Design.

After the German "Kaiserliche Marine" (Imperial Navy) ordered the four s in 1889, a combination of budgetary constraints, opposition in the "Reichstag" (Imperial Diet), and a lack of a coherent fleet plan delayed the acquisition of further battleships. The Secretary of the "Reichsmarineamt" (Imperial Navy Office), "Vizeadmiral" (Vice Admiral) Friedrich von Hollmann struggled throughout the early- and mid-1890s to secure parliamentary approval for the s, but in June 1897, Hollmann was replaced by "Konteradmiral" (Rear Admiral) Alfred von Tirpitz, who quickly proposed and secured approval for the first Naval Law in early 1898. The law authorized the last two ships of the class, "Kaiser Barbarossa" and.  "Kaiser Barbarossa" was long overall and had a beam of and a draft of forward and aft. She displaced as designed and up to at full load. The ship was powered by three 3-cylinder vertical triple-expansion steam engines, each driving one screw propeller. Steam was provided by four Thornycroft boilers and eight cylindrical boilers, all of which burned coal. "Kaiser Barbarossa"s powerplant was rated at, which generated a top speed of. The ship had a cruising radius of at a speed of. She had a normal crew of 39 officers and 612 enlisted men.  The ship's armament consisted of a main battery of four 24 cm (9.4 in) SK L/40 guns in twin gun turrets, one fore and one aft of the central superstructure. Her secondary armament consisted of eighteen 15 cm (5.9 inch) SK L/40 guns, twelve 8.8 cm (3.45 in) SK L/30 quick-firing guns all mounted in casemates, and twelve machine cannon in single mounts. The armament suite was rounded out with six torpedo tubes, all in above-water swivel mounts. The ship's belt armor was thick, and the main armor deck was thick. The conning tower and main battery turrets were protected with of armor plating, and the secondary casemates received of armor protection.

Service history.

Kaiser Wilhelm II, the Emperor of Germany, believed that a strong navy was necessary for the country to expand its influence outside continental Europe. As a result, he initiated a program of naval expansion in the late 1880s; the first battleships built under this program were the four "Brandenburg"-class ships. These were immediately followed by the five "Kaiser Friedrich III"-class battleships, of which "Kaiser Barbarossa" was a member. "Kaiser Barbarossa"s keel was laid down on 3 August 1898, at the Schichau-Werke in Danzig, under construction number 640. She was ordered under the contract name "A" as an addition to the fleet. "Kaiser Barbarossa" was launched on 21 April 1900. The then-"Vizeadmiral" Alfred von Tirpitz, the State Secretary of the "Reichsmarineamt", gave the launching speech, and the new battleship was christened by Princess Luise Sofie of Prussia, Wilhelm II's sister-in-law. Sea trials began on 4 May 1901, during which two tests were recorded: a 50-hour endurance test and a 6-hour speed test. The former produced a sustained speed of, while the latter saw a maximum speed of, and on 10 June she was commissioned into the fleet in Kiel.  Following her commissioning, "Kaiser Barbarossa" was assigned to I Squadron of the "Heimatflotte" (Home Fleet), which shortly thereafter went on a cruise to Spain. While moored in Cádiz, the ships met the four "Brandenburg"-class ships, which were returning from their expedition to suppress the Boxer Rebellion in China. From 22 August to 21 September, "Kaiser Barbarossa" participated in the annual autumn maneuvers of the entire fleet. While in the Danzig Bay, the fleet conducted a naval review for the visiting Tsar Nicholas II of Russia, whose wife Alexandra was Wilhelm's cousin. The winter cruise in December went to southern Norway. In April and May 1902, the squadron went on a training cruise to Britain, followed by a tour of the Kiel Week sailing regatta in late June. The ships then took part in another training cruise to Norway in July and then the autumn maneuvers, which began in the Baltic and concluded in the North Sea with a fleet review in the Jade. During the exercise, which lasted from 17 August to 18 September, "Kaiser Barbarossa" and the rest of I Squadron were assigned to play the roles of both the German fleet and hostile forces. The usual winter cruise went to Bergen, Norway, that year.  In 1903 the fleet, which was composed of only one squadron of modern battleships, was reorganized as the "Active Battle Fleet". "Kaiser Barbarossa" remained in I Squadron along with her sister ships and the newest s, while the older "Brandenburg"-class ships were placed in reserve in order to be rebuilt. The first quarter of 1903 followed the usual pattern of training exercises. The squadron went on a training cruise in the Baltic, followed by a voyage to Spain that lasted from 7 May to 10 June. The ship suffered some damage to her rudder, which necessitated temporary repairs at the "Kaiserliche Werft" (Imperial Shipyard) in Kiel from the end of July to 21 August. She thereafter took part in the autumn maneuvers and the winter cruise in the eastern Baltic and the Skagerrak. The autumn maneuvers consisted of a blockade exercise in the North Sea, a cruise of the entire fleet first to Norwegian waters and then to Kiel in early September, and finally a mock attack on Kiel. The exercises concluded on 12 September. The winter training cruise began on 23 November in the eastern Baltic and continued into the Skagerrak in early December. On 15 December, "Kaiser Barbarossa" was decommissioned for permanent repairs to her rudder, which lasted until January 1905. When the repairs were finished, she did not return to service, however, and instead began a major reconstruction.  During the modernization, four of her 15 cm guns were removed and two 8.8 cm guns were added. All twelve 1-pounder guns were removed, as was the ship's stern-mounted torpedo tube. "Kaiser Barbarossa"s superstructure was also cut down to reduce the ship's tendency to roll excessively and her military masts were replaced with lighter pole masts. The ship's funnels were also lengthened. "Kaiser Barbarossa"s modernization was completed by 1 October 1907, when she was recommissioned for service. By that time, the newest s were coming into service; along with the s, these provided enough modern battleships to create two full battle squadrons. Consequently, the "Heimatflotte" was renamed the "Hochseeflotte" (High Seas Fleet). "Kaiser Barbarossa" returned to her place in I Squadron and she participated in the normal routine of divisional, squadron, and fleet maneuvers and cruises without incident over the next year. The summer fleet cruise in May that year went to the Azores and returned to Kiel on 13 August. The autumn maneuvers lasted from 27 August to 7 September. Divisional exercises in the Baltic immediately followed from 7 to 13 September.  On 17 September 1909, "Kaiser Barbarossa" was decommissioned and assigned to the Reserve Division in the Baltic Sea. By that time, the new dreadnought battleships, which rendered "Kaiser Barbarossa" and her sister ships thoroughly obsolete, were beginning to come into service with the fleet. In early 1910, "Kaiser Barbarossa" was assigned to the Training Squadron, which operated in the Baltic in April. She was reactivated to participate in the autumn maneuvers that year in the provisional III Squadron; after the conclusion of the exercises on 10 September, she was placed back in reserve. More modernization work was done at the "Kaiserliche Werft" in Kiel. From 31 July to 15 September, she was reactivated again to take part in the autumn maneuvers in III Squadron. She thereafter returned to the Reserve Division in early 1912.

World War I.

As a result of the outbreak of World War I, "Kaiser Barbarossa" and her sisters were brought out of reserve and mobilized as V Battle Squadron on 5 August 1914. The ships were prepared for war very slowly, and they were not ready for service in the North Sea until the end of August. They were initially tasked with coastal defense, though they served in this capacity for a very short time. In mid-September, V Squadron was transferred to the Baltic, under the command of Prince Heinrich. He initially planned to launch a major amphibious assault on Windau, but a shortage of transports forced a revision of the plan. Instead, V Squadron was to carry the landing force, but this too was cancelled after Heinrich received false reports of British warships having entered the Baltic on 25 September. "Kaiser Barbarossa" and her sisters returned to Kiel the following day, disembarked the landing force, and then proceeded to the North Sea, where they resumed guard ship duties. Before the end of the year, V Squadron was once again transferred to the Baltic.  After returning to the Baltic, Prince Heinrich ordered a foray toward Gotland. On 26 December 1914, the battleships rendezvoused with the Baltic cruiser division in the Bay of Pomerania and then departed on the sortie. Two days later, the fleet arrived off Gotland to show the German flag, and was back in Kiel by 30 December. The squadron returned to the North Sea for guard duties, but was withdrawn from frontline service in February 1915. Shortages of trained crews in the High Seas Fleet, coupled with the risk of operating older ships in wartime, necessitated the deactivation of "Kaiser Barbarossa" and her sisters. Her crew was reduced on 5 March, only to be replaced on 11 April so the ship could be used as a torpedo target ship; this service lasted until 9 November. Ten days later, she was decommissioned for the last time, and in 1916 she was disarmed. "Kaiser Barbarossa" was thereafter employed as a floating prison for prisoners of war in Wilhelmshaven. In November 1918, Germany sought an end to the war and signed the First Armistice at Compiègne, which temporarily ended hostilities so a peace treaty could be negotiated. Under the terms of the Treaty of Versailles, which formally ended the war and was signed on 28 June 1919, Germany was permitted to retain only six battleships of the ""Deutschland" or types". Accordingly, the ship was struck from the naval list on 6 December 1919 and sold to ship breakers. "Kaiser Barbarossa" was broken up for scrap metal in Rüstringen in 1919 and 1920.

SMS "Kaiser Barbarossa" was a German pre-dreadnought battleship of the. The ship was built for the Imperial Navy, which had begun a program of expansion at the direction of Kaiser Wilhelm II. Construction took place at Schichau, in Danzig. "Kaiser Barbarossa" was laid down in August 1898, launched on 21 April 1900, and commissioned in June 1901. The ship was armed with a main battery of four guns in two twin-gun turrets.

德皇巴巴罗萨号战列舰()是德意志帝国的一艘德皇腓特烈三世级前无畏战列舰。它是德意志帝国海军根据德意志皇帝威廉二世的海军扩张计划所订购。舰只于1898年8月开始在但泽的希肖船厂进行,1900年4月21日,至1901年6月投入使用,共斥资2030.1万马克。其主舰炮为安装在两座双联装炮塔内的四门240毫米40倍径速射炮,最高速度为。


History.

The Royal Garden was commissioned by Queen Amalia in 1838 and completed by 1840. It was designed by the German agronomist Friedrich Schmidt who imported over 500 species of plants and a variety of animals including peacocks, ducks, and turtles. Unfortunately for many of the plants, the dry Mediterranean climate proved too harsh and they did not survive. Other botanists planning and managing the garden include Karl Nikolas Fraas, Theodor von Heldreich and Spyridon Miliarakis.  A part of the upper garden, behind the Old Palace, was fenced off and was the private refuge of the King and Queen. The garden was open to the public in the afternoons.  Close to the garden in 1878 the neo-classical Zappeion Hall was built. It was donated by Evangelis Zappas and designed by Theophil Freiherr von Hansen. Zappas had started the Zappian Olympic Games, a precursor to the modern Olympic Games. The Zappeion was the Olympic village for the 1896 Summer Olympics in Athens and also as a venue for the fencing events. Starting in the 1920s, the area in front of the Zappeion was also a major transportation hub for trams and buses. Today it is used for public exhibitions.

The Royal Garden.

The Royal Garden was the scene of an unusual turning point in Greek history. In 1920, at the end of World War I, Greece under King Alexander and the government of Eleftherios Venizelos remained committed to the Megali Idea (Greek for The Great Idea) that Greece should gain control of portions of Asia Minor. In 1919, they began the Greco-Turkish War with the support of their former allies Britain and France. While walking in the Garden on September 30, 1920, King Alexander was bitten by a pet monkey (whose pet it is not revealed) and he died of sepsis three weeks later. His death ushered the return of his deposed father, King Constantine I who had been deposed for his pro-German sympathies during the First World War. Upon his return to power, King Constantine assisted in the defeat of his political nemesis, Venizelos in the November 1920 General Election. The new Prime Minister, Dimitrios Gounaris, a monarchist, began replacing the Venezelist military staff with officers more loyal to the new King. As a result of this change in political environment and it is argued, the reduction in military experience by the Army's General Staff, the Allied Powers withdrew their support. The result was the 1922 Great Fire of Smyrna, the defeat of Greek troops in Turkey with exodus of Greek refugees and the 1923 Exchange of populations between Greece and Turkey known collectively by the Greeks as the Asia Minor "Catastrophe. Winston Churchill wrote, "it is perhaps no exaggeration to remark that a quarter of a million persons died of this monkey's bite."

The National Garden.

In the 1920s the park was opened to the public and renamed "National Garden". In honour of Amalia of Greece, the entrance was moved to the 12 palms she planted and the street in front was renamed Queen Amalia Avenue. Since then the National Garden, is open to the public from sunrise to sunset.  Henry Miller wrote in 1939:  "It remains in my memory like no other park I have known. It is the quintessence of a park, the thing one feels sometimes in looking at a canvas or dreaming of a place one would like to be in and never finds."  In 2004 the Greek state gave the garden for 90 years to the city of Athens.

Services.

The National Garden, is open to the public from sunrise to sunset. The main entrance is on Leoforos Amalias, the street named after the Queen who envisioned this park. You can also enter the garden from one of three other gates: the central one, on Vasilissis Sophias Avenue, another on Herodou Attikou Street and the third gate connects the National Garden with the Zappeion park area. In the National Garden there are a duck pond, a Botanical Museum, a small cafe and a Children's Library and playground.

The National Garden (formerly the Royal Garden) () is a public park of in the center of the Greek capital, Athens. It is located between the districts of Kolonaki and Pangrati, directly behind the Greek Parliament building (The Old Palace) and continues to the South to the area where the Zappeion is located, across from the Panathenaiko or Kalimarmaro Olympic Stadium of the 1896 Olympic Games. The Garden also encloses some ancient ruins, tambourines and Corinthian capitals of columns, mosaics, and other features. On the Southeast side are the busts of Ioannis Kapodistrias, the first governor of Greece, and of the Philhellene Jean-Gabriel Eynard. On the South side are the busts of the celebrated Greek poets Dionysios Solomos, author of the Greek National Hymn, and Aristotelis Valaoritis.

雅典国立花园()是位于希腊雅典市中心的一座公园,公园北侧是希腊国会大厦,南侧是扎皮翁宫和奥林匹亚宙斯神殿,东侧是帕那辛纳克体育场,西侧是宪法广场。花园开始修建于1838年,竣工于1840年,当时花园上午为王族专用,下午对市民开放。现在雅典国立花园对普通市民开放。


History.

The Solomonic dynasty was a bastion of Judaism and later of Ethiopian Orthodox Christianity. It is claimed that this dynasty ruled Ethiopia as early as the 10th century BC, although there is no historical evidence to support this claim. Records of the dynasty's history were supposedly maintained by the Ethiopian Orthodox monasteries to near antiquity; however, if such records existed, most were lost as a result of the destruction of Orthodox monasteries by the resurgent Judaic Judith I around 960 AD/CE. Yekuno Amlak, an Amhara prince from the old province Bet Amhara, re-established the dynasty, tracing his ancestry to the last Solomonic King of Axum, Dil Na'od (or Anbesa Wudm). The Dynasty re-established itself on 10 Nehasé 1262 EC (10 August 1270 CE) when Yekuno Amlak overthrew the last ruler of the Zagwe dynasty.  Yekuno Amlak claimed direct male line descent from the old Axumite royal house that the Zagwes had replaced on the throne. Menelik II, and later his daughter Zewditu I, would be the last Ethiopian monarchs who could claim uninterrupted direct male descent from Solomon of Israel and the Queen of Sheba (both Iyasu V and Haile Selassie I were in the female line, Iyasu V through his mother Shewarega Menelik, and Haile Selassie I through his paternal grandmother, Tenagnework Sahle Selassie). The male line, through the descendants of Menelik's cousin Dejazmatch Taye Gulilat, still existed, but had been pushed aside largely because of Menelik's personal distaste for this branch of his family. The Solomonic Dynasty continued to rule Ethiopia with few interruptions until 1974, when the last emperor, Haile Selassie I, was deposed. The royal family is currently non-regnant. Members of the family in Ethiopia at the time of the 1974 revolution were imprisoned; some were executed and others exiled. In 1976, ten great grandchildren of Haile Selassie I were extracted from Ethiopia in an undertaking later detailed in a book by Jodie Collins titled "Code Word: Catherine". The women of the dynasty were released by the regime from prison in 1989, and the men were released in 1990. Several members were then allowed to leave the country in mid-1990, and the rest left in 1991 upon the fall of the communist régime. Many members of the Imperial family have since returned to live in Ethiopia.  During much of the dynasty's existence, its effective realm was the northwestern quadrant of present-day Ethiopia, the Ethiopian Highlands. The Empire expanded and contracted over the centuries, sometimes incorporating parts of modern-day Sudan and South Sudan, and coastal areas of the Red Sea and Gulf of Aden. Southern and eastern regions were permanently incorporated during the last two centuries, some by Shewan kings and some by Emperors Menelik II and Haile Selassie I; although much of the central and southern regions were previously incorporated into the empire under Amda Seyon I and Zara Yaqob, peripheral areas were lost after the invasion of Ahmad Gragn. In the modern era, the Imperial dynasty has several cadet branches. The elder Gondarine Amhara line, starting with Susenyos in 1606 (although often credited to his son Fasilides who established his capital at Gondar) ended its rule with the fall of the largely powerless Yohannes III in 1855 and the coming to power of Tewodros II, whose later claims of Solomonic descent were never widely accepted. Following Tewodros, Wagshum Gobeze claimed the throne linking himself to the last independent Gondare emperors through his mother, Aychesh Tedla, a descendant of Iyasu I, and reigned as emperor of Ethiopia with the title Tekle Giorgis II for some years, highly investing in the renovation of churches and monuments in Gondar. Being also an heir to the Zagwe throne, his reign was meant to be a unification of both dynasties in the enthronement of a king bearing both lineages. Tekle Giorgis II fought a battle with the Tigrean Claimant Kassai Mercha (Yohannes IV), and the latter, who had retrieved superior weaponry and armament from the British in return for his assistance in the defeat of Tewodros II, would be able to defeat Tekle Giorgis II's army, imprisoning and killing him. The Tigrean line came to power briefly with the enthronement of Yohannes IV in 1872, and although this line did not persist on the Imperial throne after the Emperor was killed in battle with the Mahdists in 1889, the heirs of this cadet branch ruled Tigre until the revolution of 1974 toppled the Ethiopian monarchy.  The Tigrean Cadet branch (along with its various sub-branches) traces its lineage to the main Solomonic line of Emperors through at least two female lines. The more recent link was through Woizero Aster Iyasu (wife of Ras Mikael Sehul, daughter of Mentewab and her lover, Melmal Iyasu, a Solomonic prince and nephew of Mentewab's late husband Bakaffa).  The Shewan line was next on the Imperial throne with the coronation of Menelik II, previously Menelik King of Shewa, in 1889. The Shewan Branch of the Imperial Solomonic dynasty, like the Gondarine line, could trace uninterrupted male line descent from King Yekonu Amlak, though Abeto Negassi Yisaq, the grandson of Dawit II by his youngest son Abeto Yaqob. The direct male line ended with Menelik II – who was succeeded first by the son of his daughter "Lij" Iyasu from 1913 to 1916, then by his daughter Zewditu until 1930, and finally by the son of a first cousin in the female line, Haile Selassie I. Haile Selassie's reign lasted until 1974, when the dynasty was removed from power. His grandson Prince Zera Yacob is his legal heir and therefore the current head of the imperial dynasty. The Shewan branch has several sub-branches, most notably the Selalle line established by Menelik II's uncle Ras Darge.  The oldest junior cadet branch of the Solomonic Dynasty is the Gojjam branch which traces its ancestry through various lines of the main branch of the Solomonic dynasty. One of the more prominent lines comes from Princess Walata Israel, the daughter of Melmal Iyasu and Empress Mentewab. She would later marry Dejazmach Yosedek who would later give rise to the Gojam Imperial House by way of their child "Talaku" Ras Hailu. The Princes of Gojam which include Ras Merid Hailu ( son of Ras Hailu Yosedek), Ras Goshu Zewde, Tekle Haymanot of Gojjam, Dejazmach Tadla Gwalu and Ras Desta Tadla all claim royal blood through the main Gonder Imperial House through Empress Mentewab and the Solomonic Prince Melmal Iyasu. Its most recent members include Tekle Haimanot King of Gojjam, his son Leul Ras Hailu Tekle Haimanot, who was the most senior Ethiopian noble who submitted to the Italian occupation of 1936–1941; and his nephew Ras Hailu Belew who was a noted figure in the resistance against the Italian occupation.

Coat of arms.

The Imperial Coat of arms was adopted by Haile Selassie I, and is currently held by his direct heir in the male line, Prince Zera Yacob, and by the Crown Council of Ethiopia. The arms are composed of an Imperial Throne flanked by two angels, one holding a sword and a pair of scales, the other holding the Imperial scepter. The throne is often shown with a Christian cross, and a Star of David, (representing the Christian and Jewish traditions). It is surmounted by a red mantle with the Imperial Crown, and before the throne is the Lion of the Tribe of Judah. The Lion of Judah was the central emblem of the Ethiopian tri-color flag during the reign of the monarchy, and now serves as the chief symbol of the Ethiopian monarchist movement. The Lion of Judah has also been adopted as the leading religious symbol for the Rastafari movement (a Western, African diaspora movement) that regards Emperor Haile Selassie as divine.  The phrase "Moa Ambassa ze imnegede Yehuda", ("Conquering Lion of the Tribe of Judah") appeared on the arms, and always preceded the Emperor's official style and titles. The official Imperial Dynastic motto was "Ityopia tabetsih edewiha habe Igziabiher" ("Ethiopia stretches her hands unto God"), a quote from the.  The full title of the Emperor of Ethiopia was "Negusa Nagast" and "Seyoume Igziabeher" (Ge'ez: ሥዩመ እግዚአብሔር; "Elect of God"). The title "Moa Anbessa Ze Imnegede Yehuda" ("Conquering Lion of the Tribe of Judah") always preceded the titles of the Emperor. It was not a personal title but rather referred to the title of Jesus and placed the office of Christ ahead of the Emperor's name in an act of Imperial submission. Until the reign of Yohannes IV, the Emperor was also "Neguse Tsion"(Ge'ez: ንጉሠ ጽዮን, 'nəgusä tsiyon)', "King of Zion"), whose seat was at Axum, and which conferred hegemony over much of the north of the Empire ("See: Ethiopian aristocratic and court titles").

The Solomonic dynasty, also known as the House of Solomon, is the former ruling dynasty of the Ethiopian Empire. Its members claim lineal descent from the biblical King Solomon and the Queen of Sheba. Tradition asserts that the queen gave birth to Menelik I after her biblically described visit to Solomon in Jerusalem. In 1270, the Zagwe dynasty of Ethiopia was overthrown by Yekuno Amlak, who claimed descent from Solomon and reinitiated the Solomonic era of Ethiopia. The dynasty lasted until 1974, ended by a coup d'état and deposition of Haile Selassie (who was a Solomonic prince through his grandmother).

所罗门王朝,1270年–1975年统治埃塞俄比亚的王朝。


Background and release.

In February 2010, Shakira wrote and produced "Waka Waka (This Time for Africa)" with American record producer John Hill, who had previously collaborated with her on several songs from "She Wolf". The inclusion of Freshlyground, a South African Afro-fusion band, on the track came to take place after Hill met with their producer in New York. The band were finishing their studio album "Radio Africa" when Hill approached them requesting input regarding the song. The producer left the band alone to make additions to the track and returned hours later to listen to it. Giving little reaction after hearing it, Hill expressed interest in recording "everything I'd heard here" and told the band that they would hear from him later.  On July 26, 2010, the Fédération Internationale de Football Association (FIFA) announced that "Waka Waka (This Time for Africa)" would serve as the official song of the 2010 FIFA World Cup, which was to begin in South Africa later in June, and would also appear on "Listen Up! The Official 2010 FIFA World Cup Album." The announcement mentioned that Shakira would perform the song at the closing ceremony of the cup, which would take place before the Final match, on 11 July at the FNB Stadium in Johannesburg. She would also headline the World Cup FIFA World Cup Kick-Off Celebration Concert on 10 June at the Orlando Stadium in Johannesburg. The song was premiered on 28 April and was made available for digital download on the iTunes Store on 7 May 2010. It received a physical release as a CD single on 28 May. A Spanish-language version of the song, titled "Waka Waka (Esto es África)," was also recorded by Shakira. It was released as a single in specific markets. "K-Mix" versions of "Waka Waka (This Time for África)" and "Waka Waka (Esto es Africa)" were also included in the singer's ninth studio album, "Sale el Sol," which she released in October the same year.

Composition.

A pop song, "Waka Waka (This Time for Africa)" draws inspiration from traditional African music and blends an African Colombian rhythm with a Soca-influenced beat. It contains instrumentation from a Southern African guitar. The chorus of the song and the words "waka waka" are borrowed from "Zangaléwa," a 1986 song recorded by Cameroonian band Golden Sounds, which was a hit not only across Africa but also in Shakira's native country, Colombia. According to Debora Halbert, author of the book "The State of Copyright: The Complex Relationships of Cultural Creation in a Globalized World," Golden Sounds are not the original creators of the chorus too, since it has been adapted from "military marches of unknown origins that go back as far as World War II."  The lyrics of "Waka Waka (This Time for Africa)" compare football (soccer) players to soldiers on a battlefield and encourage them to fight for their goals. Fraser McAlpine from BBC Music Chart Blog described them to be "about an undisclosed event which is about to happen for Africa, in which everyone gets together and enjoys the fruits of their hard work, even though there have been many hardships along the way." The Spanish version of the song does not contain a war metaphor and instead "talks about walls coming down."

Controversy.

FIFA's decision to choose "Waka Waka (This Time for Africa)" as the official song was negatively received by South African people, who felt Shakira was not the "right person to represent the country's first World Cup," arguing that an African artist should have been assigned the role. South African musicians were also displeased regarding the lack of native acts scheduled to perform at the FIFA World Cup Kick-Off Celebration Concert on 10 June 2010. They expressed anger towards the South African Football Association (SAFA) for letting international artists like Alicia Keys, the Black Eyed Peas, and Shakira headline the event. Subsequently, the Creative Workers Union of South Africa planned a demonstration to be held on 15 April, but called it off after SAFA announced that the repertoire of performing acts would be finalised after "consultation with fans and host cities." Danny Jordaan, head of the South African World Cup Organising Committee and president of SAFA, released a statement assuring that "the incredibly talented South African and African music industry will play a major part in the tournament's off-field success and character." Freshlyground's violinist Kyla-Rose Smith defended FIFA's decision to select "Waka Waka (This Time for Africa)" as the official song, saying: "I think that the World Cup is a global event but it's also a business, a huge marketing exercise. FIFA requires a musician of a certain global reach to appeal to all the different kinds of people who are involved and witness and watch the World Cup. So I understand the choice of someone like Shakira."  The "waka waka" riff of the song also generated controversy. In June 2010, it was reported that Dominican musician Wilfrido Vargas had decided to file a lawsuit against Shakira for plagiarising the riff off his composition "El Negro No Puede" for a sum of $11 million, which was performed by Dominican group Las Chicas del Can. However, Vargas later directly addressed the issue and said he did not have any intention to sue Shakira, clarifying that he himself did not own the riff used in "El Negro No Puede", and that the prior statements made in his name were fabricated.

Critical reception.

Fraser McAlpine from BBC Music Chart Blog gave the song a four out of five rating and praised its welding of "undulating African guitars to a clod-hopping, skippy township beat." However, he felt the song did not seem to be about the World Cup and could "just as easily be about a global effort to build water-pipes in the worst drought-ridden areas of the continental land-mass." Robert Copsey from Digital Spy rated it three out of five stars, favouring its "ludicrously catchy" chorus, although he commented: "Somewhat inevitably, 'Waka Waka (This Time For Africa)' sees Shak[ira] replace her usual kooky lyrics with lines that wouldn't sound out of place on an "X Factor" winner's song." Kyle Anderson from MTV picked "Waka Waka (This Time for Africa)" as the best official World Cup song, calling it a "funky, inspirational tune." Canada.com critic Stuart Derdeyn, however, was highly critical of the song and called it "sonic vomit" and "perhaps the stupidest official song for any major sporting event ever."  "Waka-Waka (This Time for Africa)" received a nomination at the 2010 Premios "Shock" for "Best Radio Song" ("Mejor Canción Radio"), but lost to "No Digas lo Siento" by Don Tetto. The song was nominated "Top Latin Song" at the 2011 "Billboard" Music Awards. In the same year, it received a nomination for "Latin Digital Download of the Year" at the 2011 Latin "Billboard" Music Awards. At the 2011 Nuestra Tierra Awards, "Waka Waka (This Time for Africa)" was nominated for "Best Song", but lost to Santiago Cruz and Fernando Osorio's "Cuando Regreses". In the same year, It was recognized at the 19th Annual ASCAP Latin Music Awards as one of the most-performed Pop Songs of 2010. The song was recognized as one of the most-performed songs at the 19th BMI Latin Music Awards in 2012.

Commercial performance.

Europe.

The song became a success across Europe. In Austria, "Waka Waka (This Time for Africa)" displaced Somali-Canadian artist K'naan's song "Wavin' Flag" (which was also another promotional song for the World Cup) from the top spot on the Ö3 Austria Top 40 chart, ending its four-week-long run at number one. "Waka Waka (This Time for Africa)" went on the spend six consecutive weeks atop the chart and a total of 63 weeks, making it Shakira's longest-charting single in the region. It is also Shakira's most successful single in the country and was certified double-platinum by the International Federation of the Phonographic Industry (IFPI) Austria, denoting sales of 60,000 units. In both the Dutch-speaking Flanders and French-speaking Wallonia regions of Belgium, the song reached number one on the Ultratop charts, logging a total of five and eight weeks at the spot, respectively. It was the best-selling single of 2010 in Wallonia and was certified double-platinum by the Belgian Entertainment Association (BEA) in 2012 for completing sales of 60,000 units. In Denmark, the song topped the Hitlisten chart and was certified double-platinum by the IFPI Denmark.  "Waka Waka (This Time for Africa)" debuted at number one on the French Singles Chart and stayed at the position for six consecutive weeks. The success of the song was such in the country that it appeared on the chart for three consecutive years (2010–13) and for a total of 132 weeks. The Syndicat National de l'Édition Phonographique (SNEP) certified the single platinum for sales of 150,000 units. It was the best-selling single in the country in 2010 with sales of 373,068 copies. The song peaked at number one on the German Singles Chart for six weeks and became the second highest selling single in the country in 2010. It was certified quintuple-gold by the Bundesverband Musikindustrie (BVMI), denoting shipments of 750,000 units, making "Waka Waka (This Time for Africa)" Shakira's highest-selling single in the country. In Italy, the song entered the FIMI singles chart at number two and peaked at number one a week later. It stayed at number one for 16 consecutive weeks. In 2014, the single was certified six times-platinum by the Federazione Industria Musicale Italiana (FIMI) for selling 180,000 units in the country.  The song topped the Spanish Singles Chart for 17 consecutive weeks and charted for 69 weeks in total. "Waka Waka (This Time for Africa)" was the best-selling single in Spain in 2010. It was later certified six times-platinum by the Productores de Música de España (PROMUSICAE) for selling 240,000 units in the country. The song is one of the best-selling singles in Spain. "Waka Waka (This Time for Africa)" became Shakira's biggest single in Sweden, where it peaked atop the Sverigetopplistan chart and appeared on the chart for 58 weeks. By 2012, the single had sold 360,000 downloads in the country and had been certified nine times-platinum by the IFPI. The ring tone format of the song has received a triple-platinum certification. In Switzerland, the song debuted at number five and later peaked atop the chart for four weeks. It spent 86 weeks on the chart and was certified triple-platinum in 2011 by the IFPI. "Waka Waka (This Time for Africa)" peaked at number 21 in the United Kingdom and was certified gold by the British Phonographic Industry (BPI) in 2015 for completing shipments of 400,000 units.

Asia and Americas.

"Waka Waka (This Time for Africa)" was the most-downloaded song of 2010 on the Nokia Music Store, based on its performance in 38 countries, including India and China. In India, it peaked at number three on the Radio Mirchi Angrezi Top 20 chart. According to Manoj Gairola of "Hindustan Times", the song was downloaded by more than 300,000 subscribers of a telecom company that held exclusive rights to sell "Waka Waka (This Time for Africa)" on mobile phones.  The song attained number one positions in Argentina, Chile and Shakira's native country Colombia. In Mexico, it spent five successive weeks at number one, and was certified double-platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON) in 2012 for completing sales of 120,000 downloads. In the United States, the song debuted at number 43 on the "Billboard" Hot 100 - Shakira's second-highest debut on the chart at that time. It later peaked at number 38. The Recording Industry Association of America (RIAA) certified the song platinum in 2011 after it completed sales of 1,000,000 downloads. According to Nielsen SoundScan, the single has sold 1,763,000 downloads in the United States, making it Shakira's third-highest selling digital single in the country (as of March 2014).

Music video.

The music video for "Waka Waka (This Time for Africa)" was directed by Marcus Raboy. It was developed and conceptualised by Shakira along with Antonio Navas, executive creative director of international marketing agency Ogilvy & Mather. Navas explained that the concept of the video was to "take the viewer on a trip around the world, ending in Africa." The dance sequences were choreographed by Hi-Hat, who had previously worked with Shakira on the video of "She Wolf" (2009). The video was shot in Los Angeles and was recorded in multiple languages. It was premiered on 6 June 2010 and became the first-ever music video by Sony Music to receive a release in 3D format.  The video chiefly focuses on Shakira and a crowd composed of numerous dancers and children dancing together. Freshlyground appear during their verse, with lead singer Zolani Mahola and violinist Kyla-Rose Smith "front and center". Towards the end of the video, various child dancers perform solo dance routines. The video interpolates archival footage of past football matches, including the infamous scene of Italian footballer Roberto Baggio missing the decisive penalty in the shootout of the 1994 FIFA World Cup Final against Brazil. It also features appearances by footballers Cristiano Ronaldo, Dani Alves, Gerard Piqué, Carlos Kameni, Lionel Messi and Rafael Marquez.  Adam Fairholm from IMVDb praised the dance sequences and wrote that while Shakira was "great," the best part of the music video were the appearances by Freshlyground, the children, and the footballers. He praised Raboy for "making everyone seem like a big, happy family" and felt the video was adequately representative of South African culture. MTV writer Kyle Anderson complimented the energy of the video and Shakira's dancing ability. He highlighted the footage of a football match showing a "killer slide tackle" as the "key" scene of the video. The video went viral on video-sharing website YouTube, reaching number one on "The Guardian" Viral Video Chart.

Live performances.

Shakira performed "Waka Waka (This Time for Africa)" at the 2010 FIFA World Cup opening ceremony on 10 June at the Orlando Stadium in Johannesburg, South Africa. The song was preceded by performances of her past singles "Hips Don't Lie" and "She Wolf". Freshlyground also appeared on the stage and Mahola sang her verse of the song. Numerous African dancers and musicians accompanied Shakira during the performance. For the performances, Shakira was dressed in a black and white zebra-print jumpsuit coupled with a silk-fringed skirt and bracelets made of brown leather and silver pearls. Her outfit was designed by Italian fashion designer Roberto Cavalli. Diane Coetzer from "Billboard" praised the performance and called it the "crowning moment" of the concert show. Although critical of Cavalli's costume, "Los Angeles Times" critic Ann Powers complimented Shakira's performance of the three songs and commended her incorporation of native dancers and musicians in the show, writing: "It was just a symbolic gesture, but a strong one in this evening-long review of pop music's journey from Africa to every corner of the earth, and back." Pitbull, Jennifer Lopez, and Claudia Leitte's headlining performance at the 2014 FIFA World Cup opening ceremony was negatively compared to Shakira's as fans found the former's show disappointing in comparison to the latter's.  The song was performed for a second time by Shakira and Freshlyground at the 2010 FIFA World Cup closing ceremony on 11 July 2010. Shakira's costume was designed by Cavalli again and consisted of a tulle top, a silk-fringed skirt with floral motifs and a denim belt. The top and belt were embroidered with pearls of various colours. Shakira also wore leather bracelets embellished with floral silk decorations. "Billboard" critic Coetzer wrote that the performance of the song "parked an ecstatic response" from the spectators. Siddharth Saxena from "Times of India" described the presentation as a "riot of colour, light and laser show".  "Waka Waka (This Time for Africa)" was included on the set list of Shakira's The Sun Comes Out World Tour (2010–11) and was performed as the last song of the encore segment of the concert shows. During the performances, she invited fans onto the stage to dance with her as confetti "filled the entire arena".  The song was performed by Shakira with Jennifer Lopez during the Super Bowl LIV halftime show.

Legacy.

As of May 2014, "Waka Waka (This Time for Africa)" has reportedly sold nearly ten million units worldwide, making it one of Shakira's best-selling songs along with "Hips Don't Lie". It has been proclaimed as one of the best FIFA World Cup songs of all time by publications including "Billboard", "Dallas Observer" and "The Sydney Morning Herald". With more than 2.5 billion views on YouTube as of May 2020, the music video of "Waka Waka (This Time for Africa)" is the twenty-eighth most-watched video of all time on the site. In an interview in 2014, Shakira spoke about the importance of the song in her life as she met Spanish footballer Gerard Piqué during the filming of the video, with whom she pursued a romantic relationship and has two sons, Milan Piqué Mebarak, born in January 2013 and Sasha Piqué Mebarak, born in January 2015.  The song returned to prominence in 2014 after a large number of Brazilian fans criticised "We Are One (Ole Ola)", the official song of the 2014 FIFA World Cup, for not correctly representing the culture of the host country Brazil. Many "expressed their frustration" on Twitter using the hashtag "#VoltaWakaWaka" (Portuguese for "ReturnWakaWaka"), demanding FIFA to reinstate "Waka Waka (This Time for Africa)" as the official song.  The song was featured in the video game "Just Dance 2018" and was also included in a medley sung by Shakira in the Super Bowl LIV halftime show in 2020.

Charts.

External links.

"Waka Waka (This Time for Africa)", called "Waka Waka (Esto es África)" in Spanish, is a song by Colombian singer Shakira, featuring the South African band Freshlyground. It was released on 7 May 2010 by Epic Records as the official song of the 2010 FIFA World Cup, which was held in South Africa. Written, composed, and produced by Shakira and John Hill, "Waka Waka (This Time for Africa)" is a pop song whose lyrics encourage one to aim for their goals like a soldier on a battlefield.

《非洲时刻》(英语:Waka Waka),是一首由哥伦比亚歌手夏奇拉与南非乐队清新土地共同演唱的歌曲。


Archaeological record.

Mummification on the Canary Islands during the Guanche period remained confined to Tenerife. In Gran Canaria there is currently a debate on the true nature of the mummies of the ancient inhabitants of the island, as researchers point out that there was no real intention to mummify the deceased and that the good conservation of some of them is due rather to environmental factors. In La Palma they were preserved by these environmental factors and in La Gomera, and El Hierro the existence of mummification is not verified. In Lanzarote and Fuerteventura this practice is ruled out.  The most well-preserved, and therefore the most thoroughly-studied, mummies were found on Tenerife.  In 1933, the Guanche necropolis of Uchova was discovered in the municipality of San Miguel de Abona in southern Tenerife. It is estimated that it contained between 60 and 74 mummies before the cemetery was almost completely looted.  Physical examination of the Guanche mummies of Tenerife found that they were quite tall. On average, the males stood 1.70 m and the females were 1.57 m in height. They were also generally of robust constitution.  The oldest mummified remains of the Canary Islands are from the 3rd century AD and were found on Tenerife.

Historical record.

Medieval Spanish explorers arriving in the islands during the 14th century reported the Guanche buried individuals of low social status in sandy graves, while upper class members were mummified and laid to rest in secluded caves. One of these mortuary caves may have held up to 1,000 mummies, however, many of these have disappeared with only 20 complete mummies left on the islands. The loss of such a large amount of mummies is generally attributed to the popularity of mummia, a pharmaceutical substance created out of pulverized mummies.  The Guanche had groups of males and females, working as mummification specialists, who would carry out the process according to the gender of the decedent. The Guanche culture considered these individuals unclean due to the nature of their work.

Mummification process.

While early explorers reported various traditions associated with Guanche mummification, there are three methods identified in modern times through scientific analysis: evisceration, preservation, and stuffing. These methods have been used in various different combinations depending on the era in which the mummy was created.  In 1876, Dr. Don Gregorio Chil y Naranjo discovered several incisions in some mummies that he speculated may have been used to remove the internal organs. Don Brothwell's work in 1969 confirmed that evisceration was a method used by the Guanche. Along with a team of other scientists, Brothwell conducted a pathological examination of a Guanche mummy. The examination revealed that the body had been eviscerated, then the abdominal and thoracic cavities had been packed with a mud-like substance that contained the bark of a pine tree. Some sort of packing was also applied subcutaneously, but the exact make-up of this particular embalming substance is unknown.  An examination conducted by Patrick Horne in 1991 of a mummy held at the Redpath Museum at McGill University in Montreal, Quebec, Canada revealed moss had been used to stuff the empty abdominal cavity. In addition to the moss, there were several other types of local plant that had been preserved inside the body as packing.  Preservation of the outer parts of the body was normally achieved through a combination of resins and animal skin wrappings. The resins were prepared with a mixture of minerals, plants, and fats. These were spread across the body prior to allowing it to dry, either in the sun or through smoking. Finally, the deceased was wrapped in animal skins and laid to rest. The number of animal skins used in wrapping corresponded with the individual’s social status, with kings being wrapped with up to 15 skins.

Guanche mummies are the intentionally desiccated remains of members of the indigenous Berber Guanche people of the Tenerife. The Guanche mummies were made during the eras prior to Spanish settlement of the area in the 15th century. The methods of embalming are similar to those that were used by the Ancient Egyptians, though fewer mummies remain from the Guanche due to looting and desecration.

关切人木乃伊是加那利群岛的关切人刻意制作的木乃伊。大多数的木乃伊在史前时期制成,直到十五世纪西班牙入据。 它们的防腐技术与古埃及人类似,不过由于盗墓,很少木乃伊被保留下来。


Description.

"Dracovenator" is estimated to have measured between in length. Others estimates suggest that "Dracovenator" was at most long and weighed. The holotype specimen, BP/1/5243, consists of both premaxillae, a fragment of the maxilla, two dentary fragments, a partial surangular bone, a partial angular bone, a partial prearticular bone, an articular bone, and several teeth. "Dracovenator" has a kink in its upper jaws, between the maxilla and the premaxilla. The back end of the lower jaw features an array of lumps and bumps, a condition seen in "Dilophosaurus", but to a much smaller extent. Munyikwa and Raath (1999) reassigned paratype BP/1/5278, which was originally assigned to "Syntarsus rhodesiensis", to "Dracovenator", a juvenile specimen which consists of bones from the front of the skull, teeth, and jaw bones.  A diagnosis is a statement of the anatomical features of an organism (or group) that collectively distinguish it from all other organisms. Some, but not all, of the features in a diagnosis are also autapomorphies. An autapomorphy is a distinctive anatomical feature that is unique to a given organism. According to Yates (2005) "Dracovenator" can be distinguished based on the following characteristics: the presence of a large bilobed fossa surrounding a large lateral premaxillary foramen that is connected to the alveolar margin by a deep narrow channel; a deep, oblique notch on the lateral surface of the articular bone, separating the retroarticular process from the posterior margin of the glenoid, a particularly well-developed dorsal, tab-like processes on the articular bone-the first on the medial side, just posterior to the opening of the chorda tympanic foramen and the second on the lateral side on the anterolateral margin of the fossa for the m. depressor mandibulae.

Discovery.

The type material BP/1/5243 for "Dracovenator" was discovered at the "Upper Drumbo Farm" locality in the upper Elliot Formation which is part of the Stormberg Group in Eastern Cape Province, South Africa. It was collected by James Kitching and Regent "Lucas" Huma in sandstone that was deposited during the Hettangian stage of the Jurassic period, approximately 201 to 199 million years ago. The paratype material BP/1/5278 (originally assigned to "Syntarsus rhodesiensis") was discovered in 1981, also at the Elliot Formation in pinkish-maroon silty mudstone that was deposited in Hettangian sediments. Both the holotype and paratype specimen were housed in the fossil collection of the Evolutionary Studies Institute, part of the School of Geosciences of the University of the Witwatersrand, in Johannesburg, South Africa. Unfortunately the cranial material house at the Evolutionary Studies Institute was lost and no new fossils of "Dracovenator" have currently been found.  The genus name is a contraction of the Latin words "draco" meaning "dragon", and "venator" meaning "hunter"; thus, "dragon hunter". "Draco" refers to its discovery in the foothills of Drakensberg, which is "Dragon’s Mountain" in the Dutch language. The specific name, "regenti", was named in the honor of the late Regent ‘Lucas’ Huma, who was Professor Kitching’s field assistant. "Dracovenator" was described and named by Adam M. Yates in 2006 and the type species is "Dracovenator regenti".

Classification.

Yates (2005) assigned "Dracovenator" to the clade Neotheropoda. The first cladistic analysis found that this genus formed a clade with the basal theropods "Dilophosaurus" and "Zupaysaurus". The skull of the type specimen, exhibits a mosaic of both ancestral and derived theropod characteristics. The following cladogram, based on the phylogenetic analysis conducted by Smith, Makovicky, Pol, Hammer, and Currie in 2007, outlines the relationships of "Dracovenator" and its close relatives:

Paleoecology.

The Upper Elliot Formation is thought to have been an ancient floodplain. Fossils of the prosauropod dinosaur "Massospondylus" and "Plateosaurus" have been recovered from the Upper Elliot Formation, which boasts the world's most diverse fauna of early Jurassic ornithischian dinosaurs, including "Abrictosaurus", "Fabrosaurus", "Heterodontosaurus", and "Lesothosaurus", among others. The Forest Sandstone Formation was the paleoenvironment of protosuchid crocodiles, sphenodonts, the dinosaur "Massospondylus" and indeterminate remains of a prosauropod. "Dracovenator" is thought to have preyed on the prosauropod dinosaurs in its paleoenvironment.

Dracovenator () is a genus of dilophosaurid theropod dinosaur that lived approximately 201 to 199 million years ago during the early part of the Jurassic Period in what is now South Africa. "Dracovenator" was a medium-sized, moderately-built, ground-dwelling, bipedal carnivore, that could grow up to an estimated long. Its type specimen was based on only a partial skull that was recovered.

龙猎龙属(属名:)是兽脚亚目恐龙的一属,生存于侏罗纪早期的南非,化石是一个部分头颅骨,发现于艾略特组(Elliot Formation)。龙猎龙的身长估计值介于5.5到6.5米。


Writing and production.

Development of "Love the Way You Lie" began with the backing track and hook melody, which was created by the British hip hop producer Alex da Kid. When making a track, he said he spends hours making loops and produces an electronic drum rhythm before adding live instrumentation. The drums are sampled from live recordings he saves. Alex da Kid recorded an acoustic guitar for the verses with a Georg Neumann U87 microphone and an Avid Mbox audio interface. He told "Sound on Sound" magazine that this song had given him an opportunity to reintroduce live guitar in hip hop music. During the session, he used Waves RVerb and REQ equalization on his main kick track and a MaxxBass plug-in on two others.  Writing began in late 2009, when the American singer Holly Hafermann resided at the Artula Retreat in Bandon, Oregon, and composed songs. Later, in New York City, under her new stage name Skylar Grey, she visited her Universal Music publisher, Jennifer Blakeman, to seek help presenting her work; Blakeman suggested she collaborate with Alex da Kid. The producer emailed Grey his track, which suggested a theme of abusive romantic relationships to her as she spontaneously sang lyrics to the melody. She told the "Los Angeles Times" that she was in an abusive relationship with the music industry: "I love it so much, and I give it all that I have, yet it beats me down." This idea inspired her writing, a process she found came naturally, as if she were creating an alternative pop song for herself. She wrote the chorus to "Love the Way You Lie" in fifteen minutes and recorded vocals for Alex da Kid's demo.  In early 2010, Alex da Kid offered the Shady Records Senior Director Rigo "Riggs" Morales some backing tracks. Morales enjoyed the tracks and sent them to Eminem, who was seeking a different musical approach for his next album. Impressed with Alex da Kid's work, Eminem asked for more tracks and subsequently heard "Love the Way You Lie". He chose it and told his manager Paul Rosenberg he wanted to collaborate with the Barbadian singer Rihanna. Eminem told Skyrock, "It's one of those tracks that I felt like only she could pull it off." Rosenberg sent the track to Rihanna, who accepted Eminem's request "at the last moment." Eminem then wrote the rapped verses.  Rihanna said she joined the collaboration because she could relate to the theme of the song, as she and Eminem had been in difficult relationships on "different ends of the table". Eminem had released the songs "'97 Bonnie & Clyde" (1998) and "Kim" (2000), in which he fantasizes, respectively, about murdering and verbally abusing his then-wife Kimberly Scott. They had divorced in 2001 and again in 2006 after a remarriage. In February 2009, Rihanna's relationship with the American singer Chris Brown had ended following his felony assault on her. Rihanna described "Love the Way You Lie" as unique, realistic and deep, saying that it "broke down the cycle of domestic violence" because few people had insight on the topic.

Recording.

Mike Strange recorded and mixed Eminem's vocals at Effigy Studios in Ferndale, Michigan. The sessions took two days. Strange edited the vocals with D-Verb—a reverberation software—and an Extra Long Delay plug-in. He preferred to make few changes; for "Love the Way You Lie" he almost exclusively used board compression and console equalization. Strange used the Bricasti and Eventide Reverb 2016 mixing tools for "brighter" reverberation. Detroit musician Luis Resto has contributed to the arrangement on many of Eminem's songs, but did not do so for "Love the Way You Lie". According to Strange, "Everything we needed was already in the track, apart from the vocals." Two to three weeks after the sessions, Alex da Kid arrived to help mix and master the track. He wanted to replace the acoustic guitar on the demo, but Eminem chose to keep it. Strange said, "It was simply a matter of trying to match and then to improve on the demo [Alex da Kid]'d sent us." Strange's brother Joe engineered the track.  Rihanna's recording sessions took place at Sun Studios in Dublin, Ireland, and were engineered by Marcos Tovar. The American songwriter Makeba Riddick provided additional vocal production. Strange used equalization, compression and reverberation but left the vocal balance. He assumed that Rihanna was satisfied with her recorded vocals and did not make major changes on her seven stereo vocal tracks.

Composition.

"Love the Way You Lie" is a midtempo hip hop ballad. The lyrics describe a couple's refusal to separate despite having an abusive relationship. According to the sheet music from Universal Music Publishing Group, the song is in the key of G minor with a common time signature and a tempo of 84 beats per minute. The vocal range spans from B to D. "Love the Way You Lie" opens as Rihanna sings the pop refrain over a piano: Just gonna stand there and watch me burn But that's alright because I like the way it hurts. Just gonna stand there and hear me cry But that's alright because I love the way you lie.  The refrain is based on a Gm–E–B–F/A chord progression. Fraser McAlpine of the BBC wrote that Rihanna feels confined "in a cell of [her] own creation". She sings without vibrato, a pulsating musical effect used to add expression. One commentator, "The New York Times" David Brownie, wrote that despite this, her voice subtly shows grief and regret. Eminem then "zap[s] out into a ballady rap": "I can't tell you what it really is/ I can only tell you what it feels like." The verses follow a Gm–EB–Fsus/A chord progression. Eminem regrets an end to an abusive, failed relationship, describing mutual violence and expressing both fondness and anger. The two artists' characters are portrayed in a romantic relationship when he responds to Rihanna by concluding the verse: "I laid hands on her. I'll never stoop so low again/ I guess I don't know my own strength." Rihanna sings the chorus again, backed by an electric guitar and a piano.  Acoustic guitar, violin and drums accompany Eminem's verses. The lyrics transition from discussing positive aspects of love to describing violent events. Eminem raps, "It's the rage that took over, it controls you both, so they say it's best to go your separate ways. Guess that they don't know ya, cause today that was yesterday." Sady Doyle of "The Atlantic" interpreted these lyrics as the rapper's confession to having abused Scott, as he "turns the anger and accusations toward himself". In the second verse, Eminem accepts the outcome after feeling sorry, admitting, "Yesterday is over, it's a different day." His frustration increases and he raps that two personalities can clash and devastate: "maybe that's what happens when a tornado meets a volcano". The described love–hate relationship worsens and leads to domestic violence. Eminem admits to lying about promises he makes and says late in the song, "If she ever tries to fuckin' leave again, I'ma tie her to the bed and set this house on fire", a reference to Rihanna's lyrics.

Release and response.

On May 27, 2010, Eminem revealed the title of "Love the Way You Lie" as part of the track list of his seventh studio album "Recovery", which came out on June 21. Initially a radio single, the song was released later by Polydor Records as a CD in the United Kingdom on August 9, 2010. Interscope Records distributed it in Germany on August 20.  "Love the Way You Lie" received generally favorable reviews. An editor for "Rap-Up" listed it among the four best tracks from the album. "New York Times" writer Jon Caramanica considered it "one of the album's most engaging songs" and praised Eminem's ability to assess issues from the perspectives of both sexes. MTV's Rodriguez wrote that the song echoes content from Eminem's earlier albums, but finds him "sober" and "more mature". He added that the lyrics allude to Eminem's relationship with Scott and that "Love the Way You Lie" is his closest approach to a love song. Editors of "The A.V. Club" compared the single with "Kim" and 97 Bonnie & Clyde"; they found he is more tempered in "Love the Way You Lie" when discussing a "mutually destructive relationship" and that Rihanna's involvement creates an eerie mood.  Critics especially praised Rihanna's contribution. Michael Menachem of "Billboard" complimented her "exquisitely melodic and surprisingly hopeful" vocal performance and "Eminem's dark, introspective" rapping. He noted that the percussion complements both artists and that Alex da Kid gave the classical arrangement a mainstream touch. Kyle Anderson, writing for MTV, remarked that the song showcases Rihanna's emotional vocals and Eminem's "most intense rhymes about his tumultuous relationships". He regarded "Love the Way You Lie" as an honest, "well-constructed pop song with a killer hook" and likened the "slow-burning" music to that of "Someone like You", a 2011 single by the British singer Adele. The "Houston Chronicle" pop critic Joey Guerra commented that Rihanna brought a "sandpaper and silk sheen" to the track.

Themes.

Critics have commented on the message in the lyrics. Anderson noted a dark theme, while Nick Levine of Digital Spy, Allie Townsend of "Time" magazine and Jocelyn Noveck of the Associated Press suggested the previous relationships of both artists influenced the song. Levine gave it four stars out of five. According to Eric Hayden of The Atlantic Wire, the song refers to an alcoholic couple, possibly inspired by Rihanna's relationship with Brown. McAlphine awarded "Love the Way You Lie" four stars out of five. According to him, the song would not have been effective if it had featured only Eminem's point of view and feelings of regret; he wrote that Rihanna's representing the opposite side of the relationship shows "proper storytelling" and "sends a message" because of her breakup with Brown. McAlphine wrote that as a result the song depicts a more realistic abusive relationship and could be featured in a campaign for women's shelters. He praised Eminem's accuracy and understanding of the topic. Winston Robbins from "Consequence of Sound" attributed the song's poignancy to Rihanna's past abusive relationship, and a theme of infidelity and abuse.  On the critical side, "The Daily Telegraph"'s Jenny McCartney dismissed the metaphors in the chorus and thought the song's topic was over-hyped. She disagreed with the critical praise, arguing that women accept abusive relationships for deeper reasons than sexual and emotional pleasure, such as family and financial issues and helplessness. In an NPR article, the writer Maura Johnston commented that the lyrics portray Rihanna as the subject of Eminem's violence. Jay Smooth, a New York radio personality, responded that "while Eminem explores the psyche of the abuser with an almost disturbing amount of depth and detail," Rihanna's perspective is downplayed and not explained fully. Johnston and Smooth wrote that such imbalances are a prevalent issue in popular music duets. To Sady Doyle, although "Love the Way You Lie" is one of Eminem's most affecting tracks and finds him remorseful, it does not make up for his past misogynistic actions and hateful songs. Noveck questioned whether the lyrics are "a treatise against (or apology for) domestic violence, or an irresponsible glorification of it? Or, is it something uncomfortable in between?"  Marjorie Gilberg, executive director of the anti-teenage violence group Break the Cycle, commented that "Love the Way You Lie" can teach listeners about the dangers of abusive relationships if interpreted correctly. She believed that because popular culture often depicts what is socially acceptable, people may accept such violence more easily. She added, "One problem, though,... is that the song reflects myths about domestic violence—myths that lead to blaming the victim." Gilberg said the victim is often accused of being as guilty as the partner but wants to be loved, not abused. Terry O'Neill, a feminist and the president of the National Organization for Women, criticized the lyric, "But your temper's just as bad as mine is / You're the same as me", saying it is a typical excuse used by abusive men for aggression and that "it's only 2-year-olds and violent men who use violence to get what they want." She added that Rihanna unintentionally glorifies domestic violence in the song despite attempting to fight it.

Recognition.

"Love the Way You Lie" ranked in various best-of-2010 lists. Claire Suddath of "Time" placed it at number five on her top-ten list and wrote, "That this song didn't come across sounding clichéd or tasteless is a testament to both artists' skill." AOL Radio considered the song the best of 2010 hip hop music, regarding Eminem as imaginative and passionate. It ranked ninth on MTV News' top-twenty-five list. Its editor James Montgomery attributed the song's success to its theme and relation to the artists' past abusive relationships. He concluded, "You cannot write a song any better than that, because that's how this kind of thing happens in real life." The "New York Post" placed the song at second place on their "top 210 songs from 2010" list and regarded it as a "comeback club anthem." In April 2011, Gabriel Alvarez of "Complex" magazine ranked it at number 100 on their "100 Best Eminem Songs" list, calling it a love song and praising Rihanna's vocals as beautiful. "Love the Way You Lie" and its accompanying music video were nominated for five Grammy Awards at the 2011 ceremony, including "Record of the Year", "Song of the Year" and "Best Short Form Music Video". It won the People's Choice Awards for "Favorite Music Video" and "Favorite Song".

Commercial performance.

"Love the Way You Lie" reached number one on several record charts worldwide. It entered the United States' "Billboard" Hot 100 at number two in the issue dated July 10, 2010. The single debuted at number one on the US Digital Songs after selling 338,000 digital copies in its first week. From July 31 to September 11, 2010, it had a seven-week run at the top of the Hot 100, giving Eminem his fourth, and Rihanna her seventh, number-one US hit. The single sold more than 300,000 digital copies in the week of August 14, 2010, rising to number two on the Pop Songs and Radio Songs charts. In the "Billboard" issue for August 21, 2010, Nielsen Broadcast Data Systems recognized the single with the BDS Certified Award for 50,000 radio spins. It topped the Pop Songs chart in the same issue, giving Eminem his third number-one track on the chart and Rihanna her sixth. "Love the Way You Lie" was the first number-one hit on the Rap Songs chart with Eminem as the lead artist since his 2000 single "The Real Slim Shady". With sales of 4,245,000 copies, "Love the Way You Lie" was the third-best-selling single of 2010 in the US. There, it sold 6 million copies by October 2013 and 6.5 million copies by October 2015.  The song entered the Australian Singles Chart on July 4, 2010, at number fourteen. It rose to the top three weeks later, occupying the position for six weeks and staying on the chart for 38 weeks in total. In Austria, "Love the Way You Lie" debuted at number 31, on July 2, 2010, and ascended to number one on September 4. After making a final consecutive appearance on March 4, 2011, it reappeared at number 75 on August 26. The song spent 47 weeks on the chart. "Love the Way You Lie" charted for 30 weeks in France, where debuted and peaked at number three on July 2, 2010. It was South Korea's third-best-selling song in 2010 by a foreign artist, with 1,200,653 downloads.  On the UK Singles Chart, the song debuted at number seven on June 27, 2010, and peaked at number two four weeks later. By the end of 2010,"Love the Way You Lie" had sold 854,000 copies in the UK, making it the country's biggest-selling song of the year. In October 2011, it became the 109th song to reach 1 million sales there. By November 2012, the single had sold 1.05 million copies in the UK, placing at number 100 on the Official Charts Company's "The Million Sellers" list. As of June 2015, it is the 17th best-selling single of the 2010s in the UK. According to the International Federation of the Phonographic Industry, "Love the Way You Lie" sold 9.3 million copies worldwide in 2010. In December 2011, it was certified as Eminem's best-selling single.

Music video.

Production.

The music video for "Love the Way You Lie" was Eminem's third to be directed by the American filmmaker Joseph Kahn. Despite having planned to shoot a feature film and stop directing pop videos, Kahn chose to work on "Love the Way You Lie" because, according to him, the song discusses an important topic. This was an opportunity for him to direct a video for Eminem without the comedic themes of their previous collaborations. For the video, Kahn considered the British actor Dominic Monaghan as a co-star for his versatility, which he thought would help him play an antagonist. Kahn cast the American actress Megan Fox, which he had presumed would be almost impossible because of her popularity with directors. Fox, a fan of Eminem, accepted the role without hesitation.  Rosenberg gave Kahn one day to write a treatment, which Kahn finished in 45 minutes. He filmed Eminem's and Rihanna's parts on July 20, 2010; scenes with Fox and Monaghan were shot three days later. By July 24, 2010, they finished the shoot. Kahn confirmed the completion of the director's cut the next day. He said Fox's involvement made the video powerful, commenting for "Vibe": We wanted to make a specific story about two people—Meg and Dom—not a video that was representative of all couples or all domestic violence situations. I'm not saying that all couples fight this way. I just want people just to be able to identify with the characters and recognize that they've seen relationships like this where two people are together that are completely wrong for each other and things spiral out of control.... Megan was the key to this video.... I'll tell you as a director the reason why [Fox and Monaghan's] scenes in the video feel so real is because in the moment they were real. Monaghan told MTV he thought the couple represents Eminem and Scott. The clip was produced by Kathy Angstadt and MaryAnn Tanedo of HSI Productions. Shortly before its release, Eminem reported in a press statement: "Joseph and I worked pretty closely together to make sure we got this right". He said the difficult topic resulted in a powerful video because of the contributions of Rihanna, Fox and Monaghan. Fox donated her appearance fee to the Sojourn House, a battered women's shelter. On August 5, 2010, the video premiered on MTV and the music video website Vevo.

Synopsis.

Rihanna sings the chorus in front of a burning house, while an interspersing scene shows fire on a woman's (Fox) palms. In another scene, the woman is asleep with her lover (Monaghan) and wakes up. As Eminem begins to rap in an open field, the woman attacks her lover after seeing the name "Cindy" and a phone number written on his hand. He unsuccessfully tries to kiss the woman and brings her back after she attempts to leave him. The man then pushes her onto the wall and aims his fist at her, puncturing the wall instead. After Rihanna sings again, the video flashes back to when the couple first meet "at a seedy dive bar next door" to a liquor store. The man steals a bottle of vodka and they kiss on the rooftop.  During the presentation, the man apologizes to his lover and they are reconciled. In another flashback, he attacks someone who plays pool with his lover. Eminem joins Rihanna in front of the burning house for the final verse. Meanwhile, after the flashback, the woman comes home and locks herself in the bathroom to stop her abusive lover from entering. In another scene, the fire on her palms vanishes as she claps her hands. Flames later engulf Eminem and the couple, who are then shown fighting in front of the burning house. In the end, the couple stays together and the video returns to their first scene, in which they sleep.

Reception.

The clip broke what was a YouTube record at the time of its release for the most views in one day, with 6.6 million. It had a mixed reception from critics, most of whom commented on scenes of domestic violence. NPR's Zoe Chace deemed the video sickening, while AOL Music listed it at number five on their list of the "Top 10 Most Controversial Music Videos in Pop". Stephanie Nilva—the executive director of trauma resource center Day One—told MTV News that it mainly raises "the topic of dating violence among young people". Nilva praised the clip's accurate depiction of patterns in an abusive relationship and thought the video's potency came from Eminem's history of violence-themed songs and Brown's assault on Rihanna.  A writer for "Rap-Up" considered the video realistic, as "art imitates life". Conor Friedersdorf of "The Atlantic" called it an inaccurate portrayal of domestic violence due to insufficient violence, as evidenced by the lack of injuries after punching through a wall. Mariel Concepcion of "Billboard" suggested the video was inspired by the lyric, "Just gonna stand there and watch me burn, but that's alright because I like the way it hurts." Rihanna's appearance was criticized. Writing for "Rolling Stone" magazine, Daniel Kreps called it "especially striking" and noted her relationship with Brown. An editor from "The Boston Globe" commented that although the video is realistic, it hinders Rihanna's ability to set an example for women in abusive relationships. Billy Johnson Jr. from Yahoo! Music wrote that Fox's character alternated between vulnerable and confrontational personalities, while Monaghan's character is similar to Eminem. Kahn, who understood why viewers thought Eminem's and Rihanna's relationships influenced the video, asked that they realize this is untrue. He said the team had been conscious of such personal matters and Fox's and Monaghan's characters are only significant to each other.  Reviewers discussed the acting. Peter Gicas of "E! News" noted that Fox and Monaghan portray "combustible behavior the tune is hellbent on describing." "The New York Post"s Jarett Wieselman wrote that they play their roles perfectly and help make the video powerful. "Entertainment Weekly"s Whitney Pastorek found the violent acting sexually appealing, while Willa Paskin of "New York" magazine wrote that the cast's appeal "hypnotize[s]" viewers. Paskin noted the use of sepia toning in the burning-house scenes. Matthew Wilkening of AOL Radio commented that the video leaves viewers to decide "if it's a good thing or a bad thing that the pair always end up reconciling." Mikey Fresh of "Vibe" commented that Fox's natural reaction when Monaghan pierces the wall and almost hits her is an "incredible act of vulnerability". "L Magazine"s Benjamin Sutton likened the scene in which the characters burn to the Marvel Comics character Chris Bradley, whom Monaghan portrays in the 2009 action film "". As of June 2020, the video is one of YouTube's 50 most viewed videos. with more than 2.0 billion views.

Live performances.

Eminem has promoted "Love the Way You Lie" at concerts. On June 15, 2010, he and Rihanna performed the song at Los Angeles' Electronic Entertainment Expo 2010, accompanied by the drummer Travis Barker and D12's Mr. Porter. Eminem sang "Love the Way You Lie" at the Scottish festival T in the Park on July 10, 2010, dedicating it to "everybody who'[d] been in a fucked-up relationship." He then performed the song at Ireland's annual Oxegen festival on July 11, 2010. James Hendicott from "State" wrote that the rapper's personality "fill[ed] the stage" and that his vocals were sharp and packed "plenty of punch". He criticized the use of a pre-recorded backing track and noted the lack of live music and female vocals. Eamon Sweeney from the "Irish Independent" called Eminem's performance only "mildly impressive".  On July 21, 2010, the rapper joined Rihanna on her Last Girl on Earth Tour to perform in Los Angeles. He then performed at the 2010 MTV Video Music Awards and was voted the best performer of the ceremony in an MTV poll, earning 34 percent of votes. Rihanna made a surprise appearance despite having said she could not perform because of her schedule. Suddath of "Time" called their duet dull. Eminem sang "Love the Way You Lie" without Rihanna at the 2011 Bonnaroo Music Festival for almost 80,000 people. According to MTV News' Montgomery, the "sheer tenacity with which he attacked" was his strength. Patrick Doyle of "Rolling Stone" felt Eminem delivered a triumphal act by "constantly bouncing across the stage" and singing energetically.  Eminem performed "Love the Way You Lie" on the second day of Chicago's annual Lollapalooza festival on August 6, 2011. Members of the audience sang the chorus to compensate for Rihanna's absence. Piet Levy of "USA Today" named the show a "tragic stunner", while Katie Hasty of HitFix added that it displayed competition between the sexes. Eminem and Rihanna performed in Staffordshire on the first day of V2011 (V Festival), on August 20, 2011. James Lachno of "The Daily Telegraph" considered it an "affecting" rendition. "The Guardian" called their performance thrilling and an editor for the British newspaper "Metro" felt that it was the best part of the evening. Eminem closed the festival on the night of August 21 in Chelmsford, Essex, for an audience of 120,000. A reporter for the "International Business Times" thought that Eminem's duet with Rihanna was the highlight of the show.

Cover versions.

Various musical acts have performed cover versions of "Love the Way You Lie". Eric Stanley, an American violinist, remixed the song on the violin. The country music group the Band Perry sang the song at the June 2010 CMT Music Awards. Two months later, Taylor Momsen—the lead singer of the American rock band the Pretty Reckless—performed a cover version for BBC Radio 1's "Live Lounge" as part of a mashup with the song "Islands" by the English pop band the xx. Assisted by a guitarist from her band, she began with a section of "Islands" and transitioned into the chorus of "Love the Way You Lie". Cher Lloyd, a British singer, performed the song in the final five of "The X Factor UK"s seventh season. Mernie Gilmore of the "Daily Express" commented that the song is "a duet for a reason" as Lloyd performed both Eminem's and Rihanna's parts. In 2010, the Russian guitarist Alex Feather Akimov released "Love The Way You Lie (Heavy Remix)", a recording that was recognized by Billboard.biz (Web Trends). The American post-hardcore band A Skylit Drive recorded a cover of the single for "Punk Goes Pop 4", the 2011 release of the "Punk Goes..." series.

Sequel.

On November 3, 2010, an alternative version titled "Love the Way You Lie (Part II)" leaked onto the Internet. Rihanna is the lead vocalist and Eminem is a featured guest. The song mainly views matters from Rihanna's perspective and is based on Grey's demo. Rihanna agreed to record a sequel despite initially thinking "the original couldn't be beaten". She said that the sequel involved less production, with only piano and drums. It is the eleventh and final track on her 2010 studio album "Loud". Grey's version appears on her 2012 extended play "The Buried Sessions of Skylar Grey" and her 2013 studio album "Don't Look Down" as "Love the Way You Lie (Part III)".  Rihanna performed a short medley that comprised "Love the Way You Lie (Part II)", "What's My Name?" and "Only Girl (In the World)" at the American Music Awards of 2010. Another medley, consisting of "Love the Way You Lie (Part II)" and "I Need a Doctor", was performed at the 2011 Grammy Awards. While the "Chicago Sun-Times" considered the track an unnecessary sequel, the BBC reviewer James Skinner wrote, Love the Way You Lie (Part II)' even bests the original, Eminem's verse exuding the kind of volatile, simmering menace that got everyone so excited about him in the first place. But it is Rihanna's vocal—at once commanding, soulful and vulnerable—that anchors the song".

Personnel.

The credits for "Love the Way You Lie" are adapted from the liner notes of "Recovery".

"Love the Way You Lie" is a song recorded by the American rapper Eminem, featuring the Barbadian singer Rihanna, from Eminem's seventh studio album "Recovery" (2010). The singer and songwriter Skylar Grey wrote and recorded a demo of the song alongside the producer Alex da Kid when she felt she was in an abusive romantic relationship with the music industry. Eminem wrote the verses and chose Rihanna to sing the chorus, resulting in a collaboration influenced by their past experiences in difficult relationships. Recording sessions were held in Ferndale, Michigan, and Dublin, Ireland. Backed by guitar, piano and violin, the track is a midtempo hip-hop ballad with a pop refrain, sung by Rihanna, and describes two lovers who refuse to separate despite being in a dangerous love–hate relationship.

《喜欢你说谎的样子》(英语:"Love the Way You Lie")是美国嘻哈歌手阿姆的一首歌曲,由巴巴多斯歌手蕾哈娜伴唱,出自阿姆第7张录音室专辑《好得很》。歌手兼词曲作家史盖拉·葛蕾在当时感觉自己与音乐产业有着互相虐待的恋爱关系,因此与制作人亚历山大·格兰特共同创作以及录制歌曲的样带。阿姆创作主歌并选择蕾哈娜演唱副歌,因为他们以前都各自有一段困难的恋爱关系,因此促成了这场合作。歌曲在密歇根州芬代尔和爱尔兰都柏林进行录制。《喜欢你说谎的样子》是一首中速的嘻哈情歌,且融合了蕾哈娜演唱的流行副歌,背景音乐使用了吉他、钢琴和小提琴。歌词描述了两个恋人虽然处于爱恨交加的危险关系,却拒绝分手。