title: Hadiqa Kiani

text: Hadiqa Kiani (in Punjabi and ) is a Pakistani singer, Songwriter, Guitarist, composer, actress, and philanthropist. She has received numerous local and international awards and also has performed at the Royal Albert Hall and The Kennedy Center. Besides Urdu and Punjabi, she has also sung several songs in the Pashto language.


title: Hadiqa Kiani

text: In 2006, Kiani received the fourth-highest Pakistan civilian award, the Tamgha-e-Imtiaz, for her contributions to the field of music. In 2010, she was appointed as a United Nations Development Programme Goodwill Ambassador, making her the first woman in Pakistan to a Goodwill ambassador to the United Nations.


title: Hadiqa Kiani

text: In 2016, Kiani was titled as one "Pakistan's Most Powerful and Influential Women" by the country's leading news group, Jang Group of Newspapers, as part of their "Power" edition.


title: Hadiqa Kiani

text: Kiani was born in Rawalpindi as the youngest of three siblings, her older brother (Irfan Kiani) and sister (Sasha). Her father died when she was 3 years old. Her mother, poet Khawar Kiani, was the principal of a government girls' school. Seeing her musical ability, Khawar enlisted Kiani in the Pakistan National Council of the Arts. She received early education in music from her teacher, Madam Nargis Naheed.


title: Hadiqa Kiani

text: While studying at Viqar-un-Nisa Noon Girls High School, Kiani represented Pakistan at international children festivals in Turkey, Jordan, Bulgaria, and Greece, winning various medals along the way and performing for thousands around the world. Kiani was also a part of Sohail Rana's children's program "Rang Barangi Dunya", a weekly musical on PTV.


title: Hadiqa Kiani

text: As an eighth grader, Kiani moved from her birthplace Rawalpindi to Lahore, where she continued her classical training by Ustad Faiz Ahmed Khan and Wajid Ali Nashad. Kiani went on to graduate from Pakistan's top institutions, earning her bachelor's degree in Psychology from Kinnaird College for Women University and her Masters in Psychology from the historic Government College University (Lahore).


title: Hadiqa Kiani

text: In the early 1990s, Kiani came onto TV to host a children's music program called "Angan Angan Taray". In the -year-long run, she had sung over one thousand songs for children while hosting the show alongside renowned music composer Amjad Bobby and later on with music composer Khalil Ahmed. Owing to the sheer number of songs Kiani sang during this program, she was presented with the title of "A+ artist" on behalf of PTV joining the likes of Noor Jehan, Naheed Akhtar, and Mehnaz. Kiani also appeared as a VJ for a music charts program called Video Junction on NTM.


title: Hadiqa Kiani

text: Kiani began to sing songs as a playback singer for movies in the early 90s, most notably was the hit Pakistani movie called Sargam, which was starring and being composed by Adnan Sami Khan. The same year, she received various awards for her playback singing including the prestigious Nigar Awards for Best Female Playback Singer.


title: Hadiqa Kiani

text: In 1995, Kiani received the "NTM Viewer's choice award" for the Best Female Singer of Pakistan. In the same Award show, Nusrat Fateh Ali Khan was awarded as the Best Male Singer of Pakistan.


title: Hadiqa Kiani

text: The following year, Kiani released her debut album "Raaz" (Secret) in 1996. The album spawned a string of radio-friendly hits and received positive reviews. Some argue that the reason the album did well was because it was not common for female singers (from educated/non-musical backgrounds) to release albums in Pakistan. Also, she was the first female singer to release a pop album after the former pop singer, Nazia Hassan, gave up her musical career. Kiani's ability to sing in other dialects was also presented to the country through the hit Kashmiri folk song "Maane Di Mauj."


title: Hadiqa Kiani

text: Her increasing popularity was further highlighted in January 1997, when Kiani became the first Asian singer to perform at the British National Lottery Live on BBC One (a program with an estimated viewership 16.6 million at that time). Afterwards she worked on two more shows with Bally Sagoo for BBC and ITV before going on her first U.S. tour in 1997. Her U.S. tour covered 15 states and a few cities in Canada. The same year Kiani performed many other international events in the United Kingdom, Australia, and China. By the summer of 1997, Kiani was representing Pakistan as the only Pakistani singer to perform at "Celebration Hong Kong 97" at Happy Valley Race Course, alongside other International singers like Lisa Stansfield, Wet Wet Wet, Michael Learns to Rock, All 4 One and The Brand New Heavies, an event to celebrate Hong Kong's freedom from the United Kingdom. Kiani is the first mainstream Pakistani singer to ever perform in Hong Kong.


title: Hadiqa Kiani

text: By the end of the year she became the first Asian female singer ever to be signed by Pepsi Cola International. She was the second international female artist in the world to be signed, the first being Gloria Estefan.


title: Hadiqa Kiani

text: In 1998, Kiani recorded the official theme song for the 1999 Cricket World Cup. The Pepsi sponsored song was titled "Intehai Shauq", written by Kiani's mother, Khawar Kiani, and composed and produced by the famed Nizar Lalani. The song was filmed by Jami and Imran Baber and proved to be an instant success that captivated the country with what was noted as incredibly motivational imagery and lyrics.


title: Hadiqa Kiani

text: Amidst the World Cup recording, Kiani released her second album, titled "Roshni." The third single from the album was "Dupatta". The video was inspired by the sci-fi film The Matrix. The song is listed in the Twenty Best Pop Songs Ever for Pakistan, where it is positioned at number 15. The success of the song was attributed to its quasi-bhangra rhythm with "fat, funky techno beats" and Kiani's "dreamy-meets-husky vocals" which made the results "stunning". In the wake of "Dupatta"'s, success Kiani became widely accepted as the country's leading female vocalist.


title: Hadiqa Kiani

text: Capitalizing on "Dupatta's" success, Kiani went on to release two other moderate hits, "Roshni", and "Woh Kaun Hai". Her sixth single off the album, "Boohey Barian" went on to become an even bigger hit for her than "Dupatta". To date, "Boohey Barian" is widely accepted as Kiani's best single ever and noted as one of the most prominent Pakistani songs of all time.


title: Hadiqa Kiani

text: "Roshni" sold over a million copies in Pakistan alone, certifying it as "Platinum". The album is listed in "The 20 Best Local Pop Albums Ever" for the country, positioned at No.15. Kiani is just one of two female singers in the entire list.


title: Hadiqa Kiani

text: Kiani's success led to her being signed by Unilever for celebrity endorsement of Lipton in 2001. In 2002, she is signed again by Unilever for Sunsilk Shampoo after the results of Unilever's national survey to find the "Most Popular Woman of Pakistan". Throughout the early 2000s, she performed live concerts in the US, Canada, UK, Middle East, Far East, Australia, Norway, Greece, Bulgaria and Turkey.


title: Hadiqa Kiani

text: She returned to promote the album in June 2003, almost 10 months after she'd released "Yaad Sajan" with a new single "Ranjhan" and several stage performances and tours around the country. She then released other singles off the album throughout 2003 and 2004. These included "Jogi Bun Kay Aa", "Mahi" and "Dholan". In "Jogi Bun Kay Aa" Kiani plays various women's roles, including a traditional Japanese, an Arab, and a tribal woman. She played a vampire in her video for "Mahi" which was directed by top director Asim Raza. The video showed that it is harmful to judge people of different faiths and castes, and also bad to stereotype. It was the highest budgeted video of the year 2003. During this time, Kiani was in the midst of her first divorce, however Kiani's album sales continued to pick up through 2003 and 2004. In 2004, she received the Best Female Pop Singer Award by Indus Music, the first 24-hour music channel of Pakistan. Asim Raza won an award for best video for directing her critically acclaimed video Mahi.


title: Hadiqa Kiani

text: Shortly after the release of "Rung", Kiani was mentioned in "Pakistani Pop's 10 most Influential Acts Ever", in which she was ranked ninth. She is also one of just two female singers in the list, the other being Nazia Hassan. A UK-based Magazine declared Kiani the 22nd greatest music maker of South Asia out of a total of fifty artists, also mentioning how she raised the standard of music videos in the country.


title: Hadiqa Kiani

text: Several years after the release of "Rung", leading Indian Sufi singer "Harshdeep Kaur" covered Kiani's self composed "Jogi Bun Kay Aa" on a leading Indian television show. The lyrics of the song were originally written by Kiani's mother and poet Khawar Kiani.


title: Hadiqa Kiani

text: In 2007, Kiani released her fourth studio album, "Rough Cut", a collaboration with Aamir Zaki. With the release of "Rough Cut", Kiani became the first mainstream Pakistani artist to release an album completely in English.


title: Hadiqa Kiani

text: Prior to the release of the album, Kiani and Zaki teamed up for an Urdu song, written by Zaki, titled "Iss Baar Milo". The video was directed by Jami (director) and starred Humayun Saeed opposite of Kiani. "Iss Baar Milo"'s video production and acting performances, notably Kiani's portrayal of a "schizophrenic" patient in a Pakistani mental hospital received a great response. The video was a major milestone in the Pakistani music industry, winning Kiani and Jami the title of "Best Video" by MTV Pakistan.


title: Hadiqa Kiani

text: In April 2007, Kiani released the first official single for the album, titled "Living This Lie". The same week, Kiani was named "Hotstepper of the week" for The News by Jang Group. The article also stated that ultimately, "as long as Hadiqa is around, there is still hope for women in the patriarchal music world of Pakistan."


title: Hadiqa Kiani

text: "Living This Lie" was nominated and won for "Best English Song" at "The Musik Awards" in 2007. Kiani was also nominated for Best Female Singer in the same award show.


title: Hadiqa Kiani

text: In June 2009, Kiani switched record labels to Fire Records and released her fifth studio album, titled "Aasmaan". In the album, she sang in Urdu, Punjabi, Hindko, Pashto, and Persian.


title: Hadiqa Kiani

text: The first single of the album was "Sohnya". The official video of "Sohnya" premiered a day before Kiani released the album. Following the release, the song+video stayed on the Aag top 10 Charts for over a month resulting in Kiani receiving a Shield from Aag10 for being the Artist of the Month.


title: Hadiqa Kiani

text: The album itself stayed Number One on the Vibes Charts of INSTEP Magazine for the entire year. By the end of 2009, "Aasmaan" was named the Best Album of 2009 according to sales volume, popularity and internet downloads.


title: Hadiqa Kiani

text: Every single released from "Aasmaan" reached number one. "Sohnya" was number one AAG10 Charts for over a month and was titled the best Pop Song of 2009 according to The Nation. "Tuk Tuk" was number one on Prime TV Charts. "Az Chashme Saqi" went number one on PlayTv Charts and by the end of 2009 it was declared the third best music video of 2009.


title: Hadiqa Kiani

text: In February 2010, Kiani released "Janan", for which she collaborated with relatively unknown Pashto singer Irfan Khan. The song has become Kiani's biggest hit till date and some say that it has even topped the popularity of "Boohey Barian". The song became the first Pakistani pop song to be mentioned by the Los Angeles Times, where the newspaper said that "Janan" was what the whole country was listening to. Kiani's rendering in the Pashto language was critically acclaimed. Some Pakhtoons even started to call her "Hadiqa Pathani," Kiani is credited with bringing back a trend in Pakistan of embracing Pashto culture, girls started to wear Pashto style dresses imitating Kiani's looks on the red carpet and more mainstream singers began singing in the local language. The song's widespread popularity was credited to the fact that it broke barriers in Pakistani music, Kiani being a Punjabi singing a Pashto song and appealing to not only Pakistani Pashto audiences, but to audiences worldwide. Kiani's "Janan" has been covered by many international singers, most noticeably by the Chinese singer Hou Wei at the grand South Asia Expo in 2014. The Chinese cover was done as a tribute to Pakistani culture which elevated the Pashto community in Pakistan while, what many say, cementing the song as a national treasure


title: Hadiqa Kiani

text: In 2017, Kiani teamed up with her brother to launch the visual album titled "Wajd." The album consisting of five renderings of folk songs was critically acclaimed and led Kiani to receive her first "Album of the Year" award from the Lux Style Awards 2018.


title: Hadiqa Kiani

text: Kiani's distinct wardrobe during this album's era were noted by the press and led her to win "Most Stylish Singer" at the Hum Style Awards 2018. Her style led her to be the muse for high street brands such as Generation and Bonanza and couturiers like Ali Xeeshan.


title: Hadiqa Kiani

text: In 2022, Kiani released her album titled VASL. The album reproduced songs from Kiani's first studio album titled Raaz. The album saw three singles, each receiving critical acclaim. The album received international recognition when global streaming giant Spotify acknowledged the album as a part of their Equal Platform, presenting Kiani with her own appearance on a Times Square billboard in New York City.


title: Hadiqa Kiani

text: In 1995, Kiani signed a string of Pakistani films as a playback singer, most notably the Adnan Sami Khan film Sargam (1995). Sargam went on to win various awards for Kiani, including that of "Best Female Playback Singer" at the prestigious Nigar Awards. Since Sargam however, Kiani has been mostly absent from playback singing in Pakistan. The exception came in 2011 when she became one of the primary playback singers for Shoaib Mansoor's film Bol. The film featured four of Kiani's songs, two of which were collaborations with Atif Aslam. The soundtrack of the film saw positive reviews and received four Lux Style Awards nominations for Kiani and Aslam.


title: Hadiqa Kiani

text: In 2006, Kiani was featured on UK based producer Khiza's album "Loyal To The Game"'s lead single, "Mehr Ma". The song was an instant success in Pakistan, and was seen as a great return to pop music for Kiani after her ballads in "Rung". In the video, Kiani was seen with different hairstyles and outfits. The reviews for the song were favorable, one source said that "Mehr Ma", which starts off the album, is easily the best track on it. With Kiani showcasing her top-notch vocals and the music, which remains hip-hopish yet very desi, thanks to the usage of sitar, tabla makes it an excellent number." Kiani also performed the song at the 2006 Lux Style Awards.


title: Hadiqa Kiani

text: Over the years, Kiani has provided vocals for a select list of TV Dramas such as the critically acclaimed 2011 Drama Zindagi Gulzar Hai's title track with Ali Zafar and the 2006 "Aas Pass" with Atif Aslam.


title: Hadiqa Kiani

text: In May 2012, Kiani appeared on the 5th season of Rohail Hyatt's Coke Studio. Performing renditions of Bulleh Shah and Amir Khusro to positive reviews.


title: Hadiqa Kiani

text: In 2016, Kiani lent her voice to the character of Meeran, portrayed by Urwa Hocane, on the Hum TV drama "Udaari." The title track of the drama was sung by Kiani, featuring Farhan Saeed and production by Sahir Ali Bagga. The title track topped the music charts while the drama was critically acclaimed and an instant hit for viewers. The drama was a first for Pakistani television, tackling the taboo issues of sexual abuse and women's rights in the conservative country. It was faced with a notice from PEMRA, for the portrayal of "unethical" scenes.


title: Hadiqa Kiani

text: In 2018, Kiani joined the cast of for the title song . The animated film was produced and directed by Pakistan's first Academy Award winner Sharmeen Obaid-Chinoy.


title: Hadiqa Kiani

text: Apart from studio recordings, in 2005 Kiani was appointed by the government of Pakistan as an official representative of the country.


title: Hadiqa Kiani

text: On 11 August 2005, Kiani performed in Nagoya for the Prime Minister of Japan Mr. Junichirō Koizumi . Kiani then performed in Toronto on 14 August 2005 by request of The Pakistani Consulate. She performed in Houston on 13 August 2005. The show was at Sam Houston Race Park, and it was attended by over 15000 people. Chief guest of the show was Sheila Jackson Lee who is a member of the US House of Representatives. In the same month, she performed at the Mets Shea Stadium New York on 18 August 2005. She closed the month of August with a performance at the Pakistan Parade in New York on 28 August 2005.


title: Hadiqa Kiani

text: On 2 October 2005, Kiani performed in Malaysia at the newly built Convention Centre in Kuala Lumpur downtown. The Honorary Prime Minister of Pakistan Mr.Shaukat Aziz was the chief guest of the show. The show was part of Expo 2005 in Malaysia. Important business and political personalities from both countries attended the show. Kiani sang a song in Malay to show respect to the Malaysian people.


title: Hadiqa Kiani

text: Kiani represented Pakistan on the 25th Anniversary of the Organization of Islamic Conference (OIC) Research Centre for Islamic History, Art and Culture (IRCICA) in Turkey. Islamic Countries such as Azerbaijan, U.A.E, Iran, Qatar, Kazakhstan, Kyrgyz Republic, Kuwait, Lebanon, Egypt, Sudan, Syria, Saudi Arabia, Tanzania, Turkey, Pakistan and Yemen took part in the celebrations. The event was organised by Istanbul Metropolitan Municipality. She performed at the AKM Opera House on 23 November 2005. Among the audience were musicians from various countries. The biggest surprise for the audience was said to be when Kiani sang "Sanalama" (Turkish song of Living Legend "Sezen Aksu"). She told the audience that as Turkey stood beside Pakistan in good and bad times, she wanted to convey the love of Pakistani people for the Turks. She also told the audience that she visited Turkey as a child star in 80s and represented Pakistan in the International Children's Festival in Turkey so she had beautiful childhood memories associated with Turkey. The audience gave her a standing ovation at the end of her performance, The Mayor of Istanbul appreciated her and presented a bouquet of flowers to her. After her performance she received invitations to participate in the upcoming Art festivals in various countries such as Iran, Syria, Qatar and Lebanon. During her stay in Istanbul she officially visited various historical sites in Turkey and conveyed the love of Pakistan for Turkey. Her performance in Istanbul made headlines in various Turkish Newspapers.


title: Hadiqa Kiani

text: Kiani performed in China for the Chinese Premier on 21 February 2006. The following month, she performed for President George W. Bush on 4 March 2006. Commenting on her performance, Bush said "Ms. Hadiqa Kiani is extremely talented and should sing here (United States) more." She then performed for the Crown Prince of Brunei Al-Muhtadee Billah Bolkiah on 29 May 2006.


title: Hadiqa Kiani

text: Kiani performed as per the request of former First Lady of the United States, Laura Bush on 21 September 2006 at The Kennedy Center, in Washington, D.C. She closed the year by performing for Prince Charles of the United Kingdom and Camilla, Duchess of Cornwall on 30 October 2006, and again in China for the Chinese president on 23 November 2006.


title: Hadiqa Kiani

text: On 19 May 2007, Kiani performed at Dead Sea in Jordan for 28 Heads of States at the World Economic Forum on the Middle East and North Africa. Her performance took place on the second day of the three-day event while American singer Lionel Richie performed the first day. Among Kiani's setlist for the night was the Arabic song titled "Ah W Nos" by Nancy Ajram which Kiani covered and then sang again the following year in Pakistan.


title: Hadiqa Kiani

text: In August 2007, Kiani was one of the headliners for the London Day Parade at Trafalgar Square, London which was broadcast by Geo TV to celebrate 60 years of Independence for Pakistan. Kiani was the only singer who sang completely live that day. She was also part of closing the show with the popular patriotic song "Jeevay Pakistan" alongside Ali Zafar.


title: Hadiqa Kiani

text: Kiani has continued performing throughout Pakistan for various companies, including Pepsi and Samsung. Most notably, in 2016 Kiani performed to positive reviews at the first Inter Provincial Games in Pakistan, initiated by President Mamnoon Hussain as a sporting event to support the male and female athletes of Pakistan.


title: Hadiqa Kiani

text: At the end of 2016, upon the Turkish President Erdoğan's arrival to Pakistan, Kiani was invited to perform at the historic Lahore Fort, performing along with folk legend Arif Lohar to welcome the world leader. Kiani's performance was noted as "enthralling" and "melodious."


title: Hadiqa Kiani

text: In 2022, Kiani took the stage at Expo 2020 Dubai at the DEC Arena to represent Pakistan to a sold-out crowd. "Gulf Business" noted Kiani's performance as a musical highlight of the Expo. Kiani was presented with a tour of the Pakistan Pavilion at the world event in which she was quoted as saying, "It's about time that we need to show the world who we are and where we are heading. We are people full of love and we have our rich cultural background and people need to see that."


title: Hadiqa Kiani

text: In March 2007, Kiani was one of the many artists featured in a widely popular track called "Yeh Hum Naheen". In this song, various Pakistani artists joined to send out a message that the stereotype of Pakistanis is not correct and that they oppose terrorism. The song also conveys an anti-terrorism sentiment in the music video and supported the anti-terrorism campaign, Yeh hum naheen, which Kiani is heavily involved with. Other artists in the song include Ali Zafar, Shafqat Amanat Ali and the Strings duo. The song was picked up by international networks such as Fox News and BBC and amassed a significant number of downloads.


title: Hadiqa Kiani

text: In August 2010, Kiani and her siblings worked with local Pakistanis along with the Pakistan Army to provide clothing, water, food and shelter to the flood victims of Pakistan following the devastating 2010 Pakistan floods. Kiani also appeared in Geo TV's telethon "Pukaar" along with Pop star Ali Zafar to appeal for donations. In collaboration with Pakistan Army, Kiani made visits to Multan Relief Camp, Basti Kalraywala, Muzaffarabad and other flood hit areas, personally distributing goods to the affectees.


title: Hadiqa Kiani

text: On 8 November 2010, Kiani was appointed United Nations Development Programme Goodwill ambassador after being recognized for her individual philanthropic efforts. Following being appointed, Kiani continued to construct housing facilities in Nowshera, Khyber Pakhtunkhwa for the flood victims till she completed over 250 houses. Nowshera was one of the worst flood hit areas in the country.


title: Hadiqa Kiani

text: In the beginning of 2015, Kiani was chosen on to be one of Pond's Miracle Mentors as an initiative to highlight and support strong women in the patriarchal Pakistani society alongside nine other renowned and influential women. Later that month Kiani stood up again to voice her views on women in leadership at the Women Leadership Summit 2015 with then wife of former cricketer Imran Khan, Reham Khan and various other women who had achieved success in their respective fields including Muniba Mazari and Nadia Jamil. The summit brought international and local voices together as an act towards shedding light to the issue of gender discrimination in the workplace.


title: Hadiqa Kiani

text: Kiani works regularly with the Edhi Foundation and has been involved with many other charitable organizations, including Muslim Hands, SOS Villages and UNICEF. She has also campaigned and been the ambassador for Shaukat Khanum, Oxfam International, and since 2010 the United Nations.


title: Hadiqa Kiani

text: In November 2015 it was announced that Kiani would speak at TEDXKinnaird on the role of women in Pakistani society.


title: Hadiqa Kiani

text: After taking a stance with the award-winning project, Udaari that highlighted the social issue of sexual abuse against children in the Pakistani community in 2016, Kiani took a stance against the issue again in 2017. Kiani gained attention when criticizing actor Yasir Hussain at the 5th annual Hum TV Awards for joking about child molestation. In a statement on social media, Kiani stated that the comments made by Hussain were "disgusting," while also taking a stance against the entertainment industry for supporting the actor.


title: Hadiqa Kiani

text: In July 2017, Kiani teamed up with Nestlé to introduce socially responsible initiatives in Pakistan regarding early childhood development.


title: Hadiqa Kiani

text: "Pakistan Idol" is a Pakistani reality singing competition that is part of the "Idols" franchise created by Simon Fuller and owned by 19 Entertainment and FremantleMedia. It is the 50th adaptation of the familiar reality competition format introduced in the British series "Pop Idol" in 2001. It was developed for the Pakistani entertainment market by Geo TV. The show brought together Junoon front man Ali Azmat, comic Bushra Ansari, and Kiani as judges. The first season of the show was heavily controversial.


title: Hadiqa Kiani

text: In January 2021, Kiani revealed that she will make her acting debut alongside Nauman Ijaz, Sania Saeed and Iqra Aziz in Hum TV's drama Raqeeb Se. The drama was written by Bee Gul and directed by Kashif Nisar while Kiani sang and produced the OST written by her mother, Khawar Kiani. Kiani starred as the lead heroine in the drama, portraying a battered mother named Sakina, and won critical and fan praise for the performance. The drama garnered Kiani her first awards in the acting field and was noted as one of "The Best Dramas of 2021" In 2022, Kiani was awarded with Best Actress Award by Critics Choice at the 21st Lux Style Awards for her performance in Raqeeb Se as Sakina.


title: Hadiqa Kiani

text: Kiani's second drama premiered in October 2021 and paired Kiani with Bilal Abbas Khan. The drama was written by Sarwat Nazir directed by Danish Nawaz and produced by Momina Duraid Productions for Hum TV. DAWN Images wrote that the drama was an "attempt at redefining the 'leading lady' in Pakistani dramas". The drama received critical and fan praise for its storyline and for Kiani's performance as Mehru. Dobara consistently topped the ratings charts and was noted of having an all-time high of 8.8 TRP rating in February 2021.


title: Hadiqa Kiani

text: In December 2021, Kiani signed her third script for ARY Digital titled "Pinjra." The script was the last script written by Asma Nabeel who lost her life to breast cancer in early 2021. The drama will be produced by Shazia Wajahat and Wajahat Rauf and is expected to air in 2022.


title: Hadiqa Kiani

text: In March 2006, Kiani was presented with the Tamgha-e-Imtiaz by the Government of Pakistan, one of the highest civil awards of the country, in acknowledgement of her services in the field of music and for shining an encouraging light on the country for over a decade. The award was announced on 14 August 2005 but the ceremony was performed on 23 March of the next year. In 2015, Kiani was declared as one of "Pakistan's Most Powerful and Influential Women" of all time by The News International under the Jang Group umbrella.


title: Hadiqa Kiani

text: On 15 August 2015, "Daily Times" Kiani as the 15th part of their 30 name list of celebrated Pakistanis who have brought a great deal of pride for their country, other names on the list titled "Pride of Pakistan" included Academy Award winner Sharmeen Obaid-Chinoy, Malala Yousafzai, and national hero Abdul Sattar Edhi.


title: Hadiqa Kiani

text: In April 2015, Kiani headlined the Music Mela and introduced her new Qawwali sound at the 3-day festival arranged by the U.S. Embassy in Islamabad. The "Pop Queen" of Pakistan debuted herself as a Qawwali artist to positive feedback Upon the end of the Mela, Kiani announced that she would be working on her sixth studio album titled "Wajd".


title: Hadiqa Kiani

text: In December 2021, Kiani was listed as one of the Top Global Asian Celebrities by Eastern Eye, a UK publication. Kiani joined the list with Riz Ahmed, Mindy Kaling and Atif Aslam.


title: Hadiqa Kiani

text: In May 2022, Kiani was honoured by the global music streaming platform Spotify with a digital billboard in Times Square in New York City for her contribution to the global music industry and in support of her seventh album titled VASL. Earlier in the year, Spotify stated "A trailblazer, an icon, and a champion for women's independence, Hadiqa Kiani is undoubtedly one of the most prolific names in Pakistani music history. Her career has evolved remarkably over the past three decades; always staying true to herself, she has given pre-eminent music to the industry in her soulful voice. Apart from her seven hit albums, she has performed in various languages, regionally covering almost all native local languages from the beautiful Saraiki to the complex Dogri and internationally taking on everything from Mandarin Chinese to French."


title: Hadiqa Kiani

text: Kiani was the sole caretaker of her mother, Khawar Kiani, who was paralyzed since 2006 and passed away on October 14, 2022. Upon Khawar's passing, it was reported that the entertainment industry and the country mourned her loss as she was the writer of the "biggest songs in Pakistani music history" including Kiani's "Boohey Barian" and the Kiani & Atif Aslam collaboration for Hum TV titled "Aas Pass"


title: Hadiqa Kiani

text: Kiani adopted her son, Naad-e-Ali, in 2005 from the Edhi Foundation after the 2005 earthquake. Later, she married a UK-based Afghan businessman, Syed Fareed Sarwary. In 2008, she divorced Sarwary.


title: Duke of Richmond

text: Duke of Richmond is a title in the Peerage of England that has been created four times in British history. It has been held by members of the royal Tudor and Stuart families.


title: Duke of Richmond

text: The current dukedom of Richmond was created in 1675 for Charles Lennox, the illegitimate son of King Charles II of England and one of his mistresses, the Breton noblewoman Louise de Penancoët de Kérouaille; Charles Lennox was also made Duke of Lennox a month later. The Duke of Richmond and Lennox was furthermore created Duke of Gordon in the Peerage of the United Kingdom in 1876, meaning that the Duke holds three dukedoms— plus, in pretence, the French Duchy of Aubigny-sur-Nère.


title: Duke of Richmond

text: Prior to the creation of the Dukedom the early nobles of England associated with Richmondshire were Lords and Earls of Richmond. At times the honour of Richmond was held without a title. The Dukedom of Richmond emerged under King Henry VIII.


title: Duke of Richmond

text: The first creation of a dukedom of Richmond (as "Duke of Richmond and Somerset") was made in 1525 for Henry FitzRoy, an illegitimate son of King Henry VIII. His mother was Elizabeth Blount. Upon the Duke's death without children in 1536, his titles became extinct.


title: Duke of Richmond

text: The second creation was in 1623 for Ludovic Stuart, 2nd Duke of Lennox (see Lennox (district)) (1574–1624), who also held other titles in the peerage of Scotland. He was created Earl of Richmond and Baron Settrington in 1613 and Duke of Richmond in the peerage of England in 1623 as a member of the Lennox line (not unlike King James himself) in the House of Stuart. These became extinct at his death in 1624, but his Scottish honours devolved on his brother Esmé, Earl of March, who thus became 3rd Duke of Lennox in the peerage of Scotland. Esmé's son James, 4th Duke of Lennox (1612–1655) subsequently received the third creation of the dukedom of Richmond in 1641, when the two dukedoms again became united. In 1672, on the death of James' nephew Charles, 3rd Duke of Richmond and 6th Duke of Lennox, both titles again became extinct.


title: Duke of Richmond

text: The fourth creation of the dukedom of Richmond was in August 1675, when Charles II granted the title to Charles Lennox, his illegitimate son by Louise de Keroualle, Duchess of Portsmouth. Charles Lennox was further created Duke of Lennox a month later. Charles' son, also Charles, succeeded to the French title Duke of Aubigny (of Aubigny-sur-Nère) on the death of his grandmother in 1734. The 6th Duke of Richmond and Lennox was created Duke of Gordon (See Clan Gordon) in 1876. Thus, the Duke holds three (four, if the French Aubigny claim is accepted) dukedoms, more than any other person in the realm.


title: Duke of Richmond

text: The subsidiary titles of the dukedom created in 1675 are "Earl of March" (created 1675), "Earl of Darnley" (1675), "Earl of Kinrara" (1876), "Baron Settrington", of Settrington in the County of York (1675), and "Lord Torbolton" (1675).


title: Duke of Richmond

text: The Dukes of Richmond, Lennox and Gordon are normally styled "Duke of Richmond and Gordon". Before the creation of the Dukedom of Gordon they were styled "Duke of Richmond and Lennox". The titles "Earl of March" and "Baron Settrington" were created in the peerage of England along with the Dukedom of Richmond. The titles "Earl of Darnley" and "Lord Torbolton" were created in the Peerage of Scotland along with the Dukedom of Lennox. Finally, the title "Earl of Kinrara" was created in the peerage of the United Kingdom with the Dukedom of Gordon. The eldest son of the Duke uses the courtesy title "Earl of March and Kinrara". Before the creation of the Dukedom of Gordon, the courtesy title used was "Earl of March".


title: Duke of Richmond

text: The heir apparent is Charles Henry Gordon-Lennox, Earl of March and Kinrara (b. 1994), eldest son of the 11th Duke.


title: Duke of Richmond

text: The earlier dukes (creations of 1623 and 1641) bore: Quarterly 1 and 4 azure three fleurs-de-lis and a bordure engrailed Or; 2 and 3 Or a fess chequy azure and argent, a bordure gules semy of buckles Or (Stewart of Bonkyl); overall an inescutcheon of Lennox.


title: Duke of Richmond

text: Henry Fitzroy, Duke of Richmond and Somerset (creation of 1525), bore the Tudor royal arms (quarterly France and England) with a border quarterly ermine (for Brittany) and compony azure and argent (for Somerset), a baton sinister argent for bastardy, and overall an escutcheon of Nottingham.


title: Andy Harris (mountain guide)

text: Andrew Michael Harris (29 September 1964 – 10 May 1996) was a New Zealand mountain guide who died in the 1996 Mount Everest disaster. Harris was one of the guides for the Adventure Consultants' 1996 Everest expedition, led by Rob Hall. It was Harris's first attempt to summit Mount Everest, though he had extensive climbing experience in New Zealand.


title: Andy Harris (mountain guide)

text: At the time of his death, Harris was survived by his parents Ron and Marry Harris, his older brother David Harris, and his physician girlfriend Fiona McPherson. He was living with McPherson and in the process of building a house with her in the hills outside Queenstown.


title: Andy Harris (mountain guide)

text: At a younger age, Harris was a student at Francis Douglas Memorial College in New Plymouth. During the winter months, Harris was employed as a helicopter skiing guide. During the summers, he worked for scientists conducting archaeological research in Antarctica as a New Zealand Antarctic Research Program (NZARP) field leader from 1987 until 1992, and escorted climbers into New Zealand's Southern Alps.


title: Andy Harris (mountain guide)

text: In 1985 Harris climbed Chobutse (6690m), a difficult peak which stands close to Everest. In the fall of 1994, he helped McPherson in a medical clinic in Pheriche. The clinic's main purpose was to treat altitude-related illnesses.


title: Andy Harris (mountain guide)

text: The Adventure Consultants' Everest expedition of 1996 consisted of three guides (Rob Hall, Mike Groom, and Andy Harris) and eight clients (Frank Fischbeck, Doug Hansen, Stuart Hutchison, Lou Kasischke, Jon Krakauer, Yasuko Namba, John Taske, and Beck Weathers).


title: Andy Harris (mountain guide)

text: Before even reaching Base Camp, Harris suffered from multiple gastrointestinal attacks at the lodge in Lobuje, while the party was preparing to go to Base Camp. Despite being advised to remain at Lobuje one more night, Harris proceeded to Base Camp with the rest of the party on 8 April 1996.


title: Andy Harris (mountain guide)

text: On 8 May during a climb, Harris was struck in the chest by a boulder the size of a small television. Although shocked, Harris continued to climb, but later realized that if the boulder had hit his head, he would not have survived.


title: Andy Harris (mountain guide)

text: Shortly after midnight on 10 May, the Adventure Consultants expedition began a summit attempt from Camp IV, on top of the South Col.


title: Andy Harris (mountain guide)

text: At approximately 1:12 p.m., Harris, Anatoli Boukreev, and Krakauer reached the top of Everest. They then started to descend. Krakauer asked Harris if Harris could turn off Krakauer's oxygen, to save it. Harris complied but accidentally turned the oxygen all the way up.


title: Andy Harris (mountain guide)

text: Later on, Harris checked on some oxygen canisters near the Southeast Ridge, and stated they were all empty, which they were not. It is believed Harris was suffering from hypoxia, which would explain some of the irrational actions he took. It has, however, never been proven.


title: Andy Harris (mountain guide)

text: Upon returning to Camp IV Krakauer, possibly suffering from the effects of hypoxia, believed he had encountered Harris on the ridge above camp. Krakauer reported having seen him fall over the ridge to camp, stand, and stumble back towards camp. Krakauer, meanwhile, took the longer route around back to the tents but reported to others at camp that Harris had safely returned. Months later, while interviewing Mountain Madness client Martin Adams, Krakauer realized that the climber he encountered was in fact Adams and not Harris. In the morning, on May 11, after a search of camp, the climbers at Camp IV realized that Harris was missing.


title: Andy Harris (mountain guide)

text: Krakauer, who survived the disaster, wrote a magazine article and then a book on the subject after the events. Regarding his failure to recognize that Andy Harris was weakened and acting irrationally from altitude and lack of oxygen, Krakauer wrote that his own "actions – or failure to act – played a direct role in the death of Andy Harris."


title: Andy Harris (mountain guide)

text: Harris's ice axe and jacket were found near Rob Hall's body several days later. Before he died, Hall also mentioned that Harris had been with him, but was now missing. It is likely that Harris went to aid Rob Hall and Doug Hansen when they were trapped higher up on the mountain as the storm came in. It is unknown what happened to him, as his body was never found.


title: Andy Harris (mountain guide)

text: A few minutes from Gorakshep towards the Everest Base Camp, a memorial was built for the members of the Adventure Consultants' team that died during the expedition: Andy Harris, Rob Hall, Doug Hansen and Yasuko Namba.


title: Andy Harris (mountain guide)

text: In 1998, New Zealand Geographic Board named a peak at Victoria Land, Antarctica, after Harris. Harris Peak is located between Mount Hall and Ball Peak, names associated with Harris's.


title: Andy Harris (mountain guide)

text: For his bravery, Harris received the New Zealand Bravery Star in 1999, and his old school held a special tribute in his honor.


title: Grace (prayer)

text: A grace is a short prayer or thankful phrase said before or after eating. The term most commonly refers to Christian traditions. Some traditions hold that grace and thanksgiving imparts a blessing which sanctifies the meal. In English, reciting such a prayer is sometimes referred to as "saying grace". The term comes from the Ecclesiastical Latin phrase "gratiarum actio", "act of thanks." Theologically, the act of saying grace is derived from the Bible, in which Jesus and Saint Paul pray before meals (cf. , ). The practice reflects the belief that humans should thank God who is the origin of everything.


title: Grace (prayer)

text: German prayers to be sung before a meal include "Aller Augen warten auf dich" (All eyes are waiting for you) by Heinrich Schütz, after Psalm 145:15, and the anonymous 20th-century round "Segne, Vater, diese Gaben" (Bless Father, these gifts).


title: Grace (prayer)

text: Before eating, a blessing is said based on the category of food that is being eaten. The categories are: (i) Bread, (ii) fruits that grow on a tree, (iii) fruits/vegetables that do not grow on a tree, (iv) derivates of the five grains (except for bread, which has its own blessing), (v) derivatives of grapes and (vi) everything else.


title: Grace (prayer)

text: The Jewish mealtime prayer, after eating a meal that includes bread, is known as Birkat Hamazon. If the meal does not include bread, a blessing after the meal is recited based on the category of food that was eaten.


title: Grace (prayer)

text: With the destruction of the Temple in Jerusalem in 70 AD, the offering of the prescribed sacrifices ceased in Judaism. Thereafter, the Rabbis prescribed the substitution of other ritual actions to fill this void in Jewish obedience to the Torah. The ritual washing of hands and eating of salted bread is considered to be a substitute for the sacrificial offerings of the kohanim (Jewish priests).


title: Grace (prayer)

text: Though there are separate blessings for fruit, vegetables, non-bread grain products, and meat, fish, and dairy products, a meal is not considered to be a meal in the formal sense unless bread is eaten. The duty of saying grace after the meal is derived from : "And thou shalt eat and be satisfied and shalt bless the Lord thy God for the goodly land which he has given thee." Verse 8 of the same chapter says: "The land of wheat and barley, of the vine, the fig and the pomegranate, the land of the oil olive and of [date] syrup." Hence only bread made of wheat (which embraces spelt) or of barley (which for this purpose includes rye and oats) is deemed worthy of the blessing commanded in verse 10.


title: Grace (prayer)

text: After the meal, a series of four (originally three) benedictions are said, or a single benediction if bread was not eaten.


title: Grace (prayer)

text: The Baháʼí Faith has these two prayers, which are meant for those who wish to thank God before they eat:


title: Grace (prayer)

text: "He is God! Thou seest us, O my God, gathered around this table, praising Thy bounty, with our gaze set upon Thy Kingdom. O Lord! Send down upon us Thy heavenly food and confer upon us Thy blessing. Thou art verily the Bestower, the Merciful, the Compassionate." Mahmud's Diary* p327


title: Grace (prayer)

text: "He is God! How can we render Thee thanks, O Lord? Thy bounties are endless and our gratitude cannot equal them. How can the finite utter praise of the Infinite? Unable are we to voice our thanks for Thy favors and in utter powerlessness we turn wholly to Thy Kingdom beseeching the increase of Thy bestowals and bounties. Thou art the Giver, the Bestower, the Almighty." Mahmud's Diary* p327


title: Grace (prayer)

text: Hindus use the 24th verse of the 4th chapter of Bhagavad Gita as the traditional prayer or blessing before a meal. Once the food is blessed it becomes Prasad, or sanctified as holy


title: Grace (prayer)

text: Which translates as 'The act of offering is God (Brahma), the oblation is God, By God it is offered into the fire of God, God is That which is to be attained by him who sees God in all.'


title: Grace (prayer)

text: This translates as 'Becoming the life-fire in the bodies of living beings, mingling with the upward and downward breaths, I digest the four kinds of food.'


title: Grace (prayer)

text: In Japanese Zen a prayer on the "Five Reflections", Gokan-no-ge, are done before and after meals. This includes putting one's hands together and say "Itadakimasu" ("I humbly receive") before eating a meal. Upon finishing a meal, the polite phrase . In response, the preparer often says .


title: Grace (prayer)

text: In the Nichiren School of Buddhism a prayer is done to "repay the Four Favors", debts we owe to parents, sentient beings, leaders and The Buddha, Dharma and Sanga.


title: Grace (prayer)

text: In Korea, it is customary to say "Jal meokgesseumnida" (잘 먹겠습니다) ("I will eat well'). The saying is not religious in nature, and usually only occurs when eating with someone else. Before eating grace in Korean is "주님, 은혜로이 주신 이 음식과 우리에게 강복하소서. 우리 주 예수 그리스도를 통하여 비나이다, 아멘".


title: Grace (prayer)

text: In certain Boy Scout circles, especially in Missouri, the "S-F" grace (named after the S-F Scout Ranch in Knob Lick, Missouri) is often said, especially when people at the table are of mixed religions. The S-F grace gives thanks to a "great Spirit", but is not affiliated with any one religion.


title: Grace (prayer)

text: Another common Boy Scout grace is the "Philmont Grace" (named after the Philmont Scout Ranch in New Mexico) or the "Wilderness Grace". It can be found in use wherever a troop has gone to Philmont, but is most common in the Western half of the United States. It goes: " For food, for raiment, / For life, for opportunities, / For friendship and fellowship, / We thank thee, O Lord."


title: Generalized tonic–clonic seizure

text: A generalized tonic–clonic seizure, or GTCS, previously known as a Grand mal seizure, is a type of generalized seizure that produces bilateral, convulsive tonic and then clonic muscle contractions. Tonic-clonic seizures are the seizure type most commonly associated with epilepsy and seizures in general and the most common seizure associated with metabolic imbalances. It is a misconception that they are the sole type of seizure, as they are the main seizure type in approximately 10% of those with epilepsy.


title: Generalized tonic–clonic seizure

text: These seizures typically initiate abruptly with either a focal or generalized onset, the former being known as focal to bilateral tonic-clonic seizure. The seizure itself includes tonic (sustained) and then clonic (repetitive short) contractions. In some seizures, the tonic phase may be preceded by brief, arrhythmic muscle jerks (myoclonus), by a clonic phase or by an absence seizure. After the GTCS, there is an extended postictal state where the person is unresponsive and commonly sleeping with loud snoring. There is usually pronounced confusion upon awakening.


title: Generalized tonic–clonic seizure

text: The vast majority of generalized tonic-clonic seizures have a focal origin they start as a smaller seizure that occurs solely on one side of the brain and is referred to as a focal (or partial) seizure. These unilateral seizure types (formerly known as simple partial seizure or a complex partial seizure and now referred to as focal aware seizure and focal impaired awareness seizure, respectively) can then spread to both hemispheres of the brain and cause a generalized tonic-clonic seizure. This type of seizure has a specific term called "focal to a bilateral tonic-clonic seizure. Other generalized tonic-clonic seizures are idiopathic, start in large networks involving both hemispheres, and have a presumed genetic cause. Precipitating factors include chemical and neurotransmitter imbalances and a genetically or situationally determined seizure threshold, both of which have been implicated. The seizure threshold can be altered by fatigue, malnutrition, lack of sleep or rest, hypertension, stress, diabetes, the presence of strobe-flashes or simple light/dark patterns, raised estrogen levels at ovulation, fluorescent lighting, rapid motion or flight, blood sugar imbalances, anxiety, antihistamines and other factors. Tonic–clonic seizures can also be induced deliberately with electroconvulsive therapy.


title: Generalized tonic–clonic seizure

text: In the case of symptomatic focal epilepsy, the cause is often determined by MRI or other neuroimaging techniques showing that there is some degree of damage to a large number of neurons. The lesions (i.e., scar tissue) caused by the loss of these neurons can result in groups of neurons forming a seizure "focus" area with episodic abnormal firing that can cause seizures if the focus is not abolished or suppressed via anticonvulsant drugs.


title: Generalized tonic–clonic seizure

text: Most generalized tonic–clonic seizures begin without warning and abruptly, but some epileptic patients describe a prodrome. The prodrome of a generalized tonic–clonic seizure is a sort of premonitory feeling hours before a seizure. This type of prodrome is distinct from stereotypic aura of focal seizures that become generalized seizures.


title: Generalized tonic–clonic seizure

text: A tonic–clonic seizure comprises three phases: the "tonic" phase, "clonic" phase and "postictal" phase.


title: Generalized tonic–clonic seizure

text: An additional smaller seizure can also occur several minutes after the main seizure, particularly if the patient's seizure threshold has been brought unusually low by known factors or combinations of such. Examples include: severe hangovers, sleep deprivation, elevated estrogen at ovulation, prolonged physical tiredness, and drug use or abuse (including, but not limited to, stimulants, alcohol and caffeine).


title: Generalized tonic–clonic seizure

text: Rarely, the respiration is inhibited during the postictal phase, leading to sudden unexpected death in epilepsy (SUDEP). Generalized tonic–clonic seizures represent the most important risk factor for SUDEP, especially in patients with nocturnal seizures, who are living alone or do not share a bedroom.


title: Generalized tonic–clonic seizure

text: Diagnosis can be made definitively by video recordings of the seizures and electroencephalography (EEG), which records the electrical activity of the brain. This is typically done after a seizure episode in a clinical setting with an attempt to "capture" a seizure while it happens. According to the "Harrison's Manual of Medicine," the EEG during the tonic phase will show a "progressive increase in low-voltage fast wave activity, followed by generalized high-amplitude, poly spike discharges." The clonic phase EEG will show "high amplitude activity that is typically interrupted by slow waves to create a spike-and-slow-wave pattern." Additionally, the postictal phase will show suppression of all brain activity, then slowing that gradually recovers as the patient awakens.


title: Generalized tonic–clonic seizure

text: For a person experiencing a tonic–clonic seizure, first-aid treatment includes rolling the person over into the recovery position, which can prevent asphyxiation by preventing fluid from entering the lungs. Other general actions to take as recommended by the Epilepsy Foundation include staying with a person until a seizure is over, paying attention to length of seizure as a possible indication for status epilepticus and/or indication to give rescue medication and call for emergency help, moving close objects out of the way to prevent injury. It is also not recommended to hold a person down that is having a seizure, as that can lead to injury. Nor should anything be put in a person's mouth, as these items can become choking hazards and, depending on what is put in, can potentially break the person's teeth.


title: Generalized tonic–clonic seizure

text: Long-term therapy may include the use of antiepileptic drugs, surgical therapy, diet therapy (ketogenic diet), vagus nerve stimulation, or deep brain stimulation.


title: Generalized tonic–clonic seizure

text: Generalized tonic–clonic seizures can have a focal onset (described above) that progresses into a generalized seizure or be a generalized seizure at the onset. The term "Grand Mal" is outdated and nonspecific, referring to generalized tonic-clonic seizures with either a focal or generalized onset.


title: Five Holy Wounds

text: In Catholic tradition, the Five Holy Wounds, also known as the Five Sacred Wounds or the Five Precious Wounds, are the five piercing wounds that Jesus Christ suffered during his crucifixion. The wounds have been the focus of particular devotions, especially in the late Middle Ages, and have often been reflected in church music and art.


title: Five Holy Wounds

text: While in the course of his Passion, Jesus suffered various wounds, such as those from the crown of thorns and from the scourging at the pillar. Medieval popular piety focused upon the five wounds associated directly with Christ's crucifixion, i.e., the nail wounds on his hands and feet as well as the lance wound which pierced his side.


title: Five Holy Wounds

text: The revival of religious life and the zealous activity of Bernard of Clairvaux and Francis of Assisi in the twelfth and thirteenth centuries, together with the enthusiasm of the Crusaders returning from the Holy Land, gave a rise in devotion to the Passion of Jesus Christ.


title: Five Holy Wounds

text: Many medieval prayers in honour of the Holy Wounds, including some attributed to Clare of Assisi, have been preserved. Mechtilde and Gertrude of Helfta were devoted to the Holy Wounds, the latter reciting daily a prayer in honour of the 5466 wounds, which, according to a medieval tradition, were inflicted on Jesus during his Passion. In the fourteenth century it was customary in southern Germany to recite fifteen Pater Nosters each day (which thus amounted to 5475 in the course of a year) in memory of the Holy Wounds.


title: Five Holy Wounds

text: There was in the medieval Missals a special Mass in honour of Christ's wounds, known as the Golden Mass. During its celebration five candles were always lighted and it was popularly held that if anyone should say or hear it on five consecutive days he should never suffer the pains of hell fire.


title: Five Holy Wounds

text: The Dominican Rosary also helped to promote devotion to the Holy Wounds, for while the fifty small beads refer to Mary, the five large beads and the corresponding Pater Nosters are intended to honour the Five Wounds of Christ. Again, in some places it was customary to ring a bell at noon on Fridays, to remind the faithful to recite five Paters and Aves in honour of the Holy Wounds.


title: Five Holy Wounds

text: The five wounds comprised 1) nail holes, one through each hand or wrist, 2) nail holes, one through each foot, 3) a wound to the torso from the piercing of the spear, 4) wounds around the head from the crown of thorns, and 5) lash marks from the flagellation.


title: Five Holy Wounds

text: The examination of the wounds by "Doubting Thomas" the Apostle, reported only in the Gospel of John at , was the focus of much commentary and often depicted in art, where the subject has the formal name of the Incredulity of Thomas.


title: Five Holy Wounds

text: In his 1761 book, "The Passion and Death of Jesus Christ", Alphonsus Maria de Liguori, founder of the Redemptorist Fathers, listed among various pious exercises the Little Chaplet of the Five Wounds of Jesus Crucified.


title: Five Holy Wounds

text: Liguori wrote the devotional as a meditation on the five piercing wounds that Christ suffered during his crucifixion.


title: Five Holy Wounds

text: The "Chaplet of the Five Wounds" is a Passionist chaplet devoted to the Holy Wounds of Jesus, as a means to promote devotion to the Passion of Christ.


title: Five Holy Wounds

text: The chaplet is due to Paul Aloysius, the sixth superior general of the Passionists. It was developed in Rome in 1821. A corona of the Five Wounds was approved by Pope Leo XII on 11 August 1823. It received a second approval in 1851.


title: Five Holy Wounds

text: The devotion also honors the mystery of the risen Christ which has the marks of the Five Wounds. This chaplet has 25 beads, grouped into five sets. The "Gloria Patri" is said on each bead. At the end of each section of beads, a Hail Mary in honor of the sorrows of Mary is said. At the end of the chaplet, three additional Hail Marys are said in honor of her tears. The blessing of the beads is reserved to the Passionists.


title: Five Holy Wounds

text: The Chaplet of the Holy Wounds (or "Holy Wounds Rosary") was first introduced at the beginning of the 20th century by Marie Martha Chambon (March 6, 1841 – March 21, 1907), a Roman Catholic Sister of the Monastery of the Visitation Order in Chambéry, France.


title: Five Holy Wounds

text: Françoise Chambon was born March 6, 1841 to a poor farming family in the village of Croix Rouge, near Chambéry, in Savoy. Her first reported vision occurred when she was nine years old. As she was attending Good Friday services with her godmother, in the parish church of Lémenc, Françoise saw the crucified Jesus covered in wounds and blood. She said that later that year, when she received First Communion, she saw the baby Jesus, who told her, "Child, my favorite, so it will be every time you go to Holy Communion." She worked in the refectory at the boarding school.


title: Five Holy Wounds

text: At the age of twenty-one, she joined the Monastery of the Visitation Order in Chambéry, France and was given her name Marie-Marthe. She died on March 21, 1907; the cause for her beatification was introduced in 1937.


title: Five Holy Wounds

text: She began to report visions of Jesus in 1866, telling her to contemplate the Holy Wounds. The mother superior kept a chronicle of her life which was published in 1923 and sold widely. The next year the Vatican granted an indulgence to those who said the following prayer, based on her reported visions: "Eternal Father I offer the wounds of Our Lord Jesus Christ, to heal those of our souls."


title: Five Holy Wounds

text: She reported that Jesus asked her to unite her sufferings with his in the Rosary of the Holy Wounds as an Act of Reparation for the sins of the world. She reported that Jesus told her that "[w]hen you offer My Holy Wounds for sinners, you must not forget to do so for the souls in Purgatory, as there are but few who think of their relief... The Holy Wounds are the treasure of treasures for the souls in Purgatory."


title: Five Holy Wounds

text: The Chaplet of the Holy Wounds is prayed on a standard five decade rosary. This chaplet was approved for the Order of the Visitation of Holy Mary in 1912, and was authorized for all Catholic Church by Decree of the Congregation for the Doctrine of the Faith on March 23, 1999.


title: Five Holy Wounds

text: One method of praying the chaplet consists of three prayers that are said on specific portions of the rosary beads as follows:


title: Five Holy Wounds

text: The First Thursdays Devotion, also called the Act of Reparation to the Wounds of Jesus and to the Holy Eucharist, had its origin in the apparitions of Christ at Balazar, Portugal, reported by Alexandrina Maria da Costa in the 20th century.


title: Five Holy Wounds

text: As early as 1139 Afonso I of Portugal put the emblem of the Five Holy Wounds on his coat of arms as king of Portugal.


title: Five Holy Wounds

text: The Cross of Jerusalem, or "Crusaders' Cross", remembers the Five Holy Wounds through its five crosses. The Holy Wounds have been used as a symbol of Christianity. Participants in the Crusades would often wear the Jerusalem cross, an emblem representing the Holy Wounds; a version is still in use today in the flag of Georgia. The "Five Wounds" was the emblem of the "Pilgrimage of Grace", a northern English rebellion in response to Henry VIII's Dissolution of the Monasteries.


title: Five Holy Wounds

text: Prior to its modern association with the occult, the pentagram was used as a symbol for the Holy Wounds. The pentagram plays an important symbolic role in the 14th-century English poem "Sir Gawain and the Green Knight", in which the symbol decorates the shield of the hero, Gawain. The unnamed poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is perfect in his five senses and five fingers, faithful to the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus, and exemplifies the five virtues of knighthood.


title: Five Holy Wounds

text: When consecrating an altar a number of Christian churches anoint it in five places, indicative of the Five Holy Wounds. Eastern Orthodox churches will sometimes have five domes on them, symbolizing the Five Holy Wounds, along with the alternate symbolism of Christ and the Four Evangelists.


title: Five Holy Wounds

text: The medieval poem "Salve mundi salutare" (also known as the "Rhythmica oratio") was formerly ascribed to Bonaventure or Bernard of Clairvaux, but now is thought more likely to have been written by the Cistercian abbot Arnulf of Leuven (d. 1250). A lengthy meditation upon the Passion of Christ, it is composed of seven parts, each pertaining to one of the members of Christ's crucified body. Popular in the 17th-century, it was arranged as a cycle of seven cantatas in 1680 by Dieterich Buxtehude. His 1680 "Membra Jesu Nostri" is divided into seven parts, each addressed to a different member of Christ's crucified body: feet, knees, hands, side, breast, heart, and head framed by selected Old Testament verses containing prefigurements.


title: Five Holy Wounds

text: The cantata has come down to us more widely known as the hymn O Sacred Head Surrounded named for the closing stanza of a poem addressed to Christ's head which begins "Salve caput cruentatum." Translated by Lutheran hymnist Paul Gerhardt, Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in his "St Matthew Passion". Franz Liszt included an arrangement of this hymn at the sixth station, Saint Veronica wipes the Holy Face, in his "Via crucis" (Stations of the Cross).


title: Five Holy Wounds

text: In art the subject of Doubting Thomas, or the "Incredulity of Saint Thomas", has been common since at least the early 6th century, when it appears in the mosaics at the Basilica of Sant'Apollinare Nuovo in Ravenna, and on the Monza ampullae. Among the most famous examples are the sculpted pair of "Christ and St. Thomas" by Andrea del Verrocchio (1467–1483) for the Orsanmichele in Florence and "The Incredulity of Saint Thomas" by Caravaggio, now in Potsdam.


title: Five Holy Wounds

text: In the later Middle Ages Jesus with one side of his robe pulled back, displaying the wound in his side and his other four wounds (called the ostentatio vulnerum, "display of the wounds"), was taken from images with the Doubting Thomas and turned into a pose adopted by Jesus alone, who often places his own fingers into the wound in his side. This form became a common feature of single iconic figures of Jesus and subjects such as the "Last Judgement" (where Bamberg Cathedral has an early example of about 1235), "Christ in Majesty", the "Man of Sorrows" and Christ with the "Arma Christi", and was used to emphasize Christ's suffering as well as the fact of his Resurrection.


title: Five Holy Wounds

text: Devotional art focused on the side wound was also widespread; some books of prayers from late-medieval Germany, for instance, would display the side wound surrounded by text specifying its exact dimensions.


title: Soviet–Japanese border conflicts

text: The Soviet–Japanese border conflicts, also known as the Soviet-Japanese Border War or the First Soviet-Japanese War,was a series of minor and major conflicts fought between the Soviet Union (led by Joseph Stalin), Mongolia (led by Khorloogiin Choibalsan) and Japan (led by Hirohito) in Northeast Asia from 1932 to 1939. It is the first Soviet-Japanese War.


title: Soviet–Japanese border conflicts

text: Japanese expansion in Northeast China created a common border between the Japanese occupied ground and Soviet Far East. This led to growing tensions with the Soviet Union, with both sides often violating the border and accusing each other of border violations. The Soviets and Japanese, including their respective client states of Mongolia and Manchukuo, fought in a series of escalating small border skirmishes and punitive expeditions from 1935 until Soviet-Mongolian victory over the Japanese in the Battles of Khalkhin Gol in 1939 which resolved the dispute and returned the borders to "status quo ante bellum".


title: Soviet–Japanese border conflicts

text: The Soviet–Japanese border conflicts heavily contributed to the signing of the Soviet–Japanese Neutrality Pact in 1941.


title: Soviet–Japanese border conflicts

text: The Russo-Japanese War of 1904-1905 was before World War 1 started in 1914 when the Empire of Japan led by Emperor Meiji and the Russian Empire led by Tsar Nicholas II resulted the Imperial Russian Navy defeated by the Imperial Japanese Navy in 1905 following the aftermath of the First Sino-Japanese War and the Boxer Rebellion . Following Siberian intervention by Japan in the Russian Civil War in the Russian Far East from 1918-1922 the Imperial Japanese Army commanded by Emperor Taishō were helping the White Army against the Red Army and the Czechoslovak Legion in Siberia in 1918-1920 when a Armoured Train from Austria-Hungary from Europe got lost in Siberia in Russia in 1918 . Following Japanese invasion of Manchuria in 1931-1932, violations of the borders between Manchukuo, the Mongolian People's Republic and the Soviet Union took place frequently. Many of them were misunderstandings due to insufficiently marked nature of the border, but some were intentional acts of espionage. Between 1932 and 1934, according to the Imperial Japanese Army, 152 border disputes occurred, largely because the Soviets infilitrated Manchuria for intelligence purposes. The Soviets blamed the Japanese for 15 cases of border violation, 6 air intrusions, and 20 episodes of "spy smuggling" in 1933 alone. Hundreds of other violations were reported by both sides throughout the following years. To make matters worse, Soviet-Japanese diplomacy and trust had declined even further, with the Japanese being openly called "fascist enemies" at the Seventh Comintern Congress in July 1935.


title: Soviet–Japanese border conflicts

text: In early 1935 around January or February , the first shooting affray took place. From then until April 1939, the Imperial Japanese Army recorded 108 such incidents. On 8 January 1935, the first armed clash, the , occurred on the border between Mongolia and Manchukuo. Several dozen cavalrymen of the Mongolian People's Army trespassed in Manchuria near some disputed fishing grounds, and engaged an 11-man Manchukuo Imperial Army patrol unit near the Buddhist temple at Halhamiao, which was led by a Japanese military advisor. The Manchukuo Army incurred slight casualties, suffering 6 wounded and 2 dead, including the Japanese officer. The Mongols suffered no casualties, and withdrew when the Japanese sent a punitive expedition to reclaim the disputed area. Two motorized cavalry companies, a machine gun company, and a tankette platoon were sent and occupied the point for three weeks without resistance.


title: Soviet–Japanese border conflicts

text: In June 1935, the Japanese and Soviets directly exchanged fire for the first time when an 11-man Japanese patrol west of Lake Khanka was attacked by 6 Soviet horsemen, supposedly inside Manchukuoan territory. In the ensuring firefight, one Soviet soldier was killed, and two horses were captured. While the Japanese asked the Soviets for a joint investigation of the issue, the Soviets rejected the request.


title: Soviet–Japanese border conflicts

text: In October 1935, 9 Japanese and 32 Manchukuoan border guards were engaged in setting up a post, about 20 kilometers north of Suifenho, when they were attacked by a force of 50 Soviet soldiers. The Soviets opened fire on them with rifles and 5 heavy machine guns. In the ensuing clash, 2 Japanese and 4 Manchukuoan soldiers were killed, and another 5 were wounded. The Manchukuoan foreign affairs representative lodged a verbal protest with the Soviet consul at Suifenho. The Imperial Japanese Army's Kwantung Army also sent an intelligence officer to investigate the scene of the clash.


title: Soviet–Japanese border conflicts

text: On 19 December 1935, a Manchukuoan army unit engaging in a reconnoitering project southwest of Buir Lake clashed with a Mongolian party, reportedly capturing 10 soldiers. Five days later, 60 truck-borne Mongolian troops assaulted the Manchukuoans and were repulsed, at the cost of 3 Manchukuoan dead. The same day, at Brunders, Mongolian soldiers attempted to drive out Manchukuoan forces three times in the day, and then again at a night, but all attempts failed. More small attempts to dislodge the Manchukuoans from their outposts occurred in January, with the Mongolians this time utilizing airplanes for recon duty. Due to the arrival of a small force of Japanese troops in three trucks, these attempts also failed with a few casualties on both sides. Aside from the 10 prisoners taken, Mongolian casualties during these clashes are unknown.


title: Soviet–Japanese border conflicts

text: In February 1936, Lieutenant-Colonel Sugimoto Yasuo was ordered to form a detachment from the 14th Cavalry Regiment and, in the words of Lieutenant-General Kasai Heijuro, "out the Outer Mongol intruders from the Olankhuduk region". Sugimoto's detachment included cavalry guns, heavy machine guns, and tankettes. Arrayed against him were 140 Mongolians, equipped with heavy machine guns and light artillery. On February 12, Sugimoto's men successfully drove the Mongolians south, at the cost of 8 men killed, 4 men wounded, and 1 tankette destroyed. After this, they began to withdraw, but were attacked by 5-6 Mongolian armored cars and 2 bombers, which briefly wreaked havoc on a Japanese column. This was rectified when the unit obtained artillery support, enabling it to destroy or drive off the armored cars.


title: Soviet–Japanese border conflicts

text: In March 1936, the () occurred. In this battle, both the Japanese Army and Mongolian Army used a small number of armored fighting vehicles and military aircraft. The Tauran incident of March 1936 occurred as the result of 100 Mongolian and 6 Soviet troops attacking and occupying the disputed village of Tauran, Mongolia, driving off the small Manchurian garrison in the process. They were supported by a handful of light bombers and armored cars, though their bombing sorties failed to inflict any damage on the Japanese, and three of them were shot down by Japanese heavy machine guns. Local Japanese forces counter-attacked, running dozens of bombing sorties on the village, and eventually assaulting it with 400 men and 10 tankettes. The result was a Mongolian rout, with 56 soldiers being killed, including 3 Soviet advisors, and an unknown number being wounded. Japanese losses amounted to 27 killed and 9 wounded.


title: Soviet–Japanese border conflicts

text: Later in March 1936, there was another border clash, this time between the Japanese and the Soviets. Reports of border violations led the Japanese Korean Army to send ten men by truck to investigate, but this party itself was ambushed by 20 Soviet NKVD soldiers deployed at a point 300 meters inside the territory claimed by the Japanese. After incurring several casualties, the Japanese patrol withdrew, and brought up 100 men within hours as reinforcements, who then drove off the Soviets. However, fighting erupted later in the day when the NKVD also brought reinforcements. By nightfall, the fighting had stopped and both sides had pulled back. The Soviets agreed to return the bodies of two Japanese soldiers who died in the fighting, which was seen as encouraging by the Japanese government.


title: Soviet–Japanese border conflicts

text: In early April 1936, three Japanese soldiers were killed near Suifenho, in one of many minor and barely documented affrays. However, this incident was notable in that the Soviets again returned the bodies of the dead servicemen.


title: Soviet–Japanese border conflicts

text: In June 1937, the () occurred on the Amur River at the Soviet–Manchukuo border. Three Soviet gunboats crossed the center line of the river, unloaded troops, and occupied Kanchazu (also spelled "Kanchatzu") island. Soldiers from the IJA 1st Division, using two horse-drawn 37mm artillery pieces, proceeded to hastily set up improvised firing sites, and load their guns with both high-explosive and armor-piercing shells. They shelled the Soviets, sinking the lead gunboat, crippling the second, and driving off the third. Japanese troops then fired on the swimming crewmen of the sunken ships with machine guns. 37 Soviet soldiers were killed in this incident; the Japanese forces suffered no casualties. The Japanese Ministry of Foreign Affairs protested and demanded the Soviet soldiers withdraw from the island. The Soviet leadership, apparently shocked by the display and not wanting things to escalate, agreed and evacuated their forces.


title: Soviet–Japanese border conflicts

text: In July 1937, the Japanese invaded China, starting the Second Sino-Japanese War. Soviet-Japanese relations were chilled by the invasion and Mikhail Kalinin, the Soviet head of state, told the American ambassador in Moscow that same month that his country was prepared for an attack by Nazi Germany in the west and Japan in the east. During the first two years of the war, the Soviets heavily aided the Chinese, increasing tension with Japan. From October 1937 to September 1939, the Soviets supplied the Chinese with 82 tanks, over 1,300 pieces of artillery, over 14,000 machine guns, 50,000 rifles, 1,550 trucks and tractors, and also ammunition, equipment and supplies. They also provided 3,665 military advisors and volunteers as part of the Soviet Volunteer Group. 195 of these men, almost all officers, died in battle against Japanese forces. Large-scale aid ceased by the end of the Soviet–Japanese border conflicts.


title: Soviet–Japanese border conflicts

text: The Battle of Lake Khasan (July 29, 1938 – August 11, 1938), also known as the "Changkufeng Incident" (, Japanese pronunciation: "Chōkohō Jiken") in China and Japan, was an attempted military incursion from Manchukuo (by the Japanese) into territory claimed by the Soviet Union. This incursion was founded in the belief of the Japanese side that the Soviet Union misinterpreted the demarcation of the boundary based on the Convention of Peking treaty between the former Imperial Russia and Qing dynasty of China (and subsequent supplementary agreements on demarcation), and furthermore, that the demarcation markers had been tampered with. The Japanese 19th Division expelled a Soviet garrison from the disputed area, and repulsed numerous counterattacks by an overwhelmingly more numerous and heavily armed Soviet force. Both sides took heavy losses, though Soviet casualties were nearly three times higher than Japanese casualties, and they lost dozens of tanks. The conflict was resolved diplomatically on August 10, when the Japanese ambassador in Moscow asked for peace. The Japanese troops withdrew the next day, and the Soviets re-occupied the area.


title: Soviet–Japanese border conflicts

text: The conflict between the Soviet Union and Japan in 1939 is referred to by some historians as the "Forgotten Soviet-Japanese War." It had a lasting and significant impact on Japanese strategic decisions in World War II.


title: Soviet–Japanese border conflicts

text: The Battle of Khalkhin Gol, sometimes spelled Halhin Gol or Khalkin Gol after the Halha River passing through the battlefield and known in Japan as the Nomonhan Incident (after a nearby village on the border between Mongolia and Manchuria), was the decisive battle of the undeclared Soviet–Japanese Border War. After skirmishes in May and June 1939, engagements with corps-sized forces took place, though the Soviets were again far more numerous and more heavily armed than the Japanese. There were three principal engagements:


title: Soviet–Japanese border conflicts

text: In this engagement the Soviets and Mongolians defeated the Japanese, and expelled them from Mongolia. The Soviet Union and Japan agreed to a cease-fire on 15 September, which took effect the following day. Free from a threat in the Soviet Far East, Stalin proceeded with the Soviet invasion of Poland on 17 September.


title: Soviet–Japanese border conflicts

text: After the Japanese defeat at Khalkhin Gol, Japan and the Soviet Union signed the Soviet–Japanese Neutrality Pact on 13 April 1941, which was similar to the Molotov–Ribbentrop Pact between the Germans and the Soviet Union of August 1939. Later in 1941, Japan considered breaking the pact when Nazi Germany invaded the Soviet Union in Operation Barbarossa but they made the crucial decision to keep it and to continue to press into Southeast Asia instead. This was said to be largely due to the Battle of Khalkhin Gol. The defeat there caused Japan not to join forces with Germany against the Soviet Union, even though Japan and Germany were part of the Tripartite Pact. On April 5, 1945, the Soviet Union unilaterally denounced the neutrality pact, noting that it would not renew the treaty when it expired on April 13, 1946. Four months later, prior to the expiration of the neutrality pact and between the atomic bombings of Hiroshima and Nagasaki, the Soviet Union declared war on Japan, completely surprising the Japanese. The Soviet invasion of Manchuria was launched one hour after the declaration of war.


title: Soviet–Japanese border conflicts

text: The fighting early in World War II between Japan and the Soviet Union plays a key part in the South Korean film "My Way", in which Japanese soldiers (including Koreans in Japanese service) fight and are captured by the Soviets and forced to fight for them.


title: Reel Big Fish

text: Reel Big Fish is an American ska punk band from Orange County, California. The band gained mainstream recognition in the mid-to-late 1990s during the third wave of ska with the release of the gold-certified album "Turn the Radio Off". Soon after, the band lost mainstream recognition but gained an underground cult following. As of 2006, the band was no longer signed to a major record label and has since been independent. After numerous line-up changes, frontman Aaron Barrett is the last remaining founding member still performing in the band.


title: Reel Big Fish

text: The band formed in 1991 while the members were in high school. The group started as a cover band until they released a demo in 1992, titled "In The Good Old Days". With the departure of Ben Guzman soon after, then backup vocalist Aaron Barrett took his place as lead singer. The band then changed its genre to ska.


title: Reel Big Fish

text: Reel Big Fish's self-released debut album, "Everything Sucks", was successful and became an underground hit spread by word-of-mouth, which led to the band signing a deal with Mojo Records. In August 1996, the band released the album "Turn the Radio Off" on the new label, which appealed to fans of ska punk style, and the band began touring throughout the United States. After the single "Sell Out" became well known in mainstream venues, including MTV, the album peaked at number 57 on the "Billboard" charts, staying on the charts for 32 weeks. However, the ska revival was short-lived, and the group's 1998 album "Why Do They Rock So Hard?" failed to match the sales of the band's previous record. In 1998, the band appeared in the movie "BASEketball", performing in the stands to rouse the crowd. The band also appeared on the film's soundtrack with a cover of A-ha's "Take On Me". "Why Do They Rock So Hard?" was the last album for two members of the band. Trombonist Grant Barry was fired for his conduct, culminating with him committing battery on a security guard at Mississippi Nights during a concert in St. Louis and drummer Andrew Gonzales left the band to spend more time with his family.


title: Reel Big Fish

text: Trumpet player Tavis Werts left the band in 2001. Former Suburban Rhythm drummer Carlos de la Garza and former Spring Heeled Jack trumpeter Tyler Jones, who tracked for two songs on "Cheer Up!" (because Werts had already recorded the majority of his trumpet parts before his departure), were brought in. De la Garza's last concert with Reel Big Fish was on June 20, 2003, at the House of Blues in Anaheim, California. That concert was later released as a DVD in "The Show Must Go Off!" series. Jones appeared in the music videos for "Where Have You Been?" and "Monkey Man" (although neither featured any trumpet-playing), and continued to play live with the band until September 2004. Jones was replaced by trumpeter John Christianson, who had previously played with Barrett in the band, The Forces of Evil.


title: Reel Big Fish

text: On April 5, 2005, the band released its fourth album on Mojo, "We're Not Happy 'Til You're Not Happy". Justin Ferreira (who replaced De La Garza) was on drums for the recording, but left before the album's release to join the Orange County band Takota and subsequently is listed as an additional musician on the CD. He was replaced by Ryland Steen.


title: Reel Big Fish

text: Compared to the previous album ("Cheer Up!"), which was more lighthearted and cheerful, Allmusic describes the songs in "We're Not Happy 'Til You're Not Happy" as "angry" and "embittered", but also deemed the album as "super catchy". Common themes expressed throughout the songs include jealousy, regret, short-lasting fame, and disappointment toward mainstream record companies.


title: Reel Big Fish

text: Aaron Barrett has stated that "We're Not Happy 'Til You're Not Happy" was "the third record in a trilogy" that began with "Turn the Radio Off". "The first one was about being in a band and trying to make it. Then "Why Do They Rock So Hard?" was like, 'we've made it, we're rock stars'. "Cheer Up" we made because we had to make it. But "We're Not Happy 'Til You're Not Happy" is about us being old and jaded now."


title: Reel Big Fish

text: While on tour in early 2006, Reel Big Fish were dropped from the Jive Records label. The band formed its own label and released a 3-disc live performance CD/DVD set, "Our Live Album Is Better Than Your Live Album". This package became available on July 18, 2006, on the Internet and in retail stores on August 22. Jive later released a Reel Big Fish greatest hits album, "Greatest Hit...And More".


title: Reel Big Fish

text: On February 20, 2007, the band released "Duet All Night Long", which is a split EP with power pop punk band "Zolof the Rock & Roll Destroyer". It features six cover songs (three from each band), with the two vocalists performing with both bands. The song, "Say Say Say" features Scott Klopfenstein on vocals in place of Barrett.


title: Reel Big Fish

text: The band released its first studio album since leaving Jive Records; "Monkeys for Nothin' and the Chimps for Free" worldwide on July 10, 2007, on the Rock Ridge Music record label. On June 26, 2007, shortly before its release, the band announced in a Myspace blog that Matt Wong was leaving the band to spend more time with his wife and newborn child. He was replaced by Derek Gibbs who played bass in Jeffries Fan Club and Aaron Barrett's now defunct side project, The Forces Of Evil. Since Matt Wong was very popular with fans, some were skeptical of the new bassist's ability, but the band has stated that Derek Gibbs is "Matt Wong Approved" therefore extinguishing several fans' worries. Gibbs had been filling in for Wong on various tours since early 2002.


title: Reel Big Fish

text: Reel Big Fish released a new studio album on January 20, 2009. The name of the album is "Fame, Fortune and Fornication", and it consists of 10 cover songs. Another album, "A Best of Us for the Rest of Us", featuring a 22-track disc of re-recorded songs and a 14-track disc of "Skacoustic" versions produced by lead singer Aaron Barrett, was released on July 20, 2010. An extended version of the album, A Best of Us for the Rest of Us (Bigger Better Bonus Deluxe Version), was released on June 21, 2011. The group also intended to work on a new album, recording new songs in the fall of 2010. The band has also recorded a live DVD at The Grove in Anaheim, California, on January 4, 2009; which was released on July 21, 2009, with the title "Reel Big Fish Live! In Concert!" In an interview with 'The Examiner', Aaron Barrett stated that he planned on releasing a new album, with all new material, in late 2011.


title: Reel Big Fish

text: On January 11, 2011, the band announced that longtime member Scott Klopfenstein would be leaving the band to focus on raising a family. Matt Appleton of Goldfinger began filling in for Scott on the band's 20th Anniversary Tour, and he has since been announced as a permanent replacement. This marks the first time since 1995 that the band has had a saxophone player.


title: Reel Big Fish

text: In March 2012, Reel Big Fish announced via Facebook that the group had begun recording a new album of new, original songs. The album is titled "Candy Coated Fury", though the band also considered "Honk If You're Horny" as a title. The album was released on July 31, 2012.


title: Reel Big Fish

text: On October 21, 2013, the band announced via its website that long-time trombonist Dan Regan, who has played with Reel Big Fish since 1994, will depart from the band to spend more time with his family and follow his dream of starting a brewery.


title: Reel Big Fish

text: Reel Big Fish announced a co-headline UK and Ireland tour with Less than Jake with support from Zebrahead in early 2014.


title: Reel Big Fish

text: In November 2014, Reel Big Fish announced on Facebook that the group would release an EP titled "Happy Skalidays" scheduling release on December 15, 2014.


title: Reel Big Fish

text: In February 2015, the band announced through its website that drummer Ryland Steen had gone on hiatus from the band in order to play drums in America. Since the summer of 2014, Edward Beach (née Larsen) of Suburban Legends has been filling in.


title: Reel Big Fish

text: On October 9, 2018, through their Instagram page, the band announced a new single called "You Can't Have All of Me", released on October 12. They also confirmed the title for the new album to be "Life Sucks...Let's Dance!" and a December release.


title: Reel Big Fish

text: On April 11, 2019, Billy Kottage announced that he had quit the band via his Instagram page. Kottage has since toured as a featured musician with The Interrupters. Brian Robertson of Suburban Legends has been playing with the band as of June 2019.


title: Reel Big Fish

text: On March 22, 2020, former trumpet player Tyler Jones died of a cause that has not been made public. The band paid its respects via social media.


title: Reel Big Fish

text: On October 28, 2021, former member Scott Klopfenstein reunited with Aaron Barrett to sing on a track by Lo(u)ser titled No Hope. Former drummer Ryland Steen played drums and produced, and Dan Regan also appeared in the music video alongside the others.


title: Kennewick Man

text: Kennewick Man and Ancient One are the names generally given to the skeletal remains of a prehistoric Paleoamerican man found on a bank of the Columbia River in Kennewick, Washington, on July 28, 1996. It is one of the most complete ancient skeletons ever found. Radiocarbon tests on bone have shown it to date from 8,900 to 9,000 calibrated years before present, but it was not until 2013 that ancient DNA analysis techniques had improved enough to shed light on the remains.


title: Kennewick Man

text: The discovery led to controversy among scientists as well as Native American tribes for more than a decade. The Umatilla people and other tribes demanded that the remains be returned for reburial under the federal Native American Graves Protection and Repatriation Act (NAGPRA). The law was designed to return human remains and cultural objects which had long been unlawfully obtained or taken from them, and to refuse scientific study on said remains. In this case, the archaeologists who studied the bones, James Chatters and Douglas Owsley, the latter with the Smithsonian Institution, both asserted that the bones were only distantly related to today's Native Americans. They also said that the remains had features which more closely resembled Polynesian or Southeast Asian peoples, a finding that would exempt the bones from NAGPRA.


title: Kennewick Man

text: Kennewick Man became the subject of a controversial nine-year court case between the United States Army Corps of Engineers (USACE), scientists, and Native American tribes who claimed ownership of the remains. In June 2015, it was made public that scientists at the University of Copenhagen in Denmark determined through DNA from 8,500‑year-old bones that Kennewick Man is, in fact, related to modern Native Americans, including the Confederated Tribes of the Colville Reservation from the region in which his bones were found.


title: Kennewick Man

text: Analysis showed that Kennewick Man is "very closely related to the Colville" tribe in northeast Washington. In September 2016, the US House and Senate passed legislation to return the ancient bones to a coalition of Columbia Basin tribes for reburial according to their traditions. The remains were buried on February 18, 2017, with 200 members of five Columbia Basin tribes in attendance, at an undisclosed location in the area.


title: Kennewick Man

text: Kennewick Man was discovered by Will Thomas and David Deacy, spectators at hydroplane races on the Columbia on July 28, 1996. While floating tubes down the bank of the Columbia river, they had found the Kennewick man's skull in a reservoir on the river at Columbia Park in Kennewick, Washington. The remains had become exposed due to erosion and been scattered by water forces in the reservoir.


title: Kennewick Man

text: The coroner delivered the cranium for study to the archaeologist James Chatters, an archaelogist who, over the course of ten visits to the site, assembled 350 bones and bone fragments which resulted in a nearly articulated skeleton. The cranium was fully intact with all teeth from the time of death. All major bones were found except the sternum and a few in the hands and feet. After studying the bones, Chatters concluded that they belonged to "a male of late middle age (40–55 years), and tall (170 to 176 cm, 5′7″ to 5′9″), and was fairly muscular with a slender build". Chatters said that the "presence of Caucasoid traits [and a] lack of definitive Native-American characteristics", as well as the apparent context of the skeleton as part of an early Paleo-American group led him to conclude that the body was "Caucasian", an anthropological term not synonymous with "white" or "European".


title: Kennewick Man

text: A small bone fragment submitted to the University of California, Riverside, for radiocarbon dating, and the skeleton was estimated to be between 9,300 to 9,600 years old (8,400 uncalibrated "radiocarbon years"), and not from the 19th century, as had originally been thought. Subsequent radiocarbon dating indicates a somewhat younger age of 8,900 to 9,000 cal years BP.


title: Kennewick Man

text: Chatters determined that the bone fragment had grown around a stone projectile lodged in the ilium, part of the pelvic bone. On X-ray, nothing appeared. Chatters put the bone through a CT scan, and determined that the projectile was made from a siliceous gray stone with igneous (intrusive or volcanic) origins. The projectile, leaf-shaped, long, and broad, with serrated edges, fit the description of a Cascade point, characteristic of the Cascade phase of 12,000 to 7,500 years BP.


title: Kennewick Man

text: To investigate the mystery of Kennewick Man further and determine whether the skeleton belonged to the Umatilla Native American tribe, who occupied the territory where it was found, scientists analyzed a sample of DNA, but reported that "available technology and protocols do not allow the analysis of ancient DNA from these remains."


title: Kennewick Man

text: Forensic anthropologist Douglas Owsley, who later led the scientific team that examined Kennewick Man's skeleton in 2005, discovered that the bones in Kennewick Man's arms were bent. Owsley theorized that this was the result of powerful muscles built up over the course of a lifetime of hunting and spearfishing. Kennewick Man was found to be right-handed, as the bones of the right arm are noticeably larger than the left.


title: Kennewick Man

text: Chatters "et al." conducted a graphic comparison, including size, of Kennewick Man to eighteen modern populations. They found Kennewick Man to be most closely related to the Ainu, an ancient indigenous people of Japan. However, when size was excluded as a factor, no association to any population was established. Chatters said that anthropologist C. Loring Brace classified Ainu and Polynesians as a single craniofacial Jomon-Pacific cluster, and Chatters said "Polynesians have craniofacial similarities to Asian, Australian and European peoples". Brace said in a 2006 interview with the "Tri-City Herald" that his analysis of the skeleton suggested that Kennewick Man was related to the Ainu.


title: Kennewick Man

text: Anthropologist Joseph Powell of the University of New Mexico was also allowed to examine the remains. Powell used craniometric data obtained by anthropologist William White Howells of Harvard University and anthropologist Tsunehiko Hanihara of Saga University; this had the advantage of including data drawn from Asian and North American populations. Powell said that Kennewick Man was not European but most resembled the Ainu and Polynesians. Powell said that the Ainu descend from the Jōmon people, an East Asian population with "closest biological affinity with south-east Asians rather than western Eurasian peoples". Powell said that dental analysis showed the skull to have a 94-percent consistency with being of a Sundadont group like the Ainu and Polynesians and only a 48-percent consistency with being of a Sinodont group like that of North Asia. Powell said analysis of the skull showed it to be "unlike American Indians and Europeans". Powell concluded that the remains were "clearly not a Caucasoid unless Ainu and Polynesians are considered Caucasoid".


title: Kennewick Man

text: The biological diversity among ancient skulls in the Americas complicated attempts to establish how closely Kennewick Man is related to any modern Native American tribes. Skulls older than 8000 years old have been found to possess greater physical diversity than those of modern Native Americans. The origin of that diversity, whether from different lineages or local adaptation, is a matter of debate.


title: Kennewick Man

text: In 2005, a 10-day examination of the skeleton, led by forensic anthropologist Douglas Owsley, revealed that Kennewick Man had arthritis in his right elbow, both of his knees, and several vertebrae but not severe enough to be crippling. Owsley discovered that Kennewick Man had also suffered some trauma in his lifetime, which was evident by a fractured rib that had healed, a depression fracture on his forehead, and a similar indentation on the left side of the head, and a spear jab that healed. Despite earlier theories regarding his age, the Owsley team thinks he may have been as young as 38 at the time of death.


title: Kennewick Man

text: Kennewick Man was found to have been deliberately buried. By examining the calcium carbonate left behind as underground water collected on the underside of the bones and then evaporated, scientists were able to conclude that Kennewick Man was lying on his back with his feet rolled slightly outward and his arms at his side, with the palms facing down, a position that could not have been accidental.


title: Kennewick Man

text: The findings of the study team convened under Owsley have been published in "Kennewick Man, The Scientific Investigation of an Ancient American Skeleton" (2014) (Douglas W. Owsley and Richard L. Jantz, editors). Researchers from multiple disciplines, including forensic anthropology, physical anthropology, and isotope chemistry, reconstruct the life history and heritage of that individual.


title: Kennewick Man

text: Measurements of carbon, nitrogen, and oxygen isotope ratios in the bone collagen indicate that the man lived almost exclusively on a diet of marine mammals for the last 20 or so years of his life and that the water he drank was glacial melt water. The closest marine coastal environment where glacial melt water could have been found at the time of Kennewick Man was Alaska. That, combined with the location of the find, led to the conclusion that the individual led a highly mobile, water-borne lifestyle centered on the northern coast.


title: Kennewick Man

text: Craniofacial measurements of the skull were found to resemble those of the Ainu, the descendants of the Jōmon aboriginals of Japan. The Jōmon people and Kennewick Man are thought by the authors to share common ancestors among seafaring peoples of coastal Asia with similar craniofacial characteristics.


title: Kennewick Man

text: Advances in genetic research have made it possible to analyze ancient DNA (aDNA). In June 2015, new results concluded that the remains are more closely related to modern Native Americans than to any other living population. Kennewick Man's genetic profile was particularly close to that of members of the Confederated Tribes of the Colville Reservation. Of the five tribes that originally claimed Kennewick Man as an ancestor, their members were the only ones to donate DNA samples for evaluation. The lack of genomes from North American aboriginal populations have made it impossible to ascertain Kennewick Man's nearest living relatives among regional Native American tribes. His Y-DNA haplogroup is Q-M3 and his mitochondrial DNA is X2a, both uniparental genetic markers found almost exclusively in Native Americans.