title: Texas Tech Red Raiders football

text: The 2010 team was the first to wear white helmets since 1974. The white helmets were similar in design to the ones worn during the Jim Carlen era from 1970–1974 featuring a one-inch scarlet stripe in the middle bordered by two half inch black stripes. The helmets used in 2010 feature a black face mask instead of scarlet and the current version of the Double T. The helmets were worn for away games against the New Mexico Lobos, Iowa State Cyclones, and Oklahoma Sooners. The 2013 team saw a great expansion of uniform combinations and designs coinciding with Kingsbury's creative control over the uniforms. In 2019, Texas Tech would wear the College Football 150 patch, a patch worn by every FBS program to recognize the invention of college football in 1869, above the Big 12 logo on all their uniforms worn that season.


title: Texas Tech Red Raiders football

text: The Goin' Band from Raiderland, originally known as The Matador Band, is as old as Texas Tech itself. The band performed at the team's first game in October 1925, fielding between 21 and 25 members. The following year, the band earned its name when it became the first collegiate band to travel to an away game. American humorist Will Rogers once aided in financing a trip to Fort Worth, Texas, so the band could perform at a game against the TCU Horned Frogs. Today, in keeping with the campus' Spanish Renaissance architecture, the uniforms of the Goin' Band are styled after the "trajes" of matadors, complete with cape and a flat-brimmed "gaucho" hat. The 450-member band, which was awarded the Sudler Trophy – an award only allowed to be awarded once – in 1999, performs at all home football games and at various other events.


title: Texas Tech Red Raiders football

text: The Masked Rider is Texas Tech University's oldest mascot, and was the first official mounted mascot in the country. The tradition began in 1936, when "ghost riders" were dared to circle the field prior to home football games. The Masked Rider became an official mascot in 1954, when Joe Kirk Fulton led the team onto the field at the Gator Bowl. According to reports from those present at the game, the crowd sat in stunned silence as they watched Fulton and his horse Blackie rush onto the football field, followed by the team. After a few moments, the silent crowd burst into cheers. Ed Danforth, a writer for the "Atlanta Journal" who witnessed the event, later wrote, "No team in any bowl game ever made a more sensational entrance." In 2000, The Masked Rider tradition was commemorated with the unveiling of a statue outside of the university's Frazier Alumni Pavilion. The sculpture, created by artist Grant Speed, is 25 percent larger than life.


title: Texas Tech Red Raiders football

text: Today the Masked Rider, with guns up, leads the team onto the field for all home games. This mascot, adorned in a distinctive gaucho hat like the ones worn by members of the marching band, is one of the most visible figures at Texas Tech.


title: Texas Tech Red Raiders football

text: Texas Tech's other mascot, Raider Red, is a more recent creation. Beginning with the 1971 football season, the Southwest Conference forbade the inclusion of live animal mascots to away games unless the host school consented. For situations where the host school did not want to allow the Masked Rider's horse, an alternate mascot was needed. Jim Gaspard, a member of the Saddle Tramps student spirit organization, created the original design for the Raider Red costume, basing it on a character created by cartoonist Dirk West, a Texas Tech alumnus and former Lubbock mayor. Though the Masked Rider's identity is public knowledge, it has always been tradition that Raider Red's student alter ego is kept secret until the end of his or her tenure. The student serving as Raider Red is a member of the Saddle Tramps or High Riders.


title: Texas Tech Red Raiders football

text: The Texas Tech Red Raiders have played more games against the Baylor Bears than any other opponent. Baylor leads the series, 41-39-1.


title: Texas Tech Red Raiders football

text: Prior to Texas Tech joining the SWC, a traveling trophy was exchanged between the TCU Horned Frogs and Red Raiders. The trophy was of a miniature saddle and the game between the teams was dubbed "The West Texas Championship." Texas Tech leads the series 32–29–3 through the 2020 season.


title: Texas Tech Red Raiders football

text: Since the 1996 season, the Chancellor's Spurs, a traveling trophy, has been exchanged between the two university system chancellors, in honor of the two universities' rivalry. It is common for Texas Tech students to camp out a few days prior to home football games against the Texas Longhorns and the Oklahoma Sooners. The 2008 game was one of three games that led to a three-way tie controversy in the Big 12 Conference South Division, the first three-way tie in a collegiate conference division. The Texas Longhorns lead the all-time series 54-18 and have won 20 of 26 games since the Chancellor's Spurs were first exchanged. After the 2022 contest where the Texas Longhorns team lost in overtime to the Red Raiders 37-34 in Lubbock, it is unknown if the rivalry will continue with the Longhorns move to the SEC in 2025. With the four new teams joining the Big XII in 2023, scheduling might prevent the two teams from meeting in the Longhorns final years as conference mates.


title: Texas Tech Red Raiders football

text: Historically, Texas Tech University was one of Houston's original rivals, playing every year from 1976 to 1995 when both schools were part of the now-defunct Southwest Conference. The two teams have had some very close games over their history that came down to the wire, with 16 out of the first 34 matchups being decided by single digits and a tie game in 1987. On September 4, 2021, the two met again to play the Texas Kickoff game at NRG Stadium. After the game, several fans broke out into a fight in the stands. With the Texas Longhorns leaving the Big XII for the SEC and the Houston Cougars joining the Big XII, Texas Tech and Houston will be the only two Texas public universities in the conference. Texas Tech also played the Houston Cougars in 2022 at Jones AT&T Stadium with the final score being 33-30 in 2OT


title: Texas Tech Red Raiders football

text: Texas Tech first played the Aggies in 1927 and the teams played annually from 1957 to 2011. The Texas A&M–Texas Tech football rivalry has experienced multiple altercations off the playing field between coaches, players and fans. The Texas A&M Aggies lead the all-time series 37-32-1. Since both teams joined the Big 12 Conference in 1996, Texas Tech has won 10, while Texas A&M has won 6, of these last 16 meetings. Texas A&M has a three-game winning streak against Texas Tech following their 2011 victory against Texas Tech in Lubbock. The rivalry has been dormant since Texas A&M departed the Big 12 for the SEC in 2012.


title: Texas Tech Red Raiders football

text: The two schools first met in 1957, with Arkansas defeating Texas Tech by a score of 47–26 in Little Rock, Arkansas. Arkansas won the first nine games in the rivalry before Texas Tech broke through with a 21–16 victory in 1966. The Red Raiders also defeated the Razorbacks the following year, winning 31–27. After a 30–7 Texas Tech victory in 1976, Arkansas embarked on another nine-game winning streak, winning every year until 1986. Arkansas and Texas Tech played every year from 1957–1991, when the teams were members of the Southwest Conference. In 1992, Arkansas joined the Southeastern Conference, and the two schools have only played twice since: a 49–28 Arkansas victory in 2014 and a 35–24 Texas Tech victory in 2015. The teams are scheduled to meet in a home-and-home series for 2030 and 2031.


title: Malik Obama

text: Abon’go Malik "Roy" Obama (born March 1958) is a Kenyan-American businessman and politician known for being the older half-brother of 44th president of the United States, Barack Obama, and the eldest son of economist Barack Obama Sr.


title: Malik Obama

text: Abon’go Malik "Roy" Obama was born and raised in Nairobi, Kenya. His parents are economist Barack Obama Sr. and his first wife, Kezia Obama (née Aoko). Obama earned a degree in accounting from the University of Nairobi. He met his younger half-brother, Barack Obama, for the first time in 1985, when Barack flew from Chicago to Washington, D.C., to visit Malik. The two each served as best man at the other's wedding. Barack brought his wife Michelle Obama to Kenya three years later, seeing Malik again while meeting many other relatives for the first time. Malik Obama is Muslim. He is a naturalized citizen of the United States who was registered to vote in Maryland as of 2016.


title: Malik Obama

text: Malik Obama lives in the Obamas' ancestral home, Nyang'oma Kogelo, a village of several hundred people, preferring its slow pace to that of the city. Until 2004, he ran a small electronics shop a half-hour's drive away in another town. Since 2008, Obama has run the Barack H. Obama Foundation. Although much of the Obama family has dispersed throughout Kenya and overseas, most, including Malik, still consider their rural village on the shores of Lake Victoria to be their true home. They feel that those who have left the village have become culturally "lost". A frequent visitor to the United States, and a consultant in Washington, D.C., for several months each year, Obama has dual citizenship in Kenya and the United States.


title: Malik Obama

text: During his brother's 2008 presidential campaign, Malik Obama was a spokesman for the extended Obama family in Kenya. He dealt with safety and privacy concerns arising from the increased attention from the press.


title: Malik Obama

text: Obama ran for governor of the Kenyan county of Siaya in 2013. His campaign slogan was "Obama here, Obama there" in reference to his half-brother who was serving his second term as the President of the United States. Malik garnered 2,792 votes, about 140,000 votes behind the eventual winner.


title: Malik Obama

text: Prior to the 2016 United States presidential election, Obama stated that he supported Donald Trump, the candidate for the Republican Party. He attended the third presidential debate as one of Trump's guests.


title: Malik Obama

text: On June 12, 2020, Malik reportedly endorsed United States president Donald Trump, and later in the week posted a fake and historically inaccurate birth certificate of Obama in support of the Barack Obama citizenship conspiracy theories. The birth certificate alleges Obama was born in the Republic of Kenya in 1961, despite the Republic of Kenya not being founded until December 12, 1964. The faux Kenyan certificate also contained a seal which read South Australia, further affirming its lack of authenticity. His sister Auma (among others) condemned him for promoting the theory.


title: Living in the Material World

text: Living in the Material World is the fourth studio album by English musician George Harrison, released in 1973 on Apple Records. As the follow-up to 1970's critically acclaimed "All Things Must Pass" and his pioneering charity project, the Concert for Bangladesh, it was among the most highly anticipated releases of that year. The album was certified gold by the Recording Industry Association of America two days after release, on its way to becoming Harrison's second number 1 album in the United States, and produced the international hit "Give Me Love (Give Me Peace on Earth)". It also topped albums charts in Canada and Australia, and reached number 2 in Britain.


title: Living in the Material World

text: "Living in the Material World" is notable for the uncompromising lyrical content of its songs, reflecting Harrison's struggle for spiritual enlightenment against his status as a superstar, as well as for what many commentators consider to be the finest guitar and vocal performances of his career. In contrast with "All Things Must Pass", Harrison scaled down the production for "Material World", using a core group of musicians comprising Nicky Hopkins, Gary Wright, Klaus Voormann and Jim Keltner. Ringo Starr, John Barham and Indian classical musician Zakir Hussain were among the album's other contributors.


title: Living in the Material World

text: Upon release, "Rolling Stone" described it as a "pop classic", a work that "stands alone as an article of faith, miraculous in its radiance". Most contemporary reviewers consider "Living in the Material World" to be a worthy successor to "All Things Must Pass", even if it inevitably falls short of Harrison's grand opus. Author Simon Leng refers to the album as a "forgotten blockbuster", representing "the close of an age, the last offering of the Beatles' London era". EMI reissued the album in 2006, in remastered form with bonus tracks, and released a deluxe-edition CD/DVD set that included film clips of four songs.


title: Living in the Material World

text: George Harrison's 1971–72 humanitarian aid project for the new nation of Bangladesh had left him an international hero, but also exhausted and frustrated in his efforts to ensure that the money raised would find its way to those in need. Rather than record a follow-up to his acclaimed 1970 triple album, "All Things Must Pass", Harrison put his solo career on hold for over a year following the two Concert for Bangladesh shows, held at Madison Square Garden, New York, in August 1971. In an interview with "Disc and Music Echo" magazine in December that year, pianist Nicky Hopkins spoke of having just attended the New York sessions for John Lennon's "Happy Xmas (War Is Over)" single, where Harrison had played them "about two or three hours" worth of new songs, adding: "They were really incredible."<ref name="Tyler/Disc">Andrew Tyler, "Nicky Hopkins", "Disc and Music Echo", 4 December 1971; available at Rock's Backpages (subscription required; retrieved 30 August 2012).</ref> Hopkins suggested that work on Harrison's next solo album was to begin in January or February at his new home studio at Friar Park, but any such plan was undone by Harrison's commitment to the Bangladesh relief project. While he found time during the last few months of 1971 to produce singles for Ringo Starr and Apple Records protégés Lon & Derrek Van Eaton, and to help promote the Ravi Shankar documentary "Raga", Harrison's next project in the role of music producer was not until August 1972, when Cilla Black recorded his composition "When Every Song Is Sung".


title: Living in the Material World

text: Throughout this period, Harrison's devotion to Hindu spirituality – particularly to Krishna consciousness via his friendship with A.C. Bhaktivedanta Swami Prabhupada – reached new heights. As Harrison admitted, his adherence to his spiritual path was not necessarily consistent. His wife, Pattie Boyd, and their friend Chris O'Dell would joke that it was hard to tell whether he was dipping into his ever-present Japa Yoga prayer bag or "the coke bag". This duality has been noted by Harrison biographers Simon Leng and Alan Clayson: on one hand, Harrison earned himself the nickname "His Lectureship" during his prolonged periods of fervid devotion; on the other, he participated in bawdy London sessions for the likes of Bobby Keys' eponymous solo album and what Leng terms Harry Nilsson's "thoroughly nasty" "You're Breakin' My Heart", both recorded in the first half of 1972. Similarly, Harrison's passion for high-performance cars saw him lose his driving licence for the second time in a year after crashing his Mercedes into a roundabout at 90 miles an hour, on 28 February, with Boyd in the passenger seat.


title: Living in the Material World

text: In August 1972, with the "Concert for Bangladesh" documentary film having finally been released worldwide, Harrison set off alone for a driving holiday in Europe, during which he chanted the Hare Krishna mantra nonstop for a whole day, he later claimed. Religious academic Joshua Greene, a Hare Krishna devotee, has described this trip as Harrison's "preparation" for recording the "Living in the Material World" album.


title: Living in the Material World

text: Rather than revisit compositions left over from the "All Things Must Pass" sessions, Harrison's material for "Living in the Material World" was drawn from the 1971–72 period, with the exception of "Try Some, Buy Some", which he wrote in 1970 and recorded with former Ronette Ronnie Spector in February 1971. The songs reflected his spiritual devotion – in the case of "The Lord Loves the One (That Loves the Lord)", "Living in the Material World", "Give Me Love (Give Me Peace on Earth)" and "Try Some, Buy Some" – as well as his feelings before and after the Bangladesh benefit concerts, with "Miss O'Dell" and "The Day the World Gets 'Round".


title: Living in the Material World

text: Both "The Lord Loves the One" and the album's title track were directly inspired by Prabhupada's teachings. Greene writes of Harrison adapting a passage from the Bhagavad Gita into his lyrics for "Living in the Material World" and adds: "Some of the songs distilled spiritual concepts into phrases so elegant they resembled Vedic "sutras": short codes that contain volumes of meaning." On "Give Me Love", Harrison blended the Hindu bhajan style (or devotional song) with Western gospel music, repeating the formula of his 1970–71 international hit "My Sweet Lord". In his 1980 autobiography, "I Me Mine", he describes the song as "a prayer and personal statement between me, the Lord, and whoever likes it".


title: Living in the Material World

text: Whereas Harrison's Krishna devotionals on "All Things Must Pass" had been uplifting celebrations of faith, his latest compositions betrayed a more austere quality, partly as a result of the Bangladesh experience. His musical arranger, John Barham, would later suggest that a spiritual "crisis" might have been the cause; other observers have pointed to Harrison's failing marriage to Boyd. Leng writes of his frame of mind at this time: "while George Harrison was bursting with musical confidence, "Living in the Material World" found him in roughly the same place that John Lennon was when he wrote 'Help!' – shocked by the rush of overwhelming success and desperately wondering where it left him."


title: Living in the Material World

text: Other song themes addressed the Beatles' legacy, either in direct references to the band's history – in the case of "Living in the Material World" and "Sue Me, Sue You Blues"<ref name="Reid/Elsewhere">Graham Reid, "George Harrison Revisited, Part One (2014): The dark horse bolting out of the gate" , "Elsewhere", 24 October 2014 (retrieved 4 December 2014).</ref> – or in Harrison's stated desire to live in the present, free of his former identity, in the case of "The Light That Has Lighted the World", "Who Can See It" and "Be Here Now". The lyrics to "Who Can See It" reflect Harrison's disenchantment with his previous, junior status to former bandmates Lennon and Paul McCartney, while "Sue Me, Sue You Blues" was his comment on McCartney's 1971 High Court action to dissolve the band as a business entity. In line with Prabhupada's teachings, all such pursuits of fame, wealth or position meant nothing in Harrison's 1972 world-view. Author Gary Tillery writes of "Material World"s lyrical content: "The album expresses his impressions of the mundane and the spiritual worlds and the importance of ignoring the lures of the everyday world and remaining focused on the eternal verities." Even in seemingly conventional love songs such as "That Is All" and "Don't Let Me Wait Too Long", Harrison appeared to be addressing his deity as much as any human partner. Musically, the latter composition reflects the influence of Brill Building songwriters of the early 1960s, while Harrison sings of a love delivered ""like it came from above"".


title: Living in the Material World

text: Harrison donated his copyright for nine of the eleven songs on "Living in the Material World", together with the non-album B-side "Miss O'Dell", to his Material World Charitable Foundation. The latter initiative was set up in reaction to the tax issues that had hindered his relief effort for the Bangladeshi refugees, and ensured a perpetual stream of income, through ongoing publishing royalties, for dispersal to the charities of his choice.<ref name="MWCF/About">"Material World Charitable Foundation" > About , georgeharrison.com (retrieved 9 April 2014).</ref>


title: Living in the Material World

text: After the grand, Wall of Sound production of "All Things Must Pass", Harrison wanted a more understated sound this time around, to "liberate" the songs, as he later put it.<ref name="Howlett/liner notes">Kevin Howlett, booklet accompanying "Living in the Material World" reissue (EMI Records, 2006; produced by Dhani & Olivia Harrison).</ref> He had intended to co-produce with Phil Spector as before, although the latter's erratic behaviour and alcohol consumption ensured that, once sessions were under way in October 1972, Harrison was the project's sole producer. Spector received a credit for "Try Some, Buy Some", however, since Harrison used the same 1971 recording, featuring musicians such as Leon Russell, Jim Gordon, Pete Ham and Barham, that they had made for Ronnie Spector's abandoned solo album.


title: Living in the Material World

text: A release date was planned for January or February 1973, with the album title rumoured to be "The Light That Has Lighted the World". Within a month, the title was announced as "The Magic Is Here Again", with an erroneous report in "Rolling Stone" magazine claiming that Eric Clapton was co-producing and that the album was set for release on 20 December 1972.


title: Living in the Material World

text: In another contrast with his 1970 triple album, Harrison engaged a small core group of musicians to support him on "Living in the Material World". Gary Wright, who shared Harrison's spiritual preoccupations, and Klaus Voormann returned, on keyboards and bass, respectively, and John Barham again provided orchestral arrangements. They were joined by Jim Keltner, who had impressed at the 1971 Bangladesh concerts, and Nicky Hopkins, whose musical link to Harrison went back to the 1968 Jackie Lomax single "Sour Milk Sea". Ringo Starr also contributed to the album, when his burgeoning film career allowed, and Jim Horn, another musician from the Concert for Bangladesh band, supplied horns and flutes. The recording engineer was Phil McDonald, who had worked in the same role on "All Things Must Pass".


title: Living in the Material World

text: All the rhythm and lead guitar parts were performed by Harrison alone – the ex-Beatle stepping out from the "looming shadow" of Clapton for the first time, Leng has noted. Most of the basic tracks were recorded with Harrison on acoustic guitar; only "Living in the Material World", "Who Can See It" and "That Is All" featured electric rhythm parts, those for the latter two songs adopting the same Leslie-toned sound found on much of the Beatles' "Abbey Road" (1969). Ham and his Badfinger bandmate Tom Evans augmented the line-up on 4 and 11 October, although their playing would not find its way onto the released album.


title: Living in the Material World

text: The sessions took place partly at Apple Studios in London, but mostly at Harrison's home studio, FPSHOT, according to Voormann. Apple Studios, together with its Savile Row, London W1 address, received a prominent credit on the "Living in the Material World" record sleeve, as a further sign of Harrison's championing of the Beatles-owned recording facility. At the weekends during these autumn months, Hopkins recorded his own solo album, "The Tin Man Was a Dreamer" (1973), at Apple, with contributions from Harrison, Voormann and Horn. Voormann has described the mood at the Friar Park sessions as "intimate, quiet, friendly" and in stark contrast to the sessions he, Harrison and Hopkins had attended at Lennon's home in 1971, for the "Imagine" album. Keltner recalls Harrison as having been focused and "at his peak physically" throughout the recording of "Living in the Material World", having given up smoking and taken to using Hindu prayer beads.


title: Living in the Material World

text: The sessions continued until the end of November, when Hopkins left for Jamaica to work on the Rolling Stones' new album. During this period, Harrison co-produced a new live album for Shankar and Ali Akbar Khan for a January release on Apple Records, the highly regarded "In Concert 1972".


title: Living in the Material World

text: After hosting a visit by Bob Dylan and his wife Sara at Friar Park, Harrison resumed work on the album in January 1973, at Apple. "Sue Me, Sue You Blues", which he had originally given to Jesse Ed Davis to record in 1971, was taped at this point. The lyrics' courtroom theme had a new relevance in early 1973, as he, Lennon and Starr looked to sever all legal ties with manager Allen Klein, who had been the prime cause for McCartney's earlier litigation.


title: Living in the Material World

text: For the rest of January and through February, extensive overdubs were carried out on the album's basic tracks – comprising vocals, percussion, Harrison's slide guitar parts and Horn's contributions. "Living in the Material World" received significant attention during this last phase of the album production, with sitar, flute and Zakir Hussain's tabla being added to fill the song's two "spiritual sky" sections. The resulting contrast between the main, Western rock portion and the Indian-style middle eights emphasised Harrison's struggle between physical-world temptations and his spiritual goals. The Indian instrumentation overdubbed on this track and "Be Here Now" also marked a rare return to the genre for Harrison, recalling his work with the Beatles over 1966–68 and his first solo album, "Wonderwall Music" (1968).


title: Living in the Material World

text: Barham's orchestra and choir were the final items to be recorded, on "The Day the World Gets 'Round", "Who Can See It" and "That Is All", in early March. With production on the album completed, Harrison flew to Los Angeles for Beatles-related business meetings and to begin work on Shankar and Starr's respective albums, "Shankar Family & Friends" (1974) and "Ringo" (1973).


title: Living in the Material World

text: As he had done with "All Things Must Pass" and "The Concert for Bangladesh", Harrison entrusted the album's art design to Tom Wilkes, and the latter's new business partner, Craig Baun. The gatefold and lyric insert sleeves for "Living in the Material World" were much commented-on at the time of release, Stephen Holden of "Rolling Stone" describing the record as "beautifully-packaged with symbolic hand-print covers and the dedication, 'All Glories to Sri Krsna'", while author Nicholas Schaffner likewise admired the "color representations of the Hindu scriptures", in the form of a painting from a Prabhupada-published edition of the Bhagavad Gita. Reproduced on the lyric insert sheet (on the back of which was a red Om symbol with yellow surround), this painting features Krishna with Arjuna, the legendary archer and warrior, in a chariot, being pulled by the enchanted seven-headed horse Uchchaihshravas. With the album arriving at the height of the glam or glitter rock musical trend, Clayson writes of this image: "a British teenager might have still dug the gear worn by Krishna in his chariot … Androgynous in beaded kaftan, jewelled fez and peacock feather, and strikingly pretty, the Supreme Personality of Godhead was not unlike some of the new breed of theatrical British chartbusters."


title: Living in the Material World

text: For the album's striking front-cover image, Wilkes used a Kirlian photograph of Harrison's hand holding a Hindu medallion. The photo was taken at UCLA's parapsychology department, as was the shot used on the back cover, where Harrison instead holds three US coins: a couple of quarters and a silver dollar.


title: Living in the Material World

text: The gatefold's inner left panel, opposite the album's production credits, showed Harrison and his fellow musicians – Starr, Horn, Voormann, Hopkins, Keltner and Wright – at a long table, laden with food and wine. A deliberate parody of da Vinci's "The Last Supper", the picture was taken in California at the mock-Tudor home of entertainment lawyer Abe Somer, by Hollywood glamour photographer Ken Marcus. As with the US coinage used on the back cover, various details in the photo represent what Harrison termed the "gross" aspects of life in the material world. Clayson has speculated about the symbolism and hidden messages within the photo: whether the nurse with a pram, set back from and to the left of the table, was a reference to Boyd's inability to conceive a child; and the empty, distant wheelchair in memory of Harrison's late mother. Theologian Dale Allison observes the anti-Catholic sentiment within this inner-gatefold photo, following on from Harrison's lyrics to his 1970 song "Awaiting on You All". Harrison is dressed as a priest, all in black, sporting an Old West six-shooter – "a slam at the perceived materialism and violence of the Roman church", Allison writes.


title: Living in the Material World

text: On the back cover, underneath the second hand-print design, text provides details of the fictitious Jim Keltner Fan Club, information on which was available by sending a "stamped undressed elephant" – for: self-addressed envelope – to a Los Angeles postal address. This detail was an affectionate thank-you to the popular drummer (Starr would repeat the gesture on his album later in the year), as well as a light-hearted dig – in its use of "wing" symbols, like those in Wings' logo – at McCartney, who had recently launched a fan club for his new band.


title: Living in the Material World

text: Due to the extended recording period, "Living in the Material World" was issued at the end of a busy Apple release schedule, with April and May 1973 having already been set aside for the Beatles compilations "1962–1966" and "1967–1970" and for Paul McCartney & Wings' second album, "Red Rose Speedway". Schaffner recorded in his book "The Beatles Forever": "For a while there ... album charts were reminiscent of the golden age of Beatlemania." Preceding Harrison's long-awaited release was the acoustic single "Give Me Love (Give Me Peace on Earth)", which became his second number 1 hit in the United States. This was accompanied by a billboard and print advertising campaign, including a three-panel poster combining the album's front and back covers, and an Apple publicity photo showing Harrison, now free of the heavy beard familiar from the "All Things Must Pass"–Concert for Bangladesh era, with his hand outstretched, mirroring Wilkes' album cover image.


title: Living in the Material World

text: "Living in the Material World" was issued on 30 May 1973 in America (with Apple catalogue number SMAS 3410) and on 22 June in Britain (as Apple PAS 10006). It enjoyed immediate commercial success, entering the "Billboard" Top LPs & Tape chart at number 11 and hitting number 1 in its second week, on 23 June, demoting Wings' album in the process. "Material World" spent five weeks atop the US charts, having been awarded a gold disc by the RIAA selling more than 500,000 copies within two days of release. Despite high sales initially, its follow-on success was limited by what Leng terms the "anomalous" decision to cancel the release of a second US single, "Don't Let Me Wait Too Long".


title: Living in the Material World

text: In the UK, the album peaked at number 2, held from the top position by the soundtrack to Starr's film "That'll Be the Day". "Material World" also topped albums charts in Australia and Canada. In January 1975, the Canadian Recording Industry Association announced that it had been certified as a gold album.<ref name="CRIA/RPM">"Certified for Canadian Gold" (CRIA trade advertisement) , "RPM", 11 January 1975, p. 6 (retrieved 12 May 2021).</ref>


title: Living in the Material World

text: With "Living in the Material World", Harrison achieved the "Billboard" double for a second time when "Give Me Love" hit the top position during the album's stay at number 1 – the only one of his former bandmates to have done it even once being McCartney, with the recent "My Love" and "Red Rose Speedway". Harrison carried out no supporting promotion for "Material World"; "pre-recorded tapes" were issued to BBC Radio 1 and played repeatedly on the show "Radio One Club", but his only public appearance in Britain was to accompany Prabhupada on a religious procession through central London, on 8 July. According to author Bill Harry, the album sold over 3 million copies worldwide.


title: Living in the Material World

text: Leng describes "Living the Material World" as "one of the most keenly anticipated discs of the decade" and its unveiling "a major event". Among expectant music critics, Stephen Holden began his highly favourable review in "Rolling Stone" with the words "At last it's here", before hailing the new Harrison album as a "pop classic" and a "profoundly seductive record".<ref name="Holden/RS">Stephen Holden, "George Harrison, "Living in the Material World"" , "Rolling Stone", 19 July 1973, p. 54 (retrieved 12 April 2014).</ref> "Happily, the album is not just a commercial event," he wrote, "it is the most concise, universally conceived work by a former Beatle since "John Lennon/Plastic Ono Band"." "Billboard" magazine noted the twin themes found throughout the album – "the Beatles and their mish-mash" versus a "spiritual undercoat" – and described Harrison's vocals as "first-rate".<ref name="BB review/google">Eliot Tiegel (ed.), "Top Album Picks: Pop", "Billboard", 9 June 1973, p. 54 (retrieved 21 November 2014).</ref>


title: Living in the Material World

text: Two weeks ahead of the UK release date, "Melody Maker" published a full-page "exclusive preview" of "Material World" by its New York correspondent, Michael Watts. The latter wrote that "the most strikingly immediate impression left by the album" concerned its lyrics, which, although "solemn and pious" at times, were "more interesting" thematically than those on "All Things Must Pass", such that "Material World" was "as personal, in its own way, as anything that Lennon has done".<ref name="Watts/MM">Michael Watts, "The New Harrison Album", "Melody Maker", 9 June 1973, p. 3.</ref> While describing the pared-down production as "good artistic judgement in view of the nature of the lyrics", Watts concluded: "Harrison has always struck me before as simply a writer of very classy pop songs; now he stands as something more than an entertainer. Now he's being honest."


title: Living in the Material World

text: While Holden had opined that, of all the four Beatles, Harrison had inherited "the most precious" legacy – namely, "the spiritual aura that the group accumulated, beginning with the White Album" – other reviewers objected to the overt religiosity of "Living in the Material World". This was particularly so in Britain, where by summer 1973, author Bob Woffinden later wrote, "the Beatle bubble had undoubtedly burst" and for each of the former bandmates, his individual "pedestal" was now "an exposed, rather than a comfortable, place to be".


title: Living in the Material World

text: In the "NME", Tony Tyler began his review by stating that he had long idolised Harrison as "the finest packaged object since frozen pizza", but he had changed his opinion dramatically in recent years; after the "dire, ennui-making" "All Things Must Pass", Tyler continued, "the unworthiness of my heretical thoughts smote home around the time of the Bangla Desh concerts." Tyler dismissed "Material World" with the description: "[It's] pleasant, competent, vaguely dull and inoffensive. It’s also breathtakingly unoriginal and – lyrically at least – turgid, repetitive and so damn holy I could scream." The reviewer concluded: "I have no doubt whatever it'll sell like hot tracts and that George'll donate all the profits to starving Bengalis and make me feel like the cynical heel I undoubtedly am."<ref name="Tyler/NME Orig">Chris Hunt (ed.), "NME Originals: Beatles – The Solo Years 1970–1980", IPC Ignite! (London, 2005), p. 70.</ref><ref name="Tyler/NME73">Tony Tyler, "Holy Roller: Harrison", "NME", 9 June 1973, p. 33.</ref> Robert Christgau was also unimpressed in "Creem", giving the record a "C" grade and writing that "Harrison sings as if he's doing sitar impressions". In their 1975 book "", Tyler and co-author Roy Carr bemoaned Harrison's "didactically imposing said Holy Memoirs upon innocent record-collectors" and declared the album's spiritual theme "almost as offensive in its own way" as Lennon and Yoko Ono's political radicalism on "Some Time in New York City" (1972).


title: Living in the Material World

text: Writing in the inaugural issue of the Australian publication "Ear for Music", Anthony O'Grady remarked on the album's religiosity: "oftentimes the music is a more truthful guide to the sense of the lyrics than the words themselves. Harrison is not a great wordsmith but he is a superb musician. Everything flows, everything interweaves. His melodies are so superb they take care of everything." Like Holden, Nicholas Schaffner approved of the singer's gesture in donating his publishing royalties to the Material World Charitable Foundation and praised the album's "exquisite musical underpinnings". Although the "transcendent dogma" was not always to his taste, Schaffner recognised that in "Living in the Material World", Harrison had "devised a luxuriant rock devotional designed to transform his fans' stereo equipment into a temple".


title: Living in the Material World

text: Aside from the album's lyrical themes, its production and musicianship were widely praised, Schaffner noting: "Surely Phil Spector never had a more attentive pupil." Carr and Tyler lauded Harrison's "superb and accomplished slide-guitar breaks", and the solos on "Give Me Love", "The Lord Loves the One", "The Light That Has Lighted the World" and "Living in the Material World" have each been identified as exemplary and among the finest of Harrison's career. In his book "The Beatles Apart" (1981), Woffinden wrote: "Those who carped at the lyrics, or at Harrison himself, missed a great deal of the music, much of which was exceptionally fine." Woffinden described the album as "a very good one", Harrison's "only mistake" being that he had waited so long before following up his successes over 1970–71.


title: Living in the Material World

text: In the decades following its release, "Living in the Material World" gained a reputation as "a forgotten blockbuster" – a term used by Simon Leng and echoed by commentators such as Robert Rodriguez and AllMusic's Bruce Eder. The latter describes Harrison's 1973 album as "an underrated minor masterpiece" that "represent[s] his solo playing and songwriting at something of a peak". John Metzger of "The Music Box" refers to "Material World" as "the most underrated and overlooked album of [Harrison]'s career", adding that it "coalesces around its songs … and the Zen-like beauty that emanates from Harrison's hymns to a higher power inevitably becomes subtly affecting."


title: Living in the Material World

text: Writing in "Rolling Stone" in 2002, Greg Kot found the album "drearily monochromatic" compared to its predecessor, and to "PopMatters" Zeth Lundy, it suffers from "a more anonymous tract" next to the "cathedral-grade significance" of "All Things Must Pass". Reviewing Harrison's solo career for "Goldmine" magazine in 2002, Dave Thompson considered the 1973 album to be the equal of "All Things Must Pass", reasoning: "While history insists that "Living in the Material World" could not help but be eclipsed by its gargantuan forebear, with the two albums in the CD player and the 'shuffle' function mixing them up, it's difficult to play favourites."


title: Living in the Material World

text: In his review of the 2006 remastered release, for "Q" magazine, Tom Doyle praised the album's ballads, such as "The Light That Has Lighted the World" and "Be Here Now", and suggested that "the distance of time helps to reveal its varied charms". "Mojo"s Mat Snow wrote of "this long overdue reissue" being "worth it alone for four wonderful songs", including "Don't Let Me Wait Too Long" and "The Day the World Gets 'Round", and concluded: "The rest is Hari Georgeson at his most preachy, but it's never less than musical and often light on its feet."<ref name="Snow/Mojo">Mat Snow, "George Harrison "Living in the Material World"", "Mojo", November 2006, p. 124.</ref> In another 2006 review, for the "Vintage Rock" website, Shawn Perry wrote of "Material World" being "more restrained and immediate without the wall of sound whitewash of its predecessor, but its flow and elegance are unmistakable". Perry admired Harrison's slide guitar playing and rated the album an "underrated, classic record".<ref name="Perry/VintageRock">Shawn Perry, "George Harrison, Living in the Material World – CD Review" , "Vintage Rock", October 2006 (retrieved 29 November 2014).</ref> Writing for "Uncut" in 2008, David Cavanagh described "Material World" as "a bit full-on, religion-wise" but "the album to play if you want musicianship at its best".


title: Living in the Material World

text: "Living in the Material World" was listed as the fifth best Beatles solo album by "Paste" in 2012. In their similar lists, "Ultimate Classic Rock" ranks it at number 7 and "The Independent" at number 6.


title: Living in the Material World

text: Reviewing the 2014 reissue, Blogcritics' Chaz Lipp writes that "this chart-topping classic is, in terms of production, arguably preferable to its predecessor", adding: "The sinewy 'Sue Me, Sue You Blues,' galloping title track, and soaring 'Don't Let Me Wait Too Long' rank right alongside Harrison's best work." Alex Franquelli of "PopMatters" refers to it as "a worthy successor" to "All Things Must Pass" and an album that "raises the bar of social awareness that had only been touched on lightly in the previous release". Franquelli concludes: "It is a work that enjoys a more elaborate dynamic development, where layers are kept together by Harrison’s clever work behind the mixing desk."<ref name="Franquelli/PM">Alex Franquelli, "George Harrison: The Apple Years 1968–75" , "PopMatters", 30 October 2014 (retrieved 1 November 2014).</ref> In another 2014 review, for "Classic Rock", Paul Trynka writes: "All these years on, it's his most overtly spiritual album that sparkles today … The well-known songs, such as 'Sue Me, Sue You Blues' (dedicated to the rapacious Allen Klein), stand up well, but it's the more restrained tracks – 'Don't Let Me Wait Too Long', 'Who Can See It' – that entrance: gorgeous pop songs, all the more forceful for their restraint." Trynka goes on to describe "Be Here Now" as the album's "towering achievement" and "a masterpiece".


title: Living in the Material World

text: Among Beatles biographers, Alan Clayson approves of "Material World"s "self-production criterion closer to the style of George Martin", after the "looser abundance" of "All Things Must Pass". Within the more restrained surroundings, Clayson adds, Harrison laid claim to the title "king of rock 'n' roll slide guitar", in addition to giving perhaps his "most magnificent [vocal] performance on record" on "Who Can See It". Rodriguez also approves of a production aesthetic that allows instruments to "sparkle" and "breathing space" for his melodies, and rates Harrison's guitar playing as "stellar" throughout. Peter Lavezzoli describes the album as "a soulful collection of songs that feature some of Harrison's finest singing, particularly the gorgeous Roy Orbison-esque ballad 'Who Can See It'".


title: Living in the Material World

text: Leng has named "Living in the Material World" as his personal favourite of all of Harrison's solo albums. According to Leng, with its combination of a defiant "protest" song in "The Day the World Gets 'Round", the anti-stardom "The Lord Loves the One", and "perfect pop confections" in "Give Me Love" and "Don't Let Me Wait Too Long", "Living in the Material World" was the last album to capture the same clear-sighted, utopian spirit that characterised the 1960s. Eder likewise welcomes "Material World"s bold idealism, saying: "Even in the summer of 1973, after years of war and strife and disillusionment, some of us were still sort of looking – to borrow a phrase from a Lennon–McCartney song – or hoping to get from them something like 'the word' that would make us free. And George, God love him, had the temerity to actually oblige ..."


title: Living in the Material World

text: While solo works by Lennon, McCartney and Starr had all been remastered as part of repackaging campaigns during the 1990s and early 21st century, Harrison's "Living in the Material World" was "neglected over the years", author Bruce Spizer wrote in 2005, an "unfortunate" situation considering the quality of its songs. On 25 September 2006, EMI reissued the album in the UK, on CD and in a deluxe CD/DVD package, with Capitol Records' US release following the next day.<ref name="Menze/BB">Jill Menze, "Billboard Bits: George Harrison, Family Values, Antony" , billboard.com, 21 June 2006 (retrieved 26 November 2014).</ref> The remastered "Material World" featured two additional tracks, neither of which had previously been available on an album: "Deep Blue" and "Miss O'Dell", popular B-sides, respectively, to the 1971 non-album single "Bangla Desh" and "Give Me Love (Give Me Peace on Earth)". The CD/DVD edition contained a 40-page full colour booklet that included extra photos from the inner-gatefold shoot (taken by Mal Evans and Barry Feinstein), liner notes by Kevin Howlett, and Harrison's handwritten lyrics and comments on the songs, reproduced from "I Me Mine".


title: Living in the Material World

text: The DVD featured a concert performance of "Give Me Love", recorded during Harrison's 1991 Japanese tour with Eric Clapton, and previously unreleased versions of "Miss O'Dell" and "Sue Me, Sue You Blues" set to a slideshow of archival film. The final selection consisted of the album's title track playing over 1973 footage of the LP being audio-tested and packaged prior to shipment. While Zeth Lundy found that the deluxe edition "bestows lavish attention upon a record that may not exactly deserve it", with the DVD "an unnecessary bonus", Shawn Perry considered the supplementary disc to be possibly the "pièce de résistance" of the 2006 reissue, and concluded: "this package is a beautiful tribute to the late and great guitarist any Beatles and Harrison fan will cherish."


title: Living in the Material World

text: "Living in the Material World" was remastered again for inclusion in the Harrison box set "The Apple Years 1968–75", issued in September 2014.<ref name="Grow/RSonline">Kory Grow, "George Harrison's First Six Studio Albums to Get Lavish Reissues" , rollingstone.com, 2 September 2014 (retrieved 1 October 2014).</ref> Also available as a separate CD, the reissue reproduces Howlett's 2006 essay and adds "Bangla Desh" as a third bonus track, after "Deep Blue" and "Miss O'Dell". In his preview of the 2014 reissues, for "Rolling Stone", David Fricke pairs "Material World" with "All Things Must Pass" as representing "the heart of the [box] set". Disc eight of "The Apple Years" includes the four items featured on the 2006 deluxe edition DVD.<ref name="Marchese/SecondDisc">Joe Marchese, "Give Me Love: George Harrison’s 'Apple Years' Are Collected on New Box Set" , "The Second Disc", 2 September 2014 (retrieved 1 October 2014).</ref>


title: Qizilbash

text: Qizilbash or Kizilbash (; ; ; ) were a diverse array of mainly Turkoman Shia militant groups that flourished in Iranian Azerbaijan, Anatolia, the Armenian Highlands, the Caucasus, and Kurdistan from the late 15th century onwards, and contributed to the foundation of the Safavid dynasty of Iran.


title: Qizilbash

text: The word Qizilbash derives from Turkish "Kızılbaş", meaning "red head". The expression is derived from their distinctive twelve-gored crimson headwear ("tāj" or "tark" in Persian; sometimes specifically titled "Haydar's Crown" / "Tāj-e Ḥaydar"), indicating their adherence to the Twelve Imams and to Shaykh Haydar, the spiritual leader ("sheikh") of the Safavid order in accordance with the Imamate in Twelver doctrine. The name was originally a pejorative label given to them by their Sunni Ottoman foes, but soon it was adopted as a mark of pride.


title: Qizilbash

text: The origin of the Qizilbash can be dated from the 15th century onward, when the spiritual grandmaster of the movement, Shaykh Haydar (the head of the Safaviyya Sufi order), organized his followers into militant troops. The Qizilbash were originally composed of seven Turkic-speaking tribes, Rumlu, Shamlu, Ustajlu, Afshar, Qajar, Tekelu, and Zulkadar, who spoke Azerbaijani.


title: Qizilbash

text: Connections between the Qizilbash and other religious groups and secret societies, such as the Iranian Zoroastrian Mazdaki movement in the Sasanian Empire, or its more radical offspring, the Persian Khurramites, and Turkish shamanism, have been suggested. Of these, the Khurramites were, like the Qizilbash, an early Shi'i "ghulat" group and dressed in red, for which they were termed "the red ones" (, "muḥammirah") by medieval sources. In this context, Turkish scholar Abdülbaki Gölpinarlı sees the Qizilbash as "spiritual descendants of the Khurramites".


title: Qizilbash

text: The Qizilbash were a coalition of many different tribes of predominantly (but not exclusively) Turkic-speaking background united in their adherence to Safavi Shia Islam.


title: Qizilbash

text: As "murids" (sworn students) of the Safavi "sheikh"s (pirs), the Qizilbash owed implicit obedience to their leader in his capacity as their "murshid-e kāmil" "supreme spiritual director" and, after the establishment of the kingdom, as their padishah (great king). The establishment of the kingdom thus changed the purely religious "pir – murid" relationship into a political one. As a consequence, any act of disobedience of the Qizilbash Sufis against the order of the spiritual grandmaster (Persian: "nāsufigari" "conduct unbecoming of a Sufi") became "an act of treason against the king and a crime against the state", as was the case in 1614 when Padishah Abbas the Great put some followers to death.


title: Qizilbash

text: The Qizilbash adhered to heterodox Shi’i doctrines encouraged by the early Safavi sheikhs Haydar and his son Ismail I. They regarded their rulers as divine figures, and so were classified as "ghulat" "extremists" by orthodox Twelvers.


title: Qizilbash

text: When Tabriz was taken, there was not a single book on Twelverism among the Qizilbash leaders. The book of the well known Iraqi scholar al-Hilli (1250–1325) was procured in the town library to provide religious guidance to the state. The imported Shi'i "ulama" did not participate in the formation of Safavid religious policies during the early formation of the state. However, "ghulat" doctrines were later forsaken and Arab Twelver "ulama" from Lebanon, Iraq, and Bahrain were imported in increasing numbers to bolster orthodox Twelver practice and belief.


title: Qizilbash

text: In Turkey, orthoprax Twelvers following Ja'fari jurisprudence are called Ja'faris. Although the Qizilbash are also Twelvers, their practices do not adhere to Ja'fari jurisprudence.


title: Qizilbash

text: Among the Qizilbash, Turcoman tribes from Eastern Anatolia and Iranian Azerbaijan who had helped Ismail I defeat the Aq Qoyunlu tribe were by far the most important in both number and influence and the name "Qizilbash" is usually applied exclusively to them. Some of these greater Turcoman tribes were subdivided into as many as eight or nine clans, including:


title: Qizilbash

text: Other tribes – such as the Turkman, Bahārlu, Qaramānlu, Warsāk, and Bayāt – were occasionally listed among these "seven great uymaqs". Today, the remnants of the Qizilbash confederacy are found among the Afshar, the Qashqai, Turkmen, Shahsevan, and others.


title: Qizilbash

text: Some of these names consist of a place-name with the addition of the Turkish suffix "-lu", such as Shāmlu or Bahārlu. Other names are those of old Oghuz tribes such as the Afshār, Dulghadir, or Bayāt, as mentioned by the medieval Karakhanid historian Mahmud al-Kashgari.


title: Qizilbash

text: The rivalry between the Turkic clans and the Persian nobles was a major problem in the Safavid kingdom. As V. Minorsky put it, friction between these two groups was inevitable, because the Turcomans ""were no party to the national Persian tradition"". Shah Ismail tried to solve the problem by appointing Persian "wakil"s as commanders of Qizilbash tribes. The Turcomans considered this an insult and brought about the death of 3 of the 5 Persians appointed to this office – an act that later inspired the deprivation of the Turcomans by Shah Abbas I.


title: Qizilbash

text: The rise of the Ottomans put a great strain on the Turkmen tribes living in the area, which eventually led them to join the Safavids, who transformed them into a militant organisation, called the Qizilbash (meaning "red heads" in Turkish), initially a pejorative label given to them by the Ottomans, but later adopted as a mark of pride. The religion of the Qizilbash resembled much more the heterodox beliefs of northwestern Iran and eastern Anatolia, rather than the traditional Twelver Shia Islam. The beliefs of the Qizilbash consisted of non-Islamic aspects, varying from crypto-Zoroastrian beliefs to shamanistic practises, the latter which had been practised by their Central Asian ancestors.


title: Qizilbash

text: However, a common aspect that all these heterodox beliefs shared was a form of messianism, devoid of the restrictions of the Islam practiced in urban areas. Concepts of divine inspiration and reincarnation were common, with the Qizilbash viewing their Safavid leader (whom they called "morshed-e kamel", "the Perfect Guide") as the reincarnation of Ali and a manifestation of the divine in human form. The were a total of seven major Qizilbash "tribes", each named after an area they identified themselves with; the Rumlu presumably came from Rum (Anatolia); the Shamlu from Sham (Syria); the Takkalu from the Takkeh in southeastern Anatolia; the Ostajlu from Ostaj in the southern Caucasus. It is uncertain if the Afshar and Qajar were named after an area in Azerbaijan, or after their ancestors. All these tribes shared a common lifestyle, language, faith, and animosity towards the Ottomans.


title: Qizilbash

text: In the 15th century, Ardabil was the center of an organization designed to keep the Safavi leadership in close touch with its murids in Azerbaijan, Iraq, Eastern Anatolia, and elsewhere. The organization was controlled through the office of "khalīfāt al-khulafā'ī" who appointed representatives ("khalīfa") in regions where Safavi propaganda was active. The "khalīfa", in turn, had subordinates termed "pira". The Safavi presence in eastern Anatolia posed a serious threat to the Ottoman Empire because they encouraged the Shi'i population of Asia Minor to revolt against the sultan.


title: Qizilbash

text: In 1499, Ismail, the young leader of the Safavi order, left Lahijan for Ardabil to make a bid for power. By the summer of 1500, about 7,000 supporters from the local Turcoman tribes of Asia Minor (Anatolia), Syria, and the Caucasus – collectively called "Qizilbash" by their enemies – rallied to his support in Erzincan. Leading his troops on a punitive campaign against the Shīrvanshāh (ruler of Shirvan), he sought revenge for the death of his father and his grandfather in Shīrvan. After defeating the Shīrvanshāh Farrukh Yassar and incorporating his kingdom, he moved south into Azarbaijan, where his 7,000 Qizilbash warriors defeated a force of 30,000 Aq Qoyunlu under Alwand Mirzā and conquered Tabriz. This was the beginning of the Safavid state.


title: Qizilbash

text: By 1510, Ismail and his Qizilbash had conquered the whole of Iran and the Republic of Azerbaijan, southern Dagestan (with its important city of Derbent), Mesopotamia, Armenia, Khorasan, Eastern Anatolia, and had made the Georgian kingdoms of Kartli and Kakheti his vassals. Many of these areas were priorly under the control of the Ak Koyunlu.


title: Qizilbash

text: In 1510 Shah Ismail sent a large force of the Qizilbash to Transoxiania to fight the Uzbeks. The Qizilbash defeated the Uzbeks and secured Samarkand at the Battle of Marv. However, in 1512, an entire Qizilbash army was annihilated by the Uzbeks after Turcoman Qizilbash had mutinied against their Persian "wakil" and commander Najm-e Thani at the Battle of Ghazdewan. This defeat put an end to Safavid expansion and influence in Transoxania and left the northeastern frontiers of the kingdom vulnerable to nomad invasions, until some decades later.


title: Qizilbash

text: Meanwhile, the Safavid "dawah" continued in Ottoman areas – with great success. Even more alarming for the Ottomans was the successful conversion of Turcoman tribes in Eastern Anatolia, and the recruitment of these well experienced and feared fighters into the growing Safavid army. In order to stop the Safavid propaganda, Sultan Bayezid II deported large numbers of the Shi'i population of Asia Minor to Morea. However, in 1507, Shah Ismail and the Qizilbash overran large areas of Kurdistan, defeating regional Ottoman forces. Only two years later in Central Asia, the Qizilbash defeated the Uzbeks at Merv, killing their leader Muhammad Shaybani and destroying his dynasty. His head was sent to the Ottoman sultan as a warning.


title: Qizilbash

text: In 1511, a pro-Safavid revolt known as the Shahkulu Uprising broke out in Teke. An imperial army that was sent to suppress it, was defeated. Shah Ismail sought to turn the chaos within the Ottoman Empire to his advantage and moved up his borders even more westwards in Asia Minor. The Qizilbash defeated a large Ottoman army under Sinan Pasha. Shocked by this heavy defeat, Sultan Selim I (the new ruler of the Empire) decided to invade Persia with a force of 200,000 Ottomans and face the Qizilbash on their own soil. In addition, he ordered the persecution of Alevis and massacre its adherents in the Ottoman Empire.


title: Qizilbash

text: On 20 August 1514 (1st Rajab 920 A.H.), the two armies met at Chaldiran in northwestern Iran. The Ottomans -equipped with both firearms and cannon- were reported to outnumber the Qizilbash as much as three to one. The Qizilbash were badly defeated; casualties included many high-ranking Qizilbash "amirs" as well as three influential "ulamā".


title: Qizilbash

text: The defeat destroyed Shah Ismail's belief in his own invincibility and divine status. It also fundamentally altered the relationship between the "murshid-e kāmil" and his "murids" (followers).


title: Qizilbash

text: Ismail I tried to reduce the power of the Turcomans by appointing Iranians to the vakil office. However, the Turcomans did not like having an Iranian to the most powerful office of the Safavid Empire and kept murdering many Iranians who were appointed to that office. After the death of Ismail, the Turkomans managed to seize power from the Iranians, they were however, defeated by Tahmasp I, the son of Ismail.


title: Qizilbash

text: For almost ten years after the Battle of Chaldiran, rival Qizilbash factions fought for control of the kingdom. In 1524, 10-year-old Shah Tahmasp I, the governor of Herat, succeeded his father Ismail. He was the ward of the powerful Qizilbash "amir" Ali Beg Rūmlū (titled ""Div Soltān") who was the "de facto" ruler of the Safavid kingdom. However, Tahmasp managed to reassert his authority over the state and over the Qizilbash.


title: Qizilbash

text: During the reign of Shah Tahmasp, the Qizilbash fought a series of wars on two fronts and – with the poor resources available to them – successfully defended their kingdom against the Uzbeks in the east, and against the arch-rivals of the Safavids – the Ottomans – in the west. With the Peace of Amasya (1555), peace between Safavids and Ottomans remained for the rest of Tahmasp's reign.


title: Qizilbash

text: During Tahmasp' reign, he carried out multiple invasions in the Caucasus which had been incorporated in the Safavid empire since Shah Ismail I and for many centuries afterward, and started with the trend of deporting and moving hundreds of thousands of Circassians, Georgians, and Armenians to Iran's heartlands. Initially only solely put in the royal harems, royal guards, and several other specific posts of the Empire, Tahmasp believed he could eventually reduce the power of the Qizilbash, by creating and fully integrating a new layer in Iranian society with these Caucasian elements and who would question the power and hegemony of the tribal Qizilbash. This included the formation of a military slave system, similar to that of the neighboring Ottoman Empire – the janissaries. Tahmasp's successors, and most importantly Shah Abbas I (r. 1588–1629), would significantly expand this policy when during the reign of Abbas I alone some 200,000 Georgians, 300,000 Armenians and many tens of thousands of Circassians were relocated to Iran's heartlands. By this creation of a so-called "third layer" or "third force" in Iranian society composed of ethnic Caucasians, and the complete systematic disorganisation of the Qizilbash by his personal orders, Abbas I eventually fully succeeded in replacing the power of the Qizilbash, with that of the Caucasian ghulams. These new Caucasian elements (the so-called "ghilman" / غِلْمَان / ""servants""), almost always after conversion to Shi'ism depending on given function would be, unlike the Qizilbash, fully loyal only to the Shah. This system of mass usage of Caucasian subjects continued to exist until the fall of the Qajar dynasty.


title: Qizilbash

text: The inter-tribal rivalry of the Turcomans, the attempt of Persian nobles to end the Turcoman dominance, and constant succession conflicts went on for another 10 years after Tahmasp's death. This heavily weakened the Safavid state and made the kingdom vulnerable to external enemies: the Ottomans attacked in the west, whereas the Uzbeks attacked the east.


title: Qizilbash

text: In 1588, Shah Abbas I came to power. He appointed the Governor of Herat and his former guardian and tutor, Alī Quli Khān Shāmlū (also known as "Hājī Alī Qizilbāsh Mazandarānī") the chief of all the armed forces. Later on, events of the past, including the role of the Turcomans in the succession struggles after the death of his father, and the counterbalancing influence of traditional Ithnāʻashari Shia Sayeds, made him determined to end the dominance of the untrustworthy Turcoman chiefs in Persia which Tahmasp had already started decades before him. In order to weaken the Turcomans – the important militant elite of the Safavid kingdom – Shah Abbas further raised a standing army, personal guard, Queen-Mothers, Harems and full civil administration from the ranks of these "ghilman" who were usually ethnic Circassians, Georgians, and Armenians, both men and women, whom he and his predecessors had taken captive en masse during their wars in the Caucasus, and would systematically replace the Qizilbash from their functions with converted Circassians and Georgians. The new army and civil administration would be fully loyal to the king personally and not to the clan-chiefs anymore.


title: Qizilbash

text: The reorganisation of the army also ended the independent rule of Turcoman chiefs in the Safavid provinces, and instead centralized the administration of those provinces.


title: Qizilbash

text: "Ghulams" were appointed to high positions within the royal household, and by the end of Shah Abbas' reign, one-fifth of the high-ranking amirs were ghulams. By 1598 already an ethnic Georgian from Safavid-ruled Georgia, well known by his adopted Muslim name after conversion, Allahverdi Khan, had risen to the position of commander-in-chief of all Safavid armed forces. and by that became one of the most powerful men in the empire. The offices of "wakil" and "amir al-umarā" fell in disuse and were replaced by the office of a "Sipahsālār" (, "master of the army"), commander-in-chief of all armed forces – Turcoman and Non-Turcoman – and usually held by a Persian ("Tādjik") noble.


title: Qizilbash

text: The Turcoman Qizilbash nevertheless remained an important part of the Safavid executive apparatus, even though ethnic Caucasians came to largely replace them. For example, even in the 1690s, when ethnic Georgians formed the mainstay of the Safavid military, the Qizilbash still played a significant role in the army. The Afshār and Qājār rulers of Persia who succeeded the Safavids, stemmed from a Qizilbash background. Many other Qizilbash – Turcoman and Non-Turcoman – were settled in far eastern cities such as Kabul and Kandahar during the conquests of Nader Shah, and remained there as consultants to the new Afghan crown after the Shah's death. Others joined the Mughal emperors of India and became one of the most influential groups of the Mughal court until the British conquest of India.


title: Qizilbash

text: Qizilbash in Afghanistan primarily live in urban areas, such as Kabul, Kandahar or Herat. Some of them are descendants of the troops left behind by Nadir Shah. Others however were brought to the country during the Durrani rule, Zaman Shah Durrani had a cavalry of over 100.000 men, consisting mostly of Qizilbash Afghanistan's Qizilbash held important posts in government offices in the past, and today engage in trade or are craftsmen. Since the creation of Afghanistan, they constitute an important and politically influential element of society. Estimates of their population vary from 30,000 to 200,000. They are currently Persian-speaking Shi'i Muslims.


title: Qizilbash

text: Sir Mountstuart Elphinstone described the Qizilbash of Kabul in the beginning of the 19th century as ""a colony of Turks,"" who spoke ""Persian, and among themselves Turkish."" Described as learned, affluent, and influential, they appear to have abandoned their native Turkish language in favour of Persian, and became ""in fact Persianized Turks"". Lady Florentia Sale (wife of Sir Robert Henry Sale) and Vincent Eyre – both companions of Sir Mountstuart Elphinstone – described the Qizilbash of Afghanistan also as ""Persians, of Persian descent, or descendant of the Persians, wearing a red cap"".


title: Qizilbash

text: The influence of the Qizilbash in the government created resentment among the ruling Pashtun clans, especially after the Qizilbash openly allied themselves with the British during the First Anglo-Afghan War (1839–1842). During Abdur Rahman Khan's massacre of the Shi'i minorities in Afghanistan, the Qizilbash were declared ""enemies of the state" and were persecuted and hunted by the government and by the Sunni majority.


title: Qizilbash

text: The former national anthem (2006-2021) of Afghanistan mentioned Qizilbash as an ethnic group in the third line of third stanza.


title: Qizilbash

text: Most of the Qizilbash settled in Dobruja in large numbers, either voluntarily or by being deported there from Anatolia by the Ottoman authorities between the 15th and 17th centuries. Kizilbash community are also present in Ludogorie (Deliorman).


title: Qizilbash

text: The Qizilbash conceal their real identity, outwardly professing to be orthodox Sunnis to their Turkish or Bulgarian neighbours, or alternatively claim to be Bektashis, depending who is addressing them. According to the 1992 census, there were 85,773 Shiites in Bulgaria.


title: Qizilbash

text: Between the late seventeenth century and 1822, the term "Qizilbash" was also used in Ottoman administrative documents to identify Twelver (Imami) Shiites in what is today Lebanon. The Ottomans were aware they had no link to the Anatolian or Iranian Qizilbash, employing the term only as a means to delegitimize them or justify punitive campaigns against them. In the early eighteenth century, a part of northern Lebanon is even described as the "Kızılbaş mukataa" tax district.


title: Qizilbash

text: Some contemporary Alevi and Bektashi leaning religious or ethnic minorities in Anatolia are referred to, pejoratively, as Qizilbash.


Grand Duke Konstantin Nikolayevich of Russia (21 September 1827 – 25 January 1892) was the Emperor's Viceroy of Poland from 1862 to 1863.


title: Grand Duke Konstantin Nikolayevich of Russia

text: Konstantin Nikolayevich was born as the second son of Nicholas I and his wife, Charlotte of Prussia, daughter of Frederick William III of Prussia and his first wife, Louise of Mecklenburg-Strelitz.


text: The Grand Duke was a supporter of the liberal (sometimes referred to as "enlightened") bureaucrats during the period of his brother Alexander II's great reforms. He served as chairman of the Imperial Russian Geographical Society (founded in 1845). The Geographical Society was subordinate to the Ministry of Internal Affairs, which was home to a conspicuous number of , including Nikolai Miliutin.


text: In addition to his support of and participation in the 1861 emancipation of the serfs, the Grand Duke also instituted reforms in the Imperial Russian Navy from 1854.


text: Konstantin's brother, Alexander II of Russia was supposed to have said: "Let the Poles have their own court and intrigues." Though the Grand Duke tried to show a liberal attitude towards the Poles, his efforts came too late and he was recalled with the outbreak of the January Uprising in 1863.


text: In the Winter Palace in St Petersburg, on 11 September 1848, Konstantin married Alexandra of Saxe-Altenburg, daughter of Joseph, Duke of Saxe-Altenburg and his wife, Duchess Amelia of Württemberg. They had six children:


text: At the end of the 1860s, Konstantin embarked on an affair, having an illegitimate daughter, Marie Condousso.


text: Konstantin had five illegitimate children with his mistress Anna Kuznetsova (1847–1922); they bore the last name Knyazev:


text: Konstantin was the paternal great-great-grandfather of King Charles III of the United Kingdom, since his daughter Olga married George I of Greece, whose son Andrew married Alice Battenberg, and they became the parents of Philip, Charles' father. Through Constantine I of Greece, another son of Olga and George I, Konstantin is also the paternal great-great-grandfather of Queen Sofía of Spain, mother of King Felipe VI.


text: The Grand Duke is a central character in Act III of the novel "Forty-Ninth" by Boris Pronsky and Craig Britton. In the book, Konstantin is the brains behind the liberal reforms of his brother, Russian Emperor Alexander II, as well as the sale of Alaska to the United States.


title: Himalaya Wellness Company

text: Himalaya Wellness Company (formerly Himalaya Drug Company) is an Indian multinational pharmaceutical company based in Bengaluru, Karnataka, India. It was originally established by Mohammad Manal in Dehradun in 1930. It produces health care products under the name "Himalaya Herbal Healthcare" whose products include ayurvedic ingredients. It is spread across locations in India, United States, Middle East, Asia, Europe and Oceania, while its products are sold in 106 countries across the world. The company has more than 290 researchers that utilise ayurvedic herbs and minerals. A hepatic drug, named "Liv.52", is its flagship product, first introduced in 1955.


title: Himalaya Wellness Company

text: Himalaya Global Holdings Ltd. (HGH), is the parent of The Himalaya Drug Company worldwide. It is also the global headquarters of all Himalaya subsidiaries.


title: Himalaya Wellness Company

text: The Himalaya Drug Company was founded by Mohammad Manal, a nature lover, in Dehradun in the 1930s. Manal had the goal of commercialising Ayurvedic and herbal products to suit contemporary needs, by focusing on modern empirical research to demonstrate their efficacy.


title: Himalaya Wellness Company

text: The company moved to Bombay (Mumbai) in the 1950s. In 1955, it launched 'Liv.52', a hepato-protective, that became the flagship product of the company.


title: Himalaya Wellness Company

text: In 1975, Meraj Manal, Mohammad Manal's son, started a manufacturing unit in Bangalore, which helped the company grow its manufacturing capacity as well as to globalise.


title: Himalaya Wellness Company

text: As at 2022, the company has offices across the globe, including India, the US, South Africa and other countries in Europe, Middle East, and Asia.


title: Himalaya Wellness Company

text: In 1996, the company entered the US market following the introduction of the Dietary Supplement Health and Education Act of 1994. It then expanded into other countries.


title: Himalaya Wellness Company

text: As of 2015, the company sold its products in 91 countries with about 50% of its revenue from outside India.


title: Himalaya Wellness Company

text: Himalaya Herbal Healthcare has a very wide range of products, which include "pharmaceuticals, personal care, baby care, well-being, nutrition and animal health products." The Neem Face Wash is one of their most popular and well known products. Mothercare products have been launched in 2016 with foray into extensive research and development in systems of ancient Ayurveda medicines of India. The company has a presence in 106 countries.


title: Sky King

text: Sky King was an American radio and television series. Its lead character was Arizona rancher and aircraft pilot Schuyler "Sky" King.


title: Sky King

text: The series had strong Western elements. King usually captured criminals and spies and found lost hikers, though he did so with the use of his airplane, the "Songbird". Two twin-engine Cessna airplanes were used by King during the course of the TV series. The first was a Cessna T-50 and in later episodes a Cessna 310B was used till the series's end. The 310's make and model type number was prominently displayed during the closing titles.


title: Sky King

text: King and his niece Penny lived on the Flying Crown Ranch, near the fictitious town of Grover, Arizona. Penny's brother Clipper also appeared during the first season. Penny and Clipper were also pilots, although they were inexperienced and looked to their uncle for guidance. Penny was an accomplished air racer, rated as a multiengine pilot, whom Sky trusted to fly the "Songbird".


title: Sky King

text: The radio show began in 1946 and was based on a story by Roy Winsor, the brainchild of Robert Morris Burtt and Wilfred Gibbs Moore, who also created "Captain Midnight". Several actors played the part of Sky, including Earl Nightingale, John Reed King, and Roy Engel. Jack Bivans played Clipper, and Beryl Vaughan portrayed Penny.


title: Sky King

text: Radio premiums were offered to listeners, as was the case with many radio shows of the day. For example, the Sky King Secret Signalscope was used on November 2, 1947, in the "Mountain Detour" episode. Listeners were advised to get their own for only 15 cents and the inner seal from a jar of Peter Pan Peanut Butter, which was produced by the sponsor, Derby Foods. The Signalscope included a glow-in-the-dark signaling device, whistle, magnifying glass, and Sky King's private code. With the Signalscope, one could also see around corners and trees. The premiums were innovative, such as the Sky King Spy-Detecto Writer, which had a decoder (cipher disk), magnifying glass, measuring scale, and printing mechanism in a single package slightly over two inches long. Other notable premiums were the Magni-Glo Writing Ring, which had a luminous element, a secret compartment, a magnifier, and a ballpoint pen, all in the crown piece of a "fits any finger" ring.


title: Sky King

text: The radio show continued until 1954, broadcasting simultaneously with the first portion of the television version.


title: Sky King

text: The television version starred Kirby Grant as Sky King and Gloria Winters as Penny. Other regular characters included Sky's nephew Clipper, played by Ron Hagerthy, and Mitch the sheriff, portrayed by Ewing Mitchell. Mitch, a competent and intelligent law enforcement officer, depended on his friend Sky's flying skills to solve the harder cases. Other recurring characters included Jim Bell, the ranch foreman, played in four episodes by Chubby Johnson, as well as Sheriff Hollister portrayed by Monte Blue in five episodes, and Bob Carey, portrayed in ten episodes by Norman Ollestad.


title: Sky King

text: Many of the storylines would feature the supporting cast repeatedly finding themselves in near-death situations and the hero rescuing them with seconds to spare. Penny would particularly often fall into the hands of spies, bank robbers, and other ne'er-do-wells.


title: Sky King

text: Sky never killed the villains, as with most television cowboy heroes of the time. "Sky King" was primarily a show for children, although it sometimes broadcast in prime time. The show also became an icon in the aviation community. Many pilots, including American astronauts, grew up watching "Sky King" and named him as an influence.


title: Sky King

text: Plot lines were often simplistic, but Grant was able to bring a casual, natural treatment of technical details, leading to a level of believability not found in other TV series involving aviation or life in the Western United States. Likewise, villains and other characters were usually depicted as intelligent and believable, rather than as two-dimensional. The writing was generally above the standard for contemporary half-hour programs, although sometimes critics suggested that the acting was not.


title: Sky King

text: Later episodes of the television show were notable for the dramatic opening with an air-to-air shot of the sleek, second "Songbird" banking sharply away from the camera and its engines roaring, while the announcer proclaimed, "From out of the clear blue of the Western sky comes Sky King!" The short credit roll which followed was equally dramatic, with the "Songbird" swooping at the camera across El Mirage Lake, California, then pulling up into a steep climb as it departed. The end title featured a musical theme, with the credits superimposed over an air-to-air shot of the "Songbird", cruising at altitude for several moments, then banking away to the left.


title: Sky King

text: The show also featured low-level flying, especially with the later "Songbird", highlighting the desert flashing by in the background.


title: Sky King

text: A unique introduction featured the triangular Nabisco logo flying across the screen, accompanied by the sound of the "Songbird" flying past. Nabisco included plastic figures of characters from the show and the "Songbird" in packages of Wheat Honeys and Rice Honeys breakfast cereals.


title: Sky King

text: The series was set in Arizona, but actually filmed in the high desert of California. The ranch house used for exterior shots of the Flying Crown Ranch is an actual residence in Apple Valley, California, although it has been extensively remodeled since its use as headquarters of the ranch. Other locations were shot in and around Apple Valley and the nearby San Bernardino Mountains, George Air Force Base, and Naval Air Weapons Station China Lake. Interior filming was done at the General Service studios in Hollywood.


title: Sky King

text: It was expensive for a children's show, but most of the budget (about $9,000 per episode) went into aircraft, vehicles, fuel, and sets. This meant that some standard production methods had to be abandoned, giving the series a more realistic look. For instance, in some shots, pilot Bill Fergusson actually did taxi the 310B rather than the more common (but time-consuming and costly) method of simulating movement by towing or dolly shots. Plymouth provided several 1951 woodie station wagons for the series.


title: Sky King

text: The budget issue also forced the frequent reuse of aircraft stock footage, sometimes "flopped" (i.e., reversing the flight position) in post-production, to show airplanes banking in the opposite direction. In these cases letters and numbers (especially wing and tail numbers) read backwards.


title: Sky King

text: The monotone black-and-white film disguised the actual color scheme of the Cessna 310B, which was painted in a rich multi-color pattern of Coronado Yellow, Sierra Gold, and White, with a gold interior.


title: Sky King

text: The show was filmed and shown during three periods as sponsors changed: 1951–1952 (Derby Foods), 1955–1956 and 1957–1962 (Nabisco, though the copyright notices continued to name Derby Foods). It continued in syndication for years afterward, and was a staple on Saturday morning television into the mid-1960s.


title: Sky King

text: Nabisco sold the series complete with all rights to Kirby Grant in 1959. In later years, Grant considered bringing back the series and even a "Sky King" theme park, but nothing ever happened on either of these projects. At least one writer has boilerplated a "Sky King" film, but none has been produced.


title: Sky King

text: King originally flew a Cessna T-50 Bobcat, a twin-engine wooden-framed airplane some called the "Bamboo Bomber". The craft was a World War II surplus UC-78B, owned by legendary Hollywood pilot Paul Mantz and flown by employees of his Paul Mantz Aerial Services for filming the flying sequences. At least two other T-50s are known to have been used for on-ground and in-the-cockpit scenes. The T-50 was grounded after episode 39 due to rot in the wooden frame. Songbird I was de-registered by the FAA in March 2018.


title: Sky King

text: The best-known "Songbird" was a 1957 twin-engine Cessna 310B used in episodes 40 through 72. It was the second production 310B (tail number N5348A), provided by Cessna at no cost to the producers and piloted by Cessna's national sales manager for the 310, Bill Fergusson. Fergusson got the job after the motion picture pilot already selected was deemed unqualified to land the airplane at some of the off-airport sites required. Some months after a library of stock footage had been compiled, additional sequences were filmed using a different airplane. Cockpit sequences were filmed using the static test fuselage, also provided by Cessna.


title: Sky King

text: The original 310B was eventually destroyed in a crash at Delano, California, in 1962, which killed its owner-pilot. A 1962 310D took its place. A third 310, “Song Bird III,” was used for publicity photos. It is still flying today, making appearances at airshows in a modified Sky King livery.


title: Sky King

text: The television show was first broadcast on Sunday afternoons on NBC-TV between September 16, 1951, and October 26, 1952. These episodes were rebroadcast on ABC's Saturday morning lineup the following year from November 8, 1952 through September 21, 1953 when it made its prime-time debut on ABC's Monday night lineup. It was telecast twice-a-week in August and September 1954, before ABC cancelled it. New episodes were produced when the show went into syndication in 1955. The last new episode, "Mickey's Birthday", was telecast March 8, 1959. Thereafter, "Sky King" surfaced on the CBS Saturday schedule in reruns until September, 1966.


title: Sky King

text: CBS began airing reruns of the show on early Saturday afternoons (at 12 pm Eastern/Pacific times; late Saturday mornings at 11 am Central/Mountain times) on October 3, 1959, and continued to do so until September 3, 1966. The CBS reruns were sponsored by Nabisco.


title: Sky King

text: All 72 episodes of the TV series have been released on DVD in North America, available from Sky King Productions.


title: Linker (computing)

text: In computing, a linker or link editor is a computer system program that takes one or more object files (generated by a compiler or an assembler) and combines them into a single executable file, library file, or another "object" file.


title: Linker (computing)

text: A simpler version that writes its output directly to memory is called the "loader", though loading is typically considered a separate process.


title: Linker (computing)

text: Computer programs typically are composed of several parts or modules; these parts/modules do not need to be contained within a single object file, and in such cases refer to each other by means of symbols as addresses into other modules, which are mapped into memory addresses when linked for execution.


title: Linker (computing)

text: While the process of linking is meant to ultimately combine these independent parts, there are many good reasons to develop those separately at the source-level. Among these reasons are the ease of organizing several smaller pieces over a monolithic whole and the ability to better define the purpose and responsibilities of each individual piece, which is essential for managing complexity and increasing long-term maintainability in software architecture.


title: Linker (computing)

text: For most compilers, each object file is the result of compiling one input source code file. When a program comprises multiple object files, the linker combines these files into a unified executable program, resolving the symbols as it goes along.


title: Linker (computing)

text: Linkers can take objects from a collection called a "library" or runtime library. Most linkers do not include the whole library in the output; they include only the files that are referenced by other object files or libraries. Library linking may thus be an iterative process, with some referenced modules requiring additional modules to be linked, and so on. Libraries exist for diverse purposes, and one or more system libraries are usually linked in by default.


title: Linker (computing)

text: The linker also takes care of arranging the objects in a program's address space. This may involve "relocating" code that assumes a specific base address into another base. Since a compiler seldom knows where an object will reside, it often assumes a fixed base location (for example, zero). Relocating machine code may involve re-targeting of absolute jumps, loads and stores.


title: Linker (computing)

text: The executable output by the linker may need another relocation pass when it is finally loaded into memory (just before execution). This pass is usually omitted on hardware offering virtual memory: every program is put into its own address space, so there is no conflict even if all programs load at the same base address. This pass may also be omitted if the executable is a position independent executable.


title: Linker (computing)

text: On some Unix variants, such as SINTRAN III, the process performed by a linker (assembling object files into a program) was called "loading" (as in loading executable code onto a file). Additionally, in some operating systems, the same program handles both the jobs of linking and loading a program (dynamic linking).


title: Linker (computing)

text: Many operating system environments allow dynamic linking, deferring the resolution of some undefined symbols until a program is run. That means that the executable code still contains undefined symbols, plus a list of objects or libraries that will provide definitions for these. Loading the program will load these objects/libraries as well, and perform a final linking.


title: Linker (computing)

text: Contained or virtual environments may further allow system administrators to mitigate or trade-off these individual pros and cons.


title: Linker (computing)

text: Static linking is the result of the linker copying all library routines used in the program into the executable image. This may require more disk space and memory than dynamic linking, but is more portable, since it does not require the presence of the library on the system where it runs. Static linking also prevents "DLL hell", since each program includes exactly the versions of library routines that it requires, with no conflict with other programs. A program using just a few routines from a library does not require the entire library to be installed.


title: Linker (computing)

text: As the compiler has no information on the layout of objects in the final output, it cannot take advantage of shorter or more efficient instructions that place a requirement on the address of another object. For example, a jump instruction can reference an absolute address or an offset from the current location, and the offset could be expressed with different lengths depending on the distance to the target. By first generating the most conservative instruction (usually the largest relative or absolute variant, depending on platform) and adding "relaxation hints", it is possible to substitute shorter or more efficient instructions during the final link. In regard to jump optimizations this is also called "automatic jump-sizing". This step can be performed only after all input objects have been read and assigned temporary addresses; the linker relaxation pass subsequently reassigns addresses, which may in turn allow more potential relaxations to occur. In general, the substituted sequences are shorter, which allows this process to always converge on the best solution given a fixed order of objects; if this is not the case, relaxations can conflict, and the linker needs to weigh the advantages of either option.


title: Linker (computing)

text: While instruction relaxation typically occurs at link-time, inner-module relaxation can already take place as part of the optimizing process at compile-time. In some cases, relaxation can also occur at load-time as part of the relocation process or combined with dynamic dead-code elimination techniques.


title: Linker (computing)

text: In IBM System/360 mainframe environments such as OS/360, including z/OS for the z/Architecture mainframes, this type of program is known as a "linkage editor". As the name implies a linkage "editor" has the additional capability of allowing the addition, replacement, and/or deletion of individual program sections. Operating systems such as OS/360 have format for executable load-modules containing supplementary data about the component sections of a program, so that an individual program section can be replaced, and other parts of the program updated so that relocatable addresses and other references can be corrected by the linkage editor, as part of the process.


title: Linker (computing)

text: One advantage of this is that it allows a program to be maintained without having to keep all of the intermediate object files, or without having to re-compile program sections that haven't changed. It also permits program updates to be distributed in the form of small files (originally card decks), containing only the object module to be replaced. In such systems, object code is in the form and format of 80-byte punched-card images, so that updates can be introduced into a system using that medium. In later releases of OS/360 and in subsequent systems, load-modules contain additional data about versions of components modules, to create a traceable record of updates. It also allows one to add, change, or remove an overlay structure from an already linked load module.


title: Linker (computing)

text: The term "linkage editor" should not be construed as implying that the program operates in a user-interactive mode like a text editor. It is intended for batch-mode execution, with the editing commands being supplied by the user in sequentially organized files, such as punched cards, DASD, or magnetic tape, and tapes were often used during the initial installation of the OS.


title: Linker (computing)

text: "Linkage editing" (IBM nomenclature) or "consolidation" or "collection" (ICL nomenclature) refers to the "linkage editor's" or "consolidator's" act of combining the various pieces into a relocatable binary, whereas the loading and relocation into an absolute binary at the target address is normally considered a separate step.


title: Linker (computing)

text: On Unix and Unix-like systems, the linker is known as "ld". Origins of the name "ld" are "LoaDer" and "Link eDitor". The term "loader" was used to describe the process of loading external symbols from other programs during the process of linking.


title: Linker (computing)

text: The GNU linker (or GNU ld) is the GNU Project's free software implementation of the Unix command ld. GNU ld runs the linker, which creates an executable file (or a library) from object files created during compilation of a software project. A "linker script" may be passed to GNU ld to exercise greater control over the linking process. The GNU linker is part of the GNU Binary Utilities (binutils). Two versions of ld are provided in binutils: the traditional GNU ld based on bfd, and a "streamlined" ELF-only version called gold.


title: Linker (computing)

text: The command-line and linker script syntaxes of GNU ld is the "de facto" standard in much of the Unix-like world. The LLVM project's linker, "", is designed to be drop-in compatible, and may be used directly with the GNU compiler. Another drop-in replacement, mold, is a highly parallelized and faster alternative which is also supported by GNU tools.


title: Copacabana, Rio de Janeiro

text: Copacabana () is a "bairro" (neighbourhood) located in the South Zone of the city of Rio de Janeiro, Brazil. It is most prominently known for its 4 km (2.5 miles) balneario beach, which is one of the most famous in the world.


title: Copacabana, Rio de Janeiro

text: The district was originally called (translated from the Tupi language, it means "the way of the ", the being a kind of bird) until the mid-18th century. It was renamed after the construction of a chapel holding a replica of the Virgen de Copacabana, the patron saint of Bolivia.


title: Copacabana, Rio de Janeiro

text: Copacabana begins at Princesa Isabel Avenue and ends at Posto Seis (lifeguard watchtower Six). Beyond Copacabana, there are two small beaches: one, inside Fort Copacabana and the other, right after it: Diabo ("Devil") Beach. Arpoador beach, where surfers go after its perfect waves, comes next, followed by the famous borough of Ipanema. The area served as one of the four "Olympic Zones" during the 2016 Summer Olympics. According to Riotur, the Tourism Secretariat of Rio de Janeiro, there are 63 hotels and 10 hostels in Copacabana.


title: Copacabana, Rio de Janeiro

text: Copacabana beach, located at the Atlantic shore, stretches from Posto Dois (lifeguard watchtower Two) to Posto Seis (lifeguard watchtower Six). Leme is at Posto Um (lifeguard watchtower One). There are historic forts at both ends of Copacabana beach; Fort Copacabana, built in 1914, is at the south end by Posto Seis and Fort Duque de Caxias, built in 1779, at the north end. Hotels, restaurants, bars, nightclubs and residential buildings dot the promenade facing Avenida Atlântica. On Sundays and holidays, one side of Avenida Atlântica is closed to cars, giving residents and tourists more space for activities along the beach.


title: Copacabana, Rio de Janeiro

text: Copacabana Beach plays host to millions of revellers during the annual New Year's Eve celebrations, and in most years, has been the official venue of the FIFA Beach Soccer World Cup.


title: Copacabana, Rio de Janeiro

text: The Copacabana promenade is a pavement landscape in large scale (4 kilometres long). It was rebuilt in 1970 and has used a black and white Portuguese pavement design since its origin in the 1930s: a geometric wave. The Copacabana promenade was designed by Roberto Burle Marx.


title: Copacabana, Rio de Janeiro

text: Copacabana has the 12th highest Human Development Index in Rio; the 2000 census put the HDI of Copacabana at 0.902.


title: Copacabana, Rio de Janeiro

text: According to the IBGE, 160,000 people live in Copacabana and 44,000 or 27.5% of them are 60 years old or older. Copacabana covers an area of 5.220 km which gives the borough a population density of 20,400 people per km. Residential buildings eleven to thirteen stories high built next to each other dominate the borough. Houses and two-story buildings are rare.


title: Copacabana, Rio de Janeiro

text: When Rio was the capital of Brazil, Copacabana was considered one of the best neighborhoods in the country.


title: Copacabana, Rio de Janeiro

text: More than 40 different bus routes serve Copacabana, as do three subway Metro stations: Cantagalo, Siqueira Campos and Cardeal Arcoverde.


title: Copacabana, Rio de Janeiro

text: Three major arteries parallel to each other cut across the entire borough: Avenida Atlântica (Atlantic Avenue), which is a 6-lane, 4 km avenue by the beachside, Nossa Senhora de Copacabana Avenue and Barata Ribeiro/Raul Pompéia Street both of which are 4 lanes and 3.5 km in length. Barata Ribeiro Street changes its name to Raul Pompéia Street after the Sá Freire Alvim Tunnel. Twenty-four streets intersect all three major arteries, and seven other streets intersect some of the three.


title: Copacabana, Rio de Janeiro

text: The fireworks display in Rio de Janeiro to celebrate New Year's Eve is one of the largest in the world, lasting 15 to 20 minutes. It is estimated that 2,000,000 people go to Copacabana Beach to see the spectacle. The festival also includes a concert that extends throughout the night. The celebration has become one of the biggest tourist attractions of Rio de Janeiro, attracting visitors from all over Brazil as well as from different parts of the world, and the city hotels generally stay fully booked. The celebration is broadcast live on major Brazilian networks including TV Globo.


title: Copacabana, Rio de Janeiro

text: New Year's Eve has been celebrated on Copacabana beach since the 1950s when cults of African origin such as Candomblé and Umbanda gathered in small groups dressed in white for ritual celebrations. The first fireworks display occurred in 1976, sponsored by a hotel on the waterfront and this has been repeated ever since. In the 1990s the city saw it as a great opportunity to promote the city and organized and expanded the event.


title: Copacabana, Rio de Janeiro

text: An assessment made during the New Year's Eve 1992 highlighted the risks associated with increasing crowd numbers on Copacabana beach after the fireworks display. Since the 1993-94 event concerts have been held on the beach to retain the public. The result was a success with egress spaced out over a period of 2 hours without the previous turmoil, although critics claimed that it denied the spirit of the New Year's tradition of a religious festival with fireworks by the sea. The following year Rod Stewart beat attendance records. Finally, the Tribute to Tom Jobim - with Gal Costa, Gilberto Gil, Caetano Veloso, Chico Buarque, and Paulinho da Viola - consolidated the shows at the Copacabana Réveillon.