title: Antinomianism

text: Apart from individuals, entire groups of Muslims have also been called antinomian. One of these groups is the Nizārī Ismāʿīlī Shīʿa, who have always had strong millenarian tendencies arising partly from persecution directed at them by Sunnīs. Influenced to a certain extent by Gnosticism, the Ismāʿīlīs developed a number of beliefs and practices—such as their belief in the "imamatte" and an esoteric exegesis of the Qurʾān—that orthodox Sunnī Muslims considered being "shirk" and, hence, to be seen as antinomian. Certain other groups that evolved out of Shīʿah belief, such as the Alawites and the Bektashi Order, have also been considered antinomian. The Bektashis, particularly, have practices that diverge from conventional Islamic practice, such as the consumption of alcoholic beverages, the non-wearing of the "ḥijāb" ("veil") by women, and gathering in the "cemevi" in preference to the mosque.


title: Antinomianism

text: In Western esotericism the left-hand path and right-hand path are the dichotomy between two opposing approaches to magic. This terminology is used in various groups involved in the occult and ceremonial magic. In some definitions, the left-hand path is equated with malicious black magic or black shamanism, while the right-hand path with benevolent white magic. Other occultists have criticised this definition, believing that the left/right dichotomy refers merely to different kinds of working and does not necessarily connote good or bad magical actions.


title: Antinomianism

text: George Orwell was a frequent user of "antinomian" in a secular (and always approving) sense. In his 1940 essay on Henry Miller, "Inside the Whale", the word appears several times, including one in which he calls A. E. Housman a writer in "a blasphemous, antinomian, 'cynical' strain", meaning defiant of arbitrary societal rules.


title: Antinomianism

text: The psychologist, Nathan Adler, defined the "antinomian personality type" as "manifested by one whose frame of reference is threatened or has been disrupted. He suffers from a breakdown in the balance of his control and release mechanisms and from the permeability of his body boundaries."


title: Antinomianism

text: In his study of late-20th-century western society the historian Eric Hobsbawm used the term in a sociological sense.


title: Matt Serra

text: Matthew John Serra (born June 2, 1974) is an American former professional mixed martial artist and Brazilian Jiu-Jitsu practitioner who competed for the Ultimate Fighting Championship. He is the co-star of Dana White: Lookin' for a Fight and co-host of the official podcast of the UFC, UFC Unfiltered, alongside Jim Norton. Serra defeated Pete Spratt, Shonie Carter and Chris Lytle en route to becoming The Ultimate Fighter 4 Welterweight Tournament Winner. He captured the UFC Welterweight Championship immediately after. Serra also served as the head coach for "The Ultimate Fighter 6" reality show opposite Matt Hughes, and he is a member of the UFC Hall of Fame. In grappling, Serra holds a Silver Medal in the ADCC Submission Wrestling World Championship.


title: Matt Serra

text: Serra began practicing martial arts at an early age, first studying Wing Chun. In the 1990s, he began practicing Brazilian jiu-jitsu under Renzo Gracie and obtained black belt rank in May 2000, the first American to do so under Renzo. In addition to competitive bouts with UFC Hall of Famers Matt Hughes and B.J. Penn, Serra's biggest accomplishment in mixed martial arts came at "UFC 69: Shootout" where he defeated Georges St-Pierre in a Knockout of the Night award-winning performance to capture the UFC Welterweight Championship.


title: Matt Serra

text: Serra was born to an Italian-American family in East Meadow, New York. His father is a retired policeman in New York City and his late mother was a stay-at-home mom. Serra has older sister and brother, and two younger brothers. Serra's father was enthuasistic about mixed martial arts, and Matt first began Wing Chun at an early age. As a teenager he began competing in wrestling.


title: Matt Serra

text: Serra went to East Meadow High School, and had already enrolled in the USMC Delayed Entry Program before graduating. However, Serra got into a physical altercation at work in a local pizzeria during which he bit off the other participant's ear, leading to disfigurement charges. Despite acting in self-defense and the original charge being commuted into a misdemeanor, his military career was over prematurely because the original charge was a felony.


title: Matt Serra

text: At age of 18 he began Brazilian jiu-jitsu after finding out about the sport from Black Belt magazine. Serra won first place at the Brazilian jiu-jitsu Pan American Championship in 1999 and won third place at the 2000 World Championships in Brazil in the brown belt division. Continuing his martial arts career, he competed in the ADCC Submission Wrestling World Championship choking out Takanori Gomi, winning a decision over Jean Jacques Machado, and placing 2nd in the 66–76 kg division after forfeiting the final against Marcio Feitosa due to being told to step down by Renzo Gracie as part of a hierarchical respect system within the Gracie lineage. Serra was invited to compete in PRIDE 9 against Johil de Oliveira but the bout was called off at the last minute when Oliveira was burned in a pyrotechnics accident backstage. Soon after, Matt began to compete in the UFC where he built up a record of four wins and four losses. One of the losses was a close decision fight with future Welterweight and Lightweight champion B.J. Penn which would have earned him a title shot in the failed Lightweight tournament.


title: Matt Serra

text: In 2006, Matt became a participant on The Ultimate Fighter 4: The Comeback on SpikeTV. On the show, Serra defeated Pete Spratt and Shonie Carter to reach the finals, his win against Carter avenging his infamous highlight-reel KO loss to Carter at UFC 31. On November 11, 2006, Serra defeated Chris Lytle at The Ultimate Fighter: The Comeback Finale by split decision to become the Ultimate Fighter 4 Welterweight Tournament Champion.


title: Matt Serra

text: His win earned him a guaranteed title shot against Georges St-Pierre for the UFC Welterweight Championship, as well as a $100,000 contract and $100,000 sponsorship with Xyience.


title: Matt Serra

text: Serra fought St-Pierre on April 7, 2007, at UFC 69, and won the UFC Welterweight Championship by TKO via punches at 3:25 in the first round. Prior to the fight Serra was considered a substantial underdog and consequently the fight is considered to be one of the biggest upsets in MMA history.


title: Matt Serra

text: Serra coached season 6 of The Ultimate Fighter reality show with Matt Hughes. Team Serra finished 6–2 in the first round of fights, winning six consecutive times which gave Serra the right to pick the fights in the second round. However, from then on Serra did not corner a single fighter to victory and saw all his trainees eventually lose out. The finale saw Team Hughes fighters Tommy Speer and Mac Danzig face each other for the title of Ultimate Fighter.


title: Matt Serra

text: Serra said in season 6 of The Ultimate Fighter that Joe Scarola lost his job at Serra's jiu-jitsu school for quitting The Ultimate Fighter within the first week of the show. In exchange, Scarola opened his own academy which has created a feud among the two former friends. Relieving Scarola from his duties was difficult for Serra as the two were close friends, with Scarola serving as best man at Serra's wedding.


title: Matt Serra

text: The two coaches were scheduled to face off for the UFC Welterweight Championship after the conclusion of the series at UFC 79. Serra, however, was forced to withdraw from the fight due to a herniated disc in his lower back. The injury became evident when Serra was demonstrating a move to his student and fell to the floor in excruciating pain. In Serra's place, Georges St-Pierre fought and defeated Matt Hughes for what was then the interim UFC welterweight title. This led to Serra holding the welterweight title while St-Pierre held the interim title.


title: Matt Serra

text: After St-Pierre vs Hughes at UFC 79, Serra confirmed to NBC Sports that his back was rapidly improving. He announced that he was scheduled to fight Georges St-Pierre at the first event to take place in Canada, UFC 83. This match would unify the interim and regular welterweight belts.


title: Matt Serra

text: At UFC 83 on April 19, 2008, Serra fought Georges St-Pierre in a match to determine the undisputed welterweight champion during the UFC's first-ever event in Canada, at the Bell Centre in Montreal, Quebec. Instead of striking, St-Pierre pressed the action early with a takedown and kept mixing up his attack, never allowing Serra the chance to mount a significant offense. In the second round, St-Pierre continued his previous actions, forcing Serra into the turtle position and delivering repeated knees to Serra's midsection. When Serra was unable to improve his position or defend against the strikes, referee Yves Lavigne stopped the fight.


title: Matt Serra

text: Serra suffered a unanimous decision loss to Matt Hughes at UFC 98. Serra hurt Hughes early on in the fight with an inadvertent head-butt and a follow-up flurry of hooks. However, Hughes recovered and went on to win a close decision. After the fight Hughes and Serra embraced each other and ended their feud.


title: Matt Serra

text: At UFC 109, Serra defeated Frank Trigg via KO (punches) at 2:23 of the first round, awarding him Knockout of the Night Honors. Serra was rumored to be headlining UFC Fight Night 22 on April 17, 2010, versus Mike Swick, but the fight was turned down by Swick due to an arm injury.


title: Matt Serra

text: At UFC 119 Serra fought Chris Lytle on September 25, 2010. Serra lost the fight via unanimous decision.


title: Matt Serra

text: In an interview with Ariel Helwani at UFC 131 Serra addressed when or if he would be fighting in the UFC in the foreseeable future. Between the birth of his second child and the rigors of training (Serra himself confirmed that he weighed somewhere around 200 lbs. at interview time), he likened his current situation to that of Rocky Balboa in the sixth film of the series, saying that he still "had some stuff in the basement".


title: Matt Serra

text: On May 22, 2013, Serra retired from MMA, stating he would only return to MMA again to fight at an event held at Madison Square Garden in New York City.


title: Matt Serra

text: As of June 2016, Matt Serra currently hosts the official UFC podcast "UFC Unfiltered" with comedian Jim Norton as co-host.


title: Matt Serra

text: On the 5th July 2018 Matt Serra was inducted into the UFC Hall of Fame Class of 2018 in the pioneer wing.


title: Matt Serra

text: Matt and his wife Ann were married on May 26, 2007. The couple had their first child, a daughter named Angelina, on February 11, 2009.


title: Matt Serra

text: Serra co-owns a Brazilian jiu-jitsu school in Huntington, New York with his younger brother Nick. He currently trains with Ray Longo and trains fighters such as former UFC Middleweight Champion Chris Weidman, UFC Bantamweight Champion Aljamain Sterling, Gian Villante, Pete Sell, Luke Cummo, and Finalist Al Iaquinta. They fight under the Serra-Longo Fight Team. After being absent from Aljamain Sterling's corner for UFC 259, Serra announced that he would be retiring from cornerman duties moving forward, although he would still remain as head coach for Serra-Longo Fight Team.


title: Matt Serra

text: Jigoro Kano → Mitsuyo Maeda → Carlos Gracie, Sr. → Helio Gracie → Rolls Gracie → Carlos Gracie, Jr. → Renzo Gracie → Matt Serra


title: Dancing On My Own

text: "Dancing On My Own" is a song by Swedish singer-songwriter Robyn, released on 20 April 2010 as the lead single from her fifth studio album, "Body Talk Pt. 1" (2010), the first in her "Body Talk" series. "Dancing On My Own" was produced by Patrik Berger, co-produced by Robyn, and mixed by Niklas Flyckt, with Robyn and Patrik sharing writing credits. The song's stark mid-tempo electropop version from her album was the first version of the single released followed by a layered mid-tempo synth-pop edit designed for radio and a downtempo piano ballad recording for "Radio 1's Live Lounge – Volume 5" later that year. It depicts a female protagonist in a crowded club just before last call who is dancing on her own while watching her ex-boyfriend who she sought out dancing with and embracing another woman, pondering confronting him for the last time before her time runs out. The song was inspired by situations Robyn observed while on her previous tour then clubbing throughout Stockholm, her favorite "inherently sad gay disco anthems", and the dissolution of her engagement.


title: Dancing On My Own

text: Critics praised "Dancing On My Own" as another bittersweet anthem for her song canon, with some ranking it as the greatest song of the year and eventually, the decade. Several reassessed its influence as Robyn's signature song, a gay anthem, and "the ultimate sad banger" of the poptimist movement, with "Rolling Stone" ranking her original album version at number 20 on their list of the 500 Greatest Songs of All Time in 2021. "Dancing On My Own" became Robyn's first number one in her native country following its live premiere on Swedish TV show "Sommarkrysset" and also reached the top ten in Denmark, Norway and the United Kingdom later that month. Frequent collaborator Max Vitali directed "Dancing On My Own" Rosie Perez-inspired music video, first released on 21 May 2010, that showed Robyn portraying the protagonist in the song's lyrics in various club and rehearsal settings. The song later earned a nomination for Best Dance Recording at the 53rd Annual Grammy Awards and was awarded Best Song at the Grammisgalan in Sweden. All three of her song's versions were promoted well into the following decade through multiple televised and streamed live performances and inclusion on many films, television series, and commercials.


title: Dancing On My Own

text: "Dancing On My Own" was covered by numerous artists and bands, with several releases, especially of Robyn's downtempo version. Inspired by the downtempo Southern rock ballad cover of it performed (but not released) by band Kings of Leon, a downtempo AC ballad by "Britain's Got Talent" contestant Calum Scott was most prominently released on 15 April 2016. Calum's cover was a moderate sleeper hit throughout Europe following substantial success in the UK, where it went viral on streaming services despite little initial radio play. Critical reception to it was polarized, with Robyn praising the cover but prominent music journalists comparing it negatively to her original. The first major test release by controversial London-based AI algorithm-based A&R start-up "Instrumental", its formula in finding Calum and releasing his cover would go on to revolutionize major label signing based on early Internet engagement. An accompanying music video was released on 15 April 2016 that received over 400 million YouTube views in four years.


title: Dancing On My Own

text: Deep into sessions one "dark" week of November 2009 in Stockholm with longtime collaborator Klas Åhlund, Robyn's "stormy" engagement to Swedish MMA fighter and contemporary visual artist Olof Inger was starting to fray. "Tired of the broken heart", Robyn returned to writing about "sad love", a theme that remained prevalent in her work because it was universal, yet continued to give her fresh ideas. After launching her own pop-up club series in Hornstull Beach, Söder in January 2010, "Konichiwa Bitches goes Tutti Frutti", modeled after Christian Falk's "A Love Supreme", Robyn became inspired by DJing, clubbing and people-watching throughout Stockholm. Recalling how much the "dance world" had changed during the five years she spent promoting "Robyn" (2005), especially in America, Robyn realized it was finally ripe for exploitation: "It's really going to have its time now and not just be looked upon as kitsch." Conceptualizing club culture, Robyn created narratives for past patrons she had seen from situations she had witnessed, including their "expectations" for the night to "meet that person", reach a "good high", or experience "some kind of emotion", revisiting stories from Olof on his time as a doorman describing how they'd act then reminiscing on her time in New York City in 1997 promoting "Robyn Is Here" as a "lonely misfit teenager shoulder-shimmying alone in a gloomy corner" on Club Vinyl's "last ever" Saturday night and Sunday afternoon, The Shelter, and the "near mythological" Body&SOUL, respectively. Robyn came to see clubs as "an important place for our generation—almost like a church or a place where we go to experience something that's bigger than ourselves", feeling it wasn't just "cool" but "important", and even "utopian", that "in the middle of all these other people doing the same thing" she could dance in her "own space" on her "own terms", wanting "to make a song called 'Dancing On My Own'" but still unsure "what it was going to be about". Following the example of the "inherently sad, gay disco anthems" she loved, including tracks by Donna Summer with Giorgio Moroder, Sylvester, Billy Idol's "Dancing with Myself" (1980), Ultravox's "Dancing with Tears in My Eyes" (1984), and Sheila E's "A Love Bizarre" (1985), the song's storyline eventually came to her, picturing "the god-awful feeling of a woman who is watching her ex get with someone new at a club".


title: Dancing On My Own

text: "With an idea of a chorus in her mind," Robyn wanted to work further with Åhlund but couldn't stop "toying" with the song on her own, eventually reaching out to prior collaborator Patrik Berger for a "different perspective". Patrik had prepared for weeks before their first session at his Stockholm studio with a "slew of electronic beats and tracks for Robyn to write over". All of this was for naught as the first thing she said was, "Can we sit down and write a song on an acoustic guitar today? I'm so tired of writing over electronic beats and tracks." Their first result was an "acoustic 'campfire'" demo with three chords in the manner of a country song. The chorus came first quickly, followed by the chords and parts of the melody. After days of "fatten[ing]...up" that demo, the two of them realized "...they preferred the original and stripped it all back down" again. Patrik, facing pressure from Swedish music industry insiders "telling him what he should do" with the song, decided for the first time that "rather than following the pack", he'd write and produce the song "how he wanted to", following a new group of "sonic scholars" in the country breaking away from Max Martin's "school of pop". Swapping "the acoustic guitar for synthesizers with frayed edges and a beat that aimed for a TKO," Patrik went "raw and gritty", "aiming for a 'window' of song" that would capture its "commercial appeal without destroying" its "myster[y]".


title: Dancing On My Own

text: With this third demo, entitled "Right Over Here", compared by Robyn and critics to Glasvegas' "Geraldine" (2008) and later heard in part in 2018 at the Red Bull Music Academy in New York, Robyn and Patrik had finally settled on a blueprint for the final track. A "lot of time" was spent subsequently on "the individual components of the song: the drums, the bass and the pounding staccato it starts with". Lyrically, Robyn and Patrik were "super picky" and took even longer. Obsessively trying to come up with the right words to not "sugar-coat the experience" of all of the "messy moments of rejection," they both wanted "uncomfortably honest" lyrics designed to have each phrase read like a "little poem". "Weeks" were spent "texting each other...on lines" with "a couple of days [spent] on each" that filled a "handful of notebooks" by the end, with one entirely "scrapped", as "every single word needed to feel right." Soon after completion of the song, Robyn became "conflicted" about having her collaborators and friends hear it. Recalling her excitement upon initially "sending the demo to the record label and telling them I thought we had a good single", its themes of "nostalgia and sentimentality" in retrospect came across like a "teenage version" of herself she was "happy to let go of". Robyn ended up deciding to include the song on "Body Talk Pt. 1", working through "difficult" early promotion as the themes didn't "always feel true" to her.


title: Dancing On My Own

text: Many years later Robyn and Patrik realized their leaps of faith with the song were worth it. After "taking a step back from what she'd created", working through "a lot of therapy" where she "worked on [...] and healed" herself, then felt the "song was talking back to her" when "thousands of fans" sang it back to her on her 2019 tour when she "cut the song just before the chorus", she realized the song had "moved on from its beginnings" and was no longer "conflicted" about "playing it live", feeling it had become "something that took on meaning for a lot of people in different ways". Meanwhile, Patrik was reaffirmed of his decision to break from Max Martin's formula despite "ang[er]" from many of his peers in Sweden, as it became "one of those songs where people came up to [him], talking about how much it mattered."


title: Dancing On My Own

text: "Dancing On My Own" was composed by Robyn and Patrik Berger. Featuring "elements of 'many different worlds'" she loves that make her "proud" of the track, including "80s rock ballads" and "queer electronica", with the goal of releasing a record that would meet the standard of Prince, two versions of the midtempo ballad were released for the album then for radio, where "everything, bar Robyn's vocal, is electronic". A third, downtempo, 'pared down', piano-based version, recorded from her performance on 16 June 2010 on BBC Radio 1 was then released separately from the project on "Radio 1's Live Lounge – Volume 5" on 22 October 2010. Both electronic versions keep a tempo of 117 beats per minute in common time, which NPR Sam Sanders implies was arranged deliberately as it was "situated [...] pretty close to what scientists say is the preferred walking tempo for humans". All three versions are in the key of G major, following an "immediately familiar one-five-four" chord progression of G–D–C and traditional ABABCB structure except for one pre-chorus line following its first verse and one outro line of a portion of its chorus following its choral refrain that concludes the song, with Robyn's vocals spanning from D to E.


title: Dancing On My Own

text: Robyn's "love letter" to Stockholm as indicated in her "favorite lyric" describing its weather in winter, a "big black sky over [her] town", the song's "bittersweet, voyeuristic narrative" is of "a woman dancing alone in a crowded club while her ex and his new lover look on", with a deliberate "bait and switch" of production that sounds in its opening "life-affirming" but in reality is backing what the listener soon realizes is a "bleak, wounded" "breakup song" lyrically, a deliberate "juxtaposition" "of light and dark at the same time" whose "magic" Robyn explained to Kindness at Red Bull Music Academy is what she's "drawn to when [she] make[s] music", and is "much more satisfying" to her than just one feeling or the other, which she'd found "predictable" and "boring". NPR's Sam Sanders felt these contrasts of "female empowerment through angst" in "lesser hands [...] might be confusing" but "[w]hen Robyn does it, it's human." Outside its story of the "total outsider" in "love sickness" "in the middle of the club" who's still "going to take care of herself and have a good time even though she's pretty dramatic and crazy", she left the rest of its narrative up for interpretation, explaining to Z100's JJ Kincaid that revealing every detail wouldn't have been "as interesting", preferring writing that brings out "emotion[s]...in a way that enables the listener to [...] connect to [the song] in their own way".


title: Dancing On My Own

text: The music video for "Dancing On My Own" premiered via Robyn's official Vimeo account on 21 May 2010 and was released to YouTube on 28 May 2010, accompanied by its radio version. Directed by Max Vitali (who previously worked with Robyn on the second music video for her 2005 single "Be Mine!"), and choreographed by longtime collaborator Maria "Decida" Wahlberg, the music video was produced by Nils Ljunggren and HSI Productions, with filming by Erik Sohlstrom and editing by Johan Söderberg and Johan Wik. Wardrobe, hair, and makeup were done by Naomi Itkes, Ali Pirzadeh and Linda Öhrström, respectively.


title: Dancing On My Own

text: According to Robyn, Max, and 'Decida' from a behind-the-scenes black-and-white preview posted to Robyn's website the day before its release, it's meant to be a visually "simple" yet "still...atmospher[ic]" "performance video" aesthetically connected to her then "upcoming gigs and tour" that depicts "being sad on a dancefloor" in a "rave" or club" where other "people are dancing" and Robyn's choreography is meant to "[bring] out" a "pissed off [...] energy". Robyn portrays the protagonist depicted in the song's lyrics while lip-syncing its lines in three scenes in the center of the club's dance floor, in a dark hallway of that club and in a separate "harshly lit rehearsal" setting. The microphone stand with no microphone in the latter setting "BBC" Fraser McAlpine argued was a deliberate direction as a metaphor for the song's narrative. Robyn is occasionally watching her ex with another woman and trying to get his attention in both club settings prior to leaving – though not overtly, nor is there an obvious reference in the video as to who the ex and his girlfriend are among the club goers.


title: Dancing On My Own

text: 'Decida' later explained to "Billboard" that "angry" choreography was inspired by "her own experiences as a teenager" channeling "Rosie Perez’s dance sequence in the opening credits to "Do the Right Thing" (1989)," while another choreographed moment of Robyn's "making out with yourself dance" where she turns "her back to the camera" and feigns intimacy with another person by "wrapping her arms around herself" was meant as a "moment of levity" from her "serious-faced" attempts to get her ex's attention, and she would continue to use both moves in subsequent live performances of the song. Reassessing her styling in the video with "i-D" years later, Robyn said she "loved" her wardrobes consisting of Philip Van De Roq jewellery chains attached to her ear and lapel, an altered Alexander Wang dress, and Sandra Backlund knitted armour, and only disliked her "hair", which she found "ridiculous", thinking she "[wasn't] sure what we were thinking there!"


title: Dancing On My Own

text: Ryan Dombal of "Pitchfork" wrote of the video, "When you're a star, sometimes all you need to do is put on a casually stylish outfit, gaze into a lens, move your limbs around in a rhythmic manner, and-- just like that-- a high-quality music video is born. Robyn is a star. And that's exactly what happens in this video." Leslie Simon of "MTV Buzzworthy" named it a "Video You Need To Know" and wrote, "Amid a sea of strobe lights and PDA-stricken couples, Robyn seems cautiously fed up with dancing solo. Sad. We'll dance with you, lady!" Jake Hall of "Dazed" saw the video's "stand-out moment" as accompanying the song's "hammering drums transition into the final chorus", when Robyn is shown "ruthlessly throwing punches as strobe lights frame her wounded aggression."


title: Dancing On My Own

text: Luke Lewis of "NME" praised it as "a comet-trail of sadness and exhilaration that's easily the equal of Robyn's breakthrough hit, 'With Every Heartbeat.' Fraser McAlpine of "BBC Radio 1" was stunned at the about-face from the "fragile waif" displayed in that prior song, praising Robyn's "always [...] ready-packed" voice "with a whole world of pain and anguish", the song's "punishingly tough" production and new narrative, and her "toughness" which "lies in her ability to express total agony, and total assurance at the same time, via the medium of a plaintive chorus [...] " Nick Levine of "Digital Spy" lauded the "misty-eyed electro-disco tune" he similarly found "every bit as emotive" as her singles from "Robyn", including "'Be Mine!' [...] If your bottom lip's not quivering like the bassline by the time the second chorus hits, you've taken waaay too many mood stabilisers [...] "


title: Dancing On My Own

text: "Pitchfork" Ryan Dombal appreciated it showed "the scuffs on her scepter" in comparison to her promotional singles from "Body Talk Pt. 1", awarding it their infamous "Best New Music" label the day of release, and the outlet's Tom Breihan during its promotion would deem it her "Euro-pop masterpiece." "The Guardian" Michael Hann stated that song's "pulsing synths and electronic percussion manage to sound both jackbooted and ineffably melancholy." Jer Fairall wrote for "PopMatters" that "[t]he aggressive stun-gun rhythm of 'Dancing On My Own' can't hide a classic drama-played-out-on-the-dancefloor scenario inherited from standard bearers like ABBA's 'Dancing Queen' and Madonna's 'Into the Groove', nor is it cold enough not to melt at the touch of Robyn's warm, yearning vocals or the song's shimmering keyboard chime."


title: Dancing On My Own

text: "Slant Magazine" named "Dancing On My Own" the best song of 2010, writing: "Few artists risk Robyn's emotional nakedness, and with 'Dancing on My Own' she reveals the exquisite flipside to her more empowered 'With Every Heartbeat'". "The Guardian" named it the best song of the year as well, writing: "'Dancing On My Own' is an extraordinary addition to Robyn's canon of skewed love songs; thoughtful and romantic enough for stuck-on-repeat listening, but with a pop sensibility that makes you want to head out in search of a dancefloor." Pitchfork named it the fourth best of 2010, saying that it "demonstrate[s] she is the Rocky Balboa of pop music." "Rolling Stone" named it the twenty-sixth best song of 2010, writing: "The Swedish diva spots her beloved with another girl – then turns her sadness into sparkling pop, perfect for solo freakouts." The song landed at number six on MTV's Best Songs of 2010, with James Montgomery writing: "as soon as 'Dancing' gets to that hair-raising build – a breathless rush of drums and adrenaline – you're no longer thinking about what Robyn's saying, really." In January 2011, the American music magazine "The Village Voice" Pazz & Jop annual critics' poll ranked "Dancing On My Own" at number three to find the best music of 2010. The song was nominated at the 53rd Grammy Awards in the category Best Dance Recording, but lost to "Only Girl (In the World)" by Rihanna.


title: Dancing On My Own

text: "Dancing On My Own" debuted at number two on the Sverigetopplistan chart on the issue dated 11 June 2010. The following weeks, the song ascended and descended between number two and number three, before reaching the top position on the issue dated 30 July 2010. The song became Robyn's first number one on the chart, as well as her seventh top-ten hit. In Denmark, "Dancing On My Own" debuted at number thirty-three on the issue dated 18 June 2010. After steadily ascending on the chart for several weeks, the song reached its peak of number two on the issue dated 6 August 2010. It has since then been certified platinum by the International Federation of the Phonographic Industry in Denmark for selling over 30,000 units. In Norway, the song debuted at number six, which became its peak.


title: Dancing On My Own

text: The song peaked at number twenty-two on the European Hot 100 Singles chart, becoming her highest-peaking song on the chart. On the UK Singles Chart, it debuted and peaked at number eight on the issue dated 26 June 2010, immediately becoming Robyn's best charting single in the country since "With Every Heartbeat" in 2007. "Dancing On My Own" also reached number three on the UK Dance Chart. In the United States, "Dancing On My Own" debuted at number forty on the Hot Dance Club Songs chart. On the issue dated 17 July 2010, it reached its peak of number three and stayed on that position for two weeks.


title: Dancing On My Own

text: On 5 June 2010, Robyn gave her live premiere of the track's midtempo version for "Sommarkrysset" on TV4 at the Stora Scenen in Stockholm's Gröna Lund amusement park. On 16 June 2010 Robyn premiered the downtempo version of the track on BBC Radio 1's "Live Lounge". The first live performance of the track on US television was on the "Late Show with David Letterman" on 19 July 2010. On 12 September 2010, Robyn performed a remix of the midtempo version with DJ deadmau5 at the 2010 MTV Video Music Awards, truncated by a commercial break. The two did not rehearse the performance until the morning of the show, and Robyn said, "I met him for, like, five minutes, and then we were playing." In 2010–2011, Robyn performed the song on other American television shows such as "Late Night with Jimmy Fallon", "The Tonight Show with Jay Leno", "The Ellen DeGeneres Show" "Jimmy Kimmel Live!" and "Saturday Night Live". She also performed it at the 2010 Nobel Peace Prize Concert in Oslo, Norway.


title: Dancing On My Own

text: On 17 January 2011, Robyn attended the Grammisgalan to accept the awards for Best Song (for "Dancing On My Own"), Best Album, Best Female Artist and Best Composer. On 15 March 2011 she performed the song along with "Fembot" and "With Every Heartbeat" at Studio Hamburg, Germany as part of a promotional mini-concert for Deutsche Telekom's "Telekom Street Gigs", later broadcast on ProSieben's "We Love In Concert" series.


title: Dancing On My Own

text: Anticipation among several music journalists surrounding Robyn's social media announcement on 27 July 2018 of her first release of solo material in eight years, "Missing U", began a reassessment of the strength of her "Body Talk" series' "anchor", the original album version of "Dancing On My Own", and more broadly, its impact on other musical artists and the industry as a whole in the years that followed. In June 2018, "Rolling Stone" ranked that version of the song 19th on its list of 'The 100 Greatest Songs of the Century – So Far', in July 2018, "NPR" ranked it as the 49th greatest song by a female or nonbinary artist in the 21st century, in March 2020, after compiling over 35 global outlets' countdowns and 550 tracks, critics' algorithmic aggregator Acclaimed Music named it as the greatest song of the 2010s, and in October 2020, "The Guardian" Alexis Petridis called it "the greatest pop single of the past 20 years". The track was considered the greatest of the decade by "Rolling Stone", "NME", "Stereogum", "Slant", "Consequence", AP, "Insider", "Esquire", "iNews", "Vanyaland" and "Audiofemme". "Time", "NPR" listeners, "Paste", "Good Housekeeping", "The Interns" and "The Wild Honey Pie" ranked it second, "Pitchfork" third, "Elle" and "Treble" fourth and "USA Today" ninth. Gorilla vs. Bear ranked it 12th, "Crack Magazine" 13th, "NBHAP" 15th, Uproxx 18th and "Harper's Bazaar" 22nd. In September 2021, "Rolling Stone", from a poll of more than 250 artists, musicians, producers, critics, journalists and industry figures, ranked the original album version of Robyn's "Dancing On My Own" at number 20, between Billie Holiday's "Strange Fruit" and John Lennon's "Imagine", on their reissued list of "The 500 Greatest Songs of All Time", the decade's highest entry on their list.


title: Dancing On My Own

text: Released at what "Harper's Bazaar" Natalie Maher deemed "the height of the pop renaissance" of the late 2000s/early 2010s, several columnists thought it took a decade for the song's influence to be appreciated critically due to the sharp contrast with its initial commercial reception, a result of several factors including its tone and theme. "Seamlessly ushering dance music to the forefront of the pop continuum by making a record and a single that was easily adaptable to radio play but didn't alienate its raw emotions, delivering a certain edge and undeniable melancholia", it arrived "just when brainless EDM started taking off in the US", and as "Treble" Jeff Terich observed, "the protagonist of every other pop hit from the early half of the decade [turned] a possible sexual encounter with a nightclub fling into the 'Most Important Moment on Earth,'" (and Robyn reminded us that "no, it doesn't always work out that way"). "Never touching the Hot 100" as "Pitchfork" Ryan Dombal noted Fawbert saw it taking "another nine-and-a-half years" to reveal its impact over the course of the decade after "slowly unleashing its tentacles and hooking itself around the music world." The song "heralded the end of the glitzy, VIP-filled, champagne-drenched 'Club' era of songwriting" in Fawbert's view, and it "changed the trajectory of pop, indie and dance." "Insider" Callie Ahlgrim wrote that the song "served as a lodestar for so much of this decade's pop" when "the best work of countless female pop stars" that followed "bears the mark of Robyn's signature poptimism". Ahlgrim said that, without Robyn's influence, there would be "no Carly Rae Jepsen, no Charli XCX, no Lorde." Max Martin's manager said that Martin thought "Dancing On My Own" was "one of the best pop songs ever made," and years later at a dinner he told her that he continued to have a "lot" of female artists come into his studio, "...put your album on the table," and say, "I wanna make this!" Robyn described his response as "Well, fuck you, go work with her then!" which she found "very sweet."


title: Dancing On My Own

text: In October 2020 "The Guardian" Alexis Petridis detailed the track's "brilliant electronic rebooting of the old disco trick whereby euphoric club music is paired with lyrical despair" and "Pitchfork" Jamieson Cox saw a similar dynamic when comparing her output to fellow Swedes ABBA for a September 2019 retrospective of their iconic greatest hits compilation released in 1992, expressing that she "became one of this decade's great pop heroes by pinning down that same sad-ecstatic balance and welding it to modern, muscular production." NBHAP Norman Fleischer also felt ABBA's anthem "Dancing Queen" had "finally found a proper successor" in Robyn's track. Seeing the domination over the music landscape by the close of the 2010s of this kind of song "whose instrumental sets you up for good times, only to sucker punch your heart with lyrics of Biblical sadness," "BBC" Mark Savage solely credited Robyn and the single, arguing the "sad banger" had clearly "influenced an entire generation of songwriters." To that end, Lorde shared with "Vice" her "friendly fixation" with Robyn, including keeping a framed portrait of her on the piano during her performance of "Liability" on "Saturday Night Live" and in the studio as a "patron saint" to watch over the "Melodrama" sessions. Héloïse Letissier of Christine & the Queens, who presented Robyn with the award for Songwriter of the Decade, said that "as a songwriter I can only marvel at a song like 'Dancing On My Own' ...it's a gem of pop." Pop stars Charli XCX and Zara Larsson acknowledged Robyn's influence, with Charli XCX expressing that "Robyn has definitely been part of paving the way for pop stars who fall a little to the left of the Top 40 norm," and Larsson saying, "She's what I strive to be in a sense of making my own choices and staying true to myself."


title: Dancing On My Own

text: Becoming what "NME" Eli Hunt described as the "queen of the misfits," Robyn has been described as a gay icon because of the popularity of "Dancing On My Own", itself described as a gay anthem. Robyn said she "felt connected to the gay audience because there's an element to the culture that you have had to think about or make up your mind about what it is to be an outsider..." By the late 2010s out singer/songwriter Sam Smith expressed that they thought the track made Robyn "a huge part of the LGBTQ community because we get to dance our pain away." "Rolling Stone" ranked "Dancing On My Own" at number 20 on their list of "25 Essential LGBTQ Pride Songs", describing the song as "deeply resonant to queer, marginalized people."


title: Dancing On My Own

text: Before he became famous, Calum Scott posted a cover version to his personal YouTube channel on 1 March 2014, and later performed the song for his audition on "Britain's Got Talent" in April 2015, the original clip of which has garnered over 415 million YouTube views. "Naive about the [music] industry" and worried his "career was over" after he wasn't signed to Simon Cowell's Syco Entertainment when "the show was over and it went quiet", Calum thought his "opportunity was gone". Tracking the data behind the sudden rise in engagement and speed of new subscribers to Calum's channel over several months, A&R executive Conrad Withey encouraged him to release the song officially. With Conrad's endorsement, Calum signed independently with Warner Music Group, and the song was released as his debut solo single on 15 April 2016, with a 3 June 2016 release in other territories under Capitol Records.


title: Dancing On My Own

text: With this early exposure, Conrad's "Instrumental", a London-based AI algorithm-based A&R start-up looking to streamline "notoriously inefficient methods of talent discovery" using internet engagement to cut costs with a "data-driven" platform that would controversially prioritize "popular[ity]" over "artistry" in support of "online engagement", "internet stars" and "brand and content partnerships" rather than "musicians", reversing preconceived notions of building fanbases from scratch by capitalizing on those that already existed, went on to contract their services with the 'Big 3' and revolutionize A&R signing of artists.


title: Dancing On My Own

text: Scott's cover was noted for its "soft focus", with critical reception being polarized, and streaming performance being very strong in the UK and Australia, followed by sleeper hit longevity throughout Europe. Two EDM remixes of the cover were commissioned and released by Calum's label from Tiësto on 15 July 2016 and Hull-based Ben Dooks on 29 October 2018. Different music videos were commissioned and released later in 2016 for Calum's cover as well as the Tiësto remix.


title: Dancing On My Own

text: Reception to Calum's cover was polarized. "Metro Weekly" Sean Maunier called it a "stellar" confessional, noting its "subtle yet powerful" slight lyric changes to "reflect his own experience as a gay man" that were "casual" yet still "matter-of-fact, and all the more striking for it," "Ones to Watch" Miro Sarkissian praised it as "stunning", and "Digital Journal" Markos Papadatos found it "crisp and haunting". "BBC Newsbeat" Steve Holden wrote that Calum's "second lease of life" he gave the song reached "a far wider audience in the mid-2010s", and Robyn shared with Steve she was "super happy" for Calum's success that got people to "know the song a little bit more", praising his "voice" and "interpretation [...] in a way that 'made the song come alive again.'"


title: Dancing On My Own

text: On the other hand, both "Noisey" Grace Medford and "Dazed" Jake Hall wrote lengthy editorials harshly comparing Calum's cover to Robyn's original, similarly noting the irony of Calum pursuing the "commercial mechanisms of the music industry" which Robyn had rejected then lamenting his "undeserved praise" and "chart dominating power [...] for casting a miserable, faux-ballad shadow over a well-crafted pop song". The former excoriated it as "the aural experience of walking knee-deep in wet cement" with an instrumental that had "all the exuberance of a John Lewis Christmas advert", a "nasal whine the likes of which have gone unheard since James Blunt", and "breathy" syllables "chomp[ed]", "overenunciat[ed]" and "split" to sound more "regional and everyman", like the "shy guy" at "open mic", while the latter damned it with faint praise, arguing that despite his "undeniabl[y] pure, talented, amazing voice", the cover "stripp[ed] the song of its initial context," deeming it a "formulaic piano ballad" that "lost the duality which made the original so incredible." "The Guardian" Alexis Petridis likewise felt his cover "gormlessly sandblasted away the original's emotional complexity – a very realistic mix of despair, steely determination and euphoria – in favour of mournful bloke-at-a-piano emoting" and "Pitchfork" Jayson Greene also found it "dubious" and "weepy" in comparison to Robyn's.


title: Dancing On My Own

text: Tiësto's remix of Calum's cover also had a polarized reception. "USA Today" Bryan Kalbrosky dismissed it outright as "inferior", arguing there was simply "no reason to listen" to it "so long as Robyn’s [original] exists" while "Vents Magazine" RJ Frometa complimented its "glistening blend" of Tiësto's "trademark house mixed with a refreshing, blissed out vibe," and "We Rave You" Petar Lazarevic appreciated Tiësto "slowly envelope[d]" yet still left "plenty of room" for Calum's vocals, building "the presence of the glossy guitar riffs in the drop" which evoked "the lazy and comfortable feelings that accompany the early hours of the morning after a fantastic night".


title: Dancing On My Own

text: In March 2018, Scott revisited the mixed reactions to his version. He said that those complaining he had ruined Robyn's song were counterbalanced by positive responses, for instance one person that had "just written to me and said that they've come out to their family because of my interpretation". He said he "didn't change the pronouns of the song" because he wanted the interpretation to always come from a "gay man's perspective". He said the gay community have thanked him repeatedly for the song, saying "how much it means to them that they have a voice in music."


title: Dancing On My Own

text: The cover went viral on streaming services, with Spotify tracking it reaching number one in six countries while ranking in the Top 10 in over 20, peaking at number 2 in the Global Viral 50. On iTunes it charted in the top ten in more than 12 countries. The track had its greatest reception in the UK, where, despite little radio airplay (apart from West Hull FM), it climbed into the top 40 and slowly reached number 4 in July. It was then added to BBC Radio 2's C List playlist and peaked at number 2 on the UK Singles Chart on 5 August. The track remained in the top three four months after its release and later that year it was revealed it was the most bought song of the summer in the country. Scott told the Official Charts Company on its reception there that he was "absolutely over the moon" at the news. The track went on to become the best-selling UK single by a British solo artist in 2016.


title: Dancing On My Own

text: In the subsequent months and years, the track became a moderate sleeper hit in Europe, including by mid-2018 reaching 550M streams and becoming certified platinum in at least four countries. Scott said in a press statement upon signing with Capitol Records in the U.S. that "when I recorded the song in my bedroom, I never thought for a second that it would reach as far as it has and bring this level of support from literally all over the globe...I'm completely overwhelmed by it all."


title: Dancing On My Own

text: Self-produced by Calum Scott and directed by Ryan Pallotta, the video was released on 15 June 2016. A crowd of silent people dressed in white are looking towards a light source. Among them, Scott mouths the song lyrics. A man and a woman move through the crowd to find each other. By April 2020 the video had received over 400 million YouTube views.


title: Dancing On My Own

text: The official video for the Tiësto remix was commissioned by Capitol Records and released on 4 October 2016. Co-directed by Josh Killacky and David Moore, and edited by Alex Ditommaso, the video depicts a man pursuing a woman who is no longer his lover. With Moore shooting video while riding a hoverboard in a stark studio space, Josh Killacky and Haley Fitzgerald perform a modern dance routine, choreographed by Killacky.


title: Dancing On My Own

text: The cover aired on the 20th episode, "Kill 'em All" of The CW series "The Vampire Diaries", broadcast 29 April 2016, while Caroline makes soup for Bonnie while ranting to Alaric about Stefan, commitment and closure. It also aired on the 24th episode, "Ring of Fire" of the ABC series "Grey's Anatomy", broadcast 17 May 2017, while Nathan asks Meredith details about Megan, then hugs her in celebration and drives off. Scott promoted the track throughout 2016 and 2017 most notably on "Late Night with Seth Meyers", "Good Morning America", "Elvis Duran and the Morning Show", "Good Morning Britain", "The Ellen DeGeneres Show", and "Dancing with the Stars". Following the 10th episode "Brainwave Jr." of the DC Universe series "Stargirl" in July 2020, the cover "racked up 10.5 million U.S. on-demand streams, along with 3,000 digital downloads, according to Nielsen Music/MRC Data", topping "The Hollywood Reporter"'s Top TV Songs Chart. During the 2021 MLB postseason, the Boston Red Sox adopted the Tiësto remix of the song as their postseason anthem, playing the song in their celebrations after their Wild Card Game win over their rivals, the New York Yankees, and their series win over the Tampa Bay Rays. During the 2022 MLB postseason, former Red Sox player Kyle Schwarber and the Philadelphia Phillies also adopted the Tiësto remix of the song as their own postseason anthem.


title: Dancing On My Own

text: Belgian singer performed Robyn's downtempo version as part of her audition on "Idool 2011" then released her studio cover, receiving a gold certification for 10,000+ copies sold. American rock band Kings of Leon performed but never officially released a cover of Robyn's ballad during a session on Zane Lowe's show on BBC Radio 1, officially posted by the show to their YouTube channel on 10 September 2013, which "Billboard" Jason Lipshutz went on to describe as an "injection" of its "muscular Southern rock stylings" with "meaty guitar riffs", "Caleb Followill's signature growl in full effect", and with the "'Whoa-oh-oh's' echo on the chorus", a recalling of the singer's "epic "Use Somebody" flare-ups". "Instinct" Jeremy Hinks slammed it as "nails on a chalkboard," while "Spin" Marc Hogan praised it as "disarmingly effective" and having brought out Robyn's "smart songwriting", noting their connection to her "deeply conflicted relationship with mainstream success".


title: Dancing On My Own

text: American a cappella group Pentatonix released a cover of her mid-tempo version in July 2017 with a music video, presenting their first track as a quartet instead of a quintet. American actress Elle Fanning performed the mid-tempo version as the character Violet in the film "Teen Spirit", released in September 2018, and her recording, described as "unassuming" yet "impressive" by MTV, was subsequently released in April 2019 as part of its soundtrack with a promotional music video depicting her role, aiming for pop stardom. Singer/songwriter Kelly Clarkson covered the downtempo version on 28 February 2019 in Dallas, Texas, on her Meaning of Life Tour. Robyn went on to tell BBC Newsbeat in 2020 that she "really liked" Kelly's version, noting "she has a really powerful voice. She recorded one of my favorite Max Martin songs, Since U Been Gone, which I covered in the Radio 1 Live Lounge. So that's funny."


title: Dancing On My Own

text: Alternative rock band Grouplove released an indie pop cover of the midtempo version in March 2020, described as "electric" and "passionate" by Flood Magazine, promoting it on Cover Nation, Sirius XM and ALT 98.7. American folk singer Willie Watson, former founding member of Americana and bluegrass band Old Crow Medicine Show, released a folk version of the song in May 2020, dedicating it in a live stream performance of the song from his own studio to everyone "dancing on their own" amidst the COVID-19 pandemic. In December 2020 English singer/songwriter and model Karen Elson released a downtempo alternative country version on her EP, "Radio Redhead, Vol.1".


title: Arius

text: Arius (; , ; 250 or 256 – 336) was a Cyrenaic presbyter, ascetic, and priest best known for the doctrine of Arianism. His teachings about the nature of the Godhead in Christianity, which emphasized God the Father's uniqueness and Christ's subordination under the Father, and his opposition to what would become the dominant Christology, Homoousian Christology, made him a primary topic of the First Council of Nicaea convened by Emperor Constantine the Great in 325.


title: Arius

text: After Emperors Licinius and Constantine legalized and formalized the Christianity of the time in the Roman Empire, Constantine sought to unify the newly recognized Church and remove theological divisions. The Christian Church was divided over disagreements on Christology, or the nature of the relationship between the first and second persons of the Trinity. Homoousian Christians, including Athanasius of Alexandria, used Arius and Arianism as epithets to describe those who disagreed with their doctrine of coequal Trinitarianism, a Homoousian Christology representing God the Father and Jesus Christ the Son as "of one essence" ("consubstantial") and coeternal.


title: Arius

text: Negative writings describe Arius's theology as one imputing there was a time before the Son of God existed—that is, when only God the Father existed. Despite concerted opposition, Arian Christian churches persisted for centuries throughout Europe (especially in various Germanic kingdoms), the Middle East, and North Africa. They were suppressed by military conquest or by voluntary royal conversion between the fifth and seventh centuries.


title: Arius

text: The Son's precise relationship with the Father had been discussed for decades before Arius's advent; Arius intensified the controversy and carried it to a Church-wide audience, where others like Eusebius of Nicomedia proved much more influential in the long run. In fact, some later Arians disavowed the name, claiming not to have been familiar with the man or his specific teachings. However, because the conflict between Arius and his foes brought the issue to the theological forefront, the doctrine they said he proclaimed—though he had definitely not originated—is generally labeled as "his".


title: Arius

text: Reconstructing the life and doctrine of Arius has proven to be a difficult task, as none of his original writings survive. Emperor Constantine ordered their burning while Arius was still living, and any that survived this purge were later destroyed by his orthodox opponents. Those works which have survived are quoted in the works of churchmen who denounced him as a heretic. This leads some — but not all — scholars to question their reliability.


title: Arius

text: His father's name is given as Ammonius. Arius is believed to have been a student at the exegetical school in Antioch, where he studied under Saint Lucian. Having returned to Alexandria, Arius, according to a single source, sided with Meletius of Lycopolis in his dispute over the re-admission of those who had denied Christianity under fear of Roman torture, and was ordained a deacon under the latter's auspices. He was excommunicated by Bishop Peter of Alexandria in 311 for supporting Meletius, but under Peter's successor Achillas, Arius was re-admitted to Christian communion and in 313 made presbyter of the Baucalis district in Alexandria.


title: Arius

text: Although his character has been severely assailed by his opponents, Arius appears to have been a man of personal ascetic achievement, pure morals, and decided convictions. Paraphrasing Epiphanius of Salamis, an opponent of Arius, Catholic historian Warren H. Carroll describes him as ""tall and lean, of distinguished appearance and polished address. Women doted on him, charmed by his beautiful manners, touched by his appearance of asceticism. Men were impressed by his aura of intellectual superiority.""


title: Arius

text: Though Arius was also accused by his opponents of being too liberal and too loose in his theology, engaging in heresy (as defined by his opponents), some historians argue that Arius was actually quite conservative, and that he deplored how, in his view, Christian theology was being too freely mixed with Greek paganism.


title: Arius

text: The Trinitarian historian Socrates of Constantinople reports that Arius sparked the controversy that bears his name when Alexander of Alexandria, who had succeeded Achillas as the Bishop of Alexandria, gave a sermon stating the similarity of the Son to the Father. Arius interpreted Alexander's speech as being a revival of Sabellianism, condemned it, and then argued that ""if the Father begat the Son, he that was begotten had a beginning of existence: and from this it is evident, that there was a time when the Son was not. It therefore necessarily follows, that he" [the Son] "had his substance from nothing."" This quote describes the essence of Arius's doctrine.


title: Arius

text: Socrates of Constantinople believed that Arius was influenced in his thinking by the teachings of Lucian of Antioch, a celebrated Christian teacher and martyr. In a letter to Patriarch Alexander of Constantinople Arius's bishop, Alexander of Alexandria, wrote that Arius derived his theology from Lucian. The express purpose of Alexander's letter was to complain of the doctrines that Arius was spreading, but his charge of heresy against Arius is vague and unsupported by other authorities. Furthermore, Alexander's language, like that of most controversialists in those days, is quite bitter and abusive. Moreover, even Alexander never accused Lucian of having taught Arianism; rather, he accused Lucian "ad invidiam" of heretical tendencies—which apparently, according to him, were transferred to his pupil, Arius. The noted Russian historian Alexander Vasiliev refers to Lucian as "the Arius before Arius".


title: Arius

text: Like many third-century Christian scholars, Arius was influenced by the writings of Origen, widely regarded as the first great theologian of Christianity. However, while both agreed on the subordination of the Son to the Father, and Arius drew support from Origen's theories on the "Logos", the two did not agree on everything. Arius clearly argued that the "Logos" had a beginning and that the Son, therefore, was not eternal, the Logos being the highest of the Created Order. This idea is summarized in the statement "there was a time when the Son was not." By way of contrast, Origen believed the relation of the Son to the Father had no beginning, and that the Son was "eternally generated".


title: Arius

text: Arius objected to Origen's doctrine, complaining about it in his letter to the Nicomedian Eusebius, who had also studied under Lucian. Nevertheless, despite disagreeing with Origen on this point, Arius found solace in his writings, which used expressions that favored Arius's contention that the "Logos" was of a different substance than the Father, and owed his existence to his Father's will. However, because Origen's theological speculations were often proffered to stimulate further inquiry rather than to put an end to any given dispute, both Arius and his opponents were able to invoke the authority of this revered (at the time) theologian during their debate.


title: Arius

text: Arius emphasized the supremacy and uniqueness of God the Father, meaning that the Father alone is infinite and eternal and almighty, and that therefore the Father's divinity must be greater than the Son's. Arius taught that the Son had a beginning, contrary to Origen, who taught that the Son was less than the Father only in power, but not in time. Arius maintained that the Son possessed neither the eternity nor the true divinity of the Father, but was rather made "God" only by the Father's permission and power, and that the Logos was rather the very first and the most perfect of God's productions, before ages.


title: Arius

text: The Bishop of Alexandria exiled the presbyter following a council of local priests. Arius's supporters vehemently protested. Numerous bishops and Christian leaders of the era supported his cause, among them Eusebius of Nicomedia, who baptized Constantine the Great.


title: Arius

text: The Christological debate could no longer be contained within the Alexandrian diocese. By the time Bishop Alexander finally acted against Arius, Arius's doctrine had spread far beyond his own see; it had become a topic of discussion—and disturbance—for the entire Church. The Church was now a powerful force in the Roman world, with Emperors Licinius and Constantine I having legalized it in 313 through the Edict of Milan. Emperor Constantine had taken a personal interest in several ecumenical issues, including the Donatist controversy in 316, and he wanted to bring an end to the Christological dispute. To this end, the emperor sent Hosius, bishop of Córdoba to investigate and, if possible, resolve the controversy. Hosius was armed with an open letter from the Emperor: ""Wherefore let each one of you, showing consideration for the other, listen to the impartial exhortation of your fellow-servant."" But as the debate continued to rage despite Hosius's efforts, Constantine in AD 325 took an unprecedented step: he called a council to be composed of church prelates from all parts of the empire to resolve this issue, possibly at Hosius's recommendation.


title: Arius

text: All secular dioceses of the empire sent one or more representatives to the council, save for Roman Britain; the majority of the bishops came from the East. Pope Sylvester I, himself too aged to attend, sent two priests as his delegates. Arius himself attended the council, as did his bishop, Alexander. Also there were Eusebius of Caesarea, Eusebius of Nicomedia and the young deacon Athanasius, who would become the champion of the Trinitarian view ultimately adopted by the council and spend most of his life battling Arianism. Before the main conclave convened, Hosius initially met with Alexander and his supporters at Nicomedia. The council would be presided over by the emperor himself, who participated in and even led some of its discussions.


title: Arius

text: At this First Council of Nicaea twenty-two bishops, led by Eusebius of Nicomedia, came as supporters of Arius. But when some of Arius's writings were read aloud, they are reported to have been denounced as blasphemous by most participants. Those who upheld the notion that Christ was co-eternal and con-substantial with the Father were led by the bishop Alexander. Athanasius was not allowed to sit in on the Council since he was only an arch-deacon. But Athanasius is seen as doing the legwork and concluded (as Bishop Alexander conveyed in the Athanasian Trinitarian defense and also according to the Nicene Creed adopted at this Council) that the Son was of the same essence (homoousios) with the Father (or one in essence with the Father), and was eternally generated from that essence of the Father. Those who instead insisted that the Son of God came after God the Father in time and substance, were led by Arius the presbyter. For about two months, the two sides argued and debated, with each appealing to Scripture to justify their respective positions. Arius argued for the supremacy of God the Father, and maintained that the Son of God was simply the oldest and most beloved Creature of God, made from nothing, because of being the direct offspring. Arius taught that the pre-existent Son was God's First Production (the very first thing that God actually ever "did" in His entire eternal existence up to that point), before all ages. Thus he insisted that only God the Father had no beginning, and that the Father alone was infinite and eternal. Arius maintained that the Son had a beginning. Thus, said Arius, only the Son was directly created and begotten of God; furthermore, there was a time that He had no existence. He was capable of His own free will, said Arius, and thus "were He in the truest sense a son, He must have come after the Father, therefore the time obviously was when He was not, and hence He was a finite being." Arius appealed to Scripture, quoting verses such as : "the Father is greater than I". And also : "the firstborn of all creation." Thus, Arius insisted that the Father's Divinity was greater than the Son's, and that the Son was under God the Father, and not co-equal or co-eternal with Him.


title: Arius

text: According to some accounts in the hagiography of Nicholas of Myra, debate at the council became so heated that at one point, Nicholas struck Arius across the face. The majority of the bishops ultimately agreed upon a creed, known thereafter as the Nicene creed. It included the word "homoousios", meaning "consubstantial", or "one in essence", which was incompatible with Arius's beliefs. On June 19, 325, council and emperor issued a circular to the churches in and around Alexandria: Arius and two of his unyielding partisans (Theonas and Secundus) were deposed and exiled to Illyricum, while three other supporters—Theognis of Nicaea, Eusebius of Nicomedia and Maris of Chalcedon—affixed their signatures solely out of deference to the emperor. The following is part of the ruling made by the emperor denouncing Arius's teachings with fervor.


title: Arius

text: The Homoousian party's victory at Nicaea was short-lived, however. Despite Arius's exile and the alleged finality of the Council's decrees, the Arian controversy recommenced at once. When Bishop Alexander died in 327, Athanasius succeeded him, despite not meeting the age requirements for a hierarch. Still committed to pacifying the conflict between Arians and Trinitarians, Constantine gradually became more lenient toward those whom the Council of Nicaea had exiled. Though he never repudiated the council or its decrees, the emperor ultimately permitted Arius (who had taken refuge in Palestine) and many of his adherents to return to their homes, once Arius had reformulated his Christology to mute the ideas found most objectionable by his critics. Athanasius was exiled following his condemnation by the First Synod of Tyre in 335 (though he was later recalled), and the Synod of Jerusalem the following year restored Arius to communion. The emperor directed Alexander of Constantinople to receive Arius, despite the bishop's objections; Bishop Alexander responded by earnestly praying that Arius might perish before this could happen.


title: Arius

text: Modern scholars consider that the subsequent death of Arius may have been the result of poisoning by his opponents. In contrast, some contemporaries of Arius asserted that the circumstances of his death were miraculous – consequence of Arius's heretical views. The latter view was evident in the account of Arius's death by a bitter enemy, Socrates Scholasticus.


title: Arius

text: The death of Arius did not end the Arian controversy, and would not be settled for centuries, in some parts of the Christian world.


title: Arius

text: Historians report that Constantine, who had not been baptized for most of his lifetime, was baptized on his deathbed in 337 by the Arian bishop, Eusebius of Nicomedia.


title: Arius

text: Constantius II, who succeeded Constantine, was also an Arian sympathizer. Under him, Arianism reached its high point at the Third Council of Sirmium in 357. The Seventh Arian Confession (Second Sirmium Confession) held, regarding the doctrines "homoousios" (of one substance) and "homoiousios" (of similar substance), that both were non-biblical; and that the Father is greater than the Son.


title: Arius

text: But since many persons are disturbed by questions concerning what is called in Latin "substantia", but in Greek "ousia", that is, to make it understood more exactly, as to 'coessential', or what is called, 'like-in-essence', there ought to be no mention of any of these at all, nor exposition of them in the Church, for this reason and for this consideration, that in divine Scripture nothing is written about them, and that they are above men's knowledge and above men's understanding.


title: Arius

text: Following the abortive effort by Julian the Apostate to restore paganism in the empire, the emperor Valens — himself an Arian — renewed the persecution of Nicene bishops. However, Valens's successor Theodosius I ended Arianism once and for all among the elites of the Eastern Empire through a combination of imperial decree, persecution, and the calling of the Second Ecumenical Council in 381, which condemned Arius anew while reaffirming and expanding the Nicene Creed. This generally ended the influence of Arianism among the non-Germanic peoples of the Roman Empire.


title: Arius

text: Things went differently in the Western Empire. During the reign of Constantius II, the Arian Gothic convert Ulfilas was consecrated a bishop by Eusebius of Nicomedia and sent to missionize his people. His success ensured the survival of Arianism among the Goths and Vandals until the beginning of the eighth century, when their kingdoms succumbed to the adjacent Niceans or they accepted Nicean Christianity. Arians continued to exist in North Africa, Spain and portions of Italy until they were finally suppressed during the sixth and seventh centuries.


title: Arius

text: In the 12th century, the Benedictine abbot Peter the Venerable described the Islamic prophet Muhammad as "the successor of Arius and the precursor to the Antichrist". During the Protestant Reformation, a Polish sect known as the Polish Brethren were often referred to as Arians due to their antitrinitarian doctrine.


title: Arius

text: There are several contemporary Christian and Post-Christian denominations today that echo Arian thinking.


title: Arius

text: Members of the Church of Jesus Christ of Latter-day Saints (LDS Church) are sometimes accused of being Arians by their detractors. However, the Christology of the Latter-day Saints differs in several significant aspects from Arian theology.


title: Arius

text: Some Christians in the Unitarian Universalist movement are influenced by Arian ideas. Contemporary Unitarian Universalist Christians often may be either Arian or Socian in their Christology, seeing Jesus as a distinctive moral figure but not equal or eternal with God the Father; or they may follow Origen's logic of Universal Salvation, and thus potentially affirm the Trinity, but assert that all are already saved.


title: Arius

text: In explaining his actions against Arius, Alexander of Alexandria wrote a letter to Alexander of Constantinople and Eusebius of Nicomedia (where the emperor was then residing), detailing the errors into which he believed Arius had fallen. According to Alexander, Arius taught:


title: Arius

text: This question of the exact relationship between the Father and the Son (a part of the theological science of Christology) had been raised some fifty years before Arius, when Paul of Samosata was deposed in 269 for agreeing with those who used the word homoousios (Greek for same substance) to express the relation between the Father and the Son. This term was thought at that time to have a Sabellian tendency, though—as events showed—this was on account of its scope not having been satisfactorily defined. In the discussion which followed Paul's deposition, Dionysius, the Bishop of Alexandria, used much the same language as Arius did later, and correspondence survives in which Pope Dionysius blames him for using such terminology. Dionysius responded with an explanation widely interpreted as vacillating. The Synod of Antioch, which condemned Paul of Samosata, had expressed its disapproval of the word "homoousios" in one sense, while Bishop Alexander undertook its defense in another. Although the controversy seemed to be leaning toward the opinions later championed by Arius, no firm decision had been made on the subject; in an atmosphere so intellectual as that of Alexandria, the debate seemed bound to resurface—and even intensify—at some point in the future.


title: Arius

text: Arius endorsed the following doctrines about The Son or The Word ("Logos", referring to Jesus; see the ):


title: Arius

text: Three surviving letters attributed to Arius are his letter to Alexander of Alexandria, his letter to Eusebius of Nicomedia, and his confession to Constantine. In addition, several letters addressed by others to Arius survive, together with brief quotations contained within the polemical works of his opponents. These quotations are often short and taken out of context, and it is difficult to tell how accurately they quote him or represent his true thinking.


title: Arius

text: Arius's "Thalia" (literally, "Festivity", "banquet"), a popularized work combining prose and verse and summarizing his views on the Logos, survives in quoted fragmentary form. In the Thalia, Arius says that God's first thought was the creation of the Son, before all ages, therefore time started with the creation of the "Logos" or Word in Heaven (lines 1-9, 30-32); explains how the Son could still be God, even if he did not exist eternally (lines 20-23); and endeavors to explain the ultimate incomprehensibility of the Father to the Son (lines 33-39). The two available references from this work are recorded by his opponent Athanasius: the first is a report of Arius's teaching in "Orations Against the Arians", 1:5-6. This paraphrase has negative comments interspersed throughout, so it is difficult to consider it as being completely reliable.


title: Arius

text: The second quotation is found in the document "On the Councils of Arminum and Seleucia", also known as "De Synodis", pg. 15. This second passage is entirely in irregular verse, and seems to be a direct quotation or a compilation of quotations; it may have been written by someone other than Athanasius, perhaps even a person sympathetic to Arius. This second quotation does not contain several statements usually attributed to Arius by his opponents, is in metrical form, and resembles other passages that have been attributed to Arius. It also contains some positive statements about the Son. But although these quotations seem reasonably accurate, their proper context is lost, thus their place in Arius's larger system of thought is impossible to reconstruct.


title: Arius

text: The part of Arius's Thalia quoted in Athanasius's "De Synodis" is the longest extant fragment. The most commonly cited edition of "De Synodis" is by Hans-Georg Opitz. A translation of this fragment has been made by Aaron J. West, but based not on Opitz' text but on a previous edition: "When compared to Opitz' more recent edition of the text, we found that our text varies only in punctuation, capitalization, and one variant reading (χρόνῳ for χρόνοις, line 5)." Here is the Opitz edition with the West translation:


title: Arius

text: A slightly different edition of the fragment of the Thalia from "De Synodis" is given by G.C. Stead, and served as the basis for a translation by R.P.C. Hanson. Stead argued that the Thalia was written in anapestic meter, and edited the fragment to show what it would look like in anapests with different line breaks. Hanson based his translation of this fragment directly on Stead's text. Here is Stead's edition with Hanson's translation.


title: Michael Malice

text: Michael Krechmer (Ukrainian: Майкл Крехмер; born July 12, 1976), better known as Michael Malice, is a Ukrainian-American author, and podcaster. He is the host of ""YOUR WELCOME" with Michael Malice", a video podcast which airs on Podcast One.


title: Michael Malice

text: Malice's early life was the subject of Harvey Pekar's 2006 biography "Ego & Hubris: The Michael Malice Story".


title: Michael Malice

text: When he was two years old, he moved with his parents to the Bensonhurst neighborhood of Brooklyn, New York. His father originally worked as a courier and attended Baruch College to study computer science. He later worked for Merrill Lynch. Malice attended Bucknell University. Malice also worked for Goldman Sachs before quitting.


title: Michael Malice

text: Malice is known for trolling others on social media, according to "The American Conservative". His pseudonymous surname was inspired by nicknames such as Sid Vicious and Poly Styrene that were common within the punk movement and the cultural movement that centered around Andy Warhol, two cultural movements that greatly influenced Malice.


title: Michael Malice

text: Malice is the co-creator and founding editor of the humor blog "Overheard in New York" that posts submissions of conversations allegedly heard by eavesdroppers in New York City. Launched in 2003, the site was inspired by a conversation overheard by co-creator S. Morgan Friedman. A book based on some of the site's submissions was published in 2006.


title: Michael Malice

text: Malice is also the subject of Harvey Pekar's 2006 biographical graphic novel "Ego & Hubris: The Michael Malice Story", illustrated by Gary Dumm. As the title suggests, the biography deals with the development of Malice's egoic personality, a characteristic that Malice does not dispute.


title: Michael Malice

text: Malice also co-authors and ghostwrites for celebrities. He is the co-author of several celebrity memoirs. He co-wrote MMA fighter Matt Hughes's 2008 autobiography "Made in America: The Most Dominant Champion in UFC History". He co-wrote "Concierge Confidential: The Gloves Come Off – and the Secrets Come Out! Tales from the Man Who Serves Millionaires, Moguls, and Madmen" (2011) with Michael Fazio, one of New York City's most highly sought concierges to the rich and famous, Malice also co-wrote comedian D. L. Hughley's 2012 book "I Want You to Shut the F#ck Up: How the Audacity of Dopes Is Ruining America" and his 2016 book "Black Man, White House: An Oral History of the Obama Years."


title: Michael Malice

text: In 2014, he published his first solely authored work "Dear Reader: The Unauthorized Autobiography of Kim Jong Il". It was crowdfunded through Kickstarter and published through Amazon's CreateSpace program. The book is written from the hypothetical first-person view of Kim himself and is a semi-farcical commentary on how he is portrayed to the North Korean people. Much of the material was based on English language propaganda material that Malice collected while on a week-long trip to Pyongyang, North Korea in 2012. Malice had previously recounted his experiences of his trip in a 2013 article for "Reason" magazine. In a generally positive review for NK News, Rob York described "Dear Reader" as "informative, and surprisingly earnest."


title: Michael Malice

text: Since 2014, Malice has been a regular guest on the Fox News and Fox Business Network shows "The Independents", "Kennedy", "Red Eye", "The Greg Gutfeld Show", "The Story with Martha MacCallum", and "Tucker Carlson Tonight". He is also a regular guest on "The Tom Woods Show" podcast and has appeared on "The Joe Rogan Experience" and "The Rubin Report". Malice is also a regular columnist at "Observer".


title: Michael Malice

text: Malice sued former Fox News host Andrea Tantaros in October 2016, saying that he was owed $150,000 for ghostwriting her book "Tied Up in Knots: How Getting What We Wanted Made Women Miserable". In an argument to keep the lawsuit under seal, lawyers for Tantaros said that if Malice's role in editing the book was revealed, "it would severely undermine her credibility in the eyes of her colleagues, fans, publisher, and the wider news-media world." Tantaros countersued Malice for defamation, saying that he had submitted fabricated evidence and colluded with Fox News to harm her reputation. Malice's lawsuit was dismissed. He appealed the dismissal and lost the appeal, too.


title: Michael Malice

text: In 2018, Malice began hosting the late-night talk show "Night Shade with Michael Malice" on Compound Media. The show aired for 425 episodes and concluded on October 1, 2020.


title: Michael Malice

text: In 2019, Malice published his second solely-authored work, "The New Right: A Journey to the Fringe of American Politics". The book is a historical analysis of the American New Right movement which contextualizes the events surrounding Donald Trump's victory in the 2016 United States presidential election.


title: Michael Malice

text: In 2021, Malice organized and published "The Anarchist Handbook", a collection of essays by various Anarchist figures, including Mikhail Bakunin, Emma Goldman, and Murray Rothbard.


title: Michael Malice

text: In 2022, Malice published his third solely-authored work, "The White Pill: A Tale of Good and Evil". The book is a historical analysis of the Rise and fall of the Soviet Union and how it demonstrates the importance of hope for humanity's future.


title: Michael Malice

text: In 2017, Malice joined Compound Media as the host of the weekly talk show "YOUR WELCOME", of which Malice writes as YOUR WELCOME as a form of trolling. In 2018 ""YOUR WELCOME"" moved to the "GaS Digital Network", and effectively converting to a podcasting platform. In 2021, he moved to PodcastOne, where he began adding his name to the show's title. Episodes generally revolve around interviews with a wide variety of political pundits and entertainers, including journalist Glenn Greenwald, author Douglas Murray, comedian Dave Smith, radio show host Alex Jones, YouTube personality Blaire White, politician Kari Lake, media pundit Ann Coulter, and comedian Jimmy Dore.


title: Michael Malice

text: Malice describes himself as an anarchist or anarchist without adjectives. "Reason" described his politics as a combination of anarchism, Objectivism, and libertarianism in 2006. In 2014, he wrote an opinion piece for "The Guardian" explaining why he does not vote. Malice has advocated for the peaceful dissolution of the United States.


title: Falkland Islands sovereignty dispute

text: Sovereignty over the Falkland Islands () is disputed by Argentina and the United Kingdom. The British claim to sovereignty dates from 1690, when they made the first recorded landing on the islands, and the United Kingdom has exercised "de facto" sovereignty over the archipelago almost continuously since 1833. Argentina has long disputed this claim, having been in control of the islands for a few years prior to 1833. The dispute escalated in 1982, when Argentina invaded the islands, precipitating the Falklands War.


title: Falkland Islands sovereignty dispute

text: Falkland Islanders overwhelmingly prefer to remain British. They gained full British citizenship with the British Nationality (Falkland Islands) Act 1983, after British victory in the Falklands War.


title: Falkland Islands sovereignty dispute

text: France was the first country to establish a permanent settlement in the Falkland Islands, with the foundation of Port Saint Louis on East Falkland by French explorer Louis Antoine de Bougainville, in 1764. The French colony consisted of a small fort and some settlements with a population of around 250. The islands were named after the Breton port of St. Malo as the "Îles Malouines", which remains the French name for the islands. In 1766, France agreed to leave the islands to Spain, with Spain reimbursing de Bougainville and the St. Malo Company for the cost of the settlement. France insisted that Spain maintain the colony in Port Louis to prevent Britain from claiming the title to the Islands, and Spain agreed.


title: Falkland Islands sovereignty dispute

text: In 1493 Pope Alexander VI issued a Papal bull, "Inter caetera", dividing the New World between Spain and Portugal. The following year, the Treaty of Tordesillas between those countries agreed that the dividing line between the two should be 370 leagues west of the Cape Verde Islands. The Falklands lie on the western (Spanish) side of this line.


title: Falkland Islands sovereignty dispute

text: Spain made claims that the Falkland Islands were held under provisions in the 1713 which settled the limits of the Spanish Empire in the Americas. However, the treaty only promised to restore the territories in the Americas held prior to the War of the Spanish Succession. The Falkland Islands was not held at the time, and were not mentioned in the treaty. When Spain discovered the British and French colonies on the Islands, a diplomatic row broke out among the claimants. In 1766, Spain and France, who were allies at the time, agreed that France would hand over Port Saint Louis, and Spain would repay the cost of the settlement. France insisted that Spain maintain the colony in Port Louis and thus prevent Britain from claiming the title to the Islands and Spain agreed. Spain and Great Britain enjoyed uneasy relations at the time, and no corresponding agreement was reached.


title: Falkland Islands sovereignty dispute

text: The Spanish took control of Port Saint Louis and renamed it Puerto Soledad in 1767. On 10 June 1770, a Spanish expedition expelled the British colony at Port Egmont, and Spain took de facto control of the Islands. Spain and Great Britain came close to war over the issue, but instead, concluded a treaty on 22 January 1771, allowing the British to return to Port Egmont with neither side relinquishing sovereignty claims. The British returned in 1771 but withdrew from the islands in 1774, leaving behind a flag and a plaque representing their claim to ownership, and leaving Spain in de facto control.


title: Falkland Islands sovereignty dispute

text: From 1774 to 1811, the islands were ruled as part of the Viceroyalty of the River Plate. In that period, 18 governors were appointed to rule the islands. In 1777, Governor Ramon de Carassa was ordered to destroy the remains at Port Egmont. The British plaque was removed and sent to Buenos Aires.


title: Falkland Islands sovereignty dispute

text: Spanish troops remained at Port Louis, known then as Port Soledad, until 1811 when Governor Pablo Guillen Martinez was called back to Montevideo as the revolutionary forces spread through the continent. He left behind a plaque claiming sovereignty for Spain.


title: Falkland Islands sovereignty dispute

text: The British first landed on the Falklands in 1690, when Captain John Strong sailed through Falkland Sound, naming this passage of water after Anthony Cary, 5th Viscount of Falkland, the First Lord of the Admiralty at that time. The British were keen to settle the islands as they had the potential to be a strategic naval base for passage around Cape Horn. In 1765, Captain John Byron landed on Saunders Island. He then explored the coasts of the other islands and claimed the archipelago for Britain. The following year, Captain John MacBride returned to Saunders Island and constructed a fort named Port Egmont. The British later discovered the French colony at Port Saint Louis (founded 1764), initiating the first sovereignty dispute.


title: Falkland Islands sovereignty dispute

text: In 1770 a Spanish military expedition was sent to the islands after authorities in Buenos Aires became aware of the British colony. Facing a greater force, the British were expelled from Port Egmont. The colony was restored a year later following British threats of war over the islands; However, in 1774, economic pressures leading up to the American Revolutionary War forced Great Britain to withdraw from the Falklands along with many of its other overseas settlements. They left behind a plaque asserting British sovereignty over the islands. Although there was no British administration in the islands, British and American sealers routinely used them to hunt for seals, also taking on fresh water as well as feral cattle, pigs and even penguins for provisions. Whalers also used the islands to shelter from the South Atlantic weather and to take on fresh provisions.


title: Falkland Islands sovereignty dispute

text: The Government of the United Provinces of the River Plate attempted to control the islands through commerce, granting fishing and hunting rights to Jorge Pacheco in 1824. Pacheco's partner Luis Vernet established a toehold in the islands in 1826 and a fledgling colony in 1828. He also visited the British consulate in 1826, 1828 and 1829 seeking endorsement of his venture and British protection for his settlement in the event of their returning to the islands. After receiving assurances from the British minister chargé d'affaires, Sir Woodbine Parish, Vernet provided regular reports to the British on the progress of his enterprise. He expressed the wish that, in the event of the British returning to the islands, the British Government would take his settlement under their protection; Parish duly passed this wish on to London. In 1829, he sought a naval vessel from the United Provinces to protect his colony but as none were available he was appointed Military and Civil Commander, prompting British protests. Attempts to regulate fishing and sealing led to conflict with the United States and the "Lexington" raid of 1831. With the colony in disarray, Major Esteban Mestivier was tasked to set up a penal colony but was murdered in a mutiny shortly after arriving in 1832. Protests at Mestivier's appointment received no response and so the British dispatched a naval squadron to re-establish British rule.


title: Falkland Islands sovereignty dispute

text: After the Government of the United Provinces of the River Plate appointed Vernet as governor in 1829, Parish protested to Buenos Aires, which merely acknowledged the protest. Britain protested again when Vernet announced his intention to exercise exclusive rights over fishing and sealing in the islands. (Similar protests were received from the American representative, who protested at the curtailment of established rights and stated that the United States did not recognise the jurisdiction of the United Provinces over the islands.) Vernet continued to provide regular reports to Parish throughout this period.


title: Falkland Islands sovereignty dispute

text: The raid of the in December 1831 combined with the United Provinces assertions of sovereignty were the spur for the British to establish a military presence on the islands.


title: Falkland Islands sovereignty dispute

text: On 2 January 1833, Captain James Onslow, of the brig-sloop , arrived at the Spanish settlement at Port Louis to request that the Argentine flag be replaced with the British one, and that the Argentine administration leave the islands. While Argentine Lt. Col. José María Pinedo, commander of the Argentine schooner "Sarandí", wanted to resist, his numerical disadvantage was obvious, particularly as a large number of his crew were British mercenaries who were unwilling to fight their own countrymen. Such a situation was not unusual in the newly independent states in Latin America, where land forces were strong, but navies were frequently quite undermanned. He protested verbally, but departed without a fight on 5 January. The islands have since continued under British rule except during the Falklands War.


title: Falkland Islands sovereignty dispute

text: After their return in 1833, the British did not attempt to develop the islands as a colony. Initially, plans were based upon the settlers remaining in Port Louis, supported by the annual visit of a warship. Vernet's deputy, Matthew Brisbane, returned in March 1833 aboard the sealer "Rapid" during the visit of HMS "Beagle". He took charge of the settlement and was encouraged to further Vernet's business interests provided he did not seek to assert Argentine government authority. Argentines have claimed that the population of Puerto Luis was expelled after the British return, but historical records shows that only four members of the settlement chose to leave.


title: Falkland Islands sovereignty dispute

text: Following the Gaucho murders in August 1833, the Falklands were administered as a military outpost with the few remaining residents of Vernet's colony. The first British Resident, Lt Smith, was established in 1834 and under his administration and initiative the settlement recovered and began to prosper. Lt Smith's commanding officer was not enthusiastic about Royal Navy officers engaged in encouraging commerce and rebuked Smith. Smith resigned and subsequent residents allowed the settlement to stagnate.


title: Falkland Islands sovereignty dispute

text: In 1841, General Rosas offered to relinquish any Argentine territorial claims in return for relief of debts owed to Barings Bank in the City of London. The British Government chose to ignore the offer.


title: Falkland Islands sovereignty dispute

text: In Britain, the Reform Act 1832 had extended the vote to more British citizens, including members of the free-trade merchant class who saw economic opportunity in opening up markets in South America. The British Board of Trade saw establishing new colonies and trade with them as a way to expand manufacturing jobs. The Foreign and Colonial Offices agreed to take on the Falklands as one of these colonies, if only to prevent colonisation by others. In May 1840, a permanent colony was established in the Falklands. A British colonial administration was formed in 1842. This was expanded in 1908, when in addition to South Georgia, claimed in 1775, and the South Shetland Islands, claimed in 1820, the UK unilaterally declared sovereignty over more Antarctic territory south of the Falklands, including the South Sandwich Islands, the South Orkney Islands and Graham Land, grouping them into the Falkland Islands Dependencies.


title: Falkland Islands sovereignty dispute

text: In 1850, the Arana-Southern Treaty, otherwise known as the , was signed between the United Kingdom and Argentina. It has been argued by several authors on both sides of the dispute that Argentina tacitly gave up her claim by failing to mention it and ceasing to protest over the Falklands. Between December 1849 and 1941, the Falklands were not mentioned in the President's Messages to Congress.


title: Falkland Islands sovereignty dispute

text: Following the introduction of the Antarctic Treaty System in 1959 the Falkland Islands Dependencies were reduced to include just South Georgia and the South Sandwich Islands. Territory south of the 60th parallel was formed into a new dependency, the British Antarctic Territory, which overlaps claims by Argentina (Argentine Antarctica) and Chile (Antártica Chilena Province).


title: Falkland Islands sovereignty dispute

text: In 1976 the British Government commissioned a study on the future of the Falklands, which looked at the ability of the islands to sustain themselves, and the potential for economic development. The study was led by Lord Shackleton, son of the Antarctic explorer Ernest Shackleton. Argentina reacted with fury to the study and refused to allow Lord Shackleton permission to travel to the islands from Argentina, forcing the British to send a Royal Navy ship to transport him to the islands. In response Argentina severed diplomatic links with the UK. An Argentine naval vessel later fired upon the ship carrying Shackleton as he visited his father's grave in South Georgia.


title: Falkland Islands sovereignty dispute

text: Shackleton's report found that contrary to popular belief, the Falkland Islands actually produced a surplus by its economic activities and was not dependent on British aid to survive. However the report stressed the need for a political settlement if further economic growth was to be achieved, particularly from the exploitation of any natural resources in the water around the islands.


title: Falkland Islands sovereignty dispute

text: Argentina declared its independence from Spain in 1816, although this was not then recognised by any of the major powers. The UK informally recognised Argentine independence on 15 December 1823, as the "province of Buenos Aires", and formally recognised it on 2 February 1825,


title: Falkland Islands sovereignty dispute

text: In October 1820, the frigate "Heroína", under the command of American privateer Colonel David Jewett, arrived in Puerto Soledad after an eight-month voyage and with most of her crew incapacitated by scurvy and other disease. A storm had severely damaged the "Heroína" and had sunk a Portuguese ship pirated by Jewett called the "Carlota". The captain sought assistance from the British explorer James Weddell to put the ship into harbour. Weddell reported that only thirty seamen and forty soldiers out of a complement of 200 were fit for duty and that Jewett slept with pistols over his head following an attempted mutiny. On 6 November 1820, Jewett raised the flag of the United Provinces of the River Plate and claimed possession of the islands for the new state. Weddell reported that the letter he received from Jewett read:


title: Falkland Islands sovereignty dispute

text: Many modern authors report this letter as the declaration issued by Jewett. Jewett's report to the government of Buenos Aires does not mention any claim to the Falkland Islands, and news of the claim reached Argentina by way of the United States and Europe in November 1821, over a year after the event.


title: Falkland Islands sovereignty dispute

text: In 1823, the Buenos Aires government granted land on East Falkland to Jorge Pacheco, a businessman from Buenos Aires who owed money to the merchant Luis Vernet. A first expedition travelled to the islands the following year, arriving on the East Falkland on 2 February 1824. This was deemed as "a failure" by author Mary Cawkell: "A week after arrival in February 1824, Areguati sent a despairing letter to Pacheco." Its leader was Pablo Areguatí, who brought with him 25 gauchos. Ten days later Areguatí wrote that the colony was perishing because the horses they had brought were too weak to be used, thus they could not capture wild cattle and their only other means of subsistence was wild rabbits. On 7 June, Areguatí left the islands, taking with him 17 gauchos. On 24 July, the remaining eight gauchos were rescued by the "Susannah Anne", a British sealer. After the failure, Pacheco agreed to sell his share to Vernet.


title: Falkland Islands sovereignty dispute

text: A second attempt, in 1826, sanctioned by the British (but delayed until winter by a Brazilian blockade), also failed after arrival in the islands. In 1828, the Buenos Aires government granted Vernet all of East Falkland, including all its resources, with exemption from taxation for 20 years, if a colony could be established within three years. He took settlers, including British Captain Matthew Brisbane, and before leaving once again sought permission from the British Consulate in Buenos Aires. The British asked for a report on the islands and Vernet asked for British protection should they return.