgamble 08:32, 31 August 2007 (UTC)

Definition
"For a quick definition, a porch is a porch." That is not a definition... —Preceding unsigned comment added by 85.164.59.242 (talk) 20:26, 11 August 2009 (UTC)

Informal merge discussion
I am looking into this because I ran across a perplexing barrage of stub dictionary entry articles on break-off subjects that actually mean the same thing or are simply variations of the same thing. I can understand if there is an article that has grown to a size where splitting is necessary, but to have a ton of "Stub-class" dictionary entries, often with only a "See also" section (or some other section) added to propel the article to "Start-class". This just makes a mockery out of the article classification system as well as creating a system of related stub or start class articles that will never be improved.
 * The above Integral Porches section and the Definition section actually supports that a porch is a porch. This includes:

 * Screened porch,
 * Sleeping porch, and
 * Veranda that has three images of various porches and what some call a "screened-in porch". The talk page states, veranda is a large balcony on the level of a ground floor.

 * Porch sitting is a well referenced start-class article that might even be included.
 * Consolidating many dictionary stub entries or career stub or start-class articles into one place, thus creating a single better article, would be a vast improvement, natural, and it would seem uncontroversial, even though there will be "article defenders" that may argue differently just for the sake of it. I realize I could just start a merge request but I like to explore possible "friendly" discussions, that might result in better collaboration, that could reduce unnecessary linking and "See also" sections, that seem to go off into tangents not actually related. An editor at Talk:Screened porch stated "...alternate names for an already-existing article on this subject" and this sums it up fairly nicely as that is exactly what we have. We should split articles when this is an improvement or necessitated by size, and not just to "created articles". I will include links to this discussion on the related articles to hopefully create a fruitful discussion. Otr500 (talk) 12:40, 19 August 2017 (UTC)

 * My rule on these is, "What best serves the reader?"  From the examples given, some of these might demonstrate WP:Notability, which shows that we could have an article on them, not that we must have such an article. But overall, it would be a more readable article if merged. Andy Dingley (talk) 22:15, 19 August 2017 (UTC)
 * I reorganized the article, to add the various types of "porches" in sub-sections, that also have articles on Wikipedia. The main purpose is not only for consideration of future merging of articles that "should be merged" but possibly articles that "can be merged", to create a better main article. The optimum scenario to me is an article with relevant sections, that can be "split" when a section becomes too large, that minimizes the practice of having several stubby-stub or dictionary type entry articles into one better presented article. This is only a first round as I found a lot of referenced information, that can be added as content, and articles determined that "should" really be merged will add even more with those references. I suppose this would depend if there is consensus (agreeable or by silence) on the above or if it should remain as a type of in-article listing. Another thing is that while I can move articles I am not experienced enough in the various stages involved in merging an article, or several, into a main article, as well as any that might have been omitted. At any rate comments on this would be appreciated, such as input on reasoning that merging of some articles would be good while others might be better retained separately. Otr500 (talk) 17:29, 31 August 2017 (UTC)
 * Adding the various types of "porches" in sub-sections of Porch, with an eye to possible future merger, is reasonable. Adding Porch sitting (as was suggested almost seven years ago) would not be, though it could well be linked to in "See also". As I just pointed out in that talk section, porch sitting is not just sitting on a porch, as I sometimes do on a total stranger's porch to rest for a minute while walking around the city, much less a kind of porch. It is an activity with well recognized social significance. (See the references there.) --Thnidu (talk) 18:27, 23 November 2017 (UTC)
 * I added things that I ran across but upon reflection the activity is not a porch. I am from the south, we have a porch and such a "tradition", so would not be an appropriate merge. Thanks, Otr500 (talk) 03:32, 24 November 2017 (UTC)

 * Against merge. Also put a merge discussion tag on all articles involved if anyone is actually considering this.  This article lists the various types of porches and links to those articles.  Couldn't fit all that information here, and it just reads easier to have these mentioned in separate articles like is now.   D r e a m Focus  05:58, 24 November 2017 (UTC)
 * Thank you for your comments Dream Focus. I am the editor that added the "various types of porches" which I indicated above. To be clear: I have not suggested that all (every article listed) should be merged, just that some should (especially non or poor referenced), so I think you might have misunderstood. I ran across several articles, that includes some like:

 * Arizona room, an unsourced 138 word (thus non-notable) article, tagged for possible OR in 2014. It does list one dead link. An Arizona room is called a porch in most states with a couple of exceptions. On a WP:BEFORE I couldn't fine any reliable references that weren't advertisements. Someone else may have better luck.
 * Carolina porch redirects to Rain porch which is a three referenced (one dead), with 182 words (stub) that is still a porch
 * A "Florida room" redirects to Sunroom that might be better as a stand-alone.

 * Some have references, like Veranda (open-air gallery or porch) with five references, one that has a definition reference mentioning in passing that the spelling is "veranda" not "verandah". The second entry (dictionary type) on that page is vagina or vulva? and a definition. Another reference is to a Google book listing of A History of Architecture and Urbanism in the Americas with no page number. One is another dictionary reference which leaves two possibly reliable references for a 303 word sectioned-off stub. This may be notable enough for a stand-alone article with better references.
 * There is no mandate to start a merge request when considering merges and investigating. Some of these stubs might be better merged so we don't have something like White car, Teal car, or Orange car, that could be included in an article titled car in sections.
 * If I decide evidence indicates some should be merged I will ping you (and list it as controversial of course with merge templates) on a case by case basis because "the other side" is always important. Otr500 (talk) 07:58, 29 November 2017 (UTC)

title: Talk:Porch


text:
Agrippina (opera)

Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.

Handel composed Agrippina at the end of a three-year sojourn in Italy. It premiered in Venice at the Teatro San Giovanni Grisostomo on 26 December 1709. It proved an immediate success and an unprecedented series of 27 consecutive performances followed. Observers praised the quality of the music—much of which, in keeping with the contemporary custom, had been borrowed and adapted from other works, including the works of other composers. Despite the evident public enthusiasm for the work, Handel did not promote further stagings. There were occasional productions in the years following its premiere but Handel's operas, including Agrippina, fell out of fashion in the mid-18th century.

In the 20th century Agrippina was revived in Germany and premiered in Britain and America. Performances of the work have become ever more common, with innovative stagings at the New York City Opera and the London Coliseum in 2007, and the Metropolitan Opera in 2020. Modern critical opinion is that Agrippina is Handel's first operatic masterpiece, full of freshness and musical invention which have made it one of the most popular operas of the ongoing Handel revival.

Background
Handel's earliest opera compositions, in the German style, date from his Hamburg years, 1704–06, under the influence of Johann Mattheson. In 1706 he traveled to Italy where he remained for three years, developing his compositional skills. He first settled in Florence where he was introduced to Alessandro and Domenico Scarlatti. His first opera composed in Italy, though still reflecting the influence of Hamburg and Mattheson, was Rodrigo (1707, original title Vincer se stesso ê la maggior vittoria), and was presented there. It was not particularly successful, but was part of Handel's process of learning to compose opera in the Italian style and to set Italian words to music.

Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree, and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo. Works from this period include Dixit Dominus and the dramatic cantata Aci, Galatea e Polifemo, written in Naples. While in Rome, probably through Alessandro Scarlatti, Handel had become acquainted with Cardinal Grimani, a distinguished diplomat who wrote libretti in his spare time, and acted as an unofficial theatrical agent for the Italian royal courts. He was evidently impressed by Handel and asked him to set his new libretto, Agrippina. Grimani intended to present this opera at his family-owned theatre in Venice, the Teatro San Giovanni Grisostomo, as part of the 1709–10 Carnevale season.

Libretto
Grimani's libretto is based on much the same story used as the subject of Monteverdi's 1642 opera L'incoronazione di Poppea. Grimani's libretto centres on Agrippina, a character who does not appear in Monteverdi's darker version. Grimani avoids the "moralizing" tone of the later opera seria libretti written by such acknowledged masters as Metastasio and Zeno. According to the critic Donald Jay Grout, "irony, deception and intrigue pervade the humorous escapades of its well-defined characters". All the main characters, with the sole exception of Claudius's servant Lesbus, are historical, and the broad outline of the libretto draws heavily upon Tacitus's Annals and Suetonius' Life of Claudius. It has been suggested that the comical, amatory character of the Emperor Claudius is a caricature of Pope Clement XI, to whom Grimani was politically opposed. Certain aspects of this conflict are also reflected in the plot: the rivalry between Nero and Otho mirror aspects of the debate over the War of the Spanish Succession, in which Grimani supported the Habsburgs and Pope Clement XI France and Spain.

Composition
According to John Mainwaring, Handel's first biographer, Agrippina was composed in the three weeks following Handel's arrival in Venice in November 1709, a theory supported by the autograph manuscript's Venetian paper. In composing the opera Handel borrowed extensively from his earlier oratorios and cantatas, and from other composers including Reinhard Keiser, Arcangelo Corelli and Jean-Baptiste Lully. This practice of adapting and borrowing was common at the time but is carried to greater lengths in Agrippina than in almost all of Handel's other major dramatic works. The overture, which is a French-style two-part work with a "thrilling" allegro, and all but five of the vocal numbers, are based on earlier works, though subject in many cases to significant adaptation and reworking.

Examples of recycled material include Pallas's "Col raggio placido", which is based on Lucifer's aria from La resurrezione (1708), "O voi dell'Erebo", which was itself adapted from Reinhard Keiser's 1705 opera Octavia. Agrippina's aria "Non ho cor che per amarti" was taken, almost entirely unchanged, from "Se la morte non vorrà" in Handel's earlier dramatic cantata Qual ti reveggio, oh Dio (1707); Narcissus's "Spererò" is an adaptation of "Sai perchè" from another 1707 cantata, Clori, Tirsi e Fileno; and parts of Nero's aria in act 3, "Come nube che fugge dal vento", are borrowed Handel's oratorio Il trionfo del tempo (all from 1707). Later, some of Agrippina's music was used by Handel in his London operas Rinaldo (1711) and the 1732 version of Acis and Galatea, in each case with little or no change. The first music by Handel presented in London may have been Agrippina's "Non ho cor che", transposed into Alessandro Scarlatti's opera Pirro è Dimitrio which was performed in London on 6 December 1710. The Agrippina overture and other arias from the opera appeared in pasticcios performed in London between 1710 and 1714, with additional music provided by other composers. Echoes of "Ti vo' giusta" (one of the few arias composed specifically for Agrippina) can be found in the air "He was despised", from Handel's Messiah (1742).

Two of the main male roles, Nero and Narcissus, were written for castrati, the "superstars of their day" in Italian opera. The opera was revised significantly before and possibly during its run. One example is the duet for Otho and Poppaea in act 3, "No, no, ch'io non apprezzo", replaced with two solo arias before the first performance. Another is Poppaea's aria "Ingannata", replaced during the run with another of extreme virtuosity, "Pur punir chi m'ha ingannata", either to emphasise Poppaea's new-found resolution at this juncture of the opera or, as is thought more likely, to flatter Scarabelli by giving her an additional opportunity to show off her vocal abilities.

The instrumentation for Handel's score follows closely that of all his early operas: two recorders, two oboes, two trumpets, three violins, two cellos, viola, timpani, contrabassoon and harpsichord. By the standards of Handel's later London operas this scoring is light, but there are nevertheless what Dean and Knapp describe as "moments of splendour when Handel applies the full concerto grosso treatment". Agrippina, Handel's second Italian opera, was probably his last composition in Italy.

Act 1
On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.

With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.

Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Act 2
Pallas and Narcissus realize that Agrippina has tricked them into supporting Nero and decide to have no more to do with her. Otho arrives, nervous about his forthcoming coronation ("Coronato il crin d'alloro"), followed by Agrippina, Nero and Poppaea, who have come to greet Claudius. All combine in a triumphal chorus ("Di timpani e trombe") as Claudius enters. Each in turns pays tribute to the Emperor, but Otho is coldly rebuffed as Claudius denounces him as a traitor. Otho is devastated and appeals to Agrippina, Poppaea, and Nero for support, but they all reject him, leaving him in bewilderment and despair ("Otton, qual portentoso fulmine" followed by "Voi che udite il mio lamento").

However, Poppaea is touched by her former beloved's grief, and wonders if he might not be guilty ("Bella pur nel mio diletto"). She devises a plan and when Otho approaches her, she pretends to talk in her sleep recounting what Agrippina has told her earlier. Otho, as she intended, overhears her and fiercely protests his innocence. He convinces Poppaea that Agrippina has deceived her. Poppaea swears revenge ("Ingannata una sol volta", alternate aria "Pur punir chi m'ha ingannata") but is distracted when Nero comes forward and declares his love for her. Meanwhile, Agrippina, having lost the support of Pallas and Narcissus, manages to convince Claudius that Otho is still plotting to take the throne. She advises Claudius that he should end Otho's ambitions once and for all by abdicating in favour of Nero. Claudius agrees, believing that this will enable him to win Poppaea.

Act 3
Poppaea now plans some deceit of her own, in an effort to divert Claudius's wrath from Otho with whom she has now reconciled. She hides Otho in her bedroom with instructions to listen carefully. Soon Nero arrives to press his love on her ("Coll'ardor del tuo bel core"), but she tricks him into hiding as well. Then Claudius enters; Poppaea tells him that he had earlier misunderstood her: it was not Otho but Nero who had ordered her to reject Claudius. To prove her point she asks Claudius to pretend to leave, then she summons Nero who, thinking Claudius has gone, resumes his passionate wooing of Poppaea. Claudius suddenly reappears and angrily dismisses the crestfallen Nero. After Claudius departs, Poppaea brings Otho out of hiding and the two express their everlasting love in separate arias.

At the palace, Nero tells Agrippina of his troubles and decides to renounce love for political ambition ("Come nube che fugge dal vento"). But Pallas and Narcissus have by now revealed Agrippina's original plot to Claudius, so that when Agrippina urges the Emperor to yield the throne to Nero, he accuses her of treachery. She then claims that her efforts to secure the throne for Nero had all along been a ruse to safeguard the throne for Claudius ("Se vuoi pace"). Claudius believes her; nevertheless, when Poppaea, Otho, and Nero arrive, Claudius announces that Nero and Poppaea will marry, and that Otho shall have the throne. No one is satisfied with this arrangement, as their desires have all changed, so Claudius in a spirit of reconciliation reverses his judgement, giving Poppaea to Otho and the throne to Nero. He then summons the goddess Juno, who descends to pronounce a general blessing ("V'accendano le tede i raggi delle stelle").

Premiere
The date of Agrippina's first performance, about which there was at one time some uncertainty, has been confirmed by a manuscript newsletter as 26 December 1709. The cast consisted of some of Northern Italy's leading singers of the day, including Antonio Carli in the lead bass role; Margherita Durastanti, who had recently sung the role of Mary Magdalene in Handel's La resurrezione; and Diamante Scarabelli, whose great success at Bologna in the 1697 pasticcio Perseo inspired the publication of a volume of eulogistic verse entitled La miniera del Diamante.

Agrippina proved extremely popular and established Handel's international reputation. Its original run of 27 performances was extraordinary for that time. Handel's biographer John Mainwaring wrote of the first performance: "The theatre at almost every pause resounded with shouts of Viva il caro Sassone! ('Long live the beloved Saxon!') They were thunderstruck with the grandeur and sublimity of his style, for they had never known till then all the powers of harmony and modulation so closely arranged and forcibly combined." Many others recorded overwhelmingly positive responses to the work.

Later performances
Between 1713 and 1724 there were productions of Agrippina in Naples, Hamburg, and Vienna, although Handel himself never revived the opera after its initial run. The Naples production included additional music by Francesco Mancini. In the later 18th, and throughout the 19th centuries, Handel's operas fell into obscurity, and none were staged between 1754 and 1920. However, when interest in Handel's operas awakened in the 20th century, Agrippina received several revivals, beginning with a 1943 production at Handel's birthplace, Halle, under conductor Richard Kraus at the Halle Opera House. In this performance the alto role of Otho, composed for a woman, was changed into a bass accompanied by English horns, "with calamitous effects on the delicate balance and texture of the score", according to Winton Dean. The Radio Audizioni Italiane produced a live radio broadcast of the opera on 25 October 1953, the opera's first presentation other than on stage. The cast included Magda László in the title role and Mario Petri as Claudius, and the performance was conducted by Antonio Pedrotti.

A 1958 performance in Leipzig, and several more stagings in Germany, preceded the British première of the opera at Abingdon, Oxfordshire, in 1963. This was followed in 1982 by the first fully professional production in England. It was performed by Kent Opera with the conductor, Ivan Fischer, making his debut with the company and the orchestra playing on baroque instruments. Felicity Palmer took the title role. In 1983 the opera returned to Venice, for a performance under Christopher Hogwood at the Teatro Malibran. In the United States a concert performance had been given on 16 February 1972 at the Academy of Music in Philadelphia, but the opera's first fully staged American performance was in Fort Worth, Texas, in 1985. That same year it reached New York, with a concert performance at Alice Tully Hall, where the opera was described as a "genuine rarity". The Fort Worth performance was quickly followed by further American stagings in Iowa City and Boston. The historically informed performance movement inspired two period instrument productions of Agrippina in 1985 and 1991 respectively. Both were in Germany, the first was in the Schlosstheater Schwetzingen, the other at the Göttingen International Handel Festival.

21st century revivals
There have been numerous productions in the 21st century. There was a fully staged performance at the Glimmerglass Opera in Cooperstown, New York in 2001, conducted by Harry Bicket and directed by Lillian Groag. This production then moved in 2002 to the New York City Opera, revived in 2007, and was described by The New York Times critic as "odd ... presented as broad satire, a Springtime for Hitler version of I, Claudius", although the musical performances were generally praised. In Britain, the English National Opera (ENO) staged an English-language version in February 2007, directed by David McVicar, which received a broadly favourable critical response, although critic Fiona Maddocks identified features of the production that diminished the work: "Music so witty, inventive and humane requires no extra gilding". Some of the later revivals used countertenors in the roles written for castrati. Joyce DiDonato has performed the title role in productions in London at The Royal Opera in 2019 and at the Metropolitan Opera New York in 2020, among other venues.

Music
Agrippina is considered Handel's first operatic masterpiece; according to Winton Dean it has few rivals for its "sheer freshness of musical invention". Grimani's libretto has also been praised: The New Penguin Opera Guide describes it as one of the best Handel ever set, and praises the "light touch" with which the characters are vividly portrayed. Agrippina as a whole is, in the view of the scholar John E. Sawyer, "among the most convincing of all the composer's dramatic works".

Style
Stylistically, Agrippina follows the standard pattern of the era by alternating recitative and da capo arias. In accordance with 18th-century opera convention the plot is mainly carried forward in the recitatives, while the musical interest and exploration of character takes place in the arias—although on occasion Handel breaks this mould by using arias to advance the action. With one exception the recitative sections are secco ("dry"), where a simple vocal line is accompanied by continuo only. The anomaly is Otho's "Otton, qual portentoso fulmine", where he finds himself robbed of the throne and deserted by his beloved Poppaea; here the recitative is accompanied by the orchestra, as a means of highlighting the drama. Dean and Knapp describe this, and Otho's aria which follows, as "the peak of the opera". The 19th-century musical theorist Ebenezer Prout singles out Agrippina's "Non ho cor che per amarti" for special praise. He points out the range of instruments used for special effects, and writes that "an examination of the score of this air would probably astonish some who think Handel's orchestration is wanting in variety".

Handel made more use than was then usual of orchestral accompaniment in arias, but in other respects Agrippina is broadly typical of an older operatic tradition. For the most part the arias are brief, there are only two short ensembles, and in the quartet and the trio the voices are not heard together. However, Handel's style would change very little in the next 30 years, a point reflected in the reviews of the Tully Hall performance of Agrippina in 1985, which refer to a "string of melodious aria and ensembles, any of which could be mistaken for the work of his mature London years".

Character
Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.

In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.

Irony
Grimani's libretto is full of irony, which Handel reflects in the music. His settings sometimes illustrate both the surface meaning, as characters attempt to deceive each other, and the hidden truth. For instance, in her aria in act 1, "Non ho cor che per amarti", Agrippina promises Poppaea that deceit will never mar their new friendship, while tricking her into ruining Otho's chances for the throne. Handel's music illuminates her deceit in the melody and minor modal key, while a simple, emphasised rhythmic accompaniment hints at clarity and openness. In act 3, Nero's announcement that his passion is ended and that he will no longer bound by it (in "Come nube che fugge dal vento") is set to bitter-sweet music which suggests that he is deceiving himself. In Otho's "Coronato il crin" the agitated nature of the music is the opposite of what the "euphoric" tone of the libretto suggests. Contrasts between the force of the libretto and the emotional colour of the actual music would develop into a constant feature of Handel's later London operas.

List of arias and musical numbers
The index of Chrysander's edition (see below) lists the following numbers, excluding the secco recitatives. Variants from the libretto are also noted.

Act 1 1. Sinfonia

2. "Con saggio tuo consiglio" (Nero)

3. "La mia sorte fortunata" (Pallas)

4. "Volo pronto e lieto il core" (Narcissus)

5. "L'alma mia frà le tempeste" (Agrippina)

6. "Qual piacere a un cor pietoso" (Nero)

7. "Il tuo figlio/La tua prole" (Quartet: Nero, Pallas, Narcissus, Agrippina)

8. "Allegrezza! Allegrezza!" (Lesbus)

9. "Tu ben degno sei dell'allor" (Agrippina)

10. "Lusinghiera mia speranza" (Otho)

11. "Vaghe perle, eletti fiori" (Poppaea)

12. "È un foco quel d'amore" (Poppaea)

13. "Ho un non sò che nel cor" (Agrippina)

14. "Fà quanto vuoi, gli schemi tuoi" (Poppaea)

15. "Pur ritorno a rimirarvi" (Claudius)

16. "Vieni, oh cara" (Claudius)

17. "E quando mai" (Trio: Poppaea, Claudius, Lesbus)

18. "Non ho cor che per amarti" (Agrippina)

19. "Se giunge un dispetto" (Poppaea; there are two settings)

Act 2 1. "Coronato il crin d'alloro" (Otho)

2. "Di timpani e trombe" (Chorus of the principals)

3. "Cade il mondo soggiogato" (Claudius)

4. "Nulla sperar da me" (Agrippina)

5. "Tuo ben è 'l trono" (Poppaea)

6. "Sotto il lauro ch'hai sul crine" (Nero; two settings)

7. Accompagnato: "Otton, qual portentoso fulmine è questo?" (Otho)

8. "Voi che udite il mio lamento" (Otho)

9. "Bella pur nel mio diletto" (Poppaea)

10. "Vaghe fonti, che mormorando" (Otho)

11. "Ti vo' giusta e non pietosa" (Otho)

12. "Ingannata una sol volta" (Poppaea) (The libretto gives "Pur punir chi m'ha ingannata" instead)

13. "Col peso del tuo amor" (Poppaea)

14. "Quando invita la donna l'amante" (Nero)

15. "Pensieri, voi mi tormentate" (Agrippina)

16. "Col raggio placido della speranza" (Pallas)

17. "Spererò, poiché mel dice" (Narcissus)

18. "Basta che sol tu chieda" (Claudius) (Libretto: "Vagheggiar de tuoi bei lumi")

19. "Ogni vento ch'al porto la spinga" (Agrippina)

Act 3 1. "Tacerò pur che fedele" (Otho) (Libretto: "Chi ben ama" (Poppaea))

2. "Coll'ardor del tuo bel core" (Nero) (Libretto: "Esci, o mia vita" (Poppaea))

3. "Io di Roma il Giove sono" (Claudius)

4. "Pur ch'io ti stringa al sen" (Libretto: "No, no, ch'io non apprezzo" ) (Otho)

5. "Bel piacere e godere fido amor" (Libretto: "Sì, sì ch'il mio diletto" )(Poppaea)

6. "Come nube che fugge dal vento" (Nero)

7. "Se vuoi pace" (Agrippina)

8. "Lieto il Tebro increspi l'onda" (Chorus of the principals)

9. "V'accendano le tede i raggi delle stelle" (Juno)

Editions
Handel's autograph score survives, with the Sinfonia and first recitatives missing, but it shows significant differences from the libretto, due to changes made for the first performances. Handel's performing score is lost. Three early manuscript copies, probably dating from 1710, are held in Vienna; one of these may have been a gift from Grimani to the future Emperor Charles VI. These copies, presumably based on the lost performing score, show further changes from the autograph. A manuscript from the 1740s known as the "Flower score" is described by Dean as "a miscellany in haphazard order".

In about 1795 the British composer Samuel Arnold produced an edition based on early copies; this edition, while it contains errors and inaccuracies, has been called "probably a reasonable reflection of early performances". The Chrysander edition of 1874 has a tendency to "sweep Arnold aside when he is right and follow him when he is wrong". Musicologist Anthony Hicks calls it "an unfortunate attempt to reconcile the autograph text with Arnold and the wordbook, the result being a composite version of no authority".

In 1950 Bärenreiter published Hellmuth Christian Wolff's edition, prepared for the 1943 Halle revival and reflecting the casting of basses for Otto and Narcissus, even when they sing what would otherwise be the alto part in the last chorus. It presents a German adaptation of the recitatives and written out embellishments for the da capo arias as well as numerous cuts. The B-flat fugue G 37 appears as an act 2 overture along with other instrumental music.

An edition by John E Sawyer appeared in 2013 as series II vol. 3 of the Hallische Händelausgabe. It is based on the 1709 version, with ballet music borrowed from Rodrigo, and contains two appendices with added and reconstructed music as well as deleted versions from the autograph.

title: Agrippina (opera)


text:
Rob Sampson

Rob Sampson (born October 27, 1955) is a former politician in Ontario, Canada. He was a Progressive Conservative member of the Legislative Assembly of Ontario from 1995 to 2003 and was a cabinet minister in the government of Mike Harris.

Background
Sampson has a Bachelor of Arts degree and an MBA from Queen's University. Sampson worked at the Toronto branch of the Toronto Dominion Bank from 1980 to 1987, and at the Toronto branch of Chase Manhattan from 1987 to 1995. He also worked for Brays Lane Consulting in 1995, and is a Fellow in the Institute of Canadian Bankers. In 1992-93, he was an Executive Member of the Planning Advisory Committee for the City of Toronto.

Politics
He was elected to the Ontario legislature in the provincial election of 1995, defeating Liberal Steve Mahoney (later a federal cabinet minister under Jean Chrétien) by about 3,000 votes in the riding of Mississauga West. This was considered an upset; the Tories performed extremely well in Mississauga in this election, but most observers expected that Mahoney would retain his seat. He was named a Minister without Portfolio in Mike Harris's government on 16 August 1996, with responsibility for privatization.

During his time as Minister of Privatization, he was best known for sale of the 407-ETR Major Highway for $3.1 billion. The highway was sold to a consortium including the Spanish company Grupo Ferrovial and its subsidiary Cintra Concesiones de Infraestructuras de Transporte, SNC-Lavalin, and Capital d'Amerique CDPQ, a subsidiary of the Caisse de depot et placement du Quebec. The sale was heavily criticized as being well below value. It was estimated that the cost of acquiring the land exceeded $100 billion since the 1970s.

Sampson was re-elected in the new riding of Mississauga Centre in the provincial election of 1999, defeating Liberal George Winter by over 4,000 votes. He was promoted to Minister of Correctional Services on 17 June 1999. He stepped down from this position on 4 December 2000 to demonstrate ministerial responsibility after a backbench Tory named Doug Galt listed the names of several young offenders in the legislature; he was returned to his position on March 8, 2001.

Sampson is a committed Neo-conservative, and supported numerous right-wing economic policy initiatives during his time in government, including the controversial privatization of Highway 407. As Correctional Services minister, he promoted the privatization of Ontario's prison system despite warnings that this could result in decreased safety. Sampson was dropped from cabinet when Ernie Eves succeeded Mike Harris as party leader in 2002.

In the provincial election of 2003, he was defeated by Liberal Harinder Takhar by fewer than 3,000 votes, amid a general decline in support for the Tories in Mississauga.

title: Rob Sampson


text:
New Zealand hip hop

New Zealand hip hop derives from the wider hip hop cultural movement originating amongst African Americans in the United States. Like the parent movement, New Zealand hip hop consists of four parts: rapping, DJing, graffiti art and breakdancing. The first element of hip hop to reach New Zealand was breakdancing, which gained notoriety after the release of the 1979 movie The Warriors. The first hip hop hit single, "Rapper's Delight" by the Sugarhill Gang, became a hit in New Zealand when it was released there in 1980, a year after it was released in the United States. By the middle of the 1980s, breakdancing and graffiti art were established in urban areas like Wellington and Christchurch. By the early 1990s, hip hop became a part of mainstream New Zealand culture.

Early years and Māori influence
Some of the first hip hop musicians to achieve recognition combined American styles with Māori language and traditional songs. Dalvanius Prime's 1984 "Poi E" incorporated hip hop dance elements into its music video and was the first time New Zealanders viewed hip hop culture in association with a local recording. The song, which was entirely in Māori, became a hit in New Zealand. Upper Hutt Posse likewise combined hip hop and Māori culture in their 1988 single "E Tu", which is recognised as New Zealand's first pure hip hop single. A bootleg recording of their song "Hardcore Hiphop" reached number one on Christchurch student radio in February 1988. Some rappers, such as the members of Upper Hutt Posse, became known for politicised lyrics in support of tino rangatiratanga (Māori sovereignty).

Another popular Māori group which incorporated hip hop music was Moana and the Moahunters, which won a New Zealand Music Industry award for best Māori recording in 1992, speaking out against the perceived racism they saw against Māori people in New Zealand. They cited the rarity of airtime on national radio for Māori music and the exclusion from the mainstream music industry as reflective of the wider societal problem. The awarded song is called "AEIOU (Akona Te Reo)", and translates as "Learn the Language". Its release was directed primarily at Māori youth who did not speak Māori. The majority of the lyrics are in English.

Early hip hop releases in New Zealand included the collection Ak89 - In Love With These Rhymes, compiled by Simon Laan and released by Auckland radio bFm in 1989 (on cassette only), and a variety of releases by Southside Records. Amongst these were releases by Urban Disturbance featuring a young rapper, Zane Lowe, now a UK radio personality, and MC OJ & Rhythm Slave.

By the late 1980s, the South Auckland and West Auckland hip hop scenes were thriving, with dozens of young acts, many promoted as part of the Voodoo Rhyme syndicate which featured acts such as the Semi MCs, MC Slam & DJ Jam, Total Effect, Sisters Underground, Enemy Productions (which featured a very young Dei Hamo), Boy C & the BB3 (which later became Three the Hard Way), the Chain Gang and others. Most of the acts that joined the Voodoo Rhyme Syndicate were discovered through talent contests by Voodoo Rhyme Syndicate founder, DJ Andy Vann. The Voodoo Rhyme Syndicate hosted Voodoo dance parties to raise funds to record the acts, and formed Voodoo vinyl in 1989. Voodoo Vinyl's first release in 1989 was Enemy Productions Stop Tagging produced by founder Andy Vann. Other notable related releases include Semi MCs' "Set Your Body Free & Trust Me" and MC Slam & DJ Jam's "Prove Me Wrong", both of which achieved Top 40 success in New Zealand. A DJ competition was held in Auckland in 1989, with DJ Ned Roy winning.

The first major New Zealand commercial hip hop hit was "Hip Hop Holiday" by 3 The Hard Way, featuring the vocal stylings of Bobbylon (from the seminal 1990s Reggae/Punk band the Hallelujah Picassos). Released by Deepgrooves Entertainment and distributed by Festival Records, it sampled "Dreadlock Holiday" by 10CC and became a number one hit in 1994.

Upper Hutt Posse's DJ, DLT, also influenced the local scene in Auckland, including Joint Force, Che Fu and Dam Native. DLT began the influential radio show True Skool Hip Hop Show, which joined Wellington's Wednesday Night Jam in promoting hip hop. Simon Grigg & Nick D'Angelo championed hip hop on a dedicated hip hop radio show on bFm).

Polynesian influence
In Wellington, K.O.S.-163, more commonly known as Kosmo, influenced the hip hop scene during the 1980s. Returning from a visit to Los Angeles, Kosmo introduced a new type of dance called popping to New Zealand. Aware of their accents and other 'foreign' markers, Samoan youth in California used dancing and hip hop to assert themselves. Nearly three decades of Samoan involvement in street dance and rap music influenced the scene in other cities, including Wellington. With two other New Zealanders, Kosmo started the hip hop group called "The Mau". The name represents Samoan independence.

Wellington's underground scene was vibrant in the late '80s, from whence arose the local supergroup Rough Opinion and a wave of performers like The Wanderers, Temple Jones and Hamofide.

In the 1990s Maori and Polynesian hip hop musicians grew steadily more popular, leading to a fusion of Pacific and traditional hip hop sounds as Urban Pasifika. Pauly Fuemana as OMC with Alan Jansson took the urban Pacific sound into the world's charts with the multi-million selling "How Bizarre", in 1995. It remains the best-selling song ever recorded in New Zealand. Rapper Scribe became the first to top both the single and album charts at the same time in 2004. Savage became the first New Zealand hip hop artist in history to have a single achieve platinum certification status in the United States with his single "Swing". The track featured in the 2007 film Knocked Up. Many top hip hop artists are signed with Dawn Raid Entertainment, a Polynesian-run record label based in Manukau. Dawn Raid briefly went out of business early in 2007 after financial problems resulting from the expensive production of several albums.

Che Fu remains one of New Zealand's most successful hip hop artists. He began his career at high school with a group of friends and they eventually formed the Low Down Dirty Blues Band, which went on to be the legendary Supergroove. Their first album, Traction sold triple platinum and went on to win countless awards. Che Fu's fame continued through the 90s with his involvement with DLT in the number one hit song Chains in 1996, and in 2002 he won album of the year in the New Zealand music awards.

Hip hop in the 2000s and 2010s
The years 2004–2005 are often seen as a high-water mark for the popularity of hip hop music in New Zealand, and a book on the subject, Hip Hop Music In Aotearoa, won a national book award.

Smashproof's single "Brother", featuring singer Gin Wigmore, reached the top of the New Zealand charts in 2009.

Modern New Zealand hip hop has evolved into many styles, and artists such as Team Dynamite, Homebrew, Louie Knuxx, Rizván and the like are popular in New Zealand, and artists tend to incorporate many elements from different genres. Classic artists such as Che Fu and King Kapisi are still very much current in the music scene and perform regularly also, and have been a major influence on the sound of hip hop in this country.

Hip hop in the 2020s
UK-born, Auckland-based Nigerian hip hop artist and producer Mazbou Q was one of the organisers of the Black Lives Matter George Floyd protests in Auckland on 1 June and 14 June 2020. He spoke about the ongoing persecution of the Black African communities, including: "The same white supremacy which has led to disproportionate killings of Black people in the US exists here in New Zealand." He called on Prime Minister Jacinda Ardern to condemn violence against Black Americans. He also spoke and wrote about the appropriation of Black American culture, including hip hop ghetto culture born from the oppressed minorities the South Bronx in the 1970s, and the lack of exposure for New Zealand Black African hip hop artists compared to Māori and Pasifika artists. As a result, schools invited him, and other organisers, to speak to their students and staff.

APRA Silver Scroll Award
The annual APRA Silver Scroll Awards in New Zealand is a prestigious honour for New Zealand songwriters. In 1999, King Kapisi became the first hip hop artist to receive the Silver Scroll Award for his single Reverse Resistance. In 2002, Che Fu (and Godfrey de Grut) won for Misty Frequencies, Nesian Mystik in 2004 with their single For the People, and in 2004, Scribe and P-Money won with their huge hit Not Many.

Notable artists

 * 3 The Hard Way
 * At Peace
 * Che Fu
 * David Dallas aka Con Psy
 * Deceptikonz
 * DLT
 * Double J and Twice the T
 * Frontline
 * Home Brew Crew
 * King Kapisi
 * Misfits of Science (group)
 * Mareko
 * Mazbou Q
 * MC OJ & Rhythm Slave
 * Nesian Mystik
 * OMC
 * P-Money
 * PNC
 * Rapture Ruckus
 * Rizvan
 * Savage
 * Tom Scott
 * Scribe
 * SWIDT
 * Sisters Underground
 * Tommy Ill
 * Young Sid

Breakdancing
Breakdancing first came to New Zealand via TV, Movies and American Samoa through Western Samoa in the early 1980s. One can see the influence of Samoan culture in New Zealand's appropriation of breakdancing specifically through language. The term "bopping," for example, comes from a Samoan pronunciation of popping, one of the elements in breakdance, where a dancer will move in a stilted fashion, isolating their limbs robotically. After its initial period of popularity, breakdancing fell out of fashion for most of the 1990s. Late in that decade it underwent a revival, and breakdancing stages can be found at events such as the Aotearoa Hip-Hop Summit.

The nearly three decades of Samoan involvement in street dance and rap music in California has significantly impacted Samoan cultural production in other places where Samoans have settled, including New Zealand. The dancing in New Zealand is heavily influenced by American dances.

One reason break dancing became popular was that many youth saw it as a way of being recognized or a channel of identity. Maori youth that had little chance of being recognized for accomplishments in school or sport found break dancing as a new way to achieve recognition. Early on, New Zealand even sponsored a national break dancing competition for young Maori and Pacific Islanders. This helped many young breakers to realize their potential by giving them a nation audience.

Many of the Maori and Pacific Island youth found alternative possibilities to organize their daily lives. Images of street dance arriving via imported American media - such as the movies Flashdance or Beat Street granted a legitimacy to their efforts. This gave a boost of confidence for both Maori and the children of recent immigrants, and the American street dance forms such as popping, locking and breaking created a friendly environment for Maori and Pacific Islander youth in order to fashion their own styles and codes.

New Zealand-born choreographer and dancer Parris Goebel, who is of Samoan descent, has worked with artists including Justin Bieber, Rihanna, Janet Jackson, Jennifer Lopez, Nicki Minaj, BIGBANG, CL, iKON, Taeyang. Her work has included choreographing routines and starring in music videos and movies. One of her notable successes was her work choreographing the video "Sorry" for Justin Bieber, which as of March 2016 is one of the 5 top viewed videos on YouTube with more than 1.7 billion views. Goebel went on to choreograph and direct all thirteen of Justin Bieber's Purpose: The Movement videos. These videos have totaled over 3 billion views combined.

Battle rap
Battle rapping has had a strong underground presence in New Zealand. 1Outz is an organized rap battle league that began in Auckland, and Red Zone Battle's is another which began in Christchurch.

Graffiti art
As elsewhere, New Zealand graffiti art takes two forms: bombing (usually large scale and multi-coloured, using paint and generally requiring some artistic skill) and tagging (stylised writing of the tagger's 'tag' name). In 1999 the Dowse Art Museum mounted an exhibition of street art called Style Crimes, followed by Common Ground in 2009. Exhibitions signalled street art's growing acceptance as a legitimate art form. The artistic quality of the best work was recognised and practitioners were able to make a career out of street art. Some were commissioned by local councils and businesses to create pieces. Organisations for troubled youth ran legal graffiti sessions. Another early event was Disrupt the System, organised in Aotea Square, Auckland, in 2000. More recent events include Nelson's Oi You! (first held in 2010), Taupō's Graffiato (2011), Auckland's All Fresco (2013), Christchurch's From the Ground Up (2013) and Kawerau's Street Legal (2014).

Artists
Askew One (Elliot O'Donnell) is the most prominent street artist in New Zealand and is well known in street art circles overseas. He started out tagging as a teenager in the 1990s and graduated to pieces, and eventually to works on canvas. Some street artists work together in collectives. Smooth Inc were at work in Auckland in the 1980s. They were followed by TMD (The Most Dedicated) in the mid-1990s. Cut Collective was founded in 2006. Its members have been commissioned to make public murals, and have exhibited at the Dowse Art Museum, Auckland Art Gallery and Dunedin Public Art Gallery. Many female artists have gained recognition for their work, including Diva, Misery (Tanja Thompson), Flox (Hayley King), Erin Forsyth, Xoe Hall, Ikon and Mica Still.

title: New Zealand hip hop