title: S.V. Zulte Waregem

text: Zulte Waregem plays its home matches at the Regenboogstadion, meaning "Rainbow Stadium" in Dutch. The stadium used to be the home of K.S.V. Waregem until the withdrawal of the club. It has a capacity of 12.250 and has been renovated lately to host European games. The hospitality accommodations and the field can be seen their own Virtual Tour or on Google Streetview. The Regenboogstadion meets UEFA's requirements for hosting European games (Category 4 stadium), so Zulte Waregem's home matches can be played in their own stadium, which they did in de 2017-2018 Europa League competition. Zulte Waregem has an average attendance of 9.500 people at home games.


title: Rated R (Queens of the Stone Age album)

text: Rated R (also known on vinyl as Rated X and Rated RX on 2010 deluxe edition) is the second studio album by American rock band Queens of the Stone Age, released on June 6, 2000 by Interscope Records. It was the band's first album for the label, as well as their first to feature bassist Nick Oliveri and vocalist Mark Lanegan.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" was a critical and commercial success and became the band's breakthrough album, peaking at number 54 in the UK and eventually being certified gold by the BPI. Two singles were released from the album: "The Lost Art of Keeping a Secret" and "Feel Good Hit of the Summer", with the former helping the band reach mainstream popularity.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" has been described as featuring stoner rock, alternative rock, hard rock, and alternative metal. The album contains numerous references to drugs and alcohol. This is particularly prominent on the opening track, "Feel Good Hit of the Summer", which consists entirely of the repeated verse "Nicotine, valium, vicodin, marijuana, ecstasy and alcohol" followed by a chorus of "c-c-c-c-c-cocaine". Though frontman Josh Homme has emphasized the fact there is no definitive endorsement or condemnation behind the lyrics, he has confirmed he came up with the lyrics stumbling through the desert at night after a New Year's party, trying to remember what exactly he had consumed that evening leaving him so intoxicated.


title: Rated R (Queens of the Stone Age album)

text: Following the theme, "Monsters in the Parasol", which originally appeared on the Desert Sessions album, "", is about Homme's first experience on LSD, kicking in just as his friends' father and sister came home, leading to a bad trip.


title: Rated R (Queens of the Stone Age album)

text: The song "Better Living Through Chemistry" offers an opposing stance on prescription drugs, while Homme's favorite song from the album closer, "I Think I Lost My Headache", is described as being about "Paranoia... when you think something strange is going on, and everyone around you is so adamant about telling you it's fine... but then you start thinking 'Wouldn't that be exactly what you'd say if you didn't want me to know, and there is something going on?' And so it's kind of about that paranoid mentality which maybe I have sometimes."


title: Rated R (Queens of the Stone Age album)

text: The song is also notable for its unconventional intro and outro in the 15/8 time signature, with the outro culminating in several minutes of an incessantly jarring and repetitive horn part, added to punish those who may have fallen asleep listening to the album.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" features the debut of bassist Nick Oliveri and guest vocalist Mark Lanegan, who both made vocal and songwriting contributions to the band. In addition to providing backing vocals for "Auto Pilot" and "I Think I Lost My Headache", Lanegan sang lead vocals on "In the Fade", a song about clarity following a comedown/sobriety, while Oliveri sang "Tension Head", a re-recording of the song "13th Floor" off Oliveri's Mondo Generator's debut album "Cocaine Rodeo", and "Quick and to the Pointless", which follows the singer's experiences on heroin and speed, and cocaine and meth, respectively. "Quick and to the Pointless'" drum, bass, guitar and vocal tracks were recorded simultaneously in just one take. Oliveri's vocal performance was originally intended to be a scratch vocal, but the band liked it so much that this original recording remained on the finished song including the two verses in Dutch.


title: Rated R (Queens of the Stone Age album)

text: One of the few songs not involving drug use is the albums' lead single, "The Lost Art of Keeping a Secret", which is a response by Homme to people who had lost his trust, particularly involving trysts. Another one, the acoustic instrumental "Lightning Song" was penned by touring keyboardist, second guitarist, and lap steel player Dave Catching.


title: Rated R (Queens of the Stone Age album)

text: The 70s-era MPAA "R" rating bumper features on the album's cover, along with the text "RESTRICTED TO EVERYONE, EVERYWHERE, ALL THE TIME". The album's liner notes contain further warning messages for each song, in the style of the warning messages given to parents on video and DVD boxes: "Auto Pilot", for example, contains "Alcohol and Sleep Deprivation". The title and subtext was meant by the band as a jab at record label Interscope, whose persistence that the album's themes would be too controversial and would warrant a parental advisory sticker circumvented the issue and allowed the band to sell the album without one.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" was released by Interscope Records on June 6, 2000. A UK-only special edition of the album included a bonus disc, titled "Rated U", which was also separately issued as the "Feel Good Hit of the Summer" single. Along with "Feel Good Hit of the Summer" and its video, it featured three newly recorded songs.


title: Rated R (Queens of the Stone Age album)

text: In an interview with "NME", Josh Homme revealed plans of a re-issue of "Rated R" which would feature B-side recordings and live performance from Reading Festival. It was released on August 3, 2010.


title: Rated R (Queens of the Stone Age album)

text: Added to the original album is a second disc with six B-sides and the band's summer 2000 Reading Festival concert—featuring nine previously unreleased songs, including live versions of "Rated R"s "Feel Good Hit of the Summer", "The Lost Art of Keeping a Secret", "Better Living Through Chemistry" and "Quick and to the Pointless".


title: Rated R (Queens of the Stone Age album)

text: The B-sides are "Ode to Clarissa", "You're So Vague", covers of Romeo Void's "Never Say Never" and The Kinks' "Who'll Be the Next in Line", a live version of the album's "Monsters in the Parasol", a song originally from Josh Homme's side project, The Desert Sessions, and a re-recording of "Born to Hula", an early song from "Kyuss/Queens of the Stone Age" EP. The other Reading Festival tracks are concert takes on "Ode to Clarissa", three songs from the band's debut album ("Regular John", "Avon" and "You Can't Quit Me, Baby"), and "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire", another track originally by The Desert Sessions, which was also present on their third album, "Songs for the Deaf".


title: Rated R (Queens of the Stone Age album)

text: "Rated R" was critically acclaimed. Steve Huey from AllMusic said ""R" is mellower, trippier, and more arranged than its predecessor, making its point through warm fuzz-guitar tones, ethereal harmonies, vibraphones, horns, and even the odd steel drum. That might alienate listeners who have come to expect a crunchier guitar attack, but even though it's not really aggro, R is still far heavier than the garage punk and grunge that inform much of the record. It's still got the vaunted Arizona-desert vibes of Kyuss, but it evokes a more relaxed, spacious, twilight feel, as opposed to a high-noon meltdown. Mark Lanegan and Barrett Martin of the Screaming Trees both appear on multiple tracks, and their band's psychedelic grunge - in its warmer, less noisy moments - is actually not a bad point of comparison."


title: Rated R (Queens of the Stone Age album)

text: "Rhapsody" called it the best rock album of the decade on its "Rock's Best Albums of the Decade" list.


title: Rated R (Queens of the Stone Age album)

text: All tracks written by Josh Homme and Nick Oliveri, except where noted. Lead vocals by Homme, except where noted.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" was the band's breakout album in the UK. It peaked at number 54 there and was certified silver by the British Phonographic Industry in 2001 and later certified gold in 2013. In the U.S., however, the album did not chart on the "Billboard" 200, instead peaking at number 16 on the Top Heatseekers album chart.


title: Rated R (Queens of the Stone Age album)

text: "Rated R" included the hit single "The Lost Art of Keeping a Secret", which was released in the summer of 2000 and became arguably the band's most recognizable and popular song at its time of release. Not only did its music video receive mild airplay on music television, the song was featured in the "Entourage" episode "I Love You Too" (from Season 2). It was also the only single from the album to get a chart position, reaching number 21 on the Mainstream Rock chart, number 36 on the Modern Rock chart and number 31 on the UK Singles Chart.


title: Fijians

text: Fijians () are a nation and ethnic group native to Fiji, who speak Fijian and share a common history and culture.


title: Fijians

text: Fijians, or "iTaukei", are the major indigenous people of the Fiji Islands, and live in an area informally called Melanesia. Indigenous Fijians are believed to have arrived in Fiji from western Melanesia approximately 3,500 years ago, though the exact origins of the Fijian people are unknown. Later they would move onward to other surrounding islands, including Rotuma, as well as blending with other (Polynesian) settlers on Tonga and Samoa. They are indigenous to all parts of Fiji except the island of Rotuma. The original settlers are now called "Lapita people" after a distinctive pottery produced locally. Lapita pottery was found in the area from 800 BCE onward.


title: Fijians

text: As of 2005, indigenous Fijians constituted slightly more than half of the total Fijian population. Indigenous Fijians are predominantly of Melanesian extraction, with some Polynesian admixture.


title: Fijians

text: Australia has the largest Fijian expatriate population, according to the Ministry of Pacific Island Affairs. According to the Australian census, the largest ethnic backgrounds that Fijians identified with were Indian/Indo-Fijian and Indigenous Fijian origins. Fijians were also the fifth largest Pacific ethnic group living in New Zealand; a decrease of 8 percent between 1996 and 2001. In 2001, the estimated Pacific Islander population size is 231,800 Fijians comprising about 7,000 of that. Outside Oceania, a notable Fijian diaspora is found in other Anglophone countries, namely Canada, United States and the United Kingdom.


title: Fijians

text: The "Bose Levu Vakaturaga" (Great Council of Chiefs) once passed laws and regulations governing the indigenous Fijian people. Until its disbanding by the Military of Fiji following the 2006 coup, the Great Council of Chiefs met yearly to discuss native Fijian concerns. The council, which was formerly responsible for appointing Fiji's president, was composed of 55 Fijian chiefs selected from the 14 provinces. Included in the council were three appointees from the island of Rotuma and six appointed by the Minister of Fijian Affairs. The Minister of Fijian Affairs consulted with the President as part of the selection process. Former Prime Minister Sitiveni Rabuka was given a lifetime appointment on the council.


title: Fijians

text: The native Fijian language belongs to the Central Pacific (Fijian – Polynesian) branch of the Austronesian family.


title: Fijians

text: Yaqona (pronounced Yang-gohna), otherwise known as kava – another important traditional custom – is an infusion prepared from the root of "Piper methysticum", a type of pepper plant. The plant itself is also often referred to as yaqona or the kava plant. Yaqona is extremely important in indigenous Fijian culture – in the time of the 'old religion' it was used ceremonially by chiefs and priests only. Today, yaqona is part of daily life, both in villages and in urban areas and across all classes and walks of life. 'Having a grog' or 'drinking grog', as drinking kava is sometimes known, is used for welcoming and bonding with visitors, for storytelling sessions or merely for passing time.


title: Fijians

text: The Tabua is a much revered whale's tooth which is used in both public and private occasions or ceremonies. The tooth is considered sacred.


title: Fijians

text: About 86 percent of the land in Fiji is owned by indigenous Fijian people. In 1876, Sir Arthur Hamilton-Gordon, the British colonial Governor, prohibited the sale of Fijian land to non-ethnic Fijians. This policy continues today. The Governor also banned the employment of native Fijians as labourers, and in 1878, began importing indentured labourers from India to work in the sugarcane fields. The effects of this immigration created an ethnic polarisation and rampant Anti-Indian sentiment, which has proven to be politically challenging to Fijian race relations.


title: Fijians

text: Indigenous Fijians overwhelmingly report as being Christian, with the Methodist Church of Fiji and Rotuma claiming the loyalty of 66.6% (1996 census). Other significant denominations include the Roman Catholic Church (13.3%), the Assemblies of God (6.2%) and the Seventh-day Adventists (5.1%). About 8% belong to other churches from a large number of denominations. Only about 0.8% report as following non-Christian religions or no religion.


title: Fijians

text: Approximately 70% of indigenous Fijians are farmers, many of which are sustenance farmers. They commonly grow such crops as sugar cane, cassava, rice, sweet potatoes, and bananas.


title: Fijians

text: Historically, Fijians were known as the canoe building experts of the Pacific, using them to trade with Tonga. They were usually large double-hulled canoes, called a Drua (pronounced nDroo-ah), with each side being similar except one was shorter and served as a type of outrigger. These were united by beams, with a platform on it that extended beyond the sides.


title: Fijians

text: The Lapita people, named after their distinctive pottery style, were the first people to inhabit Fiji in about 3000 BCE, and evidence of their settlements exist throughout Fiji – particularly around the Sigatoka Sand Dunes. They were followed by the Melanesians in about 500 BCE, and relatively recent trading with the Polynesian Tongans has added to the cultural mix. In the Lau group of islands, aspects of both cultures still intermingle. There was active commerce between Tonga and Fiji, and later in the history of this relationship, the Fijians in the Lau Islands (Eastern Fiji) became vassals to the King of Tonga. One particular reason Tongans and Samoans came to Fiji was to build the Drua (large double-hulled canoes) which they couldn't build on their own islands because of the lack of proper timber.


title: Fijians

text: From the early 19th century, both European and Chinese traders (dishsant visited Fiji for its sandalwood, hardwoods, beche-de-mer, marine life and, more recently, gold). The British ruled Fiji from 1874 to 1970. In 1970, Fiji became a fully independent nation with constitutional arrangements to ensure that traditional Fijian interests were preserved.


title: Fijians

text: His Royal Highness Prince of Wales, Prince Charles, presented the Instruments of Independence to Prime Minister Ratu Sir Kamisese Mara on 10 October 1970 at a massive gathering at Albert Park in Suva. In 1972, the first general elections were held using the 1970 constitution. In 1987, two military coups were staged. The first coup was bloodless, and the second coup severed ties with the British Monarchy. A controversial and racially divisive new constitution was adopted in 1990, and in 1992 the first general election was held under the auspices of the new constitution.


title: Fijians

text: The constitution was revised again in 1997 and was deemed to be more equitable by the many racial groups in Fiji. Free and peaceful elections in 1999 resulted in a government led by an Indo-Fijian, Mahendra Choudhary, but a violent coup in May 2000 ushered in a prolonged period of political and racial turmoil. Parliamentary elections held in August 2001 provided Fiji with a democratically elected government led by Prime Minister Laisenia Qarase. Re-elected in May 2006, Qarase was ousted in a military coup on 5 December that year, led by the Commander of the Republic of Fiji Military Forces(RFMF), Commodore Voreqe (Frank) Bainimarama, who initially appointed himself acting President, but in January 2007 assumed the position of interim Prime Minister, promising a return to democracy in the near future. This did not eventuate, however; elections were not held until 2014.


title: Fijians

text: In August 2008, shortly before the proposed People's Charter for Change, Peace and Progress was due to be released to the public, it was announced that it recommended a change in the name of Fiji's citizens. If the proposal were adopted, all citizens of Fiji, whatever their ethnicity, would be called "Fijians". At present, the word "Fijian" does not denote a nationality, and refers exclusively to indigenous Fijians. Citizens of Fiji are referred to as "Fiji Islanders". The proposal would change the English name of indigenous Fijians from "Fijians" to "itaukei". The indigenous word for Fijian is "Kaiviti" Deposed Prime Minister Laisenia Qarase reacted by stating that the name "Fijian" belonged exclusively to indigenous Fijians, and that he would oppose any change in legislation enabling non-indigenous Fijians to use it. The Cabinet at its meeting on 30 June 2010 approved the Fijian Affairs [Amendment] Decree 2010. The new law effectively replaces the word 'Fijian' or 'indigenous' or 'indigenous Fijian' with the word 'iTaukei' in all written laws, and all official documentation when referring to the original and native settlers of Fiji.


title: A View from the Top of the World

text: A View from the Top of the World is the fifteenth studio album by American progressive metal band Dream Theater, released on October 22, 2021. This is their first album to be recorded at their own studio, DTHQ (Dream Theater Headquarters), as well as their first since "Black Clouds & Silver Linings" (2009) to include fewer than nine tracks, and the first since "Dream Theater" (2013) both to contain a track of at least ten minutes in length and to end with the longest track.


title: A View from the Top of the World

text: The band began work on "A View from the Top of the World" about a year after the release of their then-latest album, "Distance over Time" (2019). Metal Addicts reported in April 2020 that Dream Theater (who had recently rescheduled and eventually cancelled their touring plans due to the COVID-19 pandemic) was planning to work on a new album in 2021. On the direction of the album, guitarist John Petrucci stated in an August 2020 interview with Ultimate Guitar: "The eight-string project with Ernie Ball Music Man is something we are working on and hoping to have developed as this year goes on. I'm hoping that on the next Dream Theater record I'll be able to explore that." Petrucci later confirmed, during an October 2020 interview with "Revolver" that, within the next few weeks, the band would be heading into DTHQ (the band's newly constructed studio) to get started on a new album.


title: A View from the Top of the World

text: Four of the five members wrote together in-studio, while frontman James LaBrie instead contributed via Zoom meetings remotely from Canada, as not to risk any potential compromising of his voice. When asked in an interview about the album's progress, Petrucci said that the writing sessions were "off to a great start". These sessions spanned over the next four months until March, after which LaBrie, at last, flew from Canada to meet them in New York to record vocals. This recording session also marked Dream Theater's first collaboration with Andy Sneap, who mastered and mixed the album, having recently worked with Petrucci on his second solo album "Terminal Velocity" (2020).


title: A View from the Top of the World

text: Dream Theater teased the album on July 26, 2021, revealing the initials of each of the seven song's titles and their respective run-times. Two days later, it was announced that the album was titled "A View from the Top of the World", and was planned for release on October 22, 2021. Two singles were released to support "A View from the Top of the World": "The Alien" and "Invisible Monster", while music videos for tracks "Awaken the Master" and "Transcending Time" were released after the album release date.


title: A View from the Top of the World

text: "The Alien" won the Grammy for Best Metal Performance in 2022, giving the band their first Grammy win after having been nominated for the third time (they were nominated in 2012 for "On the Backs of Angels" and in 2014 with "The Enemy Inside").


title: Pentatomidae

text: Pentatomidae is a family of insects belonging to the order Hemiptera, generally called shield bugs or stink bugs. Pentatomidae is the largest family in the superfamily Pentatomoidea, and contains around 900 genera and over 4700 species. As hemipterans, the pentatomids have piercing sucking mouthparts, and most are phytophagous, including several species which are severe pests on agricultural crops. However, some species, particularly in the subfamily Asopinae, are predatory and may be considered beneficial.


title: Pentatomidae

text: The name "Pentatomidae" is from the Greek "pente" meaning "five" and "tomos" meaning "section", and refers to the five segments of their antennae. Pentatomids are generally called "shield bugs" in British English, or "stink bugs" in American English. However, the term shield bugs is also applied broadly to include several related families (e.g. Acanthosomatidae, Scutelleridae, and Cydnidae), or specifically only to refer to species in the family Acanthosomatidae. The term shield bug refers to the generalized body shape of adult bugs in these families which resembles a heraldic shield when viewed from above.


title: Pentatomidae

text: The American name "stink bug" is specific to the Pentatomidae, and refers to their ability to release a pungent defensive spray when threatened, disturbed, or crushed. The composition of this spray may vary between species, and even by sex or age, but generally includes aldehydes and alkanes. Descriptions of the smells vary widely, and include oily, dusty, woody and earthy, and like coriander. In some species, the liquid contains cyanide compounds and a rancid almond scent, used to protect themselves and discourage predators.


title: Pentatomidae

text: The term "stink bug" may also be a vernacular for unrelated insects such as pinacate beetles (in the genus "Eleodes").


title: Pentatomidae

text: There are several subfamilies, of which the Aphylinae is often given family status, but is here retained as a subfamily, following Grazia "et al." (2008). The subfamilies include:


title: Pentatomidae

text: All pentatomids have 5-segmented antennae, and 3 tarsal segments on each foot. They generally have a large triangular scutellum in the center of the back. The body shape of adult pentatomids is generally "shieldlike," when viewed from above, but this varies between species, and is not true for the immature nymphal stages. The forewings of stink bugs are called hemelytra, with the basal half thickened while the apex is membranous. At rest, the wings are laid across the back of the insect, with the membranous wingtips overlapping. The hindwings are entirely membranous.


title: Pentatomidae

text: Several stink bugs and shield bugs are considered agricultural pests, because they can grow into large populations that feed on crops, damaging production, and they are resistant to many pesticides. They are a threat to cotton, corn, sorghum, soybeans, native and ornamental trees, shrubs, vines, weeds, and many cultivated crops.


title: Pentatomidae

text: In Mexico, some species of stink bugs are called "jumil", "chinche de monte", "xotlinilli", or "chumil" (e.g. "Edessa mexicana"). They are most often eaten in the states of Morelos and Guerrero. The flavor is sometimes said to resemble cinnamon, or sometimes a bitter medicinal flavor. "Jumiles" may be used for making sauces or as taco filling.


title: Pentatomidae

text: Since recent arrival in the U.S., populations of the brown marmorated stink bug have grown significantly. As of October 2014, brown marmorated stink bugs can be found in 41 out of 50 states within the U.S. In 2016 New Zealand's MPI put out an alert to prevent this invasive species from entering via imported cargo.


title: Royal Rumble (2010)

text: The 2010 Royal Rumble was the 23rd annual Royal Rumble professional wrestling pay-per-view (PPV) event produced by World Wrestling Entertainment (WWE). It was held for wrestlers from the promotion's Raw, SmackDown, and ECW brand divisions. The event took place on January 31, 2010, at the Philips Arena in Atlanta, Georgia. As has been customary since 1993, the Royal Rumble match winner received a world championship match at that year's WrestleMania. For the 2010 event, the winner received their choice to challenge for either Raw's WWE Championship, SmackDown's World Heavyweight Championship, or the ECW Championship at WrestleMania XXVI—this was the last Royal Rumble in which the ECW Championship was an option as the ECW brand was disbanded in February, also deactivating the title, thus also being WWE's last PPV to include the ECW brand.


title: Royal Rumble (2010)

text: Six professional wrestling matches were featured on the event's supercard, a scheduling of more than one main event. The main event was the 2010 Royal Rumble match, which featured wrestlers from all three brands. SmackDown's Edge, the twenty-ninth entrant, won the match by last eliminating Raw's John Cena, the nineteenth entrant. The primary match on the Raw brand was for the WWE Championship between reigning champion Sheamus and Randy Orton, which Sheamus won by disqualification. The primary match on the SmackDown brand was between The Undertaker and Rey Mysterio for the World Heavyweight Championship, which The Undertaker won to retain the championship. The featured match on the ECW brand was between Christian and Ezekiel Jackson for the ECW Championship, which Christian won to retain.


title: Royal Rumble (2010)

text: The Royal Rumble is an annual gimmick pay-per-view (PPV), produced every January by World Wrestling Entertainment (WWE) since 1988. It is one of the promotion's original four pay-per-views, along with WrestleMania, SummerSlam, and Survivor Series, dubbed the "Big Four". It is named after the Royal Rumble match, a modified battle royal in which the participants enter at timed intervals instead of all beginning in the ring at the same time. The 2010 event was the 23rd event in the Royal Rumble chronology and was scheduled to be held on January 31, 2010, at the Philips Arena in Atlanta, Georgia. It featured wrestlers from the Raw, SmackDown, and ECW brands.


title: Royal Rumble (2010)

text: The Royal Rumble match generally features 30 wrestlers. Traditionally, the winner of the match earns a world championship match at that year's WrestleMania. For 2010, the winner could choose to challenge for either Raw's WWE Championship, SmackDown's World Heavyweight Championship, or the ECW Championship at WrestleMania XXVI.


title: Royal Rumble (2010)

text: The card consisted of seven matches, as well as one dark match. The matches resulted from scripted storylines, where wrestlers portrayed heroes, villains, or less distinguishable characters to build tension and culminated in a wrestling match or series of matches. Results were predetermined by WWE's writers on the Raw, SmackDown, and ECW brands, with storylines produced on their weekly television shows, "Raw", "SmackDown", and "ECW".


title: Royal Rumble (2010)

text: On the December 15, 2009 episode of "ECW", general manager Tiffany announced that the ECW brand would host a competition called the "ECW Homecoming", where the winner will face Christian for the ECW Championship at the Royal Rumble. Featuring current and former wrestlers from the ECW brand, the first round of the competition consisted of eight singles matches. The winners would then qualify to the "Homecoming Finale" on the January 12, 2010 episode of "ECW", where they would fight in an eight-man battle royal that will determine the competition winner. The first two qualifying matches were featured later that night with Ezekiel Jackson defeating Vladimir Kozlov and Kane defeating Zack Ryder. On the December 22, 2009 episode of "ECW", Jack Swagger returned in a losing effort to Yoshi Tatsu, while Vance Archer advanced with a victory over Goldust. On the December 29, 2009 episode of "ECW", Matt Hardy and Evan Bourne defeated Finlay and Mike Knox respectively to qualify. The two remaining qualifying matches were held on the January 5, 2010 episode of "ECW" and saw Shelton Benjamin defeating Chavo Guerrero Jr. and CM Punk defeating Mark Henry to qualify. Ezekiel Jackson won the "Homecoming Finale", last eliminating Kane, to earn the right to face Christian at the Royal Rumble.


title: Royal Rumble (2010)

text: On the January 4 episode of "Raw", a fatal four-way match was held to determine the number one contender for WWE United States Championship featuring Montel Vontavious Porter, Mark Henry, Carlito and Jack Swagger. Porter emerged victorious by pinning Swagger, and earned a match against The Miz for the championship.


title: Royal Rumble (2010)

text: It was announced on December 31, 2009, on the company's official website that The Undertaker would be defending the World Heavyweight Championship at the Royal Rumble; the means of determining the challenger was stated to be via the "Beat the Clock Sprint", a series of matches that sees who ever wins their match in the fastest time would be declared the number-one contender. The sprint, held on the January 1, 2010, episode of "SmackDown", consisted of four matches involving CM Punk, Kane, Chris Jericho, Rey Mysterio Jr., Dolph Ziggler, R-Truth, Matt Hardy, and Batista. The wrestler who won his match in the quickest time would earn the championship match. Punk defeated Hardy in his match, setting the time at 7:20. The next match featured Kane and Ziggler; both failed to beat the time limit and the match ended in a draw. Mysterio defeated his former rival Jericho one second faster than Punk's time, with 7:19. The final match was Batista versus R-Truth; the match resulted in another time-limit draw, due in part to interference from Mysterio. Despite Mysterio's fastest time, on-screen consultant Vickie Guerrero overruled the result, announcing a match the following week between Mysterio and Batista, who had disputably won his match. The match between the two on the January 8 episode of "SmackDown" was declared a no contest following both men being incapacitated. A rematch between the two was held the following week, this time inside a steel cage. Mysterio won the match, earning the right to face The Undertaker at the Royal Rumble.


title: Royal Rumble (2010)

text: The main event for "Raw" was determined on the January 11 episode with guest host Mike Tyson announcing the winner of a Triple Threat match later that night between John Cena, Kofi Kingston, and Randy Orton would advance to face Sheamus at the Royal Rumble for the WWE Championship. Orton ultimately won with the help of Legacy, who took out Cena and Kingston for him.


title: Royal Rumble (2010)

text: Since November of the previous year, WWE Women's Champion Michelle McCool had been relentlessly insulting Mickie James over a perceived weight issue. The two had a match at , which saw McCool win, continuing the torment. James confronted McCool on the January 15 episode of "SmackDown" during a mocking monologue about James, leading to the champion assaulting her. It was also confirmed that day that McCool would defend her title again at the Royal Rumble against James.


title: Royal Rumble (2010)

text: Before the event aired live on pay-per-view, an untelevised match took place in which Gail Kim, Kelly Kelly, Eve Torres, and Bella Twins (Nikki and Brie) defeated Maryse, Katie Lea Burchill, Jillian Hall, Alicia Fox, and Natalya in a 10-Diva tag team match.


title: Royal Rumble (2010)

text: The event opened with Christian defending the ECW Championship against Ezekiel Jackson, who was accompanied by William Regal. Regal attempted to interfere but the referee noticed, ejecting Regal from ringside. Christian executed the Killswitch on Jackson to retain the title.


title: Royal Rumble (2010)

text: Next, The Miz defended the WWE United States Championship against Montel Vontavious Porter, as Theodore Long booked in a backstage segment. After MVP chased Miz into the ring, Miz pinned him with a small package to retain the title.


title: Royal Rumble (2010)

text: After that, Sheamus defended the WWE Championship against Randy Orton. Sheamus dominated most of the match, targeting Orton's left arm. Sheamus attempted Pale Justice on Orton but Orton countered the move with a Rope Hung DDT. Orton pinned Sheamus but Sheamus touched the bottom rope, voiding the pinfall. Orton attempted a punt on Sheamus but Sheamus countered and targeted Orton's left arm. Cody Rhodes interfered and attacked Sheamus, meaning Sheamus retained the title by disqualification. After the match, Orton confronted and attacked Rhodes. Ted DiBiase Jr. came out but was also attacked by Orton. Sheamus attacked Orton with a Brogue Kick and celebrated his victory.


title: Royal Rumble (2010)

text: Next, Michelle McCool defended the WWE Women's Championship against Mickie James. McCool was accompanied by Layla. Before the match began, McCool taunted James by calling her "Piggy James" and Layla wore a fat suit to mock James. As the match started, "Piggy James" Layla tried to attack the genuine James but McCool accidentally executed a Big Boot on Layla. James took advantage and executed a Mickie DDT to win the title.


title: Royal Rumble (2010)

text: The fifth match featured The Undertaker defending the World Heavyweight Championship against Rey Mysterio Jr. After countering a Last Ride, Mysterio executed two 619s on Undertaker. Mysterio attempted a West Coast Pop but Undertaker caught Mysterio and executed a Last Ride to retain the title.


title: Royal Rumble (2010)

text: The main event was the Royal Rumble match for a world championship match at WrestleMania XXVI. Dolph Ziggler and Evan Bourne, the first two entrants, were quickly eliminated by the third entrant CM Punk. After eliminating both men, Punk began talking on the microphone, boasting of his intention to win, carrying this on for all of his time in the match. Punk quickly eliminated the fourth entrant, JTG, before being stopped by The Great Khali, the fifth entrant. The sixth person to enter the match was Beth Phoenix, who became only the second WWE Diva to participate in a Royal Rumble, after Chyna. Phoenix eliminated Khali by pulling him over the top rope while kissing him but was eliminated by Punk immediately afterwards. Triple H entered at number eight and eliminated Punk. Montel Vontavious Porter, the fourteenth entrant, was attacked by The Miz during his ring entrance and taken backstage by medical personnel without entering the match. Miz then entered at number sixteen but Porter returned to the match and eliminated both himself and Miz. The other half of D-Generation X, Shawn Michaels, entered at number eighteen and he and Triple H eliminated all the other competitors in the match, leaving themselves. Michaels and Triple H were immediately joined by the nineteenth entrant, John Cena. After double-teaming Cena and taking him down, Michaels performed a Sweet Chin Music on Triple H to eliminate him. Another notable moment in the match came when R-Truth eliminated Big Show and Mark Henry at the same time. Chris Jericho entered the ring as the twenty-eighth entrant and was soon joined by the twenty-ninth entrant, Edge, who was making his return following a six-month hiatus due to injury. Edge performed spears on Jericho, Michaels and Cena before eliminating Jericho. Batista entered at number thirty as the final entrant. This brought the final four down to Michaels, Cena, Edge and Batista. After all four competitors traded moves on each other, Batista eliminated Michaels, who tried to rejoin the match but was stopped, resulting in him superkicking a referee before walking to the back frustrated. After a quick back and forth, Cena eliminated Batista, bringing the final two down to himself and Edge. Cena countered a spear attempt from Edge and went to eliminate him, but Edge instead eliminated Cena to win the match. In doing so, Edge would gain the new record of spending the least amount of time in the rumble match before winning it. He was in the match for 7 minutes and 37 seconds, besting the previous record set by Cena by 51 seconds. This record lasted for 12 years until it was broken by Brock Lesnar in 2022.


title: Royal Rumble (2010)

text: The Royal Rumble received generally positive reviews from critics. The event earned 462,000 pay-per-view buys, an increase of 12,000 on the 2009 Royal Rumble.


title: Royal Rumble (2010)

text: After failing to win the Royal Rumble match and losing an Elimination Chamber qualifying match to Randy Orton, Shawn Michaels cost The Undertaker the World Heavyweight Championship against Chris Jericho in the SmackDown Elimination Chamber match at Elimination Chamber. As a result, Michaels challenged Undertaker to a rematch of their WrestleMania XXV match at WrestleMania XXVI. Undertaker agreed on the term that if Michaels lost, he would retire from professional wrestling. A stipulation was added that the match would be contested under no disqualifications and no countouts. At WrestleMania, Undertaker defeated Michaels to extend his WrestleMania winning streak to 18–0 and Michaels was forced to retire.


title: Royal Rumble (2010)

text: As a result of winning the 2010 Royal Rumble match, Edge earned the opportunity to wrestle for a world championship of his choosing at WrestleMania XXVI. After Chris Jericho won the World Heavyweight Championship from The Undertaker in an Elimination Chamber match at Elimination Chamber, Edge announced that he would wrestle Jericho, whom Edge had shared the WWE Undisputed Tag Team Championships with at the time of his injury, for the title. At WrestleMania, Jericho defeated Edge to retain the title. After the match, Edge would be frustrated, spearing Chris Jericho through the barricade in the process at ringside. The rivalry ended after Edge defeated Jericho in a Steel Cage match at Extreme Rules.


title: Royal Rumble (2010)

text: John Cena eliminated Batista from the Royal Rumble match, which started a conflict between Batista and Cena. On the February 1 episode of "Raw", Cena rescued Bret Hart from an assault by Batista and Vince McMahon. After the show ended, Cena tried to help Hart but was attacked by Batista. At Elimination Chamber, Cena won the WWE Championship from Sheamus in an Elimination Chamber match. After the match, McMahon ordered Cena to defend the title against Batista. Batista defeated Cena to win the WWE Championship. At WrestleMania XXVI, Cena defeated Batista to regain the WWE Championship. Cena would retain the title against Batista in a Last Man Standing match at Extreme Rules and in an "I Quit" match at Over the Limit, which forced Batista to quit WWE.


title: Royal Rumble (2010)

text: After the Royal Rumble, Christian and Ezekiel Jackson continued to feud over the ECW Championship. On February 2, however, WWE Chairman Vince McMahon announced that "ECW" would be going off the air and would air its final episode on February 16. On the final episode of "ECW", Jackson, with the help of William Regal, defeated Christian in an Extreme Rules match to become the final ECW Champion. Afterwards, the ECW brand was discontinued, subsequently retiring the championship. This would in turn be the last Royal Rumble in which three titles were an option for the Rumble winner until 2020.


title: Gaelic Athletic Association

text: The Gaelic Athletic Association (GAA; ; CLG) is an Irish international amateur sporting and cultural organisation, focused primarily on promoting indigenous Gaelic games and pastimes, which include the traditional Irish sports of hurling, camogie, Gaelic football, Gaelic handball and rounders. The association also promotes Irish music and dance, as well as the Irish language.


title: Gaelic Athletic Association

text: As of 2014, the organisation had over 500,000 members worldwide, and declared total revenues of €65.6 million in 2017. The Games Administration Committee (GAC) of the Gaelic Athletic Association (GAA) governing bodies organise the fixture list of Gaelic games within a GAA county or provincial councils.


title: Gaelic Athletic Association

text: Gaelic football and hurling are the most popular activities promoted by the organisation, and the most popular sports in the Republic of Ireland in terms of attendances. Gaelic football is also the second most popular participation sport in Northern Ireland. The women's version of these games, ladies' Gaelic football and camogie, are organised by the independent but closely linked Ladies' Gaelic Football Association and the Camogie Association of Ireland respectively. GAA Handball is the governing body for the sport of handball, while the other Gaelic sport, rounders, is managed by the GAA Rounders National Council ().


title: Gaelic Athletic Association

text: Since its foundation in 1884, the association has grown to become a major influence in Irish sporting and cultural life, with considerable reach into communities throughout Ireland and among the Irish diaspora.


title: Gaelic Athletic Association

text: On 1 November 1884, a group of Irishmen gathered in the Hayes' Hotel billiard room to formulate a plan and establish an organisation to foster and preserve Ireland's unique games and athletic pastimes. Arising out of the meeting, the Gaelic Athletic Association (GAA) was founded. The architects and founding members were Michael Cusack of County Clare, Maurice Davin, Joseph K. Bracken, Thomas St George McCarthy, a District Inspector in the Royal Irish Constabulary, P. J. Ryan of Tipperary, John Wyse Power, and John McKay. Maurice Davin was elected president, Cusack, Wyse-Power and McKay were elected Secretaries and it was agreed that Archbishop Croke, Charles Stewart Parnell and Michael Davitt would be asked to become Patrons.


title: Gaelic Athletic Association

text: In 1922 it turned over the job of promoting athletics to the National Athletic and Cycling Association.


title: Gaelic Athletic Association

text: The GAA organises a number of competitions at divisional, county, inter-county, provincial, inter-provincial and national (All-Ireland) levels. A number of competitions follow a progressive format in which, for example, the winners of a club county football competition progress to a competition involving the top clubs from each county in the province, with the champions from each province progressing through a series of national finals.


title: Gaelic Athletic Association

text: Through a division of the association known as Scór (Irish for "score"), the association promotes Irish cultural activities, running competitions in music, singing, dancing and storytelling.


title: Gaelic Athletic Association

text: "The Association shall actively support the Irish language, traditional Irish dancing, music, song, and other aspects of Irish culture. It shall foster an awareness and love of the national ideals in the people of Ireland, and assist in promoting a community spirit through its clubs."


title: Gaelic Athletic Association

text: The group was formally founded in 1969, and is promoted through various Association clubs throughout Ireland (as well as some clubs outside Ireland).


title: Gaelic Athletic Association

text: The association has many stadiums scattered throughout Ireland and beyond. Every county, and nearly all clubs, have grounds on which to play their home games, with varying capacities and utilities.


title: Gaelic Athletic Association

text: The hierarchical structure of the GAA is applied to the use of grounds. Clubs play at their own grounds for the early rounds of the club championship, while the latter rounds from quarter-finals to finals are usually held at a county ground, i.e. the ground where inter-county games take place or where the county board is based.


title: Gaelic Athletic Association

text: The provincial championship finals are usually played at the same venue every year. However, there have been exceptions, such as in Ulster, where in 2004 and 2005 the Ulster Football Finals were played in Croke Park, as the anticipated attendance was likely to far exceed the capacity of the traditional venue of St Tiernach's Park, Clones.


title: Gaelic Athletic Association

text: Croke Park is the association's flagship venue and is known colloquially as "Croker" or "Headquarters", since the venue doubles as the association's base. With a capacity of 82,300, it ranks among the top five stadiums in Europe by capacity, having undergone extensive renovations for most of the 1990s and early 21st century. Every September, Croke Park hosts the All-Ireland inter-county Hurling and Football Finals as the conclusion to the summer championships. Croke Park holds the All-Ireland club football and hurling finals. Croke Park is named after Archbishop Thomas Croke, who was elected as a patron of the GAA during the formation of the GAA in 1884.


title: Gaelic Athletic Association

text: The Croke Park campus is also home to the National Handball Centre, which replaced the old Croke Park Handball Centre built in the 1970s. The centre is due to be the home of GAA Handball and to play host to All-Ireland Gaelic Handball finals.


title: Gaelic Athletic Association

text: The next three biggest grounds are all in Munster: Semple Stadium in Thurles, County Tipperary, with a capacity of 53,000, the Gaelic Grounds in Limerick, which holds 50,000, and Páirc Uí Chaoimh, County Cork, which can accommodate 45,000.


title: Gaelic Athletic Association

text: Research by former Fermanagh county footballer Niall Cunningham led to the publication in 2016 by his website, gaapitchlocator.net, of a map of 1,748 GAA grounds in Ireland, ranging from 24 grounds in his own county to 171 in Cork.


title: Gaelic Athletic Association

text: The association has, since its inception, been closely associated with Irish nationalism, and this has continued to the present, particularly in relation to Northern Ireland, where the sports are played predominantly by members of the mainly Catholic nationalist community, and many in the Protestant unionist population consider themselves excluded by a perceived political ethos. According to one sports historian, the GAA "is arguably the most striking example of politics shaping sport in modern history".


title: Gaelic Athletic Association

text: A perception within Northern Ireland unionist circles that the GAA is a nationalist organisation is reinforced by the naming of some GAA grounds, clubs, competitions and trophies after prominent nationalists or republicans.


title: Gaelic Athletic Association

text: Other critics point to protectionist rules such as Rule 42 which prohibits competing, chiefly British, sports (referred to by some as "garrison games" or foreign sports) from GAA grounds. As a result, the GAA became a target for loyalist paramilitaries during the Troubles when a number of GAA supporters were killed and clubhouses damaged. As the profile of Gaelic football has been raised in Ulster so too has there been an increase in the number of sectarian attacks on Gaelic clubs in Northern Ireland.


title: Gaelic Athletic Association

text: Rule 42 (Rule 5.1 in the 2009 rulebook) prohibits the use of GAA property for games with interests in conflict with the interests of the GAA referred to by some as "garrison games" or foreign sports. Current rules state that GAA property may only be used for the purpose or in connection with the playing of games controlled by the association. Sports not considered 'in conflict' with the GAA have been permitted.


title: Gaelic Athletic Association

text: On 16 April 2005 the GAA's congress voted to temporarily relax Rule 42 and allow international soccer and rugby to be played in the stadium while Lansdowne Road Football Ground was closed for redevelopment. The first soccer and rugby union games permitted in Croke Park took place in early 2007, the first such fixture being Ireland's home match in the Six Nations Rugby Union Championship against France.


title: Gaelic Athletic Association

text: In addition to the opening of Croke Park to competing sports, local GAA units have sought to rent their facilities out to other sports organisations for financial reasons in violation of Rule 42. The continued existence of Rule 42 has proven to be controversial since the management of Croke Park has been allowed to earn revenue by renting the facility out to competing sports organisations, but local GAA units which own smaller facilities cannot. It is also said that it is questionable as to whether or not such rental deals would be damaging to the GAA's interests.


title: Gaelic Athletic Association

text: The GAA has had some notable rules in the past which have since been abolished. Rule 21, instituted in 1897 when it was suspected that Royal Irish Constabulary spies were trying to infiltrate the organization, prohibited members of the British forces from membership of the GAA. The rule was abolished after an overwhelming majority voted for its removal at a special congress convened in November 2001. Rule 27, sometimes referred to as "The Ban", dated from 1901 and banned GAA members from taking part in or watching non Gaelic games. During that time people such as Douglas Hyde, GAA patron and then President of Ireland, was expelled for attending a soccer international. Rule 27 was abolished in 1971.


title: Gaelic Athletic Association

text: The association points out the role of members of minority religions in the membership throughout its history. For example, the Protestant Jack Boothman was president of the organisation from 1993 to 1997, while Sam Maguire was a Church of Ireland member. Nonetheless, to address concerns of unionists, the association's Ulster Council has embarked on a number of initiatives aimed at making the association and Gaelic games more accessible to northern Protestants. In November 2008, the council launched a "Community Development Unit", which is responsible for "Diversity and Community Outreach initiatives". The Cúchulainn Initiative is a cross-community program aimed at establishing teams consisting of Catholic and Protestant schoolchildren with no prior playing experience. Cross-community teams such as the Belfast Cuchulainn under-16 hurling team have been established and gone on to compete at the Continental Youth Championship in the USA. Similar hurling and Gaelic football teams have since emerged in Armagh, Fermanagh, Limavady.


title: Gaelic Athletic Association

text: David Hassan, from the University of Ulster, has written about the cross community work of the association and other sporting bodies in Ulster.


title: Gaelic Athletic Association

text: The 'Game of three-halves' cross-community coaching initiative was established in predominantly Protestant east Belfast in 2006. Organised through Knock Presbyterian Church, this scheme brings Association coaches to work alongside their soccer and rugby counterparts to involve primary school children at summer coaching camps. The Ulster Council is also establishing cross-community football and hurling teams in schools and is developing links with the Ulster-Scots Agency and the Church of Ireland. The council has also undertaken a series of meetings with political parties and community groups who would have traditionally have had no involvement in the association.


title: Gaelic Athletic Association

text: In January 2011, the then President of Ireland, Mary McAleese, announced the launch of an island-wide project called the "GAA Social Initiative". This aims to address the problem of isolation in rural areas where older people have limited engagement with the community. The initiative was later expanded by teaming up with the Irish Farmers Association to integrate that organisation's volunteers into the initiative.


title: Gaelic Athletic Association

text: Members of the Irish diaspora have set-up clubs in a number of regions and countries outside of Ireland, and there are GAA clubs in the United States, Australia, Britain, Canada, China, continental Europe, and elsewhere outside of Ireland.


title: Gaelic Athletic Association

text: While some units of the association outside Ireland participate in Irish competitions, the association does not hold internationals played according to the rules of either Gaelic football or hurling. Compromise rules have been reached with two "related sports".


title: Gaelic Athletic Association

text: International Rules Football matches have taken place between an Irish national team drawn from the ranks of Gaelic footballers, against an Australian national team drawn from the Australian Football League. The venue alternates between Ireland and Australia. In December 2006, the International series between Australia and Ireland was called off due to excessive violence in the matches, but resumed in October 2008 when Ireland won a two test series in Australia. The Irish welcomed the All Australian team at the headquarters of the GAA (Croke Park) on 21 November 2015. It was single one-off test match, which led the Irish to reclaim the Cormac McAnallen Cup by a score of 56–52.


title: Gaelic Athletic Association

text: The international dimension of Gaelic handball includes a World Championship tournament, alongside a European Tour and US Semi-Professional Tour. The 4-Wall and 1-Wall codes of the game are played around the world [with slightly different rules depending on which country one is playing in] and the World Handball Championships are organised by the World Handball Council. A European Tour has been set up with players from across Europe participating. 4-Wall Handball is played primarily in Ireland, the US and Canada while the 1-Wall code is played (in addition to the three mentioned) in Belgium, France, Holland, Italy, Spain and the UK.


title: Gaelic Athletic Association

text: To address concerns about player burnout, the association adopted a rule in 2007 that prohibited collective training for inter-county players for a period of two months every winter. This has proven to be controversial in that it is difficult to enforce, and in the drive to stay competitive, managers have found ways to avoid it, such as organising informal 'athletic clubs' and other activities that they can use to work on the physical fitness of players without overtly appearing to be training specifically at Gaelic games.


title: Social realism

text: Social realism is the term used for work produced by painters, printmakers, photographers, writers and filmmakers that aims to draw attention to the real socio-political conditions of the working class as a means to critique the power structures behind these conditions. While the movement's characteristics vary from nation to nation, it almost always utilizes a form of descriptive or critical realism.


title: Social realism

text: The term is sometimes more narrowly used for an art movement that flourished between the two World Wars as a reaction to the hardships and problems suffered by common people after the Great Crash. In order to make their art more accessible to a wider audience, artists turned to realist portrayals of anonymous workers as well as celebrities as heroic symbols of strength in the face of adversity. The goal of the artists in doing so was political as they wished to expose the deteriorating conditions of the poor and working classes and hold the existing governmental and social systems accountable.


title: Social realism

text: Social realism should not be confused with socialist realism, the official Soviet art form that was institutionalized by Joseph Stalin in 1934 and was later adopted by allied Communist parties worldwide. It is also different from realism as it not only presents conditions of the poor, but does so by conveying the tensions between two opposing forces, such as between farmers and their feudal lord. However, sometimes the terms social realism and socialist realism are used interchangeably.


title: Social realism

text: Social realism, as an art movement that became prominent in the US between the two world wars, as a reaction to the increasing hardship for ordinary people, was influenced by the social realist tradition in France which had existed for decades.


title: Social realism

text: Social realism traces back to 19th-century European Realism, including the art of Honoré Daumier, Gustave Courbet and Jean-François Millet. Britain's Industrial Revolution aroused concern for the poor, and in the 1870s the work of artists such as Luke Fildes, Hubert von Herkomer, Frank Holl, and William Small were widely reproduced in "The Graphic".


title: Social realism

text: In Russia, Peredvizhniki or "Social Realism" was critical of the social environment that caused the conditions pictured, and denounced the Tsarist period. Ilya Repin said that his art work aimed "to criticize all the monstrosities of our vile society" of the Tsarist period. Similar concerns were addressed in 20th-century Britain by the Artists' International Association, Mass Observation and the Kitchen sink school.


title: Social realism

text: Social realist photography draws from the documentary traditions of the late 19th century, such as the work of Jacob A. Riis, and Maksim Dmitriyev.


title: Social realism

text: In about 1900, a group of Realist artists led by Robert Henri challenged the American Impressionism and academics, in what would become known as the Ashcan school. The term was suggested by a drawing by George Bellows, captioned "Disappointments of the Ash Can", which appeared in the "Philadelphia Record" in April 1915.


title: Social realism

text: In paintings, illustrations, etchings, and lithographs, Ashcan artists concentrated on portraying New York's vitality, with a keen eye on current events and the era's social and political rhetoric. H. Barbara Weinberg of The Metropolitan Museum of Art has described the artists as documenting "an unsettling, transitional time that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era."


title: Social realism

text: Notable Ashcan works include George Luks’ "Breaker Boy" and John Sloan’s "Sixth Avenue Elevated at Third Street". The Ashcan school influenced the art of the Depression era, including Thomas Hart Benton’s mural "City Activity with Subway".


title: Social realism

text: The term dates on a broader scale to the Realist movement in French art during the mid-19th century. Social realism in the 20th century refers to the works of the French artist Gustave Courbet and in particular to the implications of his 19th-century paintings "A Burial At Ornans" and "The Stone Breakers", which scandalized French Salon–goers of 1850, and is seen as an international phenomenon also traced back to European realism and the works of Honoré Daumier and Jean-François Millet. The social realist style fell out of fashion in the 1960s but is still influential in thinking and the art of today.


title: Social realism

text: In the more limited meaning of the term, Social Realism with roots in European Realism became an important art movement during the Great Depression in the United States in the 1930s. As an American artistic movement it is closely related to American scene painting and to Regionalism. American Social Realism includes the works of such artists as those from the Ashcan School including Edward Hopper, and Thomas Hart Benton, Will Barnet, Ben Shahn, Jacob Lawrence, Paul Meltsner, Romare Bearden, Rafael Soyer, Isaac Soyer, Moses Soyer, Reginald Marsh, John Steuart Curry, Arnold Blanch, Aaron Douglas, Grant Wood, Horace Pippin, Walt Kuhn, Isabel Bishop, Paul Cadmus, Doris Lee, Philip Evergood, Mitchell Siporin, Robert Gwathmey, Adolf Dehn, Harry Sternberg, Gregorio Prestopino, Louis Lozowick, William Gropper, Philip Guston, Jack Levine, Ralph Ward Stackpole, John Augustus Walker and others. It also extends to the art of photography as exemplified by the works of Walker Evans, Dorothea Lange, Margaret Bourke-White, Lewis Hine, Edward Steichen, Gordon Parks, Arthur Rothstein, Marion Post Wolcott, Doris Ulmann, Berenice Abbott, Aaron Siskind, and Russell Lee among several others.


title: Social realism

text: In Mexico, the painter Frida Kahlo is associated with the social realism movement. Also in Mexico was the Mexican muralist movement that took place primarily in the 1920s and 1930s; and was an inspiration to many artists north of the border and an important component of the social realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a Marxist nature, and the social and political situation of post-revolutionary Mexico. Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo are the best known proponents of the movement. Santiago Martínez Delgado, Jorge González Camarena, Roberto Montenegro, Federico Cantú Garza, and Jean Charlot, as well as several other artists participated in the movement.


title: Social realism

text: Many artists who subscribed to social realism were painters with socialist (but not necessarily Marxist) political views. The movement therefore has some commonalities with the socialist realism used in the Soviet Union and the Eastern Bloc, but the two are not identicalsocial realism is not an "official art," and allows space for subjectivity. In certain contexts, socialist realism has been described as a specific branch of social realism.


title: Social realism

text: Social realism in the United States was inspired by the muralists active in Mexico after the Mexican Revolution of 1910.


title: Social realism

text: Social realist photography reached a culmination in the work of Dorothea Lange, Walker Evans, Ben Shahn, and others for the Farm Security Administration (FSA) project, from 1935 to 1943.


title: Social realism

text: After World War I, the booming U.S. farm economy collapsed from overproduction, falling prices, unfavorable weather, and increased mechanization. Many farm laborers were out of work and many small farming operations were forced into debt. Debt-ridden farms were foreclosed by the thousands, and sharecroppers and tenant farmers were turned from the land. When Franklin D. Roosevelt entered office in 1932, almost two million farm families lived in poverty, and millions of acres of farm land had been ruined from soil erosion and poor farming practices.


title: Social realism

text: The FSA was a New Deal agency designed to combat rural poverty during this period. The agency hired photographers to provide visual evidence that there was a need, and that FSA programs were meeting that need. Ultimately this mission accounted for over 80,000 black and white images, and is now considered one of the most famous documentary photography projects ever.


title: Social realism

text: The Public Works of Art Project was a program to employ artists during the Great Depression. It was the first such program, running from December 1933 to June 1934. It was headed by Edward Bruce, under the United States Treasury Department and funded by the Civil Works Administration.


title: Social realism

text: Created in 1935, the Works Progress Administration was the largest and most ambitious New Deal agency, employing millions of unemployed people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads. In much smaller but more famous projects the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects. Many of the artists employed under the WPA are associated with social realism. Social realism became an important art movement during the Great Depression in the United States in the 1930s. As an American artistic movement encouraged by New Deal art, social realism is closely related to American scene painting and to Regionalism.


title: Social realism

text: In Mexico, the painter Frida Kahlo is associated with the social realism movement. The Mexican muralist movement that took place primarily in the 1920s and 1930s was an inspiration to many artists north of the border and an important component of the social realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a Marxist nature, and the social and political situation of post-revolutionary Mexico. Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo are the best known proponents of the movement. Santiago Martínez Delgado, Jorge González Camarena, Roberto Montenegro, Federico Cantú Garza, and Jean Charlot, as well as several other artists participated in the movement.


title: Social realism

text: Many artists who subscribed to social realism were painters with socialist (but not necessarily Marxist) political views. The movement therefore has some commonalities with the Socialist Realism used in the Soviet Union and the Eastern Bloc, but the two are not identicalSocial Realism is not an "official art," and allows space for subjectivity. In certain contexts, socialist realism has been described as a specific branch of social realism.


title: Social realism

text: With the onset of abstract expressionism in the 1940s, social realism had gone out of fashion. Several WPA artists found work with the United States Office of War Information during WWII, making posters and other visual materials for the war effort. After the war, although lacking attention in the art market, many social realist artists continued their careers into the 1950s, 1960s, 1970s, 1980s, 1990s and into the 2000s; throughout which, artists such as Jacob Lawrence, Ben Shahn, Bernarda Bryson Shahn, Raphael Soyer, Robert Gwathmey, Antonio Frasconi, Philip Evergood, Sidney Goodman, and Aaron Berkman continued to work with social realist modalities and themes.


title: Social realism

text: Whether in and out of fashion, social realism and socially conscious art-making continues today within the contemporary art world, including artists Sue Coe, Mike Alewitz, Kara Walker, Celeste Dupuy Spencer, Allan Sekula, Fred Lonidier, and others.


title: Social realism

text: Muralists active in Mexico after the Mexican Revolution of 1910 created largely propagandizing murals which emphasized a revolutionary spirit and a pride in the traditions of the indigenous peoples of Mexico, and included Diego Rivera’s "History of Mexico from the Conquest to the Future", José Clemente Orozco's "Catharsis", and David Alfaro Siqueiros’s "The Strike". These murals also encouraged social realism in other Latin American countries, from Ecuador (Oswaldo Guayasamín's "The Strike") to Brazil (Cândido Portinari's "Coffee").


title: Social realism

text: In Belgium, early representatives of social realism are found in the work of 19th century artists such as Constantin Meunier and Charles de Groux. In Britain, artists such as the American James Abbott McNeill Whistler, as well as English artists Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues and depictions of the "real" world. Artists in Western Europe also embraced social realism in the early 20th century, including Italian painter and illustrator Bruno Caruso, German artists Käthe Kollwitz ("Raped Woman"), George Grosz ("Teutonic Day"), Otto Dix, and Max Beckmann; Swedish artist Torsten Billman; Dutch artists Charley Toorop ("The Friends’ Meal") and Pyke Koch; French artists Maurice de Vlaminck, Roger de La Fresnaye, Jean Fautrier, and Francis Gruber and Belgian artists Eugène Laermans and Constant Permeke.


title: Social realism

text: The political polarization of the period resulted in social realism's distinction from socialist realism becoming less obvious in public opinion, and by the mid-20th century abstract art had replaced it as the dominant movement in both Western Europe and the United States.


title: Social realism

text: Realism, a style of painting that depicts the actuality of what the eyes can see, was a very popular art form in France around the mid- to late-19th century. It came about with the introduction of photographya new visual source that created a desire for people to produce things that look "objectively real". Realism was heavily against romanticism, a genre dominating French literature and artwork in the mid-19th century. Undistorted by personal bias, Realism believed in the ideology of external reality and revolted against exaggerated emotionalism. Truth and accuracy became the goals of many realists as Gustave Courbet.


title: Social realism

text: The French Realist movement had equivalents in all other Western countries, developing somewhat later. In particular, the Peredvizhniki or "Wanderers" group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as Ilya Repin and had a great influence on Russian art.


title: Social realism

text: From that important trend came the development of socialist realism, which was to dominate Soviet culture and artistic expression for over 60 years. Socialist realism, representing socialist ideologies, was an art movement that represented social and political contemporary life in the 1930s, from a left-wing standpoint. It depicted subjects of social concern; the proletariat strugglehardships of everyday life that the working class had to put up with, and heroically emphasized the values of the loyal communist workers.


title: Social realism

text: The ideology behind social realism, communicated by depicting the heroism of the working class, was to promote and spark revolutionary actions and to spread the image of optimism and the importance of productiveness. Keeping people optimistic meant creating a sense of patriotism, which would prove very important in the struggle to produce a successful socialist nation. The Unions Newspaper, the "Literaturnaya Gazeta", described social realism as "the representation of the proletarian revolution". During Joseph Stalin's reign, it was considered most important to use socialist realism as a form of propaganda in posters, as it kept people optimistic and encouraged greater productive effort, a necessity in his aim of developing Russia into an industrialized nation.


title: Social realism

text: Vladimir Lenin believed that art should belong to the people and should stand on the side of the proletariat. "Art should be based on their feelings, thoughts, and demands, and should grow along with them", said Lenin. He also believed that literature must be part of the proletariat's common cause. After the revolution of 1917, leaders of the newly formed communist party were encouraging experimentation of different art types. Lenin believed that the style of art the USSR should endorse would have to be easy to understand (ruling out abstract art such as suprematism and constructivism) for the masses of illiterate people in Russia.


title: Social realism

text: A wide-ranging debate on art took place; the main disagreement was between those who believed in "Proletarian Art" which should have no connections with past art coming out of bourgeois society, and those (most vociferously Leon Trotsky) who believed that art in a society dominated by working-class values had to absorb all the lessons of bourgeois art before it could move forward at all.


title: Social realism

text: The taking of power by Joseph Stalin's faction had its corollary in the establishment of an official art: on 23 April 1932, headed by Stalin, an organization formed by the central committee of the Communist Party developed the Union of Soviet Writers. This organization endorsed the newly designated ideology of social realism.


title: Social realism

text: By 1934, all other independent art groups were abolished, making it nearly impossible for someone not involved in the Union of Soviet Writers to get work published. Any literary piece or painting that did not endorse the ideology of social realism was censored or banned. This new art movement, introduced under Joseph Stalin, was one of the most practical and durable artistic approaches of the 20th century. With the communist revolution came also a cultural revolution. It also gave Stalin and his Communist Party greater control over Soviet culture and restricted people from expressing alternative geopolitical ideologies that differed to those represented in socialist realism. The decline of social realism came with the dissolution of the Soviet Union in 1991.


title: Social realism

text: Social realism in cinema found its roots in Italian neorealism, especially the films of Roberto Rossellini, Vittorio De Sica, Luchino Visconti and to some extent Federico Fellini.


title: Social realism

text: Early British cinema used the common social interaction found in the literary works of Charles Dickens and Thomas Hardy. One of the first British films to emphasize realism's value as a social protest was James Williamson's "A Reservist Before the War, and After the War" in 1902. The film memorialized Boer War serviceman coming back home to unemployment. Repressive censorship during 1945–54 prevented British films from displaying more radical social positions.


title: Social realism

text: After World War I, the British middle-class generally responded to realism and restraint in cinema, while the working-class generally favored Hollywood genre movies. Thus realism carried connotations of education and high seriousness. These social and aesthetic distinctions would soon become running themes as social realism is now associated with the arthouse auteur, while mainstream Hollywood films are shown at the multiplex.


title: Social realism

text: Producer Michael Balcon revived this distinction in the 1940s, referring to the British industry's rivalry with Hollywood in terms of "realism and tinsel". Balcon, the head of Ealing Studios, became a key figure in the emergence of a national cinema characterized by stoicism and verisimilitude. "Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience", noted critic Richard Armstrong.


title: Social realism

text: Social realism in cinema was reflecting Britain's transforming wartime society. Women were working alongside men in the military and its munitions factories, challenging pre-assigned gender roles. Rationing, air raids and unprecedented state intervention in the life of the individual encouraged a more social philosophy and worldview. Social realist films of the era include "Target for Tonight" (1941), "In Which We Serve" (1942), "Millions Like Us" (1943), and "This Happy Breed" (1944). Historian Roger Manvell wrote, "As the cinemas [closed initially because of the fear of air raids] reopened, the public flooded in, searching for relief from hard work, companionship, release from tension, emotional indulgence and, where they could find them, some reaffirmation of the values of humanity."


title: Social realism

text: In the postwar period, films like "Passport to Pimlico" (1949), "The Blue Lamp" (1949), and "The Titfield Thunderbolt" (1952) reiterated gentle patrician values, creating a tension between the camaraderie of the war years and the burgeoning consumer society.


title: Social realism

text: Sydney Box's arrival as head of Gainsborough pictures in 1946 saw a transition from the Gainsborough melodramas, which had been successful during the war years, to social realism. Issues such as short-term sexual relationships, adultery, and illegitimate births flourished during the Second World War and Box, who favoured realism over what he termed as "flamboyance fantasy", brought these and other social issues, such as child adoption, juvenile delinquency, and displaced persons to the fore with films such as "When the Bough Breaks" (1947), "Good-Time Girl" (1948), "Portrait from Life" (1948), "The Lost People" (1949), and "Boys in Brown" (1949). Films of new rapidly expanding forms of leisure by working class families in postwar Britain were also represented by Box in "Holiday Camp" (1947), "Easy Money" (1948), and "A Boy, a Girl and a Bike" (1949). Box remained determined on making social realism films, even after Gainsborough closed in 1951, when he said in 1952 "No film has yet been made of the Tolpuddle Martyrs, the Suffragette Movement, the National Health Service as it is today, or the scandals of the patent medicines, oil control in the World, or armaments manufactured for profit." However, he would not go on to make these types of stories into films, instead focusing on issues related to abortion, teenage prostitution, bigamy, child neglect, shoplifting, and drug trafficking in films such as "Street Corner" (1953), "Too Young to Love" (1959), and "Subway in the Sky" (1959).


title: Social realism

text: A British New Wave movement emerged in the 1950s and 1960s. British auteurs like Karel Reisz, Tony Richardson, and John Schlesinger brought wide shots and plain speaking to stories of ordinary Britons negotiating postwar social structures. Relaxation of censorship enabled film makers to portray issues such as prostitution, abortion, homosexuality, and alienation. Characters included factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalized, the poor, and the depressed. The New Wave protagonist was usually a working-class male without bearings in a society in which traditional industries and the cultures that went with them were in decline.


title: Social realism

text: Social realism was also adopted by Hindi films of the 1940s and 1950s, including Chetan Anand's "Neecha Nagar" (1946), which won the Palme d'Or at the first Cannes Film Festival, and Bimal Roy's "Two Acres of Land" (1953), which won the International Prize at the 1954 Cannes Film Festival. The success of these films gave rise to the Indian New Wave, with early Bengali art films such as Ritwik Ghatak's "Nagarik" (1952) and Satyajit Ray's "The Apu Trilogy" (1955–59). Realism in Indian cinema dates back to the 1920s and 1930s, with early examples including V. Shantaram's films "Indian Shylock" (1925) and "The Unaccpected" (1937).


title: Psalm 22

text: Psalm 22 of the Book of Psalms (the hind of the dawn) or My God, my God, why hast thou forsaken me? is a psalm in the Bible.


title: Psalm 22

text: The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 21. In Latin, it is known as "Deus, Deus meus".


title: Psalm 22

text: The psalm forms a regular part of Jewish, Orthodox Christian, Catholic, Anglican, Lutheran, and other Protestant liturgies.


title: Psalm 22

text: In the most general sense, Psalm 22 is about a person who is crying out to God to save him from the taunts and torments of his enemies, and (in the last ten verses) thanking God for rescuing him.


title: Psalm 22

text: Jewish interpretations of Psalm 22 identify the individual in the psalm with a royal figure, usually King David or Queen Esther.


title: Psalm 22

text: The psalm is also interpreted as referring to the plight of the Jewish people and their distress and alienation in exile. For instance, the phrase "But I am a worm" (Hebrew: ואנכי תולעת) refers to Israel, similarly to Isaiah 41: "Fear not, thou worm Jacob, and ye men of Israel; I help thee, saith the LORD, and thy Redeemer, the Holy One of Israel."


title: Psalm 22

text: Tractate Megillah of the Babylonian Talmud contains an extended collection of midrash expanding on the Book of Esther. Commenting on Esther 5:1, Rabbi Levi is quoted saying that, as Esther passed through the hall of idols on the way to the throne room to plead with the king, she felt the Shekhinah (divine presence) leaving her, at which point she quoted Psalm 22:1 saying "My God, my God, why have you forsaken me." This quote in the Tractate Megillah of the Babylonian Talmud does not appear in the KJV of the Bible.


title: Psalm 22

text: "Ayelet Hashachar" (Hebrew: "hind of the dawn") is found in the title of the psalm. It is probably the name of some song or tune to the measure of which the psalm was to be chanted. Some, however, understand by the name some instrument of music, or an allegorical allusion to the subject of the psalms. In the recent literature, however, it is argued that "Hind of Dawn" is a cultic role of the priest designated person acting as מְנַצֵּחַ ("menatseach"), as head of the ritual.


title: Psalm 22

text: Where English translations have "psalm", the underlying Hebrew word is מִזְמוֹר ("mizmor"), a song with instrumental accompaniment. This is part of the series of "Davidic Psalms" ("mizmor le-david"). Traditionally, their authorship was attributed to King David; however, in scholarly exegesis this attribution has been variously qualified or challenged since the late 19th century. The Hebrew particle "le", can mean "for", "about", or "by", so that it remains open to interpretation whether these psalms originate with David, or whether the heading refers, rather, to the chief character of the poetry, as being concerned with Davidic kingship in the narrow sense, or even divine kingship more generally.


title: Psalm 22

text: The heading further assigns the psalm as "for the conductor" (לַֽמְנַצֵּחַ). This is apparently a reference to the use of psalms in the (temple) liturgy. The exact meaning is unclear.


title: Psalm 22

text: Verse 1, "My God, my God, why have you forsaken me?", is quoted in Mark 15:34; Matthew 27:46 Codex Vaticanus transliterates this differently from the canonical Greek text. Codex Vaticanus Matthew 27.46 has: "Eloey, Eloey, lema sabaktanei" which is similar to the old Syriac Psalm 22 "Alóhi Alóhi lmóno shbáqthoni". Codex Vaticanus Mark 15.34 has: "Eloi, Eloi, lama zabafthanei" which matches the Hebrew Psalm 22 (אלי אלי למה עזבתני) "Elí, Elí, láma azavtháni".


title: Psalm 22

text: Verse 8, "He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him", is quoted in Matthew 27:43


title: Psalm 22

text: Verse 18, "They divide my clothes among them and cast lots for my garment", is quoted in Mark 15:24; Matthew 27:35; Luke 23:34; John 19:24


title: Psalm 22

text: Verse 22, "I will declare your name to my people; in the assembly I will praise you", is quoted Hebrews 2:12


title: Psalm 22

text: This psalm is recited during synagogue services on Purim by various groups. Sephardi and Mizrahi Jews say Psalm 22 at the beginning of the evening service on Purim night. Sephardi and Mizrahi Jews, as well as Ashkenazi Jews who follow the "nusach" of the Vilna Gaon, recite Psalm 22 as the Song of the Day in the Purim morning service.


title: Psalm 22

text: Verse 29 is a part of the Song of the Sea, which is recited during Pesukei dezimra in the morning prayer. This verse is also said during Mussaf on Rosh Hashanah.


title: Psalm 22

text: According to the Gospel of Matthew and Gospel of Mark, Jesus cried out the opening verse of Psalm 22 from the cross (; ). Although Jesus said its first verse alone in his duress, it is well established that the first word or words of a Jewish text are understood as indicating its entirety, so thereby he regards the whole psalm as foreshadowing his passion and resurrection.


title: Psalm 22

text: Christians contend that "They have pierced my hands and my feet" (Psalm 22:16), and "I can count all my bones" (Psalm 22:17) are prophecies indicating the manner of Jesus's crucifixion: that he would be nailed to a cross (John 20:25) and, per the Levitical requirement for a sacrifice, that none of his bones would be broken (Numbers 9:11–13). (Christians view Jesus as an atoning sacrifice.)


title: Psalm 22

text: Some Christian commentators, such as E. W. Bullinger's "Companion Bible Notes", and H. A. Ironside, point out that the word translated 'worm' in "I am a worm and not a man" (Psalm 22:6) is "tola", a Middle Eastern worm that lives in a tree and is crushed for its red dye, also translated 'crimson'. It is also the word used in (Isaiah 41:14) in the servant songs of Isaiah. This would be consistent with the view of the suffering person being an atoning sacrifice, dying on a tree.


title: Psalm 22

text: All four Gospels report the Roman soldiers casting lots for Jesus' clothes (Matthew 27:35; Mark 15:24; Luke 23:34; John 19:24). John reports the action of the soldiers in the language of the psalm, then stating that the soldiers' action occurred "that the scripture might be fulfilled," followed at once by quoting Psalm 22:19 ("They divided my garments among them, and for my clothing they cast lots."). The Gospel of Matthew in Codex Amiatinus and other Latin manuscripts contain a clause (not found either in the Greek nor, apparently, in Jerome's original version of the Vulgate), at the end of Matthew 27:35 "ut [ad]impleretur quod dictum est per prophetam dicentem 'Miserunt sortem... ("so that what was said through the prophet might be fulfilled, 'They cast lots...).


title: Psalm 22

text: Jerome correlates Jesus' direction to the disciples, "Tell my brothers ("nuntiate fratribus meis")" to meet Jesus in Galilee () with Psalm 22:23: "I will tell forth ("Adnuntiabo") your name to my brothers ("fratribus meis")."


title: Psalm 22

text: In the Roman Rite, prior to the implementation of the Mass of Paul VI, this psalm was sung at the Stripping of the Altar on Maundy Thursday to signify the stripping of Christ's garments before crucifixion. The psalm was preceded and followed by the antiphon "Diviserunt sibi vestimenta mea: et super vestem meam miserunt sortem" (They divided my clothes among them and cast lots for my garment). The chanting of this psalm was suppressed in the 1970 revisions to the Mass. It is still included in many parts of the Anglican Communion.


title: Psalm 22

text: Since the Middle Ages, this psalm was traditionally performed during the celebration of the vigils dimanche, according to the Rule of St. Benedict set to 530, as St. Benedict of Nursia simply attributed Psalms 21 (20) 109 (108) offices vigils, "all sitting with ordre".


title: Psalm 22

text: In the pre-Tridentine Divine Office, the Psalm was said on Sundays at Prime. It was reassigned to Friday by Pope Pius V. In the current Divine Office promulgated in 1971 (Liturgy of the Hours), with the suppression of Prime, it was reassigned to the middle of the day (Terce, Sext, or None) on Friday of the third week.


title: Psalm 22

text: In the Church of England's "Book of Common Prayer", this psalm is appointed to be read on the evening of the fourth day of the month.


title: Psalm 22

text: In the Orthodox Church, the Psalm forms part of the Third Kathisma, which is sung every Sunday (except Pascha) at Matins and at the Third Hour on Wednesdays in Lent, except in the Fifth Week when it is sung at the First Hour. The Psalm is also sung at the Royal Hours of Good Friday.


title: Psalm 22

text: The psalm's own heading states that it is to be sung to the tune "Hind of Dawn", in a style apparently known to the original audience, according to the traditional interpretation. Heinrich Schütz wrote a settings of a metric paraphrase in German in two parts, "Hört zu ihr Völker in gemein", SWV 118, and "Ich will verkündgen in der Gmein", SWV 119, for the "Becker Psalter", published first in 1628.


title: Psalm 22

text: The King James Version of verses 7–8 from this chapter is cited as texts in Handel's English-language oratorio "Messiah", HWV 56.


title: Psalm 22

text: In exegetical scholarship, Psalm 22 is generally regarded as being of composite origin. It is understood to have originally consisted of the contents of verses 1-22/23, with verses 23/24-32 comprising a later addition. Further analysis also recognizes verses 4–6 as part of the later addition, and finds a third layer of editorial development in verses 28–32. The exact distinction between the two main parts of the psalm is also controversial, as verse 23 is sometimes counted as a part of the original psalm, but sometimes as part of the later addition.


title: Psalm 22

text: The original psalm (v. 2-22/23) is thought to date from the pre-exilic period, that is, before the Babylonian destruction of Jerusalem in 587 BC. The second part, because of the significant rescue of Israel, was probably added only in the post-exilic period. The most recent portion of the composition (v. 28–32), on account of its universalist perspective, is considered to date from the Hellenistic period, likely the late 4th century BC.


title: Psalm 22

text: The reproachful, plaintive question "why" of suffering (verse 2) in the 22nd Psalm touches the deepest sense of godforsakenness in the face of suffering and multiple persecution by enemies. Because of the vagueness of the plea being made by the first part of the psalm it has become a timeless testimony applicable to many situations of persecution. The complaints about the absence of God are punctuated by praise (v. 4), confidences (v. 5–6, 10–11) and petitions (v. 20–22) interrupted.


title: Psalm 22

text: The second part of the psalm is the gratitude of the petitioner in the light of his salvation (v. 22) in the context of Israel (v. 26–27) and expands in worship YHWH the perspective of the peoples of the world that impressed God's action should show.


title: Psalm 22

text: In the New Testament Jesus cites Psalm 22 shortly before his death on the cross, to make himself the psalm petitioner, and to own, according to Jewish tradition, the entire contents of the psalm.


title: Psalm 22

text: Christologically this is considered problematic, inasmuch as Jesus, the Second Person of the Trinity, can hardly say that God has forsaken him. However, as in the psalm, apparent abandonment by God is not the end. Rather, in both cases there is the sudden and abrupt rescue of the petitioner by God (in the New Testament through Jesus' resurrection). The usual division of the psalm into an action part (v. 2-22) and a praise or thanksgiving part (v. 23–32), therefore, is interpreted by some (by Martin Luther, among others) to anticipate the Crucifixion and the Resurrection.


title: Khosrow I

text: Khosrow I (also spelled Khosrau, Khusro or Chosroes; ; New Persian: []), traditionally known by his epithet of Anushirvan ( [] "the Immortal Soul"), was the Sasanian King of Kings of Iran from 531 to 579. He was the son and successor of Kavad I ().


title: Khosrow I

text: Inheriting a reinvigorated empire at war with the Byzantines, Khosrow I made a peace treaty with them in 532, known as the Perpetual Peace, in which the Byzantine emperor Justinian I paid 11,000 pounds of gold to the Sasanians. Khosrow then focused on consolidating his power, executing conspirators, including his uncle Bawi. Dissatisfied with the actions of the Byzantine clients and vassals, the Ghassanids, and encouraged by the Ostrogoth envoys from Italy, Khosrow violated the peace treaty and declared war against the Byzantines in 540. He sacked the city of Antioch, bathed in the Mediterranean Sea at Seleucia Pieria, and held chariot races at Apamea where he made the Blue Faction—which was supported by Justinian—lose against the rival Greens. In 541, he invaded Lazica and made it an Iranian protectorate, thus initiating the Lazic War. In 545, the two empires agreed to halt the wars in Mesopotamia and Syria, while it waged on in Lazica. A truce was made in 557, and by 562 a Fifty-Year Peace Treaty was made.


title: Khosrow I

text: In 572, Justin II, the successor of Justinian, broke the peace treaty and sent a Byzantine force into the Sasanian region of Arzanene. The following year, Khosrow besieged and captured the important Byzantine fortress-city of Dara, which drove Justin II insane. The war would last till 591, outliving Khosrow. Khosrow's wars were not only based in the west. To the east, in an alliance with the Göktürks, he finally put an end to the Hephthalite Empire, which had inflicted a handful of defeats on the Sasanians in the 5th-century, killing Khosrow's grandfather Peroz I. To the south, Iranian forces led by Wahrez defeated the Aksumites and conquered Yemen.


title: Khosrow I

text: Khosrow I was known for his character, virtues and knowledge. During his ambitious reign, he continued his father's project of making major social, military, and economic reforms, promoting the welfare of the people, increasing state revenues, establishing a professional army, and founding or rebuilding many cities, palaces, and much infrastructure. He was interested in literature and philosophy, and under his reign, art and science flourished in Iran. He was the most distinguished of the Sasanian kings, and his name became, like that of Caesar in the history of Rome, a designation of the Sasanian kings. Due to his accomplishments, he was hailed as the new Cyrus.


title: Khosrow I

text: At the time of his death, the Sasanian Empire had reached its greatest extent since Shapur II, stretching from Yemen in the west to Gandhara in the east. He was succeeded by his son Hormizd IV.


title: Khosrow I

text: "Khosrow" is the New Persian variant of his name used by scholars; his original name was Middle Persian, "Husraw", itself derived from Avestan "Haosrauuah" ("he who has good fame"). The name is transliterated in Greek as "Chosroes" (Χοσρόης) and in Arabic as "Kisra". Besides his personal name, he is widely known in sources by his epithet of "Anushirvan" ("the Immortal Soul"), a New Persian rendering of Middle Persian "anūšag-ruwān". Other variants of the name are "Anoshirvan", "Anushiravan" and "Nowshīrvān". Another epithet Khosrow was known by was "Dadgar" ("Dispenser of Justice").


title: Khosrow I

text: Many sources dating to the Islamic era, such as al-Tabari's Arabic "History of Prophets and Kings" and the "Shahnameh" ("Book of Kings") of the medieval Persian epic of Ferdowsi (d. 1020), give much information regarding Khosrow's reforms, and thus most likely drew both of their information from the Middle Persian history book "Khwaday-Namag" ("Book of Lords"). Other works were made independently, such as the "Sirat Anushirwan", which was reportedly an autobiography made by Khosrow himself, and survives in the work of Miskawayh (932–1030). Khosrow is also mentioned in several Greek sources, such as the ones of Procopius, Agathias and Menander Protector, who all give important information regarding Khosrow's management of the Irano-Roman wars. Syriac authors, such as John of Ephesus and Zacharias Rhetor also include Khosrow in their work, offering a perception of the consequences that his expeditions brought on the people who lived on the Roman border.


title: Khosrow I

text: Khosrow I was reportedly born between 512 and 514 at Ardestan, a town located in the Spahan province in central Iran. The town, dating back to the Achaemenid period, thrived during Khosrow's age, and also included a fire temple, which was said to be founded by the mythological Kayanian king Kay Bahman, from whom the Sasanians claimed their descent. Khosrow was the youngest son of Kavad I, the ruling Sasanian shah. His mother was an Ispahbudhan princess, who was the sister of the leading Iranian general Bawi. The Ispahbudhan were one of the Seven Great Houses of Iran that formed the elite aristocracy of the Sasanian Empire. They in particular enjoyed such a high status that they were acknowledged as "kin and partners of the Sasanians". The family also held the important position of "spahbed" of the West, i.e. the Sasanian Empire's southwestern regions (Khwarwaran).


title: Khosrow I

text: Following the tradition of the aristocratic or upper-class families, Khosrow would have started at school ("frahangestān") between the age of five and seven. There he would learn to write and would learn the "yashts", "Hadokht", "Bayān Yasn" and "Vendidad", following the same pattern of schooling made for a future priest ("herbed"). Furthermore, he would observe the Middle Persian translation of the Avesta, the Zend. Afterwards, he would be schooled in riding, archery, polo ("chovgan") and military creativity.


title: Khosrow I

text: In , Kavad, in order to secure the succession of Khosrow, whose position was threatened by rival brothers and the Mazdakite sect, proposed that Emperor Justin I adopt him. The proposal was initially greeted with enthusiasm by the Byzantine Emperor and his nephew, Justinian, but Justin's "quaestor", Proclus, opposed the move, due to the concern of Khosrow possibly later try to take over the Byzantine throne. The Byzantines instead made a counter-proposal to adopt Khosrow not as a Roman, but a barbarian. In the end the negotiations did not come to a consensus. Khosrow reportedly felt insulted by the Byzantines, and his attitude deteriorated towards them.