title: Controversies about Opus Dei

text: The canonization process of Escrivá has been described as unreliable. Former members who worked and lived with him for years reported that they "did not recognize" the highly flattering portrait of Escrivá promoted by Opus Dei at the time of the canonization process as the same man they had known. Numerous members also reported being excluded from the process because prelate Javier Echevarría feared that they would reveal unflattering facts about Escrivá. Another former member has reported that John Paul II allowed an unusually swift canonization of Escrivá because Opus Dei had bailed out the Vatican Bank with $250 million in 1985. Those who question the validity of the canonization of Escrivá note that John Paul II was naïve in the cases of Theodore McCarrick and Marcial Maciel, both of whom procured large sums of money for the Vatican, like Opus Dei.


title: Controversies about Opus Dei

text: Controversies about Opus Dei have centered on allegations of secretiveness, but also on sexual abuse cases in Spain, Mexico, Uruguay, Chile, and the United States; cases that were investigated and canonical sanctions were applied to the perpetrators. Controversies have to do with recruiting methods aimed at teenagers becoming numeraries; the illicit use of psychiatric drugs in its central headquarters; the misleading of its lay faithful about their status and rights under Canon Law; the "mortification of the flesh" practiced by its celibate members (cilice, discipline, and sleeping on a board); elitism and misogyny; and support of authoritarian or right-wing governments, including the reactionary Franco regime.


title: Controversies about Opus Dei

text: According to former members of Opus Dei, the controversies about Opus Dei are rooted in practices institutionalized while Escrivá was alive and are written into internal documents and orally-transmitted customs that have not been reviewed by the Catholic Church.


title: Controversies about Opus Dei

text: Some of the more famous former numeraries who have reported on these matters are: Maria del Carmen Tapia, Secretary to Escrivá in Rome and commissioned by Escrivá to start the women's branch of Opus Dei in Venezuela; Vladimir Felzmann, a numerary priest; Miguel Fisac, who accompanied Escrivá across the Pyrenees during the Spanish Civil War and lived for years with him in Rome; Antonio Perez Tenessa, Secretary General of Opus Dei and regional director of Opus Dei in Spain; and María Angustias Moreno.


title: Controversies about Opus Dei

text: Opus Dei has also been criticized for allegedly seeking independence and more influence within the Catholic Church.


title: Controversies about Opus Dei

text: According to some journalists, criticisms against Opus Dei are based on jealousy or fabrications by opponents. Critics respond that some of these journalists are associated with Opus Dei, and that none of them interviewed numeraries who left Opus Dei in protest or examined internal governing documents.


title: Controversies about Opus Dei

text: Defenders of Opus Dei point out that John Paul II and other Catholic leaders have endorsed Opus Dei's teaching on the sanctifying value of work, and its fidelity to Catholic beliefs.


title: Controversies about Opus Dei

text: Josemaría Escrivá had a Jesuit priest as a spiritual director (Fr. Sánchez) at the time that he founded Opus Dei (1928ff.). As a result, he apparently based some of the practices of Opus Dei on the "Constitutions of the Society of Jesus", such as: required manifestation of conscience to a superior, seeking prestigious people for membership, a military-style hierarchical authority structure, and an emphasis on blind obedience as a means of efficiency in the apostolate.


title: Controversies about Opus Dei

text: Nevertheless, the Superior-General of the Society of Jesus Fr. Wlodimir Ledóchowski (1866–1942) later told the Vatican he considered Opus Dei "very dangerous for the Church in Spain." He described it as having a "secretive character" and saw "signs in it of a covert inclination to dominate the world with a form of Christian Masonry." In the 1950's, some Jesuits told Italian parents of members of Opus Dei that their sons were being led to damnation.


title: Controversies about Opus Dei

text: Allegations like this from within well-regarded ecclesiastical circles ("the opposition by good people," as Escrivá called it), were interpreted by Escrivá as misunderstandings or jealousies, and defenders of Opus Dei today claim that present-day criticisms are merely vestiges of this old prejudice. Specifically, they argue that criticism of Opus Dei by members of the Society of Jesus was caused by these Jesuits' not understanding the difference between Opus Dei and religious orders, and that this misunderstanding continues among people with a "clerical" or "religious" mentality. For Opus Dei officially describes itself in contrast to "religious" (monastic) life: ordinary lay Christians living out their baptismal call to holiness without being externally distinguished from other citizens.


title: Controversies about Opus Dei

text: Messori, a journalist associated with Opus Dei, also identifies political ideology as the root of some controversies involving some Jesuits. After Vatican II certain sectors of the Church became politically and theologically "liberal," including Jesuits in Latin America who were experimenting with "liberation theology." In contrast, some Opus Dei laymen had been working for the far-right Franco regime in Spain and similar regimes in Latin America. Escrivá himself gave a spiritual retreat to Franco, and the numerary priest and bishop Juan Luis Cipriani Thorne was reportedly friendly with Peru's president Fujimori and unsupportive of human rights advocates. Messori emphasizes, however, that Opus Dei has also had members from left-wing parties such as the UK Labour Party (see Opus Dei and politics).


title: Controversies about Opus Dei

text: Much public attention has focused on Opus Dei's encouragement of the practice of bodily mortification, especially after descriptions of the practice appeared in the popular novel "The Da Vinci Code".


title: Controversies about Opus Dei

text: Opus Dei's celibate members (numeraries, numerary assistants, and associates) practice three forms of corporal mortification that were traditionally used in religious orders and also by some laypeople in Catholic countries such as Spain. One of the more controversial forms of mortification is the use of a cilice, a small metal chain with inwardly pointing spikes that is worn around the upper thigh. The cilice's spikes cause pain and may leave small marks, but typically do not cause bleeding. Numeraries, associates, and numerary assistants are expected wear a cilice for two hours each day except feast days. Another mortification is to whip themselves with a small "discipline" (a corded rope whip) for a few minutes once a week while saying a prayer, as a participation in Jesus' scourging. (Escrivá had special whips for himself with metal tips on the end; these caused bleeding.) Additionally, female numeraries only are required to sleep on a board instead of a mattress; former female members have explained that Escrivá justified this rule by saying that since numerary women had to give up having children, they needed this mortification to keep them emotionally strong. Male numeraries are expected to sleep on the floor one night a week instead. Supernumeraries and associates, who do not live in Opus Dei centers (and hence share a bed or bedroom with family), are instead expected or encouraged to sleep without a pillow one night per week.


title: Controversies about Opus Dei

text: Mortification ("dying to oneself") has had a long history within the Catholic Church, e.g. fasting on certain days with prayers, etc. Corporal mortification of the type practiced by Opus Dei celibates, however, is a rare practice for modern Catholics. Opus Dei points out mortification was practiced by many highly revered individuals such as Mother Teresa, Óscar Romero and Padre Pio. Escrivá accused the secularised world of inconsistency in accepting physical pain and sacrifice in other domains (such as athletics, business, and personal beautification), but objecting to such acts when done for a religious purpose.


title: Controversies about Opus Dei

text: Opponents allege Opus Dei uses cult-like practices in recruitment. For instance, Jesuit priest and writer James Martin wrote that Opus Dei puts great emphasis on recruiting, and pointed to Escriva's writings which say "You must kill yourselves for proselytism." David Clark, a consultant who specialises in helping people leave cults, claimed in 2006 that Opus Dei used a cult-like recruitment technique called "love bombing", in which potential members are showered with flattery and admiration by members of the organization in order to entice them into joining. The mother of a member at Harvard University claimed the group separated her daughter from her family, and in 1991 founded Opus Dei Awareness Network, a group that aims to provide information and critique on the group's practices.


title: Controversies about Opus Dei

text: Critics accuse the organization of maintaining an extremely high degree of control over its members. Ex-members claim that Opus Dei directors read letters of the members. According to a 2006 Wayback Machine report by BBC Mundo Jose Carlos Martin de la Hoz, priest of the prelature in Spain, said this practice existed in the past, but clarified it was a manifestation of opening and confidence of the faithfuls of the Opus Dei. In 2001, an Opus Dei spokesman said the practice of reading the mail of numeraries was abandoned years ago, since written letters are now rarely used for correspondence. As an additional means of guidance, it was deemed fitting for numeraries to first show to or tell the Directors about the contents of the letter, especially when the letter would need to touch on vocation.


title: Controversies about Opus Dei

text: About 20% of Opus Dei are celibate. They live in special residential centers where they lead extremely structured lives— critics say this practice isolates its members from the rest of society and allows Opus Dei to have nearly total control over its members' environments. For some books, a numerary's direct supervisor can provide permission, but for other books, permission can only be given by the prelate in Rome. According to some critics, Opus Dei pressures numeraries to cut off social contact with non-members, including their own families. Numeraries in Opus Dei generally hand over their entire salaries to the organization, and critics say this makes numeraries extremely dependent upon the organization.


title: Controversies about Opus Dei

text: Opus Dei denies exerting any undue control over its members, and supporters say Opus Dei places an extraordinary emphasis on the personal freedom of its members. They quote Escrivá who said "Respect for its members' freedom is an essential condition for Opus Dei's very existence."


title: Controversies about Opus Dei

text: Supporters defend Opus Dei's list of inappropriate books by pointing out the Vatican itself maintained a similar list until the 1960s. To explain the celibate lifestyle of numeraries and their relationships with their families, supporters quote Jesus's comment that "He who loves his father or mother more than me is not worthy of me."


title: Controversies about Opus Dei

text: Critics have often accused Opus Dei of intense secrecy. Due to its secrecy critics such as the Jesuit Wladimir Ledóchowski sometimes refer to Opus Dei as a "Catholic", "christian", or "white" form of Freemasonry. Opus Dei does not publish memberships lists, and members generally do not publicly reveal they are part of the organization. . According to its 1950 constitution, members are forbidden to reveal their membership without the express permission of their superiors. This practice has led to rampant speculation about who may or may not be a member of Opus Dei. The 1950 constitution similarly prohibited even revealing how many people were members of Opus Dei.


title: Controversies about Opus Dei

text: Additionally, critics claim Opus Dei is secretive about its activities. Opponents cite the fact Opus Dei often will not directly reveal its relationship to many of its institutions. According to critics, Opus Dei does not allow many of its own rules to be made public. For example, the 1950 Constitution states, "These Constitutions, published instructions, and those which in the future may be published, and the other things pertaining to the government of the Institute are never to be made public. Indeed, without the permission of the Father [Escrivá] those documents which are written in the Latin language may not be translated into [other] languages." Similarly, Opus Dei does not reveal details about its finances.


title: Controversies about Opus Dei

text: Allen says, "Opus Dei cannot be called secretive." Accusations of secrecy, he says, stem from mistakenly equating its members with monks and expecting members to behave as clerics. Instead, its lay members, like normal professionals, are ultimately responsible for their personal actions, and do not externally represent the prelature which provides them spiritual training. Opus Dei itself, he says, provides abundant information. Supporters claim Opus Dei's relative silence stems not from a secretive nature, but rather is the result of a deep commitment to privacy, humility, and "avoidance of self-aggrandizement." Supporters argue Opus Dei "has the obligation to respect its members' privacy" They say members of Opus Dei do generally reveal their membership status to their family and closest friends. The historical opposition to Opus Dei may also have contributed to the need for privacy— as one author speculates, "I think part of it, too, is that, historically, because a lot of people didn't like Opus Dei, there was just a sense that it would be better not to be too upfront because you're just inviting hostility."


title: Controversies about Opus Dei

text: Recently, Opus Dei has twice been engaged in legal disputes in connection with their trademark (CTM Registration No. 844.860 OPUS DEI (word)), as they claimed infringement firstly in 2002 regarding the magazine "Opus Gay" and lost, and secondly regarding the currently ongoing case of the philosophy-themed atheist card game "Opus-Dei: Existence After Religion".


title: Controversies about Opus Dei

text: The role of women in Opus Dei is another source of criticism. Women are treated as equal in Opus Dei but are separated from men in their personal spiritual training. In many male Opus Dei centres, women visit every evening to cook for the men and then leave without social interaction, as Escrivá recognised that despite the equality of men and women, centres for men may need a female influence to function.


title: Controversies about Opus Dei

text: Critics have argued that Opus Dei's unique status as a personal prelature within the Church gives it too much independence. According to critics, elevating Opus Dei to the status of a personal prelature allows its members to "go about their business almost untouched by criticism or oversight by bishops". According to critics, Opus Dei has such autonomy it has become essentially a "church within a church".


title: Controversies about Opus Dei

text: Catholic officials say church authorities have even greater control of Opus Dei now its head is a prelate appointed by the Pope, and they argue members are "even more conscious of belonging to the Church". They point to canon law which states that Opus Dei members remain under "jurisdiction of the diocesan bishop in what the law lays down for all the ordinary [Catholics]". Similarly, they point out that Opus Dei must obtain permission from the local bishop before establishing an Opus Dei center within the diocese.


title: Controversies about Opus Dei

text: Some critics say Opus Dei exerts a disproportionately large influence within the Church itself. They point to the unusually hasty (and otherwise irregular) process in which . Pope John Paul II was a supporter of Opus Dei, and during his pontificate the head of the Vatican press office was a member of Opus Dei. An Opus Dei spokesman says "the influence of Opus Dei in the [Vatican] has been exaggerated." Of the nearly 200 cardinals in the Roman Catholic Church, only two are known to be members of Opus Dei. Similarly, of the nearly 4000 bishops, only 20 are known to be members of Opus Dei.


title: Controversies about Opus Dei

text: Von Peter Hertel of "Der Spiegel" refers to Opus Dei as "Santa Mafia" or in Vicente R. Pilapil's words, "Holy Mafia" due to what they say are questionable business activities.


title: Controversies about Opus Dei

text: John L. Allen Jr. said that Escriva's relatively quick canonization does not have anything to do with power but with improvements in procedures and John Paul II's decision to make Escriva's sanctity and message known. (see Opus Dei and politics)


title: Controversies about Opus Dei

text: Supporters of Opus Dei say criticisms of it are often motivated by bad faith, jealousy, vengefulness, or other biases on the part of the critics. In some cases, supporters accuse critics of merely misunderstanding Opus Dei, its mission, or its novelty.


title: Controversies about Opus Dei

text: Opus Dei's supporters often see criticism as motivated by a religious bias or political agenda. Many supporters say criticisms of Opus Dei stem from a generalized disapproval of spirituality, Christianity, or Catholicism. Some supporters see criticisms of Opus Dei as one facet of a larger prejudice against Catholics.


title: Controversies about Opus Dei

text: According to "Time" magazine, "church liberals, once riding high, have understood for decades that Rome does not incline their way. They feel abandoned, says John L. Allen Jr., 'and whenever you feel that way, there's a natural desire to find someone to blame.'"


title: Controversies about Opus Dei

text: The animosity from within the Church derives from the conflicting views of the role of the Church following Vatican II. At the time, the superior of the Jesuits, Pedro Arrupe, "symbolised the new post-Vatican II ethos, calling his Jesuits to be 'men for others', which in practice sometimes meant joining movements for peace and justice," while "Escrivá walked another path, insisting on the primacy of traditional forms of prayer, devotion, and the sacramental life." Making Opus Dei a "personal prelature" and Escrivá a saint "seemed like a clampdown on the Jesuits---almost as if a torch was being passed." As Allen points out, some of Opus Dei's harshest critics were once Jesuit priests."


title: Controversies about Opus Dei

text: Some supporters of Opus Dei have viewed the controversy surrounding the organization as a "Sign of contradiction." Proponents of this view hold that blessed, divinely inspired Christian organizations will always be criticized, just as Jesus was criticized by his contemporaries. John Carmel Heenan, cardinal and Archbishop of Westminster, commented in 1975 that "One of the proofs of God's favour is to be a sign of contradiction. Almost all founders of societies in the Church have suffered. Monsignor Escrivá de Balaguer is no exception. Opus Dei has been attacked and its motives misunderstood. In this country and elsewhere an inquiry has always vindicated Opus Dei." Some Opus Dei see the very existence of critics as further proof of the organization's sanctity.


title: Controversies about Opus Dei

text: John Paul II stated in his decree on the heroic virtues of Opus Dei's founder Josemaría Escrivá: "God allowed him to suffer public attacks. He responded invariably with pardon, to the point of considering his detractors as benefactors. But this Cross was such a source of blessings from heaven that the Servant of God's apostolate [or evangelizing work] spread with astonishing speed."


title: Suicide Season

text: Suicide Season is the second studio album by British rock band Bring Me the Horizon. It was released on 29 September 2008 in the United Kingdom and Europe through Visible Noise. The band signed a licensing deal with Epitaph Records on 11 September 2008, with the label releasing the album on 18 November 2008 in the United States.


title: Suicide Season

text: The album shows a major change musically from their previous releases, abandoning their original deathcore sound. This would also be the last album to feature Curtis Ward on rhythm guitar. The band later released a two disc special edition of "Suicide Season" which features various musicians and producers remixing tracks off the album, entitled "Suicide Season: Cut Up!"; this was released on 2 November 2009 in the United Kingdom through Visible Noise and on 12 April 2010 in the United States through Epitaph.


title: Suicide Season

text: "Suicide Season" spawned three singles ("Chelsea Smile", "Diamonds Aren't Forever" and "The Sadness Will Never End"). The album debuted on the charts of five countries. Critically, the album received a mixed response. Though praised for the musical shift from the style of 2006's "Count Your Blessings", the album was criticised for its song writing and musical aesthetics. The album has received more favourable retrospective analysis, notably surrounding Bring Me the Horizon's later critical acclaim.


title: Suicide Season

text: After the release of band's first studio album 2006's "Count Your Blessings", the band began experiencing an extremely hateful reaction from people to their music. They cited that very few publications featured them and in drummer Matt Nicholls' opinion, the band had gathered strong hatred from 'proper metalheads'. For example, when the band supported Killswitch Engage in 2007, the crowd began throwing bottles at the band before their set had even started. When preparing the music for "Suicide Season", vocalist Oliver Sykes and lead guitarist Lee Malia agreed that this record would be the "make-or-break" factor for the band and that it had to be different from "Count Your Blessings".


title: Suicide Season

text: "Suicide Season" was written and recorded in Arboga, an isolated Swedish village with producer Fredrik Nordström. Lead vocalist Oliver Sykes described Arboga as "Nowheresville". Sykes considered the isolation Arboga provided as ideal in comparison to the constant activity in Birmingham, the recording location of their first album: "We recorded "Count Your Blessings" in the middle of Birmingham and it was very easy to get distracted. Arboga is a village with nothing in it apart from a tiny shop and that was it". During the initial recording of the album, Nordström initially was absent from working with the band, in Sykes perspective, he drew his own conclusion based on "Count Your Blessings". However, he turned up midway through their recording process and was shocked by the music they had written, and from that point became more involved in the recording process. Nordström also taught the band some basic levels of recording and production so they could work through the night. By the end of the album, he said it was "one of the best CDs he's done in years".


title: Suicide Season

text: The album cover features a girl (Stephanie Byrd) holding her intestines. Sykes explains this in an interview, stating: "The whole idea behind the cover is that the girl [on the cover] has her intestines out and it's about spilling your guts basically, and opening up to the world."


title: Suicide Season

text: Whilst in Arboga, the band caused a controversy and lit an unlit, prepared bonfire in the middle of the forest. They were put in the local paper for destroying a pagan celebration.


title: Suicide Season

text: The album features guest appearances from vocalist JJ Peters of Deez Nuts, Sam Carter of Architects and Luis Dubuc of The Secret Handshake.


title: Suicide Season

text: "Suicide Season" departs from Bring Me the Horizon's previous deathcore sound. The band was subsequently credited for adopting a more eclectic style and moving into a more "straight-up" metalcore sound. In an interview with "Metal Hammer" magazine, Sykes states that this album is "100% different" from "Count Your Blessings". He also says: "We experimented a lot more I think, more with other styles of music we all enjoy, using different instruments and technology, by bringing a lot of digital stuff to the table. Every track is different." Because of this drastic change in sound from "Count Your Blessings", they experienced a massive fanbase shift.


title: Suicide Season

text: Sykes has stated that the band was better focused when in the studio, which made it easier for them to experiment with song writing and to expand their sound: "We didn't really have any other band we wanted to sound like or any other style. We just thought we'd try to do something different and see what comes out. And this is what came out."


title: Suicide Season

text: The remix album "Suicide Season: Cut Up!" style has a range of different genres. Oliver Sykes in "Interview" states that "There's not a song on there that really sounds like the original. What's great though is the diversity of each song. There's dubstep to hip-hop, electro to drum and bass." The dubstep style of the record has been acknowledged in tracks from Tek-one and Skrillex while the hip-hop elements are found in Travis McCoy's remix of "Chelsea Smile". Benjamin Weinman's version of "No Need for Introductions..." is considerably the most unusual with its incorporation of industrial music.


title: Suicide Season

text: Visible Noise Records produced a site dedicated to the promotion of the album. It featured a clock counting down to 29 September (the album's release date), and a scroll-over page in which the visitor can reveal an image of the album's artwork.


title: Suicide Season

text: The band also put a countdown to the release of the album in the United Kingdom. They also headlined in the United Kingdom, Europe, and the United States. The support acts included The Red Shore, Deez Nuts, The Secret Handshake, Dead Swans, The Legacy, Misery Signals, Johnny Truant, The Ghost Inside, and Confide. The album was released on 22 September through Visible Noise.


title: Suicide Season

text: The first promotional video from "Suicide Season" was released on 12 August 2008 on the Visible Noise Myspace page, entitled "The Comedown". On 15 August, "Chelsea Smile" was released on the band's Myspace page.


title: Suicide Season

text: The CD format of the album features a label stating the name of the album over the intestines on the cover, as it may be found offensive to some.


title: Suicide Season

text: It was announced on 27 August 2009 that Bring Me the Horizon would be releasing a remixed version of "Suicide Season", titled "Suicide Season: Cut Up!", and it was released in the United Kingdom on 2 November 2009 and was later released in the United States on 12 April 2010. The origin of the album concept was that Oliver Sykes asked a friend to remix one of their songs, and the band was very pleased with the end result so the band decided to have all of "Suicide Season" remixed. Musicians and producers featured on the album include: Ben Weinman from The Dillinger Escape Plan, Skrillex, L'Amour La Morgue, KC Blitz, Utah Saints and Shawn "Clown" Crahan from Slipknot. Guitarist Lee Malia noted how they compiled the release to fulfil a contractual obligation to re-release the album.


title: Suicide Season

text: In October 2011, it was awarded a gold certification from the Independent Music Companies Association which indicated sales of at least 75,000 copies throughout Europe.


title: Suicide Season

text: Upon its release, the album was met with mixed reviews. While some music critics praised the album as being more musically diverse and powerful, others were not so pleased with the change in direction from the earlier deathcore sound of the band's previous album. Tom Forget of AllMusic wrote that the album is filled with "Intricately constructed and refreshingly unpredictable songs", citing Bring Me the Horizon as one of Britain's first metalcore bands to "make any waves." Phillip May praised the band's ditching of deathcore and new adoption of metalcore, writing on RockLouder that "One of "Suicide Season"s greatest assets is its sense of menace. BMTH were always meant to be a terrifying prospect, but "Count Your Blessings" was so messy its attempts to be something dangerous were laughable. But here, by allowing layers and riffs time to breathe, efforts like the title track prove far more intimidating than any lightning-paced deathcore mush ever could." Ryan Williams of Thrash Hits gave the album a rating of 4.5 out of 6, writing that although some of Sykes' lyrics are "cheap", "It's easy to focus on the obvious and the silly but there are some seriously strong developments to BMTH's newly-matured music. The results are occasionally astounding."


title: Suicide Season

text: A review on Sputnikmusic by Alex Silveri states that compared to "Count Your Blessings", "Suicide Season" is "fresher and catchier", giving the album a 3 out of 5 rating. A review on "IGN" was positive, pointing out that although there are some weak songs on the album, it is "a great departure from their previous effort", and goes on to say "All in all this is an album to write home about."


title: Suicide Season

text: A review of the album on Punknews.org was far more critical of the album, stating "there is "substance" here—there are guitar solos, tempo changes, gang vocals—but there isn't substance. There's no authenticity; it just seems like the songs were built from a collection of "brutal" ideas written on pieces of paper, put together in a hat, and splashed out on the floor." The album received a 1.5 out of 5 rating. A review on "AbsolutePunk" was also critical of the album, stating that while some songs were "heavy, but catchy" and "sounds like it would have a room full of people moshing until they drop", at some points it feels like the band is "half-arseing it", going on to say "Sometimes you wish they would throw in some thrash beats, and fast riffing. This can disappoint and I feel like a few solo's wouldn't go amiss." However, the reviewer concludes by saying "All in all, "Suicide Season" has impressed me. The boys from BMTH have come back and shown they aren't just a generic haircuts band."


title: Suicide Season

text: As Bring Me the Horizon received more recognition and acclaim, Suicide Season has been looked upon more fondly than when it was first released. In 2012, when "Rock Sound" inducted the record into their "Hall of Fame", the band members reflected on "Suicide Season" positively. Jamie Kossoff one of the remixers on the "Cut Up!" edition of the album noted that electronic and dance music remixes of heavy music was not common before the "Cut Up!" edition was released.


title: Vahide Perçin

text: Vahide Perçin (born 13 June 1965) is a Turkish actress and television personality. She was credited for a number of years by her married name Vahide Gördüm, but after divorcing, she went back to her birth name.


title: Vahide Perçin

text: Perçin was born on 13 June 1965 in Karşıyaka, İzmir, to a family of Rumelian Turkish ancestry. Her father was a truck driver and her mother a housewife. She studied graphic in high school and then entered the Faculty of Economics but finally started acting. She later attended Dokuz Eylül University's Faculty of Fine Arts and passed all the nine exams of its Theatre School. She finished her studies as the best student and received great support from her teacher Özdemir Nutku. After leaving the university she moved to Ankara. Later she received an offer from the State Theatre and then moved to Adana.


title: Vahide Perçin

text: In 2003, Perçin started her television career by portraying Suzan Kozan in the TV series "Bir İstanbul Masalı". The Gördüm family later moved to Istanbul and shortly after Perçin portrayed the character Fulya in the TV series "Hırsız Polis". In 2006, she starred in the film "İlk Aşk" alongside Çetin Tekindor. She won the 2007 Golden Boll award for best actress for her performance in the film "İlk Aşk". From 2007 to 2010, she acted in the series "Annem" and played the leading role Zeynep Eğilmez. In 2010, she was cast in cinema movie Zephyr. The film was selected for the 47th Antalya "Golden Orange" International Film Festival and the 35th Toronto International Film Festival, where it premiered. Perçin later appeared in the TV series "Adını Feriha Koydum" and portrayed one of the leading roles alongside Hazal Kaya. She later left the series after the second season's conclusion due to health reasons.


title: Vahide Perçin

text: In 2012, Perçin starred in the series "Merhaba Hayat" which is based on the original American series "Private Practice". She shared the leading role with Yetkin Dikinciler, Seda Güven, Nihan Büyükağaç, Yasemin Sanino, Melike Güner and Keremcem. On 13 January 2013, the series concluded after 13 episodes. Perçin joined the cast of the TV series "Muhteşem Yüzyıl" as Hürrem Sultan in June 2013 after Meryem Uzerli left the series due to health reasons.


title: Vahide Perçin

text: In 1991, Perçin married the actor Altan Gördüm and started to be credited by his surname. Their only child Alize, who is also an actress, was born in 1994. They divorced in 2013. In 2011, Perçin was diagnosed with breast cancer and received medical treatment shortly after.


title: Tomo Miličević

text: Tomislav "Tomo" Miličević (; born September 3, 1979) is a Bosnian-American musician and record producer. He was the lead guitarist of the rock band Thirty Seconds to Mars from 2003 to 2018. Born in Sarajevo but raised in the United States, Miličević moved to Troy, Michigan in the early 1980s, where he became active in the local heavy metal scene and played in a number of bands, co-founding Morphic. In 2003, he joined Thirty Seconds to Mars, with whom he achieved worldwide recognition in the mid-2000s after recording the band's second album "A Beautiful Lie" (2005). Its full-length follow-ups, "This Is War" (2009) and "Love, Lust, Faith and Dreams" (2013), received further critical and commercial success.


title: Tomo Miličević

text: Miličević has also worked as a collaborator and music producer. Throughout the 2010s, he was featured on a recording with Dommin and collaborated with Ivy Levan on a number of releases, including "Introducing the Dame" (2013) and "No Good" (2015). Miličević has experimented with various guitar effects and introduced influences from several genres of music into his own style.


title: Tomo Miličević

text: Tomo Miličević was born on September 3, 1979 in Sarajevo, Bosnia and Herzegovina, then part of SFR Yugoslavia, to a Croatian family. He is the middle child of Tonka and Damir Miličević. He has an elder sister, Ivana, and a younger brother, Filip. His father worked in agricultural engineering and his mother was a doctor. His family first arrived in the United States in 1982, where Miličević's brother Filip was born. They traveled back and forth until they permanently emigrated to Troy, Michigan when Miličević enrolled in the third grade, to avoid the Bosnian War. He stated that he "would be in the army by 16, fighting in the front lines by age 17" if his family had not emigrated. After moving to the United States, both his parents worked in manufacturing industries in Troy and Detroit. A few years later, they started their own business.


title: Tomo Miličević

text: Miličević became interested in classical music at early age, when he started to take violin lessons inspired by his uncle Željko "Bill" Miličević, a virtuoso violinist and professor of music at Oakland University in Rochester, Michigan. "I was actually born and bred to be a concert violinist", he explained. Miličević's introduction to the world of heavy metal music was around the age of 11. His parents supported his decision to start playing guitar, so he and his father made one together. He began writing his own music in high school, while at the same time performing in a number of local bands.


title: Tomo Miličević

text: Miličević gained American citizenship in the early 1990s. He attended culinary school at Oakland Community College, becoming a certified executive and pastry chef, and worked in a number of restaurants in Metro Detroit. He graduated from Athens High School in Troy and then moved to Los Angeles, rejoining his siblings Ivana and Filip. The three later convinced their parents to leave Troy and resettle in Los Angeles, where they opened a restaurant.


title: Tomo Miličević

text: Miličević began playing in bands around Troy in the late 1990s. He co-founded the group Morphic with some friends in 2000. The band first operated under the name Loki, before settling on its final name. By 2001, the group performed gigs at small Michigan venues and clubs, and recorded a number of demo tracks. The following year, Miličević left the band and was almost ready to quit his musical career. However, during this period, manager Arthur Spivak, who had previously met Miličević at a showcase concert with Morphic, told him about an audition for Thirty Seconds to Mars. Miličević then decided to move to Los Angeles where he had a successful audition with Thirty Seconds to Mars, replacing guitarist Solon Bixler. By 2003, the band consisted of Miličević, lead vocalist and rhythm guitarist Jared Leto, drummer Shannon Leto, and bassist Matt Wachter. The new lineup debuted on "The Late Late Show with Craig Kilborn" in February 2003.


title: Tomo Miličević

text: Thirty Seconds to Mars entered the studio in March 2004 to begin working on their second album "A Beautiful Lie". The recording process saw the band traveling to four different continents to accommodate Jared Leto's acting career. "A Beautiful Lie" was released on August 30, 2005 in the United States. Fueled by the band's relentless touring and the mainstream success of the single "The Kill", the album received multiple certifications all over the world, including platinum in the United States, with a worldwide sales total of over four million. The album tour saw the band playing at several major festivals, including Roskilde, Pinkpop, Rock am Ring, and Download.


title: Tomo Miličević

text: In August 2008, during the recording process of the band's third studio album, Thirty Seconds to Mars attempted to sign with a new label, prompting EMI (the parent label of Virgin), to file a $30 million breach of contract lawsuit. After nearly a year of legal battles, the band announced on April 28, 2009, that the suit had been settled following a defense based on the De Havilland Law. Thirty Seconds to Mars then signed a new contract with EMI and released their third album "This Is War" in December 2009 to critical acclaim.


title: Tomo Miličević

text: "This Is War" reached the top ten of several national album charts and earned numerous music awards. The band began their Into the Wild Tour in support of the record in February 2010 and was among the hardest-working touring artists of the year. In December 2011, they entered the "Guinness World Records" for most live shows during a single album cycle, with 300 shows. Miličević collaborated with American band Dommin on a rendition of Cutting Crew's song "(I Just) Died in Your Arms", which was released on a special edition of Dommin's album "Love Is Gone" (2010). He began producing American singer Ivy Levan in 2012. After signing to Cherrytree Records, Levan released the EP "Introducing the Dame" (2013), which features a collaboration with Miličević, who wrote and produced a number of tracks.


title: Tomo Miličević

text: Thirty Seconds to Mars released their fourth album, "Love, Lust, Faith and Dreams", in May 2013 through Universal. It received generally positive reviews and reached the top ten in more than fifteen countries, including the United Kingdom and the United States. The band promoted the album by embarking on their Love, Lust, Faith and Dreams Tour and the Carnivores Tour, co-headlining with Linkin Park. In April 2014, Thirty Seconds to Mars announced that they have parted from Virgin Records after tumultuous years with the label. The following year, Miličević engineered Ivy Levan's debut album "No Good" alongside Patrick Nissley. He also wrote and performed on selected tracks. Thirty Seconds to Mars released their fifth album, "America", in April 2018 through Interscope. During the Monolith Tour in support of the album, it was announced that Miličević would be taking a break from touring due to personal matters. In June 2018, he officially announced his departure from the band.


title: Tomo Miličević

text: Miličević is a classically trained musician who began his musical education at a very early age, playing the violin. During his youth, he had been influenced by jazz and classical music, listening to performers such as Stéphane Grappelli, John McLaughlin, Paco de Lucía, and Al Di Meola. His own ethnic background, and the diverse social and cultural mix in and around Detroit, were crucial in the formation of Miličević as a musician. He developed his interest in guitar from the moment he was introduced to heavy metal music, becoming a devoted fan of bands such as Pantera, Metallica, and Slayer. When he started writing his own music, Miličević regarded Pantera's album "Vulgar Display of Power" as a particularly influential record. He was further drawn into guitar when he realized the "genius" of emotions and passions which characterizes the common songwriting of rock music. Miličević explained, "All of the music that I have ever listened to, in some shape or form, has inspired me to do music". He grew up listening to progressive rock and blues artists, citing Jimi Hendrix, Pink Floyd, and Led Zeppelin. His major influences also include alternative rock bands such as Nirvana and The Smashing Pumpkins. He is inspired by electronic music, including The Cure and Depeche Mode.


title: Tomo Miličević

text: Miličević explained that when making music his passion for the creative process is what drives his works and allows to constantly reinvent his style. Rod Lockwood from "The Blade" described his work as "propulsive and energetic, with a big, anthemic sound that draws on U2, The Cure, and classic rock for its aural infrastructure". Artistdirect complimented the "beautifully complex guitars" featured on the album "A Beautiful Lie". A writer from the "Chicago Music Guide" commended the "imaginative effects" on "This Is War", while "Guitar Edge" stated that the guitar work on the album is "in a class of its own", noticing "rich atmospheres" and "masterful guitar tone". Miličević experimented with different instruments and drew influences from a varied range of styles in "Love, Lust, Faith and Dreams". In addition to the guitar and violin, Miličević is also a fluent player of bass instruments, keyboards and percussion, and supplies backing vocals during concerts.


title: Tomo Miličević

text: Miličević's immediate family includes his sister, actress Ivana, and his late brother, photographer Filip. He is a nephew of Željko "Bill" Miličević, professor of music at Oakland University in Rochester, Michigan. Miličević married his longtime girlfriend Vicki Bosanko in Crete, Greece in July 2011. After living in Los Angeles for over a decade, Miličević came back to Michigan in August 2014, moving to Indian Village in Detroit with his wife. He described himself as a "Michigan kid" who grew up with the music scene of Detroit. He also explained to have a "deep-rooted affinity" for the city. Miličević lives a vegan lifestyle and supports animal rights. He worked with the Best Friends Animal Society on a number of programs. In the 2008 presidential election, Miličević supported Senator Barack Obama of Illinois. In June 2008, he joined Habitat for Humanity to work with Thirty Seconds to Mars on a home being repaired and renovated through the Greater Los Angeles Area's "A Brush With Kindness" programme.


title: Imperial cult

text: An imperial cult is a form of state religion in which an emperor or a dynasty of emperors (or rulers of another title) are worshipped as demigods or deities. "Cult" here is used to mean "worship", not in the modern pejorative sense. The cult may be one of personality in the case of a newly arisen Euhemerus figure, or one of national identity (e.g., Ancient Egyptian Pharaoh or Empire of Japan) or supranational identity in the case of a multi-ethnic state (e.g., Imperial China, Roman Empire). A "divine king" is a monarch who is held in a special religious significance by his subjects, and serves as both head of state and a deity or head religious figure. This system of government combines theocracy with an absolute monarchy.


title: Imperial cult

text: The Ancient Egyptian pharaohs were, throughout ancient Egyptian history, believed to be incarnations of the deity Horus; thereby derived by being the son of Osiris, the afterlife deity, and Isis, goddess of marriage.


title: Imperial cult

text: The Ptolemaic dynasty based its own legitimacy in the eyes of its Greek subjects on their association with, and incorporation into, the imperial cult of Alexander the Great.


title: Imperial cult

text: In Imperial China, the Emperor was considered the Son of Heaven. The scion and representative of heaven on earth, he was the ruler of all under heaven, the bearer of the Mandate of Heaven, his commands considered sacred edicts. A number of legendary figures preceding the proper imperial era of China also hold the honorific title of emperor, such as the Yellow Emperor and the Jade Emperor.


title: Imperial cult

text: Even before the rise of the Caesars, there are traces of a "regal spirituality" in Roman society. In earliest Roman times the king was a spiritual and patrician figure and ranked higher than the "flamines" (priestly order), while later on in history only a shadow of the primordial condition was left with the sacrificial "rex sacrorum" linked closely to the plebeian orders.


title: Imperial cult

text: King Numitor corresponds to the regal-sacred principle in early Roman history. Romulus, the legendary founder of Rome, was heroized into Quirinus, the "undefeated god", with whom the later Caesars identified and of whom they considered themselves incarnations.


title: Imperial cult

text: Varro spoke of the initiatory mystery and power of Roman regality ("adytum et initia regis"), inaccessible to the exoteric communality.


title: Imperial cult

text: In Plutarch's "Phyrro", 19.5, the Greek ambassador declared amid the Roman Senate he felt instead like being in the midst of "a whole assembly of Kings".


title: Imperial cult

text: As the Roman Empire developed the Imperial cult gradually developed more formally and constituted the worship of the Roman emperor as a god. This practice began at the start of the Empire under Augustus, and became a prominent element of Roman religion.


title: Imperial cult

text: The cult spread over the whole Empire within a few decades, more strongly in the east than in the west. Emperor Diocletian further reinforced it when he demanded the "proskynesis" and adopted the adjective "sacrum" for all things pertaining to the imperial person.


title: Imperial cult

text: The deification of emperors was gradually abandoned after the emperor Constantine I started supporting Christianity. However, the concept of the imperial person as "sacred" carried over, in a Christianized form, into the Byzantine Empire.


title: Imperial cult

text: In ancient Japan, it was customary for every clan to claim descendancy from gods ("ujigami") and the royal family or clan tended to define their ancestor as the dominant or most important "kami" of the time. Later in history, this was considered common practice by noble families, and the head members of the family, including that of the imperial family, were not seen to be divine. Rather than establish sovereignty by the manner of claimed godhood over the nation however, the Emperor and the imperial family stood as the bond between the heavens and the earth by claims of descending from the goddess Amaterasu, instead dealing in affairs related with the gods than any major secular political event, with few cases scattered about history. It was not until the Meiji period and the establishment of the Empire, that the Emperor began to be venerated along with a growing sense of nationalism.


title: Imperial cult

text: Devaraja is the Hindu-Buddhist cult of deified royalty in Southeast Asia. It is simply described as Southeast Asian concept of divine king. The concept viewed the monarch (king) as the living god, the incarnation of the supreme god, often attributed to Shiva or Vishnu, on earth. The concept is closely related to Indian concept of Chakravartin (universal monarch). In politics, it is viewed as the divine justification of a king's rule. The concept gained its elaborate manifestations in ancient Java and Cambodia, where monuments such as Prambanan and Angkor Wat were erected to celebrate the king's divine rule on earth.


title: Imperial cult

text: In the Mataram kingdom, it was customary to erect a "candi" (temple) to honor the soul of a deceased king. The image inside the garbhagriha (inner sanctum) of the temple often portrayed the king as a god, since the soul was thought to be united with the god referred to, in svargaloka. It is suggested that the cult was the fusion of Hinduism with native Austronesian ancestor worship. In Java, the tradition of the divine king extended to the Kediri, Singhasari and Majapahit kingdoms in the 15th century. The tradition of public reverence to the King of Cambodia and King of Thailand is the continuation of this ancient devaraja cult. The Susuhunan of Surakarta and Sultan of Yogyakarta are the direct descendants of the Mataram Sultanate founded in the late 17th century, and was said to be the continuation of the Ancient 8th century Mataram kingdom.


title: Ideonella sakaiensis

text: Ideonella sakaiensis is a bacterium from the genus" Ideonella" and family Comamonadaceae capable of breaking down and consuming the plastic polyethylene terephthalate (PET) using it as both a carbon and energy source. The bacterium was originally isolated from a sediment sample taken outside of a plastic bottle recycling facility in Sakai City, Japan.


title: Ideonella sakaiensis

text: "Ideonella sakaiensis" was first identified in 2016 by a team of researchers led by Kohei Oda of Kyoto Institute of Technology and Kenji Miyamoto of Keio University after collecting a sample of PET-contaminated sediment at a plastic bottle recycling facility in Sakai, Japan. The bacteria was first isolated from a consortium of microorganisms in the sediment sample, which included protozoa and yeast-like cells. The entire microbial community was shown to mineralize 75% of the degraded PET into carbon dioxide once it had been initially degraded and assimilated by "Ideonella sakaiensis".


title: Ideonella sakaiensis

text: "Ideonella sakaiensis" is gram-negative, aerobic, and rod-shaped. Cells are motile and have a single flagellum. Colonies of "I. sakaiensis" are colorless, smooth, and circular. Its size varies from 0.6 to 0.8 μm in width and 1.2-1.5 μm in length.


title: Ideonella sakaiensis

text: "I. sakaiensis" also tests positive for oxidase and catalase. The bacterium grows at a pH range of 5.5 to 9.0 (optimally at 7 to 7.5) and a temperature of 15–42°C (optimally at 30–37°C).


title: Ideonella sakaiensis

text: The gram negativity in bacteria makes it so they have resistant abilities and genes; this could include antibiotic resistance. The gram negativity as a characteristic also signifies this bacteria has a thin cell wall and has a high lipid content.


title: Ideonella sakaiensis

text: The aerobic aspect of this bacteria makes it so that it can only grow and thrive in an environment that contains the presence of oxygen within their vicinity. Ideonella sakaiensis and other aerobic bacterium are therefore known to survive in oxygen-rich soil that is moist and aerated.


title: Ideonella sakaiensis

text: The flagellum attached to this bacteria are used as motile organelles and are able to rotate and thrust the cell throughout its environment by creating motion. The bacterium was also shown to grow on Polyethylene terephthalate (PET) surface which is a type of plastic. The bacteria was able to adhere to the PET plastic with its thin flagellum. This is shown in the image to the right. These flagellum may also function to secrete PET-degrading enzymes onto the PET surface known as PETase.


title: Ideonella sakaiensis

text: Through phylogenetic analysis, the species was shown to be a part of the genus "Ideonella," but possessed a significantly different genome than other known species in the genus, including "Ideonella dechloratans" and "Ideonella azotifigens," thus justifying its classification as a new species"."


title: Ideonella sakaiensis

text: "Ideonella sakaiensis" adhere to PET surface and use a secreted PET hydrolase, or PETase, to degrade the PET into mono(2-hydroxyethyl)terephthalic acid (MHET), a heterodimer composed of terephthalic acid (TPA) and ethylene glycol. The PETase also degrades PET into another intermediate known as Bis-(2-hydroxyethyl) terephthalate (BHET), BHET can be converted into MHET after PET hydrolysis. The "I. sakaiensis" PETase functions by hydrolyzing the ester bonds present in PET with high specificity. The resulting MHET is then degraded into its two monomeric constituents by a lipid-anchored MHET hydrolase enzyme, or MHETase, on the cell's outer membrane. The overall mechanism of the PET plastic being broken down is exhibited in the image to the right. The monomeric constituents such as ethylene glycol is then taken up and used by "I. sakaiensis" and many other bacteria. The other constituent; terephthalic acid, a more recalcitrant compound, is imported into the "I. sakaiensis" cell via the terephthalic acid transporter protein. Once in the cell, the aromatic terephthalic acid molecule is oxidized by terephthalic acid-1,2-dioxygenase and 1,2-dihydroxy-3,5-cyclohexadiene-1,4-dicarboxylate dehydrogenase into a catechol intermediate. The catechol ring is then cleaved by PCA 3,4-dioxygenase before the compound is integrated into other metabolic pathways (e.g. TCA cycle). As a result, both of the molecules derived from the PET are used by the cell to produce energy and to build necessary biomolecules. Eventually, the assimilated carbon may be mineralized to carbon dioxide and released into the atmosphere.


title: Ideonella sakaiensis

text: The discovery of "Ideonella sakaiensis" has potential importance for the degradation of PET plastics. Prior to its discovery, the only known degraders of PET were a small number of bacteria and fungi, including "Fusarium solani", and no organisms were definitively known to degrade PET as a primary carbon and energy source. The discovery of "I. sakaiensis" spurred discussion about PET biodegradation as a method of recycling and bioremediation.


title: Ideonella sakaiensis

text: The wild-type bacterium is able to colonize and break down a thin (0.2 mm thickness) film of low-crystallinity (soft) PET in approximately 6 weeks, and the responsible PETase enzyme was shown to degrade high-crystallinity (hard) PET approximately 30-fold slower (180 weeks or more than 3 years) than low-crystallinity PET. A large amount of manufactured PET is highly crystalline (e.g. plastic bottles), so it is thought that any prospective applications of the "I. sakaiensis" PETase enzyme in recycling programs will need to be preceded by genetic optimization of the enzyme. The MHETase enzyme could also be optimized and used in recycling or bioremediation applications in combination with the PETase enzyme. It degrades the MHET produced by the PETase into ethylene glycol and terephthalic acid. Once formed, these two compounds can be further biodegraded into carbon dioxide by "I. sakaiensis" or other microbes, or they can be purified and used to manufacture new PET in an industrial recycling plant setting.


title: Ideonella sakaiensis

text: "Ideonella sakaiensis" is being studied for this PET degrading capabilities as a means of water management issues of sewage fed fisheries. Various strains of this bacterium has been shown to not pose any threats to the growth and cultivation of fish. This species of bacteria are able to properly use PET as a source of carbon and thrive in wastewater and plastic polluted water ecosystems, showing its promise as a cost-effective anti-pollutant.


title: Ideonella sakaiensis

text: The PET plastic degrading enzyme of "Ideonella sakaiensis" known as; PETase, has been genetically modified and combined with MHETase to break down PET faster, which also degrades PEF (polyethylene furanoate) plastics. This along with other approaches may be useful in various efforts such as; recycling and upcycling of mixed plastics.


title: Ideonella sakaiensis

text: In 2021, fifth graders Julia Stewart and Jacob Park created the concept of a Coagulation Filtration System for Toshiba's ExploraVision contest, which utilizes "Ideonella sakaiensis" in a process that filters, coagulates, flocculates, and sediments water in a more environmentally friendly and efficient way. This project won the 4-6 division of ExploraVision nationally.


title: Incident at Antioch

text: The incident at Antioch was an Apostolic Age dispute between the apostles Paul and Peter which occurred in the city of Antioch around the middle of the first century. The primary source for the incident is Paul's Epistle to the Galatians . Since the 19th century figure Ferdinand Christian Baur, biblical scholars have found evidence of conflict among the leaders of early Christianity; for example, James D. G. Dunn proposes that Peter was a "bridge-man" between the opposing views of Paul and James, brother of Jesus. The final outcome of the incident remains uncertain, resulting in several Christian views on the Old Covenant.


title: Incident at Antioch

text: Paul was responsible for bringing Christianity to Ephesus, Corinth, Philippi, and Thessalonica. According to Larry Hurtado, "Paul saw Jesus' resurrection as ushering in the eschatological time foretold by biblical prophets in which the pagan 'Gentile' nations would turn from their idols and embrace the one true God of Israel (e.g., ), and Paul saw himself as specially called by God to declare God's eschatological acceptance of the Gentiles and summon them to turn to God."


title: Incident at Antioch

text: According to Krister Stendahl, the main concern of Paul's writings on Jesus' role and salvation by faith is not the individual conscience of human sinners and their doubts about being chosen by God or not, but the problem of the inclusion of Gentile (Greek) Torah-observers into God's covenant.


title: Incident at Antioch

text: As Gentiles began to convert from Paganism to early Christianity, a dispute arose among Jewish Christian leaders as to whether or not Gentile Christians needed to observe all the tenets of the Law of Moses.


title: Incident at Antioch

text: The inclusion of Gentiles into early Christianity posed a problem for the Jewish identity of some of the early Christians: the new Gentile converts were neither required to be circumcised nor to observe the Mosaic Law. Observance of the Jewish commandments, including circumcision, was regarded as a token of the membership of the Abrahamic covenant, and the most traditionalist faction of Jewish Christians (i.e., converted Pharisees) insisted that Gentile converts had to be circumcised as well. By contrast, the rite of circumcision was considered execrable and repulsive during the period of Hellenization of the Eastern Mediterranean, and was especially adversed in Classical civilization both from ancient Greeks and Romans, which instead valued the foreskin positively.


title: Incident at Antioch

text: Around the same time period, the subject of Gentiles and the Torah was also debated among the Tannaitic rabbis as recorded in the Talmud. This resulted in the doctrine of the Seven Laws of Noah, to be followed by Gentiles, as well as the determination that "Gentiles may not be taught the Torah." The 18th-century Rabbi Jacob Emden was of the opinion that Jesus' original objective, and especially Paul's, was only to convert Gentiles to follow the Seven Laws of Noah while allowing Jews to keep the Mosaic Law for themselves (see also Dual-covenant theology).


title: Incident at Antioch

text: Paul objected strongly to the insistence on keeping all of the Jewish commandments, considering it a great threat to his doctrine of salvation through faith in Christ. According to Paula Fredriksen, Paul's opposition to male circumcison for Gentiles is in line with the Old Testament predictions that "in the last days the gentile nations would come to the God of Israel, as gentiles (e.g., ), not as proselytes to Israel." For Paul, Gentile male circumcision was therefore an affront to God's intentions. According to Hurtado, "Paul saw himself as what Munck called a salvation-historical figure in his own right", who was "personally and singularly deputized by God to bring about the predicted ingathering (the "fullness") of the nations ()."


title: Incident at Antioch

text: Paul left Antioch and traveled to Jerusalem to discuss his mission to the Gentiles with the Pillars of the Church. Describing the outcome of this meeting, Paul said that "they recognized that I had been entrusted with the gospel for the uncircumcised". The Acts of the Apostles describe the dispute as being resolved by Peter's speech and concluding with a decision by James, the brother of Jesus not to require circumcision from Gentile converts. Acts quotes Peter and James as saying:


title: Incident at Antioch

text: The historical reliability of the Acts of the Apostles is disputed. While the Council of Jerusalem was described as resulting in an agreement to allow Gentile converts exemption from most Jewish commandments, another group of Jewish Christians, sometimes termed Judaizers, felt that Gentile Christians needed to fully comply with the Law of Moses, and opposed the Council's decision.


title: Incident at Antioch

text: According to the Epistle to the Galatians chapter 2, Peter had traveled to Antioch and there was a dispute between him and Paul. The Epistle does not exactly say if this happened after the Council of Jerusalem or before it, but the incident is mentioned in Paul's letter as his next subject after describing a meeting in Jerusalem which some scholars consider to be the council. An alternate theory, which many believe to be better suited to the facts of the incident, is that it took place long before the Jerusalem Council, perhaps shortly after Paul's famine visit of Acts 11. This conclusion makes more sense of Peter's apparent change of heart. says:


title: Incident at Antioch

text: When Peter came to Antioch, I opposed him to his face, because he was clearly in the wrong. Before certain men came from James, he used to eat with the Gentiles. But when they arrived, he began to draw back and separate himself from the Gentiles because he was afraid of those who belonged to the circumcision group.


title: Incident at Antioch

text: To Paul's dismay, the rest of the Jewish Christians in Antioch sided with Peter, including Paul's long-time associate Barnabas:


title: Incident at Antioch

text: The Acts of the Apostles relates a fallout between Paul and Barnabas soon after the Council of Jerusalem, but gives the reason as the fitness of John Mark to join Paul's mission (). Acts also describes the time when Peter went to the house of a gentile. says:


title: Incident at Antioch

text: The apostles and the believers throughout Judea heard that the Gentiles also had received the word of God. So when Peter went up to Jerusalem, the circumcised believers criticized him and said, "You went into the house of the uncircumcised and ate with them."


title: Incident at Antioch

text: This is described as having happened before the death of King Herod (Agrippa) in 44 AD, and thus years before the Council of Jerusalem (dated c. 50). Acts is entirely silent about any confrontation between Peter and Paul, at that or any other time.


title: Incident at Antioch

text: A minority of scholars argues that the confrontation was actually not between Paul and Peter, the Apostle, but another one of the identified 70 disciples of the time with the same name as Peter. In 1708, a French Jesuit, Jean Hardouin, wrote a dissertation that argues "Peter" was actually "another Peter", thus the emphasis of using the name Cephas (Aramaic for "Peter"). In 1990 Bart D. Ehrman wrote an article on the "Journal of Biblical Literature", similarly arguing that Peter and Cephas should be understood as different people, citing the writing of Clement of Alexandria and the Epistula Apostolorum in support of his theory; Ehrman's article received a detailed critique by Dale Allison, who argued that Peter and Cephas are the same person. Nowadays, most scholars agree with Allison on the matter and Ehrman himself has partially backed down from his position, stating that he is undecided on the matter.


title: Incident at Antioch

text: The final outcome of the incident remains uncertain; indeed the issue of Biblical law in Christianity remains disputed. The "Catholic Encyclopedia" states: "St. Paul's account of the incident leaves no doubt that St. Peter saw the justice of the rebuke." In contrast, L. Michael White's "From Jesus to Christianity" states: "The blowup with Peter was a total failure of political bravado, and Paul soon left Antioch as persona non grata, never again to return."


title: Incident at Antioch

text: According to church tradition, Peter and Paul taught together in Rome and founded Christianity in that city. Eusebius cites Dionysius, Bishop of Corinth as saying, "They taught together in like manner in Italy, and suffered martyrdom at the same time." This may indicate their reconciliation. In , Paul's letters are referred to as "scripture", which indicates the respect the writer had for Paul's apostolic authority. However, most modern scholars regard the Second Epistle of Peter as written in Peter's name by another author.


title: Savage X Fenty

text: Savage X Fenty is a lingerie brand founded by Barbadian singer Rihanna that emphasizes confidence and inclusivity and is designed for all genders, sizes, and backgrounds. Along with lingerie, the line features bras, underwear, sleepwear, and loungewear. The brand features an optional membership program called Xtra VIP which offers discounts, and early access to product releases.


title: Savage X Fenty

text: Savage X Fenty is a joint venture between Rihanna and TechStyle Fashion Group. Starting as an online-only brand, the entire pre-launch marketing occurred on Rihanna’s Instagram account. The website launched on May 11, 2018 along with a pop-up shop in Brooklyn, New York which was open the first two days the brand launched. Within a month of launching, the debut collection sold out.


title: Savage X Fenty

text: In 2018, the company launched a sleepwear collection to benefit the Clara Lionel Foundation, a non-profit also founded by Rihanna.


title: Savage X Fenty

text: Savage X Fenty was named one of Fast Company’s “10 most innovative style companies of 2020” and as of 2021, the brand is valued at $1 billion and has over 4.5 million followers across social media platforms.


title: Savage X Fenty

text: In January 2022, Rihanna announced that Savage X Fenty would open its own brick-and-mortar stores in 2022. The first five locations planned are Las Vegas, Los Angeles, Houston, Philadelphia, and Washington, D.C.


title: Savage X Fenty

text: The company has a Savage X Ambassadors program consisting of celebrities, influencers, and micro-influencers from a variety of backgrounds. They all promote Savage X Fenty products on their social media platforms. Normani was named as the brand's first ambassador, while other notable celebrity ambassadors include Gigi Hadid, Bella Hadid, Kehlani, Rico Nasty, Gia Woods, Jackie Aina, and Kash Doll. Many of these ambassadors have been included in the brand’s fashion shows. In February 2021, Savage X Fenty hired their first little person ambassador, Tamera McLaughlin.


title: Savage X Fenty

text: Savage X Fenty’s first fashion show was at the 2018 New York Fashion Week with a live performance on the runway. Models, including Slick Woods, Indira Scott, Joan Smalls, Raisa Flowers, Bella Hadid, Gigi Hadid, and dancers of all sizes and backgrounds were present at the show. They were all made up exclusively with Fenty Beauty products.


title: Savage X Fenty

text: The brand’s second show was part of New York Fashion Week 2019 and doubled as a documentary called Savage X Fenty Show Vol. 1, which aired on Amazon Prime Video on September 20th. The documentary shows the behind-the-scenes creative process of the new line, along with the performances on the runway. This fashion show featured musical performances from Rihanna, Big Sean, Migos, Halsey, DJ Khaled, A$AP Ferg, and more, and the runway consisted of models including Gigi and Bella Hadid, Cara Delevigne, Joan Smalls, and Slick Woods, and artists like 21 Savage and Normani.


title: Savage X Fenty

text: Savage X Fenty Show Vol. 2 aired on October 2, 2020 and goes into the challenges of producing a show during a pandemic. Performers include Miguel, Rosalía, Bad Bunny, Mustard, Roddy Ricch, Ella Mai, and Travis Scott. Rihanna brought back many of the same models as previous years, but also included Lizzo, Chika, Paris Hilton, Willow Smith, and Rico Nasty on the runway. The show featured black breast cancer survivors as part of Breast Cancer Awareness Month and to benefit Clara Lionel Foundation.


title: Savage X Fenty

text: Savage X Fenty Show Vol. 3 aired on September 24, 2021 and shows an immersive fashion experience that combines fashion, dance, and music with iconic architecture and unforgettable performances. Featuring an all-star cast debuting the latest Savage X Fenty styles, the show is a visually stunning cultural moment that redefines sexy. Some performers include Bia, Jazmine Sullivan, Ricky Martin, Erykah Badu, Nyjah Huston, Normani, Nas, Daddy Yankee, and more.


title: Savage X Fenty

text: Every fashion show so far has been choreographed by Parris Goebel. The choreography is intended to inspire people to be themselves and love themselves for who they are.


title: Savage X Fenty

text: Rihanna created Savage X Fenty with the goal of diversity in regards to size and color. Consumers respond well to representation and since the brand launched, retailers in the US and UK have increased inclusive-sized styles by 34% and competitors have been trying to be more color-inclusive.


title: Savage X Fenty

text: In 2022, Multiply Group PJSC, an Abu Dhabi based technology investment holding company, invested US$25 million in Savage X Fenty.


title: Padmavat

text: Padmavat (or Padmawat) is an epic poem written in 1540 by Sufi poet Malik Muhammad Jayasi, who wrote it in the Hindustani language of Awadhi, and originally in the Persian Nastaʿlīq script. It is the oldest extant text among the important works in Awadhi. A famous piece of Sufi literature from the period, it relates an allegorical fictional story about the Delhi Sultan Alauddin Khalji's desire for the titular Padmavati, the Queen of Chittor. Alauddin Khalji and Padmavati's husband Ratan Sen are historical figures, whereas Padmavati may have been a fictional character.


title: Padmavat

text: Padmavati, the princess of the Singhal kingdom, is close friends with the talking parrot Hiraman. Her father disapproves of their closeness, and orders the parrot to be killed. The parrot flies away to escape the punishment, but is captured by a bird catcher, and ultimately ends up as a pet of the Chittor ruler Ratansen.


title: Padmavat

text: Inspired by the parrot's description of Padmavati's beauty, Ratansen decides to visit the Singhal kingdom. Joined by his 16,000 vassals and princes, and with the parrot as his guide, he reaches Singhal after crossing the seven seas. There, he tries to win Padmavati by performing austerities in a temple. Informed by the parrot, Padmavati visits the temple and returns without meeting Ratansen, although she begins to long for him. Meanwhile, at the temple, Ratansen decides to commit suicide for having missed her. The deities Shiva and Parvati intervene, and Shiva advises him to attack the fortress of Singhal.


title: Padmavat

text: Disguised as ascetics, Ratansen and his followers attack the fortress, but are captured by Gandharvsen. As Ratansen is about to be executed, his bard reveals his identity. Gandharvsen then marries Padmavati to Ratansen, and also arranges 16,000 "padmini" women for his companions. ("Padmini" is best among the four types of women, typically found only in Singhal.)


title: Padmavat

text: As Padmavati and Ratansen consummate their marriage in Singhal, Ratansen's first wife Nagmati longs for him in Chittor. She uses a bird to send a message to Singhal, following which Ratansen decides to return to Chittor. Ratansen has excessive pride in being married to the most beautiful woman on the earth, for which he is punished by a sea storm during the return journey. He and Padmavati are rescued by the Ocean, but all their followers die in the storm. Lakshmi, the daughter of the Ocean, tests Ratansen's love for Padmavati by appearing before him disguised as Padmavati. Ratansen passes the test, and is rewarded with gifts by the Ocean and Lakshmi. With these gifts, he recruits a new entourage at Puri, and returns to Chittor.


title: Padmavat

text: In Chittor, Padmavati and Nagmati vie for Ratansen's attention. Initially, he placates them by spending nights with them alternately, but then establishes peace by reprimanding them. Meanwhile, he banishes the Brahmin courtier Raghav Chetan for fraudulently winning a contest. Padmavati gifts Raghav her bangle in order to placate him.


title: Padmavat

text: Raghav goes to the court of Alauddin Khalji in Delhi. When asked about the bangle, he describes the unmatched beauty of Padmavati. Alauddin then besieges Chittor, and demands Padmavati for himself. Ratansen rejects the demand, offering to pay a tribute instead. Alauddin rejects the offer, and the siege continues. Finally, as part of fresh terms of peace, Ratansen invites Alauddin as a guest inside the fort, against the advice of his vassals Gora and Badal. Alauddin deceitfully catches a glimpse of Padmavati, captures Ratansen, and returns to Delhi.


title: Padmavat

text: Padmavati asks Gora and Badal to help her free Ratansen. The two men and their followers enter the fortress of Delhi, disguised as Padmavati and her companions. They free Ratansen, but Gora is killed fighting during the escape, while Badal takes Ratansen to Chittor.


title: Padmavat

text: During Ratansen's absence, the Kumbhalner ruler Devpal proposes marriage to Padmavati. On his return, Ratansen learns about this insult, and decides to punish Devpal. In the ensuing single combat, Ratansen and Devpal kill each other. Meanwhile, Alauddin's army reaches Chittor. Facing a certain defeat, Nagmati and Padmavati along with other women of the fort commit suicide by jauhar (mass self-immolation), while the men fight to death. Alauddin captures an empty fortress, thus denied his prize.


title: Padmavat

text: Alauddin reflects on his Pyrrhic victory, and the nature of insatiable desire. He picks up the ashes of Ratansen and his wives Padmavati and Nagmati, lamenting that he "wanted to avoid this". Alauddin continues, "Desire is insatiable, permanent / but this world is illusory and transient / Insatiable desire man continues to have / Till life is over and he reaches his grave."


title: Padmavat

text: The earliest extant manuscripts of "Padmavat" vary considerably in length, and are written in a number of different scripts, including Kaithi, Nagari and Nastaʿlīq.


title: Padmavat

text: The Nastaʿlīq manuscripts form the oldest layer of the text. The earliest extant manuscript of "Padmavat" is a Nastaliq manuscript copied in 1675 in Amroha, by Muhammad Shakir. It was discovered in Rampur, and contains interlinear Persian translations. Other Persian manuscripts include the ones copied by Rahimdad Khan of Shahjahanpur (1697) and Abdulla Ahmad Khan Muhammad of Gorakhpur (1695).


title: Padmavat

text: The Kaithi manuscripts contain a large number of additional verses, and are often incomplete or poorly transcribed.


title: Padmavat

text: Mataprasad Gupta published a critical edition of the text, based on five different manuscripts, the earliest of which is from the 17th century.


title: Padmavat

text: The earliest known adaptation of "Padmavat" is "Prem Nama' (1590) of Hansa Dakkani, a court poet of Ibrahm Shah of Bijapur Sultanate.


title: Padmavat

text: Twelve adaptations of "Padmavat" exist in Persian and Urdu. The most famous of these are "Rat-Padam" and "Shama-wa-parwanah". The "Rat-Padam" (1618) of Mulla Abdul Shakur or Shaikh Shukrullah Bazmi of Gujarat follows the plot of "Padmavat" closely, but omits the Sufi symbolism for characters and events. The "Shama-wa-parwanah" (1658) of Aqil Khan Razi (a governor of Delhi under Aurangzeb) retains the Sufi symbolism.


title: Padmavat

text: The Bengali epic "Padmavati" written in the 17th century by Alaol was influenced by this. It inspired a number of novels, plays and poems in 19th-century Bengali literature. It also had Bengali adaptations by Kshirode Prasad Vidyavinode in 1906 and Abanindranath Tagore in 1909.


title: Padmavat

text: One of the famous Burmese literatures, မင်းကုသနှင့်ပပဝတီ ("Minkutha & Papawati") is a loose adaptation of the Padmavati story, being adapted into several versions of theater plays and books.


title: Padmavat

text: Early cinematic adaptations include the Tamil film "Chittoor Rani Padmini" (1963) and the Hindi film "Maharani Padmini" (1964). "Padmaavat" (2018), a Bollywood Indian film directed by Sanjay Leela Bhansali, is based on the "Padmavat".


title: Padmavat

text: The late medieval Persian historians such as Firishta and Hajiuddabir adapted the "Padmavat" legend as history, but their accounts suffer from inconsistencies. The later Rajput bards also adapted and expanded the legend, without consideration to historical facts. Hemratan's Gora Badal Padmini Chaupai (c. 1589 CE) became the first popular Rajput adaptation of the legend. Between 16th and 18th centuries, more Rajput versions of the Padmavati legend were compiled in present-day Rajasthan, under the patronage of the Rajput chiefs. Most medieval histories written after Firishta (16th century), including the 18th century "Bahrulamvaj", mention the Padmavati episode. The close resemblances in the various legendary narratives about Padmavati indicate that all these accounts are based on Jaisi's "Padmavat". Niccolao Manucci also mentions the story in his "Storia do Mogor", but places it during the 16th century king Akbar's invasion of Chittor.


title: Padmavat

text: Historian Kishori Saran Lal points out several inconsistencies in the "Padmavat" legend. For example, that Ratnasimha had ascended the throne in 1301, and was defeated by Alauddin in 1303 whereas "Padmavat" claims that Ratnasimha spent 12 years in quest of Padmavati, and then 8 years in conflict with Alauddin. Lal also points out the inconsistencies in the narratives of the later medieval historians. For example, Firishta states that Alauddin ordered his son Khizr Khan to evacuate Chittor in 1304, and then appointed a nephew of Ratnasimha as its new governor. However, Khizr Khan left Chittor much after 1304. According to Lal, Jaisi himself suggests that "Padmavat" is meant to be an allegory, not a narration of a historical event, because the author mentions that in his narrative, Chittor stands for the body, Raja (Ratnasimha) for the mind, Singhal for the heart, Padmavati for wisdom, and Alauddin for lust. Lal concludes that the only historical facts in the legend are that Alauddin captured Chittor, and that the women of the fort (including a queen of Ratnasimha) died in "jauhar". Banarsi Prasad Saksena believes that even the "jauhar" narrative is a fabrication: the contemporary chronicler Amir Khusrau refers to the "jauhar" during the earlier conquest of Ranthambore, but does not mention any "jauhar" at Chittor.


title: Padmavat

text: The poem "Padmavat" ends with Jayasi's own words, "I have made up the story and related it." According to Jawaharlal Nehru University historian Aditya Mukherjee, in "the contemporary period, there is no mention of this event, no accounts of Padmavati by Amir Khusrau, a prolific writer of the era and a courtier of Alauddin Khilji." He states that there "is no historical evidence of this Padmavati event - this story is a poet's imagination".


title: Padmavat

text: Regarding the historicity of Padmini's (Padmavati) story, historian S. Roy wrote in "The History and Culture of the Indian People" that "... Abu-'l Fazl definitely says that he gives the story of Padminī from "ancient chronicles", which cannot obviously refer to the "Padmāvat", an almost contemporary work. ... it must be admitted that there is no inherent impossibility in the kernel of the story of Padminī devoid of all embellishments, and it should not be totally rejected off-hand as a myth. But it is impossible, at the present state of our knowledge, to regard it definitely as a historical fact."


title: Idlewild South

text: Idlewild South is the second studio album by American southern rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released on September 23, 1970 in the United States by Atco Records and Capricorn Records. Following the release of their 1969 debut, the Allman Brothers Band toured the United States extensively to promote the album, which had little commercial success. Their performances, however, did create positive word of mouth exposure that extended to more famous musicians, such as Eric Clapton, who invited group leader Duane Allman to contribute to his 1970 album "Layla and Other Assorted Love Songs".


title: Idlewild South

text: As a result of the band's relentless touring schedule, "Idlewild South" was recorded gradually over a period of five months in various cities, including New York, Miami, and Macon, Georgia, the band's adopted home. Tom Dowd had previously been sought to record the group's debut but had been unavailable. The material presented on "Idlewild South" was written during this period and tested out on the road at shows. The album's title comes from the band's nickname for a rustic cabin the band rented out and used for rehearsals, as well as parties. "Idlewild South" contains two of the band's best-known songs, "Midnight Rider" (later a hit for various artists) and "In Memory of Elizabeth Reed", which became one of the band's famous concert numbers.


title: Idlewild South

text: The album was released in September 1970 but again failed to achieve significant success. Sales began to grow, however, due to over 300 shows the band put on in 1970, setting the stage for their artistic and commercial breakthrough with 1971's live follow-up album, "At Fillmore East". Following the band's increased fame in the early 1970s, this album and its self-titled debut, "The Allman Brothers Band", were repackaged into the compilation album "Beginnings". In 1973, "Beginnings" was certified gold for sales of 500,000 copies, according to the Recording Industry Association of America.


title: Idlewild South

text: The Allman Brothers Band formed in March 1969, and began writing music and touring together. By that August, the group had recorded its self-titled debut, "The Allman Brothers Band", which was released that November on Capricorn Records, a division of Atlantic Records. The record received a poor commercial response, selling less than 35,000 copies upon initial release. Executives suggested to the band's manager and Capricorn president, Phil Walden, that he relocate the band to New York or Los Angeles to increase their exposure. "They wanted us to act "like a rock band" and we just told them to "fuck themselves," remembered Trucks. For their part, the members of the band remained optimistic, electing to stay in the South. "Everyone told us we'd fall by the wayside down there," said Gregg Allman, but the collaboration between the band and Capricorn Records "transformed Macon from this sleepy little town into a very hip, wild, and crazy place filled with bikers and rockers." In March 1970, Oakley's wife rented a large Victorian home on 2321 Vineville Avenue in Macon, which they dubbed "the Big House".


title: Idlewild South

text: "Idlewild South" was the band's first effort with Tom Dowd, known for his work with Cream and John Coltrane. Dowd first heard the band rehearsing while visiting Capricorn Sound Studios in Macon, asking their name and remarking to Walden, "Get them the hell out of there and give them to me in the studio. They don't need to rehearse; they're ready to record". Dowd was initially scheduled to work with the band on their debut album but was called away at the last minute. Initially, the band had asked friend and colleague Johnny Sandlin to produce their second album, but as recording inched closer, it became obvious they wanted him to co-produce with Dowd. In one of their first sessions, Sandlin was giving suggestions and acting as a co-producer, though no one had informed Dowd; Sandlin was embarrassed and did not return to the studio.


title: Idlewild South

text: The first recording sessions for "Idlewild South" took place in mid-February 1970 at the newly built Capricorn Sound Studios in Macon. Subsequently, the band moved to Criteria Studios in Miami in mid-March, where Dowd felt more comfortable producing albums; he viewed the then-new Capricorn studio as still a work-in-progress and unfit to record in. The band was constantly on the road while "Idlewild South" was developed, leading to a fractured recording process completed in fits and starts. They reconvened with Dowd during short breaks from shows. In addition, group leader Duane Allman still received invitations to play as a session musician elsewhere; on the "rare instances when [the band] could return to Macon for a short break", Allman would hit the road for New York, Miami, or Muscle Shoals to contribute to other artists' sessions. On days that the band would be available, manager Walden phoned Dowd to inform him; he would often catch their show and spend the rest of the night in the studio. After nearly half a year and over three different recording studios, production wrapped up by July 1970.


title: Idlewild South

text: The Allman Brothers Band opted to cut most of "Idlewild South" live, with all of the musicians performing together. On rare occasions, they would go back to overdub sections that were not up to standard. "The idea is that part of the thing of the Allman Brothers is the spontaneity — the elasticity. The parts and tempos vary in a way that only they are sensitive to", said Dowd. Duane often left a song alone for more work and testing out on the road. "They would record maybe five songs. Then they might say, 'I don't think that song was good enough,' or, 'I don't think that song was ready to record' ", remembered Dowd. Joel Dorn, predominantly a jazz producer for Atlantic, stepped in to produce one song on the album, "Please Call Home", which was recorded at Regency Sound Studios on July 14, 1970. The band were in New York at the time and Dowd was unavailable.


title: Idlewild South

text: Following the recording process, Duane was invited to join Eric Clapton and his new group Derek & the Dominos on the recording of their debut album, "Layla and Other Assorted Love Songs". Clapton later formally invited Allman to join the group, but he reluctantly declined, expressing loyalty to the members of the Allman Brothers and musical concept that had birthed it.


title: Idlewild South

text: "Revival" initially took shape as an instrumental, with lyrics as an afterthought. "An instrumental has to be real catchy and when you succeed it's very satisfying because you have transcended words and communicated with emotion," said Betts. The song takes on a decidedly gospel flair midway through, accentuated by "old-fashioned church-like hand clapping." The Gregg Allman-penned "Don't Keep Me Wonderin'" follows, featuring Duane on slide guitar and Oakley's friend Thom Doucette on harmonica. "Midnight Rider" developed quickly and featured lyrics contributed by roadie Robert Payne, who threw out a suggestion to Gregg Allman while together at their equipment warehouse. Unable to gain a key to the nearby Capricorn Sound Studios, the duo broke in and recorded a quick demo with Twiggs Lyndon on bass and Johanson on congas. Duane eventually laid down acoustic guitar tracks for both "Revival" and "Midnight Rider", as he was quicker to record and more technically savvy due to his session work in Muscle Shoals.


title: Idlewild South

text: "In Memory of Elizabeth Reed" was inspired by a woman Betts was involved with in Macon, the girlfriend of musician Boz Scaggs. "She was Hispanic and somewhat dark and mysterious—and she really used it to her advantage and played it to the hilt," said Betts. To cloak her identity, the song is named after a headstone Betts saw at the Rose Hill Cemetery, where band members often ventured in their early days to relax and write songs. Considerable legend developed about the song's genesis, much fueled by a put-on interview Duane Allman gave "Rolling Stone". The song is Betts' first composition recorded by the band. "Hoochie Coochie Man" was the band's rearrangement of a Muddy Waters tune culled from bassist Berry Oakley and Betts' days performing the number in their earlier band the Second Coming. Featuring Oakley in his only studio vocal, it is nearly twice as fast as Waters' original. "Please Call Home" was cut in New York with jazz producer Joel Dorn in two takes, with Johanson switching from brushes to a mallet on the second, final take. "Leave My Blues at Home" contains hints of funk and an extended fade out of the band's signature twin lead guitars."


title: Idlewild South

text: The album's title came from the band's nickname for a $165-a-month cabin it rented on a lake outside of Macon early in its days there, the busy comings and goings at which reminded them of New York City's Idlewild Airport.


title: Idlewild South

text: It was like a hunting cabin. The back of the house had a porch that was built out over a manmade lake that was maybe five or six acres. It was a cabin made out of old pinewood, and it had been there for a long time. ... The Allman Brothers used it as a rehearsal facility — that and a place to go maybe to consume a little something that wasn't quite legal. There were parties out there."


title: Idlewild South

text: Idlewild South was the home of rehearsals and parties, and was "where the brotherhood came to pass," according to roadie Kim Payne; "There was a pact made out there around a campfire—all for one and one for all. ... Everybody believed [in the band] 100 percent." According to Linda Oakley, spouse of bassist Oakley, the group held a New Year's Eve party going into 1970 where they joined together in a midnight chorus of "Will the Circle Be Unbroken". "That was a pivotal moment, a testament of love," she said. Much of the material presented on the album originated at the cabin.


title: Idlewild South

text: "Idlewild South" was issued by Atco and Capricorn Records on September 23, 1970, less than a year after the band's debut album. It sold only "marginally better, in spite of the band's growing national reputation, and included songs that would become staples of its repertoire—and eventually of rock radio." Jim Hawkins, engineer of the album, remembered that Walden informed him that "Idlewild South" opened to 50,000 copies in its first week, before settling in at 1,000 per week. While the album did help boost the band's popularity, the Allman Brothers' name really grew in fame due to their live performances. Walden doubted the band's future, worrying whether they would ever catch on, but word of mouth spread due to the band's relentless touring schedule, and crowds got larger.


title: Idlewild South

text: "Rolling Stone" Ed Leimbacher wrote that "Idlewild South" "augurs well for the Allmans' future," calling it "a big step forward from the Allmans' first" but considered the second side of the LP a disappointment. Robert Christgau at "The Village Voice" gave the album a "B+" and considered it a companion piece to Duane Allman's work on "Layla", noting that "a lot of people think that Duane Allman is already a ranking titan of the electric guitar." A retrospective five-star review from Bruce Eder at Allmusic deemed it "the best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs."


title: Idlewild South

text: In 2014 "Rolling Stone" listed it among the most "groundbreaking" albums, covering its impact on Southern rock: "On their second album, the Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music."


title: Princess Irene of the Netherlands

text: Princess Irene of the Netherlands (Irene Emma Elisabeth; born 5 August 1939) is the second child of Queen Juliana of the Netherlands and Prince Bernhard.


title: Princess Irene of the Netherlands

text: In 1964, she converted to Catholicism and married the then-Prince Carlos Hugo of Bourbon-Parma in a Catholic ceremony in Rome, thus forfeiting her place in the royal succession. Since their 1981 divorce, she has espoused left-wing causes, including anti-nuclear campaigns, and has developed a pantheistic philosophy about the relationship between man and nature.


title: Princess Irene of the Netherlands

text: The princess was born on 5 August 1939 at Soestdijk Palace. At the time of her birth, war was a distinct possibility but, because her parents hoped for a peaceful solution, they chose to name their new daughter for Eirene, the Greek goddess of peace. She has three sisters, the eldest of whom is the former queen of the Netherlands, Princess Beatrix of the Netherlands; the two younger ones are Princess Margriet and the late Princess Christina.


title: Princess Irene of the Netherlands

text: Because of the invasion of the Netherlands by Nazi Germany during World War II the Dutch royal family first fled to the United Kingdom. Irene was not yet a year old when the family was forced to leave the Netherlands; she was christened in the Chapel-Royal of Buckingham Palace in London, with the wife of King George VI, Queen Elizabeth being one of her godparents. When the family was leaving the Netherlands, the port where they boarded the British warship was attacked by a German air raid; one of the German bombs exploded within 200 yards of the family. Irene was placed in a gasproof carrier to protect her from chemical warfare.


title: Princess Irene of the Netherlands

text: Princess Juliana and her daughters again took flight when the London Blitz began, this time to exile in Ottawa, Canada, where her younger sister, Margriet, was born and where Irene attended Rockcliffe Park Public School. As a teenager, she was dubbed by the Dutch press "the glamorous Princess of the Netherlands." During the war, the Royal Dutch Brigade (the formation of Free Dutch soldiers that fought alongside the Allies) was named for Princess Irene. This was continued after the war as the Regiment Prinses Irene.


title: Princess Irene of the Netherlands

text: Always an independent person, Irene was thrilled to receive a sports car from her father, one of the gifts he had been presented with. Irene's happiness was short-lived; when she opened the hood of the automobile, she noticed that the vehicle only looked like a sports car but had an ordinary car's engine. She asked her father for permission to turn the vehicle into a true racing-type auto, which Prince Bernhard refused to allow.


title: Princess Irene of the Netherlands

text: She was a bridesmaid at the 1962 wedding of Prince Juan Carlos of Spain and Princess Sophia of Greece and Denmark.


title: Princess Irene of the Netherlands

text: Princess Irene studied at the University of Utrecht, then went to Madrid to learn the Spanish language and became proficient enough to become an official interpreter.


title: Princess Irene of the Netherlands

text: While studying Spanish in Madrid, Irene met Carlos Hugo, Duke of Parma, the eldest son of Carlist pretender to the Spanish throne, Xavier. In the summer of 1963, Princess Irene secretly converted from Protestantism to Roman Catholicism. The first time the public or the Royal Family knew about the conversion was when a photograph appeared on the front page of an Amsterdam newspaper showing the Princess kneeling to receive communion at a Mass in the Roman Catholic Church of the Geronimites ("Los Jerónimos") in Madrid. Irene's conversion took place a year before her engagement announcement, but the royal family did not officially announce the news until January 1964. When news leaked out that she was engaged to Prince Carlos Hugo (born 1930), it provoked a Protestant outcry and a constitutional crisis.


title: Princess Irene of the Netherlands

text: Although Dutch law did not forbid a Catholic to reign over the Netherlands, Protestant succession was traditional, born out of the 16th-century Eighty Years' War with Spain and the assassination of William of Orange by a supporter of Philip II of Spain who believed William had betrayed both the Spanish monarch and the Catholic Church. By the middle of the 20th century religious attitudes had begun to change, but only very slowly. While members of the Roman Catholic Church accounted for approximately 34 percent of the Dutch population, and Catholic political parties had been in coalition governments since 1918, the high fertility rate of the Catholics was a matter of some concern for all non-Catholics.


title: Princess Irene of the Netherlands

text: Fresh memories of Francisco Franco's association with fascism amplified the crisis over a royal conversion to Catholicism and a marriage without approval of the Dutch States-General. For the second in line to the throne to not only convert to Roman Catholicism, but to also associate with an alleged Franco sympathizer, caused shock and consternation in the Netherlands. When Princess Irene left the Netherlands to join Prince Carlos in Paris after the announcement of their engagement, a threat was telephoned to KLM Royal Dutch Airways by an anonymous caller saying, "you should investigate the plane". The telephone call was construed to be a bomb threat and the airliner was searched, causing more than an hour's delay for the flight. It was the first instance of any threat involving the royal family and their air travel.