title: James Fenimore Cooper

text: In 1826, Cooper moved his family to Europe, where he sought to gain more income from his books, provide better education for his children, improve his health, and observe European manners and politics firsthand. While overseas, he continued to write. His books published in Paris include "The Prairie," the third Leather-Stocking Tale in which Natty Bumppo dies in the western land newly acquired by Jefferson as the Louisiana Purchase. There he also published "The Red Rover" and "The Water Witch", two of his many sea stories. During his time in Paris, the Cooper family became active in the small American expatriate community. He became friends with painter (and later inventor) Samuel Morse and with French general and American Revolutionary War hero Gilbert du Motier, Marquis de Lafayette. Cooper admired the patrician liberalism of Lafayette, who sought to recruit him to his causes, and eulogized him as a man who "dedicated youth, person, and fortune, to the principles of liberty."


title: James Fenimore Cooper

text: Cooper's distaste for the corruption of the European aristocracy, especially in England and France, grew as he observed them manipulate the legislature and judiciary to the exclusion of other classes. In 1832, he entered the lists as a political writer in a series of letters to "Le National", a Parisian journal. He defended the United States against a string of charges brought by the "Revue Britannique". For the rest of his life, he continued skirmishing in print, sometimes for the national interest, sometimes for that of the individual, and frequently for both at once.


title: James Fenimore Cooper

text: This opportunity to make a political confession of faith reflected the political turn that he already had taken in his fiction, having attacked European anti-republicanism in "The Bravo" (1831). Cooper continued this political course in "The Heidenmauer" (1832) and "" (1833). "The Bravo" depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the "serene republic". All were widely read on both sides of the Atlantic, though some Americans accused Cooper of apparently abandoning American life for European—not realizing that the political subterfuges in the European novels were cautions directed at his American audiences. Thus "The Bravo" was roughly treated by some critics in the United States.


title: James Fenimore Cooper

text: In 1833, Cooper returned to the United States and published "A Letter to My Countrymen" in which he gave his criticism of various social and political mores. Promotional material from a modern publisher summarizes his goals as follows:


title: James Fenimore Cooper

text: A Letter to My Countrymen remains Cooper's most trenchant work of social criticism. In it, he defines the role of the "man of letters" in a republic, the true conservative, the slavery of party affiliations, and the nature of the legislative branch of government. He also offers her most persuasive argument on why America should develop its own art and literary culture, ignoring the aristocratically tainted art of Europe.


title: James Fenimore Cooper

text: Influenced by the ideals of classical republicanism, Cooper feared that the orgy of speculation he witnessed was destructive of civic virtue and warned Americans that it was a "mistake to suppose commerce favorable to liberty"; doing so would lead to a new "moneyed aristocracy". Drawing upon philosophers such as Jean-Jacques Rousseau, Burlamaqui, and Montesquieu, Cooper's political ideas were both democratic, deriving from the consent of the governed, and liberal, concerned with the rights of the individual.


title: James Fenimore Cooper

text: In the later 1830s—despite his repudiation of authorship in "A Letter to My Countrymen"—he published "Gleanings in Europe", five volumes of social and political analysis of his observations and experiences in Europe. His two novels "Homeward Bound" and "Home as Found" also criticize the flamboyant financial speculation and toadyism he found on his return; some readers and critics attacked the works for presenting a highly idealized self-portrait, which he vigorously denied.q


title: James Fenimore Cooper

text: In June 1834, Cooper decided to reopen his ancestral mansion Otsego Hall at Cooperstown. It had long been closed and falling into decay; he had been absent from the mansion nearly 16 years. Repairs were begun, and the house was put in order. At first, he wintered in New York City and summered in Cooperstown, but eventually he made Otsego Hall his permanent home.


title: James Fenimore Cooper

text: On May 10, 1839, Cooper published "History of the Navy of the United States of America", a work that he had long planned on writing. He publicly announced his intentions to author such a historical work while abroad before departing for Europe in May 1826, during a parting speech at a dinner given in his honor:


title: James Fenimore Cooper

text: Encouraged by your kindness ... I will take this opportunity of recording the deeds and sufferings of a class of men to which this nation owes a debt of gratitude—a class of men among whom, I am always ready to declare, not only the earliest, but many of the happiest days of my youth have been passed.


title: James Fenimore Cooper

text: Cooper's historical account of the U.S. Navy was well received, though his account of the roles played by the American leaders in the Battle of Lake Erie led to years of disputes with their descendants, as noted below. Cooper had begun thinking about this massive project in 1824, and concentrated on its research in the late 1830s. His close association with the U.S. Navy and various officers, and his familiarity with naval life at sea provided him the background and connections to research and write this work. Cooper's work is said to have stood the test of time and is considered an authoritative account of the U.S. Navy during that time.


title: James Fenimore Cooper

text: In 1844, Cooper's "Proceedings of the naval court martial in the case of Alexander Slidell Mackenzie, a commander in the navy of the United States, &c:", was first published in "Graham's Magazine of 1843–44". It was a review of the court martial of Alexander Slidell Mackenzie who had hanged three crew members of the brig USS "Somers" for mutiny while at sea. One of the hanged men, 19-year-old Philip Spencer, was the son of U.S. Secretary of War John C. Spencer. He was executed without court-martial along with two other sailors aboard the "Somers" for allegedly attempting mutiny. Prior to this affair, Cooper and Mackenzie had disputed each other's version of the Battle of Lake Erie. However, recognizing the need for absolute discipline in a warship at sea, Cooper still felt sympathetic to Mackenzie over his pending court martial.


title: James Fenimore Cooper

text: In 1843, an old shipmate, Ned Myers, re-entered Cooper's life. To assist him—and hopefully to cash in on the popularity of maritime biographies—Cooper wrote Myers's story which he published in 1843 as "Ned Myers, or a Life before the Mast", an account of a common seaman still of interest to naval historians.


title: James Fenimore Cooper

text: In 1846, Cooper published "Lives of Distinguished American Naval Officers" covering the biographies of William Bainbridge, Richard Somers, John Shaw, John T. Shubrick, and Edward Preble. Cooper died in 1851. In May 1853, Cooper's "Old Ironsides" appeared in Putnam's Monthly. It was the history of the Navy ship and, after "European and American Scenery Compared", 1852, was one of several posthumous publication of his writings. In 1856, five years after Cooper's death, his "History of the Navy of the United States of America" was re-published in an expanded edition. The work was an account of the U.S. Navy in the early 19th century, through the Mexican War. Among naval historians of today, the work has come to be recognized as a general and authoritative account. However, it was criticized for accuracy on some points by some contemporaries, especially those engaged in the disputes over the roles of their relatives in Cooper's separate history of the Battle of Lake Erie. Whig editors of the period regularly attacked anything Cooper wrote, leading him to numerous suits for libel, for example against Park Benjamin, Sr., a poet and editor of the "Evening Signal" of New York.


title: James Fenimore Cooper

text: Cooper's writings of the 1830s related to current politics and social issues, coupled with his perceived self-promotion, increased the ill feeling between the author and some of the public. Criticism in print of his naval histories and the two "Home" novels came largely from newspapers supporting The Whig party, reflecting the antagonism between the Whigs and their opposition, the Democrats, whose policies Cooper often favored. Cooper's father William had been a staunch Federalist, a party now defunct but some of whose policies supporting large-scale capitalism the Whigs endorsed. Cooper himself had come to admire Thomas Jefferson, the bete-noire of the Federalists, and had supported Andrew Jackson's opposition to a National Bank. Never one to shrink from defending his personal honor and his sense of where the nation was erring, Cooper filed legal actions for libel against several Whig editors; his success with most of his lawsuits ironically led to more negative publicity from the Whig establishment.


title: James Fenimore Cooper

text: Buoyed by his frequent victories in court, Cooper returned to writing with more energy and success than he had had for several years. As noted above, on May 10, 1839, he published his "History of the U.S. Navy"; his return to the "Leatherstocking Tales" series with "The Pathfinder, or The Inland Sea" (1840) and "The Deerslayer" (1841) brought him renewed favorable reviews. But on occasion he returned to addressing public issues, most notably with a trilogy of novels called the "Littlepage Manuscripts" addressing the issues of the anti-rent wars. Public sentiment largely favored the anti-renters, and Cooper's reviews again were largely negative.


title: James Fenimore Cooper

text: Faced with competition from younger writers and magazine serialization, and lower prices for books resulting from new technologies, Cooper simply wrote more in his last decade than in either of the previous two. Half of his thirty-two novels were written in the 1840s. They may be grouped into three categories: Indian romances, maritime fiction, and political and social controversy—though the categories often overlap.


title: James Fenimore Cooper

text: The 1840s began with the last two novels featuring Natty Bumppo, both critical and reader successes: "The Pathfinder" (1840) and "The Deerslayer" (1841). "Wyandotte", his last novel set in the Revolutionary War, followed in 1843 and "Oak Openings" in 1848. The nautical works were "Mercedes of Castile" (in which Columbus appears, 1840),"The Two Admirals" (British and French fleets in battle, 1842), "Wing-And-Wing" (a French privateer fighting the British in 1799, 1842), "Afloat and Ashore" (two volumes exploring a young man growing up, 1844), "Jack Tier" (a vicious smuggler in the Mexican-American War, 1848), and "The Sea Lions" (rival sealers in the Antarctic, 1849).


title: James Fenimore Cooper

text: He also turned from pure fiction to the combination of art and controversy in which he achieved notoriety in the novels of the previous decade. His "Littlepage Manuscripts" trilogy--"Satanstoe" (1845), "The Chainbearer" (1845), and "The Redskins" (1846)--dramatized issues of land ownership in response to renters in the 1840s opposing the long leases common in the old Dutch settlements in the Hudson Valley. He tried his hand with serialization with "The Autobiography of a Pocket Handkerchief", first published in "Graham's Magazine" in 1843, a satire on contemporary nouveau riche. In "The Crater, or Vulcan's Peak" (1847) he introduced supernatural machinery to show the decline of an ideal society in the South Seas when demagogues prevail. "The Ways of the Hour", his last completed novel, portrayed a mysterious and independent young woman defending herself against criminal charges.


title: James Fenimore Cooper

text: Cooper spent the last years of his life back in Cooperstown. He died on September 14, 1851, the day before his 62nd birthday. He was buried in the Christ Episcopal Churchyard, where his father, William Cooper, was buried. Cooper's wife Susan survived her husband only by a few months and was buried by his side at Cooperstown.


title: James Fenimore Cooper

text: Several well-known writers, politicians, and other public figures honored Cooper's memory with a memorial in New York, six months after his death, in February 1852. Daniel Webster gave a speech to the gathering while Washington Irving served as a co-chairman, along with William Cullen Bryant, who also gave an address which did much to restore Cooper's damaged reputation among American writers of the time.


title: James Fenimore Cooper

text: Cooper's father was a lapsed Quaker; probably influenced by his wife's family, the DeLanceys, Cooper in his fiction often favorably depicted clergy of the Episcopal Church, though Calvinist ministers came in for their share of both admiring and critical treatment. In the 1840s as Cooper increasingly despaired over the United States maintaining the vision and promise of the Constitution, his fiction increasingly turned to religious themes. In "The Wing-And-Wing", 1842, the hero, a French revolutionary free-thinker, loses the Italian girl he loves because he cannot accept her simple Christianity. In contrast, in the 1849 "The Sea Lions" the hero wins his beloved only after a spiritual transformation while marooned in the Antarctic. And the 1848 "The Oak Openings" features a pious Parson Amen who wins the admiration of the Indians who kill him, praying for them during torture.


title: James Fenimore Cooper

text: After establishing permanent residence in Cooperstown, Cooper became active in Christ Episcopal Church, taking on the roles of warden and vestryman. As the vestryman, he donated generously to this church and later supervised and redesigned its interior with oak furnishings at his own expense. He was also energetic as a representative from Cooperstown to various regional conventions of the Episcopal church. But only several months before his death, in July 1851, was he confirmed in this church by his brother-in-law, the Reverend William H. DeLancey.


title: James Fenimore Cooper

text: Cooper was one of the more popular 19th-century American authors, and his work was admired greatly throughout the world. While on his death bed, the Austrian composer Franz Schubert wanted most to read more of Cooper's novels. Honoré de Balzac, the French novelist and playwright, admired him greatly. Henry David Thoreau, while attending Harvard, incorporated some of Cooper's style in his own work. D.H. Lawrence believed that Turgenev, Tolstoy, Dostoyevsky, Maupassant, and Flaubert were all "so very obvious and coarse, besides the lovely, mature and sensitive art of Fennimore Cooper." Lawrence called "The Deerslayer" "one of the most beautiful and perfect books in the world: flawless as a jewel and of gem-like concentration."


title: James Fenimore Cooper

text: Cooper's work, particularly "The Pioneers" and "", demonstrate an early 19th-century American preoccupation with alternating prudence and negligence in a country where property rights were often still in dispute.


title: James Fenimore Cooper

text: Cooper was one of the early major American novelists to include African, African-American and Native American characters in his works. In particular, Native Americans play central roles in his "Leatherstocking Tales". However, his treatment of this group is complex and highlights the relationship between frontier settlers and American Indians as exemplified in "The Wept of Wish-ton-Wish", depicting a captured white girl who marries an Indian chief and has a baby with him, but after several years is eventually returned to her parents. Often, he gives contrasting views of Native characters to emphasize their potential for good, or conversely, their proclivity for mayhem. "Last of the Mohicans" includes both the character of Magua, who fearing the extinction of his race at the hands of the whites savagely betrays them, as well as Chingachgook, the last chief of the Mohicans, who is portrayed as Natty Bumppo's noble, courageous, and heroic counterpart.


title: James Fenimore Cooper

text: According to Tad Szulc, Cooper was a devotee of Poland's causes (uprisings to regain Polish sovereignty). He organized a club in Paris to support the rebels, and brought flags of the defeated Polish rebel regiment from Warsaw to present them to the exiled leaders in Paris. With his friend the Marquis de La Fayette, he supported liberals during the regime changes in France and elsewhere in the 1830s. .


title: James Fenimore Cooper

text: Though some scholars have hesitated to classify Cooper as a strict Romantic, Victor Hugo pronounced him "greatest novelist of the century" outside France. Honoré de Balzac, while mocking a few of Cooper's novels (""rhapsodies"") and expressing reservations about his portrayal of characters, enthusiastically called "The Pathfinder" a masterpiece and professed great admiration for Cooper's portrayal of nature, only equalled in his view by Walter Scott. Mark Twain, the ultimate Realist, criticized the Romantic plots and overwrought language of "The Deerslayer" and "The Pathfinder" in his satirical but shrewdly observant essay, "Fenimore Cooper's Literary Offenses" (1895).


title: James Fenimore Cooper

text: Cooper was also criticized heavily in his day for his depiction of women characters in his work. James Russell Lowell, Cooper's contemporary and a critic, referred to it poetically in "A Fable for Critics", writing, "... the women he draws from one model don't vary / All sappy as maples and flat as a prairie."


title: James Fenimore Cooper

text: Cooper's lasting reputation today rests largely upon the five "Leatherstocking Tales". In his 1960 study focusing on romantic relationships, both hetero- and homo-sexual, literary scholar Leslie Fiedler opines that with the exception of the five Natty Bumppo-Chingachgook novels, Cooper's "collected works are monumental in their cumulative dullness." More recent criticism views all thirty-two novels in the context of Cooper's responding to changing political, social, and economic realities in his time period.


title: James Fenimore Cooper

text: Three dining halls at the State University of New York at Oswego are named in Cooper's remembrance (Cooper Hall, The Pathfinder, and Littlepage) because of his temporary residence in Oswego and for setting some of his works there.


title: James Fenimore Cooper

text: The New Jersey Turnpike has a James Fenimore Cooper service area, recognizing his birth in the state.


title: James Fenimore Cooper

text: The gilded and red tole chandelier hanging in the library of the White House in Washington DC is from the family of James Fenimore Cooper. It was brought there through the efforts of First Lady Jacqueline Kennedy in her great White House restoration. The James Fenimore Cooper Memorial Prize at New York University is awarded annually to an outstanding undergraduate student of journalism.


title: James Fenimore Cooper

text: Cooper's novels were very popular in the rest of the world, including, for instance, Russia. In particular, great interest of the Russian public in Cooper's work was primarily incited by the novel "The Pathfinder", which the renowned Russian literary critic Vissarion Belinsky declared to be "a Shakespearean drama in the form of a novel". The author was more recognizable by his middle name, Fenimore, exotic to many in Russia. This name became a symbol of exciting adventures among Russian readers. For example, in the 1977 Soviet movie "The Secret of Fenimore" (), being the third part of a children's television miniseries "Three Cheerful Shifts" (), tells of a mysterious stranger known as "Fenimore", visiting a boys' dorm in a summer camp nightly and relating fascinating stories about Indians and extraterrestrials.


title: Suicide of Jadin Bell

text: Jadin Robert Joseph Bell (June 4, 1997 – February 3, 2013) was an American teenager known for his suicide which raised the national profile on youth bullying and the targeted harassment of gay individuals.


title: Suicide of Jadin Bell

text: Bell, a 15-year-old gay youth, was intensely bullied both in person and on the internet because he was gay. He was a member of the La Grande High School cheerleading team in La Grande, Oregon, where he was a sophomore. On January 19, 2013, Bell went to a local elementary school and hanged himself from the play structure. He did not immediately die from the strangulation and was rushed to the emergency department, where he was kept on life support.


title: Suicide of Jadin Bell

text: The Associated Press reported that a spokesman for the OHSU Hospital in Portland announced that after being taken off life support, Bell died on February 3, 2013.


title: Suicide of Jadin Bell

text: Bell's death was widely reported in the media, starting discussions about bullying, the effect it has on youth, and gay bullying. "The Huffington Post", "Salon", Oregon Public Broadcasting, "The Raw Story", GLAAD, "PQ Monthly", "Pink News" and many other media outlets reported on Bell's death. The media reported his suicide stemmed from being bullied for being gay, which Bell's father fully believed, stating: "He was hurting so bad. Just the bullying at school. Yeah there were other issues, but ultimately it was all due to the bullying, for not being accepted for being gay."


title: Suicide of Jadin Bell

text: After Bell's death, his father, Joe Bell, planned a cross-country tribute in honor of his son. He planned to walk across the entire continental United States within two years, spreading awareness about bullying and the effects that it can have. Bell resigned from his position at Boise Cascade and helped launch Faces for Change, a non-profit anti-bullying foundation, to speak in high schools across the U.S. He stated: "Not doing anything is not acceptable. [Those who watch and do nothing] are just as guilty. They are saying that it is acceptable."


title: Suicide of Jadin Bell

text: Joe Bell began the walk on April 20, 2013 and was killed halfway through his journey after he was hit by a semi-truck in Colorado on October 9, 2013. He was pronounced dead at the scene on the shoulder of US 40 when authorities arrived. The driver of the truck, Kenneth Raven, was charged with reckless driving and may have fallen asleep at the wheel. The story was adapted for the 2020 film "Joe Bell". Jadin was portrayed by Texan actor Reid Miller.


title: Suicide of Jadin Bell

text: Faces for Change created a scholarship program in memory of Jadin Bell "to make awards to scholastic institutions on behalf of individuals who have demonstrated a commitment to diversity and the development of community tolerance in our area of service."


title: Go Min-si

text: Ko Min-shi (born February 15, 1995), better known as Go Min-si, is a South Korean actress, model and director managed by Mystic Story Entertainment. She is known for her prominent roles in "Sweet Home", "Love Alarm", "Youth of May," and "". She is also known for directing "Parallel Novel".


title: Go Min-si

text: Go Min-si made her directorial debut in the 2016 film "Parallel Novel" in which she co-starred and for which she won the Grand Prize during the Three Minutes Film Festival. The same year, she gained popularity after appearing in the third season of the web series "72 Seconds". She also appeared in the music video of "Sign" by Thunder.


title: Go Min-si

text: In 2017, Go was cast in the web series "Absolutely Perfect Man". She also made her television debut in the historical drama "My Sassy Girl", before appearing in the youth drama "Hello, My Twenties! 2" and in the fantasy drama "Meloholic".


title: Go Min-si

text: In 2018, Go made a cameo appearance in the comedy television series "Welcome to Waikiki" and in the drama "Live". She also joined the cast of "Forgotten Season", which is the second series of "KBS Drama Special"'s ninth season, and the mystery thriller series "The Smile Has Left Your Eyes". She appeared in the film "Cheese in the Trap", which is an adaptation of the series of the same name, and in "". For the latter, she was nominated for Best Supporting Actress at the 55th Grand Bell Awards and she won the Popular Star Award at the 7th Korea Best Star Awards.


title: Go Min-si

text: In 2019, Go took on the role of "Hwaja", the protagonist's sister, in the Korean-Japanese period action film "". She accepted a supporting role in the Netflix series "Love Alarm" in which she portrayed the lead character's cousin. Go also appeared in the thriller television series "Secret Boutique" for which she won Best New Actress at the 2019 SBS Drama Awards.


title: Go Min-si

text: In 2020, Go appeared in the KBS Drama Special "The Reason Why I Can't Tell You", in the drama film "Set Play" and in the Netflix series "Sweet Home", adapted from the webtoon of the same name.


title: Go Min-si

text: In 2021, Go starred in KBS2's "Youth of May", a drama set in 1980 during the Gwangju Uprising. The same year, she appeared in the mystery action series "Jirisan", reuniting her with director Lee Eung-bok after "Sweet Home". and in May 2021, Go to star in upcoming the film "Smuggler", expected to be filmed in June 2021.


title: Go Min-si

text: In 2022, Go starred in the web series "Reincarnation Romance", a short web series advertising about motion sickness pills This is the third reunion with Lee Do-hyun.


title: I Bet You Think About Me

text: "I Bet You Think About Me" is a song by American singer-songwriter Taylor Swift featuring American singer-songwriter Chris Stapleton. Swift wrote the song with Lori McKenna and produced it with Aaron Dessner. The song is a country ballad accompanied by a harmonica, with tongue-in-cheek lyrics describing the "high tone" lifestyle of a former lover. Critics praised Swift's songwriting, Stapleton's vocal harmonies, and the country production. It was nominated for Best Country Song at the 65th Annual Grammy Awards in 2023.


title: I Bet You Think About Me

text: Republic Records in partnership with MCA Nashville released "I Bet You Think About Me" to US country radio on November 15, 2021, as the lead single from Swift's second re-recorded album, "Red (Taylor's Version)" (2021). In the United States, the single peaked at number 22 on the "Billboard" Hot 100 and number three on the Hot Country Songs chart. It charted on official singles charts of Australia (peaking at number 43) and Canada (number 17).


title: I Bet You Think About Me

text: An accompanying music video for the song premiered on YouTube on the same day as the single release. Starring Swift against Miles Teller, the video was written by Swift and American actress Blake Lively, directed by Lively in her directorial debut, and co-produced by Austin Swift. It was nominated for Video of the Year at the 57th Academy of Country Music Awards and 56th Annual Country Music Association Awards, marking Lively's first nomination for music industry awards. The song contends for Best Country Song at the forthcoming 65th Annual Grammy Awards (2023).


title: I Bet You Think About Me

text: American singer-songwriter Taylor Swift wrote "I Bet You Think About Me" at Gillette Stadium in Foxborough, Massachusetts, during her Speak Now World Tour (2011-12), for her next studio album. She then contacted American musician Lori McKenna, through their mutual friend Liz Rose, to ask McKenna to join the song as a co-writer—to help Swift edit the song. Swift released her fourth studio album, "Red", on October 22, 2012, through Big Machine Records. "I Bet You Think About Me" was not part of the track-list. The album, however, was a critical success, ranking at number 99 on "Rolling Stone" 2020 revision of the 500 Greatest Albums of All Time. By June 2021, it had sold over four million pure copies in the United States.


title: I Bet You Think About Me

text: In 2019, Swift signed with Republic Records after her contract with Big Machine expired in 2018; her contract with the label granted her rights to the master recordings of her music. Big Machine, as well as the master recordings of Swift's first six studio albums, were acquired by businessman Scooter Braun through his holding company Ithaca Holdings. Swift began re-recording her Big Machine albums in November 2020, as a mean to own her master recordings; at the same time, Ithaca sold rights to Taylor Swift's Big Machine recordings to Shamrock Holdings for $300 million. The first re-recorded album, "Fearless (Taylor's Version)", the re-recording of Swift's 2008 album, was released on April 9, 2021. She released her second re-recorded album, "Red (Taylor's Version)", the re-recording of "Red", on November 12, 2021. In addition to the original "Red" tracks, "Red (Taylor's Version)" features nine unreleased "from the Vault" tracks that were meant for the 2012 album but did not make the cut; "I Bet You Think About Me" was revealed to be one of these tracks.


title: I Bet You Think About Me

text: While she was on the Foxborough, Massachusetts, stop of her Speak Now World Tour, Swift wrote "I Bet You Think About Me" at Lori McKenna's house in June 2011. Swift stated, "We wanted this song to be like a comedic, tongue-in-cheek, funny, not caring what anyone thinks about you sort of breakup song," and explained that she and McKenna wanted to write a drinking song. The 2021 version of "I Bet You Think About Me" was recorded throughout studios in Belfast and New York, and the orchestra by London Contemporary Orchestra was recorded at the EBC Studio in London. Chris Stapleton's vocals were recorded at Sputnik Sound Studio in Nashville. The track was produced by Swift and Aaron Dessner. It was mixed and engineered by Dessner and Jonathan Low, with assistance from Josh Kaufman, at Dessner's Long Pond Studios in New York.


title: I Bet You Think About Me

text: "I Bet You Think About Me" is a country ballad that incorporates additional pop elements, typical of Swift's discography in the original "Red" album. Described as folk-pop by "Taste of Country," the song is a harmonica-driven track with twangy vocals and background vocal harmonies from feature artist Chris Stapleton. In the lyrics, Swift makes multiple "cheeky jabs" towards her ex-lover and his lifestyle. The ex-lover in question has "made [Swift] feel inferior" towards him; she fails to fit in with his "upper-crust circles", and he has once told her that he and Swift are "too different." Recounting the differences between the two former partners' childhoods, she labels herself as a girl "raised on a farm" and the ex-lover as someone from a "silver spoon" and "gated community". At the end of the song, Swift additionally calls out her ex-lover's "organic shoes" and "million-dollar couch."


title: I Bet You Think About Me

text: "I Bet You Think About Me" received positive reviews in the press, with critics appreciating Stapleton's guest feature. Writing for "Variety", Chris Willman gave "I Bet You Think About Me" a five-out-of-five rating. Although Willman considered Stapleton's guest appearance too short, he praised the track for its rowdier country production compared to what "Swift was pulling off at the time" and the sharp lyrics. Jessica Nicholson from "Billboard" complimented Stapleton's "burnished, bluesy vocal" which together with Swift's delivery brought forth a "well-crafted" song. In "USA Today", Melissa Ruggieri wrote that although Stapleton's "whiskey-hued vocals are the beautiful sandpaper to Swift's sleek voice – the tune should be remembered for some of Swift's snarkiest lyrics."


title: I Bet You Think About Me

text: After "Red (Taylor's Version)" was released, "I Bet You Think About Me" debuted at number 22 on the US "Billboard" Hot 100 chart dated November 27, 2021. According to "MusicRow", it was the most added song on country radio during its first week of release. The single peaked at number 23 on the Country Airplay chart and number three on the Hot Country Songs chart. In Canada, "I Bet You Think About Me" reached number 17 on the Canadian Hot 100 and number 34 on the Canada Country chart. The song peaked at number 22 on the "Billboard" Global 200, number 43 on the ARIA Singles Chart in Australia, and number 75 on the UK Streaming Chart in the United Kingdom.


title: I Bet You Think About Me

text: A music video for "I Bet You Think About Me" premiered on video sharing platform YouTube on November 15, 2021. Swift and American actress Blake Lively wrote the treatment for the video, and the latter directed it in her directorial debut. Stapleton does not appear in the video.


title: I Bet You Think About Me

text: The video documents a wedding, with the wedding couple played by actor Miles Teller and his wife Keleigh Sperry Teller. Swift plays an ex-girlfriend who intrudes upon the wedding. Co-producer Aaron Dessner has a cameo as a member of the wedding band, while Swift's brother, actor Austin Swift, is credited as a producer for the music video. The six-minute video begins with Teller, at his wedding party, having flashbacks to his and Swift's failed relationship. At the wedding ceremony, Swift knocks over the groom figurine on top of the cake, chugs wine after giving a toast, and goofs off with children guests. The video contains references to other Swift music videos and "", as well as multiple references to the Lewis Carroll stories of "Alice's Adventures in Wonderland" and "Through the Looking-Glass". Swift had been asked about Easter eggs prior to the release, quoting Carroll in response.


title: I Bet You Think About Me

text: In 2022, the "I Bet You Think About Me" music video was nominated for Video of the Year at 57th Academy of Country Music Awards, and at the upcoming 56th Annual Country Music Association Awards for Video of the Year as well. At the forthcoming 65th Annual Grammy Awards (2023), the song received a nomination for Best Country Song.


title: Cutlass

text: A cutlass is a short, broad sabre or slashing sword, with a straight or slightly curved blade sharpened on the cutting edge, and a hilt often featuring a solid cupped or basket-shaped guard. It was a common naval weapon during the early Age of Sail.


title: Cutlass

text: The word "cutlass" developed from the 17th-century English use of "coutelas", a 16th-century French word for a machete-like mid-length single-edged blade (the modern French for "knife", in general, is "couteau"; in 17th- and 18th-century English the word was often spelled "cuttoe"). The French word "coutelas" may be a convergent development from a Latin root, along with the Italian "coltellaccio" or "cortelazo"; meaning "large knife".


title: Cutlass

text: The root "coltello", for "knife", derived ultimately from the Latin "cultellus" meaning "smaller knife"; which is the common Latin root for both the Italian and French words.


title: Cutlass

text: The cutlass is a 17th-century descendant of the edged short sword exemplified by the medieval falchion.


title: Cutlass

text: Woodsmen and soldiers in the 17th and 18th centuries used a similar short and broad backsword called a "hanger", or in German a "messer", meaning "knife". Often occurring with the full tang (i.e. slab tang) more typical of daggers than swords in Europe, these blades may ultimately derive through the falchion (facon, falcon) from the seax.


title: Cutlass

text: In England about 1685 the rather long straight-bladed sword formerly in use began to be superseded by the "hanger". This weapon had a short and more or less curved single-edged blade with a brass hilt of a rather flat double-shell and knuckle-bow. The grip was generally of wood, bound with wire, but some specimens show a brass grip with spiral grooves. These are probably early models. The length of the blade is usually about 24 inches.


title: Cutlass

text: Although also used on land, the cutlass is best known as the sailor's weapon of choice. A naval side-arm, its popularity was likely because it was not only robust enough to hack through heavy ropes, canvas, and wood, but short enough to use in relatively close quarters, such as during boarding actions, in the rigging, or below decks. Another advantage to the cutlass was its simplicity of use. Employing it effectively required less training than that required to master a rapier or small sword, and it was more effective as a close-combat weapon than a full-sized sword would be on a cramped ship.


title: Cutlass

text: Cutlasses are famous for being used by pirates, although there is no reason to believe that Caribbean buccaneers invented them, as has occasionally been claimed. However, the subsequent use of cutlasses by pirates is well documented in contemporary sources, notably by the pirate crews of William Fly, William Kidd, and Stede Bonnet. French historian Alexandre Exquemelin reports the buccaneer François l'Ollonais using a cutlass as early as 1667. Pirates used these weapons for intimidation as much as for combat, often needing no more than to grip their hilts to induce a crew to surrender, or beating captives with the flat of the blade to force their compliance or responsiveness to interrogation.


title: Cutlass

text: Owing to its versatility, the cutlass was as often an agricultural implement and tool as it was as a weapon (cf. machete, to which the same comment applies) that was used commonly in rain forest and sugarcane areas, such as the Caribbean and Central America. In their most simplified form they are held to have become the machete of the Caribbean.


title: Cutlass

text: In 1830, after a constable of the London Metropolitan Police was shot and stabbed while on duty, the Home Secretary ordered that police officers in the force "should be issued with a cutlass for his defence"; training in their use was provided at Wellington Barracks. Initially carried while on night duty, they were soon relegated to being kept in the local inspector's office for use in an emergency. Provincial police forces sometimes deployed cutlasses during public disorder, using the hilts and flat edges of the blades to strike rioters, but there is no record of anyone being killed with one. The last recorded issue of police cutlasses was during the Tottenham Outrage, an armed robbery in 1909.


title: Cutlass

text: In 1936 the British Royal Navy announced that from then on cutlasses would be carried only for ceremonial duties and not used in landing parties. The last recorded use of cutlasses by the Royal Navy is often said to be on 16 February 1940 during the boarding action known as the Altmark Incident. However, this is disbelieved by the majority of the HMS "Cossack" Association ("Cossack" was the ship that boarded "Altmark") and the authors of "British Naval Swords and Swordsmanship". The authors point to another claim, a boarding by HMS "Armada" in 1952, but disbelieve this one too. In their view, the last use of cutlasses by the Royal Navy was by a shore party in China in 1900. Cutlasses continue to be worn in the Royal Navy by a Chief Petty Officer escorting the White Ensign and by Senior or Leading Ratings in an escort at a court martial.


title: Cutlass

text: The cutlass remained an official weapon in United States Navy stores until 1949, though seldom used in training after the early 1930s. The last new model of cutlass adopted by the U.S. Navy was the Model 1917; although cutlasses made during World War II were called the Model 1941, they were only a slightly modified variant of the Model 1917. A United States Marine Corps engineer NCO is reported to have killed an enemy with a Model 1941 cutlass at Inchon during the Korean War. A cutlass is still carried by the recruit designated as the Recruit Chief Petty Officer for each recruit division while at the US Navy Recruit Training Command. In a message released 31 March 2010, the US Navy approved optional wear of a ceremonial cutlass as part of the Chief Petty Officer dress uniform, pending final design approval. That approval came in January 2011, and the cutlass was made available for ceremonial wear by Chief Petty Officers in August of that year.


title: Hindu wedding

text: A Hindu wedding, also known as Vivaha (Sanskrit: विवाह; or "Vivaaha") (), Lagna (लग्न), or Kalyanam (कल्याणम्; ), is the traditional wedding ceremony for Hindus. The wedding ceremonies are very colourful, and celebrations may extend for several days. The bride's and groom's home—entrance, doors, wall, floor, roof—are sometimes decorated with colors, flowers, and other decorations.


title: Hindu wedding

text: The word "vivāha" originated as a sacred union of people as per Vedic traditions, i.e. what many call marriage, but based on cosmic laws and advanced ancient practices. Under Vedic Hindu traditions, marriage is viewed as one of the saṁskāras, which are lifelong commitments of one wife and one husband. In India, marriage has been looked upon as having been designed by the cosmos and considered as a "sacred oneness witnessed by fire itself." Hindu families have traditionally been patrilocal.


title: Hindu wedding

text: The Arya Samaj movement popularized the term Vedic wedding among the Hindu expatriates during the colonial era. The roots of this tradition are found in hymn 10.85 of the "Rigveda", which is also called the "Rigvedic wedding hymn".


title: Hindu wedding

text: The rituals and processes of a Hindu wedding vary widely, by region and community. Nevertheless, the Hindu wedding ceremony at its core is essentially a Vedic "yajna" ritual and three key rituals are almost universal: Kanyadan, "Panigrahana", and "Saptapadi"—which are respectively, giving away of his daughter by the father, voluntarily holding hands near the fire to signify union, and taking seven 'steps before fire'. (Each 'step' is a complete circuit of the fire.)


title: Hindu wedding

text: At each step, promises are made by (in the long-form—see below) each to the other. The primary witness of a Hindu marriage is the fire-deity (or the Sacred Fire) "Agni", in the presence of family and friends. The ceremony is traditionally conducted entirely or at least partially in Sanskrit, considered by Hindus as the language of holy ceremonies. The local language of the bride and groom may also be used. The rituals are prescribed in the "Gruhya sutra" composed by various "rishis" such as "Baudhayana" and "Ashvalayana".


title: Hindu wedding

text: The pre-wedding and post-wedding rituals and celebrations vary by region, preference and the resources of the groom, bride and their families. They can range from one day to multi-day events. Pre-wedding ceremonies include engagement, which involves "vagdana" (betrothal) and "Lagna-patra" (written declaration), and the arrival of the groom's party at the bride's residence, often as a formal procession with dancing and music. The post-wedding ceremonies may include "Abhishek", "Anna Prashashan", "Aashirvadah", and "Grihapravesa" – the welcoming of the bride to her new home. The wedding marks the start of the "Grihastha" (householder) stage of life for the new couple.


title: Hindu wedding

text: In India, by law and tradition, no Hindu marriage is binding or complete unless the ritual of seven steps and vows in presence of fire ("Saptapadi") is completed by the bride and the groom together. This requirement is under debate, given that several Hindu communities (such as the Nairs of Kerala or Bunts of Tulu Nadu) do not observe these rites.


title: Hindu wedding

text: According to the Veda, marriage is a union between a masculine and feminine entity with commitments to pursue Dharma (duty), Artha (earning money and other possessions), Kama (physical and other desires) and Moksha (the eternal liberation) in unison. Scripturally, it is viewed as a celebration of sensual pleasure, progress, prosperity and joy as it is also a pyramid of elevation to the next level of one's Karmic experience. Society recognizes this and puts in place quality controls since it influences the social and cultural growth of society. According to Manusmriti, or Manu's text, there are eight different types of marriages. Not all eight approved by The Scripture. The last four were not advocated and the last one was condemned. These are: Brahma Marriage, Daiva Marriage, Arsha Marriage, Prajapatya Marriage, Gandharva Marriage, Asura Marriage, Rakshasa Marriage, Paishacha Marriage.


title: Hindu wedding

text: Cosmic rituals constitute an important part of Vedic practices/the Hindu religion. Rituals were designed to build a solid foundation for Dharmic living. They are known as Samskaras. Their purpose is to spread awareness and uplift social consciousness. The Veda has instituted sixteen different Samskara meant for different phases of life from conception to marriage to old age and death. The word samskara in Sanskrit means 'to cause indelible impressions on consciousness and to develop every aspect of oneself.' Of the sixteen Samskaras in The Scripture, and consequently in Hinduism, the sacred practice of marriage or Vivaha Samskara is the most important. Vivaha Samskara influences the life of a couple as partners by enabling them to take their rightful place as creators in society.


title: Hindu wedding

text: There is no single standard Hindu marriage ceremony. Regional variation is prevalent in the sequence of rituals comprising the ceremony. There is also considerable flexibility within each ritual. Variation reflects family traditions, local traditions, resources of the families and other factors. Three key rituals predominate, as follows. Two are "yajna".


title: Hindu wedding

text: The Kanyadana ceremony is performed by the bride's father. If the father has died, a guardian of the bride's choosing performs the ritual. The father brings the daughter, then takes the bride's hand and places it in the groom's. This marks the beginning of the ceremony of giving away the bride. The groom accepts the bride's hand, while the "kama-sukta" (hymn to love) is pronounced, in the presence of the father, the bride and the groom. The "Kamasukta" verse is:


title: Hindu wedding

text: After this ritual recital, the father asks the groom to not fail the bride in his pursuit of "dharma" (moral and lawful life), "artha" (wealth) and "kama" (love). The groom promises to the bride's father that he shall never fail her in his pursuit of "dharma", "artha" and "kama". The groom repeats the promise three times. As per several stone inscriptions that have been found from 15th century in the Vijayanagara empire, to fight the epidemic of bride price, a community group of Brahmins created a social legislation to adopt the marriage system of "kanyadana" for their community. It was mandated that no money should be paid or received during marriage and those who do not follow are liable for punishment by the King. The above inscriptions also reinforce that system of social legislations within community groups was widely in practice as against personal laws based on religious scriptures.


title: Hindu wedding

text: The ritual of "Panigrahana" comes after "Kanyadana". It is sometimes preceded by the "vivaha-homa" rite, wherein a symbolic fire is lit by the groom to mark the start of a new household.


title: Hindu wedding

text: "Panigrahana" is the 'holding the hand' ritual as a symbol of the bride and groom's impending marital union, with the groom acknowledging a responsibility to four deities: Bhaga signifying wealth, Aryama signifying heavens/milky way, Savita signifying radiance/new beginning, and Purandhi signifying wisdom. The groom faces west, and while the bride sits in front of him, with her face to the east, he holds her hand while the following Rig vedic mantra is recited:


title: Hindu wedding

text: In Punjabi and Gujarati weddings this step is called "Hast-Milap" (literally, "meeting of hands"). The whole ceremony was timed around an auspicious time ("Mauhurat") for this step and a few decades ago the wedding invitation would even list the time when this event was going to take place.


title: Hindu wedding

text: The "Saptapadi" (Sanskrit "seven steps"/"seven feet"; sometimes called "Saat Phere": "seven rounds") is the most important ritual of Vedic Hindu weddings, and represents the legal element of the Hindu marriage ceremony. The couple conduct seven circuits of the Holy Fire ("Agni"), which is considered a witness to the vows they make to each other. In some regions, a piece of clothing or sashes worn by the bride and groom are tied together for this ritual. Elsewhere, the groom holds the bride's right hand in his own right hand. Each circuit of the consecrated fire is led by either the bride or the groom, varying by community and region. Usually, the bride leads the groom in the first circuit. In North India, the first six circuits are led by the bride, and the final one by the groom. In Central India and Suriname, the bride leads the first three or four circuits. With each circuit, the couple makes a specific vow to establish some aspect of a happy relationship and household for each other.


title: Hindu wedding

text: In some South Indian weddings, after each saying a mantra at each of the seven steps, the couple say these words together:


title: Hindu wedding

text: In North Indian weddings, the bride and the groom say the following words after completing the seven steps:


title: Hindu wedding

text: The long form of "Saptapadi" starts with a preface announced by the priest, introducing a series of vows the groom and bride make to each other, as follows. With the completion of the seventh step the two become husband and wife.


title: Hindu wedding

text: "The world of men and women, united in the bond of marriage by Saptapadi, to further promote the joy of life, together listen with triumph."


title: Hindu wedding

text: Groom's vow: "Oh!, you who feeds life-sustaining food, nourish my visitors, friends, parents and offsprings with food and drinks. Oh! beautiful lady, I, as a form of Vishnu, take this first step with you for food."


title: Hindu wedding

text: Bride's vow: "Yes, whatever food you earn with hard work, I will safeguard it, prepare it to nourish you. I promise to respect your wishes, and nourish your friends and family as well."


title: Hindu wedding

text: Groom's vow: "Oh!, thoughtful and beautiful lady, with a well managed home, with purity of behavior and thought, you will enable us to be strong, energetic and happy. Oh! beautiful lady, I, as Vishnu, take this second step with you for the strength of body, character and being."


title: Hindu wedding

text: Bride's vow: "Yes, I will manage the home according to my ability and reason. Together, I promise, to keep a home that is healthy, strength and energy giving."


title: Hindu wedding

text: Groom's vow: "Oh!, skillful and beautiful lady, I promise to devote myself to earning a livelihood by fair means, to discuss, and let you manage and preserve our wealth. Oh! dear lady, I, as Vishnu form, cover this third step with you to thus prosper in our wealth."


title: Hindu wedding

text: Bride's vow: "Yes, I join you in managing our income and expenses. I promise to seek your consent, as I manage our wealth, fairly earned, so it grows and sustains our family."


title: Hindu wedding

text: Groom's vow: "Oh!, dear lady, I promise to trust your decisions about the household and your choices; I promise to dedicate myself to help our community prosper, the matters outside the house. This shall bring us respect. Oh! my lady, I, as Vishnu, take this fourth step with you to participate in our world."


title: Hindu wedding

text: Bride's vow: "Yes, I promise to strive to make the best home for us, anticipate and provide necessary things for your worldly life, and for the happiness of our family."


title: Hindu wedding

text: Groom's vow: "Oh!, lady of skill and pure thoughts, I promise to consult with you and engage you in the keep of our cows, our agriculture and our source of income; I promise to contribute to our country. It shall win us future. Oh! my skilled lady, I, as Vishnu form, take this fifth step with you to together grow our farms and cattle."


title: Hindu wedding

text: Bride's vow: "Yes, I promise to participate and protect the cattle, our agriculture and business. They are a source of yoghurt, milk, ghee, and income, all useful for our family, necessary for our happiness."


title: Hindu wedding

text: Groom's vow: "Oh!, lovely lady, I seek you and only you, to love, to have children, to raise a family, to experience all the seasons of life. Oh! my lovely lady, I, as Vishnu, take this sixth step with you to experience every season of life."


title: Hindu wedding

text: Bride's vow: "Feeling one with you, with your consent, I will be the means of your enjoyment of all the senses. Through life's seasons, I will cherish you in my heart. I will worship you and seek to complete you."


title: Hindu wedding

text: Groom's vow: "Oh friends!, allow us to cover the seventh step together, this promise, our Saptapad-friendship. Please be my constant wife."


title: Hindu wedding

text: Bride's vow: "Yes, today, I gained you, I secured the highest kind of friendship with you. I will remember the vows we just took and adore you forever sincerely with all my heart."


title: Hindu wedding

text: This step is a part of Kanya Varanam, where the groom-to-be (brahmachari) sends two elders on his behalf to the father of a girl whom he wishes to marry. The elders convey the message of the brahmachari and ask for the daughter's hand. The two mantras in the form of brahmachari's appeal to intercede on his behalf come from Rg 10.32.1 ("pra sugmantha...") and 10.85.23. The first mantra begs the elders to proceed and return quickly with success back from their mission on his behalf. The second mantram ("anruksharaa Rjava:...") asks for the gods' blessings for the elders' safe journey to the house of the father of the would-be-bride. The mantra prays to Aryama and Bhaga for a marriage full of harmony. The father accedes to the request of the elders and the resulting agreement for betrothal (formal engagement to be married; engagement.)is known as vaak daanam.


title: Hindu wedding

text: In this ritual, the bridegroom and the bride look at each other formally for the first time. The bridegroom worries about any doshas (defects) that the bride might have and prays to the gods Varuna, Brihaspati, Indra and Surya to remove every defect and to make her fit for harmonious and long marriage life blessed with progeny and happiness (mantra: Rg 10.85.44). The bride groom recites the mantra and wipes the eyebrows of the bride with a blade of darbha grass, to symbolize the removal of defects. The darbha grass is thrown behind the bride at the conclusion of this ceremony. The Bridegroom shall stand facing the east. The Bride shall stand facing the north. The bride (offering the seat or Asana), shall address the bridegroom as follows:


title: Hindu wedding

text: The bride shall take her seat to the right of the bridegroom. The bridegroom performs the Achamana and Angasparsha with water.


title: Hindu wedding

text: All Hindu religious ceremonies begin with two observances, namely Achaman or sipping a small quantity of water and angasparsha or touching one's limbs with one's right hand middle two fingers with a little water. Achaman is purificatory and conducive to peaceful attitude of mind. Angasparsha is intended to pray for physical strength and alertness. Achaman and Angasparsha are performed with the aid of Mantras.


title: Hindu wedding

text: This ritual originates from South India and places the groom and bride welcoming their respective families together to witness the exchange of testimonies accompanied with a simultaneous exchange of rings' or necklaces'. The groom and bride then sit next to each other making prayers to seek the blessings of Brahma, Vishnu, and Shiva for eternal happiness for themselves and their families.


title: Hindu wedding

text: Holding with his left hand a cup of Madhuparka (composed of honey, curd and ghee or clarified butter), after removing the cover and looking at the Madhuparka,


title: Hindu wedding

text: May the breeze be sweet as honey; may the streams flow full of honey and may the herbs and plants be laden with honey for us!


title: Hindu wedding

text: May the nights be honey-sweet for us; may the mornings be honey-sweet for us and may the heavens be honey-sweet for us!


title: Hindu wedding

text: May the plants be honey-sweet for us; may the sun be all honey for us and may the cows yield us honey-sweet milk!


title: Hindu wedding

text: "Honey-sweet", in this case, means pleasant, advantageous, and conducive to happiness. The bridegroom shall pour out the Madhuparka into three cups and then partake a little of it from each of the cups reciting the following Mantra:


title: Hindu wedding

text: The bridegroom: The honey is the sweetest and the best. May I have food as sweet and health-giving as this honey and may I be able to relish it!


title: Hindu wedding

text: The bride's father symbolically offers to the bridegroom a cow as a present. In olden times sons-in-law received real cows as gifts, since that was the most precious asset with which a newly wedded couple could start life. This part of the tradition has been preserved by a symbolical presentation. At the conclusion of the first part of the wedding ceremony, it is customary to present gifts to the bride. The bridegroom presents the bride with gifts of clothing and jewellery thereby acknowledging his lifelong duty to provide her with the necessities of life.


title: Hindu wedding

text: The father of the bride, offering to the bridegroom the present of a cow, a finger-ring or some other suitable article says:


title: Hindu wedding

text: Five Veda mantras are recited to sanctify the bride in preparation for the subsequent stages of the marriage. This aspect of the marriage is known as mangalasnanam. The sun god (Surya), water god (Varuna), and other gods are invoked to purify the bride in preparation for a harmonious married life. Next, the bride wears the marriage clothes to the accompaniment of additional Veda mantras. The bridegroom then ties a darbha rope around the waist of the bride and leads her to the place, where the sacred fire is located for conducting the rest of the marriage ceremony. The bride and the groom sit on a new mat in front of the fire. The groom recites three mantras which invoke Soma, Gandharva and Agni to confer strength, beauty, and youth on the bride.


title: Hindu wedding

text: There is no Veda Mantram for tying the mangalasutram (auspicious thread) around the neck of the bride by the groom. The latter takes the mangala sutram in his hands and recites the following verse:


title: Hindu wedding

text: This is a sacred thread. This is essential for my long life. I tie this around your neck, O maiden having many auspicious attributes! May you live happily for a hundred years (with me).


title: Hindu wedding

text: After "sapta padi", the couple take their seat on the western side of the sacred fire and conduct "pradhaana homam". During the conductance of this "homam", the bride must place her right hand on her husband's body so that she gets the full benefit of the "homam" through symbolic participation. Sixteen mantras are recited to the accompaniment of pouring a spoon of clarified butter into the sacred fire at the end of recitation of each of the mantras. These mantras salute Soma, Gandharva, Agni, Indra, Vayu, the Aswini Devas, Savita, Brihaspati, Viswa Devas and Varuna for blessing the marriage and beseeches them to confer long wedded life, health, wealth, children and freedom from all kinds of worries. One prayer—the sixth mantra—has a sense of humor and provides deep insight into human psychology. The text of this mantra is: ""daSaasyam putraan dehi, patim ekaadaSam kRti"". Here, the groom asks Indra to bless the couple with ten children and requests that he be blessed to become the eleventh child of his bride in his old age.


title: Hindu wedding

text: After pradhaana homam, the husband holds the right toe of his wife and lifts her leg and places it on a flat granite grinding stone known as "ammi" in Thamizh. The ammi stands at the right side of the sacred fire. The husband recites a Veda mantra when he places the right foot of his wife on the ammi:


title: Hindu wedding

text: May you stand on this firm stone. May you be rock-firm during your stay on this grinding stone. May you stand up to those who oppose you while you carry out your time-honored responsibilities as a wife sanctioned by the Vedas and tradition. May you develop tolerance to your enemies and put up a fair fight to defend your legitimate rights as the head of the household in a firm manner, equal to the steady strength of this grinding stone. Some traditions mention to wear two silver ring on the either toes of bride by the bridegroom at this time.


title: Hindu wedding

text: After ammi stepping, a ceremony of doing homam with parched rice ("laja") is conducted. Here, the wife cups her hands and the brothers of the bride fill the cupped hands with parched rice. The husband adds a drop of ghee to the parched rice and recites five Veda mantras. At the end of each of the recitation, the parched rice is thrown into the sacred fire as "haves" (offering) to Agni. Through these mantras, the wife prays for long life for her husband and for a marriage filled with peace and harmony. At the end of the "laaja homam", the husband unties the "darbha" belt around the waist of his wife with another mantra. The husband states through this mantra that he unites his wife and ties her now with the bonds of Varuna and invites her to be a full partner in his life to enjoy the blessings of wedded life.


title: Hindu wedding

text: This ceremony relates to the journey of the wife to her husband's home. The husband carries the sacred fire ("home agni") in an earthenware vessel during this journey home. There are many Veda mantras associated with this journey. These mantras pray to the appropriate Vedic gods to remove all obstacles that one can experience in a journey. The bride is requested to become the mistress of the house and is reminded of her important role among the relatives of her husband. After reaching her new home, she puts her right foot first in the house and recites the following Veda mantra:


title: Hindu wedding

text: After "griha pravesam", a fire ritual known as "praavisya homam" is performed by the couple to the accompaniment of thirteen Veda mantras from the "Rg Veda". "Jayaadi homam" is also part of the "praavisya homam". This homam offers the salutation of the newly married couple to Agni Deva and asks for strength and nourishment to discharge the duties of a "grihasthas" for the next one hundred years. After that, the bride shifts her position from the right side of her husband to his left side. At that time, once again, she recites a Veda mantra invoking the gods for blessings of children and wealth to perform the duties of a householder.


title: Hindu wedding

text: At the end of the above homam, a child is placed on the lap of the bride and she offers a fruit to the child, while reciting a prescribed Veda mantra. Yet another mantram asks the assembled guests to bless the bride and then retire to their own individual homes peacefully. During the first evening of the stay in her new home, the couple see the stars known as "Dhruva" (pole star) and "Arundhati". The husband points out the pole star and prays for the strength and stability of the household through a Veda mantra. Next, the husband points out the Arundhati star to his wife and describes to her the story of Arundhati and her legendary chastity.


title: Hindu wedding

text: The rich and meaningful ceremony of the Hindu marriage (Kalyana Mahotsavam of the temples) is thus carried out in concert with sacred Veda Mantras. The bride and bridegroom should enunciate clearly the Veda mantras and reflect on their meanings during the different stages of the marriage ceremony. This way, they can be sure of a long, happy and prosperous married life and play their appropriate role in society to the fullest extent. Srinivasa Kalyanam is performed in the temples to remind us of these hoary Vedic traditions behind a Hindu marriage.


title: Hindu wedding

text: It is the samskara which is done before the couple enter to their bedroom. "Nishekam" means first conjugal bliss by the couple. In South India they do Nishekam on a suitable date according to "jyotisha". Whereas in North India and East India they do it on the fourth day from the marriage. "Paraskara Grihya Sutram" of Shukla Yajurveda mentions to conduct it on the fourth night in the prescribed room of the couple. It's otherwise called "Chaturthi Karma".


title: Hindu wedding

text: The word 'kanyādana' is made of two parts, 'kanyā' meaning unmarried girl and 'dāna' which means 'charity'. The officiating priest chants appropriate verses in Sanskrit. The people in the audience (the public) are now notified that the parents have willingly expressed their wish and consent by requesting the groom to accept their daughter as his bride. As soon as the groom indicates his acceptance the bride's parents place their daughter's right hand into the bridegroom's right hand. The parents now bestow their blessings on both the bride and the groom and pray to the Lord to shower His choicest blessings on them.


title: Hindu wedding

text: The father of the bride: Be pleased to accept hand of my daughter (name of the bride) of the Gotra (here the surname of the family).


title: Hindu wedding

text: The bridegroom makes an Offering of the garment and the scarf to the bride to wear. The bridegroom wears the garments and the scarf offered by the parents of the bride. Then facing each other The bride and the bridegroom speak as follows:


title: Hindu wedding

text: Ye learned people assembled at this sacred ceremony know it for certain that we two hereby accept each other as companions for life and agree to live together most cordially as husband and wife. May the hearts of us both be blended and beat in unison. May we love each other like the very breath of our lives. As the all-pervading God sustains the universe, so may we sustain each other. As a preceptor loves his disciple, so may we love each other steadfastly and faithfully.


title: Hindu wedding

text: Through the grace of God, may the eyes radiate benevolence. Be thou my shield. May thou have a cheerful heart and a smiling face. May thou be a true devotee of God and mother of heroes. May thou have at heart the welfare of all living beings!


title: Hindu wedding

text: I pray that henceforth I may follow thy path. May my body be free from disease and defect and may I ever enjoy the bliss of your companionship!


title: Hindu wedding

text: Vivaha-homa is also called the "sacred fire ceremony". All solemn rites and ceremonies commence with the performance of Homa (sacred fire ceremony) among the followers of Vedic religion. The idea is to begin all auspicious undertakings in an atmosphere of purity and spirituality. This atmosphere is created by the burning of fragrant herbs and ghee and by the recitation of suitable Mantras.


title: Hindu wedding

text: The seven Angasparsha mantras involve touching water with the right hand middle two fingers apply the water to various limbs first to the right side and then the left side as follows:


title: Hindu wedding

text: The bridegroom rising from his seat and facing the bride, shall raise her right hand with his left hand and then clasping it says:


title: Hindu wedding

text: I clasp thy hand and enter into the holy state of matrimony so that we may be blessed with prosperity and noble progeny. Mayst thou live with me happily throughout life! Through the grace of the all-mighty Lord, who is the Creator and Sustainer of the universe and in the presence of this august assemblage, thou art being given away in marriage so that we may together rightly perform our duties as householders.


title: Hindu wedding

text: With all my strength and resources, I have clasped thy hand; and thus united, we shall together follow the path of virtue. Thou art my lawfully wedded wife and I am thy lawfully wedded husband.


title: Hindu wedding

text: God, the protector and sustainer of all, has given thee to me. From today, it devolves upon me to protect and maintain thee. Blessed with children, mayst thou live happily with me as thy husband for the full span of human life (a hundred years).


title: Hindu wedding

text: Following the divine law and the words of wisdom uttered by the sages, may we make a good couple and may God vouchsafe unto us a shining life of virtue and happiness.


title: Hindu wedding

text: As God nourishes and sustains all creatures through His great forces like the sun, the moon, the earth, the air etc., so may He bless my wife with healthy and virtuous progeny and may you all assembled here bless her!


title: Hindu wedding

text: The bridegroom taking the palm of the bride into his hand helps her to rise and then they both shall walk round the altar, the bride leading. Then facing the east take the solemn vows:


title: Hindu wedding

text: This ceremony is referred to as "Ashmarohanam" or "Shilarohanam" ("Ashma" or "Shila": stone ; "Arohan": stepping upon). In it, the mother of the bride assists her to step onto a stone and counsels her to prepare herself for a new life. The stone signifies strength and trust. A married couple is likely to encounter ups and downs, joys and sorrows, prosperity and adversity, sickness and health. In spite of the difficulties facing them, they are enjoined to remain steadfast and true to each other.


title: Hindu wedding

text: The bride places her right foot on the slab (stone), assisted by her mother or her brother. The priest recites a Mantra from the Atharva Veda (AV II.13.4)


title: Hindu wedding

text: "Laja" means parched rice or barley like popcorn. The bride shall place the palms of her hands over those of the bridegroom and make three offerings (ahutis) of parched rice soaked in ghee (clarified butter).


title: Hindu wedding

text: This is an auspicious and important part of the marriage ceremony. It consists in walking around the sacred fire (clockwise) three or four (less often five, but sometimes seven) times. This aspect of the ceremony and the one that follows, namely Saptapadi (seven steps) - constitute the most important part, in as much as it legalises the marriage according to Hindu custom and tradition. These two aspects of the marriage ceremony establish an indissoluble matrimonial bond between the couple.


title: Hindu wedding

text: In many communities, the saptapadi and agniparinayana have been merged into one ritual; and hence they circumambulate the fire seven times ("saat phere").


title: Hindu wedding

text: In the first three rounds the bride leads the Groom as they circle together around the sacred fire. From the fourth round, the Groom leads the bride around the sacred fire.


title: Hindu wedding

text: In each round around the sacred fire, an appropriate mantra is recited which expresses noble sentiments in relation to their future matrimonial life. Each round culminates in both the bride and the bridegroom placing offerings or ahutis of fried rice in the sacred fire. The Hindu religion emphasises enjoyment of life as well as the discharging of family, social and national responsibilities.


title: Hindu wedding

text: During the first three rounds, God's blessings and help are sought, loyalty to each other is emphasised and a promise to keep in mind the well-being and care of the future children is made.


title: Hindu wedding

text: In the last four rounds (led by the Groom) they promise that they will lead their life according to the tenets of the Hindu religion, namely Satya and Dharma or Truth and devotion to duty; that they will always ensure that the bridegroom can rely on her to carry out her family, religious and household duties; that they will always support each other in all their endeavours; and that they forever belong to each other and will remain friends forever.


title: Hindu wedding

text: The bridegroom then places his hand on the bride's head and states that henceforth she will be his wife and he will shield her against any danger or harm.


title: Hindu wedding

text: At the end of the four rounds they shall exchange seats, the bride accepting her seat to the left of the bridegroom (vaamaang).


title: Hindu wedding

text: The ends of their garments (the bridegroom's scarf and upper garment of the bride) are tied together by the priest (signifying marriage knot). Then both shall stand facing the north. The bridegroom shall place his right hand upon the right shoulder of the bride.


title: Hindu wedding

text: In taking these seven steps, the right foot shall always lead and the left foot be brought forward in line with it. Uncooked grains of rice (about a small handful) are placed in a line at equal distance at seven places. The bride and the groom take seven steps together, stepping upon first mound of rice with the right foot as the priest recites a mantra. Then stepping upon the second mount of rice with the right foot as the priest recites a mantra. (All seven steps are done the same way).


title: Hindu wedding

text: Having completed the seven steps, be thou my lifelong companion. Mayst thou be my associate and helper in successful performance of the duties that now devolve upon me as a householder. May we be blessed with many children who may live the full duration of human life!


title: Hindu wedding

text: After the completion of the seven steps ceremony, the couple (with knots tied to each other) take their seats. The wife now takes her rightful place on the left side of her husband as the marriage is now religiously solemnized in its entirety. Now the couple are husband and wife. The husband garlands the wife and she in turn garlands her husband.


title: Hindu wedding

text: The priest (or a brother of the newly wedded wife) shall sprinkle water on the foreheads of the bride and the groom. The priest recites mantras from the Rig Veda (RV X.9.1/2/3) during the sprinkling of water.


title: Hindu wedding

text: Looking at or mentally visualising the sun (Surya), to give them power to lead a creative, useful and meaningful life.


title: Hindu wedding

text: O God, who art the illuminator of the sun, may we, through thy grace live for a hundred years, hear for a hundred years, and speak for a hundred years. And may we never be dependent upon anybody. May we likewise live even beyond a hundred years!


title: Hindu wedding

text: May I have hearty co-operation from these in the performance of my duties. May thou be of one mind with me. May thou be consentient to my speech. May the Lord of creation unite thee to me!


title: Hindu wedding

text: The Pole Star is stationary and fixed in its position, likewise the couple is expected to be steadfast and firm in fulfilling their vows and responsibilities.


title: Hindu wedding

text: Just as the star Arundhati is attached to the star Vasishtha, so may I be ever firmly attached to my husband! Placing his hand upon the bride's forehead


title: Hindu wedding

text: As the heavens are permanently stable, as the earth is permanently stable, as these mountains are permanently stable, and as the entire universe is permanent stable, so may my wife be permanently settled in our family!


title: Hindu wedding

text: Thou are the Pole star; I see in thee stability and firmness. Mayst thou ever be steadfast in thy affection for me. The great God has united thee with me. Mayst thou live with me, blessed with children, for a hundred years!


title: Hindu wedding

text: In the last symbolic rite the couple make offerings of food with chantings of Vedic Havan Mantras (oblations of food in the Sacred fire). Having done that, the couple feed a morsel of food to each other from the residue of the offerings. This being the symbolic expression of mutual love and affection.


title: Hindu wedding

text: Ye men and women present here, behold this virtuous bride possessed of high attainments, and before ye disperse, give her your blessings!


title: Hindu wedding

text: Many Hindu weddings start with the "milne" (meeting) and" swagatam" (welcome) ceremony. This ritual is where the "baraat" (groom's procession party) arrives at the bride's home or the location where the bride is and marriage will be celebrated. The "baraat" typically includes dancing and joyous members of groom's family, relatives and friends. On their arrival, there is a ritual where key persons from the groom's side and bride's side are introduced to each other. The introduction is typically followed by "jai mala" (garland exchange between bride and groom) and a reception that serves food and drinks.


title: Hindu wedding

text: Many other rituals and ceremonies are sometimes found in Hindu weddings, such as " madhuparka", " vivaah-homa", "agni-parinayana", " asmarohana", " laja homa", "abhishek", "anna-prashashan", and "aashir-vadah". All these ceremonies are carried out at the wedding location, typically at or near the bride's home. These additional rituals include the participation of the brothers, sisters, maternal/paternal relatives, guardians, or friends of the bride.


title: Hindu wedding

text: In some parts of India, such as Gujarat and Northern India, a "laja homa" ritual called "mangal pherā" is performed where the couple make four circles around holy fire. It follows "hasta milap" (meeting of hands of the couple), but precedes "saptapadi". The first three circles is led by the groom, and it represents three of four goals of life considered important in Hindu life – "Dharma", "Artha", "Kama". The fourth circle is led by bride and it represents the fourth goal of life – "Moksha". After "saptapadi", as hymns are being recited, the groom performs "māņg sindoor" ritual where a saffron or red color powder is marked into the parting of the wife's hair. Instead of circling the fire and other steps, the rituals and ceremonies may be performed symbolically, such as stepping on small heaps of rice or throwing grains into the fire.


title: Hindu wedding

text: Some rituals involve rice or other grains, seeds and pastes. In these ceremonies, rice is thrown at the bride, groom or they kick a container containing the grain. Rituals include "darshan", where the newly married couple are met, blessed and greeted by family and friends of the bride and groom.


title: Hindu wedding

text: After the Hindu wedding is complete, the bride leaves for groom's home via groom's car. In groom's car, bride and groom sit together, and groom's younger brother drives the car. Bride's sisters also come with groom's family, when they arrive to groom house where Hindu family members of the groom welcome the newly wedded couple in a ritual known as "grihapravesa" (home coming/entry). This ceremony typically requires participation of the mother, father, brothers, and sisters, or other guardians of the groom.


title: Hindu wedding

text: Ancient literature suggests the Hindu couple spent time with each other, but delayed the consummation for at least three nights following the wedding. Some scholars have proposed the observance of this rite in the past – known as "chaturthikarma" – "the rite performed on the fourth day of marriage". Chaturthikarma is followed by most of South Indian communities as a possible basis for the validity of a marriage. Other scholars suggest "saptapadi" and regionally customary wedding rituals, not consummation, defines legal validity of a Hindu marriage. The Hindu Marriage Act of 1955, Article 7, is consistent with the latter. "Chaturthikarma" is not a common practice in Hindu communities.


title: Hindu wedding

text: It comprises a ceremony for the "Tilak" (engagement), the "Ban" (starting of the wedding ceremony), the "Mel" (the community feast), the "Nikasi" (the departure of the Bridegroom party for the wedding), the "Sehla", and the "Dhukav" (reception of the wedding party at the bride's place by her parents). Solemnisation of the wedding is referred to as "Fera".


title: Hindu wedding

text: A "sherwani" also known as Achkan is normally worn by the bridegroom along with his own family form of a turban. He keeps a sword in his left hand during the ceremony. A bride wears a "Lahanga", "Odhani", "Kurti" or "Poshak". The ornaments worn by a Rajput Bride are the "Rakhdi" on her forehead, the "Sheesphul" as headgear, the "aad" as a thick neck hanging, the "Baju" above her elbow (on arms), the "poonchis" and "bangdis" as thick golden bangles in arms, "hathfools" on hands and the "Pajeb" as anklets.


title: Hindu wedding

text: The wedding dress and the "aad" is gifted by the groom's side to the bride. The barat at the time of "samela" presents them in the "padla" ( a collection of many lahanga, jewelry items, accessories, make-up kits, shoes etc.) for the bride.


title: Hindu wedding

text: Many types of rituals are celebrated in Bengali Hindu wedding. These include Patipatra, Pankhil, Ashirvad, Aiburo Bhat, Dadhi Mangal, Gaye Halud, Shankha Kangkan, Ganga Baran, Jalsoi, Bar Baran, Satpak, Shubhadrishti, Mala Badal, Kanya Sampradan, Anjali, Sindoor Daan, Basi Biye, Basar Jagaran, Kanakanjali, Badhu Baran, Kalratri, Bhat Kapor, Bou Bhat, Phulshajya etc.


title: Hindu wedding

text: In the Hindu culture of Nepal, marriage rituals are done by the "Chhetri" in a sixteen step process that centers on the household. The household is important during the marriage ritual because it is the center of the concept of "mandala"; the Chhetri's homes are considered to be domestic mandalas and so have roles as householders. The act of marriage brings men and women into the householder role.


title: Hindu wedding

text: Marriage is the most important rite of passage for the Chhetris and is one of the most serious. Women move from their houses to the home of the groom after marriage. The ceremony is done in a precise and careful manner as to not bring bad luck to the families of the bride and groom; certain traditions, for example no one seeing the face of the bride until the end, are followed in order to ensure future prosperity. Prior to the marriage ceremony, there is no kinship between families of the bride and groom and the bride must be a virgin. The marriage ceremony consists of a series of rites that are performed over a two-day period between the houses of the bride and the groom. Within each home the enclosed area in the courtyard ("jagya") and the kitchen are used the most; the jagya and the kitchen are considered the most important parts of the domestic mandala structure because it is where rice (an important part of the Chhetri's culture) is prepared and consumed. At the end of the ceremony is the establishment of the role of the wife and husband in the husband's home.


title: Hindu wedding

text: The first step in the marriage ceremony is called "Purbanga". In the kitchen of their homes, the bride and the groom worship the seven Mother Goddesses as so to pay respect to their ancestors and ask for peace. In the second, third, and fourth step, the groom is then blessed by his mother and is taken outside to his jagya where his father and procession ("janti") carry him and bring gifts for the bride to her house in a ceremony called dulähä anmäune. In the fifth step as the groom waits before the house of the bride, gifts of clothes and food are placed around the jagya; the father of the bride then places red paste on the groom's forehead indicating that he is no longer an outsider to his family. The sixth step is the performance of the "Barani" or welcoming for the groom and his janti as they enter the jagya. The father purifies the body of the groom using panchämrit (nectar from five pure liquids). A small feast is then held for the groom as the next steps in the marriage continue.


title: Hindu wedding

text: After the small feast, the marriage process for the bride begins. The seventh step takes place in the kitchen of the bride where the process of "kanya dan" starts; the bride's parents give their daughter in marriage to her groom thereby allowing the bride to be a part of the groom's lineage and making the father's lineage secondary. After they wash their feet they dress in red and, in the eighth step, sit beside in each other in the jagya. They perform post-marriage rites as they make sacrificial offerings to the fire in the center of the jagya. During these rites the bride and groom perform tasks such as placing red powder in the hair of the bride and the bride eats leftover food of the groom and at the end the now husband gives his wife a personal name for which she is to be called by.


title: Hindu wedding

text: After the post-marriage ceremony, the married couple being to leave the bride's home. In the ninth step, the husband and wife return to the kitchen of the wife and worship their ancestors and the seven Mother Goddesses. In the tenth, eleventh, and twelfth step, the couple leave the wife's house as she is given a garland from her parents; the wife and husband enter the jagya and are then escorted out riding on palanquins as they return to their permanent home of the husband. The thirteenth step beings once they enter the jagya of the groom and his virgin sisters welcome the wife in a ceremony called "arti syäl". They unveil the bride and adorn her with flower garlands and sprinkle puffed rice on her (a sign of prosperity). The fourteenth step is completed once the bride promises gifts to the sisters; she then moves on the fifteenth step where she steps on piles of rice in a path toward the kitchen. The final step is a series of rites, the first of which is the bride worshiping the ancestors and deities of the husband; she then demonstrates her skills in handling rice to the husband's mother and sisters and then they entwine her hair. Finally, the mother unveils the bride again in front of the husband and in a ceremony called "khutta dhog", the bride places the foot of the mother on her forehead thereby ending the marriage ceremony.


title: Hindu wedding

text: While there are many rituals in Hinduism, such as those at birth and deaths of loved ones, the Hindu wedding is the most important and extensive personal ritual an adult Hindu undertakes in his or her life. Typical Hindu families spend significant effort and financial resources to prepare and celebrate weddings.


title: Hindu wedding

text: In 2008, the Indian wedding market was estimated to be $31 billion a year. Various sources estimate India celebrates about 10 million weddings per year, and over 80% of these are Hindu weddings. The average expenditures exceed US$3,000 per wedding. Another $30 billion per year is spent on jewelry in India, with jewelry for weddings being the predominant market. In a nation with per capita annual income of $1,500,


title: Hindu wedding

text: In India, where most Hindus live, the laws relating to marriage differ by religion. According to the Hindu Marriage Act of 1955, passed by the Parliament of India, for all legal purposes, all Hindus of any caste, creed or sect, Sikh, Buddhists and Jains are deemed Hindus and can intermarry. By the Special Marriage Act, 1954, a Hindu can marry a person who is not Hindu, employing any ceremony, provided specified legal conditions are fulfilled. By Section 7 of Hindu Marriage Act, and tradition, no Hindu marriage is binding and complete before the seventh step of the "saptapadi" ritual, in presence of fire, by the bride and the groom together. In some cases, such as South Indian Hindu marriages, this is not required as the "saptapadi" is not performed.


title: Hindu wedding

text: A Vedic sage emphasized that the basis of a happy and fulfilling married life is the presence of unity, intimacy and love between a husband and wife physically, mentally and spiritually. Hence the wife is considered to be the Ardhangani of the husband as per Hindu tradition. Marriage is not for self-indulgence, but is considered to be a life-long social and spiritual responsibility. Married life is considered an opportunity for two people to grow as life partners into soulmates.


title: Anohni

text: Anohni (Anohni Hegarty, born 24 October 1971), styled as ANOHNI, is an English-born singer, songwriter, and visual artist. She was formerly the lead singer of the band Antony and the Johnsons.


title: Anohni

text: Anohni was born in Chichester, England. Her family moved to the San Francisco Bay Area in 1981. In 1990, she moved to Manhattan, New York to study at the Experimental Theater Wing at New York University, and in 1992 she founded the performance art collective Blacklips with Johanna Constantine.


title: Anohni

text: She started her musical career performing with an ensemble of NYC musicians as Antony and the Johnsons. Their first album, "Antony and the Johnsons", was released in 2000 on David Tibet's label Durtro. Their second album, "I Am a Bird Now" (2005), was a commercial and critical success, earning her the Mercury Music Prize.


title: Anohni

text: In 2016, Anohni became the second openly transgender performer nominated for an Academy Award; she was nominated for the Academy Award for Best Original Song, along with J. Ralph, for the song "Manta Ray" in the film "Racing Extinction". Her debut solo album, "Hopelessness", was released in May 2016 to wide critical acclaim, including another nomination for the Mercury Music Prize and a Brit Award. In 2022, she collaborated with Hercules and Love Affair and sang on half of the album "In Amber" which was released in June.


title: Anohni

text: Anohni was born in 1971 in Chichester, England. She identified as transgender from an early age. In 1977, her family moved to Amsterdam for a year, and then, in 1981, they moved to the San Francisco Bay Area of California, settling in San Jose, where Anohni attended Lincoln High School and studied music and was an avid record collector. She recalls, "I was listening to OMD, Kate Bush, Culture Club, Alison Moyet and especially Marc and the Mambas." In 1990, Anohni moved to Manhattan to attend the Experimental Theatre Wing of New York University. In 1992 she founded the performance collective Blacklips, later known as Blacklips Performance Cult, with creative partner Johanna Constantine, and she spent the next several years singing in after-hours bars and clubs using pre-recorded cassettes as self-accompaniment as well as writing and directing late-night theatre productions.


title: Anohni

text: After being awarded a grant from New York Foundation for the Arts for the 1996 production of "The Birth of Anne Frank/The Ascension of Marsha P. Johnson" at Performance Space 122, Anohni solicited accompanying musicians to record a number of songs she wrote in the early 1990s. The ensemble performed for the first time as "Antony and the Johnsons" at The Kitchen as part of William Basinski's installation "Life on Mars" in 1997. In 1999, the group began to perform more frequently at venues such as Joe's Pub and The Knitting Factory in New York City. British experimental musician David Tibet of Current 93 heard the recording and offered to release it through his Durtro record label; the debut album, "Antony and the Johnsons", was released in 2000. In 2001, Anohni released a follow-up EP through Durtro, "I Fell in Love with a Dead Boy", which, in addition to the title track, included a cover of a David Lynch/Angelo Badalamenti song "Mysteries of Love", and a Current 93 song, "Soft Black Stars".


title: Anohni

text: Antony and the Johnsons' 2005 album "I Am a Bird Now" featured guest performances by Lou Reed, Boy George, Rufus Wainwright and Devendra Banhart. The album was released in North America by Secretly Canadian Records and in Europe by Rough Trade. It won the UK's Mercury Prize and was named Album of the Year by "Mojo" magazine. The band toured North America, Europe, Australia and parts of South America for a year and a half in support of "I am a Bird Now". The song "Bird Gerhl" was featured in the soundtrack for the movie "V for Vendetta".


title: Anohni

text: Antony and the Johnsons collaborated with experimental film maker Charles Atlas and presented "TURNING" in Nov 2006 in Rome, London, Paris, Madrid, and Braga, Portugal. The concert featured live video portraits of a group of women from the New York City underground. "The Guardian" called the piece "fragile, life affirming, and truly wonderful (five stars)" "Le Monde" in Paris hailed "TURNING" as "Concert-manifeste transsexuel."


title: Anohni

text: In 2007, Anohni created an original soundtrack for a video by Nick Knight featuring the designs of Hussein Chalayan. She collaborated in 2008 with Prada to create a song called "The Great White Ocean" for their promotional campaign.


title: Anohni

text: Antony and the Johnsons' 5-song "Another World EP" was released on 7 October 2008. Antony and the Johnsons' third album, "The Crying Light", was released on 19 January 2009. The album peaked at number 1 on the European Billboard charts. Anohni has described the theme of the album as being "about landscape and the future." The album was mixed by Bryce Goggin and includes arrangements by Nico Muhly. Ann Powers wrote of "The Crying Light" for the LA Times online, "it's the most personal environmentalist statement possible, making an unforeseen connection between queer culture's identity politics and the green movement. As music, it's simply exquisite – more controlled and considered than anything Antony and the Johnsons have done and sure to linger in the minds of listeners."


title: Anohni

text: After touring throughout North America and Europe in support of their new album, Antony and the Johnsons presented a unique staging of "The Crying Light" with the Manchester Camerata at the Manchester Opera House for the 2009 Manchester International Festival. The concert hall was transformed with laser effects created by installation artist Chris Levine. Antony and the Johnsons have gone on to present concerts with symphonies across Europe in Summer 2009, including the Opera Orchestra of Lyon, the Metropole Orchestra, Roma Sinfonietta and the Montreux Jazz Festival Orchestra. At Salle Pleyel in Paris, Anohni appeared in a costume designed by Riccardo Tisci of Givenchy.


title: Anohni

text: Fall 2010 saw the release of "Thank You for Your Love EP" and in October the full-length album "Swanlights" on Secretly Canadian and Rough Trade. Abrams Books also published a book edition of "Swanlights" featuring Anohni's drawings and collages with photography by Don Felix Cervantes. At the end of October Anohni performed a special concert in New York City at Lincoln Center to commemorate the life of Kazuo Ohno who had died in June 2010.


title: Anohni

text: In January 2011, Anohni was a guest on "Wintergasten", a program on Dutch Television's VPRO channel and was interviewed by Leon Verdonschot discussing her political and ecological viewpoints in reference to different film clips.


title: Anohni

text: Anohni performed at the TED conference in Long Beach in 2011 in a session on "Radical Collaboration".


title: Anohni

text: During the 2011 Manchester International Festival Anohni was musical director for "The Life and Death of Marina Abramović", a biography of the 'Godmother' of performance art, re-imagined by director Robert Wilson and co-starring Willem DaFoe, Marina Abramović and Anohni. The piece has subsequently been staged in Madrid, Amsterdam, Antwerp, Basel, Toronto (as part of the Luminato Festival) and NYC.


title: Anohni

text: In January 2012, Antony and the Johnsons were presented by the Museum of Modern Art at Radio City Music Hall in "Swanlights", a collaboration with laser artist Chris Levine and set designer Carl Robertshaw. The performance was described by "The New York Times" in a review by Jon Parales entitled "Cries From the heart, Crashing Like Waves." This collaboration was also staged at the Royal Opera House in London in 2013 and at Teatro Real in Madrid in 2014.


title: Anohni

text: Antony and the Johnsons released a live symphonic album in August 2012 entitled "Cut the World" featuring the Danish Radio Orchestra. The album features a spoken track called "Future Feminism" in which Anohni elaborates on her view of the connection between feminism and ecology. A video for the song "Cut the World" directed by Nabil features Willem Dafoe, Carice van Houten and Marina Abramović.


title: Anohni

text: Anohni was "guest of honor" at the Melbourne Festival in October 2012, presenting a restaging of "Swanlights", as well as screening Charles Atlas' "Turning", Lynette Wallworth's Coral: Rekindling Venus, and presenting "Paradise", an exhibition of her drawings and collages.


title: Anohni

text: Anohni performed with orchestra for the 2013 Spring Givenchy collection in Paris, singing You Are My Sister and expanding on the theme of Future Feminism in literature distributed at the event.


title: Anohni

text: In June 2015, Antony and the Johnsons performed at Dark Mofo in Tasmania as a benefit in support of the Martu people of Parnngurr in Western Australia in their fight to prevent a uranium mine from being developed near their community by Canadian multinational Cameco and Mitsubishi. Anohni appeared with Martu representatives at a press conference at the MCA in Sydney and on ABC's "Q and A" in further service of this cause.


title: Anohni

text: Anohni collaborated with composer J. Ralph on the song "Manta Ray" from the environmental documentary "Racing Extinction". The song received a nomination for Best Original Song at the 88th Academy Awards. Anohni released a statement expressing discomfort over the academy's decision to characterize her in the days leading up to the ceremony as having been "cut" from the line-up due to "time constraints", despite never actually having been asked to perform in the first place. She stated that "singing about eco-cide... might not sell advertising space" and that the system is one "of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit". She did not attend the event.