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Akira Kurosawa was a Japanese filmmaker and painter who directed thirty films in a career spanning over five decades. He is regarded as one of the most important and influential filmmakers in film history. Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata. After the war, the critically acclaimed Drunken Angel (1948), in which Kurosawa cast the then little-known actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another fifteen films. Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru (1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including two of his final films, Kagemusha (1980) and Ran (1985)—continued to receive great acclaim. In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media. Biography Childhood to war years (1910–1945) Childhood and youth (1910–1935) Kurosawa was born on March 23, 1910, in Ōimachi in the Ōmori district of Tokyo. His father Isamu (1864–1948), a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima (1870–1952) came from a merchant's family living in Osaka. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother. In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theatre and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. An important formative influence was his elementary school teacher Mr. Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and then an interest in education in general.

Akira Kurosawa was a Japanese filmmaker and painter who directed thirty films in a career spanning over five decades. He is regarded as one of the most important and influential filmmakers in film history. Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata. After the war, the critically acclaimed Drunken Angel (1948), in which Kurosawa cast the then little-known actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another fifteen films. Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru (1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including two of his final films, Kagemusha (1980) and Ran (1985)—continued to receive great acclaim. In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media. Biography Childhood to war years (1910–1945) Childhood and youth (1910–1935) Kurosawa was born on March 23, 1910, in Ōimachi in the Ōmori district of Tokyo. His father Isamu (1864–1948), a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima (1870–1952) came from a merchant's family living in Osaka. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother. In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theatre and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. An important formative influence was his elementary school teacher Mr. Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and then an interest in education in general.

During this time, the boy also studied calligraphy and Kendo swordsmanship. Another major childhood influence was Heigo Kurosawa (1906-1933), Akira's older brother by four years. In the aftermath of the Great Kantō earthquake of 1923, Heigo took the thirteen-year-old Akira to view the devastation. When the younger brother wanted to look away from the corpses of humans and beasts scattered everywhere, Heigo forbade him to do so, encouraging Akira instead to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as the director was seldom hesitant to confront unpleasant truths in his work. Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting. With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Akira moved back in with his parents. In July 1933, Heigo committed suicide. Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of his autobiography (Something Like an Autobiography) that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months later, Kurosawa's eldest brother also died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters. Director in training (1935–1941) In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L. (which later became the major studio Toho), advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. The 25-year-old Kurosawa joined P.C.L. in February 1936. During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto.

During this time, the boy also studied calligraphy and Kendo swordsmanship. Another major childhood influence was Heigo Kurosawa (1906-1933), Akira's older brother by four years. In the aftermath of the Great Kantō earthquake of 1923, Heigo took the thirteen-year-old Akira to view the devastation. When the younger brother wanted to look away from the corpses of humans and beasts scattered everywhere, Heigo forbade him to do so, encouraging Akira instead to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as the director was seldom hesitant to confront unpleasant truths in his work. Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting. With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Akira moved back in with his parents. In July 1933, Heigo committed suicide. Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of his autobiography (Something Like an Autobiography) that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months later, Kurosawa's eldest brother also died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters. Director in training (1935–1941) In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L. (which later became the major studio Toho), advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. The 25-year-old Kurosawa joined P.C.L. in February 1936. During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto.

During this time, the boy also studied calligraphy and Kendo swordsmanship. Another major childhood influence was Heigo Kurosawa (1906-1933), Akira's older brother by four years. In the aftermath of the Great Kantō earthquake of 1923, Heigo took the thirteen-year-old Akira to view the devastation. When the younger brother wanted to look away from the corpses of humans and beasts scattered everywhere, Heigo forbade him to do so, encouraging Akira instead to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as the director was seldom hesitant to confront unpleasant truths in his work. Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting. With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Akira moved back in with his parents. In July 1933, Heigo committed suicide. Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of his autobiography (Something Like an Autobiography) that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months later, Kurosawa's eldest brother also died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters. Director in training (1935–1941) In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L. (which later became the major studio Toho), advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. The 25-year-old Kurosawa joined P.C.L. in February 1936. During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto.

Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse (Uma, 1941), Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film. Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films, and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings (Tsubasa no gaika, 1942). This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous. Wartime films and marriage (1942–1945) In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director. Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. (Kurosawa had just turned 33.) The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost. He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career.

Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse (Uma, 1941), Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film. Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films, and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings (Tsubasa no gaika, 1942). This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous. Wartime films and marriage (1942–1945) In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director. Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. (Kurosawa had just turned 33.) The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost. He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career.

Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse (Uma, 1941), Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film. Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films, and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings (Tsubasa no gaika, 1942). This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous. Wartime films and marriage (1942–1945) In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director. Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. (Kurosawa had just turned 33.) The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost. He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career.

During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant (she never resumed her acting career), and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa : a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer. Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures. Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, Ikiru, was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic" (they particularly disliked the comic porter played by Enoken), so the movie most probably would not have seen the light of day even if the war had continued beyond its completion. Early postwar years to Red Beard (1946–65) First postwar works (1946–50) After the war, Kurosawa, influenced by the democratic ideals of the Occupation, sought to make films that would establish a new respect towards the individual and the self. The first such film, No Regrets for Our Youth (1946), inspired by both the 1933 Takigawa incident and the Hotsumi Ozaki wartime spy case, criticized Japan's prewar regime for its political oppression. Atypically for the director, the heroic central character is a woman, Yukie (Setsuko Hara), who, born into upper-middle-class privilege, comes to question her values in a time of political crisis. The original script had to be extensively rewritten and, because of its controversial theme and gender of its protagonist, the completed work divided critics. Nevertheless, it managed to win the approval of audiences, who turned variations on the film's title into a postwar catchphrase. His next film, One Wonderful Sunday premiered in July 1947 to mixed reviews. It is a relatively uncomplicated and sentimental love story dealing with an impoverished postwar couple trying to enjoy, within the devastation of postwar Tokyo, their one weekly day off.

During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant (she never resumed her acting career), and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa : a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer. Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures. Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, Ikiru, was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic" (they particularly disliked the comic porter played by Enoken), so the movie most probably would not have seen the light of day even if the war had continued beyond its completion. Early postwar years to Red Beard (1946–65) First postwar works (1946–50) After the war, Kurosawa, influenced by the democratic ideals of the Occupation, sought to make films that would establish a new respect towards the individual and the self. The first such film, No Regrets for Our Youth (1946), inspired by both the 1933 Takigawa incident and the Hotsumi Ozaki wartime spy case, criticized Japan's prewar regime for its political oppression. Atypically for the director, the heroic central character is a woman, Yukie (Setsuko Hara), who, born into upper-middle-class privilege, comes to question her values in a time of political crisis. The original script had to be extensively rewritten and, because of its controversial theme and gender of its protagonist, the completed work divided critics. Nevertheless, it managed to win the approval of audiences, who turned variations on the film's title into a postwar catchphrase. His next film, One Wonderful Sunday premiered in July 1947 to mixed reviews. It is a relatively uncomplicated and sentimental love story dealing with an impoverished postwar couple trying to enjoy, within the devastation of postwar Tokyo, their one weekly day off.

During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant (she never resumed her acting career), and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa : a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer. Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures. Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, Ikiru, was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic" (they particularly disliked the comic porter played by Enoken), so the movie most probably would not have seen the light of day even if the war had continued beyond its completion. Early postwar years to Red Beard (1946–65) First postwar works (1946–50) After the war, Kurosawa, influenced by the democratic ideals of the Occupation, sought to make films that would establish a new respect towards the individual and the self. The first such film, No Regrets for Our Youth (1946), inspired by both the 1933 Takigawa incident and the Hotsumi Ozaki wartime spy case, criticized Japan's prewar regime for its political oppression. Atypically for the director, the heroic central character is a woman, Yukie (Setsuko Hara), who, born into upper-middle-class privilege, comes to question her values in a time of political crisis. The original script had to be extensively rewritten and, because of its controversial theme and gender of its protagonist, the completed work divided critics. Nevertheless, it managed to win the approval of audiences, who turned variations on the film's title into a postwar catchphrase. His next film, One Wonderful Sunday premiered in July 1947 to mixed reviews. It is a relatively uncomplicated and sentimental love story dealing with an impoverished postwar couple trying to enjoy, within the devastation of postwar Tokyo, their one weekly day off.

The movie bears the influence of Frank Capra, D. W. Griffith and F. W. Murnau, each of whom was among Kurosawa's favorite directors. Another film released in 1947 with Kurosawa's involvement was the action-adventure thriller, Snow Trail, directed by Senkichi Taniguchi from Kurosawa's screenplay. It marked the debut of the intense young actor Toshiro Mifune. It was Kurosawa who, with his mentor Yamamoto, had intervened to persuade Toho to sign Mifune, during an audition in which the young man greatly impressed Kurosawa, but managed to alienate most of the other judges. Drunken Angel is often considered the director's first major work. Although the script, like all of Kurosawa's occupation-era works, had to go through rewrites due to American censorship, Kurosawa felt that this was the first film in which he was able to express himself freely. A gritty story of a doctor who tries to save a gangster (yakuza) with tuberculosis, it was also the first time that Kurosawa directed Mifune, who went on to play major roles in all but one of the director's next 16 films (the exception being Ikiru). While Mifune was not cast as the protagonist in Drunken Angel, his explosive performance as the gangster so dominates the drama that he shifted the focus from the title character, the alcoholic doctor played by Takashi Shimura, who had already appeared in several Kurosawa movies. However, Kurosawa did not want to smother the young actor's immense vitality, and Mifune's rebellious character electrified audiences in much the way that Marlon Brando's defiant stance would startle American film audiences a few years later. The film premiered in Tokyo in April 1948 to rave reviews and was chosen by the prestigious Kinema Junpo critics poll as the best film of its year, the first of three Kurosawa movies to be so honored. Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements. His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder.

The movie bears the influence of Frank Capra, D. W. Griffith and F. W. Murnau, each of whom was among Kurosawa's favorite directors. Another film released in 1947 with Kurosawa's involvement was the action-adventure thriller, Snow Trail, directed by Senkichi Taniguchi from Kurosawa's screenplay. It marked the debut of the intense young actor Toshiro Mifune. It was Kurosawa who, with his mentor Yamamoto, had intervened to persuade Toho to sign Mifune, during an audition in which the young man greatly impressed Kurosawa, but managed to alienate most of the other judges. Drunken Angel is often considered the director's first major work. Although the script, like all of Kurosawa's occupation-era works, had to go through rewrites due to American censorship, Kurosawa felt that this was the first film in which he was able to express himself freely. A gritty story of a doctor who tries to save a gangster (yakuza) with tuberculosis, it was also the first time that Kurosawa directed Mifune, who went on to play major roles in all but one of the director's next 16 films (the exception being Ikiru). While Mifune was not cast as the protagonist in Drunken Angel, his explosive performance as the gangster so dominates the drama that he shifted the focus from the title character, the alcoholic doctor played by Takashi Shimura, who had already appeared in several Kurosawa movies. However, Kurosawa did not want to smother the young actor's immense vitality, and Mifune's rebellious character electrified audiences in much the way that Marlon Brando's defiant stance would startle American film audiences a few years later. The film premiered in Tokyo in April 1948 to rave reviews and was chosen by the prestigious Kinema Junpo critics poll as the best film of its year, the first of three Kurosawa movies to be so honored. Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements. His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder.

The movie bears the influence of Frank Capra, D. W. Griffith and F. W. Murnau, each of whom was among Kurosawa's favorite directors. Another film released in 1947 with Kurosawa's involvement was the action-adventure thriller, Snow Trail, directed by Senkichi Taniguchi from Kurosawa's screenplay. It marked the debut of the intense young actor Toshiro Mifune. It was Kurosawa who, with his mentor Yamamoto, had intervened to persuade Toho to sign Mifune, during an audition in which the young man greatly impressed Kurosawa, but managed to alienate most of the other judges. Drunken Angel is often considered the director's first major work. Although the script, like all of Kurosawa's occupation-era works, had to go through rewrites due to American censorship, Kurosawa felt that this was the first film in which he was able to express himself freely. A gritty story of a doctor who tries to save a gangster (yakuza) with tuberculosis, it was also the first time that Kurosawa directed Mifune, who went on to play major roles in all but one of the director's next 16 films (the exception being Ikiru). While Mifune was not cast as the protagonist in Drunken Angel, his explosive performance as the gangster so dominates the drama that he shifted the focus from the title character, the alcoholic doctor played by Takashi Shimura, who had already appeared in several Kurosawa movies. However, Kurosawa did not want to smother the young actor's immense vitality, and Mifune's rebellious character electrified audiences in much the way that Marlon Brando's defiant stance would startle American film audiences a few years later. The film premiered in Tokyo in April 1948 to rave reviews and was chosen by the prestigious Kinema Junpo critics poll as the best film of its year, the first of three Kurosawa movies to be so honored. Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements. His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder.

Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres. Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with, and anger towards, Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree. However, it would be Kurosawa's second film of 1950, Rashomon, that would ultimately win him, and Japanese cinema, a whole new international audience. International recognition (1950–58) After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, who would eventually work on nine of his films. Their first joint effort was based on Ryūnosuke Akutagawa's experimental short story "In a Grove", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points-of-view. Kurosawa saw potential in the script, and with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget. The shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei. Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoyevsky. The story is relocated from Russia to Hokkaido, but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.

Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres. Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with, and anger towards, Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree. However, it would be Kurosawa's second film of 1950, Rashomon, that would ultimately win him, and Japanese cinema, a whole new international audience. International recognition (1950–58) After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, who would eventually work on nine of his films. Their first joint effort was based on Ryūnosuke Akutagawa's experimental short story "In a Grove", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points-of-view. Kurosawa saw potential in the script, and with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget. The shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei. Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoyevsky. The story is relocated from Russia to Hokkaido, but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.

Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres. Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with, and anger towards, Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree. However, it would be Kurosawa's second film of 1950, Rashomon, that would ultimately win him, and Japanese cinema, a whole new international audience. International recognition (1950–58) After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, who would eventually work on nine of his films. Their first joint effort was based on Ryūnosuke Akutagawa's experimental short story "In a Grove", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points-of-view. Kurosawa saw potential in the script, and with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget. The shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei. Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoyevsky. The story is relocated from Russia to Hokkaido, but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.

Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition. After Daiei briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time. This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike. His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, Ikiru. The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the film-makers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. Ikiru opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success.

Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition. After Daiei briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time. This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike. His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, Ikiru. The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the film-makers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. Ikiru opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success.

Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition. After Daiei briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time. This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike. His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, Ikiru. The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the film-makers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. Ikiru opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success.

It remains the most acclaimed of all the artist's films set in the modern era. In December 1952, Kurosawa took his Ikiru screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time. Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could, and did, market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1979, a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2012) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 17th among all films from all countries in both the critics' and the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors. In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, Record of a Living Being, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films.

It remains the most acclaimed of all the artist's films set in the modern era. In December 1952, Kurosawa took his Ikiru screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time. Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could, and did, market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1979, a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2012) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 17th among all films from all countries in both the critics' and the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors. In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, Record of a Living Being, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films.

It remains the most acclaimed of all the artist's films set in the modern era. In December 1952, Kurosawa took his Ikiru screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time. Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could, and did, market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1979, a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2012) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 17th among all films from all countries in both the critics' and the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors. In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, Record of a Living Being, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films.

Record of a Living Being opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate. Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations. Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works. Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark, with the possibility of redemption through personal responsibility now very much questioned, particularly in Throne of Blood and The Lower Depths. He recognized this, and deliberately aimed for a more light-hearted and entertaining film for his next production, while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars.

Record of a Living Being opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate. Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations. Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works. Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark, with the possibility of redemption through personal responsibility now very much questioned, particularly in Throne of Blood and The Lower Depths. He recognized this, and deliberately aimed for a more light-hearted and entertaining film for his next production, while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars.

Record of a Living Being opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate. Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations. Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works. Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark, with the possibility of redemption through personal responsibility now very much questioned, particularly in Throne of Blood and The Lower Depths. He recognized this, and deliberately aimed for a more light-hearted and entertaining film for his next production, while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars.

Birth of a company and Red Beard (1959–65) Starting with Rashomon, Kurosawa's productions had become increasingly large in scope and so had the director's budgets. Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer. Kurosawa agreed, and the Kurosawa Production Company was established in April 1959, with Toho as the majority shareholder. Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work. The Bad Sleep Well, based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death. Its theme proved topical: while the film was in production, the massive Anpo protests were held against the new U.S.–Japan Security treaty, which was seen by many Japanese, particularly the young, as threatening the country's democracy by giving too much power to corporations and politicians. The film opened in September 1960 to positive critical reaction and modest box office success. The 25-minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison. The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning. Yojimbo (The Bodyguard), Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other. The director used this work to play with many genre conventions, particularly the Western, while at the same time offering an unprecedentedly (for the Japanese screen) graphic portrayal of violence. Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class. Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa (who shot Rashomon) and Takao Saito, the film premiered in April 1961 and was a critically and commercially successful venture, earning more than any previous Kurosawa film. The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone's A Fistful of Dollars was a virtual (unauthorized) scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing. Following the success of Yojimbo, Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo, reworking it to include the hero of his previous film.

Birth of a company and Red Beard (1959–65) Starting with Rashomon, Kurosawa's productions had become increasingly large in scope and so had the director's budgets. Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer. Kurosawa agreed, and the Kurosawa Production Company was established in April 1959, with Toho as the majority shareholder. Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work. The Bad Sleep Well, based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death. Its theme proved topical: while the film was in production, the massive Anpo protests were held against the new U.S.–Japan Security treaty, which was seen by many Japanese, particularly the young, as threatening the country's democracy by giving too much power to corporations and politicians. The film opened in September 1960 to positive critical reaction and modest box office success. The 25-minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison. The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning. Yojimbo (The Bodyguard), Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other. The director used this work to play with many genre conventions, particularly the Western, while at the same time offering an unprecedentedly (for the Japanese screen) graphic portrayal of violence. Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class. Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa (who shot Rashomon) and Takao Saito, the film premiered in April 1961 and was a critically and commercially successful venture, earning more than any previous Kurosawa film. The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone's A Fistful of Dollars was a virtual (unauthorized) scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing. Following the success of Yojimbo, Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo, reworking it to include the hero of his previous film.

Birth of a company and Red Beard (1959–65) Starting with Rashomon, Kurosawa's productions had become increasingly large in scope and so had the director's budgets. Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer. Kurosawa agreed, and the Kurosawa Production Company was established in April 1959, with Toho as the majority shareholder. Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work. The Bad Sleep Well, based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death. Its theme proved topical: while the film was in production, the massive Anpo protests were held against the new U.S.–Japan Security treaty, which was seen by many Japanese, particularly the young, as threatening the country's democracy by giving too much power to corporations and politicians. The film opened in September 1960 to positive critical reaction and modest box office success. The 25-minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison. The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning. Yojimbo (The Bodyguard), Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other. The director used this work to play with many genre conventions, particularly the Western, while at the same time offering an unprecedentedly (for the Japanese screen) graphic portrayal of violence. Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class. Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa (who shot Rashomon) and Takao Saito, the film premiered in April 1961 and was a critically and commercially successful venture, earning more than any previous Kurosawa film. The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone's A Fistful of Dollars was a virtual (unauthorized) scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing. Following the success of Yojimbo, Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo, reworking it to include the hero of his previous film.

Sanjuro was the first of three Kurosawa films to be adapted from the work of the writer Shūgorō Yamamoto (the others would be Red Beard and Dodeskaden). It is lighter in tone and closer to a conventional period film than Yojimbo, though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones. The film opened on January 1, 1962, quickly surpassing Yojimbos box office success and garnering positive reviews. Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom, a novel about a kidnapping written by American author and screenwriter Evan Hunter, under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books. The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low, was shot during the latter half of 1962 and released in March 1963. It broke Kurosawa's box office record (the third film in a row to do so), became the highest grossing Japanese film of the year, and won glowing reviews. However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time (he himself received kidnapping threats directed at his young daughter, Kazuko). High and Low is considered by many commentators to be among the director's strongest works. Kurosawa quickly moved on to his next project, Red Beard. Based on a short story collection by Shūgorō Yamamoto and incorporating elements from Dostoyevsky's novel The Insulted and Injured, it is a period film, set in a mid-nineteenth century clinic for the poor, in which Kurosawa's humanist themes receive perhaps their fullest statement. A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" ("Red Beard"), played by Mifune. Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage, and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity. Yūzō Kayama, who plays Yasumoto, was an extremely popular film and music star at the time, particularly for his "Young Guy" (Wakadaishō) series of musical comedies, so signing him to appear in the film virtually guaranteed Kurosawa strong box-office. The shoot, the film-maker's longest ever, lasted well over a year (after five months of pre-production), and wrapped in spring 1965, leaving the director, his crew and his actors exhausted. Red Beard premiered in April 1965, becoming the year's highest-grossing Japanese production and the third (and last) Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll. It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided.

Sanjuro was the first of three Kurosawa films to be adapted from the work of the writer Shūgorō Yamamoto (the others would be Red Beard and Dodeskaden). It is lighter in tone and closer to a conventional period film than Yojimbo, though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones. The film opened on January 1, 1962, quickly surpassing Yojimbos box office success and garnering positive reviews. Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom, a novel about a kidnapping written by American author and screenwriter Evan Hunter, under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books. The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low, was shot during the latter half of 1962 and released in March 1963. It broke Kurosawa's box office record (the third film in a row to do so), became the highest grossing Japanese film of the year, and won glowing reviews. However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time (he himself received kidnapping threats directed at his young daughter, Kazuko). High and Low is considered by many commentators to be among the director's strongest works. Kurosawa quickly moved on to his next project, Red Beard. Based on a short story collection by Shūgorō Yamamoto and incorporating elements from Dostoyevsky's novel The Insulted and Injured, it is a period film, set in a mid-nineteenth century clinic for the poor, in which Kurosawa's humanist themes receive perhaps their fullest statement. A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" ("Red Beard"), played by Mifune. Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage, and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity. Yūzō Kayama, who plays Yasumoto, was an extremely popular film and music star at the time, particularly for his "Young Guy" (Wakadaishō) series of musical comedies, so signing him to appear in the film virtually guaranteed Kurosawa strong box-office. The shoot, the film-maker's longest ever, lasted well over a year (after five months of pre-production), and wrapped in spring 1965, leaving the director, his crew and his actors exhausted. Red Beard premiered in April 1965, becoming the year's highest-grossing Japanese production and the third (and last) Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll. It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided.

Sanjuro was the first of three Kurosawa films to be adapted from the work of the writer Shūgorō Yamamoto (the others would be Red Beard and Dodeskaden). It is lighter in tone and closer to a conventional period film than Yojimbo, though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones. The film opened on January 1, 1962, quickly surpassing Yojimbos box office success and garnering positive reviews. Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom, a novel about a kidnapping written by American author and screenwriter Evan Hunter, under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books. The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low, was shot during the latter half of 1962 and released in March 1963. It broke Kurosawa's box office record (the third film in a row to do so), became the highest grossing Japanese film of the year, and won glowing reviews. However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time (he himself received kidnapping threats directed at his young daughter, Kazuko). High and Low is considered by many commentators to be among the director's strongest works. Kurosawa quickly moved on to his next project, Red Beard. Based on a short story collection by Shūgorō Yamamoto and incorporating elements from Dostoyevsky's novel The Insulted and Injured, it is a period film, set in a mid-nineteenth century clinic for the poor, in which Kurosawa's humanist themes receive perhaps their fullest statement. A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" ("Red Beard"), played by Mifune. Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage, and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity. Yūzō Kayama, who plays Yasumoto, was an extremely popular film and music star at the time, particularly for his "Young Guy" (Wakadaishō) series of musical comedies, so signing him to appear in the film virtually guaranteed Kurosawa strong box-office. The shoot, the film-maker's longest ever, lasted well over a year (after five months of pre-production), and wrapped in spring 1965, leaving the director, his crew and his actors exhausted. Red Beard premiered in April 1965, becoming the year's highest-grossing Japanese production and the third (and last) Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll. It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided.

Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change. The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different. His prediction proved quite accurate. Beginning in the late 1950s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience. And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods. Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry (which includes his five years as assistant director), he had directed twenty-three films, while during the remaining twenty-eight years, for many and complex reasons, he would complete only seven more. Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune. Yu Fujiki, an actor who worked on The Lower Depths, observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr. Mifune's body." Donald Richie has described the rapport between them as a unique "symbiosis". Hollywood ambitions to last films (1966–98) Hollywood detour (1966–68) When Kurosawa's exclusive contract with Toho came to an end in 1966, the 56-year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry, and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before. For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train, would have been his first in color. But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn 1966. The shoot, which required snow, was moved to autumn 1967, then canceled in 1968. Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky, finally made Runaway Train (1985), though from a new script loosely based on Kurosawa's. The director meanwhile had become involved in a much more ambitious Hollywood project. Tora! Tora! Tora!, produced by 20th Century Fox and Kurosawa Production, would be a portrayal of the Japanese attack on Pearl Harbor from both the American and the Japanese points of view, with Kurosawa helming the Japanese half and an Anglophonic film-maker directing the American half. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel.

Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change. The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different. His prediction proved quite accurate. Beginning in the late 1950s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience. And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods. Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry (which includes his five years as assistant director), he had directed twenty-three films, while during the remaining twenty-eight years, for many and complex reasons, he would complete only seven more. Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune. Yu Fujiki, an actor who worked on The Lower Depths, observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr. Mifune's body." Donald Richie has described the rapport between them as a unique "symbiosis". Hollywood ambitions to last films (1966–98) Hollywood detour (1966–68) When Kurosawa's exclusive contract with Toho came to an end in 1966, the 56-year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry, and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before. For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train, would have been his first in color. But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn 1966. The shoot, which required snow, was moved to autumn 1967, then canceled in 1968. Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky, finally made Runaway Train (1985), though from a new script loosely based on Kurosawa's. The director meanwhile had become involved in a much more ambitious Hollywood project. Tora! Tora! Tora!, produced by 20th Century Fox and Kurosawa Production, would be a portrayal of the Japanese attack on Pearl Harbor from both the American and the Japanese points of view, with Kurosawa helming the Japanese half and an Anglophonic film-maker directing the American half. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel.

Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change. The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different. His prediction proved quite accurate. Beginning in the late 1950s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience. And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods. Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry (which includes his five years as assistant director), he had directed twenty-three films, while during the remaining twenty-eight years, for many and complex reasons, he would complete only seven more. Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune. Yu Fujiki, an actor who worked on The Lower Depths, observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr. Mifune's body." Donald Richie has described the rapport between them as a unique "symbiosis". Hollywood ambitions to last films (1966–98) Hollywood detour (1966–68) When Kurosawa's exclusive contract with Toho came to an end in 1966, the 56-year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry, and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before. For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train, would have been his first in color. But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn 1966. The shoot, which required snow, was moved to autumn 1967, then canceled in 1968. Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky, finally made Runaway Train (1985), though from a new script loosely based on Kurosawa's. The director meanwhile had become involved in a much more ambitious Hollywood project. Tora! Tora! Tora!, produced by 20th Century Fox and Kurosawa Production, would be a portrayal of the Japanese attack on Pearl Harbor from both the American and the Japanese points of view, with Kurosawa helming the Japanese half and an Anglophonic film-maker directing the American half. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel.

The director of the American sequences turned out not to be David Lean, as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours. After numerous revisions with the direct involvement of Darryl Zanuck, a more or less finalized cut screenplay was agreed upon in May 1968. Shooting began in early December, but Kurosawa would last only a little over three weeks as director. He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill. Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness. It is necessary for him to have rest and medical treatment for more than two months." On Christmas Eve 1968, the Americans announced that Kurosawa had left the production due to "fatigue", effectively firing him. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda. Tora! Tora! Tora!, finally released to unenthusiastic reviews in September 1970, was, as Donald Richie put it, an "almost unmitigated tragedy" in Kurosawa's career. He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself. (He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'.) He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again. The project had inadvertently exposed corruption in his own production company (a situation reminiscent of his own movie, The Bad Sleep Well). His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps the man himself—began to suspect that he would never make another film. A difficult decade (1969–77) Knowing that his reputation was at stake following the much publicised Tora! Tora! Tora! debacle, Kurosawa moved quickly to a new project to prove he was still viable. To his aid came friends and famed directors Keisuke Kinoshita, Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July 1969 a production company called the Club of the Four Knights (Yonki no kai). Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film, and therefore find his way back into the business.

The director of the American sequences turned out not to be David Lean, as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours. After numerous revisions with the direct involvement of Darryl Zanuck, a more or less finalized cut screenplay was agreed upon in May 1968. Shooting began in early December, but Kurosawa would last only a little over three weeks as director. He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill. Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness. It is necessary for him to have rest and medical treatment for more than two months." On Christmas Eve 1968, the Americans announced that Kurosawa had left the production due to "fatigue", effectively firing him. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda. Tora! Tora! Tora!, finally released to unenthusiastic reviews in September 1970, was, as Donald Richie put it, an "almost unmitigated tragedy" in Kurosawa's career. He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself. (He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'.) He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again. The project had inadvertently exposed corruption in his own production company (a situation reminiscent of his own movie, The Bad Sleep Well). His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps the man himself—began to suspect that he would never make another film. A difficult decade (1969–77) Knowing that his reputation was at stake following the much publicised Tora! Tora! Tora! debacle, Kurosawa moved quickly to a new project to prove he was still viable. To his aid came friends and famed directors Keisuke Kinoshita, Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July 1969 a production company called the Club of the Four Knights (Yonki no kai). Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film, and therefore find his way back into the business.

The director of the American sequences turned out not to be David Lean, as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours. After numerous revisions with the direct involvement of Darryl Zanuck, a more or less finalized cut screenplay was agreed upon in May 1968. Shooting began in early December, but Kurosawa would last only a little over three weeks as director. He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill. Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness. It is necessary for him to have rest and medical treatment for more than two months." On Christmas Eve 1968, the Americans announced that Kurosawa had left the production due to "fatigue", effectively firing him. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda. Tora! Tora! Tora!, finally released to unenthusiastic reviews in September 1970, was, as Donald Richie put it, an "almost unmitigated tragedy" in Kurosawa's career. He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself. (He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'.) He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again. The project had inadvertently exposed corruption in his own production company (a situation reminiscent of his own movie, The Bad Sleep Well). His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps the man himself—began to suspect that he would never make another film. A difficult decade (1969–77) Knowing that his reputation was at stake following the much publicised Tora! Tora! Tora! debacle, Kurosawa moved quickly to a new project to prove he was still viable. To his aid came friends and famed directors Keisuke Kinoshita, Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July 1969 a production company called the Club of the Four Knights (Yonki no kai). Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film, and therefore find his way back into the business.

The first project proposed and worked on was a period film to be called Dora-heita, but when this was deemed too expensive, attention shifted to Dodesukaden, an adaptation of yet another Shūgorō Yamamoto work, again about the poor and destitute. The film was shot quickly (by Kurosawa's standards) in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget. For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live. It was released in Japan in October 1970, but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve. Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work. After struggling through the production of Dodesukaden, Kurosawa turned to television work the following year for the only time in his career with Song of the Horse, a documentary about thoroughbred race horses. It featured a voice-over narrated by a fictional man and a child (voiced by the same actors as the beggar and his son in Dodesukaden). It is the only documentary in Kurosawa's filmography; the small crew included his frequent collaborator Masaru Sato, who composed the music. Song of the Horse is also unique in Kurosawa's oeuvre in that it includes an editor's credit, suggesting that it is the only Kurosawa film that he did not cut himself. Unable to secure funding for further work and allegedly suffering from health problems, Kurosawa apparently reached the breaking point: on December 22, 1971, he slit his wrists and throat multiple times. The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film. In early 1973, the Soviet studio Mosfilm approached the film-maker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev's autobiographical work Dersu Uzala. The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the 1930s. In December 1973, the 63-year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country. Shooting began in May 1974 in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding. The picture wrapped in April 1975, with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, 1975, and did well at the box office.

The first project proposed and worked on was a period film to be called Dora-heita, but when this was deemed too expensive, attention shifted to Dodesukaden, an adaptation of yet another Shūgorō Yamamoto work, again about the poor and destitute. The film was shot quickly (by Kurosawa's standards) in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget. For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live. It was released in Japan in October 1970, but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve. Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work. After struggling through the production of Dodesukaden, Kurosawa turned to television work the following year for the only time in his career with Song of the Horse, a documentary about thoroughbred race horses. It featured a voice-over narrated by a fictional man and a child (voiced by the same actors as the beggar and his son in Dodesukaden). It is the only documentary in Kurosawa's filmography; the small crew included his frequent collaborator Masaru Sato, who composed the music. Song of the Horse is also unique in Kurosawa's oeuvre in that it includes an editor's credit, suggesting that it is the only Kurosawa film that he did not cut himself. Unable to secure funding for further work and allegedly suffering from health problems, Kurosawa apparently reached the breaking point: on December 22, 1971, he slit his wrists and throat multiple times. The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film. In early 1973, the Soviet studio Mosfilm approached the film-maker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev's autobiographical work Dersu Uzala. The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the 1930s. In December 1973, the 63-year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country. Shooting began in May 1974 in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding. The picture wrapped in April 1975, with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, 1975, and did well at the box office.

The first project proposed and worked on was a period film to be called Dora-heita, but when this was deemed too expensive, attention shifted to Dodesukaden, an adaptation of yet another Shūgorō Yamamoto work, again about the poor and destitute. The film was shot quickly (by Kurosawa's standards) in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget. For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live. It was released in Japan in October 1970, but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve. Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work. After struggling through the production of Dodesukaden, Kurosawa turned to television work the following year for the only time in his career with Song of the Horse, a documentary about thoroughbred race horses. It featured a voice-over narrated by a fictional man and a child (voiced by the same actors as the beggar and his son in Dodesukaden). It is the only documentary in Kurosawa's filmography; the small crew included his frequent collaborator Masaru Sato, who composed the music. Song of the Horse is also unique in Kurosawa's oeuvre in that it includes an editor's credit, suggesting that it is the only Kurosawa film that he did not cut himself. Unable to secure funding for further work and allegedly suffering from health problems, Kurosawa apparently reached the breaking point: on December 22, 1971, he slit his wrists and throat multiple times. The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film. In early 1973, the Soviet studio Mosfilm approached the film-maker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev's autobiographical work Dersu Uzala. The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the 1930s. In December 1973, the 63-year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country. Shooting began in May 1974 in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding. The picture wrapped in April 1975, with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, 1975, and did well at the box office.

While critical reception in Japan was muted, the film was better reviewed abroad, winning the Golden Prize at the 9th Moscow International Film Festival, as well as an Academy Award for Best Foreign Language Film. Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works. Although proposals for television projects were submitted to him, he had no interest in working outside the film world. Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in 1976. While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories. Two epics (1978–86) In 1977, American director George Lucas released Star Wars, a wildly successful science fiction film influenced by Kurosawa's The Hidden Fortress, among other works. Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model, and was shocked to discover that the Japanese film-maker was unable to secure financing for any new work. The two met in San Francisco in July 1978 to discuss the project Kurosawa considered most financially viable: Kagemusha, the epic story of a thief hired as the double of a medieval Japanese lord of a great clan. Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce Kagemusha, then recruited fellow fan Francis Ford Coppola as co-producer. Production began the following April, with Kurosawa in high spirits. Shooting lasted from June 1979 through March 1980 and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu—creator of the very popular Zatoichi character—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance. (He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie.) The film was completed only a few weeks behind schedule and opened in Tokyo in April 1980. It quickly became a massive hit in Japan. The film was also a critical and box office success abroad, winning the coveted Palme d'Or at the 1980 Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness. Kurosawa spent much of the rest of the year in Europe and America promoting Kagemusha, collecting awards and accolades, and exhibiting as art the drawings he had made to serve as storyboards for the film. The international success of Kagemusha allowed Kurosawa to proceed with his next project, Ran, another epic in a similar vein.

While critical reception in Japan was muted, the film was better reviewed abroad, winning the Golden Prize at the 9th Moscow International Film Festival, as well as an Academy Award for Best Foreign Language Film. Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works. Although proposals for television projects were submitted to him, he had no interest in working outside the film world. Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in 1976. While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories. Two epics (1978–86) In 1977, American director George Lucas released Star Wars, a wildly successful science fiction film influenced by Kurosawa's The Hidden Fortress, among other works. Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model, and was shocked to discover that the Japanese film-maker was unable to secure financing for any new work. The two met in San Francisco in July 1978 to discuss the project Kurosawa considered most financially viable: Kagemusha, the epic story of a thief hired as the double of a medieval Japanese lord of a great clan. Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce Kagemusha, then recruited fellow fan Francis Ford Coppola as co-producer. Production began the following April, with Kurosawa in high spirits. Shooting lasted from June 1979 through March 1980 and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu—creator of the very popular Zatoichi character—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance. (He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie.) The film was completed only a few weeks behind schedule and opened in Tokyo in April 1980. It quickly became a massive hit in Japan. The film was also a critical and box office success abroad, winning the coveted Palme d'Or at the 1980 Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness. Kurosawa spent much of the rest of the year in Europe and America promoting Kagemusha, collecting awards and accolades, and exhibiting as art the drawings he had made to serve as storyboards for the film. The international success of Kagemusha allowed Kurosawa to proceed with his next project, Ran, another epic in a similar vein.

While critical reception in Japan was muted, the film was better reviewed abroad, winning the Golden Prize at the 9th Moscow International Film Festival, as well as an Academy Award for Best Foreign Language Film. Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works. Although proposals for television projects were submitted to him, he had no interest in working outside the film world. Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in 1976. While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories. Two epics (1978–86) In 1977, American director George Lucas released Star Wars, a wildly successful science fiction film influenced by Kurosawa's The Hidden Fortress, among other works. Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model, and was shocked to discover that the Japanese film-maker was unable to secure financing for any new work. The two met in San Francisco in July 1978 to discuss the project Kurosawa considered most financially viable: Kagemusha, the epic story of a thief hired as the double of a medieval Japanese lord of a great clan. Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce Kagemusha, then recruited fellow fan Francis Ford Coppola as co-producer. Production began the following April, with Kurosawa in high spirits. Shooting lasted from June 1979 through March 1980 and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu—creator of the very popular Zatoichi character—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance. (He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie.) The film was completed only a few weeks behind schedule and opened in Tokyo in April 1980. It quickly became a massive hit in Japan. The film was also a critical and box office success abroad, winning the coveted Palme d'Or at the 1980 Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness. Kurosawa spent much of the rest of the year in Europe and America promoting Kagemusha, collecting awards and accolades, and exhibiting as art the drawings he had made to serve as storyboards for the film. The international success of Kagemusha allowed Kurosawa to proceed with his next project, Ran, another epic in a similar vein.

The script, partly based on William Shakespeare's King Lear, depicted a ruthless, bloodthirsty daimyō (warlord), played by Tatsuya Nakadai, who, after foolishly banishing his one loyal son, surrenders his kingdom to his other two sons, who then betray him, thus plunging the entire kingdom into war. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed. This time it came from French producer Serge Silberman, who had produced Luis Buñuel's final movies. Filming did not begin until December 1983 and lasted more than a year. In January 1985, production of Ran was halted as Kurosawa's 64-year-old wife Yōko fell ill. She died on February 1. Kurosawa returned to finish his film and Ran premiered at the Tokyo Film Festival on May 31, with a wide release the next day. The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with Kagemusha, Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October. Ran won several awards in Japan, but was not quite as honored there as many of the director's best films of the 1950s and 1960s had been. The film world was surprised, however, when Japan passed over the selection of Ran in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards. Both the producer and Kurosawa himself attributed the failure to even submit Ran for competition to a misunderstanding: because of the Academy's arcane rules, no one was sure whether Ran qualified as a Japanese film, a French film (due to its financing), or both, so it was not submitted at all. In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year (Sydney Pollack ultimately won the award for directing Out of Africa). Rans costume designer, Emi Wada, won the movie's only Oscar. Kagemusha and Ran, particularly the latter, are often considered to be among Kurosawa's finest works. After Rans release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one". Final works and last years (1987–98) For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures (for example, Drunken Angel and Kagemusha) had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams. Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone.

The script, partly based on William Shakespeare's King Lear, depicted a ruthless, bloodthirsty daimyō (warlord), played by Tatsuya Nakadai, who, after foolishly banishing his one loyal son, surrenders his kingdom to his other two sons, who then betray him, thus plunging the entire kingdom into war. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed. This time it came from French producer Serge Silberman, who had produced Luis Buñuel's final movies. Filming did not begin until December 1983 and lasted more than a year. In January 1985, production of Ran was halted as Kurosawa's 64-year-old wife Yōko fell ill. She died on February 1. Kurosawa returned to finish his film and Ran premiered at the Tokyo Film Festival on May 31, with a wide release the next day. The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with Kagemusha, Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October. Ran won several awards in Japan, but was not quite as honored there as many of the director's best films of the 1950s and 1960s had been. The film world was surprised, however, when Japan passed over the selection of Ran in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards. Both the producer and Kurosawa himself attributed the failure to even submit Ran for competition to a misunderstanding: because of the Academy's arcane rules, no one was sure whether Ran qualified as a Japanese film, a French film (due to its financing), or both, so it was not submitted at all. In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year (Sydney Pollack ultimately won the award for directing Out of Africa). Rans costume designer, Emi Wada, won the movie's only Oscar. Kagemusha and Ran, particularly the latter, are often considered to be among Kurosawa's finest works. After Rans release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one". Final works and last years (1987–98) For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures (for example, Drunken Angel and Kagemusha) had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams. Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone.

The script, partly based on William Shakespeare's King Lear, depicted a ruthless, bloodthirsty daimyō (warlord), played by Tatsuya Nakadai, who, after foolishly banishing his one loyal son, surrenders his kingdom to his other two sons, who then betray him, thus plunging the entire kingdom into war. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed. This time it came from French producer Serge Silberman, who had produced Luis Buñuel's final movies. Filming did not begin until December 1983 and lasted more than a year. In January 1985, production of Ran was halted as Kurosawa's 64-year-old wife Yōko fell ill. She died on February 1. Kurosawa returned to finish his film and Ran premiered at the Tokyo Film Festival on May 31, with a wide release the next day. The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with Kagemusha, Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October. Ran won several awards in Japan, but was not quite as honored there as many of the director's best films of the 1950s and 1960s had been. The film world was surprised, however, when Japan passed over the selection of Ran in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards. Both the producer and Kurosawa himself attributed the failure to even submit Ran for competition to a misunderstanding: because of the Academy's arcane rules, no one was sure whether Ran qualified as a Japanese film, a French film (due to its financing), or both, so it was not submitted at all. In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year (Sydney Pollack ultimately won the award for directing Out of Africa). Rans costume designer, Emi Wada, won the movie's only Oscar. Kagemusha and Ran, particularly the latter, are often considered to be among Kurosawa's finest works. After Rans release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one". Final works and last years (1987–98) For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures (for example, Drunken Angel and Kagemusha) had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams. Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone.

Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg, who convinced Warner Bros. to buy the international rights to the completed film. This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs. Shooting took more than eight months to complete, and Dreams premiered at Cannes in May 1990 to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world. In 1990, he accepted the Academy Award for Lifetime Achievement. In his acceptance speech, he famously said "I'm a little worried because I don't feel that I understand cinema yet." Kurosawa now turned to a more conventional story with Rhapsody in August—the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II. It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book. This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine. Shooting took place in early 1991, with the film opening on May 25 that year to a largely negative critical reaction, especially in the United States, where the director was accused of promulgating naïvely anti-American sentiments, though Kurosawa rejected these accusations. Kurosawa wasted no time moving onto his next project: Madadayo, or Not Yet. Based on autobiographical essays by Hyakken Uchida, the film follows the life of a Japanese professor of German through the Second World War and beyond. The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's 81-year-old creator. Filming began in February 1992 and wrapped by the end of September. Its release on April 17, 1993, was greeted by an even more disappointed reaction than had been the case with his two preceding works. Kurosawa nevertheless continued to work. He wrote the original screenplays The Sea is Watching in 1993 and After the Rain in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled. After his accident, Kurosawa's health began to deteriorate.

Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg, who convinced Warner Bros. to buy the international rights to the completed film. This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs. Shooting took more than eight months to complete, and Dreams premiered at Cannes in May 1990 to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world. In 1990, he accepted the Academy Award for Lifetime Achievement. In his acceptance speech, he famously said "I'm a little worried because I don't feel that I understand cinema yet." Kurosawa now turned to a more conventional story with Rhapsody in August—the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II. It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book. This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine. Shooting took place in early 1991, with the film opening on May 25 that year to a largely negative critical reaction, especially in the United States, where the director was accused of promulgating naïvely anti-American sentiments, though Kurosawa rejected these accusations. Kurosawa wasted no time moving onto his next project: Madadayo, or Not Yet. Based on autobiographical essays by Hyakken Uchida, the film follows the life of a Japanese professor of German through the Second World War and beyond. The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's 81-year-old creator. Filming began in February 1992 and wrapped by the end of September. Its release on April 17, 1993, was greeted by an even more disappointed reaction than had been the case with his two preceding works. Kurosawa nevertheless continued to work. He wrote the original screenplays The Sea is Watching in 1993 and After the Rain in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled. After his accident, Kurosawa's health began to deteriorate.

Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg, who convinced Warner Bros. to buy the international rights to the completed film. This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs. Shooting took more than eight months to complete, and Dreams premiered at Cannes in May 1990 to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world. In 1990, he accepted the Academy Award for Lifetime Achievement. In his acceptance speech, he famously said "I'm a little worried because I don't feel that I understand cinema yet." Kurosawa now turned to a more conventional story with Rhapsody in August—the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II. It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book. This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine. Shooting took place in early 1991, with the film opening on May 25 that year to a largely negative critical reaction, especially in the United States, where the director was accused of promulgating naïvely anti-American sentiments, though Kurosawa rejected these accusations. Kurosawa wasted no time moving onto his next project: Madadayo, or Not Yet. Based on autobiographical essays by Hyakken Uchida, the film follows the life of a Japanese professor of German through the Second World War and beyond. The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's 81-year-old creator. Filming began in February 1992 and wrapped by the end of September. Its release on April 17, 1993, was greeted by an even more disappointed reaction than had been the case with his two preceding works. Kurosawa nevertheless continued to work. He wrote the original screenplays The Sea is Watching in 1993 and After the Rain in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled. After his accident, Kurosawa's health began to deteriorate.

While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa who married Hiroko Hayashi and his daughter Kazuko Kurosawa who married Harayuki Kato, along with several grandchildren. One of his grandchildren, the actor Takayuki Kato and grandson by Kazuko, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa which remained unproduced during his own lifetime, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea is Watching (2002). Creative works/filmography Although Kurosawa is primarily known as a film-maker, he also worked in theater and television, and wrote books. A detailed list, including his complete filmography, can be found in the list of creative works by Akira Kurosawa. Style and main themes Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the "Kurosawa-gumi" (Kurosawa group), which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability. Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe, an effect created through an optical printer: a line or bar appears to move across the screen, wiping away the end of a scene and revealing the first image of the next. As a transitional device, it is used as a substitute for the straight cut or the dissolve; in his mature work, the wipe became Kurosawa's signature. In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it. Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog. Kurosawa was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka and Tōru Takemitsu.

While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa who married Hiroko Hayashi and his daughter Kazuko Kurosawa who married Harayuki Kato, along with several grandchildren. One of his grandchildren, the actor Takayuki Kato and grandson by Kazuko, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa which remained unproduced during his own lifetime, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea is Watching (2002). Creative works/filmography Although Kurosawa is primarily known as a film-maker, he also worked in theater and television, and wrote books. A detailed list, including his complete filmography, can be found in the list of creative works by Akira Kurosawa. Style and main themes Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the "Kurosawa-gumi" (Kurosawa group), which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability. Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe, an effect created through an optical printer: a line or bar appears to move across the screen, wiping away the end of a scene and revealing the first image of the next. As a transitional device, it is used as a substitute for the straight cut or the dissolve; in his mature work, the wipe became Kurosawa's signature. In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it. Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog. Kurosawa was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka and Tōru Takemitsu.

While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa who married Hiroko Hayashi and his daughter Kazuko Kurosawa who married Harayuki Kato, along with several grandchildren. One of his grandchildren, the actor Takayuki Kato and grandson by Kazuko, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa which remained unproduced during his own lifetime, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea is Watching (2002). Creative works/filmography Although Kurosawa is primarily known as a film-maker, he also worked in theater and television, and wrote books. A detailed list, including his complete filmography, can be found in the list of creative works by Akira Kurosawa. Style and main themes Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the "Kurosawa-gumi" (Kurosawa group), which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability. Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe, an effect created through an optical printer: a line or bar appears to move across the screen, wiping away the end of a scene and revealing the first image of the next. As a transitional device, it is used as a substitute for the straight cut or the dissolve; in his mature work, the wipe became Kurosawa's signature. In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it. Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog. Kurosawa was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka and Tōru Takemitsu.

Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history. According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood (1957), and recurred in the films of the 1980s. Legacy Legacy of general criticism Kenji Mizoguchi, the acclaimed director of Ugetsu (1953) and Sansho the Bailiff (1954) was eleven years Kurosawa's senior. After the mid-1950s, some critics of the French New Wave began to favor Mizoguchi to Kurosawa. New Wave critic and film-maker Jacques Rivette, in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal; Kurosawa, by contrast was thought to be more influenced by Western cinema and culture, a view that has been disputed. In Japan, some critics and film-makers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters. In her D.V.D. commentary on Seven Samurai, Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view. These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks. In an interview with Mellen, Kurosawa defended himself, saying, I wanted to say that after everything the peasants were the stronger, closely clinging to the earth ... It was the samurai who were weak because they were being blown by the winds of time. From the early 1950s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America. In the 1970s, the left-wing director Nagisa Oshima, who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies. Author Audie Block, however, assessed Kurosawa to have never played up to a non-Japanese viewing public and to have denounced those directors who did. Reputation among film-makers Many film-makers have been influenced by Kurosawa's work. Ingmar Bergman called his own film The Virgin Spring a "touristic... lousy imitation of Kurosawa", and added, "At that time my admiration for the Japanese cinema was at its height. I was almost a samurai myself!" Federico Fellini considered Kurosawa to be "the greatest living example of all that an author of the cinema should be".

Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history. According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood (1957), and recurred in the films of the 1980s. Legacy Legacy of general criticism Kenji Mizoguchi, the acclaimed director of Ugetsu (1953) and Sansho the Bailiff (1954) was eleven years Kurosawa's senior. After the mid-1950s, some critics of the French New Wave began to favor Mizoguchi to Kurosawa. New Wave critic and film-maker Jacques Rivette, in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal; Kurosawa, by contrast was thought to be more influenced by Western cinema and culture, a view that has been disputed. In Japan, some critics and film-makers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters. In her D.V.D. commentary on Seven Samurai, Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view. These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks. In an interview with Mellen, Kurosawa defended himself, saying, I wanted to say that after everything the peasants were the stronger, closely clinging to the earth ... It was the samurai who were weak because they were being blown by the winds of time. From the early 1950s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America. In the 1970s, the left-wing director Nagisa Oshima, who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies. Author Audie Block, however, assessed Kurosawa to have never played up to a non-Japanese viewing public and to have denounced those directors who did. Reputation among film-makers Many film-makers have been influenced by Kurosawa's work. Ingmar Bergman called his own film The Virgin Spring a "touristic... lousy imitation of Kurosawa", and added, "At that time my admiration for the Japanese cinema was at its height. I was almost a samurai myself!" Federico Fellini considered Kurosawa to be "the greatest living example of all that an author of the cinema should be".

Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history. According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood (1957), and recurred in the films of the 1980s. Legacy Legacy of general criticism Kenji Mizoguchi, the acclaimed director of Ugetsu (1953) and Sansho the Bailiff (1954) was eleven years Kurosawa's senior. After the mid-1950s, some critics of the French New Wave began to favor Mizoguchi to Kurosawa. New Wave critic and film-maker Jacques Rivette, in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal; Kurosawa, by contrast was thought to be more influenced by Western cinema and culture, a view that has been disputed. In Japan, some critics and film-makers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters. In her D.V.D. commentary on Seven Samurai, Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view. These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks. In an interview with Mellen, Kurosawa defended himself, saying, I wanted to say that after everything the peasants were the stronger, closely clinging to the earth ... It was the samurai who were weak because they were being blown by the winds of time. From the early 1950s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America. In the 1970s, the left-wing director Nagisa Oshima, who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies. Author Audie Block, however, assessed Kurosawa to have never played up to a non-Japanese viewing public and to have denounced those directors who did. Reputation among film-makers Many film-makers have been influenced by Kurosawa's work. Ingmar Bergman called his own film The Virgin Spring a "touristic... lousy imitation of Kurosawa", and added, "At that time my admiration for the Japanese cinema was at its height. I was almost a samurai myself!" Federico Fellini considered Kurosawa to be "the greatest living example of all that an author of the cinema should be".

Satyajit Ray, who was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival in 1992, had said earlier of Rashomon: "The effect of the film on me [upon first seeing it in Calcutta in 1952] was electric. I saw it three times on consecutive days, and wondered each time if there was another film anywhere which gave such sustained and dazzling proof of a director's command over every aspect of film making." Roman Polanski considered Kurosawa to be among the three film-makers he favored most, along with Fellini and Orson Welles, and picked Seven Samurai, Throne of Blood and The Hidden Fortress for praise. Bernardo Bertolucci considered Kurosawa's influence to be seminal: "Kurosawa's movies and La Dolce Vita of Fellini are the things that pushed me, sucked me into being a film director." Andrei Tarkovsky cited Kurosawa as one of his favorites and named Seven Samurai as one of his ten favorite films. Sidney Lumet called Kurosawa the "Beethoven of movie directors". Werner Herzog reflected on film-makers with whom he feels kinship and the movies that he admires: Griffith - especially his Birth of a Nation and Broken Blossoms - Murnau, Buñuel, Kurosawa and Eisenstein’s Ivan the Terrible, ... all come to mind. ... I like Dreyer’s The Passion of Joan of Arc, Pudovkin’s Storm Over Asia and Dovzhenko’s Earth, ... Mizoguchi's Ugetsu Monogatari, Satyajit Ray's The Music Room ... I have always wondered how Kurosawa made something as good as Rashomon; the equilibrium and flow are perfect, and he uses space in such a well-balanced way. It is one of the best films ever made. According to an assistant, Stanley Kubrick considered Kurosawa to be "one of the great film directors" and spoke of him "consistently and admiringly", to the point that a letter from him "meant more than any Oscar" and caused him to agonize for months over drafting a reply. Robert Altman upon first seeing Rashomon was so impressed by the sequence of frames of the sun that he began to shoot the same sequences in his work the very next day, he claimed. Kurosawa was ranked 3rd in the directors' poll and 5th in the critics' poll in Sight & Sound's 2002 list of the greatest directors of all time. Posthumous screenplays Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. After the Rain, directed by Takashi Koizumi, was released in 1999, and The Sea Is Watching, directed by Kei Kumai, premiered in 2002. A script created by the Yonki no Kai ("Club of the Four Knights") (Kurosawa, Keisuke Kinoshita, Masaki Kobayashi, and Kon Ichikawa), around the time that Dodeskaden was made, finally was filmed and released (in 2000) as Dora-heita, by the only surviving founding member of the club, Kon Ichikawa.

Satyajit Ray, who was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival in 1992, had said earlier of Rashomon: "The effect of the film on me [upon first seeing it in Calcutta in 1952] was electric. I saw it three times on consecutive days, and wondered each time if there was another film anywhere which gave such sustained and dazzling proof of a director's command over every aspect of film making." Roman Polanski considered Kurosawa to be among the three film-makers he favored most, along with Fellini and Orson Welles, and picked Seven Samurai, Throne of Blood and The Hidden Fortress for praise. Bernardo Bertolucci considered Kurosawa's influence to be seminal: "Kurosawa's movies and La Dolce Vita of Fellini are the things that pushed me, sucked me into being a film director." Andrei Tarkovsky cited Kurosawa as one of his favorites and named Seven Samurai as one of his ten favorite films. Sidney Lumet called Kurosawa the "Beethoven of movie directors". Werner Herzog reflected on film-makers with whom he feels kinship and the movies that he admires: Griffith - especially his Birth of a Nation and Broken Blossoms - Murnau, Buñuel, Kurosawa and Eisenstein’s Ivan the Terrible, ... all come to mind. ... I like Dreyer’s The Passion of Joan of Arc, Pudovkin’s Storm Over Asia and Dovzhenko’s Earth, ... Mizoguchi's Ugetsu Monogatari, Satyajit Ray's The Music Room ... I have always wondered how Kurosawa made something as good as Rashomon; the equilibrium and flow are perfect, and he uses space in such a well-balanced way. It is one of the best films ever made. According to an assistant, Stanley Kubrick considered Kurosawa to be "one of the great film directors" and spoke of him "consistently and admiringly", to the point that a letter from him "meant more than any Oscar" and caused him to agonize for months over drafting a reply. Robert Altman upon first seeing Rashomon was so impressed by the sequence of frames of the sun that he began to shoot the same sequences in his work the very next day, he claimed. Kurosawa was ranked 3rd in the directors' poll and 5th in the critics' poll in Sight & Sound's 2002 list of the greatest directors of all time. Posthumous screenplays Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. After the Rain, directed by Takashi Koizumi, was released in 1999, and The Sea Is Watching, directed by Kei Kumai, premiered in 2002. A script created by the Yonki no Kai ("Club of the Four Knights") (Kurosawa, Keisuke Kinoshita, Masaki Kobayashi, and Kon Ichikawa), around the time that Dodeskaden was made, finally was filmed and released (in 2000) as Dora-heita, by the only surviving founding member of the club, Kon Ichikawa.

Satyajit Ray, who was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival in 1992, had said earlier of Rashomon: "The effect of the film on me [upon first seeing it in Calcutta in 1952] was electric. I saw it three times on consecutive days, and wondered each time if there was another film anywhere which gave such sustained and dazzling proof of a director's command over every aspect of film making." Roman Polanski considered Kurosawa to be among the three film-makers he favored most, along with Fellini and Orson Welles, and picked Seven Samurai, Throne of Blood and The Hidden Fortress for praise. Bernardo Bertolucci considered Kurosawa's influence to be seminal: "Kurosawa's movies and La Dolce Vita of Fellini are the things that pushed me, sucked me into being a film director." Andrei Tarkovsky cited Kurosawa as one of his favorites and named Seven Samurai as one of his ten favorite films. Sidney Lumet called Kurosawa the "Beethoven of movie directors". Werner Herzog reflected on film-makers with whom he feels kinship and the movies that he admires: Griffith - especially his Birth of a Nation and Broken Blossoms - Murnau, Buñuel, Kurosawa and Eisenstein’s Ivan the Terrible, ... all come to mind. ... I like Dreyer’s The Passion of Joan of Arc, Pudovkin’s Storm Over Asia and Dovzhenko’s Earth, ... Mizoguchi's Ugetsu Monogatari, Satyajit Ray's The Music Room ... I have always wondered how Kurosawa made something as good as Rashomon; the equilibrium and flow are perfect, and he uses space in such a well-balanced way. It is one of the best films ever made. According to an assistant, Stanley Kubrick considered Kurosawa to be "one of the great film directors" and spoke of him "consistently and admiringly", to the point that a letter from him "meant more than any Oscar" and caused him to agonize for months over drafting a reply. Robert Altman upon first seeing Rashomon was so impressed by the sequence of frames of the sun that he began to shoot the same sequences in his work the very next day, he claimed. Kurosawa was ranked 3rd in the directors' poll and 5th in the critics' poll in Sight & Sound's 2002 list of the greatest directors of all time. Posthumous screenplays Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. After the Rain, directed by Takashi Koizumi, was released in 1999, and The Sea Is Watching, directed by Kei Kumai, premiered in 2002. A script created by the Yonki no Kai ("Club of the Four Knights") (Kurosawa, Keisuke Kinoshita, Masaki Kobayashi, and Kon Ichikawa), around the time that Dodeskaden was made, finally was filmed and released (in 2000) as Dora-heita, by the only surviving founding member of the club, Kon Ichikawa.

Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Kurosawa's posthumous screenplay of The Masque of the Red Death by Edgar Allan Poe for 2020, to be entitled The Mask of the Black Death. Patrick Frater writing for Variety magazine in May 2017 stated that another two unfinished films by Kurosawa were planned, with Silvering Spear to start filming in 2018. Kurosawa Production Company In September 2011, it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa 100 Project to the L.A.-based company Splendent. Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories". Kurosawa Production Co., established in 1959, continues to oversee many of the aspects of Kurosawa's legacy. The director's son, Hisao Kurosawa, is the current head of the company. Its American subsidiary, Kurosawa Enterprises, is located in Los Angeles. Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa 100 Project before being reassigned in 2011 to the L.A. based company Splendent. Kurosawa Production works closely with the Akira Kurosawa Foundation, established in December 2003 and also run by Hisao Kurosawa. The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director. Film studios and awards In 1981, the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. A large collection of archive material, including scanned screenplays, photos and news articles, has been made available through the Akira Kurosawa Digital Archive, a Japanese proprietary website maintained by Ryukoku University Digital Archives Research Center in collaboration with Kurosawa Production. Anaheim University's Akira Kurosawa School of Film was launched in spring 2009 with the backing of Kurosawa Production. It offers online programs in digital film making, with headquarters in Anaheim and a learning center in Tokyo. Two film awards have also been named in Kurosawa's honor. The Akira Kurosawa Award for Lifetime Achievement in Film Directing is awarded during the San Francisco International Film Festival, while the Akira Kurosawa Award is given during the Tokyo International Film Festival. Kurosawa is often cited as one of the greatest film-makers of all time. In 1999, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited as "one of the [five] people who contributed most to the betterment of Asia in the past 100 years". In commemoration of the 100th anniversary of Kurosawa's birth in 2010, a project called AK100 was launched in 2008. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".

Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Kurosawa's posthumous screenplay of The Masque of the Red Death by Edgar Allan Poe for 2020, to be entitled The Mask of the Black Death. Patrick Frater writing for Variety magazine in May 2017 stated that another two unfinished films by Kurosawa were planned, with Silvering Spear to start filming in 2018. Kurosawa Production Company In September 2011, it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa 100 Project to the L.A.-based company Splendent. Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories". Kurosawa Production Co., established in 1959, continues to oversee many of the aspects of Kurosawa's legacy. The director's son, Hisao Kurosawa, is the current head of the company. Its American subsidiary, Kurosawa Enterprises, is located in Los Angeles. Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa 100 Project before being reassigned in 2011 to the L.A. based company Splendent. Kurosawa Production works closely with the Akira Kurosawa Foundation, established in December 2003 and also run by Hisao Kurosawa. The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director. Film studios and awards In 1981, the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. A large collection of archive material, including scanned screenplays, photos and news articles, has been made available through the Akira Kurosawa Digital Archive, a Japanese proprietary website maintained by Ryukoku University Digital Archives Research Center in collaboration with Kurosawa Production. Anaheim University's Akira Kurosawa School of Film was launched in spring 2009 with the backing of Kurosawa Production. It offers online programs in digital film making, with headquarters in Anaheim and a learning center in Tokyo. Two film awards have also been named in Kurosawa's honor. The Akira Kurosawa Award for Lifetime Achievement in Film Directing is awarded during the San Francisco International Film Festival, while the Akira Kurosawa Award is given during the Tokyo International Film Festival. Kurosawa is often cited as one of the greatest film-makers of all time. In 1999, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited as "one of the [five] people who contributed most to the betterment of Asia in the past 100 years". In commemoration of the 100th anniversary of Kurosawa's birth in 2010, a project called AK100 was launched in 2008. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".

Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Kurosawa's posthumous screenplay of The Masque of the Red Death by Edgar Allan Poe for 2020, to be entitled The Mask of the Black Death. Patrick Frater writing for Variety magazine in May 2017 stated that another two unfinished films by Kurosawa were planned, with Silvering Spear to start filming in 2018. Kurosawa Production Company In September 2011, it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa 100 Project to the L.A.-based company Splendent. Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories". Kurosawa Production Co., established in 1959, continues to oversee many of the aspects of Kurosawa's legacy. The director's son, Hisao Kurosawa, is the current head of the company. Its American subsidiary, Kurosawa Enterprises, is located in Los Angeles. Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa 100 Project before being reassigned in 2011 to the L.A. based company Splendent. Kurosawa Production works closely with the Akira Kurosawa Foundation, established in December 2003 and also run by Hisao Kurosawa. The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director. Film studios and awards In 1981, the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. A large collection of archive material, including scanned screenplays, photos and news articles, has been made available through the Akira Kurosawa Digital Archive, a Japanese proprietary website maintained by Ryukoku University Digital Archives Research Center in collaboration with Kurosawa Production. Anaheim University's Akira Kurosawa School of Film was launched in spring 2009 with the backing of Kurosawa Production. It offers online programs in digital film making, with headquarters in Anaheim and a learning center in Tokyo. Two film awards have also been named in Kurosawa's honor. The Akira Kurosawa Award for Lifetime Achievement in Film Directing is awarded during the San Francisco International Film Festival, while the Akira Kurosawa Award is given during the Tokyo International Film Festival. Kurosawa is often cited as one of the greatest film-makers of all time. In 1999, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited as "one of the [five] people who contributed most to the betterment of Asia in the past 100 years". In commemoration of the 100th anniversary of Kurosawa's birth in 2010, a project called AK100 was launched in 2008. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".

Anaheim University in cooperation with the Kurosawa Family established the Anaheim University Akira Kurosawa School of Film to offer online and blended learning programs on Akira Kurosawa and film-making. The animated Wes Anderson film Isle of Dogs () is partially inspired by Kurosawa's filming techniques. At the 64th Sydney Film Festival, there was a retrospective of Akira Kurosawa where films of his were screened to remember the great legacy he has created from his work. Documentaries A significant number of short and full-length documentaries concerning the life and work of Kurosawa were made both during his artistic heyday and after his death. AK, by French video essay director Chris Marker, was filmed while Kurosawa was working on Ran; however, the documentary is more concerned about Kurosawa's distant yet polite personality than on the making of the film. Other documentaries concerning Kurosawa's life and works produced posthumously include: Kurosawa: The Last Emperor (Alex Cox, 1999) A Message from Akira Kurosawa: For Beautiful Movies (Hisao Kurosawa, 2000) Kurosawa (Adam Low, 2001) Akira Kurosawa: It Is Wonderful to Create (Toho Masterworks, 2002) Akira Kurosawa: The Epic and the Intimate (2010) Kurosawa's Way (Catherine Cadou, 2011) Notes References Sources Further reading Buchanan, Judith (2005). Shakespeare on Film. Pearson Longman. . Burch, Nöel (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. . Cowie, Peter (2010). Akira Kurosawa: Master of Cinema. Rizzoli Publications. . Davies, Anthony (1990). Filming Shakespeare's Plays: The Adaptions of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge University Press. . Desser, David (1983). The Samurai Films of Akira Kurosawa (Studies in Cinema No. 23). UMI Research Press. . Leonard, Kendra Preston (2009). Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Plymouth: The Scarecrow Press. . Sorensen, Lars-Martin (2009). Censorship of Japanese Films During the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press. . Wild, Peter.

Anaheim University in cooperation with the Kurosawa Family established the Anaheim University Akira Kurosawa School of Film to offer online and blended learning programs on Akira Kurosawa and film-making. The animated Wes Anderson film Isle of Dogs () is partially inspired by Kurosawa's filming techniques. At the 64th Sydney Film Festival, there was a retrospective of Akira Kurosawa where films of his were screened to remember the great legacy he has created from his work. Documentaries A significant number of short and full-length documentaries concerning the life and work of Kurosawa were made both during his artistic heyday and after his death. AK, by French video essay director Chris Marker, was filmed while Kurosawa was working on Ran; however, the documentary is more concerned about Kurosawa's distant yet polite personality than on the making of the film. Other documentaries concerning Kurosawa's life and works produced posthumously include: Kurosawa: The Last Emperor (Alex Cox, 1999) A Message from Akira Kurosawa: For Beautiful Movies (Hisao Kurosawa, 2000) Kurosawa (Adam Low, 2001) Akira Kurosawa: It Is Wonderful to Create (Toho Masterworks, 2002) Akira Kurosawa: The Epic and the Intimate (2010) Kurosawa's Way (Catherine Cadou, 2011) Notes References Sources Further reading Buchanan, Judith (2005). Shakespeare on Film. Pearson Longman. . Burch, Nöel (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. . Cowie, Peter (2010). Akira Kurosawa: Master of Cinema. Rizzoli Publications. . Davies, Anthony (1990). Filming Shakespeare's Plays: The Adaptions of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge University Press. . Desser, David (1983). The Samurai Films of Akira Kurosawa (Studies in Cinema No. 23). UMI Research Press. . Leonard, Kendra Preston (2009). Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Plymouth: The Scarecrow Press. . Sorensen, Lars-Martin (2009). Censorship of Japanese Films During the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press. . Wild, Peter.

Anaheim University in cooperation with the Kurosawa Family established the Anaheim University Akira Kurosawa School of Film to offer online and blended learning programs on Akira Kurosawa and film-making. The animated Wes Anderson film Isle of Dogs () is partially inspired by Kurosawa's filming techniques. At the 64th Sydney Film Festival, there was a retrospective of Akira Kurosawa where films of his were screened to remember the great legacy he has created from his work. Documentaries A significant number of short and full-length documentaries concerning the life and work of Kurosawa were made both during his artistic heyday and after his death. AK, by French video essay director Chris Marker, was filmed while Kurosawa was working on Ran; however, the documentary is more concerned about Kurosawa's distant yet polite personality than on the making of the film. Other documentaries concerning Kurosawa's life and works produced posthumously include: Kurosawa: The Last Emperor (Alex Cox, 1999) A Message from Akira Kurosawa: For Beautiful Movies (Hisao Kurosawa, 2000) Kurosawa (Adam Low, 2001) Akira Kurosawa: It Is Wonderful to Create (Toho Masterworks, 2002) Akira Kurosawa: The Epic and the Intimate (2010) Kurosawa's Way (Catherine Cadou, 2011) Notes References Sources Further reading Buchanan, Judith (2005). Shakespeare on Film. Pearson Longman. . Burch, Nöel (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. . Cowie, Peter (2010). Akira Kurosawa: Master of Cinema. Rizzoli Publications. . Davies, Anthony (1990). Filming Shakespeare's Plays: The Adaptions of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge University Press. . Desser, David (1983). The Samurai Films of Akira Kurosawa (Studies in Cinema No. 23). UMI Research Press. . Leonard, Kendra Preston (2009). Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Plymouth: The Scarecrow Press. . Sorensen, Lars-Martin (2009). Censorship of Japanese Films During the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press. . Wild, Peter.

(2014) Akira Kurosawa Reaktion Books External links Akira Kurosawa at the Criterion Collection Akira Kurosawa: News, Information and Discussion Senses of Cinema: Great Directors Critical Database Akira Kurosawa at Japanese celebrity's grave guide Several trailers Anaheim University Akira Kurosawa School of Film 1910 births 1998 deaths 20th-century Japanese writers 20th-century male writers Academy Honorary Award recipients Akira Kurosawa Award winners Best Director BAFTA Award winners César Award winners David di Donatello winners Directors Guild of America Award winners Directors of Best Foreign Language Film Academy Award winners Directors of Palme d'Or winners Directors of Golden Lion winners Filmmakers who won the Best Foreign Language Film BAFTA Award Fellows of the American Academy of Arts and Sciences Japanese film directors Japanese film editors Japanese film producers Japanese male writers Japanese screenwriters Kyoto laureates in Arts and Philosophy Recipients of the Legion of Honour Male screenwriters People from Shinagawa People of the Empire of Japan People's Honour Award winners Persons of Cultural Merit Propaganda film directors Ramon Magsaysay Award winners Recipients of the Order of Culture Recipients of the Order of Friendship of Peoples Recipients of the Praemium Imperiale Samurai film directors Silver Bear for Best Director recipients Writers from Tokyo Yakuza film directors Google Doodles

(2014) Akira Kurosawa Reaktion Books External links Akira Kurosawa at the Criterion Collection Akira Kurosawa: News, Information and Discussion Senses of Cinema: Great Directors Critical Database Akira Kurosawa at Japanese celebrity's grave guide Several trailers Anaheim University Akira Kurosawa School of Film 1910 births 1998 deaths 20th-century Japanese writers 20th-century male writers Academy Honorary Award recipients Akira Kurosawa Award winners Best Director BAFTA Award winners César Award winners David di Donatello winners Directors Guild of America Award winners Directors of Best Foreign Language Film Academy Award winners Directors of Palme d'Or winners Directors of Golden Lion winners Filmmakers who won the Best Foreign Language Film BAFTA Award Fellows of the American Academy of Arts and Sciences Japanese film directors Japanese film editors Japanese film producers Japanese male writers Japanese screenwriters Kyoto laureates in Arts and Philosophy Recipients of the Legion of Honour Male screenwriters People from Shinagawa People of the Empire of Japan People's Honour Award winners Persons of Cultural Merit Propaganda film directors Ramon Magsaysay Award winners Recipients of the Order of Culture Recipients of the Order of Friendship of Peoples Recipients of the Praemium Imperiale Samurai film directors Silver Bear for Best Director recipients Writers from Tokyo Yakuza film directors Google Doodles

(2014) Akira Kurosawa Reaktion Books External links Akira Kurosawa at the Criterion Collection Akira Kurosawa: News, Information and Discussion Senses of Cinema: Great Directors Critical Database Akira Kurosawa at Japanese celebrity's grave guide Several trailers Anaheim University Akira Kurosawa School of Film 1910 births 1998 deaths 20th-century Japanese writers 20th-century male writers Academy Honorary Award recipients Akira Kurosawa Award winners Best Director BAFTA Award winners César Award winners David di Donatello winners Directors Guild of America Award winners Directors of Best Foreign Language Film Academy Award winners Directors of Palme d'Or winners Directors of Golden Lion winners Filmmakers who won the Best Foreign Language Film BAFTA Award Fellows of the American Academy of Arts and Sciences Japanese film directors Japanese film editors Japanese film producers Japanese male writers Japanese screenwriters Kyoto laureates in Arts and Philosophy Recipients of the Legion of Honour Male screenwriters People from Shinagawa People of the Empire of Japan People's Honour Award winners Persons of Cultural Merit Propaganda film directors Ramon Magsaysay Award winners Recipients of the Order of Culture Recipients of the Order of Friendship of Peoples Recipients of the Praemium Imperiale Samurai film directors Silver Bear for Best Director recipients Writers from Tokyo Yakuza film directors Google Doodles

Ancient Egypt Ancient Egypt was a civilization of ancient Africa, concentrated along the lower reaches of the Nile River, situated in the place that is now the country Egypt. Ancient Egyptian civilization followed prehistoric Egypt and coalesced around 3100BC (according to conventional Egyptian chronology) with the political unification of Upper and Lower Egypt under Menes (often identified with Narmer). The history of ancient Egypt occurred as a series of stable kingdoms, separated by periods of relative instability known as Intermediate Periods: the Old Kingdom of the Early Bronze Age, the Middle Kingdom of the Middle Bronze Age and the New Kingdom of the Late Bronze Age. Egypt reached the pinnacle of its power in the New Kingdom, ruling much of Nubia and a sizable portion of the Near East, after which it entered a period of slow decline. During the course of its history Egypt was invaded or conquered by a number of foreign powers, including the Hyksos, the Libyans, the Nubians, the Assyrians, the Achaemenid Persians, and the Macedonians under the command of Alexander the Great. The Greek Ptolemaic Kingdom, formed in the aftermath of Alexander's death, ruled Egypt until 30BC, when, under Cleopatra, it fell to the Roman Empire and became a Roman province. The success of ancient Egyptian civilization came partly from its ability to adapt to the conditions of the Nile River valley for agriculture. The predictable flooding and controlled irrigation of the fertile valley produced surplus crops, which supported a more dense population, and social development and culture. With resources to spare, the administration sponsored mineral exploitation of the valley and surrounding desert regions, the early development of an independent writing system, the organization of collective construction and agricultural projects, trade with surrounding regions, and a military intended to assert Egyptian dominance. Motivating and organizing these activities was a bureaucracy of elite scribes, religious leaders, and administrators under the control of a pharaoh, who ensured the cooperation and unity of the Egyptian people in the context of an elaborate system of religious beliefs. The many achievements of the ancient Egyptians include the quarrying, surveying and construction techniques that supported the building of monumental pyramids, temples, and obelisks; a system of mathematics, a practical and effective system of medicine, irrigation systems and agricultural production techniques, the first known planked boats, Egyptian faience and glass technology, new forms of literature, and the earliest known peace treaty, made with the Hittites. Ancient Egypt has left a lasting legacy. Its art and architecture were widely copied, and its antiquities carried off to far corners of the world. Its monumental ruins have inspired the imaginations of travelers and writers for millennia. A newfound respect for antiquities and excavations in the early modern period by Europeans and Egyptians led to the scientific investigation of Egyptian civilization and a greater appreciation of its cultural legacy. History The Nile has been the lifeline of its region for much of human history.

Ancient Egypt Ancient Egypt was a civilization of ancient Africa, concentrated along the lower reaches of the Nile River, situated in the place that is now the country Egypt. Ancient Egyptian civilization followed prehistoric Egypt and coalesced around 3100BC (according to conventional Egyptian chronology) with the political unification of Upper and Lower Egypt under Menes (often identified with Narmer). The history of ancient Egypt occurred as a series of stable kingdoms, separated by periods of relative instability known as Intermediate Periods: the Old Kingdom of the Early Bronze Age, the Middle Kingdom of the Middle Bronze Age and the New Kingdom of the Late Bronze Age. Egypt reached the pinnacle of its power in the New Kingdom, ruling much of Nubia and a sizable portion of the Near East, after which it entered a period of slow decline. During the course of its history Egypt was invaded or conquered by a number of foreign powers, including the Hyksos, the Libyans, the Nubians, the Assyrians, the Achaemenid Persians, and the Macedonians under the command of Alexander the Great. The Greek Ptolemaic Kingdom, formed in the aftermath of Alexander's death, ruled Egypt until 30BC, when, under Cleopatra, it fell to the Roman Empire and became a Roman province. The success of ancient Egyptian civilization came partly from its ability to adapt to the conditions of the Nile River valley for agriculture. The predictable flooding and controlled irrigation of the fertile valley produced surplus crops, which supported a more dense population, and social development and culture. With resources to spare, the administration sponsored mineral exploitation of the valley and surrounding desert regions, the early development of an independent writing system, the organization of collective construction and agricultural projects, trade with surrounding regions, and a military intended to assert Egyptian dominance. Motivating and organizing these activities was a bureaucracy of elite scribes, religious leaders, and administrators under the control of a pharaoh, who ensured the cooperation and unity of the Egyptian people in the context of an elaborate system of religious beliefs. The many achievements of the ancient Egyptians include the quarrying, surveying and construction techniques that supported the building of monumental pyramids, temples, and obelisks; a system of mathematics, a practical and effective system of medicine, irrigation systems and agricultural production techniques, the first known planked boats, Egyptian faience and glass technology, new forms of literature, and the earliest known peace treaty, made with the Hittites. Ancient Egypt has left a lasting legacy. Its art and architecture were widely copied, and its antiquities carried off to far corners of the world. Its monumental ruins have inspired the imaginations of travelers and writers for millennia. A newfound respect for antiquities and excavations in the early modern period by Europeans and Egyptians led to the scientific investigation of Egyptian civilization and a greater appreciation of its cultural legacy. History The Nile has been the lifeline of its region for much of human history.

The fertile floodplain of the Nile gave humans the opportunity to develop a settled agricultural economy and a more sophisticated, centralized society that became a cornerstone in the history of human civilization. Nomadic modern human hunter-gatherers began living in the Nile valley through the end of the Middle Pleistocene some 120,000 years ago. By the late Paleolithic period, the arid climate of Northern Africa became increasingly hot and dry, forcing the populations of the area to concentrate along the river region. Predynastic period In Predynastic and Early Dynastic times, the Egyptian climate was much less arid than it is today. Large regions of Egypt were covered in treed savanna and traversed by herds of grazing ungulates. Foliage and fauna were far more prolific in all environs and the Nile region supported large populations of waterfowl. Hunting would have been common for Egyptians, and this is also the period when many animals were first domesticated. By about 5500 BC, small tribes living in the Nile valley had developed into a series of cultures demonstrating firm control of agriculture and animal husbandry, and identifiable by their pottery and personal items, such as combs, bracelets, and beads. The largest of these early cultures in upper (Southern) Egypt was the Badarian culture, which probably originated in the Western Desert; it was known for its high-quality ceramics, stone tools, and its use of copper. The Badari was followed by the Naqada culture: the Amratian (Naqada I), the Gerzeh (Naqada II), and Semainean (Naqada III). These brought a number of technological improvements. As early as the Naqada I Period, predynastic Egyptians imported obsidian from Ethiopia, used to shape blades and other objects from flakes. In Naqada II times, early evidence exists of contact with the Near East, particularly Canaan and the Byblos coast. Over a period of about 1,000 years, the Naqada culture developed from a few small farming communities into a powerful civilization whose leaders were in complete control of the people and resources of the Nile valley. Establishing a power center at Nekhen (in Greek, Hierakonpolis), and later at Abydos, Naqada III leaders expanded their control of Egypt northwards along the Nile. They also traded with Nubia to the south, the oases of the western desert to the west, and the cultures of the eastern Mediterranean and Near East to the east, initiating a period of Egypt-Mesopotamia relations. The Naqada culture manufactured a diverse selection of material goods, reflective of the increasing power and wealth of the elite, as well as societal personal-use items, which included combs, small statuary, painted pottery, high quality decorative stone vases, cosmetic palettes, and jewelry made of gold, lapis, and ivory. They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a full system of hieroglyphs for writing the ancient Egyptian language.

The fertile floodplain of the Nile gave humans the opportunity to develop a settled agricultural economy and a more sophisticated, centralized society that became a cornerstone in the history of human civilization. Nomadic modern human hunter-gatherers began living in the Nile valley through the end of the Middle Pleistocene some 120,000 years ago. By the late Paleolithic period, the arid climate of Northern Africa became increasingly hot and dry, forcing the populations of the area to concentrate along the river region. Predynastic period In Predynastic and Early Dynastic times, the Egyptian climate was much less arid than it is today. Large regions of Egypt were covered in treed savanna and traversed by herds of grazing ungulates. Foliage and fauna were far more prolific in all environs and the Nile region supported large populations of waterfowl. Hunting would have been common for Egyptians, and this is also the period when many animals were first domesticated. By about 5500 BC, small tribes living in the Nile valley had developed into a series of cultures demonstrating firm control of agriculture and animal husbandry, and identifiable by their pottery and personal items, such as combs, bracelets, and beads. The largest of these early cultures in upper (Southern) Egypt was the Badarian culture, which probably originated in the Western Desert; it was known for its high-quality ceramics, stone tools, and its use of copper. The Badari was followed by the Naqada culture: the Amratian (Naqada I), the Gerzeh (Naqada II), and Semainean (Naqada III). These brought a number of technological improvements. As early as the Naqada I Period, predynastic Egyptians imported obsidian from Ethiopia, used to shape blades and other objects from flakes. In Naqada II times, early evidence exists of contact with the Near East, particularly Canaan and the Byblos coast. Over a period of about 1,000 years, the Naqada culture developed from a few small farming communities into a powerful civilization whose leaders were in complete control of the people and resources of the Nile valley. Establishing a power center at Nekhen (in Greek, Hierakonpolis), and later at Abydos, Naqada III leaders expanded their control of Egypt northwards along the Nile. They also traded with Nubia to the south, the oases of the western desert to the west, and the cultures of the eastern Mediterranean and Near East to the east, initiating a period of Egypt-Mesopotamia relations. The Naqada culture manufactured a diverse selection of material goods, reflective of the increasing power and wealth of the elite, as well as societal personal-use items, which included combs, small statuary, painted pottery, high quality decorative stone vases, cosmetic palettes, and jewelry made of gold, lapis, and ivory. They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a full system of hieroglyphs for writing the ancient Egyptian language.

The fertile floodplain of the Nile gave humans the opportunity to develop a settled agricultural economy and a more sophisticated, centralized society that became a cornerstone in the history of human civilization. Nomadic modern human hunter-gatherers began living in the Nile valley through the end of the Middle Pleistocene some 120,000 years ago. By the late Paleolithic period, the arid climate of Northern Africa became increasingly hot and dry, forcing the populations of the area to concentrate along the river region. Predynastic period In Predynastic and Early Dynastic times, the Egyptian climate was much less arid than it is today. Large regions of Egypt were covered in treed savanna and traversed by herds of grazing ungulates. Foliage and fauna were far more prolific in all environs and the Nile region supported large populations of waterfowl. Hunting would have been common for Egyptians, and this is also the period when many animals were first domesticated. By about 5500 BC, small tribes living in the Nile valley had developed into a series of cultures demonstrating firm control of agriculture and animal husbandry, and identifiable by their pottery and personal items, such as combs, bracelets, and beads. The largest of these early cultures in upper (Southern) Egypt was the Badarian culture, which probably originated in the Western Desert; it was known for its high-quality ceramics, stone tools, and its use of copper. The Badari was followed by the Naqada culture: the Amratian (Naqada I), the Gerzeh (Naqada II), and Semainean (Naqada III). These brought a number of technological improvements. As early as the Naqada I Period, predynastic Egyptians imported obsidian from Ethiopia, used to shape blades and other objects from flakes. In Naqada II times, early evidence exists of contact with the Near East, particularly Canaan and the Byblos coast. Over a period of about 1,000 years, the Naqada culture developed from a few small farming communities into a powerful civilization whose leaders were in complete control of the people and resources of the Nile valley. Establishing a power center at Nekhen (in Greek, Hierakonpolis), and later at Abydos, Naqada III leaders expanded their control of Egypt northwards along the Nile. They also traded with Nubia to the south, the oases of the western desert to the west, and the cultures of the eastern Mediterranean and Near East to the east, initiating a period of Egypt-Mesopotamia relations. The Naqada culture manufactured a diverse selection of material goods, reflective of the increasing power and wealth of the elite, as well as societal personal-use items, which included combs, small statuary, painted pottery, high quality decorative stone vases, cosmetic palettes, and jewelry made of gold, lapis, and ivory. They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a full system of hieroglyphs for writing the ancient Egyptian language.

Early Dynastic Period (c. 3150–2686 BC) The Early Dynastic Period was approximately contemporary to the early Sumerian-Akkadian civilisation of Mesopotamia and of ancient Elam. The third-centuryBC Egyptian priest Manetho grouped the long line of kings from Menes to his own time into 30 dynasties, a system still used today. He began his official history with the king named "Meni" (or Menes in Greek), who was believed to have united the two kingdoms of Upper and Lower Egypt. The transition to a unified state happened more gradually than ancient Egyptian writers represented, and there is no contemporary record of Menes. Some scholars now believe, however, that the mythical Menes may have been the king Narmer, who is depicted wearing royal regalia on the ceremonial Narmer Palette, in a symbolic act of unification. In the Early Dynastic Period, which began about 3000BC, the first of the Dynastic kings solidified control over lower Egypt by establishing a capital at Memphis, from which he could control the labour force and agriculture of the fertile delta region, as well as the lucrative and critical trade routes to the Levant. The increasing power and wealth of the kings during the early dynastic period was reflected in their elaborate mastaba tombs and mortuary cult structures at Abydos, which were used to celebrate the deified king after his death. The strong institution of kingship developed by the kings served to legitimize state control over the land, labour, and resources that were essential to the survival and growth of ancient Egyptian civilization. Old Kingdom (2686–2181 BC) Major advances in architecture, art, and technology were made during the Old Kingdom, fueled by the increased agricultural productivity and resulting population, made possible by a well-developed central administration. Some of ancient Egypt's crowning achievements, the Giza pyramids and Great Sphinx, were constructed during the Old Kingdom. Under the direction of the vizier, state officials collected taxes, coordinated irrigation projects to improve crop yield, drafted peasants to work on construction projects, and established a justice system to maintain peace and order. With the rising importance of central administration in Egypt, a new class of educated scribes and officials arose who were granted estates by the king in payment for their services. Kings also made land grants to their mortuary cults and local temples, to ensure that these institutions had the resources to worship the king after his death. Scholars believe that five centuries of these practices slowly eroded the economic vitality of Egypt, and that the economy could no longer afford to support a large centralized administration. As the power of the kings diminished, regional governors called nomarchs began to challenge the supremacy of the office of king. This, coupled with severe droughts between 2200 and 2150BC, is believed to have caused the country to enter the 140-year period of famine and strife known as the First Intermediate Period.

Early Dynastic Period (c. 3150–2686 BC) The Early Dynastic Period was approximately contemporary to the early Sumerian-Akkadian civilisation of Mesopotamia and of ancient Elam. The third-centuryBC Egyptian priest Manetho grouped the long line of kings from Menes to his own time into 30 dynasties, a system still used today. He began his official history with the king named "Meni" (or Menes in Greek), who was believed to have united the two kingdoms of Upper and Lower Egypt. The transition to a unified state happened more gradually than ancient Egyptian writers represented, and there is no contemporary record of Menes. Some scholars now believe, however, that the mythical Menes may have been the king Narmer, who is depicted wearing royal regalia on the ceremonial Narmer Palette, in a symbolic act of unification. In the Early Dynastic Period, which began about 3000BC, the first of the Dynastic kings solidified control over lower Egypt by establishing a capital at Memphis, from which he could control the labour force and agriculture of the fertile delta region, as well as the lucrative and critical trade routes to the Levant. The increasing power and wealth of the kings during the early dynastic period was reflected in their elaborate mastaba tombs and mortuary cult structures at Abydos, which were used to celebrate the deified king after his death. The strong institution of kingship developed by the kings served to legitimize state control over the land, labour, and resources that were essential to the survival and growth of ancient Egyptian civilization. Old Kingdom (2686–2181 BC) Major advances in architecture, art, and technology were made during the Old Kingdom, fueled by the increased agricultural productivity and resulting population, made possible by a well-developed central administration. Some of ancient Egypt's crowning achievements, the Giza pyramids and Great Sphinx, were constructed during the Old Kingdom. Under the direction of the vizier, state officials collected taxes, coordinated irrigation projects to improve crop yield, drafted peasants to work on construction projects, and established a justice system to maintain peace and order. With the rising importance of central administration in Egypt, a new class of educated scribes and officials arose who were granted estates by the king in payment for their services. Kings also made land grants to their mortuary cults and local temples, to ensure that these institutions had the resources to worship the king after his death. Scholars believe that five centuries of these practices slowly eroded the economic vitality of Egypt, and that the economy could no longer afford to support a large centralized administration. As the power of the kings diminished, regional governors called nomarchs began to challenge the supremacy of the office of king. This, coupled with severe droughts between 2200 and 2150BC, is believed to have caused the country to enter the 140-year period of famine and strife known as the First Intermediate Period.

Early Dynastic Period (c. 3150–2686 BC) The Early Dynastic Period was approximately contemporary to the early Sumerian-Akkadian civilisation of Mesopotamia and of ancient Elam. The third-centuryBC Egyptian priest Manetho grouped the long line of kings from Menes to his own time into 30 dynasties, a system still used today. He began his official history with the king named "Meni" (or Menes in Greek), who was believed to have united the two kingdoms of Upper and Lower Egypt. The transition to a unified state happened more gradually than ancient Egyptian writers represented, and there is no contemporary record of Menes. Some scholars now believe, however, that the mythical Menes may have been the king Narmer, who is depicted wearing royal regalia on the ceremonial Narmer Palette, in a symbolic act of unification. In the Early Dynastic Period, which began about 3000BC, the first of the Dynastic kings solidified control over lower Egypt by establishing a capital at Memphis, from which he could control the labour force and agriculture of the fertile delta region, as well as the lucrative and critical trade routes to the Levant. The increasing power and wealth of the kings during the early dynastic period was reflected in their elaborate mastaba tombs and mortuary cult structures at Abydos, which were used to celebrate the deified king after his death. The strong institution of kingship developed by the kings served to legitimize state control over the land, labour, and resources that were essential to the survival and growth of ancient Egyptian civilization. Old Kingdom (2686–2181 BC) Major advances in architecture, art, and technology were made during the Old Kingdom, fueled by the increased agricultural productivity and resulting population, made possible by a well-developed central administration. Some of ancient Egypt's crowning achievements, the Giza pyramids and Great Sphinx, were constructed during the Old Kingdom. Under the direction of the vizier, state officials collected taxes, coordinated irrigation projects to improve crop yield, drafted peasants to work on construction projects, and established a justice system to maintain peace and order. With the rising importance of central administration in Egypt, a new class of educated scribes and officials arose who were granted estates by the king in payment for their services. Kings also made land grants to their mortuary cults and local temples, to ensure that these institutions had the resources to worship the king after his death. Scholars believe that five centuries of these practices slowly eroded the economic vitality of Egypt, and that the economy could no longer afford to support a large centralized administration. As the power of the kings diminished, regional governors called nomarchs began to challenge the supremacy of the office of king. This, coupled with severe droughts between 2200 and 2150BC, is believed to have caused the country to enter the 140-year period of famine and strife known as the First Intermediate Period.

First Intermediate Period (2181–2055 BC) After Egypt's central government collapsed at the end of the Old Kingdom, the administration could no longer support or stabilize the country's economy. Regional governors could not rely on the king for help in times of crisis, and the ensuing food shortages and political disputes escalated into famines and small-scale civil wars. Yet despite difficult problems, local leaders, owing no tribute to the king, used their new-found independence to establish a thriving culture in the provinces. Once in control of their own resources, the provinces became economically richer—which was demonstrated by larger and better burials among all social classes. In bursts of creativity, provincial artisans adopted and adapted cultural motifs formerly restricted to the royalty of the Old Kingdom, and scribes developed literary styles that expressed the optimism and originality of the period. Free from their loyalties to the king, local rulers began competing with each other for territorial control and political power. By 2160BC, rulers in Herakleopolis controlled Lower Egypt in the north, while a rival clan based in Thebes, the Intef family, took control of Upper Egypt in the south. As the Intefs grew in power and expanded their control northward, a clash between the two rival dynasties became inevitable. Around 2055BC the northern Theban forces under Nebhepetre Mentuhotep II finally defeated the Herakleopolitan rulers, reuniting the Two Lands. They inaugurated a period of economic and cultural renaissance known as the Middle Kingdom. Middle Kingdom (2134–1690 BC) The kings of the Middle Kingdom restored the country's stability and prosperity, thereby stimulating a resurgence of art, literature, and monumental building projects. Mentuhotep II and his Eleventh Dynasty successors ruled from Thebes, but the vizier Amenemhat I, upon assuming the kingship at the beginning of the Twelfth Dynasty around 1985BC, shifted the kingdom's capital to the city of Itjtawy, located in Faiyum. From Itjtawy, the kings of the Twelfth Dynasty undertook a far-sighted land reclamation and irrigation scheme to increase agricultural output in the region. Moreover, the military reconquered territory in Nubia that was rich in quarries and gold mines, while laborers built a defensive structure in the Eastern Delta, called the "Walls of the Ruler", to defend against foreign attack. With the kings having secured the country militarily and politically and with vast agricultural and mineral wealth at their disposal, the nation's population, arts, and religion flourished. In contrast to elitist Old Kingdom attitudes towards the gods, the Middle Kingdom displayed an increase in expressions of personal piety. Middle Kingdom literature featured sophisticated themes and characters written in a confident, eloquent style. The relief and portrait sculpture of the period captured subtle, individual details that reached new heights of technical sophistication. The last great ruler of the Middle Kingdom, Amenemhat III, allowed Semitic-speaking Canaanite settlers from the Near East into the Delta region to provide a sufficient labour force for his especially active mining and building campaigns.

First Intermediate Period (2181–2055 BC) After Egypt's central government collapsed at the end of the Old Kingdom, the administration could no longer support or stabilize the country's economy. Regional governors could not rely on the king for help in times of crisis, and the ensuing food shortages and political disputes escalated into famines and small-scale civil wars. Yet despite difficult problems, local leaders, owing no tribute to the king, used their new-found independence to establish a thriving culture in the provinces. Once in control of their own resources, the provinces became economically richer—which was demonstrated by larger and better burials among all social classes. In bursts of creativity, provincial artisans adopted and adapted cultural motifs formerly restricted to the royalty of the Old Kingdom, and scribes developed literary styles that expressed the optimism and originality of the period. Free from their loyalties to the king, local rulers began competing with each other for territorial control and political power. By 2160BC, rulers in Herakleopolis controlled Lower Egypt in the north, while a rival clan based in Thebes, the Intef family, took control of Upper Egypt in the south. As the Intefs grew in power and expanded their control northward, a clash between the two rival dynasties became inevitable. Around 2055BC the northern Theban forces under Nebhepetre Mentuhotep II finally defeated the Herakleopolitan rulers, reuniting the Two Lands. They inaugurated a period of economic and cultural renaissance known as the Middle Kingdom. Middle Kingdom (2134–1690 BC) The kings of the Middle Kingdom restored the country's stability and prosperity, thereby stimulating a resurgence of art, literature, and monumental building projects. Mentuhotep II and his Eleventh Dynasty successors ruled from Thebes, but the vizier Amenemhat I, upon assuming the kingship at the beginning of the Twelfth Dynasty around 1985BC, shifted the kingdom's capital to the city of Itjtawy, located in Faiyum. From Itjtawy, the kings of the Twelfth Dynasty undertook a far-sighted land reclamation and irrigation scheme to increase agricultural output in the region. Moreover, the military reconquered territory in Nubia that was rich in quarries and gold mines, while laborers built a defensive structure in the Eastern Delta, called the "Walls of the Ruler", to defend against foreign attack. With the kings having secured the country militarily and politically and with vast agricultural and mineral wealth at their disposal, the nation's population, arts, and religion flourished. In contrast to elitist Old Kingdom attitudes towards the gods, the Middle Kingdom displayed an increase in expressions of personal piety. Middle Kingdom literature featured sophisticated themes and characters written in a confident, eloquent style. The relief and portrait sculpture of the period captured subtle, individual details that reached new heights of technical sophistication. The last great ruler of the Middle Kingdom, Amenemhat III, allowed Semitic-speaking Canaanite settlers from the Near East into the Delta region to provide a sufficient labour force for his especially active mining and building campaigns.

First Intermediate Period (2181–2055 BC) After Egypt's central government collapsed at the end of the Old Kingdom, the administration could no longer support or stabilize the country's economy. Regional governors could not rely on the king for help in times of crisis, and the ensuing food shortages and political disputes escalated into famines and small-scale civil wars. Yet despite difficult problems, local leaders, owing no tribute to the king, used their new-found independence to establish a thriving culture in the provinces. Once in control of their own resources, the provinces became economically richer—which was demonstrated by larger and better burials among all social classes. In bursts of creativity, provincial artisans adopted and adapted cultural motifs formerly restricted to the royalty of the Old Kingdom, and scribes developed literary styles that expressed the optimism and originality of the period. Free from their loyalties to the king, local rulers began competing with each other for territorial control and political power. By 2160BC, rulers in Herakleopolis controlled Lower Egypt in the north, while a rival clan based in Thebes, the Intef family, took control of Upper Egypt in the south. As the Intefs grew in power and expanded their control northward, a clash between the two rival dynasties became inevitable. Around 2055BC the northern Theban forces under Nebhepetre Mentuhotep II finally defeated the Herakleopolitan rulers, reuniting the Two Lands. They inaugurated a period of economic and cultural renaissance known as the Middle Kingdom. Middle Kingdom (2134–1690 BC) The kings of the Middle Kingdom restored the country's stability and prosperity, thereby stimulating a resurgence of art, literature, and monumental building projects. Mentuhotep II and his Eleventh Dynasty successors ruled from Thebes, but the vizier Amenemhat I, upon assuming the kingship at the beginning of the Twelfth Dynasty around 1985BC, shifted the kingdom's capital to the city of Itjtawy, located in Faiyum. From Itjtawy, the kings of the Twelfth Dynasty undertook a far-sighted land reclamation and irrigation scheme to increase agricultural output in the region. Moreover, the military reconquered territory in Nubia that was rich in quarries and gold mines, while laborers built a defensive structure in the Eastern Delta, called the "Walls of the Ruler", to defend against foreign attack. With the kings having secured the country militarily and politically and with vast agricultural and mineral wealth at their disposal, the nation's population, arts, and religion flourished. In contrast to elitist Old Kingdom attitudes towards the gods, the Middle Kingdom displayed an increase in expressions of personal piety. Middle Kingdom literature featured sophisticated themes and characters written in a confident, eloquent style. The relief and portrait sculpture of the period captured subtle, individual details that reached new heights of technical sophistication. The last great ruler of the Middle Kingdom, Amenemhat III, allowed Semitic-speaking Canaanite settlers from the Near East into the Delta region to provide a sufficient labour force for his especially active mining and building campaigns.

These ambitious building and mining activities, however, combined with severe Nile floods later in his reign, strained the economy and precipitated the slow decline into the Second Intermediate Period during the later Thirteenth and Fourteenth dynasties. During this decline, the Canaanite settlers began to assume greater control of the Delta region, eventually coming to power in Egypt as the Hyksos. Second Intermediate Period (1674–1549 BC) and the Hyksos Around 1785BC, as the power of the Middle Kingdom kings weakened, a Western Asian people called the Hyksos, who had already settled in the Delta, seized control of Egypt and established their capital at Avaris, forcing the former central government to retreat to Thebes. The king was treated as a vassal and expected to pay tribute. The Hyksos ("foreign rulers") retained Egyptian models of government and identified as kings, thereby integrating Egyptian elements into their culture. They and other invaders introduced new tools of warfare into Egypt, most notably the composite bow and the horse-drawn chariot. After retreating south, the native Theban kings found themselves trapped between the Canaanite Hyksos ruling the north and the Hyksos' Nubian allies, the Kushites, to the south. After years of vassalage, Thebes gathered enough strength to challenge the Hyksos in a conflict that lasted more than 30 years, until 1555BC. The kings Seqenenre Tao II and Kamose were ultimately able to defeat the Nubians to the south of Egypt, but failed to defeat the Hyksos. That task fell to Kamose's successor, Ahmose I, who successfully waged a series of campaigns that permanently eradicated the Hyksos' presence in Egypt. He established a new dynasty and, in the New Kingdom that followed, the military became a central priority for the kings, who sought to expand Egypt's borders and attempted to gain mastery of the Near East. New Kingdom (1549–1069 BC) The New Kingdom pharaohs established a period of unprecedented prosperity by securing their borders and strengthening diplomatic ties with their neighbours, including the Mitanni Empire, Assyria, and Canaan. Military campaigns waged under Tuthmosis I and his grandson Tuthmosis III extended the influence of the pharaohs to the largest empire Egypt had ever seen. Beginning with Merneptah the rulers of Egypt adopted the title of pharaoh. Between their reigns, Hatshepsut, a queen who established herself as pharaoh, launched many building projects, including the restoration of temples damaged by the Hyksos, and sent trading expeditions to Punt and the Sinai. When Tuthmosis III died in 1425BC, Egypt had an empire extending from Niya in north west Syria to the Fourth Cataract of the Nile in Nubia, cementing loyalties and opening access to critical imports such as bronze and wood. The New Kingdom pharaohs began a large-scale building campaign to promote the god Amun, whose growing cult was based in Karnak. They also constructed monuments to glorify their own achievements, both real and imagined. The Karnak temple is the largest Egyptian temple ever built.

These ambitious building and mining activities, however, combined with severe Nile floods later in his reign, strained the economy and precipitated the slow decline into the Second Intermediate Period during the later Thirteenth and Fourteenth dynasties. During this decline, the Canaanite settlers began to assume greater control of the Delta region, eventually coming to power in Egypt as the Hyksos. Second Intermediate Period (1674–1549 BC) and the Hyksos Around 1785BC, as the power of the Middle Kingdom kings weakened, a Western Asian people called the Hyksos, who had already settled in the Delta, seized control of Egypt and established their capital at Avaris, forcing the former central government to retreat to Thebes. The king was treated as a vassal and expected to pay tribute. The Hyksos ("foreign rulers") retained Egyptian models of government and identified as kings, thereby integrating Egyptian elements into their culture. They and other invaders introduced new tools of warfare into Egypt, most notably the composite bow and the horse-drawn chariot. After retreating south, the native Theban kings found themselves trapped between the Canaanite Hyksos ruling the north and the Hyksos' Nubian allies, the Kushites, to the south. After years of vassalage, Thebes gathered enough strength to challenge the Hyksos in a conflict that lasted more than 30 years, until 1555BC. The kings Seqenenre Tao II and Kamose were ultimately able to defeat the Nubians to the south of Egypt, but failed to defeat the Hyksos. That task fell to Kamose's successor, Ahmose I, who successfully waged a series of campaigns that permanently eradicated the Hyksos' presence in Egypt. He established a new dynasty and, in the New Kingdom that followed, the military became a central priority for the kings, who sought to expand Egypt's borders and attempted to gain mastery of the Near East. New Kingdom (1549–1069 BC) The New Kingdom pharaohs established a period of unprecedented prosperity by securing their borders and strengthening diplomatic ties with their neighbours, including the Mitanni Empire, Assyria, and Canaan. Military campaigns waged under Tuthmosis I and his grandson Tuthmosis III extended the influence of the pharaohs to the largest empire Egypt had ever seen. Beginning with Merneptah the rulers of Egypt adopted the title of pharaoh. Between their reigns, Hatshepsut, a queen who established herself as pharaoh, launched many building projects, including the restoration of temples damaged by the Hyksos, and sent trading expeditions to Punt and the Sinai. When Tuthmosis III died in 1425BC, Egypt had an empire extending from Niya in north west Syria to the Fourth Cataract of the Nile in Nubia, cementing loyalties and opening access to critical imports such as bronze and wood. The New Kingdom pharaohs began a large-scale building campaign to promote the god Amun, whose growing cult was based in Karnak. They also constructed monuments to glorify their own achievements, both real and imagined. The Karnak temple is the largest Egyptian temple ever built.

These ambitious building and mining activities, however, combined with severe Nile floods later in his reign, strained the economy and precipitated the slow decline into the Second Intermediate Period during the later Thirteenth and Fourteenth dynasties. During this decline, the Canaanite settlers began to assume greater control of the Delta region, eventually coming to power in Egypt as the Hyksos. Second Intermediate Period (1674–1549 BC) and the Hyksos Around 1785BC, as the power of the Middle Kingdom kings weakened, a Western Asian people called the Hyksos, who had already settled in the Delta, seized control of Egypt and established their capital at Avaris, forcing the former central government to retreat to Thebes. The king was treated as a vassal and expected to pay tribute. The Hyksos ("foreign rulers") retained Egyptian models of government and identified as kings, thereby integrating Egyptian elements into their culture. They and other invaders introduced new tools of warfare into Egypt, most notably the composite bow and the horse-drawn chariot. After retreating south, the native Theban kings found themselves trapped between the Canaanite Hyksos ruling the north and the Hyksos' Nubian allies, the Kushites, to the south. After years of vassalage, Thebes gathered enough strength to challenge the Hyksos in a conflict that lasted more than 30 years, until 1555BC. The kings Seqenenre Tao II and Kamose were ultimately able to defeat the Nubians to the south of Egypt, but failed to defeat the Hyksos. That task fell to Kamose's successor, Ahmose I, who successfully waged a series of campaigns that permanently eradicated the Hyksos' presence in Egypt. He established a new dynasty and, in the New Kingdom that followed, the military became a central priority for the kings, who sought to expand Egypt's borders and attempted to gain mastery of the Near East. New Kingdom (1549–1069 BC) The New Kingdom pharaohs established a period of unprecedented prosperity by securing their borders and strengthening diplomatic ties with their neighbours, including the Mitanni Empire, Assyria, and Canaan. Military campaigns waged under Tuthmosis I and his grandson Tuthmosis III extended the influence of the pharaohs to the largest empire Egypt had ever seen. Beginning with Merneptah the rulers of Egypt adopted the title of pharaoh. Between their reigns, Hatshepsut, a queen who established herself as pharaoh, launched many building projects, including the restoration of temples damaged by the Hyksos, and sent trading expeditions to Punt and the Sinai. When Tuthmosis III died in 1425BC, Egypt had an empire extending from Niya in north west Syria to the Fourth Cataract of the Nile in Nubia, cementing loyalties and opening access to critical imports such as bronze and wood. The New Kingdom pharaohs began a large-scale building campaign to promote the god Amun, whose growing cult was based in Karnak. They also constructed monuments to glorify their own achievements, both real and imagined. The Karnak temple is the largest Egyptian temple ever built.

Around 1350BC, the stability of the New Kingdom was threatened when Amenhotep IV ascended the throne and instituted a series of radical and chaotic reforms. Changing his name to Akhenaten, he touted the previously obscure sun deity Aten as the supreme deity, suppressed the worship of most other deities, and moved the capital to the new city of Akhetaten (modern-day Amarna). He was devoted to his new religion and artistic style. After his death, the cult of the Aten was quickly abandoned and the traditional religious order restored. The subsequent pharaohs, Tutankhamun, Ay, and Horemheb, worked to erase all mention of Akhenaten's heresy, now known as the Amarna Period. Around 1279BC, Ramesses II, also known as Ramesses the Great, ascended the throne, and went on to build more temples, erect more statues and obelisks, and sire more children than any other pharaoh in history. A bold military leader, Ramesses II led his army against the Hittites in the Battle of Kadesh (in modern Syria) and, after fighting to a stalemate, finally agreed to the first recorded peace treaty, around 1258BC. Egypt's wealth, however, made it a tempting target for invasion, particularly by the Libyan Berbers to the west, and the Sea Peoples, a conjectured confederation of seafarers from the Aegean Sea. Initially, the military was able to repel these invasions, but Egypt eventually lost control of its remaining territories in southern Canaan, much of it falling to the Assyrians. The effects of external threats were exacerbated by internal problems such as corruption, tomb robbery, and civil unrest. After regaining their power, the high priests at the temple of Amun in Thebes accumulated vast tracts of land and wealth, and their expanded power splintered the country during the Third Intermediate Period. Third Intermediate Period (1069–653 BC) Following the death of Ramesses XI in 1078BC, Smendes assumed authority over the northern part of Egypt, ruling from the city of Tanis. The south was effectively controlled by the High Priests of Amun at Thebes, who recognized Smendes in name only. During this time, Libyans had been settling in the western delta, and chieftains of these settlers began increasing their autonomy. Libyan princes took control of the delta under Shoshenq I in 945BC, founding the so-called Libyan or Bubastite dynasty that would rule for some 200 years. Shoshenq also gained control of southern Egypt by placing his family members in important priestly positions. Libyan control began to erode as a rival dynasty in the delta arose in Leontopolis, and Kushites threatened from the south. Around 727BC the Kushite king Piye invaded northward, seizing control of Thebes and eventually the Delta, which established the 25th Dynasty. During the 25th Dynasty, Pharaoh Taharqa created an empire nearly as large as the New Kingdom's. Twenty-fifth Dynasty pharaohs built, or restored, temples and monuments throughout the Nile valley, including at Memphis, Karnak, Kawa, and Jebel Barkal. During this period, the Nile valley saw the first widespread construction of pyramids (many in modern Sudan) since the Middle Kingdom.

Around 1350BC, the stability of the New Kingdom was threatened when Amenhotep IV ascended the throne and instituted a series of radical and chaotic reforms. Changing his name to Akhenaten, he touted the previously obscure sun deity Aten as the supreme deity, suppressed the worship of most other deities, and moved the capital to the new city of Akhetaten (modern-day Amarna). He was devoted to his new religion and artistic style. After his death, the cult of the Aten was quickly abandoned and the traditional religious order restored. The subsequent pharaohs, Tutankhamun, Ay, and Horemheb, worked to erase all mention of Akhenaten's heresy, now known as the Amarna Period. Around 1279BC, Ramesses II, also known as Ramesses the Great, ascended the throne, and went on to build more temples, erect more statues and obelisks, and sire more children than any other pharaoh in history. A bold military leader, Ramesses II led his army against the Hittites in the Battle of Kadesh (in modern Syria) and, after fighting to a stalemate, finally agreed to the first recorded peace treaty, around 1258BC. Egypt's wealth, however, made it a tempting target for invasion, particularly by the Libyan Berbers to the west, and the Sea Peoples, a conjectured confederation of seafarers from the Aegean Sea. Initially, the military was able to repel these invasions, but Egypt eventually lost control of its remaining territories in southern Canaan, much of it falling to the Assyrians. The effects of external threats were exacerbated by internal problems such as corruption, tomb robbery, and civil unrest. After regaining their power, the high priests at the temple of Amun in Thebes accumulated vast tracts of land and wealth, and their expanded power splintered the country during the Third Intermediate Period. Third Intermediate Period (1069–653 BC) Following the death of Ramesses XI in 1078BC, Smendes assumed authority over the northern part of Egypt, ruling from the city of Tanis. The south was effectively controlled by the High Priests of Amun at Thebes, who recognized Smendes in name only. During this time, Libyans had been settling in the western delta, and chieftains of these settlers began increasing their autonomy. Libyan princes took control of the delta under Shoshenq I in 945BC, founding the so-called Libyan or Bubastite dynasty that would rule for some 200 years. Shoshenq also gained control of southern Egypt by placing his family members in important priestly positions. Libyan control began to erode as a rival dynasty in the delta arose in Leontopolis, and Kushites threatened from the south. Around 727BC the Kushite king Piye invaded northward, seizing control of Thebes and eventually the Delta, which established the 25th Dynasty. During the 25th Dynasty, Pharaoh Taharqa created an empire nearly as large as the New Kingdom's. Twenty-fifth Dynasty pharaohs built, or restored, temples and monuments throughout the Nile valley, including at Memphis, Karnak, Kawa, and Jebel Barkal. During this period, the Nile valley saw the first widespread construction of pyramids (many in modern Sudan) since the Middle Kingdom.

Around 1350BC, the stability of the New Kingdom was threatened when Amenhotep IV ascended the throne and instituted a series of radical and chaotic reforms. Changing his name to Akhenaten, he touted the previously obscure sun deity Aten as the supreme deity, suppressed the worship of most other deities, and moved the capital to the new city of Akhetaten (modern-day Amarna). He was devoted to his new religion and artistic style. After his death, the cult of the Aten was quickly abandoned and the traditional religious order restored. The subsequent pharaohs, Tutankhamun, Ay, and Horemheb, worked to erase all mention of Akhenaten's heresy, now known as the Amarna Period. Around 1279BC, Ramesses II, also known as Ramesses the Great, ascended the throne, and went on to build more temples, erect more statues and obelisks, and sire more children than any other pharaoh in history. A bold military leader, Ramesses II led his army against the Hittites in the Battle of Kadesh (in modern Syria) and, after fighting to a stalemate, finally agreed to the first recorded peace treaty, around 1258BC. Egypt's wealth, however, made it a tempting target for invasion, particularly by the Libyan Berbers to the west, and the Sea Peoples, a conjectured confederation of seafarers from the Aegean Sea. Initially, the military was able to repel these invasions, but Egypt eventually lost control of its remaining territories in southern Canaan, much of it falling to the Assyrians. The effects of external threats were exacerbated by internal problems such as corruption, tomb robbery, and civil unrest. After regaining their power, the high priests at the temple of Amun in Thebes accumulated vast tracts of land and wealth, and their expanded power splintered the country during the Third Intermediate Period. Third Intermediate Period (1069–653 BC) Following the death of Ramesses XI in 1078BC, Smendes assumed authority over the northern part of Egypt, ruling from the city of Tanis. The south was effectively controlled by the High Priests of Amun at Thebes, who recognized Smendes in name only. During this time, Libyans had been settling in the western delta, and chieftains of these settlers began increasing their autonomy. Libyan princes took control of the delta under Shoshenq I in 945BC, founding the so-called Libyan or Bubastite dynasty that would rule for some 200 years. Shoshenq also gained control of southern Egypt by placing his family members in important priestly positions. Libyan control began to erode as a rival dynasty in the delta arose in Leontopolis, and Kushites threatened from the south. Around 727BC the Kushite king Piye invaded northward, seizing control of Thebes and eventually the Delta, which established the 25th Dynasty. During the 25th Dynasty, Pharaoh Taharqa created an empire nearly as large as the New Kingdom's. Twenty-fifth Dynasty pharaohs built, or restored, temples and monuments throughout the Nile valley, including at Memphis, Karnak, Kawa, and Jebel Barkal. During this period, the Nile valley saw the first widespread construction of pyramids (many in modern Sudan) since the Middle Kingdom.

Egypt's far-reaching prestige declined considerably toward the end of the Third Intermediate Period. Its foreign allies had fallen under the Assyrian sphere of influence, and by 700BC war between the two states became inevitable. Between 671 and 667BC the Assyrians began the Assyrian conquest of Egypt. The reigns of both Taharqa and his successor, Tanutamun, were filled with constant conflict with the Assyrians, against whom Egypt enjoyed several victories. Ultimately, the Assyrians pushed the Kushites back into Nubia, occupied Memphis, and sacked the temples of Thebes. Late Period (653–332 BC) The Assyrians left control of Egypt to a series of vassals who became known as the Saite kings of the Twenty-Sixth Dynasty. By 653BC, the Saite king Psamtik I was able to oust the Assyrians with the help of Greek mercenaries, who were recruited to form Egypt's first navy. Greek influence expanded greatly as the city-state of Naukratis became the home of Greeks in the Nile Delta. The Saite kings based in the new capital of Sais witnessed a brief but spirited resurgence in the economy and culture, but in 525BC, the powerful Persians, led by Cambyses II, began their conquest of Egypt, eventually capturing the pharaoh Psamtik III at the Battle of Pelusium. Cambyses II then assumed the formal title of pharaoh, but ruled Egypt from Iran, leaving Egypt under the control of a satrap. A few successful revolts against the Persians marked the 5th centuryBC, but Egypt was never able to permanently overthrow the Persians. Following its annexation by Persia, Egypt was joined with Cyprus and Phoenicia in the sixth satrapy of the Achaemenid Persian Empire. This first period of Persian rule over Egypt, also known as the Twenty-Seventh Dynasty, ended in 402BC, when Egypt regained independence under a series of native dynasties. The last of these dynasties, the Thirtieth, proved to be the last native royal house of ancient Egypt, ending with the kingship of Nectanebo II. A brief restoration of Persian rule, sometimes known as the Thirty-First Dynasty, began in 343BC, but shortly after, in 332BC, the Persian ruler Mazaces handed Egypt over to Alexander the Great without a fight. Ptolemaic period (332–30 BC) In 332BC, Alexander the Great conquered Egypt with little resistance from the Persians and was welcomed by the Egyptians as a deliverer. The administration established by Alexander's successors, the Macedonian Ptolemaic Kingdom, was based on an Egyptian model and based in the new capital city of Alexandria. The city showcased the power and prestige of Hellenistic rule, and became a seat of learning and culture, centered at the famous Library of Alexandria. The Lighthouse of Alexandria lit the way for the many ships that kept trade flowing through the city—as the Ptolemies made commerce and revenue-generating enterprises, such as papyrus manufacturing, their top priority. Hellenistic culture did not supplant native Egyptian culture, as the Ptolemies supported time-honored traditions in an effort to secure the loyalty of the populace.

Egypt's far-reaching prestige declined considerably toward the end of the Third Intermediate Period. Its foreign allies had fallen under the Assyrian sphere of influence, and by 700BC war between the two states became inevitable. Between 671 and 667BC the Assyrians began the Assyrian conquest of Egypt. The reigns of both Taharqa and his successor, Tanutamun, were filled with constant conflict with the Assyrians, against whom Egypt enjoyed several victories. Ultimately, the Assyrians pushed the Kushites back into Nubia, occupied Memphis, and sacked the temples of Thebes. Late Period (653–332 BC) The Assyrians left control of Egypt to a series of vassals who became known as the Saite kings of the Twenty-Sixth Dynasty. By 653BC, the Saite king Psamtik I was able to oust the Assyrians with the help of Greek mercenaries, who were recruited to form Egypt's first navy. Greek influence expanded greatly as the city-state of Naukratis became the home of Greeks in the Nile Delta. The Saite kings based in the new capital of Sais witnessed a brief but spirited resurgence in the economy and culture, but in 525BC, the powerful Persians, led by Cambyses II, began their conquest of Egypt, eventually capturing the pharaoh Psamtik III at the Battle of Pelusium. Cambyses II then assumed the formal title of pharaoh, but ruled Egypt from Iran, leaving Egypt under the control of a satrap. A few successful revolts against the Persians marked the 5th centuryBC, but Egypt was never able to permanently overthrow the Persians. Following its annexation by Persia, Egypt was joined with Cyprus and Phoenicia in the sixth satrapy of the Achaemenid Persian Empire. This first period of Persian rule over Egypt, also known as the Twenty-Seventh Dynasty, ended in 402BC, when Egypt regained independence under a series of native dynasties. The last of these dynasties, the Thirtieth, proved to be the last native royal house of ancient Egypt, ending with the kingship of Nectanebo II. A brief restoration of Persian rule, sometimes known as the Thirty-First Dynasty, began in 343BC, but shortly after, in 332BC, the Persian ruler Mazaces handed Egypt over to Alexander the Great without a fight. Ptolemaic period (332–30 BC) In 332BC, Alexander the Great conquered Egypt with little resistance from the Persians and was welcomed by the Egyptians as a deliverer. The administration established by Alexander's successors, the Macedonian Ptolemaic Kingdom, was based on an Egyptian model and based in the new capital city of Alexandria. The city showcased the power and prestige of Hellenistic rule, and became a seat of learning and culture, centered at the famous Library of Alexandria. The Lighthouse of Alexandria lit the way for the many ships that kept trade flowing through the city—as the Ptolemies made commerce and revenue-generating enterprises, such as papyrus manufacturing, their top priority. Hellenistic culture did not supplant native Egyptian culture, as the Ptolemies supported time-honored traditions in an effort to secure the loyalty of the populace.

Egypt's far-reaching prestige declined considerably toward the end of the Third Intermediate Period. Its foreign allies had fallen under the Assyrian sphere of influence, and by 700BC war between the two states became inevitable. Between 671 and 667BC the Assyrians began the Assyrian conquest of Egypt. The reigns of both Taharqa and his successor, Tanutamun, were filled with constant conflict with the Assyrians, against whom Egypt enjoyed several victories. Ultimately, the Assyrians pushed the Kushites back into Nubia, occupied Memphis, and sacked the temples of Thebes. Late Period (653–332 BC) The Assyrians left control of Egypt to a series of vassals who became known as the Saite kings of the Twenty-Sixth Dynasty. By 653BC, the Saite king Psamtik I was able to oust the Assyrians with the help of Greek mercenaries, who were recruited to form Egypt's first navy. Greek influence expanded greatly as the city-state of Naukratis became the home of Greeks in the Nile Delta. The Saite kings based in the new capital of Sais witnessed a brief but spirited resurgence in the economy and culture, but in 525BC, the powerful Persians, led by Cambyses II, began their conquest of Egypt, eventually capturing the pharaoh Psamtik III at the Battle of Pelusium. Cambyses II then assumed the formal title of pharaoh, but ruled Egypt from Iran, leaving Egypt under the control of a satrap. A few successful revolts against the Persians marked the 5th centuryBC, but Egypt was never able to permanently overthrow the Persians. Following its annexation by Persia, Egypt was joined with Cyprus and Phoenicia in the sixth satrapy of the Achaemenid Persian Empire. This first period of Persian rule over Egypt, also known as the Twenty-Seventh Dynasty, ended in 402BC, when Egypt regained independence under a series of native dynasties. The last of these dynasties, the Thirtieth, proved to be the last native royal house of ancient Egypt, ending with the kingship of Nectanebo II. A brief restoration of Persian rule, sometimes known as the Thirty-First Dynasty, began in 343BC, but shortly after, in 332BC, the Persian ruler Mazaces handed Egypt over to Alexander the Great without a fight. Ptolemaic period (332–30 BC) In 332BC, Alexander the Great conquered Egypt with little resistance from the Persians and was welcomed by the Egyptians as a deliverer. The administration established by Alexander's successors, the Macedonian Ptolemaic Kingdom, was based on an Egyptian model and based in the new capital city of Alexandria. The city showcased the power and prestige of Hellenistic rule, and became a seat of learning and culture, centered at the famous Library of Alexandria. The Lighthouse of Alexandria lit the way for the many ships that kept trade flowing through the city—as the Ptolemies made commerce and revenue-generating enterprises, such as papyrus manufacturing, their top priority. Hellenistic culture did not supplant native Egyptian culture, as the Ptolemies supported time-honored traditions in an effort to secure the loyalty of the populace.

They built new temples in Egyptian style, supported traditional cults, and portrayed themselves as pharaohs. Some traditions merged, as Greek and Egyptian gods were syncretized into composite deities, such as Serapis, and classical Greek forms of sculpture influenced traditional Egyptian motifs. Despite their efforts to appease the Egyptians, the Ptolemies were challenged by native rebellion, bitter family rivalries, and the powerful mob of Alexandria that formed after the death of Ptolemy IV. In addition, as Rome relied more heavily on imports of grain from Egypt, the Romans took great interest in the political situation in the country. Continued Egyptian revolts, ambitious politicians, and powerful opponents from the Near East made this situation unstable, leading Rome to send forces to secure the country as a province of its empire. Roman period (30 BC – AD 641) Egypt became a province of the Roman Empire in 30BC, following the defeat of Mark Antony and Ptolemaic Queen Cleopatra VII by Octavian (later Emperor Augustus) in the Battle of Actium. The Romans relied heavily on grain shipments from Egypt, and the Roman army, under the control of a prefect appointed by the emperor, quelled rebellions, strictly enforced the collection of heavy taxes, and prevented attacks by bandits, which had become a notorious problem during the period. Alexandria became an increasingly important center on the trade route with the orient, as exotic luxuries were in high demand in Rome. Although the Romans had a more hostile attitude than the Greeks towards the Egyptians, some traditions such as mummification and worship of the traditional gods continued. The art of mummy portraiture flourished, and some Roman emperors had themselves depicted as pharaohs, though not to the extent that the Ptolemies had. The former lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship. Local administration became Roman in style and closed to native Egyptians. From the mid-first century AD, Christianity took root in Egypt and it was originally seen as another cult that could be accepted. However, it was an uncompromising religion that sought to win converts from the pagan Egyptian and Greco-Roman religions and threatened popular religious traditions. This led to the persecution of converts to Christianity, culminating in the great purges of Diocletian starting in 303, but eventually Christianity won out. In 391 the Christian emperor Theodosius introduced legislation that banned pagan rites and closed temples. Alexandria became the scene of great anti-pagan riots with public and private religious imagery destroyed. As a consequence, Egypt's native religious culture was continually in decline. While the native population continued to speak their language, the ability to read hieroglyphic writing slowly disappeared as the role of the Egyptian temple priests and priestesses diminished. The temples themselves were sometimes converted to churches or abandoned to the desert. In the fourth century, as the Roman Empire divided, Egypt found itself in the Eastern Empire with its capital at Constantinople.

They built new temples in Egyptian style, supported traditional cults, and portrayed themselves as pharaohs. Some traditions merged, as Greek and Egyptian gods were syncretized into composite deities, such as Serapis, and classical Greek forms of sculpture influenced traditional Egyptian motifs. Despite their efforts to appease the Egyptians, the Ptolemies were challenged by native rebellion, bitter family rivalries, and the powerful mob of Alexandria that formed after the death of Ptolemy IV. In addition, as Rome relied more heavily on imports of grain from Egypt, the Romans took great interest in the political situation in the country. Continued Egyptian revolts, ambitious politicians, and powerful opponents from the Near East made this situation unstable, leading Rome to send forces to secure the country as a province of its empire. Roman period (30 BC – AD 641) Egypt became a province of the Roman Empire in 30BC, following the defeat of Mark Antony and Ptolemaic Queen Cleopatra VII by Octavian (later Emperor Augustus) in the Battle of Actium. The Romans relied heavily on grain shipments from Egypt, and the Roman army, under the control of a prefect appointed by the emperor, quelled rebellions, strictly enforced the collection of heavy taxes, and prevented attacks by bandits, which had become a notorious problem during the period. Alexandria became an increasingly important center on the trade route with the orient, as exotic luxuries were in high demand in Rome. Although the Romans had a more hostile attitude than the Greeks towards the Egyptians, some traditions such as mummification and worship of the traditional gods continued. The art of mummy portraiture flourished, and some Roman emperors had themselves depicted as pharaohs, though not to the extent that the Ptolemies had. The former lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship. Local administration became Roman in style and closed to native Egyptians. From the mid-first century AD, Christianity took root in Egypt and it was originally seen as another cult that could be accepted. However, it was an uncompromising religion that sought to win converts from the pagan Egyptian and Greco-Roman religions and threatened popular religious traditions. This led to the persecution of converts to Christianity, culminating in the great purges of Diocletian starting in 303, but eventually Christianity won out. In 391 the Christian emperor Theodosius introduced legislation that banned pagan rites and closed temples. Alexandria became the scene of great anti-pagan riots with public and private religious imagery destroyed. As a consequence, Egypt's native religious culture was continually in decline. While the native population continued to speak their language, the ability to read hieroglyphic writing slowly disappeared as the role of the Egyptian temple priests and priestesses diminished. The temples themselves were sometimes converted to churches or abandoned to the desert. In the fourth century, as the Roman Empire divided, Egypt found itself in the Eastern Empire with its capital at Constantinople.

They built new temples in Egyptian style, supported traditional cults, and portrayed themselves as pharaohs. Some traditions merged, as Greek and Egyptian gods were syncretized into composite deities, such as Serapis, and classical Greek forms of sculpture influenced traditional Egyptian motifs. Despite their efforts to appease the Egyptians, the Ptolemies were challenged by native rebellion, bitter family rivalries, and the powerful mob of Alexandria that formed after the death of Ptolemy IV. In addition, as Rome relied more heavily on imports of grain from Egypt, the Romans took great interest in the political situation in the country. Continued Egyptian revolts, ambitious politicians, and powerful opponents from the Near East made this situation unstable, leading Rome to send forces to secure the country as a province of its empire. Roman period (30 BC – AD 641) Egypt became a province of the Roman Empire in 30BC, following the defeat of Mark Antony and Ptolemaic Queen Cleopatra VII by Octavian (later Emperor Augustus) in the Battle of Actium. The Romans relied heavily on grain shipments from Egypt, and the Roman army, under the control of a prefect appointed by the emperor, quelled rebellions, strictly enforced the collection of heavy taxes, and prevented attacks by bandits, which had become a notorious problem during the period. Alexandria became an increasingly important center on the trade route with the orient, as exotic luxuries were in high demand in Rome. Although the Romans had a more hostile attitude than the Greeks towards the Egyptians, some traditions such as mummification and worship of the traditional gods continued. The art of mummy portraiture flourished, and some Roman emperors had themselves depicted as pharaohs, though not to the extent that the Ptolemies had. The former lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship. Local administration became Roman in style and closed to native Egyptians. From the mid-first century AD, Christianity took root in Egypt and it was originally seen as another cult that could be accepted. However, it was an uncompromising religion that sought to win converts from the pagan Egyptian and Greco-Roman religions and threatened popular religious traditions. This led to the persecution of converts to Christianity, culminating in the great purges of Diocletian starting in 303, but eventually Christianity won out. In 391 the Christian emperor Theodosius introduced legislation that banned pagan rites and closed temples. Alexandria became the scene of great anti-pagan riots with public and private religious imagery destroyed. As a consequence, Egypt's native religious culture was continually in decline. While the native population continued to speak their language, the ability to read hieroglyphic writing slowly disappeared as the role of the Egyptian temple priests and priestesses diminished. The temples themselves were sometimes converted to churches or abandoned to the desert. In the fourth century, as the Roman Empire divided, Egypt found itself in the Eastern Empire with its capital at Constantinople.

In the waning years of the Empire, Egypt fell to the Sasanian Persian army in the Sasanian conquest of Egypt (618–628). It was then recaptured by the Byzantine emperor Heraclius (629–639), and was finally captured by Muslim Rashidun army in 639–641, ending Byzantine rule. Government and economy Administration and commerce The pharaoh was the absolute monarch of the country and, at least in theory, wielded complete control of the land and its resources. The king was the supreme military commander and head of the government, who relied on a bureaucracy of officials to manage his affairs. In charge of the administration was his second in command, the vizier, who acted as the king's representative and coordinated land surveys, the treasury, building projects, the legal system, and the archives. At a regional level, the country was divided into as many as 42 administrative regions called nomes each governed by a nomarch, who was accountable to the vizier for his jurisdiction. The temples formed the backbone of the economy. Not only were they places of worship, but were also responsible for collecting and storing the kingdom's wealth in a system of granaries and treasuries administered by overseers, who redistributed grain and goods. Much of the economy was centrally organized and strictly controlled. Although the ancient Egyptians did not use coinage until the Late period, they did use a type of money-barter system, with standard sacks of grain and the deben, a weight of roughly of copper or silver, forming a common denominator. Workers were paid in grain; a simple laborer might earn 5 sacks (200 kg or 400 lb) of grain per month, while a foreman might earn 7 sacks (250 kg or 550 lb). Prices were fixed across the country and recorded in lists to facilitate trading; for example a shirt cost five copper deben, while a cow cost 140deben. Grain could be traded for other goods, according to the fixed price list. During the fifth centuryBC coined money was introduced into Egypt from abroad. At first the coins were used as standardized pieces of precious metal rather than true money, but in the following centuries international traders came to rely on coinage. Social status Egyptian society was highly stratified, and social status was expressly displayed. Farmers made up the bulk of the population, but agricultural produce was owned directly by the state, temple, or noble family that owned the land. Farmers were also subject to a labor tax and were required to work on irrigation or construction projects in a corvée system. Artists and craftsmen were of higher status than farmers, but they were also under state control, working in the shops attached to the temples and paid directly from the state treasury. Scribes and officials formed the upper class in ancient Egypt, known as the "white kilt class" in reference to the bleached linen garments that served as a mark of their rank. The upper class prominently displayed their social status in art and literature.

In the waning years of the Empire, Egypt fell to the Sasanian Persian army in the Sasanian conquest of Egypt (618–628). It was then recaptured by the Byzantine emperor Heraclius (629–639), and was finally captured by Muslim Rashidun army in 639–641, ending Byzantine rule. Government and economy Administration and commerce The pharaoh was the absolute monarch of the country and, at least in theory, wielded complete control of the land and its resources. The king was the supreme military commander and head of the government, who relied on a bureaucracy of officials to manage his affairs. In charge of the administration was his second in command, the vizier, who acted as the king's representative and coordinated land surveys, the treasury, building projects, the legal system, and the archives. At a regional level, the country was divided into as many as 42 administrative regions called nomes each governed by a nomarch, who was accountable to the vizier for his jurisdiction. The temples formed the backbone of the economy. Not only were they places of worship, but were also responsible for collecting and storing the kingdom's wealth in a system of granaries and treasuries administered by overseers, who redistributed grain and goods. Much of the economy was centrally organized and strictly controlled. Although the ancient Egyptians did not use coinage until the Late period, they did use a type of money-barter system, with standard sacks of grain and the deben, a weight of roughly of copper or silver, forming a common denominator. Workers were paid in grain; a simple laborer might earn 5 sacks (200 kg or 400 lb) of grain per month, while a foreman might earn 7 sacks (250 kg or 550 lb). Prices were fixed across the country and recorded in lists to facilitate trading; for example a shirt cost five copper deben, while a cow cost 140deben. Grain could be traded for other goods, according to the fixed price list. During the fifth centuryBC coined money was introduced into Egypt from abroad. At first the coins were used as standardized pieces of precious metal rather than true money, but in the following centuries international traders came to rely on coinage. Social status Egyptian society was highly stratified, and social status was expressly displayed. Farmers made up the bulk of the population, but agricultural produce was owned directly by the state, temple, or noble family that owned the land. Farmers were also subject to a labor tax and were required to work on irrigation or construction projects in a corvée system. Artists and craftsmen were of higher status than farmers, but they were also under state control, working in the shops attached to the temples and paid directly from the state treasury. Scribes and officials formed the upper class in ancient Egypt, known as the "white kilt class" in reference to the bleached linen garments that served as a mark of their rank. The upper class prominently displayed their social status in art and literature.

In the waning years of the Empire, Egypt fell to the Sasanian Persian army in the Sasanian conquest of Egypt (618–628). It was then recaptured by the Byzantine emperor Heraclius (629–639), and was finally captured by Muslim Rashidun army in 639–641, ending Byzantine rule. Government and economy Administration and commerce The pharaoh was the absolute monarch of the country and, at least in theory, wielded complete control of the land and its resources. The king was the supreme military commander and head of the government, who relied on a bureaucracy of officials to manage his affairs. In charge of the administration was his second in command, the vizier, who acted as the king's representative and coordinated land surveys, the treasury, building projects, the legal system, and the archives. At a regional level, the country was divided into as many as 42 administrative regions called nomes each governed by a nomarch, who was accountable to the vizier for his jurisdiction. The temples formed the backbone of the economy. Not only were they places of worship, but were also responsible for collecting and storing the kingdom's wealth in a system of granaries and treasuries administered by overseers, who redistributed grain and goods. Much of the economy was centrally organized and strictly controlled. Although the ancient Egyptians did not use coinage until the Late period, they did use a type of money-barter system, with standard sacks of grain and the deben, a weight of roughly of copper or silver, forming a common denominator. Workers were paid in grain; a simple laborer might earn 5 sacks (200 kg or 400 lb) of grain per month, while a foreman might earn 7 sacks (250 kg or 550 lb). Prices were fixed across the country and recorded in lists to facilitate trading; for example a shirt cost five copper deben, while a cow cost 140deben. Grain could be traded for other goods, according to the fixed price list. During the fifth centuryBC coined money was introduced into Egypt from abroad. At first the coins were used as standardized pieces of precious metal rather than true money, but in the following centuries international traders came to rely on coinage. Social status Egyptian society was highly stratified, and social status was expressly displayed. Farmers made up the bulk of the population, but agricultural produce was owned directly by the state, temple, or noble family that owned the land. Farmers were also subject to a labor tax and were required to work on irrigation or construction projects in a corvée system. Artists and craftsmen were of higher status than farmers, but they were also under state control, working in the shops attached to the temples and paid directly from the state treasury. Scribes and officials formed the upper class in ancient Egypt, known as the "white kilt class" in reference to the bleached linen garments that served as a mark of their rank. The upper class prominently displayed their social status in art and literature.

Below the nobility were the priests, physicians, and engineers with specialized training in their field. It is unclear whether slavery as understood today existed in ancient Egypt; there is difference of opinions among authors. The ancient Egyptians viewed men and women, including people from all social classes, as essentially equal under the law, and even the lowliest peasant was entitled to petition the vizier and his court for redress. Although slaves were mostly used as indentured servants, they were able to buy and sell their servitude, work their way to freedom or nobility, and were usually treated by doctors in the workplace. Both men and women had the right to own and sell property, make contracts, marry and divorce, receive inheritance, and pursue legal disputes in court. Married couples could own property jointly and protect themselves from divorce by agreeing to marriage contracts, which stipulated the financial obligations of the husband to his wife and children should the marriage end. Compared with their counterparts in ancient Greece, Rome, and even more modern places around the world, ancient Egyptian women had a greater range of personal choices, legal rights, and opportunities for achievement. Women such as Hatshepsut and Cleopatra VII even became pharaohs, while others wielded power as Divine Wives of Amun. Despite these freedoms, ancient Egyptian women did not often take part in official roles in the administration, aside from the royal high priestesses, apparently served only secondary roles in the temples (not much data for many dynasties), and were not so likely to be as educated as men. Legal system The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference. Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense.

Below the nobility were the priests, physicians, and engineers with specialized training in their field. It is unclear whether slavery as understood today existed in ancient Egypt; there is difference of opinions among authors. The ancient Egyptians viewed men and women, including people from all social classes, as essentially equal under the law, and even the lowliest peasant was entitled to petition the vizier and his court for redress. Although slaves were mostly used as indentured servants, they were able to buy and sell their servitude, work their way to freedom or nobility, and were usually treated by doctors in the workplace. Both men and women had the right to own and sell property, make contracts, marry and divorce, receive inheritance, and pursue legal disputes in court. Married couples could own property jointly and protect themselves from divorce by agreeing to marriage contracts, which stipulated the financial obligations of the husband to his wife and children should the marriage end. Compared with their counterparts in ancient Greece, Rome, and even more modern places around the world, ancient Egyptian women had a greater range of personal choices, legal rights, and opportunities for achievement. Women such as Hatshepsut and Cleopatra VII even became pharaohs, while others wielded power as Divine Wives of Amun. Despite these freedoms, ancient Egyptian women did not often take part in official roles in the administration, aside from the royal high priestesses, apparently served only secondary roles in the temples (not much data for many dynasties), and were not so likely to be as educated as men. Legal system The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference. Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense.

Below the nobility were the priests, physicians, and engineers with specialized training in their field. It is unclear whether slavery as understood today existed in ancient Egypt; there is difference of opinions among authors. The ancient Egyptians viewed men and women, including people from all social classes, as essentially equal under the law, and even the lowliest peasant was entitled to petition the vizier and his court for redress. Although slaves were mostly used as indentured servants, they were able to buy and sell their servitude, work their way to freedom or nobility, and were usually treated by doctors in the workplace. Both men and women had the right to own and sell property, make contracts, marry and divorce, receive inheritance, and pursue legal disputes in court. Married couples could own property jointly and protect themselves from divorce by agreeing to marriage contracts, which stipulated the financial obligations of the husband to his wife and children should the marriage end. Compared with their counterparts in ancient Greece, Rome, and even more modern places around the world, ancient Egyptian women had a greater range of personal choices, legal rights, and opportunities for achievement. Women such as Hatshepsut and Cleopatra VII even became pharaohs, while others wielded power as Divine Wives of Amun. Despite these freedoms, ancient Egyptian women did not often take part in official roles in the administration, aside from the royal high priestesses, apparently served only secondary roles in the temples (not much data for many dynasties), and were not so likely to be as educated as men. Legal system The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference. Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense.

Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgement by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. Agriculture A combination of favorable geographical features contributed to the success of ancient Egyptian culture, the most important of which was the rich fertile soil resulting from annual inundations of the Nile River. The ancient Egyptians were thus able to produce an abundance of food, allowing the population to devote more time and resources to cultural, technological, and artistic pursuits. Land management was crucial in ancient Egypt because taxes were assessed based on the amount of land a person owned. Farming in Egypt was dependent on the cycle of the Nile River. The Egyptians recognized three seasons: Akhet (flooding), Peret (planting), and Shemu (harvesting). The flooding season lasted from June to September, depositing on the river's banks a layer of mineral-rich silt ideal for growing crops. After the floodwaters had receded, the growing season lasted from October to February. Farmers plowed and planted seeds in the fields, which were irrigated with ditches and canals. Egypt received little rainfall, so farmers relied on the Nile to water their crops. From March to May, farmers used sickles to harvest their crops, which were then threshed with a flail to separate the straw from the grain. Winnowing removed the chaff from the grain, and the grain was then ground into flour, brewed to make beer, or stored for later use. The ancient Egyptians cultivated emmer and barley, and several other cereal grains, all of which were used to make the two main food staples of bread and beer. Flax plants, uprooted before they started flowering, were grown for the fibers of their stems. These fibers were split along their length and spun into thread, which was used to weave sheets of linen and to make clothing. Papyrus growing on the banks of the Nile River was used to make paper. Vegetables and fruits were grown in garden plots, close to habitations and on higher ground, and had to be watered by hand. Vegetables included leeks, garlic, melons, squashes, pulses, lettuce, and other crops, in addition to grapes that were made into wine. Animals The Egyptians believed that a balanced relationship between people and animals was an essential element of the cosmic order; thus humans, animals and plants were believed to be members of a single whole.

Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgement by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. Agriculture A combination of favorable geographical features contributed to the success of ancient Egyptian culture, the most important of which was the rich fertile soil resulting from annual inundations of the Nile River. The ancient Egyptians were thus able to produce an abundance of food, allowing the population to devote more time and resources to cultural, technological, and artistic pursuits. Land management was crucial in ancient Egypt because taxes were assessed based on the amount of land a person owned. Farming in Egypt was dependent on the cycle of the Nile River. The Egyptians recognized three seasons: Akhet (flooding), Peret (planting), and Shemu (harvesting). The flooding season lasted from June to September, depositing on the river's banks a layer of mineral-rich silt ideal for growing crops. After the floodwaters had receded, the growing season lasted from October to February. Farmers plowed and planted seeds in the fields, which were irrigated with ditches and canals. Egypt received little rainfall, so farmers relied on the Nile to water their crops. From March to May, farmers used sickles to harvest their crops, which were then threshed with a flail to separate the straw from the grain. Winnowing removed the chaff from the grain, and the grain was then ground into flour, brewed to make beer, or stored for later use. The ancient Egyptians cultivated emmer and barley, and several other cereal grains, all of which were used to make the two main food staples of bread and beer. Flax plants, uprooted before they started flowering, were grown for the fibers of their stems. These fibers were split along their length and spun into thread, which was used to weave sheets of linen and to make clothing. Papyrus growing on the banks of the Nile River was used to make paper. Vegetables and fruits were grown in garden plots, close to habitations and on higher ground, and had to be watered by hand. Vegetables included leeks, garlic, melons, squashes, pulses, lettuce, and other crops, in addition to grapes that were made into wine. Animals The Egyptians believed that a balanced relationship between people and animals was an essential element of the cosmic order; thus humans, animals and plants were believed to be members of a single whole.

Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgement by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. Agriculture A combination of favorable geographical features contributed to the success of ancient Egyptian culture, the most important of which was the rich fertile soil resulting from annual inundations of the Nile River. The ancient Egyptians were thus able to produce an abundance of food, allowing the population to devote more time and resources to cultural, technological, and artistic pursuits. Land management was crucial in ancient Egypt because taxes were assessed based on the amount of land a person owned. Farming in Egypt was dependent on the cycle of the Nile River. The Egyptians recognized three seasons: Akhet (flooding), Peret (planting), and Shemu (harvesting). The flooding season lasted from June to September, depositing on the river's banks a layer of mineral-rich silt ideal for growing crops. After the floodwaters had receded, the growing season lasted from October to February. Farmers plowed and planted seeds in the fields, which were irrigated with ditches and canals. Egypt received little rainfall, so farmers relied on the Nile to water their crops. From March to May, farmers used sickles to harvest their crops, which were then threshed with a flail to separate the straw from the grain. Winnowing removed the chaff from the grain, and the grain was then ground into flour, brewed to make beer, or stored for later use. The ancient Egyptians cultivated emmer and barley, and several other cereal grains, all of which were used to make the two main food staples of bread and beer. Flax plants, uprooted before they started flowering, were grown for the fibers of their stems. These fibers were split along their length and spun into thread, which was used to weave sheets of linen and to make clothing. Papyrus growing on the banks of the Nile River was used to make paper. Vegetables and fruits were grown in garden plots, close to habitations and on higher ground, and had to be watered by hand. Vegetables included leeks, garlic, melons, squashes, pulses, lettuce, and other crops, in addition to grapes that were made into wine. Animals The Egyptians believed that a balanced relationship between people and animals was an essential element of the cosmic order; thus humans, animals and plants were believed to be members of a single whole.

Animals, both domesticated and wild, were therefore a critical source of spirituality, companionship, and sustenance to the ancient Egyptians. Cattle were the most important livestock; the administration collected taxes on livestock in regular censuses, and the size of a herd reflected the prestige and importance of the estate or temple that owned them. In addition to cattle, the ancient Egyptians kept sheep, goats, and pigs. Poultry, such as ducks, geese, and pigeons, were captured in nets and bred on farms, where they were force-fed with dough to fatten them. The Nile provided a plentiful source of fish. Bees were also domesticated from at least the Old Kingdom, and provided both honey and wax. The ancient Egyptians used donkeys and oxen as beasts of burden, and they were responsible for plowing the fields and trampling seed into the soil. The slaughter of a fattened ox was also a central part of an offering ritual. Horses were introduced by the Hyksos in the Second Intermediate Period. Camels, although known from the New Kingdom, were not used as beasts of burden until the Late Period. There is also evidence to suggest that elephants were briefly utilized in the Late Period but largely abandoned due to lack of grazing land. Cats, dogs, and monkeys were common family pets, while more exotic pets imported from the heart of Africa, such as Sub-Saharan African lions, were reserved for royalty. Herodotus observed that the Egyptians were the only people to keep their animals with them in their houses. During the Late Period, the worship of the gods in their animal form was extremely popular, such as the cat goddess Bastet and the ibis god Thoth, and these animals were kept in large numbers for the purpose of ritual sacrifice. Natural resources Egypt is rich in building and decorative stone, copper and lead ores, gold, and semiprecious stones. These natural resources allowed the ancient Egyptians to build monuments, sculpt statues, make tools, and fashion jewelry. Embalmers used salts from the Wadi Natrun for mummification, which also provided the gypsum needed to make plaster. Ore-bearing rock formations were found in distant, inhospitable wadis in the Eastern Desert and the Sinai, requiring large, state-controlled expeditions to obtain natural resources found there. There were extensive gold mines in Nubia, and one of the first maps known is of a gold mine in this region. The Wadi Hammamat was a notable source of granite, greywacke, and gold. Flint was the first mineral collected and used to make tools, and flint handaxes are the earliest pieces of evidence of habitation in the Nile valley. Nodules of the mineral were carefully flaked to make blades and arrowheads of moderate hardness and durability even after copper was adopted for this purpose. Ancient Egyptians were among the first to use minerals such as sulfur as cosmetic substances. The Egyptians worked deposits of the lead ore galena at Gebel Rosas to make net sinkers, plumb bobs, and small figurines.

Animals, both domesticated and wild, were therefore a critical source of spirituality, companionship, and sustenance to the ancient Egyptians. Cattle were the most important livestock; the administration collected taxes on livestock in regular censuses, and the size of a herd reflected the prestige and importance of the estate or temple that owned them. In addition to cattle, the ancient Egyptians kept sheep, goats, and pigs. Poultry, such as ducks, geese, and pigeons, were captured in nets and bred on farms, where they were force-fed with dough to fatten them. The Nile provided a plentiful source of fish. Bees were also domesticated from at least the Old Kingdom, and provided both honey and wax. The ancient Egyptians used donkeys and oxen as beasts of burden, and they were responsible for plowing the fields and trampling seed into the soil. The slaughter of a fattened ox was also a central part of an offering ritual. Horses were introduced by the Hyksos in the Second Intermediate Period. Camels, although known from the New Kingdom, were not used as beasts of burden until the Late Period. There is also evidence to suggest that elephants were briefly utilized in the Late Period but largely abandoned due to lack of grazing land. Cats, dogs, and monkeys were common family pets, while more exotic pets imported from the heart of Africa, such as Sub-Saharan African lions, were reserved for royalty. Herodotus observed that the Egyptians were the only people to keep their animals with them in their houses. During the Late Period, the worship of the gods in their animal form was extremely popular, such as the cat goddess Bastet and the ibis god Thoth, and these animals were kept in large numbers for the purpose of ritual sacrifice. Natural resources Egypt is rich in building and decorative stone, copper and lead ores, gold, and semiprecious stones. These natural resources allowed the ancient Egyptians to build monuments, sculpt statues, make tools, and fashion jewelry. Embalmers used salts from the Wadi Natrun for mummification, which also provided the gypsum needed to make plaster. Ore-bearing rock formations were found in distant, inhospitable wadis in the Eastern Desert and the Sinai, requiring large, state-controlled expeditions to obtain natural resources found there. There were extensive gold mines in Nubia, and one of the first maps known is of a gold mine in this region. The Wadi Hammamat was a notable source of granite, greywacke, and gold. Flint was the first mineral collected and used to make tools, and flint handaxes are the earliest pieces of evidence of habitation in the Nile valley. Nodules of the mineral were carefully flaked to make blades and arrowheads of moderate hardness and durability even after copper was adopted for this purpose. Ancient Egyptians were among the first to use minerals such as sulfur as cosmetic substances. The Egyptians worked deposits of the lead ore galena at Gebel Rosas to make net sinkers, plumb bobs, and small figurines.

Animals, both domesticated and wild, were therefore a critical source of spirituality, companionship, and sustenance to the ancient Egyptians. Cattle were the most important livestock; the administration collected taxes on livestock in regular censuses, and the size of a herd reflected the prestige and importance of the estate or temple that owned them. In addition to cattle, the ancient Egyptians kept sheep, goats, and pigs. Poultry, such as ducks, geese, and pigeons, were captured in nets and bred on farms, where they were force-fed with dough to fatten them. The Nile provided a plentiful source of fish. Bees were also domesticated from at least the Old Kingdom, and provided both honey and wax. The ancient Egyptians used donkeys and oxen as beasts of burden, and they were responsible for plowing the fields and trampling seed into the soil. The slaughter of a fattened ox was also a central part of an offering ritual. Horses were introduced by the Hyksos in the Second Intermediate Period. Camels, although known from the New Kingdom, were not used as beasts of burden until the Late Period. There is also evidence to suggest that elephants were briefly utilized in the Late Period but largely abandoned due to lack of grazing land. Cats, dogs, and monkeys were common family pets, while more exotic pets imported from the heart of Africa, such as Sub-Saharan African lions, were reserved for royalty. Herodotus observed that the Egyptians were the only people to keep their animals with them in their houses. During the Late Period, the worship of the gods in their animal form was extremely popular, such as the cat goddess Bastet and the ibis god Thoth, and these animals were kept in large numbers for the purpose of ritual sacrifice. Natural resources Egypt is rich in building and decorative stone, copper and lead ores, gold, and semiprecious stones. These natural resources allowed the ancient Egyptians to build monuments, sculpt statues, make tools, and fashion jewelry. Embalmers used salts from the Wadi Natrun for mummification, which also provided the gypsum needed to make plaster. Ore-bearing rock formations were found in distant, inhospitable wadis in the Eastern Desert and the Sinai, requiring large, state-controlled expeditions to obtain natural resources found there. There were extensive gold mines in Nubia, and one of the first maps known is of a gold mine in this region. The Wadi Hammamat was a notable source of granite, greywacke, and gold. Flint was the first mineral collected and used to make tools, and flint handaxes are the earliest pieces of evidence of habitation in the Nile valley. Nodules of the mineral were carefully flaked to make blades and arrowheads of moderate hardness and durability even after copper was adopted for this purpose. Ancient Egyptians were among the first to use minerals such as sulfur as cosmetic substances. The Egyptians worked deposits of the lead ore galena at Gebel Rosas to make net sinkers, plumb bobs, and small figurines.

Copper was the most important metal for toolmaking in ancient Egypt and was smelted in furnaces from malachite ore mined in the Sinai. Workers collected gold by washing the nuggets out of sediment in alluvial deposits, or by the more labor-intensive process of grinding and washing gold-bearing quartzite. Iron deposits found in upper Egypt were utilized in the Late Period. High-quality building stones were abundant in Egypt; the ancient Egyptians quarried limestone all along the Nile valley, granite from Aswan, and basalt and sandstone from the wadis of the Eastern Desert. Deposits of decorative stones such as porphyry, greywacke, alabaster, and carnelian dotted the Eastern Desert and were collected even before the First Dynasty. In the Ptolemaic and Roman Periods, miners worked deposits of emeralds in Wadi Sikait and amethyst in Wadi el-Hudi. Trade The ancient Egyptians engaged in trade with their foreign neighbors to obtain rare, exotic goods not found in Egypt. In the Predynastic Period, they established trade with Nubia to obtain gold and incense. They also established trade with Palestine, as evidenced by Palestinian-style oil jugs found in the burials of the First Dynasty pharaohs. An Egyptian colony stationed in southern Canaan dates to slightly before the First Dynasty. Narmer had Egyptian pottery produced in Canaan and exported back to Egypt. By the Second Dynasty at latest, ancient Egyptian trade with Byblos yielded a critical source of quality timber not found in Egypt. By the Fifth Dynasty, trade with Punt provided gold, aromatic resins, ebony, ivory, and wild animals such as monkeys and baboons. Egypt relied on trade with Anatolia for essential quantities of tin as well as supplementary supplies of copper, both metals being necessary for the manufacture of bronze. The ancient Egyptians prized the blue stone lapis lazuli, which had to be imported from far-away Afghanistan. Egypt's Mediterranean trade partners also included Greece and Crete, which provided, among other goods, supplies of olive oil. Language Historical development The Egyptian language is a northern Afro-Asiatic language closely related to the Berber and Semitic languages. It has the second longest known history of any language (after Sumerian), having been written from c. 3200BC to the Middle Ages and remaining as a spoken language for longer. The phases of ancient Egyptian are Old Egyptian, Middle Egyptian (Classical Egyptian), Late Egyptian, Demotic and Coptic. Egyptian writings do not show dialect differences before Coptic, but it was probably spoken in regional dialects around Memphis and later Thebes. Ancient Egyptian was a synthetic language, but it became more analytic later on. Late Egyptian developed prefixal definite and indefinite articles, which replaced the older inflectional suffixes. There was a change from the older verb–subject–object word order to subject–verb–object. The Egyptian hieroglyphic, hieratic, and demotic scripts were eventually replaced by the more phonetic Coptic alphabet. Coptic is still used in the liturgy of the Egyptian Orthodox Church, and traces of it are found in modern Egyptian Arabic. Sounds and grammar Ancient Egyptian has 25 consonants similar to those of other Afro-Asiatic languages.

Copper was the most important metal for toolmaking in ancient Egypt and was smelted in furnaces from malachite ore mined in the Sinai. Workers collected gold by washing the nuggets out of sediment in alluvial deposits, or by the more labor-intensive process of grinding and washing gold-bearing quartzite. Iron deposits found in upper Egypt were utilized in the Late Period. High-quality building stones were abundant in Egypt; the ancient Egyptians quarried limestone all along the Nile valley, granite from Aswan, and basalt and sandstone from the wadis of the Eastern Desert. Deposits of decorative stones such as porphyry, greywacke, alabaster, and carnelian dotted the Eastern Desert and were collected even before the First Dynasty. In the Ptolemaic and Roman Periods, miners worked deposits of emeralds in Wadi Sikait and amethyst in Wadi el-Hudi. Trade The ancient Egyptians engaged in trade with their foreign neighbors to obtain rare, exotic goods not found in Egypt. In the Predynastic Period, they established trade with Nubia to obtain gold and incense. They also established trade with Palestine, as evidenced by Palestinian-style oil jugs found in the burials of the First Dynasty pharaohs. An Egyptian colony stationed in southern Canaan dates to slightly before the First Dynasty. Narmer had Egyptian pottery produced in Canaan and exported back to Egypt. By the Second Dynasty at latest, ancient Egyptian trade with Byblos yielded a critical source of quality timber not found in Egypt. By the Fifth Dynasty, trade with Punt provided gold, aromatic resins, ebony, ivory, and wild animals such as monkeys and baboons. Egypt relied on trade with Anatolia for essential quantities of tin as well as supplementary supplies of copper, both metals being necessary for the manufacture of bronze. The ancient Egyptians prized the blue stone lapis lazuli, which had to be imported from far-away Afghanistan. Egypt's Mediterranean trade partners also included Greece and Crete, which provided, among other goods, supplies of olive oil. Language Historical development The Egyptian language is a northern Afro-Asiatic language closely related to the Berber and Semitic languages. It has the second longest known history of any language (after Sumerian), having been written from c. 3200BC to the Middle Ages and remaining as a spoken language for longer. The phases of ancient Egyptian are Old Egyptian, Middle Egyptian (Classical Egyptian), Late Egyptian, Demotic and Coptic. Egyptian writings do not show dialect differences before Coptic, but it was probably spoken in regional dialects around Memphis and later Thebes. Ancient Egyptian was a synthetic language, but it became more analytic later on. Late Egyptian developed prefixal definite and indefinite articles, which replaced the older inflectional suffixes. There was a change from the older verb–subject–object word order to subject–verb–object. The Egyptian hieroglyphic, hieratic, and demotic scripts were eventually replaced by the more phonetic Coptic alphabet. Coptic is still used in the liturgy of the Egyptian Orthodox Church, and traces of it are found in modern Egyptian Arabic. Sounds and grammar Ancient Egyptian has 25 consonants similar to those of other Afro-Asiatic languages.

Copper was the most important metal for toolmaking in ancient Egypt and was smelted in furnaces from malachite ore mined in the Sinai. Workers collected gold by washing the nuggets out of sediment in alluvial deposits, or by the more labor-intensive process of grinding and washing gold-bearing quartzite. Iron deposits found in upper Egypt were utilized in the Late Period. High-quality building stones were abundant in Egypt; the ancient Egyptians quarried limestone all along the Nile valley, granite from Aswan, and basalt and sandstone from the wadis of the Eastern Desert. Deposits of decorative stones such as porphyry, greywacke, alabaster, and carnelian dotted the Eastern Desert and were collected even before the First Dynasty. In the Ptolemaic and Roman Periods, miners worked deposits of emeralds in Wadi Sikait and amethyst in Wadi el-Hudi. Trade The ancient Egyptians engaged in trade with their foreign neighbors to obtain rare, exotic goods not found in Egypt. In the Predynastic Period, they established trade with Nubia to obtain gold and incense. They also established trade with Palestine, as evidenced by Palestinian-style oil jugs found in the burials of the First Dynasty pharaohs. An Egyptian colony stationed in southern Canaan dates to slightly before the First Dynasty. Narmer had Egyptian pottery produced in Canaan and exported back to Egypt. By the Second Dynasty at latest, ancient Egyptian trade with Byblos yielded a critical source of quality timber not found in Egypt. By the Fifth Dynasty, trade with Punt provided gold, aromatic resins, ebony, ivory, and wild animals such as monkeys and baboons. Egypt relied on trade with Anatolia for essential quantities of tin as well as supplementary supplies of copper, both metals being necessary for the manufacture of bronze. The ancient Egyptians prized the blue stone lapis lazuli, which had to be imported from far-away Afghanistan. Egypt's Mediterranean trade partners also included Greece and Crete, which provided, among other goods, supplies of olive oil. Language Historical development The Egyptian language is a northern Afro-Asiatic language closely related to the Berber and Semitic languages. It has the second longest known history of any language (after Sumerian), having been written from c. 3200BC to the Middle Ages and remaining as a spoken language for longer. The phases of ancient Egyptian are Old Egyptian, Middle Egyptian (Classical Egyptian), Late Egyptian, Demotic and Coptic. Egyptian writings do not show dialect differences before Coptic, but it was probably spoken in regional dialects around Memphis and later Thebes. Ancient Egyptian was a synthetic language, but it became more analytic later on. Late Egyptian developed prefixal definite and indefinite articles, which replaced the older inflectional suffixes. There was a change from the older verb–subject–object word order to subject–verb–object. The Egyptian hieroglyphic, hieratic, and demotic scripts were eventually replaced by the more phonetic Coptic alphabet. Coptic is still used in the liturgy of the Egyptian Orthodox Church, and traces of it are found in modern Egyptian Arabic. Sounds and grammar Ancient Egyptian has 25 consonants similar to those of other Afro-Asiatic languages.

These include pharyngeal and emphatic consonants, voiced and voiceless stops, voiceless fricatives and voiced and voiceless affricates. It has three long and three short vowels, which expanded in Late Egyptian to about nine. The basic word in Egyptian, similar to Semitic and Berber, is a triliteral or biliteral root of consonants and semiconsonants. Suffixes are added to form words. The verb conjugation corresponds to the person. For example, the triconsonantal skeleton is the semantic core of the word 'hear'; its basic conjugation is , 'he hears'. If the subject is a noun, suffixes are not added to the verb: , 'the woman hears'. Adjectives are derived from nouns through a process that Egyptologists call nisbation because of its similarity with Arabic. The word order is in verbal and adjectival sentences, and in nominal and adverbial sentences. The subject can be moved to the beginning of sentences if it is long and is followed by a resumptive pronoun. Verbs and nouns are negated by the particle n, but nn is used for adverbial and adjectival sentences. Stress falls on the ultimate or penultimate syllable, which can be open (CV) or closed (CVC). Writing Hieroglyphic writing dates from c. 3000BC, and is composed of hundreds of symbols. A hieroglyph can represent a word, a sound, or a silent determinative; and the same symbol can serve different purposes in different contexts. Hieroglyphs were a formal script, used on stone monuments and in tombs, that could be as detailed as individual works of art. In day-to-day writing, scribes used a cursive form of writing, called hieratic, which was quicker and easier. While formal hieroglyphs may be read in rows or columns in either direction (though typically written from right to left), hieratic was always written from right to left, usually in horizontal rows. A new form of writing, Demotic, became the prevalent writing style, and it is this form of writing—along with formal hieroglyphs—that accompany the Greek text on the Rosetta Stone. Around the first century AD, the Coptic alphabet started to be used alongside the Demotic script. Coptic is a modified Greek alphabet with the addition of some Demotic signs. Although formal hieroglyphs were used in a ceremonial role until the fourth century, towards the end only a small handful of priests could still read them. As the traditional religious establishments were disbanded, knowledge of hieroglyphic writing was mostly lost. Attempts to decipher them date to the Byzantine and Islamic periods in Egypt, but only in the 1820s, after the discovery of the Rosetta Stone and years of research by Thomas Young and Jean-François Champollion, were hieroglyphs substantially deciphered. Literature Writing first appeared in association with kingship on labels and tags for items found in royal tombs. It was primarily an occupation of the scribes, who worked out of the Per Ankh institution or the House of Life. The latter comprised offices, libraries (called House of Books), laboratories and observatories.

These include pharyngeal and emphatic consonants, voiced and voiceless stops, voiceless fricatives and voiced and voiceless affricates. It has three long and three short vowels, which expanded in Late Egyptian to about nine. The basic word in Egyptian, similar to Semitic and Berber, is a triliteral or biliteral root of consonants and semiconsonants. Suffixes are added to form words. The verb conjugation corresponds to the person. For example, the triconsonantal skeleton is the semantic core of the word 'hear'; its basic conjugation is , 'he hears'. If the subject is a noun, suffixes are not added to the verb: , 'the woman hears'. Adjectives are derived from nouns through a process that Egyptologists call nisbation because of its similarity with Arabic. The word order is in verbal and adjectival sentences, and in nominal and adverbial sentences. The subject can be moved to the beginning of sentences if it is long and is followed by a resumptive pronoun. Verbs and nouns are negated by the particle n, but nn is used for adverbial and adjectival sentences. Stress falls on the ultimate or penultimate syllable, which can be open (CV) or closed (CVC). Writing Hieroglyphic writing dates from c. 3000BC, and is composed of hundreds of symbols. A hieroglyph can represent a word, a sound, or a silent determinative; and the same symbol can serve different purposes in different contexts. Hieroglyphs were a formal script, used on stone monuments and in tombs, that could be as detailed as individual works of art. In day-to-day writing, scribes used a cursive form of writing, called hieratic, which was quicker and easier. While formal hieroglyphs may be read in rows or columns in either direction (though typically written from right to left), hieratic was always written from right to left, usually in horizontal rows. A new form of writing, Demotic, became the prevalent writing style, and it is this form of writing—along with formal hieroglyphs—that accompany the Greek text on the Rosetta Stone. Around the first century AD, the Coptic alphabet started to be used alongside the Demotic script. Coptic is a modified Greek alphabet with the addition of some Demotic signs. Although formal hieroglyphs were used in a ceremonial role until the fourth century, towards the end only a small handful of priests could still read them. As the traditional religious establishments were disbanded, knowledge of hieroglyphic writing was mostly lost. Attempts to decipher them date to the Byzantine and Islamic periods in Egypt, but only in the 1820s, after the discovery of the Rosetta Stone and years of research by Thomas Young and Jean-François Champollion, were hieroglyphs substantially deciphered. Literature Writing first appeared in association with kingship on labels and tags for items found in royal tombs. It was primarily an occupation of the scribes, who worked out of the Per Ankh institution or the House of Life. The latter comprised offices, libraries (called House of Books), laboratories and observatories.

These include pharyngeal and emphatic consonants, voiced and voiceless stops, voiceless fricatives and voiced and voiceless affricates. It has three long and three short vowels, which expanded in Late Egyptian to about nine. The basic word in Egyptian, similar to Semitic and Berber, is a triliteral or biliteral root of consonants and semiconsonants. Suffixes are added to form words. The verb conjugation corresponds to the person. For example, the triconsonantal skeleton is the semantic core of the word 'hear'; its basic conjugation is , 'he hears'. If the subject is a noun, suffixes are not added to the verb: , 'the woman hears'. Adjectives are derived from nouns through a process that Egyptologists call nisbation because of its similarity with Arabic. The word order is in verbal and adjectival sentences, and in nominal and adverbial sentences. The subject can be moved to the beginning of sentences if it is long and is followed by a resumptive pronoun. Verbs and nouns are negated by the particle n, but nn is used for adverbial and adjectival sentences. Stress falls on the ultimate or penultimate syllable, which can be open (CV) or closed (CVC). Writing Hieroglyphic writing dates from c. 3000BC, and is composed of hundreds of symbols. A hieroglyph can represent a word, a sound, or a silent determinative; and the same symbol can serve different purposes in different contexts. Hieroglyphs were a formal script, used on stone monuments and in tombs, that could be as detailed as individual works of art. In day-to-day writing, scribes used a cursive form of writing, called hieratic, which was quicker and easier. While formal hieroglyphs may be read in rows or columns in either direction (though typically written from right to left), hieratic was always written from right to left, usually in horizontal rows. A new form of writing, Demotic, became the prevalent writing style, and it is this form of writing—along with formal hieroglyphs—that accompany the Greek text on the Rosetta Stone. Around the first century AD, the Coptic alphabet started to be used alongside the Demotic script. Coptic is a modified Greek alphabet with the addition of some Demotic signs. Although formal hieroglyphs were used in a ceremonial role until the fourth century, towards the end only a small handful of priests could still read them. As the traditional religious establishments were disbanded, knowledge of hieroglyphic writing was mostly lost. Attempts to decipher them date to the Byzantine and Islamic periods in Egypt, but only in the 1820s, after the discovery of the Rosetta Stone and years of research by Thomas Young and Jean-François Champollion, were hieroglyphs substantially deciphered. Literature Writing first appeared in association with kingship on labels and tags for items found in royal tombs. It was primarily an occupation of the scribes, who worked out of the Per Ankh institution or the House of Life. The latter comprised offices, libraries (called House of Books), laboratories and observatories.

Some of the best-known pieces of ancient Egyptian literature, such as the Pyramid and Coffin Texts, were written in Classical Egyptian, which continued to be the language of writing until about 1300BC. Late Egyptian was spoken from the New Kingdom onward and is represented in Ramesside administrative documents, love poetry and tales, as well as in Demotic and Coptic texts. During this period, the tradition of writing had evolved into the tomb autobiography, such as those of Harkhuf and Weni. The genre known as Sebayt ("instructions") was developed to communicate teachings and guidance from famous nobles; the Ipuwer papyrus, a poem of lamentations describing natural disasters and social upheaval, is a famous example. The Story of Sinuhe, written in Middle Egyptian, might be the classic of Egyptian literature. Also written at this time was the Westcar Papyrus, a set of stories told to Khufu by his sons relating the marvels performed by priests. The Instruction of Amenemope is considered a masterpiece of Near Eastern literature. Towards the end of the New Kingdom, the vernacular language was more often employed to write popular pieces like the Story of Wenamun and the Instruction of Any. The former tells the story of a noble who is robbed on his way to buy cedar from Lebanon and of his struggle to return to Egypt. From about 700BC, narrative stories and instructions, such as the popular Instructions of Onchsheshonqy, as well as personal and business documents were written in the demotic script and phase of Egyptian. Many stories written in demotic during the Greco-Roman period were set in previous historical eras, when Egypt was an independent nation ruled by great pharaohs such as Ramesses II. Culture Daily life Most ancient Egyptians were farmers tied to the land. Their dwellings were restricted to immediate family members, and were constructed of mudbrick designed to remain cool in the heat of the day. Each home had a kitchen with an open roof, which contained a grindstone for milling grain and a small oven for baking the bread. Ceramics served as household wares for the storage, preparation, transport, and consumption of food, drink, and raw materials. Walls were painted white and could be covered with dyed linen wall hangings. Floors were covered with reed mats, while wooden stools, beds raised from the floor and individual tables comprised the furniture. The ancient Egyptians placed a great value on hygiene and appearance. Most bathed in the Nile and used a pasty soap made from animal fat and chalk. Men shaved their entire bodies for cleanliness; perfumes and aromatic ointments covered bad odors and soothed skin. Clothing was made from simple linen sheets that were bleached white, and both men and women of the upper classes wore wigs, jewelry, and cosmetics. Children went without clothing until maturity, at about age 12, and at this age males were circumcised and had their heads shaved. Mothers were responsible for taking care of the children, while the father provided the family's income.

Some of the best-known pieces of ancient Egyptian literature, such as the Pyramid and Coffin Texts, were written in Classical Egyptian, which continued to be the language of writing until about 1300BC. Late Egyptian was spoken from the New Kingdom onward and is represented in Ramesside administrative documents, love poetry and tales, as well as in Demotic and Coptic texts. During this period, the tradition of writing had evolved into the tomb autobiography, such as those of Harkhuf and Weni. The genre known as Sebayt ("instructions") was developed to communicate teachings and guidance from famous nobles; the Ipuwer papyrus, a poem of lamentations describing natural disasters and social upheaval, is a famous example. The Story of Sinuhe, written in Middle Egyptian, might be the classic of Egyptian literature. Also written at this time was the Westcar Papyrus, a set of stories told to Khufu by his sons relating the marvels performed by priests. The Instruction of Amenemope is considered a masterpiece of Near Eastern literature. Towards the end of the New Kingdom, the vernacular language was more often employed to write popular pieces like the Story of Wenamun and the Instruction of Any. The former tells the story of a noble who is robbed on his way to buy cedar from Lebanon and of his struggle to return to Egypt. From about 700BC, narrative stories and instructions, such as the popular Instructions of Onchsheshonqy, as well as personal and business documents were written in the demotic script and phase of Egyptian. Many stories written in demotic during the Greco-Roman period were set in previous historical eras, when Egypt was an independent nation ruled by great pharaohs such as Ramesses II. Culture Daily life Most ancient Egyptians were farmers tied to the land. Their dwellings were restricted to immediate family members, and were constructed of mudbrick designed to remain cool in the heat of the day. Each home had a kitchen with an open roof, which contained a grindstone for milling grain and a small oven for baking the bread. Ceramics served as household wares for the storage, preparation, transport, and consumption of food, drink, and raw materials. Walls were painted white and could be covered with dyed linen wall hangings. Floors were covered with reed mats, while wooden stools, beds raised from the floor and individual tables comprised the furniture. The ancient Egyptians placed a great value on hygiene and appearance. Most bathed in the Nile and used a pasty soap made from animal fat and chalk. Men shaved their entire bodies for cleanliness; perfumes and aromatic ointments covered bad odors and soothed skin. Clothing was made from simple linen sheets that were bleached white, and both men and women of the upper classes wore wigs, jewelry, and cosmetics. Children went without clothing until maturity, at about age 12, and at this age males were circumcised and had their heads shaved. Mothers were responsible for taking care of the children, while the father provided the family's income.

Some of the best-known pieces of ancient Egyptian literature, such as the Pyramid and Coffin Texts, were written in Classical Egyptian, which continued to be the language of writing until about 1300BC. Late Egyptian was spoken from the New Kingdom onward and is represented in Ramesside administrative documents, love poetry and tales, as well as in Demotic and Coptic texts. During this period, the tradition of writing had evolved into the tomb autobiography, such as those of Harkhuf and Weni. The genre known as Sebayt ("instructions") was developed to communicate teachings and guidance from famous nobles; the Ipuwer papyrus, a poem of lamentations describing natural disasters and social upheaval, is a famous example. The Story of Sinuhe, written in Middle Egyptian, might be the classic of Egyptian literature. Also written at this time was the Westcar Papyrus, a set of stories told to Khufu by his sons relating the marvels performed by priests. The Instruction of Amenemope is considered a masterpiece of Near Eastern literature. Towards the end of the New Kingdom, the vernacular language was more often employed to write popular pieces like the Story of Wenamun and the Instruction of Any. The former tells the story of a noble who is robbed on his way to buy cedar from Lebanon and of his struggle to return to Egypt. From about 700BC, narrative stories and instructions, such as the popular Instructions of Onchsheshonqy, as well as personal and business documents were written in the demotic script and phase of Egyptian. Many stories written in demotic during the Greco-Roman period were set in previous historical eras, when Egypt was an independent nation ruled by great pharaohs such as Ramesses II. Culture Daily life Most ancient Egyptians were farmers tied to the land. Their dwellings were restricted to immediate family members, and were constructed of mudbrick designed to remain cool in the heat of the day. Each home had a kitchen with an open roof, which contained a grindstone for milling grain and a small oven for baking the bread. Ceramics served as household wares for the storage, preparation, transport, and consumption of food, drink, and raw materials. Walls were painted white and could be covered with dyed linen wall hangings. Floors were covered with reed mats, while wooden stools, beds raised from the floor and individual tables comprised the furniture. The ancient Egyptians placed a great value on hygiene and appearance. Most bathed in the Nile and used a pasty soap made from animal fat and chalk. Men shaved their entire bodies for cleanliness; perfumes and aromatic ointments covered bad odors and soothed skin. Clothing was made from simple linen sheets that were bleached white, and both men and women of the upper classes wore wigs, jewelry, and cosmetics. Children went without clothing until maturity, at about age 12, and at this age males were circumcised and had their heads shaved. Mothers were responsible for taking care of the children, while the father provided the family's income.

Music and dance were popular entertainments for those who could afford them. Early instruments included flutes and harps, while instruments similar to trumpets, oboes, and pipes developed later and became popular. In the New Kingdom, the Egyptians played on bells, cymbals, tambourines, drums, and imported lutes and lyres from Asia. The sistrum was a rattle-like musical instrument that was especially important in religious ceremonies. The ancient Egyptians enjoyed a variety of leisure activities, including games and music. Senet, a board game where pieces moved according to random chance, was particularly popular from the earliest times; another similar game was mehen, which had a circular gaming board. “Hounds and Jackals” also known as 58 holes is another example of board games played in ancient Egypt. The first complete set of this game was discovered from a Theban tomb of the Egyptian pharaoh Amenemhat IV that dates to the 13th Dynasty. Juggling and ball games were popular with children, and wrestling is also documented in a tomb at Beni Hasan. The wealthy members of ancient Egyptian society enjoyed hunting, fishing, and boating as well. The excavation of the workers' village of Deir el-Medina has resulted in one of the most thoroughly documented accounts of community life in the ancient world, which spans almost four hundred years. There is no comparable site in which the organization, social interactions, and working and living conditions of a community have been studied in such detail. Cuisine Egyptian cuisine remained remarkably stable over time; indeed, the cuisine of modern Egypt retains some striking similarities to the cuisine of the ancients. The staple diet consisted of bread and beer, supplemented with vegetables such as onions and garlic, and fruit such as dates and figs. Wine and meat were enjoyed by all on feast days while the upper classes indulged on a more regular basis. Fish, meat, and fowl could be salted or dried, and could be cooked in stews or roasted on a grill. Architecture The architecture of ancient Egypt includes some of the most famous structures in the world: the Great Pyramids of Giza and the temples at Thebes. Building projects were organized and funded by the state for religious and commemorative purposes, but also to reinforce the wide-ranging power of the pharaoh. The ancient Egyptians were skilled builders; using only simple but effective tools and sighting instruments, architects could build large stone structures with great accuracy and precision that is still envied today. The domestic dwellings of elite and ordinary Egyptians alike were constructed from perishable materials such as mudbricks and wood, and have not survived. Peasants lived in simple homes, while the palaces of the elite and the pharaoh were more elaborate structures. A few surviving New Kingdom palaces, such as those in Malkata and Amarna, show richly decorated walls and floors with scenes of people, birds, water pools, deities and geometric designs. Important structures such as temples and tombs that were intended to last forever were constructed of stone instead of mudbricks.

Music and dance were popular entertainments for those who could afford them. Early instruments included flutes and harps, while instruments similar to trumpets, oboes, and pipes developed later and became popular. In the New Kingdom, the Egyptians played on bells, cymbals, tambourines, drums, and imported lutes and lyres from Asia. The sistrum was a rattle-like musical instrument that was especially important in religious ceremonies. The ancient Egyptians enjoyed a variety of leisure activities, including games and music. Senet, a board game where pieces moved according to random chance, was particularly popular from the earliest times; another similar game was mehen, which had a circular gaming board. “Hounds and Jackals” also known as 58 holes is another example of board games played in ancient Egypt. The first complete set of this game was discovered from a Theban tomb of the Egyptian pharaoh Amenemhat IV that dates to the 13th Dynasty. Juggling and ball games were popular with children, and wrestling is also documented in a tomb at Beni Hasan. The wealthy members of ancient Egyptian society enjoyed hunting, fishing, and boating as well. The excavation of the workers' village of Deir el-Medina has resulted in one of the most thoroughly documented accounts of community life in the ancient world, which spans almost four hundred years. There is no comparable site in which the organization, social interactions, and working and living conditions of a community have been studied in such detail. Cuisine Egyptian cuisine remained remarkably stable over time; indeed, the cuisine of modern Egypt retains some striking similarities to the cuisine of the ancients. The staple diet consisted of bread and beer, supplemented with vegetables such as onions and garlic, and fruit such as dates and figs. Wine and meat were enjoyed by all on feast days while the upper classes indulged on a more regular basis. Fish, meat, and fowl could be salted or dried, and could be cooked in stews or roasted on a grill. Architecture The architecture of ancient Egypt includes some of the most famous structures in the world: the Great Pyramids of Giza and the temples at Thebes. Building projects were organized and funded by the state for religious and commemorative purposes, but also to reinforce the wide-ranging power of the pharaoh. The ancient Egyptians were skilled builders; using only simple but effective tools and sighting instruments, architects could build large stone structures with great accuracy and precision that is still envied today. The domestic dwellings of elite and ordinary Egyptians alike were constructed from perishable materials such as mudbricks and wood, and have not survived. Peasants lived in simple homes, while the palaces of the elite and the pharaoh were more elaborate structures. A few surviving New Kingdom palaces, such as those in Malkata and Amarna, show richly decorated walls and floors with scenes of people, birds, water pools, deities and geometric designs. Important structures such as temples and tombs that were intended to last forever were constructed of stone instead of mudbricks.

Music and dance were popular entertainments for those who could afford them. Early instruments included flutes and harps, while instruments similar to trumpets, oboes, and pipes developed later and became popular. In the New Kingdom, the Egyptians played on bells, cymbals, tambourines, drums, and imported lutes and lyres from Asia. The sistrum was a rattle-like musical instrument that was especially important in religious ceremonies. The ancient Egyptians enjoyed a variety of leisure activities, including games and music. Senet, a board game where pieces moved according to random chance, was particularly popular from the earliest times; another similar game was mehen, which had a circular gaming board. “Hounds and Jackals” also known as 58 holes is another example of board games played in ancient Egypt. The first complete set of this game was discovered from a Theban tomb of the Egyptian pharaoh Amenemhat IV that dates to the 13th Dynasty. Juggling and ball games were popular with children, and wrestling is also documented in a tomb at Beni Hasan. The wealthy members of ancient Egyptian society enjoyed hunting, fishing, and boating as well. The excavation of the workers' village of Deir el-Medina has resulted in one of the most thoroughly documented accounts of community life in the ancient world, which spans almost four hundred years. There is no comparable site in which the organization, social interactions, and working and living conditions of a community have been studied in such detail. Cuisine Egyptian cuisine remained remarkably stable over time; indeed, the cuisine of modern Egypt retains some striking similarities to the cuisine of the ancients. The staple diet consisted of bread and beer, supplemented with vegetables such as onions and garlic, and fruit such as dates and figs. Wine and meat were enjoyed by all on feast days while the upper classes indulged on a more regular basis. Fish, meat, and fowl could be salted or dried, and could be cooked in stews or roasted on a grill. Architecture The architecture of ancient Egypt includes some of the most famous structures in the world: the Great Pyramids of Giza and the temples at Thebes. Building projects were organized and funded by the state for religious and commemorative purposes, but also to reinforce the wide-ranging power of the pharaoh. The ancient Egyptians were skilled builders; using only simple but effective tools and sighting instruments, architects could build large stone structures with great accuracy and precision that is still envied today. The domestic dwellings of elite and ordinary Egyptians alike were constructed from perishable materials such as mudbricks and wood, and have not survived. Peasants lived in simple homes, while the palaces of the elite and the pharaoh were more elaborate structures. A few surviving New Kingdom palaces, such as those in Malkata and Amarna, show richly decorated walls and floors with scenes of people, birds, water pools, deities and geometric designs. Important structures such as temples and tombs that were intended to last forever were constructed of stone instead of mudbricks.

The architectural elements used in the world's first large-scale stone building, Djoser's mortuary complex, include post and lintel supports in the papyrus and lotus motif. The earliest preserved ancient Egyptian temples, such as those at Giza, consist of single, enclosed halls with roof slabs supported by columns. In the New Kingdom, architects added the pylon, the open courtyard, and the enclosed hypostyle hall to the front of the temple's sanctuary, a style that was standard until the Greco-Roman period. The earliest and most popular tomb architecture in the Old Kingdom was the mastaba, a flat-roofed rectangular structure of mudbrick or stone built over an underground burial chamber. The step pyramid of Djoser is a series of stone mastabas stacked on top of each other. Pyramids were built during the Old and Middle Kingdoms, but most later rulers abandoned them in favor of less conspicuous rock-cut tombs. The use of the pyramid form continued in private tomb chapels of the New Kingdom and in the royal pyramids of Nubia. Art The ancient Egyptians produced art to serve functional purposes. For over 3500 years, artists adhered to artistic forms and iconography that were developed during the Old Kingdom, following a strict set of principles that resisted foreign influence and internal change. These artistic standards—simple lines, shapes, and flat areas of color combined with the characteristic flat projection of figures with no indication of spatial depth—created a sense of order and balance within a composition. Images and text were intimately interwoven on tomb and temple walls, coffins, stelae, and even statues. The Narmer Palette, for example, displays figures that can also be read as hieroglyphs. Because of the rigid rules that governed its highly stylized and symbolic appearance, ancient Egyptian art served its political and religious purposes with precision and clarity. Ancient Egyptian artisans used stone as a medium for carving statues and fine reliefs, but used wood as a cheap and easily carved substitute. Paints were obtained from minerals such as iron ores (red and yellow ochres), copper ores (blue and green), soot or charcoal (black), and limestone (white). Paints could be mixed with gum arabic as a binder and pressed into cakes, which could be moistened with water when needed. Pharaohs used reliefs to record victories in battle, royal decrees, and religious scenes. Common citizens had access to pieces of funerary art, such as shabti statues and books of the dead, which they believed would protect them in the afterlife. During the Middle Kingdom, wooden or clay models depicting scenes from everyday life became popular additions to the tomb. In an attempt to duplicate the activities of the living in the afterlife, these models show laborers, houses, boats, and even military formations that are scale representations of the ideal ancient Egyptian afterlife. Despite the homogeneity of ancient Egyptian art, the styles of particular times and places sometimes reflected changing cultural or political attitudes. After the invasion of the Hyksos in the Second Intermediate Period, Minoan-style frescoes were found in Avaris.

The architectural elements used in the world's first large-scale stone building, Djoser's mortuary complex, include post and lintel supports in the papyrus and lotus motif. The earliest preserved ancient Egyptian temples, such as those at Giza, consist of single, enclosed halls with roof slabs supported by columns. In the New Kingdom, architects added the pylon, the open courtyard, and the enclosed hypostyle hall to the front of the temple's sanctuary, a style that was standard until the Greco-Roman period. The earliest and most popular tomb architecture in the Old Kingdom was the mastaba, a flat-roofed rectangular structure of mudbrick or stone built over an underground burial chamber. The step pyramid of Djoser is a series of stone mastabas stacked on top of each other. Pyramids were built during the Old and Middle Kingdoms, but most later rulers abandoned them in favor of less conspicuous rock-cut tombs. The use of the pyramid form continued in private tomb chapels of the New Kingdom and in the royal pyramids of Nubia. Art The ancient Egyptians produced art to serve functional purposes. For over 3500 years, artists adhered to artistic forms and iconography that were developed during the Old Kingdom, following a strict set of principles that resisted foreign influence and internal change. These artistic standards—simple lines, shapes, and flat areas of color combined with the characteristic flat projection of figures with no indication of spatial depth—created a sense of order and balance within a composition. Images and text were intimately interwoven on tomb and temple walls, coffins, stelae, and even statues. The Narmer Palette, for example, displays figures that can also be read as hieroglyphs. Because of the rigid rules that governed its highly stylized and symbolic appearance, ancient Egyptian art served its political and religious purposes with precision and clarity. Ancient Egyptian artisans used stone as a medium for carving statues and fine reliefs, but used wood as a cheap and easily carved substitute. Paints were obtained from minerals such as iron ores (red and yellow ochres), copper ores (blue and green), soot or charcoal (black), and limestone (white). Paints could be mixed with gum arabic as a binder and pressed into cakes, which could be moistened with water when needed. Pharaohs used reliefs to record victories in battle, royal decrees, and religious scenes. Common citizens had access to pieces of funerary art, such as shabti statues and books of the dead, which they believed would protect them in the afterlife. During the Middle Kingdom, wooden or clay models depicting scenes from everyday life became popular additions to the tomb. In an attempt to duplicate the activities of the living in the afterlife, these models show laborers, houses, boats, and even military formations that are scale representations of the ideal ancient Egyptian afterlife. Despite the homogeneity of ancient Egyptian art, the styles of particular times and places sometimes reflected changing cultural or political attitudes. After the invasion of the Hyksos in the Second Intermediate Period, Minoan-style frescoes were found in Avaris.

The architectural elements used in the world's first large-scale stone building, Djoser's mortuary complex, include post and lintel supports in the papyrus and lotus motif. The earliest preserved ancient Egyptian temples, such as those at Giza, consist of single, enclosed halls with roof slabs supported by columns. In the New Kingdom, architects added the pylon, the open courtyard, and the enclosed hypostyle hall to the front of the temple's sanctuary, a style that was standard until the Greco-Roman period. The earliest and most popular tomb architecture in the Old Kingdom was the mastaba, a flat-roofed rectangular structure of mudbrick or stone built over an underground burial chamber. The step pyramid of Djoser is a series of stone mastabas stacked on top of each other. Pyramids were built during the Old and Middle Kingdoms, but most later rulers abandoned them in favor of less conspicuous rock-cut tombs. The use of the pyramid form continued in private tomb chapels of the New Kingdom and in the royal pyramids of Nubia. Art The ancient Egyptians produced art to serve functional purposes. For over 3500 years, artists adhered to artistic forms and iconography that were developed during the Old Kingdom, following a strict set of principles that resisted foreign influence and internal change. These artistic standards—simple lines, shapes, and flat areas of color combined with the characteristic flat projection of figures with no indication of spatial depth—created a sense of order and balance within a composition. Images and text were intimately interwoven on tomb and temple walls, coffins, stelae, and even statues. The Narmer Palette, for example, displays figures that can also be read as hieroglyphs. Because of the rigid rules that governed its highly stylized and symbolic appearance, ancient Egyptian art served its political and religious purposes with precision and clarity. Ancient Egyptian artisans used stone as a medium for carving statues and fine reliefs, but used wood as a cheap and easily carved substitute. Paints were obtained from minerals such as iron ores (red and yellow ochres), copper ores (blue and green), soot or charcoal (black), and limestone (white). Paints could be mixed with gum arabic as a binder and pressed into cakes, which could be moistened with water when needed. Pharaohs used reliefs to record victories in battle, royal decrees, and religious scenes. Common citizens had access to pieces of funerary art, such as shabti statues and books of the dead, which they believed would protect them in the afterlife. During the Middle Kingdom, wooden or clay models depicting scenes from everyday life became popular additions to the tomb. In an attempt to duplicate the activities of the living in the afterlife, these models show laborers, houses, boats, and even military formations that are scale representations of the ideal ancient Egyptian afterlife. Despite the homogeneity of ancient Egyptian art, the styles of particular times and places sometimes reflected changing cultural or political attitudes. After the invasion of the Hyksos in the Second Intermediate Period, Minoan-style frescoes were found in Avaris.

The most striking example of a politically driven change in artistic forms comes from the Amarna Period, where figures were radically altered to conform to Akhenaten's revolutionary religious ideas. This style, known as Amarna art, was quickly abandoned after Akhenaten's death and replaced by the traditional forms. Religious beliefs Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the divine right of kings. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. However, the gods were not always viewed as benevolent, and Egyptians believed they had to be appeased with offerings and prayers. The structure of this pantheon changed continually as new deities were promoted in the hierarchy, but priests made no effort to organize the diverse and sometimes conflicting myths and stories into a coherent system. These various conceptions of divinity were not considered contradictory but rather layers in the multiple facets of reality. Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. Normally, the god's domain was sealed off from the outside world and was only accessible to temple officials. Common citizens could worship private statues in their homes, and amulets offered protection against the forces of chaos. After the New Kingdom, the pharaoh's role as a spiritual intermediary was de-emphasized as religious customs shifted to direct worship of the gods. As a result, priests developed a system of oracles to communicate the will of the gods directly to the people. The Egyptians believed that every human being was composed of physical and spiritual parts or aspects. In addition to the body, each person had a šwt (shadow), a ba (personality or soul), a ka (life-force), and a name. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his ka and ba and become one of the "blessed dead", living on as an akh, or "effective one". For this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth." If deemed worthy, the deceased could continue their existence on earth in spiritual form. If they were not deemed worthy, their heart was eaten by Ammit the Devourer and they were erased from the Universe. Burial customs The ancient Egyptians maintained an elaborate set of burial customs that they believed were necessary to ensure immortality after death.

The most striking example of a politically driven change in artistic forms comes from the Amarna Period, where figures were radically altered to conform to Akhenaten's revolutionary religious ideas. This style, known as Amarna art, was quickly abandoned after Akhenaten's death and replaced by the traditional forms. Religious beliefs Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the divine right of kings. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. However, the gods were not always viewed as benevolent, and Egyptians believed they had to be appeased with offerings and prayers. The structure of this pantheon changed continually as new deities were promoted in the hierarchy, but priests made no effort to organize the diverse and sometimes conflicting myths and stories into a coherent system. These various conceptions of divinity were not considered contradictory but rather layers in the multiple facets of reality. Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. Normally, the god's domain was sealed off from the outside world and was only accessible to temple officials. Common citizens could worship private statues in their homes, and amulets offered protection against the forces of chaos. After the New Kingdom, the pharaoh's role as a spiritual intermediary was de-emphasized as religious customs shifted to direct worship of the gods. As a result, priests developed a system of oracles to communicate the will of the gods directly to the people. The Egyptians believed that every human being was composed of physical and spiritual parts or aspects. In addition to the body, each person had a šwt (shadow), a ba (personality or soul), a ka (life-force), and a name. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his ka and ba and become one of the "blessed dead", living on as an akh, or "effective one". For this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth." If deemed worthy, the deceased could continue their existence on earth in spiritual form. If they were not deemed worthy, their heart was eaten by Ammit the Devourer and they were erased from the Universe. Burial customs The ancient Egyptians maintained an elaborate set of burial customs that they believed were necessary to ensure immortality after death.

The most striking example of a politically driven change in artistic forms comes from the Amarna Period, where figures were radically altered to conform to Akhenaten's revolutionary religious ideas. This style, known as Amarna art, was quickly abandoned after Akhenaten's death and replaced by the traditional forms. Religious beliefs Beliefs in the divine and in the afterlife were ingrained in ancient Egyptian civilization from its inception; pharaonic rule was based on the divine right of kings. The Egyptian pantheon was populated by gods who had supernatural powers and were called on for help or protection. However, the gods were not always viewed as benevolent, and Egyptians believed they had to be appeased with offerings and prayers. The structure of this pantheon changed continually as new deities were promoted in the hierarchy, but priests made no effort to organize the diverse and sometimes conflicting myths and stories into a coherent system. These various conceptions of divinity were not considered contradictory but rather layers in the multiple facets of reality. Gods were worshiped in cult temples administered by priests acting on the king's behalf. At the center of the temple was the cult statue in a shrine. Temples were not places of public worship or congregation, and only on select feast days and celebrations was a shrine carrying the statue of the god brought out for public worship. Normally, the god's domain was sealed off from the outside world and was only accessible to temple officials. Common citizens could worship private statues in their homes, and amulets offered protection against the forces of chaos. After the New Kingdom, the pharaoh's role as a spiritual intermediary was de-emphasized as religious customs shifted to direct worship of the gods. As a result, priests developed a system of oracles to communicate the will of the gods directly to the people. The Egyptians believed that every human being was composed of physical and spiritual parts or aspects. In addition to the body, each person had a šwt (shadow), a ba (personality or soul), a ka (life-force), and a name. The heart, rather than the brain, was considered the seat of thoughts and emotions. After death, the spiritual aspects were released from the body and could move at will, but they required the physical remains (or a substitute, such as a statue) as a permanent home. The ultimate goal of the deceased was to rejoin his ka and ba and become one of the "blessed dead", living on as an akh, or "effective one". For this to happen, the deceased had to be judged worthy in a trial, in which the heart was weighed against a "feather of truth." If deemed worthy, the deceased could continue their existence on earth in spiritual form. If they were not deemed worthy, their heart was eaten by Ammit the Devourer and they were erased from the Universe. Burial customs The ancient Egyptians maintained an elaborate set of burial customs that they believed were necessary to ensure immortality after death.

These customs involved preserving the body by mummification, performing burial ceremonies, and interring with the body goods the deceased would use in the afterlife. Before the Old Kingdom, bodies buried in desert pits were naturally preserved by desiccation. The arid, desert conditions were a boon throughout the history of ancient Egypt for burials of the poor, who could not afford the elaborate burial preparations available to the elite. Wealthier Egyptians began to bury their dead in stone tombs and use artificial mummification, which involved removing the internal organs, wrapping the body in linen, and burying it in a rectangular stone sarcophagus or wooden coffin. Beginning in the Fourth Dynasty, some parts were preserved separately in canopic jars. By the New Kingdom, the ancient Egyptians had perfected the art of mummification; the best technique took 70 days and involved removing the internal organs, removing the brain through the nose, and desiccating the body in a mixture of salts called natron. The body was then wrapped in linen with protective amulets inserted between layers and placed in a decorated anthropoid coffin. Mummies of the Late Period were also placed in painted cartonnage mummy cases. Actual preservation practices declined during the Ptolemaic and Roman eras, while greater emphasis was placed on the outer appearance of the mummy, which was decorated. Wealthy Egyptians were buried with larger quantities of luxury items, but all burials, regardless of social status, included goods for the deceased. Funerary texts were often included in the grave, and, beginning in the New Kingdom, so were shabti statues that were believed to perform manual labor for them in the afterlife. Rituals in which the deceased was magically re-animated accompanied burials. After burial, living relatives were expected to occasionally bring food to the tomb and recite prayers on behalf of the deceased. Military The ancient Egyptian military was responsible for defending Egypt against foreign invasion, and for maintaining Egypt's domination in the ancient Near East. The military protected mining expeditions to the Sinai during the Old Kingdom and fought civil wars during the First and Second Intermediate Periods. The military was responsible for maintaining fortifications along important trade routes, such as those found at the city of Buhen on the way to Nubia. Forts also were constructed to serve as military bases, such as the fortress at Sile, which was a base of operations for expeditions to the Levant. In the New Kingdom, a series of pharaohs used the standing Egyptian army to attack and conquer Kush and parts of the Levant. Typical military equipment included bows and arrows, spears, and round-topped shields made by stretching animal skin over a wooden frame. In the New Kingdom, the military began using chariots that had earlier been introduced by the Hyksos invaders. Weapons and armor continued to improve after the adoption of bronze: shields were now made from solid wood with a bronze buckle, spears were tipped with a bronze point, and the khopesh was adopted from Asiatic soldiers.

These customs involved preserving the body by mummification, performing burial ceremonies, and interring with the body goods the deceased would use in the afterlife. Before the Old Kingdom, bodies buried in desert pits were naturally preserved by desiccation. The arid, desert conditions were a boon throughout the history of ancient Egypt for burials of the poor, who could not afford the elaborate burial preparations available to the elite. Wealthier Egyptians began to bury their dead in stone tombs and use artificial mummification, which involved removing the internal organs, wrapping the body in linen, and burying it in a rectangular stone sarcophagus or wooden coffin. Beginning in the Fourth Dynasty, some parts were preserved separately in canopic jars. By the New Kingdom, the ancient Egyptians had perfected the art of mummification; the best technique took 70 days and involved removing the internal organs, removing the brain through the nose, and desiccating the body in a mixture of salts called natron. The body was then wrapped in linen with protective amulets inserted between layers and placed in a decorated anthropoid coffin. Mummies of the Late Period were also placed in painted cartonnage mummy cases. Actual preservation practices declined during the Ptolemaic and Roman eras, while greater emphasis was placed on the outer appearance of the mummy, which was decorated. Wealthy Egyptians were buried with larger quantities of luxury items, but all burials, regardless of social status, included goods for the deceased. Funerary texts were often included in the grave, and, beginning in the New Kingdom, so were shabti statues that were believed to perform manual labor for them in the afterlife. Rituals in which the deceased was magically re-animated accompanied burials. After burial, living relatives were expected to occasionally bring food to the tomb and recite prayers on behalf of the deceased. Military The ancient Egyptian military was responsible for defending Egypt against foreign invasion, and for maintaining Egypt's domination in the ancient Near East. The military protected mining expeditions to the Sinai during the Old Kingdom and fought civil wars during the First and Second Intermediate Periods. The military was responsible for maintaining fortifications along important trade routes, such as those found at the city of Buhen on the way to Nubia. Forts also were constructed to serve as military bases, such as the fortress at Sile, which was a base of operations for expeditions to the Levant. In the New Kingdom, a series of pharaohs used the standing Egyptian army to attack and conquer Kush and parts of the Levant. Typical military equipment included bows and arrows, spears, and round-topped shields made by stretching animal skin over a wooden frame. In the New Kingdom, the military began using chariots that had earlier been introduced by the Hyksos invaders. Weapons and armor continued to improve after the adoption of bronze: shields were now made from solid wood with a bronze buckle, spears were tipped with a bronze point, and the khopesh was adopted from Asiatic soldiers.

These customs involved preserving the body by mummification, performing burial ceremonies, and interring with the body goods the deceased would use in the afterlife. Before the Old Kingdom, bodies buried in desert pits were naturally preserved by desiccation. The arid, desert conditions were a boon throughout the history of ancient Egypt for burials of the poor, who could not afford the elaborate burial preparations available to the elite. Wealthier Egyptians began to bury their dead in stone tombs and use artificial mummification, which involved removing the internal organs, wrapping the body in linen, and burying it in a rectangular stone sarcophagus or wooden coffin. Beginning in the Fourth Dynasty, some parts were preserved separately in canopic jars. By the New Kingdom, the ancient Egyptians had perfected the art of mummification; the best technique took 70 days and involved removing the internal organs, removing the brain through the nose, and desiccating the body in a mixture of salts called natron. The body was then wrapped in linen with protective amulets inserted between layers and placed in a decorated anthropoid coffin. Mummies of the Late Period were also placed in painted cartonnage mummy cases. Actual preservation practices declined during the Ptolemaic and Roman eras, while greater emphasis was placed on the outer appearance of the mummy, which was decorated. Wealthy Egyptians were buried with larger quantities of luxury items, but all burials, regardless of social status, included goods for the deceased. Funerary texts were often included in the grave, and, beginning in the New Kingdom, so were shabti statues that were believed to perform manual labor for them in the afterlife. Rituals in which the deceased was magically re-animated accompanied burials. After burial, living relatives were expected to occasionally bring food to the tomb and recite prayers on behalf of the deceased. Military The ancient Egyptian military was responsible for defending Egypt against foreign invasion, and for maintaining Egypt's domination in the ancient Near East. The military protected mining expeditions to the Sinai during the Old Kingdom and fought civil wars during the First and Second Intermediate Periods. The military was responsible for maintaining fortifications along important trade routes, such as those found at the city of Buhen on the way to Nubia. Forts also were constructed to serve as military bases, such as the fortress at Sile, which was a base of operations for expeditions to the Levant. In the New Kingdom, a series of pharaohs used the standing Egyptian army to attack and conquer Kush and parts of the Levant. Typical military equipment included bows and arrows, spears, and round-topped shields made by stretching animal skin over a wooden frame. In the New Kingdom, the military began using chariots that had earlier been introduced by the Hyksos invaders. Weapons and armor continued to improve after the adoption of bronze: shields were now made from solid wood with a bronze buckle, spears were tipped with a bronze point, and the khopesh was adopted from Asiatic soldiers.

The pharaoh was usually depicted in art and literature riding at the head of the army; it has been suggested that at least a few pharaohs, such as Seqenenre Tao II and his sons, did do so. However, it has also been argued that "kings of this period did not personally act as frontline war leaders, fighting alongside their troops." Soldiers were recruited from the general population, but during, and especially after, the New Kingdom, mercenaries from Nubia, Kush, and Libya were hired to fight for Egypt. Technology, medicine, and mathematics Technology In technology, medicine, and mathematics, ancient Egypt achieved a relatively high standard of productivity and sophistication. Traditional empiricism, as evidenced by the Edwin Smith and Ebers papyri (c. 1600BC), is first credited to Egypt. The Egyptians created their own alphabet and decimal system. Faience and glass Even before the Old Kingdom, the ancient Egyptians had developed a glassy material known as faience, which they treated as a type of artificial semi-precious stone. Faience is a non-clay ceramic made of silica, small amounts of lime and soda, and a colorant, typically copper. The material was used to make beads, tiles, figurines, and small wares. Several methods can be used to create faience, but typically production involved application of the powdered materials in the form of a paste over a clay core, which was then fired. By a related technique, the ancient Egyptians produced a pigment known as Egyptian blue, also called blue frit, which is produced by fusing (or sintering) silica, copper, lime, and an alkali such as natron. The product can be ground up and used as a pigment. The ancient Egyptians could fabricate a wide variety of objects from glass with great skill, but it is not clear whether they developed the process independently. It is also unclear whether they made their own raw glass or merely imported pre-made ingots, which they melted and finished. However, they did have technical expertise in making objects, as well as adding trace elements to control the color of the finished glass. A range of colors could be produced, including yellow, red, green, blue, purple, and white, and the glass could be made either transparent or opaque. Medicine The medical problems of the ancient Egyptians stemmed directly from their environment. Living and working close to the Nile brought hazards from malaria and debilitating schistosomiasis parasites, which caused liver and intestinal damage. Dangerous wildlife such as crocodiles and hippos were also a common threat. The lifelong labors of farming and building put stress on the spine and joints, and traumatic injuries from construction and warfare all took a significant toll on the body. The grit and sand from stone-ground flour abraded teeth, leaving them susceptible to abscesses (though caries were rare). The diets of the wealthy were rich in sugars, which promoted periodontal disease. Despite the flattering physiques portrayed on tomb walls, the overweight mummies of many of the upper class show the effects of a life of overindulgence.

The pharaoh was usually depicted in art and literature riding at the head of the army; it has been suggested that at least a few pharaohs, such as Seqenenre Tao II and his sons, did do so. However, it has also been argued that "kings of this period did not personally act as frontline war leaders, fighting alongside their troops." Soldiers were recruited from the general population, but during, and especially after, the New Kingdom, mercenaries from Nubia, Kush, and Libya were hired to fight for Egypt. Technology, medicine, and mathematics Technology In technology, medicine, and mathematics, ancient Egypt achieved a relatively high standard of productivity and sophistication. Traditional empiricism, as evidenced by the Edwin Smith and Ebers papyri (c. 1600BC), is first credited to Egypt. The Egyptians created their own alphabet and decimal system. Faience and glass Even before the Old Kingdom, the ancient Egyptians had developed a glassy material known as faience, which they treated as a type of artificial semi-precious stone. Faience is a non-clay ceramic made of silica, small amounts of lime and soda, and a colorant, typically copper. The material was used to make beads, tiles, figurines, and small wares. Several methods can be used to create faience, but typically production involved application of the powdered materials in the form of a paste over a clay core, which was then fired. By a related technique, the ancient Egyptians produced a pigment known as Egyptian blue, also called blue frit, which is produced by fusing (or sintering) silica, copper, lime, and an alkali such as natron. The product can be ground up and used as a pigment. The ancient Egyptians could fabricate a wide variety of objects from glass with great skill, but it is not clear whether they developed the process independently. It is also unclear whether they made their own raw glass or merely imported pre-made ingots, which they melted and finished. However, they did have technical expertise in making objects, as well as adding trace elements to control the color of the finished glass. A range of colors could be produced, including yellow, red, green, blue, purple, and white, and the glass could be made either transparent or opaque. Medicine The medical problems of the ancient Egyptians stemmed directly from their environment. Living and working close to the Nile brought hazards from malaria and debilitating schistosomiasis parasites, which caused liver and intestinal damage. Dangerous wildlife such as crocodiles and hippos were also a common threat. The lifelong labors of farming and building put stress on the spine and joints, and traumatic injuries from construction and warfare all took a significant toll on the body. The grit and sand from stone-ground flour abraded teeth, leaving them susceptible to abscesses (though caries were rare). The diets of the wealthy were rich in sugars, which promoted periodontal disease. Despite the flattering physiques portrayed on tomb walls, the overweight mummies of many of the upper class show the effects of a life of overindulgence.

The pharaoh was usually depicted in art and literature riding at the head of the army; it has been suggested that at least a few pharaohs, such as Seqenenre Tao II and his sons, did do so. However, it has also been argued that "kings of this period did not personally act as frontline war leaders, fighting alongside their troops." Soldiers were recruited from the general population, but during, and especially after, the New Kingdom, mercenaries from Nubia, Kush, and Libya were hired to fight for Egypt. Technology, medicine, and mathematics Technology In technology, medicine, and mathematics, ancient Egypt achieved a relatively high standard of productivity and sophistication. Traditional empiricism, as evidenced by the Edwin Smith and Ebers papyri (c. 1600BC), is first credited to Egypt. The Egyptians created their own alphabet and decimal system. Faience and glass Even before the Old Kingdom, the ancient Egyptians had developed a glassy material known as faience, which they treated as a type of artificial semi-precious stone. Faience is a non-clay ceramic made of silica, small amounts of lime and soda, and a colorant, typically copper. The material was used to make beads, tiles, figurines, and small wares. Several methods can be used to create faience, but typically production involved application of the powdered materials in the form of a paste over a clay core, which was then fired. By a related technique, the ancient Egyptians produced a pigment known as Egyptian blue, also called blue frit, which is produced by fusing (or sintering) silica, copper, lime, and an alkali such as natron. The product can be ground up and used as a pigment. The ancient Egyptians could fabricate a wide variety of objects from glass with great skill, but it is not clear whether they developed the process independently. It is also unclear whether they made their own raw glass or merely imported pre-made ingots, which they melted and finished. However, they did have technical expertise in making objects, as well as adding trace elements to control the color of the finished glass. A range of colors could be produced, including yellow, red, green, blue, purple, and white, and the glass could be made either transparent or opaque. Medicine The medical problems of the ancient Egyptians stemmed directly from their environment. Living and working close to the Nile brought hazards from malaria and debilitating schistosomiasis parasites, which caused liver and intestinal damage. Dangerous wildlife such as crocodiles and hippos were also a common threat. The lifelong labors of farming and building put stress on the spine and joints, and traumatic injuries from construction and warfare all took a significant toll on the body. The grit and sand from stone-ground flour abraded teeth, leaving them susceptible to abscesses (though caries were rare). The diets of the wealthy were rich in sugars, which promoted periodontal disease. Despite the flattering physiques portrayed on tomb walls, the overweight mummies of many of the upper class show the effects of a life of overindulgence.

Adult life expectancy was about 35 for men and 30 for women, but reaching adulthood was difficult as about one-third of the population died in infancy. Ancient Egyptian physicians were renowned in the ancient Near East for their healing skills, and some, such as Imhotep, remained famous long after their deaths. Herodotus remarked that there was a high degree of specialization among Egyptian physicians, with some treating only the head or the stomach, while others were eye-doctors and dentists. Training of physicians took place at the Per Ankh or "House of Life" institution, most notably those headquartered in Per-Bastet during the New Kingdom and at Abydos and Saïs in the Late period. Medical papyri show empirical knowledge of anatomy, injuries, and practical treatments. Wounds were treated by bandaging with raw meat, white linen, sutures, nets, pads, and swabs soaked with honey to prevent infection, while opium, thyme, and belladona were used to relieve pain. The earliest records of burn treatment describe burn dressings that use the milk from mothers of male babies. Prayers were made to the goddess Isis. Moldy bread, honey, and copper salts were also used to prevent infection from dirt in burns. Garlic and onions were used regularly to promote good health and were thought to relieve asthma symptoms. Ancient Egyptian surgeons stitched wounds, set broken bones, and amputated diseased limbs, but they recognized that some injuries were so serious that they could only make the patient comfortable until death occurred. Maritime technology Early Egyptians knew how to assemble planks of wood into a ship hull and had mastered advanced forms of shipbuilding as early as 3000BC. The Archaeological Institute of America reports that the oldest planked ships known are the Abydos boats. A group of 14 discovered ships in Abydos were constructed of wooden planks "sewn" together. Discovered by Egyptologist David O'Connor of New York University, woven straps were found to have been used to lash the planks together, and reeds or grass stuffed between the planks helped to seal the seams. Because the ships are all buried together and near a mortuary belonging to Pharaoh Khasekhemwy, originally they were all thought to have belonged to him, but one of the 14 ships dates to 3000BC, and the associated pottery jars buried with the vessels also suggest earlier dating. The ship dating to 3000BC was long and is now thought to perhaps have belonged to an earlier pharaoh, perhaps one as early as Hor-Aha. Early Egyptians also knew how to assemble planks of wood with treenails to fasten them together, using pitch for caulking the seams. The "Khufu ship", a vessel sealed into a pit in the Giza pyramid complex at the foot of the Great Pyramid of Giza in the Fourth Dynasty around 2500BC, is a full-size surviving example that may have filled the symbolic function of a solar barque. Early Egyptians also knew how to fasten the planks of this ship together with mortise and tenon joints.

Adult life expectancy was about 35 for men and 30 for women, but reaching adulthood was difficult as about one-third of the population died in infancy. Ancient Egyptian physicians were renowned in the ancient Near East for their healing skills, and some, such as Imhotep, remained famous long after their deaths. Herodotus remarked that there was a high degree of specialization among Egyptian physicians, with some treating only the head or the stomach, while others were eye-doctors and dentists. Training of physicians took place at the Per Ankh or "House of Life" institution, most notably those headquartered in Per-Bastet during the New Kingdom and at Abydos and Saïs in the Late period. Medical papyri show empirical knowledge of anatomy, injuries, and practical treatments. Wounds were treated by bandaging with raw meat, white linen, sutures, nets, pads, and swabs soaked with honey to prevent infection, while opium, thyme, and belladona were used to relieve pain. The earliest records of burn treatment describe burn dressings that use the milk from mothers of male babies. Prayers were made to the goddess Isis. Moldy bread, honey, and copper salts were also used to prevent infection from dirt in burns. Garlic and onions were used regularly to promote good health and were thought to relieve asthma symptoms. Ancient Egyptian surgeons stitched wounds, set broken bones, and amputated diseased limbs, but they recognized that some injuries were so serious that they could only make the patient comfortable until death occurred. Maritime technology Early Egyptians knew how to assemble planks of wood into a ship hull and had mastered advanced forms of shipbuilding as early as 3000BC. The Archaeological Institute of America reports that the oldest planked ships known are the Abydos boats. A group of 14 discovered ships in Abydos were constructed of wooden planks "sewn" together. Discovered by Egyptologist David O'Connor of New York University, woven straps were found to have been used to lash the planks together, and reeds or grass stuffed between the planks helped to seal the seams. Because the ships are all buried together and near a mortuary belonging to Pharaoh Khasekhemwy, originally they were all thought to have belonged to him, but one of the 14 ships dates to 3000BC, and the associated pottery jars buried with the vessels also suggest earlier dating. The ship dating to 3000BC was long and is now thought to perhaps have belonged to an earlier pharaoh, perhaps one as early as Hor-Aha. Early Egyptians also knew how to assemble planks of wood with treenails to fasten them together, using pitch for caulking the seams. The "Khufu ship", a vessel sealed into a pit in the Giza pyramid complex at the foot of the Great Pyramid of Giza in the Fourth Dynasty around 2500BC, is a full-size surviving example that may have filled the symbolic function of a solar barque. Early Egyptians also knew how to fasten the planks of this ship together with mortise and tenon joints.

Adult life expectancy was about 35 for men and 30 for women, but reaching adulthood was difficult as about one-third of the population died in infancy. Ancient Egyptian physicians were renowned in the ancient Near East for their healing skills, and some, such as Imhotep, remained famous long after their deaths. Herodotus remarked that there was a high degree of specialization among Egyptian physicians, with some treating only the head or the stomach, while others were eye-doctors and dentists. Training of physicians took place at the Per Ankh or "House of Life" institution, most notably those headquartered in Per-Bastet during the New Kingdom and at Abydos and Saïs in the Late period. Medical papyri show empirical knowledge of anatomy, injuries, and practical treatments. Wounds were treated by bandaging with raw meat, white linen, sutures, nets, pads, and swabs soaked with honey to prevent infection, while opium, thyme, and belladona were used to relieve pain. The earliest records of burn treatment describe burn dressings that use the milk from mothers of male babies. Prayers were made to the goddess Isis. Moldy bread, honey, and copper salts were also used to prevent infection from dirt in burns. Garlic and onions were used regularly to promote good health and were thought to relieve asthma symptoms. Ancient Egyptian surgeons stitched wounds, set broken bones, and amputated diseased limbs, but they recognized that some injuries were so serious that they could only make the patient comfortable until death occurred. Maritime technology Early Egyptians knew how to assemble planks of wood into a ship hull and had mastered advanced forms of shipbuilding as early as 3000BC. The Archaeological Institute of America reports that the oldest planked ships known are the Abydos boats. A group of 14 discovered ships in Abydos were constructed of wooden planks "sewn" together. Discovered by Egyptologist David O'Connor of New York University, woven straps were found to have been used to lash the planks together, and reeds or grass stuffed between the planks helped to seal the seams. Because the ships are all buried together and near a mortuary belonging to Pharaoh Khasekhemwy, originally they were all thought to have belonged to him, but one of the 14 ships dates to 3000BC, and the associated pottery jars buried with the vessels also suggest earlier dating. The ship dating to 3000BC was long and is now thought to perhaps have belonged to an earlier pharaoh, perhaps one as early as Hor-Aha. Early Egyptians also knew how to assemble planks of wood with treenails to fasten them together, using pitch for caulking the seams. The "Khufu ship", a vessel sealed into a pit in the Giza pyramid complex at the foot of the Great Pyramid of Giza in the Fourth Dynasty around 2500BC, is a full-size surviving example that may have filled the symbolic function of a solar barque. Early Egyptians also knew how to fasten the planks of this ship together with mortise and tenon joints.

Large seagoing ships are known to have been heavily used by the Egyptians in their trade with the city states of the eastern Mediterranean, especially Byblos (on the coast of modern-day Lebanon), and in several expeditions down the Red Sea to the Land of Punt. In fact one of the earliest Egyptian words for a seagoing ship is a "Byblos Ship", which originally defined a class of Egyptian seagoing ships used on the Byblos run; however, by the end of the Old Kingdom, the term had come to include large seagoing ships, whatever their destination. In 1977, an ancient north–south canal was discovered extending from Lake Timsah to the Ballah Lakes. It was dated to the Middle Kingdom of Egypt by extrapolating dates of ancient sites constructed along its course. In 2011, archaeologists from Italy, the United States, and Egypt excavating a dried-up lagoon known as Mersa Gawasis have unearthed traces of an ancient harbor that once launched early voyages like Hatshepsut's Punt expedition onto the open ocean. Some of the site's most evocative evidence for the ancient Egyptians' seafaring prowess include large ship timbers and hundreds of feet of ropes, made from papyrus, coiled in huge bundles. In 2013, a team of Franco-Egyptian archaeologists discovered what is believed to be the world's oldest port, dating back about 4500 years, from the time of King Cheops on the Red Sea coast near Wadi el-Jarf (about 110 miles south of Suez). Mathematics The earliest attested examples of mathematical calculations date to the predynastic Naqada period, and show a fully developed numeral system. The importance of mathematics to an educated Egyptian is suggested by a New Kingdom fictional letter in which the writer proposes a scholarly competition between himself and another scribe regarding everyday calculation tasks such as accounting of land, labor, and grain. Texts such as the Rhind Mathematical Papyrus and the Moscow Mathematical Papyrus show that the ancient Egyptians could perform the four basic mathematical operations—addition, subtraction, multiplication, and division—use fractions, calculate the areas of rectangles, triangles, and circles and compute the volumes of boxes, columns and pyramids. They understood basic concepts of algebra and geometry, and could solve simple sets of simultaneous equations. Mathematical notation was decimal, and based on hieroglyphic signs for each power of ten up to one million. Each of these could be written as many times as necessary to add up to the desired number; so to write the number eighty or eight hundred, the symbol for ten or one hundred was written eight times respectively. Because their methods of calculation could not handle most fractions with a numerator greater than one, they had to write fractions as the sum of several fractions. For example, they resolved the fraction two-fifths into the sum of one-third + one-fifteenth. Standard tables of values facilitated this. Some common fractions, however, were written with a special glyph—the equivalent of the modern two-thirds is shown on the right. Ancient Egyptian mathematicians knew the Pythagorean theorem as an empirical formula.

Large seagoing ships are known to have been heavily used by the Egyptians in their trade with the city states of the eastern Mediterranean, especially Byblos (on the coast of modern-day Lebanon), and in several expeditions down the Red Sea to the Land of Punt. In fact one of the earliest Egyptian words for a seagoing ship is a "Byblos Ship", which originally defined a class of Egyptian seagoing ships used on the Byblos run; however, by the end of the Old Kingdom, the term had come to include large seagoing ships, whatever their destination. In 1977, an ancient north–south canal was discovered extending from Lake Timsah to the Ballah Lakes. It was dated to the Middle Kingdom of Egypt by extrapolating dates of ancient sites constructed along its course. In 2011, archaeologists from Italy, the United States, and Egypt excavating a dried-up lagoon known as Mersa Gawasis have unearthed traces of an ancient harbor that once launched early voyages like Hatshepsut's Punt expedition onto the open ocean. Some of the site's most evocative evidence for the ancient Egyptians' seafaring prowess include large ship timbers and hundreds of feet of ropes, made from papyrus, coiled in huge bundles. In 2013, a team of Franco-Egyptian archaeologists discovered what is believed to be the world's oldest port, dating back about 4500 years, from the time of King Cheops on the Red Sea coast near Wadi el-Jarf (about 110 miles south of Suez). Mathematics The earliest attested examples of mathematical calculations date to the predynastic Naqada period, and show a fully developed numeral system. The importance of mathematics to an educated Egyptian is suggested by a New Kingdom fictional letter in which the writer proposes a scholarly competition between himself and another scribe regarding everyday calculation tasks such as accounting of land, labor, and grain. Texts such as the Rhind Mathematical Papyrus and the Moscow Mathematical Papyrus show that the ancient Egyptians could perform the four basic mathematical operations—addition, subtraction, multiplication, and division—use fractions, calculate the areas of rectangles, triangles, and circles and compute the volumes of boxes, columns and pyramids. They understood basic concepts of algebra and geometry, and could solve simple sets of simultaneous equations. Mathematical notation was decimal, and based on hieroglyphic signs for each power of ten up to one million. Each of these could be written as many times as necessary to add up to the desired number; so to write the number eighty or eight hundred, the symbol for ten or one hundred was written eight times respectively. Because their methods of calculation could not handle most fractions with a numerator greater than one, they had to write fractions as the sum of several fractions. For example, they resolved the fraction two-fifths into the sum of one-third + one-fifteenth. Standard tables of values facilitated this. Some common fractions, however, were written with a special glyph—the equivalent of the modern two-thirds is shown on the right. Ancient Egyptian mathematicians knew the Pythagorean theorem as an empirical formula.

Large seagoing ships are known to have been heavily used by the Egyptians in their trade with the city states of the eastern Mediterranean, especially Byblos (on the coast of modern-day Lebanon), and in several expeditions down the Red Sea to the Land of Punt. In fact one of the earliest Egyptian words for a seagoing ship is a "Byblos Ship", which originally defined a class of Egyptian seagoing ships used on the Byblos run; however, by the end of the Old Kingdom, the term had come to include large seagoing ships, whatever their destination. In 1977, an ancient north–south canal was discovered extending from Lake Timsah to the Ballah Lakes. It was dated to the Middle Kingdom of Egypt by extrapolating dates of ancient sites constructed along its course. In 2011, archaeologists from Italy, the United States, and Egypt excavating a dried-up lagoon known as Mersa Gawasis have unearthed traces of an ancient harbor that once launched early voyages like Hatshepsut's Punt expedition onto the open ocean. Some of the site's most evocative evidence for the ancient Egyptians' seafaring prowess include large ship timbers and hundreds of feet of ropes, made from papyrus, coiled in huge bundles. In 2013, a team of Franco-Egyptian archaeologists discovered what is believed to be the world's oldest port, dating back about 4500 years, from the time of King Cheops on the Red Sea coast near Wadi el-Jarf (about 110 miles south of Suez). Mathematics The earliest attested examples of mathematical calculations date to the predynastic Naqada period, and show a fully developed numeral system. The importance of mathematics to an educated Egyptian is suggested by a New Kingdom fictional letter in which the writer proposes a scholarly competition between himself and another scribe regarding everyday calculation tasks such as accounting of land, labor, and grain. Texts such as the Rhind Mathematical Papyrus and the Moscow Mathematical Papyrus show that the ancient Egyptians could perform the four basic mathematical operations—addition, subtraction, multiplication, and division—use fractions, calculate the areas of rectangles, triangles, and circles and compute the volumes of boxes, columns and pyramids. They understood basic concepts of algebra and geometry, and could solve simple sets of simultaneous equations. Mathematical notation was decimal, and based on hieroglyphic signs for each power of ten up to one million. Each of these could be written as many times as necessary to add up to the desired number; so to write the number eighty or eight hundred, the symbol for ten or one hundred was written eight times respectively. Because their methods of calculation could not handle most fractions with a numerator greater than one, they had to write fractions as the sum of several fractions. For example, they resolved the fraction two-fifths into the sum of one-third + one-fifteenth. Standard tables of values facilitated this. Some common fractions, however, were written with a special glyph—the equivalent of the modern two-thirds is shown on the right. Ancient Egyptian mathematicians knew the Pythagorean theorem as an empirical formula.

They were aware, for example, that a triangle had a right angle opposite the hypotenuse when its sides were in a 3–4–5 ratio. They were able to estimate the area of a circle by subtracting one-ninth from its diameter and squaring the result: Area ≈ [()D]2 = ()r2 ≈ 3.16r2, a reasonable approximation of the formula . The golden ratio seems to be reflected in many Egyptian constructions, including the pyramids, but its use may have been an unintended consequence of the ancient Egyptian practice of combining the use of knotted ropes with an intuitive sense of proportion and harmony. Population Estimates of the size of the population range from 1-1.5 million in the 3rd millennium BCE to possibly 2-3 million by the 1st millennium BCE, before growing significantly towards the end of that millennium. DNA In 2012, the DNA of the 20th dynasty mummies of Ramesses III and another mummy believed to be Ramesses III's son Pentawer were analyzed by Albert Zink, Yehia Z Gad and a team of researchers under Zahi Hawass, then Secretary General of the Supreme Council of Antiquities, Egypt. Genetic kinship analyses revealed identical haplotypes in both mummies. Using the Whit Athey's haplogroup predictor, they identified the Y chromosomal haplogroup E1b1a (E-M2). In 2017, a team led by led by researchers from the University of Tuebingen and the Max Planck Institute for the Science of Human History in Jena tested the maternal DNA (mitochondrial) of 90 mummies from Abusir el-Meleq in northern Egypt (near Cairo), which was the first reliable data using high-throughput DNA sequencing methods. Additionally, three of the mummies were also analyzed for Y-DNA. Two were assigned to West Asian J and one to haplogroup E1b1b1 both common in North Africa. The researchers cautioned that the affinities of the examined ancient Egyptian specimens may not be representative of those of all ancient Egyptians since they were from a single archaeological site. Whilst not conclusive since the few relatively older mummies only go back to the 18th-19th dynasty, the rest being from then up to late Roman period, the authors of this study said the Abusir el-Meleq mummies "closely resembled ancient and modern Near Eastern populations, especially those in the Levant." The genetics of the mummies remained remarkably consistent within this range even as different powers—including Nubians, Greeks, and Romans—conquered the empire." A wide range of mtDNA haplogroups were found including clades of J, U, H, HV, M, R0, R2, K, T, L, I, N, X, W. The authors of the study noted that the mummies at Abusir el-Meleq have 6–15% maternal sub-Saharan DNA while modern Egyptians have a little more sub-Saharan ancestry, 15% to 20%, suggesting some degree of influx after the end of the empire. Other genetic studies show greater levels of sub-Saharan African ancestry in modern southern Egyptian populations and anticipate that mummies from southern Egypt would show greater levels of sub-Saharan African ancestry.

They were aware, for example, that a triangle had a right angle opposite the hypotenuse when its sides were in a 3–4–5 ratio. They were able to estimate the area of a circle by subtracting one-ninth from its diameter and squaring the result: Area ≈ [()D]2 = ()r2 ≈ 3.16r2, a reasonable approximation of the formula . The golden ratio seems to be reflected in many Egyptian constructions, including the pyramids, but its use may have been an unintended consequence of the ancient Egyptian practice of combining the use of knotted ropes with an intuitive sense of proportion and harmony. Population Estimates of the size of the population range from 1-1.5 million in the 3rd millennium BCE to possibly 2-3 million by the 1st millennium BCE, before growing significantly towards the end of that millennium. DNA In 2012, the DNA of the 20th dynasty mummies of Ramesses III and another mummy believed to be Ramesses III's son Pentawer were analyzed by Albert Zink, Yehia Z Gad and a team of researchers under Zahi Hawass, then Secretary General of the Supreme Council of Antiquities, Egypt. Genetic kinship analyses revealed identical haplotypes in both mummies. Using the Whit Athey's haplogroup predictor, they identified the Y chromosomal haplogroup E1b1a (E-M2). In 2017, a team led by led by researchers from the University of Tuebingen and the Max Planck Institute for the Science of Human History in Jena tested the maternal DNA (mitochondrial) of 90 mummies from Abusir el-Meleq in northern Egypt (near Cairo), which was the first reliable data using high-throughput DNA sequencing methods. Additionally, three of the mummies were also analyzed for Y-DNA. Two were assigned to West Asian J and one to haplogroup E1b1b1 both common in North Africa. The researchers cautioned that the affinities of the examined ancient Egyptian specimens may not be representative of those of all ancient Egyptians since they were from a single archaeological site. Whilst not conclusive since the few relatively older mummies only go back to the 18th-19th dynasty, the rest being from then up to late Roman period, the authors of this study said the Abusir el-Meleq mummies "closely resembled ancient and modern Near Eastern populations, especially those in the Levant." The genetics of the mummies remained remarkably consistent within this range even as different powers—including Nubians, Greeks, and Romans—conquered the empire." A wide range of mtDNA haplogroups were found including clades of J, U, H, HV, M, R0, R2, K, T, L, I, N, X, W. The authors of the study noted that the mummies at Abusir el-Meleq have 6–15% maternal sub-Saharan DNA while modern Egyptians have a little more sub-Saharan ancestry, 15% to 20%, suggesting some degree of influx after the end of the empire. Other genetic studies show greater levels of sub-Saharan African ancestry in modern southern Egyptian populations and anticipate that mummies from southern Egypt would show greater levels of sub-Saharan African ancestry.

They were aware, for example, that a triangle had a right angle opposite the hypotenuse when its sides were in a 3–4–5 ratio. They were able to estimate the area of a circle by subtracting one-ninth from its diameter and squaring the result: Area ≈ [()D]2 = ()r2 ≈ 3.16r2, a reasonable approximation of the formula . The golden ratio seems to be reflected in many Egyptian constructions, including the pyramids, but its use may have been an unintended consequence of the ancient Egyptian practice of combining the use of knotted ropes with an intuitive sense of proportion and harmony. Population Estimates of the size of the population range from 1-1.5 million in the 3rd millennium BCE to possibly 2-3 million by the 1st millennium BCE, before growing significantly towards the end of that millennium. DNA In 2012, the DNA of the 20th dynasty mummies of Ramesses III and another mummy believed to be Ramesses III's son Pentawer were analyzed by Albert Zink, Yehia Z Gad and a team of researchers under Zahi Hawass, then Secretary General of the Supreme Council of Antiquities, Egypt. Genetic kinship analyses revealed identical haplotypes in both mummies. Using the Whit Athey's haplogroup predictor, they identified the Y chromosomal haplogroup E1b1a (E-M2). In 2017, a team led by led by researchers from the University of Tuebingen and the Max Planck Institute for the Science of Human History in Jena tested the maternal DNA (mitochondrial) of 90 mummies from Abusir el-Meleq in northern Egypt (near Cairo), which was the first reliable data using high-throughput DNA sequencing methods. Additionally, three of the mummies were also analyzed for Y-DNA. Two were assigned to West Asian J and one to haplogroup E1b1b1 both common in North Africa. The researchers cautioned that the affinities of the examined ancient Egyptian specimens may not be representative of those of all ancient Egyptians since they were from a single archaeological site. Whilst not conclusive since the few relatively older mummies only go back to the 18th-19th dynasty, the rest being from then up to late Roman period, the authors of this study said the Abusir el-Meleq mummies "closely resembled ancient and modern Near Eastern populations, especially those in the Levant." The genetics of the mummies remained remarkably consistent within this range even as different powers—including Nubians, Greeks, and Romans—conquered the empire." A wide range of mtDNA haplogroups were found including clades of J, U, H, HV, M, R0, R2, K, T, L, I, N, X, W. The authors of the study noted that the mummies at Abusir el-Meleq have 6–15% maternal sub-Saharan DNA while modern Egyptians have a little more sub-Saharan ancestry, 15% to 20%, suggesting some degree of influx after the end of the empire. Other genetic studies show greater levels of sub-Saharan African ancestry in modern southern Egyptian populations and anticipate that mummies from southern Egypt would show greater levels of sub-Saharan African ancestry.

In 2018, the 4000-year-old mummified head of Djehutynakht, a governor in the Middle Kingdom of the 11th or 12th dynasty, was analyzed for mitochondrial DNA. The sequence of the mummy most closely resembles a U5a lineage from sample JK2903, a much more recent 2000-year-old skeleton from the Abusir el-Meleq site in Egypt, although no direct matches to the Djehutynakht sequence have been reported. Haplogroup U5 is also found in modern-day Berbers from the Siwa Oasis in Egypt. A 2008 article by C. Coudray, "The complex and diversified mitochondrial gene pool of Berber populations", recorded haplogroup U5 at 16.7% for the Siwa whereas haplogroup U6 is more common in other Berber populations to the west of Egypt. In 2020, Yehia Z Gad and other researchers of the Hawass team published results of an analysis of the maternal and paternal haplogroups of several 18th dynasty mummies, including Tutankhamun. Genetic analysis indicated the following haplogroups: Tutankhamun YDNA R1b / mtDNA K Akhenaten YDNA R1b / mtDNA K Amenhotep III YDNA R1b / mtDNA K Yuya G2a / mtDNA K Tiye mtDNA K Thuya mtDNA K The clade of R1b was not determined. A high frequency of R1b1a2 (R-V88) (26.9%) was observed among the Berbers from the Siwa Oasis. This haplogroup reaches its highest frequency in northern Cameroon, northern Nigeria, Chad, and Niger. Legacy The culture and monuments of ancient Egypt have left a lasting legacy on the world. Egyptian civilization significantly influenced the Kingdom of Kush and Meroë with both adopting Egyptian religious and architectural norms (hundreds of pyramids (6–30 meters high) were built in Egypt/Sudan), as well as using Egyptian writing as the basis of the Meroitic script. Meroitic is the oldest written language in Africa, other than Egyptian, and was used from the 2nd century BC until the early 5th century AD. The cult of the goddess Isis, for example, became popular in the Roman Empire, as obelisks and other relics were transported back to Rome. The Romans also imported building materials from Egypt to erect Egyptian-style structures. Early historians such as Herodotus, Strabo, and Diodorus Siculus studied and wrote about the land, which Romans came to view as a place of mystery. During the Middle Ages and the Renaissance, Egyptian pagan culture was in decline after the rise of Christianity and later Islam, but interest in Egyptian antiquity continued in the writings of medieval scholars such as Dhul-Nun al-Misri and al-Maqrizi. In the seventeenth and eighteenth centuries, European travelers and tourists brought back antiquities and wrote stories of their journeys, leading to a wave of Egyptomania across Europe. This renewed interest sent collectors to Egypt, who took, purchased, or were given many important antiquities. Napoleon arranged the first studies in Egyptology when he brought some 150 scientists and artists to study and document Egypt's natural history, which was published in the Description de l'Égypte. In the 20th century, the Egyptian Government and archaeologists alike recognized the importance of cultural respect and integrity in excavations.

In 2018, the 4000-year-old mummified head of Djehutynakht, a governor in the Middle Kingdom of the 11th or 12th dynasty, was analyzed for mitochondrial DNA. The sequence of the mummy most closely resembles a U5a lineage from sample JK2903, a much more recent 2000-year-old skeleton from the Abusir el-Meleq site in Egypt, although no direct matches to the Djehutynakht sequence have been reported. Haplogroup U5 is also found in modern-day Berbers from the Siwa Oasis in Egypt. A 2008 article by C. Coudray, "The complex and diversified mitochondrial gene pool of Berber populations", recorded haplogroup U5 at 16.7% for the Siwa whereas haplogroup U6 is more common in other Berber populations to the west of Egypt. In 2020, Yehia Z Gad and other researchers of the Hawass team published results of an analysis of the maternal and paternal haplogroups of several 18th dynasty mummies, including Tutankhamun. Genetic analysis indicated the following haplogroups: Tutankhamun YDNA R1b / mtDNA K Akhenaten YDNA R1b / mtDNA K Amenhotep III YDNA R1b / mtDNA K Yuya G2a / mtDNA K Tiye mtDNA K Thuya mtDNA K The clade of R1b was not determined. A high frequency of R1b1a2 (R-V88) (26.9%) was observed among the Berbers from the Siwa Oasis. This haplogroup reaches its highest frequency in northern Cameroon, northern Nigeria, Chad, and Niger. Legacy The culture and monuments of ancient Egypt have left a lasting legacy on the world. Egyptian civilization significantly influenced the Kingdom of Kush and Meroë with both adopting Egyptian religious and architectural norms (hundreds of pyramids (6–30 meters high) were built in Egypt/Sudan), as well as using Egyptian writing as the basis of the Meroitic script. Meroitic is the oldest written language in Africa, other than Egyptian, and was used from the 2nd century BC until the early 5th century AD. The cult of the goddess Isis, for example, became popular in the Roman Empire, as obelisks and other relics were transported back to Rome. The Romans also imported building materials from Egypt to erect Egyptian-style structures. Early historians such as Herodotus, Strabo, and Diodorus Siculus studied and wrote about the land, which Romans came to view as a place of mystery. During the Middle Ages and the Renaissance, Egyptian pagan culture was in decline after the rise of Christianity and later Islam, but interest in Egyptian antiquity continued in the writings of medieval scholars such as Dhul-Nun al-Misri and al-Maqrizi. In the seventeenth and eighteenth centuries, European travelers and tourists brought back antiquities and wrote stories of their journeys, leading to a wave of Egyptomania across Europe. This renewed interest sent collectors to Egypt, who took, purchased, or were given many important antiquities. Napoleon arranged the first studies in Egyptology when he brought some 150 scientists and artists to study and document Egypt's natural history, which was published in the Description de l'Égypte. In the 20th century, the Egyptian Government and archaeologists alike recognized the importance of cultural respect and integrity in excavations.

In 2018, the 4000-year-old mummified head of Djehutynakht, a governor in the Middle Kingdom of the 11th or 12th dynasty, was analyzed for mitochondrial DNA. The sequence of the mummy most closely resembles a U5a lineage from sample JK2903, a much more recent 2000-year-old skeleton from the Abusir el-Meleq site in Egypt, although no direct matches to the Djehutynakht sequence have been reported. Haplogroup U5 is also found in modern-day Berbers from the Siwa Oasis in Egypt. A 2008 article by C. Coudray, "The complex and diversified mitochondrial gene pool of Berber populations", recorded haplogroup U5 at 16.7% for the Siwa whereas haplogroup U6 is more common in other Berber populations to the west of Egypt. In 2020, Yehia Z Gad and other researchers of the Hawass team published results of an analysis of the maternal and paternal haplogroups of several 18th dynasty mummies, including Tutankhamun. Genetic analysis indicated the following haplogroups: Tutankhamun YDNA R1b / mtDNA K Akhenaten YDNA R1b / mtDNA K Amenhotep III YDNA R1b / mtDNA K Yuya G2a / mtDNA K Tiye mtDNA K Thuya mtDNA K The clade of R1b was not determined. A high frequency of R1b1a2 (R-V88) (26.9%) was observed among the Berbers from the Siwa Oasis. This haplogroup reaches its highest frequency in northern Cameroon, northern Nigeria, Chad, and Niger. Legacy The culture and monuments of ancient Egypt have left a lasting legacy on the world. Egyptian civilization significantly influenced the Kingdom of Kush and Meroë with both adopting Egyptian religious and architectural norms (hundreds of pyramids (6–30 meters high) were built in Egypt/Sudan), as well as using Egyptian writing as the basis of the Meroitic script. Meroitic is the oldest written language in Africa, other than Egyptian, and was used from the 2nd century BC until the early 5th century AD. The cult of the goddess Isis, for example, became popular in the Roman Empire, as obelisks and other relics were transported back to Rome. The Romans also imported building materials from Egypt to erect Egyptian-style structures. Early historians such as Herodotus, Strabo, and Diodorus Siculus studied and wrote about the land, which Romans came to view as a place of mystery. During the Middle Ages and the Renaissance, Egyptian pagan culture was in decline after the rise of Christianity and later Islam, but interest in Egyptian antiquity continued in the writings of medieval scholars such as Dhul-Nun al-Misri and al-Maqrizi. In the seventeenth and eighteenth centuries, European travelers and tourists brought back antiquities and wrote stories of their journeys, leading to a wave of Egyptomania across Europe. This renewed interest sent collectors to Egypt, who took, purchased, or were given many important antiquities. Napoleon arranged the first studies in Egyptology when he brought some 150 scientists and artists to study and document Egypt's natural history, which was published in the Description de l'Égypte. In the 20th century, the Egyptian Government and archaeologists alike recognized the importance of cultural respect and integrity in excavations.

The Ministry of Tourism and Antiquities (formerly Supreme Council of Antiquities) now approves and oversees all excavations, which are aimed at finding information rather than treasure. The council also supervises museums and monument reconstruction programs designed to preserve the historical legacy of Egypt. See also Glossary of ancient Egypt artifacts Index of ancient Egypt–related articles Outline of ancient Egypt List of ancient Egyptians List of Ancient Egyptian inventions and discoveries Archaeology of Ancient Egypt British school of diffusionism Notes Citation References Further reading :de:Lexikon der Ägyptologie External links BBC History: Egyptiansprovides a reliable general overview and further links World History Encyclopedia on Egypt Ancient Egyptian Science: A Source Book Door Marshall Clagett, 1989 Ancient Egyptian Metallurgy A site that shows the history of Egyptian metalworking Napoleon on the Nile: Soldiers, Artists, and the Rediscovery of Egypt, Art History. Digital Egypt for Universities. Scholarly treatment with broad coverage and cross references (internal and external). Artifacts used extensively to illustrate topics. Priests of Ancient Egypt In-depth-information about Ancient Egypt's priests, religious services and temples. Much picture material and bibliography. In English and German. Ancient Egypt at History.com UCLA Encyclopedia of Egyptology Ancient Egypt and the Role of Women by Dr Joann Fletcher Full-length account of Ancient Egypt as part of history of the world Ancient Egypt Civilizations Egypt Former empires in Asia Ancient peoples History of Egypt History of the Mediterranean

The Ministry of Tourism and Antiquities (formerly Supreme Council of Antiquities) now approves and oversees all excavations, which are aimed at finding information rather than treasure. The council also supervises museums and monument reconstruction programs designed to preserve the historical legacy of Egypt. See also Glossary of ancient Egypt artifacts Index of ancient Egypt–related articles Outline of ancient Egypt List of ancient Egyptians List of Ancient Egyptian inventions and discoveries Archaeology of Ancient Egypt British school of diffusionism Notes Citation References Further reading :de:Lexikon der Ägyptologie External links BBC History: Egyptiansprovides a reliable general overview and further links World History Encyclopedia on Egypt Ancient Egyptian Science: A Source Book Door Marshall Clagett, 1989 Ancient Egyptian Metallurgy A site that shows the history of Egyptian metalworking Napoleon on the Nile: Soldiers, Artists, and the Rediscovery of Egypt, Art History. Digital Egypt for Universities. Scholarly treatment with broad coverage and cross references (internal and external). Artifacts used extensively to illustrate topics. Priests of Ancient Egypt In-depth-information about Ancient Egypt's priests, religious services and temples. Much picture material and bibliography. In English and German. Ancient Egypt at History.com UCLA Encyclopedia of Egyptology Ancient Egypt and the Role of Women by Dr Joann Fletcher Full-length account of Ancient Egypt as part of history of the world Ancient Egypt Civilizations Egypt Former empires in Asia Ancient peoples History of Egypt History of the Mediterranean

The Ministry of Tourism and Antiquities (formerly Supreme Council of Antiquities) now approves and oversees all excavations, which are aimed at finding information rather than treasure. The council also supervises museums and monument reconstruction programs designed to preserve the historical legacy of Egypt. See also Glossary of ancient Egypt artifacts Index of ancient Egypt–related articles Outline of ancient Egypt List of ancient Egyptians List of Ancient Egyptian inventions and discoveries Archaeology of Ancient Egypt British school of diffusionism Notes Citation References Further reading :de:Lexikon der Ägyptologie External links BBC History: Egyptiansprovides a reliable general overview and further links World History Encyclopedia on Egypt Ancient Egyptian Science: A Source Book Door Marshall Clagett, 1989 Ancient Egyptian Metallurgy A site that shows the history of Egyptian metalworking Napoleon on the Nile: Soldiers, Artists, and the Rediscovery of Egypt, Art History. Digital Egypt for Universities. Scholarly treatment with broad coverage and cross references (internal and external). Artifacts used extensively to illustrate topics. Priests of Ancient Egypt In-depth-information about Ancient Egypt's priests, religious services and temples. Much picture material and bibliography. In English and German. Ancient Egypt at History.com UCLA Encyclopedia of Egyptology Ancient Egypt and the Role of Women by Dr Joann Fletcher Full-length account of Ancient Egypt as part of history of the world Ancient Egypt Civilizations Egypt Former empires in Asia Ancient peoples History of Egypt History of the Mediterranean

Analog Brothers Analog Brothers were an experimental hip hop band featuring Tracy "Ice Oscillator" Marrow (Ice-T) on keyboards, drums and vocals, Keith "Keith Korg" Thornton (Ultramagnetic MCs' Kool Keith) on bass, strings and vocals, Marc "Mark Moog" Giveand (Raw Breed's Marc Live) on drums, violins and vocals, Christopher "Silver Synth" Rodgers (Black Silver) on synthesizer, lazar bell and vocals, and Rex Colonel "Rex Roland JX3P" Doby Jr. (Pimpin' Rex) on keyboards, vocals and production. Its album Pimp to Eat featured guest appearances by various members of Rhyme Syndicate, Odd Oberheim, Jacky Jasper (who appears as Jacky Jasper on the song "We Sleep Days" and H-Bomb on "War"), D.J. Cisco from S.M., Synth-A-Size Sisters and Teflon. While the group only recorded one album together as the Analog Brothers, a few bootlegs of its live concert performances, including freestyles with original lyrics, have occasionally surfaced online. After Pimp to Eat, the Analog Brothers continued performing together in various line ups. Kool Keith and Marc Live joined with Jacky Jasper to release two albums as KHM. Marc Live rapped with Ice T's group SMG. Marc also formed a group with Black Silver called Live Black, but while five of their tracks were released on a demo CD sold at concerts, Live Black's first album has yet to be released. In 2008, Ice-T and Black Silver toured together as Black Ice, and released an album together called Urban Legends. In 2013, Black Silver and newest member to Analog Brothers, Kiew Kurzweil (Kiew Nikon of Kinetic) collaborated on the joint album called Slang Banging (Return to Analog) with production by Junkadelic Music. In addition to all this, the Analog Brothers continue to make frequent appearances on each other's solo albums. Discography 2000 - 2005 A.D. (single), Ground Control Records/Nu Gruv 2000 - Pimp to Eat (LP), Ground Control Records/Mello Music Group 2014 - Slang Banging (Return to Analog), Junkadelic Music References External links Kool Keith's Site Ultrakeith Analog Brothers at Discogs Ice-T American hip hop groups

Analog Brothers Analog Brothers were an experimental hip hop band featuring Tracy "Ice Oscillator" Marrow (Ice-T) on keyboards, drums and vocals, Keith "Keith Korg" Thornton (Ultramagnetic MCs' Kool Keith) on bass, strings and vocals, Marc "Mark Moog" Giveand (Raw Breed's Marc Live) on drums, violins and vocals, Christopher "Silver Synth" Rodgers (Black Silver) on synthesizer, lazar bell and vocals, and Rex Colonel "Rex Roland JX3P" Doby Jr. (Pimpin' Rex) on keyboards, vocals and production. Its album Pimp to Eat featured guest appearances by various members of Rhyme Syndicate, Odd Oberheim, Jacky Jasper (who appears as Jacky Jasper on the song "We Sleep Days" and H-Bomb on "War"), D.J. Cisco from S.M., Synth-A-Size Sisters and Teflon. While the group only recorded one album together as the Analog Brothers, a few bootlegs of its live concert performances, including freestyles with original lyrics, have occasionally surfaced online. After Pimp to Eat, the Analog Brothers continued performing together in various line ups. Kool Keith and Marc Live joined with Jacky Jasper to release two albums as KHM. Marc Live rapped with Ice T's group SMG. Marc also formed a group with Black Silver called Live Black, but while five of their tracks were released on a demo CD sold at concerts, Live Black's first album has yet to be released. In 2008, Ice-T and Black Silver toured together as Black Ice, and released an album together called Urban Legends. In 2013, Black Silver and newest member to Analog Brothers, Kiew Kurzweil (Kiew Nikon of Kinetic) collaborated on the joint album called Slang Banging (Return to Analog) with production by Junkadelic Music. In addition to all this, the Analog Brothers continue to make frequent appearances on each other's solo albums. Discography 2000 - 2005 A.D. (single), Ground Control Records/Nu Gruv 2000 - Pimp to Eat (LP), Ground Control Records/Mello Music Group 2014 - Slang Banging (Return to Analog), Junkadelic Music References External links Kool Keith's Site Ultrakeith Analog Brothers at Discogs Ice-T American hip hop groups

Motor neuron disease Motor neuron diseases or motor neurone diseases (MNDs) are a group of rare neurodegenerative disorders that selectively affect motor neurons, the cells which control voluntary muscles of the body. They include amyotrophic lateral sclerosis (ALS), progressive bulbar palsy (PBP), pseudobulbar palsy, progressive muscular atrophy (PMA), primary lateral sclerosis (PLS), spinal muscular atrophy (SMA) and monomelic amyotrophy (MMA), as well as some rarer variants resembling ALS. Motor neuron diseases affect both children and adults. While each motor neuron disease affects patients differently, they all cause movement-related symptoms, mainly muscle weakness. Most of these diseases seem to occur randomly without known causes, but some forms are inherited. Studies into these inherited forms have led to discoveries of various genes (e.g. SOD1) that are thought to be important in understanding how the disease occurs. Symptoms of motor neuron diseases can be first seen at birth or can come on slowly later in life. Most of these diseases worsen over time; while some, such as ALS, shorten one's life expectancy, others do not. Currently, there are no approved treatments for the majority of motor neuron disorders, and care is mostly symptomatic. Signs and symptoms Signs and symptoms depend on the specific disease, but motor neuron diseases typically manifest as a group of movement-related symptoms. They come on slowly, and worsen over the course of more than three months. Various patterns of muscle weakness are seen, and muscle cramps and spasms may occur. One can have difficulty breathing with climbing stairs (exertion), difficulty breathing when lying down (orthopnea), or even respiratory failure if breathing muscles become involved. Bulbar symptoms, including difficulty speaking (dysarthria), difficulty swallowing (dysphagia), and excessive saliva production (sialorrhea), can also occur. Sensation, or the ability to feel, is typically not affected. Emotional disturbance (e.g. pseudobulbar affect) and cognitive and behavioural changes (e.g. problems in word fluency, decision-making, and memory) are also seen. There can be lower motor neuron findings (e.g. muscle wasting, muscle twitching), upper motor neuron findings (e.g. brisk reflexes, Babinski reflex, Hoffman's reflex, increased muscle tone), or both. Motor neuron diseases are seen both in children and in adults. Those that affect children tend to be inherited or familial, and their symptoms are either present at birth or appear before learning to walk. Those that affect adults tend to appear after age 40. The clinical course depends on the specific disease, but most progress or worsen over the course of months. Some are fatal (e.g. ALS), while others are not (e.g. PLS). Patterns of weakness Various patterns of muscle weakness occur in different motor neuron diseases. Weakness can be symmetric or asymmetric, and it can occur in body parts that are distal, proximal, or both... According to Statland et al., there are three main weakness patterns that are seen in motor neuron diseases, which are: Asymmetric distal weakness without sensory loss (e.g. ALS, PLS, PMA, MMA) Symmetric weakness without sensory loss (e.g. PMA, PLS) Symmetric focal midline proximal weakness (neck, trunk, bulbar involvement; e.g.

Motor neuron disease Motor neuron diseases or motor neurone diseases (MNDs) are a group of rare neurodegenerative disorders that selectively affect motor neurons, the cells which control voluntary muscles of the body. They include amyotrophic lateral sclerosis (ALS), progressive bulbar palsy (PBP), pseudobulbar palsy, progressive muscular atrophy (PMA), primary lateral sclerosis (PLS), spinal muscular atrophy (SMA) and monomelic amyotrophy (MMA), as well as some rarer variants resembling ALS. Motor neuron diseases affect both children and adults. While each motor neuron disease affects patients differently, they all cause movement-related symptoms, mainly muscle weakness. Most of these diseases seem to occur randomly without known causes, but some forms are inherited. Studies into these inherited forms have led to discoveries of various genes (e.g. SOD1) that are thought to be important in understanding how the disease occurs. Symptoms of motor neuron diseases can be first seen at birth or can come on slowly later in life. Most of these diseases worsen over time; while some, such as ALS, shorten one's life expectancy, others do not. Currently, there are no approved treatments for the majority of motor neuron disorders, and care is mostly symptomatic. Signs and symptoms Signs and symptoms depend on the specific disease, but motor neuron diseases typically manifest as a group of movement-related symptoms. They come on slowly, and worsen over the course of more than three months. Various patterns of muscle weakness are seen, and muscle cramps and spasms may occur. One can have difficulty breathing with climbing stairs (exertion), difficulty breathing when lying down (orthopnea), or even respiratory failure if breathing muscles become involved. Bulbar symptoms, including difficulty speaking (dysarthria), difficulty swallowing (dysphagia), and excessive saliva production (sialorrhea), can also occur. Sensation, or the ability to feel, is typically not affected. Emotional disturbance (e.g. pseudobulbar affect) and cognitive and behavioural changes (e.g. problems in word fluency, decision-making, and memory) are also seen. There can be lower motor neuron findings (e.g. muscle wasting, muscle twitching), upper motor neuron findings (e.g. brisk reflexes, Babinski reflex, Hoffman's reflex, increased muscle tone), or both. Motor neuron diseases are seen both in children and in adults. Those that affect children tend to be inherited or familial, and their symptoms are either present at birth or appear before learning to walk. Those that affect adults tend to appear after age 40. The clinical course depends on the specific disease, but most progress or worsen over the course of months. Some are fatal (e.g. ALS), while others are not (e.g. PLS). Patterns of weakness Various patterns of muscle weakness occur in different motor neuron diseases. Weakness can be symmetric or asymmetric, and it can occur in body parts that are distal, proximal, or both... According to Statland et al., there are three main weakness patterns that are seen in motor neuron diseases, which are: Asymmetric distal weakness without sensory loss (e.g. ALS, PLS, PMA, MMA) Symmetric weakness without sensory loss (e.g. PMA, PLS) Symmetric focal midline proximal weakness (neck, trunk, bulbar involvement; e.g.

ALS, PBP, PLS) Lower and upper motor neuron findings Motor neuron diseases are on a spectrum in terms of upper and lower motor neuron involvement. Some have just lower or upper motor neuron findings, while others have a mix of both. Lower motor neuron (LMN) findings include muscle atrophy and fasciculations, and upper motor neuron (UMN) findings include hyperreflexia, spasticity, muscle spasm, and abnormal reflexes. Pure upper motor neuron diseases, or those with just UMN findings, include PLS. Pure lower motor neuron diseases, or those with just LMN findings, include PMA. Motor neuron diseases with both UMN and LMN findings include both familial and sporadic ALS. Causes Most cases are sporadic and their causes are usually not known. It is thought that environmental, toxic, viral, or genetic factors may be involved. DNA damage TARDBP (TAR DNA-binding protein 43), also referred to as TDP-43, is a critical component of the non-homologous end joining (NHEJ) enzymatic pathway that repairs DNA double-strand breaks in pluripotent stem cell-derived motor neurons. TDP-43 is rapidly recruited to double-strand breaks where it acts as a scaffold for the recruitment of the XRCC4-DNA ligase protein complex that then acts to repair double-strand breaks. About 95% of ALS patients have abnormalities in the nucleus-cytoplasmic localization in spinal motor neurons of TDP43. In TDP-43 depleted human neural stem cell-derived motor neurons, as well as in sporadic ALS patients’ spinal cord specimens there is significant double-strand break accumulation and reduced levels of NHEJ. Associated risk factors In adults, men are more commonly affected than women. Diagnosis Differential diagnosis can be challenging due to the number of overlapping symptoms, shared between several motor neuron diseases. Frequently, the diagnosis is based on clinical findings (i.e. LMN vs. UMN signs and symptoms, patterns of weakness), family history of MND, and a variation of tests, many of which are used to rule out disease mimics, which can manifest with identical symptoms. Classification Motor neuron disease describes a collection of clinical disorders, characterized by progressive muscle weakness and the degeneration of the motor neuron on electrophysiological testing. As discussed above, the term "motor neuron disease" has varying meanings in different countries. Similarly, the literature inconsistently classifies which degenerative motor neuron disorders can be included under the umbrella term "motor neuron disease". The four main types of MND are marked (*) in the table below. All types of MND can be differentiated by two defining characteristics: Is the disease sporadic or inherited? Is there involvement of the upper motor neurons (UMN), the lower motor neurons (LMN), or both? Sporadic or acquired MNDs occur in patients with no family history of degenerative motor neuron disease. Inherited or genetic MNDs adhere to one of the following inheritance patterns: autosomal dominant, autosomal recessive, or X-linked. Some disorders, like ALS, can occur sporadically (85%) or can have a genetic cause (15%) with the same clinical symptoms and progression of disease. UMNs are motor neurons that project from the cortex down to the brainstem or spinal cord.

ALS, PBP, PLS) Lower and upper motor neuron findings Motor neuron diseases are on a spectrum in terms of upper and lower motor neuron involvement. Some have just lower or upper motor neuron findings, while others have a mix of both. Lower motor neuron (LMN) findings include muscle atrophy and fasciculations, and upper motor neuron (UMN) findings include hyperreflexia, spasticity, muscle spasm, and abnormal reflexes. Pure upper motor neuron diseases, or those with just UMN findings, include PLS. Pure lower motor neuron diseases, or those with just LMN findings, include PMA. Motor neuron diseases with both UMN and LMN findings include both familial and sporadic ALS. Causes Most cases are sporadic and their causes are usually not known. It is thought that environmental, toxic, viral, or genetic factors may be involved. DNA damage TARDBP (TAR DNA-binding protein 43), also referred to as TDP-43, is a critical component of the non-homologous end joining (NHEJ) enzymatic pathway that repairs DNA double-strand breaks in pluripotent stem cell-derived motor neurons. TDP-43 is rapidly recruited to double-strand breaks where it acts as a scaffold for the recruitment of the XRCC4-DNA ligase protein complex that then acts to repair double-strand breaks. About 95% of ALS patients have abnormalities in the nucleus-cytoplasmic localization in spinal motor neurons of TDP43. In TDP-43 depleted human neural stem cell-derived motor neurons, as well as in sporadic ALS patients’ spinal cord specimens there is significant double-strand break accumulation and reduced levels of NHEJ. Associated risk factors In adults, men are more commonly affected than women. Diagnosis Differential diagnosis can be challenging due to the number of overlapping symptoms, shared between several motor neuron diseases. Frequently, the diagnosis is based on clinical findings (i.e. LMN vs. UMN signs and symptoms, patterns of weakness), family history of MND, and a variation of tests, many of which are used to rule out disease mimics, which can manifest with identical symptoms. Classification Motor neuron disease describes a collection of clinical disorders, characterized by progressive muscle weakness and the degeneration of the motor neuron on electrophysiological testing. As discussed above, the term "motor neuron disease" has varying meanings in different countries. Similarly, the literature inconsistently classifies which degenerative motor neuron disorders can be included under the umbrella term "motor neuron disease". The four main types of MND are marked (*) in the table below. All types of MND can be differentiated by two defining characteristics: Is the disease sporadic or inherited? Is there involvement of the upper motor neurons (UMN), the lower motor neurons (LMN), or both? Sporadic or acquired MNDs occur in patients with no family history of degenerative motor neuron disease. Inherited or genetic MNDs adhere to one of the following inheritance patterns: autosomal dominant, autosomal recessive, or X-linked. Some disorders, like ALS, can occur sporadically (85%) or can have a genetic cause (15%) with the same clinical symptoms and progression of disease. UMNs are motor neurons that project from the cortex down to the brainstem or spinal cord.

ALS, PBP, PLS) Lower and upper motor neuron findings Motor neuron diseases are on a spectrum in terms of upper and lower motor neuron involvement. Some have just lower or upper motor neuron findings, while others have a mix of both. Lower motor neuron (LMN) findings include muscle atrophy and fasciculations, and upper motor neuron (UMN) findings include hyperreflexia, spasticity, muscle spasm, and abnormal reflexes. Pure upper motor neuron diseases, or those with just UMN findings, include PLS. Pure lower motor neuron diseases, or those with just LMN findings, include PMA. Motor neuron diseases with both UMN and LMN findings include both familial and sporadic ALS. Causes Most cases are sporadic and their causes are usually not known. It is thought that environmental, toxic, viral, or genetic factors may be involved. DNA damage TARDBP (TAR DNA-binding protein 43), also referred to as TDP-43, is a critical component of the non-homologous end joining (NHEJ) enzymatic pathway that repairs DNA double-strand breaks in pluripotent stem cell-derived motor neurons. TDP-43 is rapidly recruited to double-strand breaks where it acts as a scaffold for the recruitment of the XRCC4-DNA ligase protein complex that then acts to repair double-strand breaks. About 95% of ALS patients have abnormalities in the nucleus-cytoplasmic localization in spinal motor neurons of TDP43. In TDP-43 depleted human neural stem cell-derived motor neurons, as well as in sporadic ALS patients’ spinal cord specimens there is significant double-strand break accumulation and reduced levels of NHEJ. Associated risk factors In adults, men are more commonly affected than women. Diagnosis Differential diagnosis can be challenging due to the number of overlapping symptoms, shared between several motor neuron diseases. Frequently, the diagnosis is based on clinical findings (i.e. LMN vs. UMN signs and symptoms, patterns of weakness), family history of MND, and a variation of tests, many of which are used to rule out disease mimics, which can manifest with identical symptoms. Classification Motor neuron disease describes a collection of clinical disorders, characterized by progressive muscle weakness and the degeneration of the motor neuron on electrophysiological testing. As discussed above, the term "motor neuron disease" has varying meanings in different countries. Similarly, the literature inconsistently classifies which degenerative motor neuron disorders can be included under the umbrella term "motor neuron disease". The four main types of MND are marked (*) in the table below. All types of MND can be differentiated by two defining characteristics: Is the disease sporadic or inherited? Is there involvement of the upper motor neurons (UMN), the lower motor neurons (LMN), or both? Sporadic or acquired MNDs occur in patients with no family history of degenerative motor neuron disease. Inherited or genetic MNDs adhere to one of the following inheritance patterns: autosomal dominant, autosomal recessive, or X-linked. Some disorders, like ALS, can occur sporadically (85%) or can have a genetic cause (15%) with the same clinical symptoms and progression of disease. UMNs are motor neurons that project from the cortex down to the brainstem or spinal cord.

LMNs originate in the anterior horns of the spinal cord and synapse on peripheral muscles. Both motor neurons are necessary for the strong contraction of a muscle, but damage to an UMN can be distinguished from damage to a LMN by physical exam. Tests Cerebrospinal fluid (CSF) tests: Analysis of the fluid from around the brain and spinal cord could reveal signs of an infection or inflammation. Magnetic resonance imaging (MRI): An MRI of the brain and spinal cord is recommended in patients with UMN signs and symptoms to explore other causes, such as a tumor, inflammation, or lack of blood supply (stroke). Electromyogram (EMG) & nerve conduction study (NCS): The EMG, which evaluates muscle function, and NCS, which evaluates nerve function, are performed together in patients with LMN signs. For patients with MND affecting the LMNs, the EMG will show evidence of: (1) acute denervation, which is ongoing as motor neurons degenerate, and (2) chronic denervation and reinnervation of the muscle, as the remaining motor neurons attempt to fill in for lost motor neurons. By contrast, the NCS in these patients is usually normal. It can show a low compound muscle action potential (CMAP), which results from the loss of motor neurons, but the sensory neurons should remain unaffected. Tissue biopsy: Taking a small sample of a muscle or nerve may be necessary if the EMG/NCS is not specific enough to rule out other causes of progressive muscle weakness, but it is rarely used. Treatment There are no known curative treatments for the majority of motor neuron disorders. Please refer to the articles on individual disorders for more details. Prognosis The table below lists life expectancy for patients who are diagnosed with MND. Terminology In the United States and Canada, the term motor neuron disease usually refers to the group of disorders while amyotrophic lateral sclerosis is frequently called Lou Gehrig's disease. In the United Kingdom and Australia, the term motor neuron(e) disease is used for amyotrophic lateral sclerosis, although is not uncommon to refer to the entire group. While MND refers to a specific subset of similar diseases, there are numerous other diseases of motor neurons that are referred to collectively as "motor neuron disorders", for instance the diseases belonging to the spinal muscular atrophies group. However, they are not classified as "motor neuron diseases" by the 11th edition of the International Statistical Classification of Diseases and Related Health Problems (ICD-11), which is the definition followed in this article. See also Spinal muscular atrophies Hereditary motor and sensory neuropathies References External links Motor neuron diseases Rare diseases Systemic atrophies primarily affecting the central nervous system

LMNs originate in the anterior horns of the spinal cord and synapse on peripheral muscles. Both motor neurons are necessary for the strong contraction of a muscle, but damage to an UMN can be distinguished from damage to a LMN by physical exam. Tests Cerebrospinal fluid (CSF) tests: Analysis of the fluid from around the brain and spinal cord could reveal signs of an infection or inflammation. Magnetic resonance imaging (MRI): An MRI of the brain and spinal cord is recommended in patients with UMN signs and symptoms to explore other causes, such as a tumor, inflammation, or lack of blood supply (stroke). Electromyogram (EMG) & nerve conduction study (NCS): The EMG, which evaluates muscle function, and NCS, which evaluates nerve function, are performed together in patients with LMN signs. For patients with MND affecting the LMNs, the EMG will show evidence of: (1) acute denervation, which is ongoing as motor neurons degenerate, and (2) chronic denervation and reinnervation of the muscle, as the remaining motor neurons attempt to fill in for lost motor neurons. By contrast, the NCS in these patients is usually normal. It can show a low compound muscle action potential (CMAP), which results from the loss of motor neurons, but the sensory neurons should remain unaffected. Tissue biopsy: Taking a small sample of a muscle or nerve may be necessary if the EMG/NCS is not specific enough to rule out other causes of progressive muscle weakness, but it is rarely used. Treatment There are no known curative treatments for the majority of motor neuron disorders. Please refer to the articles on individual disorders for more details. Prognosis The table below lists life expectancy for patients who are diagnosed with MND. Terminology In the United States and Canada, the term motor neuron disease usually refers to the group of disorders while amyotrophic lateral sclerosis is frequently called Lou Gehrig's disease. In the United Kingdom and Australia, the term motor neuron(e) disease is used for amyotrophic lateral sclerosis, although is not uncommon to refer to the entire group. While MND refers to a specific subset of similar diseases, there are numerous other diseases of motor neurons that are referred to collectively as "motor neuron disorders", for instance the diseases belonging to the spinal muscular atrophies group. However, they are not classified as "motor neuron diseases" by the 11th edition of the International Statistical Classification of Diseases and Related Health Problems (ICD-11), which is the definition followed in this article. See also Spinal muscular atrophies Hereditary motor and sensory neuropathies References External links Motor neuron diseases Rare diseases Systemic atrophies primarily affecting the central nervous system

LMNs originate in the anterior horns of the spinal cord and synapse on peripheral muscles. Both motor neurons are necessary for the strong contraction of a muscle, but damage to an UMN can be distinguished from damage to a LMN by physical exam. Tests Cerebrospinal fluid (CSF) tests: Analysis of the fluid from around the brain and spinal cord could reveal signs of an infection or inflammation. Magnetic resonance imaging (MRI): An MRI of the brain and spinal cord is recommended in patients with UMN signs and symptoms to explore other causes, such as a tumor, inflammation, or lack of blood supply (stroke). Electromyogram (EMG) & nerve conduction study (NCS): The EMG, which evaluates muscle function, and NCS, which evaluates nerve function, are performed together in patients with LMN signs. For patients with MND affecting the LMNs, the EMG will show evidence of: (1) acute denervation, which is ongoing as motor neurons degenerate, and (2) chronic denervation and reinnervation of the muscle, as the remaining motor neurons attempt to fill in for lost motor neurons. By contrast, the NCS in these patients is usually normal. It can show a low compound muscle action potential (CMAP), which results from the loss of motor neurons, but the sensory neurons should remain unaffected. Tissue biopsy: Taking a small sample of a muscle or nerve may be necessary if the EMG/NCS is not specific enough to rule out other causes of progressive muscle weakness, but it is rarely used. Treatment There are no known curative treatments for the majority of motor neuron disorders. Please refer to the articles on individual disorders for more details. Prognosis The table below lists life expectancy for patients who are diagnosed with MND. Terminology In the United States and Canada, the term motor neuron disease usually refers to the group of disorders while amyotrophic lateral sclerosis is frequently called Lou Gehrig's disease. In the United Kingdom and Australia, the term motor neuron(e) disease is used for amyotrophic lateral sclerosis, although is not uncommon to refer to the entire group. While MND refers to a specific subset of similar diseases, there are numerous other diseases of motor neurons that are referred to collectively as "motor neuron disorders", for instance the diseases belonging to the spinal muscular atrophies group. However, they are not classified as "motor neuron diseases" by the 11th edition of the International Statistical Classification of Diseases and Related Health Problems (ICD-11), which is the definition followed in this article. See also Spinal muscular atrophies Hereditary motor and sensory neuropathies References External links Motor neuron diseases Rare diseases Systemic atrophies primarily affecting the central nervous system

Abjad An abjad (, ; also abgad) is a writing system in which only consonants are represented, leaving vowel sounds to be inferred by the reader. This contrasts with true alphabets, which provide glyphs for both consonants and vowels. The term was introduced in 1990 by Peter T. Daniels. Other terms for the same concept include: partial phonemic script, segmentally linear defective phonographic script, consonantary, consonant writing, and consonantal alphabet. Impure abjads represent vowels with either optional diacritics, a limited number of distinct vowel glyphs, or both. The name abjad is based on the Arabic alphabet's first (in its original order) four letters — corresponding to a, b, j, d — to replace the more common terms "consonantary" and "consonantal alphabet", in describing the family of scripts classified as "West Semitic". Etymology The name "abjad" is derived from pronouncing the first letters of the Arabic alphabet order, in its original order. This ordering matches that of the older Phoenician, Hebrew and Semitic proto-alphabets: specifically, aleph, bet, gimel, dalet. Terminology According to the formulations of Peter T. Daniels, abjads differ from alphabets in that only consonants, not vowels, are represented among the basic graphemes. Abjads differ from abugidas, another category defined by Daniels, in that in abjads, the vowel sound is implied by phonology, and where vowel marks exist for the system, such as nikkud for Hebrew and ḥarakāt for Arabic, their use is optional and not the dominant (or literate) form. Abugidas mark all vowels (other than the "inherent" vowel) with a diacritic, a minor attachment to the letter, a standalone glyph, or (in Canadian Aboriginal syllabics) by rotation of the letter. Some abugidas use a special symbol to suppress the inherent vowel so that the consonant alone can be properly represented. In a syllabary, a grapheme denotes a complete syllable, that is, either a lone vowel sound or a combination of a vowel sound with one or more consonant sounds. The antagonism of abjad versus alphabet, as it was formulated by Daniels, has been rejected by some scholars because abjad is also used as a term not only for the Arabic numeral system but (most importantly in terms of historical grammatology) also as a term for the alphabetic device (i.e. letter order) of ancient Northwest Semitic scripts in opposition to the 'south Arabian' order. This caused fatal effects on terminology in general and especially in (ancient) Semitic philology. Also, it suggests that consonantal alphabets, in opposition to, for instance, the Greek alphabet, were not yet true alphabets and not yet entirely complete, lacking something important to be a fully working script system. It has also been objected that, as a set of letters, an alphabet is not the mirror of what should be there in a language from a phonological point of view; rather, it is the data stock of what provides maximum efficiency with least effort from a semantic point of view. Origins The first abjad to gain widespread usage was the Phoenician abjad.

Abjad An abjad (, ; also abgad) is a writing system in which only consonants are represented, leaving vowel sounds to be inferred by the reader. This contrasts with true alphabets, which provide glyphs for both consonants and vowels. The term was introduced in 1990 by Peter T. Daniels. Other terms for the same concept include: partial phonemic script, segmentally linear defective phonographic script, consonantary, consonant writing, and consonantal alphabet. Impure abjads represent vowels with either optional diacritics, a limited number of distinct vowel glyphs, or both. The name abjad is based on the Arabic alphabet's first (in its original order) four letters — corresponding to a, b, j, d — to replace the more common terms "consonantary" and "consonantal alphabet", in describing the family of scripts classified as "West Semitic". Etymology The name "abjad" is derived from pronouncing the first letters of the Arabic alphabet order, in its original order. This ordering matches that of the older Phoenician, Hebrew and Semitic proto-alphabets: specifically, aleph, bet, gimel, dalet. Terminology According to the formulations of Peter T. Daniels, abjads differ from alphabets in that only consonants, not vowels, are represented among the basic graphemes. Abjads differ from abugidas, another category defined by Daniels, in that in abjads, the vowel sound is implied by phonology, and where vowel marks exist for the system, such as nikkud for Hebrew and ḥarakāt for Arabic, their use is optional and not the dominant (or literate) form. Abugidas mark all vowels (other than the "inherent" vowel) with a diacritic, a minor attachment to the letter, a standalone glyph, or (in Canadian Aboriginal syllabics) by rotation of the letter. Some abugidas use a special symbol to suppress the inherent vowel so that the consonant alone can be properly represented. In a syllabary, a grapheme denotes a complete syllable, that is, either a lone vowel sound or a combination of a vowel sound with one or more consonant sounds. The antagonism of abjad versus alphabet, as it was formulated by Daniels, has been rejected by some scholars because abjad is also used as a term not only for the Arabic numeral system but (most importantly in terms of historical grammatology) also as a term for the alphabetic device (i.e. letter order) of ancient Northwest Semitic scripts in opposition to the 'south Arabian' order. This caused fatal effects on terminology in general and especially in (ancient) Semitic philology. Also, it suggests that consonantal alphabets, in opposition to, for instance, the Greek alphabet, were not yet true alphabets and not yet entirely complete, lacking something important to be a fully working script system. It has also been objected that, as a set of letters, an alphabet is not the mirror of what should be there in a language from a phonological point of view; rather, it is the data stock of what provides maximum efficiency with least effort from a semantic point of view. Origins The first abjad to gain widespread usage was the Phoenician abjad.

Unlike other contemporary scripts, such as cuneiform and Egyptian hieroglyphs, the Phoenician script consisted of only a few dozen symbols. This made the script easy to learn, and seafaring Phoenician merchants took the script throughout the then-known world. The Phoenician abjad was a radical simplification of phonetic writing, since hieroglyphics required the writer to pick a hieroglyph starting with the same sound that the writer wanted to write in order to write phonetically, much as man'yōgana (kanji used solely for phonetic use) was used to represent Japanese phonetically before the invention of kana. Phoenician gave rise to a number of new writing systems, including the widely used Aramaic abjad and the Greek alphabet. The Greek alphabet evolved into the modern western alphabets, such as Latin and Cyrillic, while Aramaic became the ancestor of many modern abjads and abugidas of Asia. Impure abjads Impure abjads have characters for some vowels, optional vowel diacritics, or both. The term pure abjad refers to scripts entirely lacking in vowel indicators. However, most modern abjads, such as Arabic, Hebrew, Aramaic, and Pahlavi, are "impure" abjadsthat is, they also contain symbols for some of the vowel phonemes, although the said non-diacritic vowel letters are also used to write certain consonants, particularly approximants that sound similar to long vowels. A "pure" abjad is exemplified (perhaps) by very early forms of ancient Phoenician, though at some point (at least by the 9th century BC) it and most of the contemporary Semitic abjads had begun to overload a few of the consonant symbols with a secondary function as vowel markers, called matres lectionis. This practice was at first rare and limited in scope but became increasingly common and more developed in later times. Addition of vowels In the 9th century BC the Greeks adapted the Phoenician script for use in their own language. The phonetic structure of the Greek language created too many ambiguities when vowels went unrepresented, so the script was modified. They did not need letters for the guttural sounds represented by aleph, he, heth or ayin, so these symbols were assigned vocalic values. The letters waw and yod were also adapted into vowel signs; along with he, these were already used as matres lectionis in Phoenician. The major innovation of Greek was to dedicate these symbols exclusively and unambiguously to vowel sounds that could be combined arbitrarily with consonants (as opposed to syllabaries such as Linear B which usually have vowel symbols but cannot combine them with consonants to form arbitrary syllables). Abugidas developed along a slightly different route. The basic consonantal symbol was considered to have an inherent "a" vowel sound. Hooks or short lines attached to various parts of the basic letter modify the vowel. In this way, the South Arabian abjad evolved into the Ge'ez abugida of Ethiopia between the 5th century BC and the 5th century AD. Similarly, the Brāhmī abugida of the Indian subcontinent developed around the 3rd century BC (from the Aramaic abjad, it has been hypothesized).

Unlike other contemporary scripts, such as cuneiform and Egyptian hieroglyphs, the Phoenician script consisted of only a few dozen symbols. This made the script easy to learn, and seafaring Phoenician merchants took the script throughout the then-known world. The Phoenician abjad was a radical simplification of phonetic writing, since hieroglyphics required the writer to pick a hieroglyph starting with the same sound that the writer wanted to write in order to write phonetically, much as man'yōgana (kanji used solely for phonetic use) was used to represent Japanese phonetically before the invention of kana. Phoenician gave rise to a number of new writing systems, including the widely used Aramaic abjad and the Greek alphabet. The Greek alphabet evolved into the modern western alphabets, such as Latin and Cyrillic, while Aramaic became the ancestor of many modern abjads and abugidas of Asia. Impure abjads Impure abjads have characters for some vowels, optional vowel diacritics, or both. The term pure abjad refers to scripts entirely lacking in vowel indicators. However, most modern abjads, such as Arabic, Hebrew, Aramaic, and Pahlavi, are "impure" abjadsthat is, they also contain symbols for some of the vowel phonemes, although the said non-diacritic vowel letters are also used to write certain consonants, particularly approximants that sound similar to long vowels. A "pure" abjad is exemplified (perhaps) by very early forms of ancient Phoenician, though at some point (at least by the 9th century BC) it and most of the contemporary Semitic abjads had begun to overload a few of the consonant symbols with a secondary function as vowel markers, called matres lectionis. This practice was at first rare and limited in scope but became increasingly common and more developed in later times. Addition of vowels In the 9th century BC the Greeks adapted the Phoenician script for use in their own language. The phonetic structure of the Greek language created too many ambiguities when vowels went unrepresented, so the script was modified. They did not need letters for the guttural sounds represented by aleph, he, heth or ayin, so these symbols were assigned vocalic values. The letters waw and yod were also adapted into vowel signs; along with he, these were already used as matres lectionis in Phoenician. The major innovation of Greek was to dedicate these symbols exclusively and unambiguously to vowel sounds that could be combined arbitrarily with consonants (as opposed to syllabaries such as Linear B which usually have vowel symbols but cannot combine them with consonants to form arbitrary syllables). Abugidas developed along a slightly different route. The basic consonantal symbol was considered to have an inherent "a" vowel sound. Hooks or short lines attached to various parts of the basic letter modify the vowel. In this way, the South Arabian abjad evolved into the Ge'ez abugida of Ethiopia between the 5th century BC and the 5th century AD. Similarly, the Brāhmī abugida of the Indian subcontinent developed around the 3rd century BC (from the Aramaic abjad, it has been hypothesized).

Unlike other contemporary scripts, such as cuneiform and Egyptian hieroglyphs, the Phoenician script consisted of only a few dozen symbols. This made the script easy to learn, and seafaring Phoenician merchants took the script throughout the then-known world. The Phoenician abjad was a radical simplification of phonetic writing, since hieroglyphics required the writer to pick a hieroglyph starting with the same sound that the writer wanted to write in order to write phonetically, much as man'yōgana (kanji used solely for phonetic use) was used to represent Japanese phonetically before the invention of kana. Phoenician gave rise to a number of new writing systems, including the widely used Aramaic abjad and the Greek alphabet. The Greek alphabet evolved into the modern western alphabets, such as Latin and Cyrillic, while Aramaic became the ancestor of many modern abjads and abugidas of Asia. Impure abjads Impure abjads have characters for some vowels, optional vowel diacritics, or both. The term pure abjad refers to scripts entirely lacking in vowel indicators. However, most modern abjads, such as Arabic, Hebrew, Aramaic, and Pahlavi, are "impure" abjadsthat is, they also contain symbols for some of the vowel phonemes, although the said non-diacritic vowel letters are also used to write certain consonants, particularly approximants that sound similar to long vowels. A "pure" abjad is exemplified (perhaps) by very early forms of ancient Phoenician, though at some point (at least by the 9th century BC) it and most of the contemporary Semitic abjads had begun to overload a few of the consonant symbols with a secondary function as vowel markers, called matres lectionis. This practice was at first rare and limited in scope but became increasingly common and more developed in later times. Addition of vowels In the 9th century BC the Greeks adapted the Phoenician script for use in their own language. The phonetic structure of the Greek language created too many ambiguities when vowels went unrepresented, so the script was modified. They did not need letters for the guttural sounds represented by aleph, he, heth or ayin, so these symbols were assigned vocalic values. The letters waw and yod were also adapted into vowel signs; along with he, these were already used as matres lectionis in Phoenician. The major innovation of Greek was to dedicate these symbols exclusively and unambiguously to vowel sounds that could be combined arbitrarily with consonants (as opposed to syllabaries such as Linear B which usually have vowel symbols but cannot combine them with consonants to form arbitrary syllables). Abugidas developed along a slightly different route. The basic consonantal symbol was considered to have an inherent "a" vowel sound. Hooks or short lines attached to various parts of the basic letter modify the vowel. In this way, the South Arabian abjad evolved into the Ge'ez abugida of Ethiopia between the 5th century BC and the 5th century AD. Similarly, the Brāhmī abugida of the Indian subcontinent developed around the 3rd century BC (from the Aramaic abjad, it has been hypothesized).

The other major family of abugidas, Canadian Aboriginal syllabics, was initially developed in the 1840s by missionary and linguist James Evans for the Cree and Ojibwe languages. Evans used features of Devanagari script and Pitman shorthand to create his initial abugida. Later in the 19th century, other missionaries adapted Evans's system to other Canadian aboriginal languages. Canadian syllabics differ from other abugidas in that the vowel is indicated by rotation of the consonantal symbol, with each vowel having a consistent orientation. Abjads and the structure of Semitic languages The abjad form of writing is well-adapted to the morphological structure of the Semitic languages it was developed to write. This is because words in Semitic languages are formed from a root consisting of (usually) three consonants, the vowels being used to indicate inflectional or derived forms. For instance, according to Classical Arabic and Modern Standard Arabic, from the Arabic root Dh-B-Ḥ (to slaughter) can be derived the forms (he slaughtered), (you (masculine singular) slaughtered), (he slaughters), and (slaughterhouse). In most cases, the absence of full glyphs for vowels makes the common root clearer, allowing readers to guess the meaning of unfamiliar words from familiar roots (especially in conjunction with context clues) and improving word recognition while reading for practiced readers. By contrast, the Arabic and Hebrew scripts sometimes perform the role of true alphabets rather than abjads when used to write certain Indo-European languages, including Kurdish, Bosnian, and Yiddish. Comparative chart of Abjads, extinct and extant See also Abjad numerals (Arabic alphanumeric code) Abugida Gematria (Hebrew & English system of alphanumeric code) Numerology Shorthand (constructed writing systems that are structurally abjads) References Sources External links The Science of Arabic Letters, Abjad and Geometry, by Jorge Lupin Arabic orthography

The other major family of abugidas, Canadian Aboriginal syllabics, was initially developed in the 1840s by missionary and linguist James Evans for the Cree and Ojibwe languages. Evans used features of Devanagari script and Pitman shorthand to create his initial abugida. Later in the 19th century, other missionaries adapted Evans's system to other Canadian aboriginal languages. Canadian syllabics differ from other abugidas in that the vowel is indicated by rotation of the consonantal symbol, with each vowel having a consistent orientation. Abjads and the structure of Semitic languages The abjad form of writing is well-adapted to the morphological structure of the Semitic languages it was developed to write. This is because words in Semitic languages are formed from a root consisting of (usually) three consonants, the vowels being used to indicate inflectional or derived forms. For instance, according to Classical Arabic and Modern Standard Arabic, from the Arabic root Dh-B-Ḥ (to slaughter) can be derived the forms (he slaughtered), (you (masculine singular) slaughtered), (he slaughters), and (slaughterhouse). In most cases, the absence of full glyphs for vowels makes the common root clearer, allowing readers to guess the meaning of unfamiliar words from familiar roots (especially in conjunction with context clues) and improving word recognition while reading for practiced readers. By contrast, the Arabic and Hebrew scripts sometimes perform the role of true alphabets rather than abjads when used to write certain Indo-European languages, including Kurdish, Bosnian, and Yiddish. Comparative chart of Abjads, extinct and extant See also Abjad numerals (Arabic alphanumeric code) Abugida Gematria (Hebrew & English system of alphanumeric code) Numerology Shorthand (constructed writing systems that are structurally abjads) References Sources External links The Science of Arabic Letters, Abjad and Geometry, by Jorge Lupin Arabic orthography

The other major family of abugidas, Canadian Aboriginal syllabics, was initially developed in the 1840s by missionary and linguist James Evans for the Cree and Ojibwe languages. Evans used features of Devanagari script and Pitman shorthand to create his initial abugida. Later in the 19th century, other missionaries adapted Evans's system to other Canadian aboriginal languages. Canadian syllabics differ from other abugidas in that the vowel is indicated by rotation of the consonantal symbol, with each vowel having a consistent orientation. Abjads and the structure of Semitic languages The abjad form of writing is well-adapted to the morphological structure of the Semitic languages it was developed to write. This is because words in Semitic languages are formed from a root consisting of (usually) three consonants, the vowels being used to indicate inflectional or derived forms. For instance, according to Classical Arabic and Modern Standard Arabic, from the Arabic root Dh-B-Ḥ (to slaughter) can be derived the forms (he slaughtered), (you (masculine singular) slaughtered), (he slaughters), and (slaughterhouse). In most cases, the absence of full glyphs for vowels makes the common root clearer, allowing readers to guess the meaning of unfamiliar words from familiar roots (especially in conjunction with context clues) and improving word recognition while reading for practiced readers. By contrast, the Arabic and Hebrew scripts sometimes perform the role of true alphabets rather than abjads when used to write certain Indo-European languages, including Kurdish, Bosnian, and Yiddish. Comparative chart of Abjads, extinct and extant See also Abjad numerals (Arabic alphanumeric code) Abugida Gematria (Hebrew & English system of alphanumeric code) Numerology Shorthand (constructed writing systems that are structurally abjads) References Sources External links The Science of Arabic Letters, Abjad and Geometry, by Jorge Lupin Arabic orthography

Abugida An abugida (, from Ge'ez: ), sometimes known as alphasyllabary, neosyllabary or pseudo-alphabet, is a segmental writing system in which consonant-vowel sequences are written as units; each unit is based on a consonant letter, and vowel notation is secondary. This contrasts with a full alphabet, in which vowels have status equal to consonants, and with an abjad, in which vowel marking is absent, partial, or optional (although in less formal contexts, all three types of script may be termed alphabets). The terms also contrast them with a syllabary, in which the symbols cannot be split into separate consonants and vowels. Related concepts were introduced independently in 1948 by James Germain Février (using the term ) and David Diringer (using the term semisyllabary), then in 1959 by Fred Householder (introducing the term pseudo-alphabet). The Ethiopic term "abugida" was chosen as a designation for the concept in 1990 by Peter T. Daniels. In 1992, Faber suggested "segmentally coded syllabically linear phonographic script", and in 1992 Bright used the term alphasyllabary, and Gnanadesikan and Rimzhim, Katz, & Fowler have suggested aksara or āksharik. Abugidas include the extensive Brahmic family of scripts of Tibet, South and Southeast Asia, Semitic Ethiopic scripts, and Canadian Aboriginal syllabics. As is the case for syllabaries, the units of the writing system may consist of the representations both of syllables and of consonants. For scripts of the Brahmic family, the term akshara is used for the units. Terminology In several languages of Ethiopia and Eritrea, abugida traditionally meant letters of the Ethiopic or Ge‘ez script in which many of these languages are written. Ge'ez is one of several segmental writing systems in the world, others include Indic/Brahmic scripts and Canadian Aboriginal Syllabics. The word abugida is derived from the four letters, ä, bu, gi, and da, in much the same way that abecedary is derived from Latin letters a be ce de, abjad is derived from the Arabic a b j d, and alphabet is derived from the names of the two first letters in the Greek alphabet, alpha and beta. Abugida as a term in linguistics was proposed by Peter T. Daniels in his 1990 typology of writing systems. As Daniels used the word, an abugida is in contrast with a syllabary, where letters with shared consonants or vowels show no particular resemblance to one another, and also with an alphabet proper, where independent letters are used to denote both consonants and vowels. The term alphasyllabary was suggested for the Indic scripts in 1997 by William Bright, following South Asian linguistic usage, to convey the idea that "they share features of both alphabet and syllabary." General description The formal definitions given by Daniels and Bright for abugida and alphasyllabary differ; some writing systems are abugidas but not alphasyllabaries, and some are alphasyllabaries but not abugidas. An abugida is defined as "a type of writing system whose basic characters denote consonants followed by a particular vowel, and in which diacritics denote other vowels".

Abugida An abugida (, from Ge'ez: ), sometimes known as alphasyllabary, neosyllabary or pseudo-alphabet, is a segmental writing system in which consonant-vowel sequences are written as units; each unit is based on a consonant letter, and vowel notation is secondary. This contrasts with a full alphabet, in which vowels have status equal to consonants, and with an abjad, in which vowel marking is absent, partial, or optional (although in less formal contexts, all three types of script may be termed alphabets). The terms also contrast them with a syllabary, in which the symbols cannot be split into separate consonants and vowels. Related concepts were introduced independently in 1948 by James Germain Février (using the term ) and David Diringer (using the term semisyllabary), then in 1959 by Fred Householder (introducing the term pseudo-alphabet). The Ethiopic term "abugida" was chosen as a designation for the concept in 1990 by Peter T. Daniels. In 1992, Faber suggested "segmentally coded syllabically linear phonographic script", and in 1992 Bright used the term alphasyllabary, and Gnanadesikan and Rimzhim, Katz, & Fowler have suggested aksara or āksharik. Abugidas include the extensive Brahmic family of scripts of Tibet, South and Southeast Asia, Semitic Ethiopic scripts, and Canadian Aboriginal syllabics. As is the case for syllabaries, the units of the writing system may consist of the representations both of syllables and of consonants. For scripts of the Brahmic family, the term akshara is used for the units. Terminology In several languages of Ethiopia and Eritrea, abugida traditionally meant letters of the Ethiopic or Ge‘ez script in which many of these languages are written. Ge'ez is one of several segmental writing systems in the world, others include Indic/Brahmic scripts and Canadian Aboriginal Syllabics. The word abugida is derived from the four letters, ä, bu, gi, and da, in much the same way that abecedary is derived from Latin letters a be ce de, abjad is derived from the Arabic a b j d, and alphabet is derived from the names of the two first letters in the Greek alphabet, alpha and beta. Abugida as a term in linguistics was proposed by Peter T. Daniels in his 1990 typology of writing systems. As Daniels used the word, an abugida is in contrast with a syllabary, where letters with shared consonants or vowels show no particular resemblance to one another, and also with an alphabet proper, where independent letters are used to denote both consonants and vowels. The term alphasyllabary was suggested for the Indic scripts in 1997 by William Bright, following South Asian linguistic usage, to convey the idea that "they share features of both alphabet and syllabary." General description The formal definitions given by Daniels and Bright for abugida and alphasyllabary differ; some writing systems are abugidas but not alphasyllabaries, and some are alphasyllabaries but not abugidas. An abugida is defined as "a type of writing system whose basic characters denote consonants followed by a particular vowel, and in which diacritics denote other vowels".

(This 'particular vowel' is referred to as the inherent or implicit vowel, as opposed to the explicit vowels marked by the 'diacritics'.) An alphasyllabary is defined as "a type of writing system in which the vowels are denoted by subsidiary symbols not all of which occur in a linear order (with relation to the consonant symbols) that is congruent with their temporal order in speech". Bright did not require that an alphabet explicitly represent all vowels. ʼPhags-pa is an example of an abugida that is not an alphasyllabary, and modern Lao is an example of an alphasyllabary that is not an abugida, for its vowels are always explicit. This description is expressed in terms of an abugida. Formally, an alphasyllabary that is not an abugida can be converted to an abugida by adding a purely formal vowel sound that is never used and declaring that to be the inherent vowel of the letters representing consonants. This may formally make the system ambiguous, but in practice this is not a problem, for then the interpretation with the never-used inherent vowel sound will always be a wrong interpretation. Note that the actual pronunciation may be complicated by interactions between the sounds apparently written just as the sounds of the letters in the English words wan, gem and war are affected by neighbouring letters. The fundamental principles of an abugida apply to words made up of consonant-vowel (CV) syllables. The syllables are written as a linear sequences of the units of the script. Each syllable is either a letter that represents the sound of a consonant and its inherent vowel or a letter modified to indicate the vowel, either by means of diacritics or by changes in the form of the letter itself. If all modifications are by diacritics and all diacritics follow the direction of the writing of the letters, then the abugida is not an alphasyllabary. However, most languages have words that are more complicated than a sequence of CV syllables, even ignoring tone. The first complication is syllables that consist of just a vowel (V). This issue does not arise in some languages because every syllable starts with a consonant. This is common in Semitic languages and in languages of mainland SE Asia; for such languages this issue need not arise. For some languages, a zero consonant letter is used as though every syllable began with a consonant. For other languages, each vowel has a separate letter that is used for each syllable consisting of just the vowel. These letters are known as independent vowels, and are found in most Indic scripts. These letters may be quite different from the corresponding diacritics, which by contrast are known as dependent vowels. As a result of the spread of writing systems, independent vowels may be used to represent syllables beginning with a glottal stop, even for non-initial syllables. The next two complications are sequences of consonants before a vowel (CCV) and syllables ending in a consonant (CVC).

(This 'particular vowel' is referred to as the inherent or implicit vowel, as opposed to the explicit vowels marked by the 'diacritics'.) An alphasyllabary is defined as "a type of writing system in which the vowels are denoted by subsidiary symbols not all of which occur in a linear order (with relation to the consonant symbols) that is congruent with their temporal order in speech". Bright did not require that an alphabet explicitly represent all vowels. ʼPhags-pa is an example of an abugida that is not an alphasyllabary, and modern Lao is an example of an alphasyllabary that is not an abugida, for its vowels are always explicit. This description is expressed in terms of an abugida. Formally, an alphasyllabary that is not an abugida can be converted to an abugida by adding a purely formal vowel sound that is never used and declaring that to be the inherent vowel of the letters representing consonants. This may formally make the system ambiguous, but in practice this is not a problem, for then the interpretation with the never-used inherent vowel sound will always be a wrong interpretation. Note that the actual pronunciation may be complicated by interactions between the sounds apparently written just as the sounds of the letters in the English words wan, gem and war are affected by neighbouring letters. The fundamental principles of an abugida apply to words made up of consonant-vowel (CV) syllables. The syllables are written as a linear sequences of the units of the script. Each syllable is either a letter that represents the sound of a consonant and its inherent vowel or a letter modified to indicate the vowel, either by means of diacritics or by changes in the form of the letter itself. If all modifications are by diacritics and all diacritics follow the direction of the writing of the letters, then the abugida is not an alphasyllabary. However, most languages have words that are more complicated than a sequence of CV syllables, even ignoring tone. The first complication is syllables that consist of just a vowel (V). This issue does not arise in some languages because every syllable starts with a consonant. This is common in Semitic languages and in languages of mainland SE Asia; for such languages this issue need not arise. For some languages, a zero consonant letter is used as though every syllable began with a consonant. For other languages, each vowel has a separate letter that is used for each syllable consisting of just the vowel. These letters are known as independent vowels, and are found in most Indic scripts. These letters may be quite different from the corresponding diacritics, which by contrast are known as dependent vowels. As a result of the spread of writing systems, independent vowels may be used to represent syllables beginning with a glottal stop, even for non-initial syllables. The next two complications are sequences of consonants before a vowel (CCV) and syllables ending in a consonant (CVC).

(This 'particular vowel' is referred to as the inherent or implicit vowel, as opposed to the explicit vowels marked by the 'diacritics'.) An alphasyllabary is defined as "a type of writing system in which the vowels are denoted by subsidiary symbols not all of which occur in a linear order (with relation to the consonant symbols) that is congruent with their temporal order in speech". Bright did not require that an alphabet explicitly represent all vowels. ʼPhags-pa is an example of an abugida that is not an alphasyllabary, and modern Lao is an example of an alphasyllabary that is not an abugida, for its vowels are always explicit. This description is expressed in terms of an abugida. Formally, an alphasyllabary that is not an abugida can be converted to an abugida by adding a purely formal vowel sound that is never used and declaring that to be the inherent vowel of the letters representing consonants. This may formally make the system ambiguous, but in practice this is not a problem, for then the interpretation with the never-used inherent vowel sound will always be a wrong interpretation. Note that the actual pronunciation may be complicated by interactions between the sounds apparently written just as the sounds of the letters in the English words wan, gem and war are affected by neighbouring letters. The fundamental principles of an abugida apply to words made up of consonant-vowel (CV) syllables. The syllables are written as a linear sequences of the units of the script. Each syllable is either a letter that represents the sound of a consonant and its inherent vowel or a letter modified to indicate the vowel, either by means of diacritics or by changes in the form of the letter itself. If all modifications are by diacritics and all diacritics follow the direction of the writing of the letters, then the abugida is not an alphasyllabary. However, most languages have words that are more complicated than a sequence of CV syllables, even ignoring tone. The first complication is syllables that consist of just a vowel (V). This issue does not arise in some languages because every syllable starts with a consonant. This is common in Semitic languages and in languages of mainland SE Asia; for such languages this issue need not arise. For some languages, a zero consonant letter is used as though every syllable began with a consonant. For other languages, each vowel has a separate letter that is used for each syllable consisting of just the vowel. These letters are known as independent vowels, and are found in most Indic scripts. These letters may be quite different from the corresponding diacritics, which by contrast are known as dependent vowels. As a result of the spread of writing systems, independent vowels may be used to represent syllables beginning with a glottal stop, even for non-initial syllables. The next two complications are sequences of consonants before a vowel (CCV) and syllables ending in a consonant (CVC).

The simplest solution, which is not always available, is to break with the principle of writing words as a sequence of syllables and use a unit representing just a consonant (C). This unit may be represented with: a modification that explicitly indicates the lack of a vowel (virama), a lack of vowel marking (often with ambiguity between no vowel and a default inherent vowel), vowel marking for a short or neutral vowel such as schwa (with ambiguity between no vowel and that short or neutral vowel), or a visually unrelated letter. In a true abugida, the lack of distinctive marking may result from the diachronic loss of the inherent vowel, e.g. by syncope and apocope in Hindi. When not handled by decomposition into C + CV, CCV syllables are handled by combining the two consonants. In the Indic scripts, the earliest method was simply to arrange them vertically, but the two consonants may merge as a conjunct consonant letters, where two or more letters are graphically joined in a ligature, or otherwise change their shapes. Rarely, one of the consonants may be replaced by a gemination mark, e.g. the Gurmukhi addak. When they are arranged vertically, as in Burmese or Khmer, they are said to be 'stacked'. Often there has been a change to writing the two consonants side by side. In the latter case, the fact of combination may be indicated by a diacritic on one of the consonants or a change in the form of one of the consonants, e.g. the half forms of Devanagari. Generally, the reading order is top to bottom or the general reading order of the script, but sometimes the order is reversed. The division of a word into syllables for the purposes of writing does not always accord with the natural phonetics of the language. For example, Brahmic scripts commonly handle a phonetic sequence CVC-CV as CV-CCV or CV-C-CV. However, sometimes phonetic CVC syllables are handled as single units, and the final consonant may be represented: in much the same way as the second consonant in CCV, e.g. in the Tibetan, Khmer and Tai Tham scripts. The positioning of the components may be slightly different, as in Khmer and Tai Tham. by a special dependent consonant sign, which may be a smaller or differently placed version of the full consonant letter, or may be a distinct sign altogether. not at all. For example, repeated consonants need not be represented, homorganic nasals may be ignored, and in Philippine scripts, the syllable-final consonant was traditionally never represented. More complicated unit structures (e.g. CC or CCVC) are handled by combining the various techniques above. Family-specific features There are three principal families of abugidas, depending on whether vowels are indicated by modifying consonants by diacritics, distortion, or orientation. The oldest and largest is the Brahmic family of India and Southeast Asia, in which vowels are marked with diacritics and syllable-final consonants, when they occur, are indicated with ligatures, diacritics, or with a special vowel-canceling mark.

The simplest solution, which is not always available, is to break with the principle of writing words as a sequence of syllables and use a unit representing just a consonant (C). This unit may be represented with: a modification that explicitly indicates the lack of a vowel (virama), a lack of vowel marking (often with ambiguity between no vowel and a default inherent vowel), vowel marking for a short or neutral vowel such as schwa (with ambiguity between no vowel and that short or neutral vowel), or a visually unrelated letter. In a true abugida, the lack of distinctive marking may result from the diachronic loss of the inherent vowel, e.g. by syncope and apocope in Hindi. When not handled by decomposition into C + CV, CCV syllables are handled by combining the two consonants. In the Indic scripts, the earliest method was simply to arrange them vertically, but the two consonants may merge as a conjunct consonant letters, where two or more letters are graphically joined in a ligature, or otherwise change their shapes. Rarely, one of the consonants may be replaced by a gemination mark, e.g. the Gurmukhi addak. When they are arranged vertically, as in Burmese or Khmer, they are said to be 'stacked'. Often there has been a change to writing the two consonants side by side. In the latter case, the fact of combination may be indicated by a diacritic on one of the consonants or a change in the form of one of the consonants, e.g. the half forms of Devanagari. Generally, the reading order is top to bottom or the general reading order of the script, but sometimes the order is reversed. The division of a word into syllables for the purposes of writing does not always accord with the natural phonetics of the language. For example, Brahmic scripts commonly handle a phonetic sequence CVC-CV as CV-CCV or CV-C-CV. However, sometimes phonetic CVC syllables are handled as single units, and the final consonant may be represented: in much the same way as the second consonant in CCV, e.g. in the Tibetan, Khmer and Tai Tham scripts. The positioning of the components may be slightly different, as in Khmer and Tai Tham. by a special dependent consonant sign, which may be a smaller or differently placed version of the full consonant letter, or may be a distinct sign altogether. not at all. For example, repeated consonants need not be represented, homorganic nasals may be ignored, and in Philippine scripts, the syllable-final consonant was traditionally never represented. More complicated unit structures (e.g. CC or CCVC) are handled by combining the various techniques above. Family-specific features There are three principal families of abugidas, depending on whether vowels are indicated by modifying consonants by diacritics, distortion, or orientation. The oldest and largest is the Brahmic family of India and Southeast Asia, in which vowels are marked with diacritics and syllable-final consonants, when they occur, are indicated with ligatures, diacritics, or with a special vowel-canceling mark.

The simplest solution, which is not always available, is to break with the principle of writing words as a sequence of syllables and use a unit representing just a consonant (C). This unit may be represented with: a modification that explicitly indicates the lack of a vowel (virama), a lack of vowel marking (often with ambiguity between no vowel and a default inherent vowel), vowel marking for a short or neutral vowel such as schwa (with ambiguity between no vowel and that short or neutral vowel), or a visually unrelated letter. In a true abugida, the lack of distinctive marking may result from the diachronic loss of the inherent vowel, e.g. by syncope and apocope in Hindi. When not handled by decomposition into C + CV, CCV syllables are handled by combining the two consonants. In the Indic scripts, the earliest method was simply to arrange them vertically, but the two consonants may merge as a conjunct consonant letters, where two or more letters are graphically joined in a ligature, or otherwise change their shapes. Rarely, one of the consonants may be replaced by a gemination mark, e.g. the Gurmukhi addak. When they are arranged vertically, as in Burmese or Khmer, they are said to be 'stacked'. Often there has been a change to writing the two consonants side by side. In the latter case, the fact of combination may be indicated by a diacritic on one of the consonants or a change in the form of one of the consonants, e.g. the half forms of Devanagari. Generally, the reading order is top to bottom or the general reading order of the script, but sometimes the order is reversed. The division of a word into syllables for the purposes of writing does not always accord with the natural phonetics of the language. For example, Brahmic scripts commonly handle a phonetic sequence CVC-CV as CV-CCV or CV-C-CV. However, sometimes phonetic CVC syllables are handled as single units, and the final consonant may be represented: in much the same way as the second consonant in CCV, e.g. in the Tibetan, Khmer and Tai Tham scripts. The positioning of the components may be slightly different, as in Khmer and Tai Tham. by a special dependent consonant sign, which may be a smaller or differently placed version of the full consonant letter, or may be a distinct sign altogether. not at all. For example, repeated consonants need not be represented, homorganic nasals may be ignored, and in Philippine scripts, the syllable-final consonant was traditionally never represented. More complicated unit structures (e.g. CC or CCVC) are handled by combining the various techniques above. Family-specific features There are three principal families of abugidas, depending on whether vowels are indicated by modifying consonants by diacritics, distortion, or orientation. The oldest and largest is the Brahmic family of India and Southeast Asia, in which vowels are marked with diacritics and syllable-final consonants, when they occur, are indicated with ligatures, diacritics, or with a special vowel-canceling mark.

In the Ethiopic family, vowels are marked by modifying the shapes of the consonants, and one of the vowel-forms serves additionally to indicate final consonants. In Canadian Aboriginal syllabics, vowels are marked by rotating or flipping the consonants, and final consonants are indicated with either special diacritics or superscript forms of the main initial consonants. Tāna of the Maldives has dependent vowels and a zero vowel sign, but no inherent vowel. Indic (Brahmic) Indic scripts originated in India and spread to Southeast Asia, Bangladesh, Sri Lanka, Nepal, Bhutan, Tibet, Mongolia, and Russia. All surviving Indic scripts are descendants of the Brahmi alphabet. Today they are used in most languages of South Asia (although replaced by Perso-Arabic in Urdu, Kashmiri and some other languages of Pakistan and India), mainland Southeast Asia (Myanmar, Thailand, Laos, Cambodia, and Vietnam), Tibet (Tibetan), Indonesian archipelago (Javanese, Balinese, Sundanese), Philippines (Baybayin, Buhid, Hanunuo, Kulitan, and Aborlan Tagbanwa), Malaysia (Rencong, etc.). The primary division is into North Indic scripts used in Northern India, Nepal, Tibet, Bhutan, Mongolia, and Russia and Southern Indic scripts used in South India, Sri Lanka and Southeast Asia. South Indic letter forms are very rounded; North Indic less so, though Odia, Golmol and Litumol of Nepal script are rounded. Most North Indic scripts' full letters incorporate a horizontal line at the top, with Gujarati and Odia as exceptions; South Indic scripts do not. Indic scripts indicate vowels through dependent vowel signs (diacritics) around the consonants, often including a sign that explicitly indicates the lack of a vowel. If a consonant has no vowel sign, this indicates a default vowel. Vowel diacritics may appear above, below, to the left, to the right, or around the consonant. The most widely used Indic script is Devanagari, shared by Hindi, Bihari, Marathi, Konkani, Nepali, and often Sanskrit. A basic letter such as क in Hindi represents a syllable with the default vowel, in this case ka (). In some languages, including Hindi, it becomes a final closing consonant at the end of a word, in this case k. The inherent vowel may be changed by adding vowel mark (diacritics), producing syllables such as कि ki, कु ku, के ke, को ko. In many of the Brahmic scripts, a syllable beginning with a cluster is treated as a single character for purposes of vowel marking, so a vowel marker like ि -i, falling before the character it modifies, may appear several positions before the place where it is pronounced. For example, the game cricket in Hindi is क्रिकेट cricket; the diacritic for appears before the consonant cluster , not before the . A more unusual example is seen in the Batak alphabet: Here the syllable bim is written ba-ma-i-(virama). That is, the vowel diacritic and virama are both written after the consonants for the whole syllable. In many abugidas, there is also a diacritic to suppress the inherent vowel, yielding the bare consonant.

In the Ethiopic family, vowels are marked by modifying the shapes of the consonants, and one of the vowel-forms serves additionally to indicate final consonants. In Canadian Aboriginal syllabics, vowels are marked by rotating or flipping the consonants, and final consonants are indicated with either special diacritics or superscript forms of the main initial consonants. Tāna of the Maldives has dependent vowels and a zero vowel sign, but no inherent vowel. Indic (Brahmic) Indic scripts originated in India and spread to Southeast Asia, Bangladesh, Sri Lanka, Nepal, Bhutan, Tibet, Mongolia, and Russia. All surviving Indic scripts are descendants of the Brahmi alphabet. Today they are used in most languages of South Asia (although replaced by Perso-Arabic in Urdu, Kashmiri and some other languages of Pakistan and India), mainland Southeast Asia (Myanmar, Thailand, Laos, Cambodia, and Vietnam), Tibet (Tibetan), Indonesian archipelago (Javanese, Balinese, Sundanese), Philippines (Baybayin, Buhid, Hanunuo, Kulitan, and Aborlan Tagbanwa), Malaysia (Rencong, etc.). The primary division is into North Indic scripts used in Northern India, Nepal, Tibet, Bhutan, Mongolia, and Russia and Southern Indic scripts used in South India, Sri Lanka and Southeast Asia. South Indic letter forms are very rounded; North Indic less so, though Odia, Golmol and Litumol of Nepal script are rounded. Most North Indic scripts' full letters incorporate a horizontal line at the top, with Gujarati and Odia as exceptions; South Indic scripts do not. Indic scripts indicate vowels through dependent vowel signs (diacritics) around the consonants, often including a sign that explicitly indicates the lack of a vowel. If a consonant has no vowel sign, this indicates a default vowel. Vowel diacritics may appear above, below, to the left, to the right, or around the consonant. The most widely used Indic script is Devanagari, shared by Hindi, Bihari, Marathi, Konkani, Nepali, and often Sanskrit. A basic letter such as क in Hindi represents a syllable with the default vowel, in this case ka (). In some languages, including Hindi, it becomes a final closing consonant at the end of a word, in this case k. The inherent vowel may be changed by adding vowel mark (diacritics), producing syllables such as कि ki, कु ku, के ke, को ko. In many of the Brahmic scripts, a syllable beginning with a cluster is treated as a single character for purposes of vowel marking, so a vowel marker like ि -i, falling before the character it modifies, may appear several positions before the place where it is pronounced. For example, the game cricket in Hindi is क्रिकेट cricket; the diacritic for appears before the consonant cluster , not before the . A more unusual example is seen in the Batak alphabet: Here the syllable bim is written ba-ma-i-(virama). That is, the vowel diacritic and virama are both written after the consonants for the whole syllable. In many abugidas, there is also a diacritic to suppress the inherent vowel, yielding the bare consonant.

In the Ethiopic family, vowels are marked by modifying the shapes of the consonants, and one of the vowel-forms serves additionally to indicate final consonants. In Canadian Aboriginal syllabics, vowels are marked by rotating or flipping the consonants, and final consonants are indicated with either special diacritics or superscript forms of the main initial consonants. Tāna of the Maldives has dependent vowels and a zero vowel sign, but no inherent vowel. Indic (Brahmic) Indic scripts originated in India and spread to Southeast Asia, Bangladesh, Sri Lanka, Nepal, Bhutan, Tibet, Mongolia, and Russia. All surviving Indic scripts are descendants of the Brahmi alphabet. Today they are used in most languages of South Asia (although replaced by Perso-Arabic in Urdu, Kashmiri and some other languages of Pakistan and India), mainland Southeast Asia (Myanmar, Thailand, Laos, Cambodia, and Vietnam), Tibet (Tibetan), Indonesian archipelago (Javanese, Balinese, Sundanese), Philippines (Baybayin, Buhid, Hanunuo, Kulitan, and Aborlan Tagbanwa), Malaysia (Rencong, etc.). The primary division is into North Indic scripts used in Northern India, Nepal, Tibet, Bhutan, Mongolia, and Russia and Southern Indic scripts used in South India, Sri Lanka and Southeast Asia. South Indic letter forms are very rounded; North Indic less so, though Odia, Golmol and Litumol of Nepal script are rounded. Most North Indic scripts' full letters incorporate a horizontal line at the top, with Gujarati and Odia as exceptions; South Indic scripts do not. Indic scripts indicate vowels through dependent vowel signs (diacritics) around the consonants, often including a sign that explicitly indicates the lack of a vowel. If a consonant has no vowel sign, this indicates a default vowel. Vowel diacritics may appear above, below, to the left, to the right, or around the consonant. The most widely used Indic script is Devanagari, shared by Hindi, Bihari, Marathi, Konkani, Nepali, and often Sanskrit. A basic letter such as क in Hindi represents a syllable with the default vowel, in this case ka (). In some languages, including Hindi, it becomes a final closing consonant at the end of a word, in this case k. The inherent vowel may be changed by adding vowel mark (diacritics), producing syllables such as कि ki, कु ku, के ke, को ko. In many of the Brahmic scripts, a syllable beginning with a cluster is treated as a single character for purposes of vowel marking, so a vowel marker like ि -i, falling before the character it modifies, may appear several positions before the place where it is pronounced. For example, the game cricket in Hindi is क्रिकेट cricket; the diacritic for appears before the consonant cluster , not before the . A more unusual example is seen in the Batak alphabet: Here the syllable bim is written ba-ma-i-(virama). That is, the vowel diacritic and virama are both written after the consonants for the whole syllable. In many abugidas, there is also a diacritic to suppress the inherent vowel, yielding the bare consonant.

In Devanagari, क् is k, and ल् is l. This is called the virāma or halantam in Sanskrit. It may be used to form consonant clusters, or to indicate that a consonant occurs at the end of a word. Thus in Sanskrit, a default vowel consonant such as क does not take on a final consonant sound. Instead, it keeps its vowel. For writing two consonants without a vowel in between, instead of using diacritics on the first consonant to remove its vowel, another popular method of special conjunct forms is used in which two or more consonant characters are merged to express a cluster, such as Devanagari: क्ल kla. (Note that some fonts display this as क् followed by ल, rather than forming a conjunct. This expedient is used by ISCII and South Asian scripts of Unicode.) Thus a closed syllable such as kal requires two aksharas to write. The Róng script used for the Lepcha language goes further than other Indic abugidas, in that a single akshara can represent a closed syllable: Not only the vowel, but any final consonant is indicated by a diacritic. For example, the syllable [sok] would be written as something like s̥̽, here with an underring representing and an overcross representing the diacritic for final . Most other Indic abugidas can only indicate a very limited set of final consonants with diacritics, such as or , if they can indicate any at all. Ethiopic In Ethiopic or Ge'ez script, fidels (individual "letters" of the script) have "diacritics" that are fused with the consonants to the point that they must be considered modifications of the form of the letters. Children learn each modification separately, as in a syllabary; nonetheless, the graphic similarities between syllables with the same consonant are readily apparent, unlike the case in a true syllabary. Though now an abugida, the Ge'ez script, until the advent of Christianity (ca. AD 350), had originally been what would now be termed an abjad. In the Ge'ez abugida (or fidel), the base form of the letter (also known as fidel) may be altered. For example, ሀ hä (base form), ሁ hu (with a right-side diacritic that doesn't alter the letter), ሂ hi (with a subdiacritic that compresses the consonant, so it is the same height), ህ hə or (where the letter is modified with a kink in the left arm). Canadian Aboriginal syllabics In the family known as Canadian Aboriginal syllabics, which was inspired by the Devanagari script of India, vowels are indicated by changing the orientation of the syllabogram. Each vowel has a consistent orientation; for example, Inuktitut ᐱ pi, ᐳ pu, ᐸ pa; ᑎ ti, ᑐ tu, ᑕ ta. Although there is a vowel inherent in each, all rotations have equal status and none can be identified as basic. Bare consonants are indicated either by separate diacritics, or by superscript versions of the aksharas; there is no vowel-killer mark.

In Devanagari, क् is k, and ल् is l. This is called the virāma or halantam in Sanskrit. It may be used to form consonant clusters, or to indicate that a consonant occurs at the end of a word. Thus in Sanskrit, a default vowel consonant such as क does not take on a final consonant sound. Instead, it keeps its vowel. For writing two consonants without a vowel in between, instead of using diacritics on the first consonant to remove its vowel, another popular method of special conjunct forms is used in which two or more consonant characters are merged to express a cluster, such as Devanagari: क्ल kla. (Note that some fonts display this as क् followed by ल, rather than forming a conjunct. This expedient is used by ISCII and South Asian scripts of Unicode.) Thus a closed syllable such as kal requires two aksharas to write. The Róng script used for the Lepcha language goes further than other Indic abugidas, in that a single akshara can represent a closed syllable: Not only the vowel, but any final consonant is indicated by a diacritic. For example, the syllable [sok] would be written as something like s̥̽, here with an underring representing and an overcross representing the diacritic for final . Most other Indic abugidas can only indicate a very limited set of final consonants with diacritics, such as or , if they can indicate any at all. Ethiopic In Ethiopic or Ge'ez script, fidels (individual "letters" of the script) have "diacritics" that are fused with the consonants to the point that they must be considered modifications of the form of the letters. Children learn each modification separately, as in a syllabary; nonetheless, the graphic similarities between syllables with the same consonant are readily apparent, unlike the case in a true syllabary. Though now an abugida, the Ge'ez script, until the advent of Christianity (ca. AD 350), had originally been what would now be termed an abjad. In the Ge'ez abugida (or fidel), the base form of the letter (also known as fidel) may be altered. For example, ሀ hä (base form), ሁ hu (with a right-side diacritic that doesn't alter the letter), ሂ hi (with a subdiacritic that compresses the consonant, so it is the same height), ህ hə or (where the letter is modified with a kink in the left arm). Canadian Aboriginal syllabics In the family known as Canadian Aboriginal syllabics, which was inspired by the Devanagari script of India, vowels are indicated by changing the orientation of the syllabogram. Each vowel has a consistent orientation; for example, Inuktitut ᐱ pi, ᐳ pu, ᐸ pa; ᑎ ti, ᑐ tu, ᑕ ta. Although there is a vowel inherent in each, all rotations have equal status and none can be identified as basic. Bare consonants are indicated either by separate diacritics, or by superscript versions of the aksharas; there is no vowel-killer mark.

In Devanagari, क् is k, and ल् is l. This is called the virāma or halantam in Sanskrit. It may be used to form consonant clusters, or to indicate that a consonant occurs at the end of a word. Thus in Sanskrit, a default vowel consonant such as क does not take on a final consonant sound. Instead, it keeps its vowel. For writing two consonants without a vowel in between, instead of using diacritics on the first consonant to remove its vowel, another popular method of special conjunct forms is used in which two or more consonant characters are merged to express a cluster, such as Devanagari: क्ल kla. (Note that some fonts display this as क् followed by ल, rather than forming a conjunct. This expedient is used by ISCII and South Asian scripts of Unicode.) Thus a closed syllable such as kal requires two aksharas to write. The Róng script used for the Lepcha language goes further than other Indic abugidas, in that a single akshara can represent a closed syllable: Not only the vowel, but any final consonant is indicated by a diacritic. For example, the syllable [sok] would be written as something like s̥̽, here with an underring representing and an overcross representing the diacritic for final . Most other Indic abugidas can only indicate a very limited set of final consonants with diacritics, such as or , if they can indicate any at all. Ethiopic In Ethiopic or Ge'ez script, fidels (individual "letters" of the script) have "diacritics" that are fused with the consonants to the point that they must be considered modifications of the form of the letters. Children learn each modification separately, as in a syllabary; nonetheless, the graphic similarities between syllables with the same consonant are readily apparent, unlike the case in a true syllabary. Though now an abugida, the Ge'ez script, until the advent of Christianity (ca. AD 350), had originally been what would now be termed an abjad. In the Ge'ez abugida (or fidel), the base form of the letter (also known as fidel) may be altered. For example, ሀ hä (base form), ሁ hu (with a right-side diacritic that doesn't alter the letter), ሂ hi (with a subdiacritic that compresses the consonant, so it is the same height), ህ hə or (where the letter is modified with a kink in the left arm). Canadian Aboriginal syllabics In the family known as Canadian Aboriginal syllabics, which was inspired by the Devanagari script of India, vowels are indicated by changing the orientation of the syllabogram. Each vowel has a consistent orientation; for example, Inuktitut ᐱ pi, ᐳ pu, ᐸ pa; ᑎ ti, ᑐ tu, ᑕ ta. Although there is a vowel inherent in each, all rotations have equal status and none can be identified as basic. Bare consonants are indicated either by separate diacritics, or by superscript versions of the aksharas; there is no vowel-killer mark.

Borderline cases Vowelled abjads Consonantal scripts ("abjads") are normally written without indication of many vowels. However, in some contexts like teaching materials or scriptures, Arabic and Hebrew are written with full indication of vowels via diacritic marks (harakat, niqqud) making them effectively alphasyllabaries. The Brahmic and Ethiopic families are thought to have originated from the Semitic abjads by the addition of vowel marks. The Arabic scripts used for Kurdish in Iraq and for Uyghur in Xinjiang, China, as well as the Hebrew script of Yiddish, are fully vowelled, but because the vowels are written with full letters rather than diacritics (with the exception of distinguishing between /a/ and /o/ in the latter) and there are no inherent vowels, these are considered alphabets, not abugidas. Phagspa The imperial Mongol script called Phagspa was derived from the Tibetan abugida, but all vowels are written in-line rather than as diacritics. However, it retains the features of having an inherent vowel /a/ and having distinct initial vowel letters. Pahawh Pahawh Hmong is a non-segmental script that indicates syllable onsets and rimes, such as consonant clusters and vowels with final consonants. Thus it is not segmental and cannot be considered an abugida. However, it superficially resembles an abugida with the roles of consonant and vowel reversed. Most syllables are written with two letters in the order rime–onset (typically vowel-consonant), even though they are pronounced as onset-rime (consonant-vowel), rather like the position of the vowel in Devanagari, which is written before the consonant. Pahawh is also unusual in that, while an inherent rime (with mid tone) is unwritten, it also has an inherent onset . For the syllable , which requires one or the other of the inherent sounds to be overt, it is that is written. Thus it is the rime (vowel) that is basic to the system. Meroitic It is difficult to draw a dividing line between abugidas and other segmental scripts. For example, the Meroitic script of ancient Sudan did not indicate an inherent a (one symbol stood for both m and ma, for example), and is thus similar to Brahmic family of abugidas. However, the other vowels were indicated with full letters, not diacritics or modification, so the system was essentially an alphabet that did not bother to write the most common vowel. Shorthand Several systems of shorthand use diacritics for vowels, but they do not have an inherent vowel, and are thus more similar to Thaana and Kurdish script than to the Brahmic scripts. The Gabelsberger shorthand system and its derivatives modify the following consonant to represent vowels. The Pollard script, which was based on shorthand, also uses diacritics for vowels; the placements of the vowel relative to the consonant indicates tone. Pitman shorthand uses straight strokes and quarter-circle marks in different orientations as the principal "alphabet" of consonants; vowels are shown as light and heavy dots, dashes and other marks in one of 3 possible positions to indicate the various vowel-sounds.

Borderline cases Vowelled abjads Consonantal scripts ("abjads") are normally written without indication of many vowels. However, in some contexts like teaching materials or scriptures, Arabic and Hebrew are written with full indication of vowels via diacritic marks (harakat, niqqud) making them effectively alphasyllabaries. The Brahmic and Ethiopic families are thought to have originated from the Semitic abjads by the addition of vowel marks. The Arabic scripts used for Kurdish in Iraq and for Uyghur in Xinjiang, China, as well as the Hebrew script of Yiddish, are fully vowelled, but because the vowels are written with full letters rather than diacritics (with the exception of distinguishing between /a/ and /o/ in the latter) and there are no inherent vowels, these are considered alphabets, not abugidas. Phagspa The imperial Mongol script called Phagspa was derived from the Tibetan abugida, but all vowels are written in-line rather than as diacritics. However, it retains the features of having an inherent vowel /a/ and having distinct initial vowel letters. Pahawh Pahawh Hmong is a non-segmental script that indicates syllable onsets and rimes, such as consonant clusters and vowels with final consonants. Thus it is not segmental and cannot be considered an abugida. However, it superficially resembles an abugida with the roles of consonant and vowel reversed. Most syllables are written with two letters in the order rime–onset (typically vowel-consonant), even though they are pronounced as onset-rime (consonant-vowel), rather like the position of the vowel in Devanagari, which is written before the consonant. Pahawh is also unusual in that, while an inherent rime (with mid tone) is unwritten, it also has an inherent onset . For the syllable , which requires one or the other of the inherent sounds to be overt, it is that is written. Thus it is the rime (vowel) that is basic to the system. Meroitic It is difficult to draw a dividing line between abugidas and other segmental scripts. For example, the Meroitic script of ancient Sudan did not indicate an inherent a (one symbol stood for both m and ma, for example), and is thus similar to Brahmic family of abugidas. However, the other vowels were indicated with full letters, not diacritics or modification, so the system was essentially an alphabet that did not bother to write the most common vowel. Shorthand Several systems of shorthand use diacritics for vowels, but they do not have an inherent vowel, and are thus more similar to Thaana and Kurdish script than to the Brahmic scripts. The Gabelsberger shorthand system and its derivatives modify the following consonant to represent vowels. The Pollard script, which was based on shorthand, also uses diacritics for vowels; the placements of the vowel relative to the consonant indicates tone. Pitman shorthand uses straight strokes and quarter-circle marks in different orientations as the principal "alphabet" of consonants; vowels are shown as light and heavy dots, dashes and other marks in one of 3 possible positions to indicate the various vowel-sounds.

Borderline cases Vowelled abjads Consonantal scripts ("abjads") are normally written without indication of many vowels. However, in some contexts like teaching materials or scriptures, Arabic and Hebrew are written with full indication of vowels via diacritic marks (harakat, niqqud) making them effectively alphasyllabaries. The Brahmic and Ethiopic families are thought to have originated from the Semitic abjads by the addition of vowel marks. The Arabic scripts used for Kurdish in Iraq and for Uyghur in Xinjiang, China, as well as the Hebrew script of Yiddish, are fully vowelled, but because the vowels are written with full letters rather than diacritics (with the exception of distinguishing between /a/ and /o/ in the latter) and there are no inherent vowels, these are considered alphabets, not abugidas. Phagspa The imperial Mongol script called Phagspa was derived from the Tibetan abugida, but all vowels are written in-line rather than as diacritics. However, it retains the features of having an inherent vowel /a/ and having distinct initial vowel letters. Pahawh Pahawh Hmong is a non-segmental script that indicates syllable onsets and rimes, such as consonant clusters and vowels with final consonants. Thus it is not segmental and cannot be considered an abugida. However, it superficially resembles an abugida with the roles of consonant and vowel reversed. Most syllables are written with two letters in the order rime–onset (typically vowel-consonant), even though they are pronounced as onset-rime (consonant-vowel), rather like the position of the vowel in Devanagari, which is written before the consonant. Pahawh is also unusual in that, while an inherent rime (with mid tone) is unwritten, it also has an inherent onset . For the syllable , which requires one or the other of the inherent sounds to be overt, it is that is written. Thus it is the rime (vowel) that is basic to the system. Meroitic It is difficult to draw a dividing line between abugidas and other segmental scripts. For example, the Meroitic script of ancient Sudan did not indicate an inherent a (one symbol stood for both m and ma, for example), and is thus similar to Brahmic family of abugidas. However, the other vowels were indicated with full letters, not diacritics or modification, so the system was essentially an alphabet that did not bother to write the most common vowel. Shorthand Several systems of shorthand use diacritics for vowels, but they do not have an inherent vowel, and are thus more similar to Thaana and Kurdish script than to the Brahmic scripts. The Gabelsberger shorthand system and its derivatives modify the following consonant to represent vowels. The Pollard script, which was based on shorthand, also uses diacritics for vowels; the placements of the vowel relative to the consonant indicates tone. Pitman shorthand uses straight strokes and quarter-circle marks in different orientations as the principal "alphabet" of consonants; vowels are shown as light and heavy dots, dashes and other marks in one of 3 possible positions to indicate the various vowel-sounds.

However, to increase writing speed, Pitman has rules for "vowel indication" using the positioning or choice of consonant signs so that writing vowel-marks can be dispensed with. Development As the term alphasyllabary suggests, abugidas have been considered an intermediate step between alphabets and syllabaries. Historically, abugidas appear to have evolved from abjads (vowelless alphabets). They contrast with syllabaries, where there is a distinct symbol for each syllable or consonant-vowel combination, and where these have no systematic similarity to each other, and typically develop directly from logographic scripts. Compare the examples above to sets of syllables in the Japanese hiragana syllabary: か ka, き ki, く ku, け ke, こ ko have nothing in common to indicate k; while ら ra, り ri, る ru, れ re, ろ ro have neither anything in common for r, nor anything to indicate that they have the same vowels as the k set. Most Indian and Indochinese abugidas appear to have first been developed from abjads with the Kharoṣṭhī and Brāhmī scripts; the abjad in question is usually considered to be the Aramaic one, but while the link between Aramaic and Kharosthi is more or less undisputed, this is not the case with Brahmi. The Kharosthi family does not survive today, but Brahmi's descendants include most of the modern scripts of South and Southeast Asia. Ge'ez derived from a different abjad, the Sabean script of Yemen; the advent of vowels coincided with the introduction or adoption of Christianity about AD 350. The Ethiopic script is the elaboration of an abjad. The Cree syllabary was invented with full knowledge of the Devanagari system. The Meroitic script was developed from Egyptian hieroglyphs, within which various schemes of 'group writing' had been used for showing vowels.

However, to increase writing speed, Pitman has rules for "vowel indication" using the positioning or choice of consonant signs so that writing vowel-marks can be dispensed with. Development As the term alphasyllabary suggests, abugidas have been considered an intermediate step between alphabets and syllabaries. Historically, abugidas appear to have evolved from abjads (vowelless alphabets). They contrast with syllabaries, where there is a distinct symbol for each syllable or consonant-vowel combination, and where these have no systematic similarity to each other, and typically develop directly from logographic scripts. Compare the examples above to sets of syllables in the Japanese hiragana syllabary: か ka, き ki, く ku, け ke, こ ko have nothing in common to indicate k; while ら ra, り ri, る ru, れ re, ろ ro have neither anything in common for r, nor anything to indicate that they have the same vowels as the k set. Most Indian and Indochinese abugidas appear to have first been developed from abjads with the Kharoṣṭhī and Brāhmī scripts; the abjad in question is usually considered to be the Aramaic one, but while the link between Aramaic and Kharosthi is more or less undisputed, this is not the case with Brahmi. The Kharosthi family does not survive today, but Brahmi's descendants include most of the modern scripts of South and Southeast Asia. Ge'ez derived from a different abjad, the Sabean script of Yemen; the advent of vowels coincided with the introduction or adoption of Christianity about AD 350. The Ethiopic script is the elaboration of an abjad. The Cree syllabary was invented with full knowledge of the Devanagari system. The Meroitic script was developed from Egyptian hieroglyphs, within which various schemes of 'group writing' had been used for showing vowels.

However, to increase writing speed, Pitman has rules for "vowel indication" using the positioning or choice of consonant signs so that writing vowel-marks can be dispensed with. Development As the term alphasyllabary suggests, abugidas have been considered an intermediate step between alphabets and syllabaries. Historically, abugidas appear to have evolved from abjads (vowelless alphabets). They contrast with syllabaries, where there is a distinct symbol for each syllable or consonant-vowel combination, and where these have no systematic similarity to each other, and typically develop directly from logographic scripts. Compare the examples above to sets of syllables in the Japanese hiragana syllabary: か ka, き ki, く ku, け ke, こ ko have nothing in common to indicate k; while ら ra, り ri, る ru, れ re, ろ ro have neither anything in common for r, nor anything to indicate that they have the same vowels as the k set. Most Indian and Indochinese abugidas appear to have first been developed from abjads with the Kharoṣṭhī and Brāhmī scripts; the abjad in question is usually considered to be the Aramaic one, but while the link between Aramaic and Kharosthi is more or less undisputed, this is not the case with Brahmi. The Kharosthi family does not survive today, but Brahmi's descendants include most of the modern scripts of South and Southeast Asia. Ge'ez derived from a different abjad, the Sabean script of Yemen; the advent of vowels coincided with the introduction or adoption of Christianity about AD 350. The Ethiopic script is the elaboration of an abjad. The Cree syllabary was invented with full knowledge of the Devanagari system. The Meroitic script was developed from Egyptian hieroglyphs, within which various schemes of 'group writing' had been used for showing vowels.

List of abugidas Brahmic family, descended from Brāhmī (c. 6th century BC) Ahom Assamese Balinese BatakToba and other Batak languages BaybayinIlocano, Pangasinan, Tagalog, Bikol languages, Visayan languages, and possibly other Philippine languages BengaliBengali, Assamese, Meitei, Bishnupriya Manipuri, Kokborok, Khasi, Bodo language Bhaiksuki BrahmiSanskrit, Prakrit Buhid BurmeseBurmese, Karen languages, Mon, and Shan Chakma Cham DevanagariHindi, Sanskrit, Marathi, Nepali, Konkani and other languages of northern India Dhives Akuru GranthaSanskrit GujaratiGujarāti, Kachchi Gurmukhi scriptPunjabi Hanunó’o Javanese KagangaLampung, Rencong, Rejang KaithiBhojpuri and other languages of northern and eastern India KannadaKannada, Tulu, Konkani, Kodava Kawi Khmer Khojki Khotanese Khudawadi KolezhuthuTamil, Malayalam Kulitan Lao Leke Lepcha Limbu Lontara'Buginese, Makassar, and Mandar Mahajani MalayalamMalayalam MalayanmaMalayalam MarchenZhang-Zhung Meetei Mayek Meroitic ModiMarathi MultaniSaraiki NandinagariSanskrit NewarNepal Bhasa, Sanskrit New Tai Lue Odia Pallava scriptTamil, Sanskrit, various Prakrits Phags-paMongolian, Chinese, and other languages of the Yuan dynasty Mongol Empire RanjanaNepal Bhasa, Sanskrit SharadaSanskrit SiddhamSanskrit Sinhala Sourashtra Soyombo Sundanese Sylheti NagriSylheti language TagbanwaPalawan languages Tai Dam Tai Le Tai ThamKhün, and Northern Thai Takri Tamil Telugu Thai Tibetan TigalariSanskrit, Tulu TirhutaMaithili Tocharian VatteluttuTamil, Malayalam Zanabazar Square Zhang zhung scripts Kharoṣṭhī, from the 3rd century BC Ge'ez, from the 4th century AD Canadian Aboriginal syllabics CreeOjibwe syllabics Blackfoot syllabics Carrier syllabics Inuktitut syllabics Pollard script Pitman shorthand Fictional Tengwar Ihathvé Sabethired Abugida-like scripts Meroitic (an alphabet with an inherent vowel) – Meroitic, Old Nubian (possibly) Thaana (abugida with no inherent vowel) References External links Syllabic alphabets – Omniglot's list of abugidas, including examples of various writing systems Alphabets – list of abugidas and other scripts (in Spanish) Comparing Devanagari with Burmese, Khmer, Thai, and Tai Tham scripts

List of abugidas Brahmic family, descended from Brāhmī (c. 6th century BC) Ahom Assamese Balinese BatakToba and other Batak languages BaybayinIlocano, Pangasinan, Tagalog, Bikol languages, Visayan languages, and possibly other Philippine languages BengaliBengali, Assamese, Meitei, Bishnupriya Manipuri, Kokborok, Khasi, Bodo language Bhaiksuki BrahmiSanskrit, Prakrit Buhid BurmeseBurmese, Karen languages, Mon, and Shan Chakma Cham DevanagariHindi, Sanskrit, Marathi, Nepali, Konkani and other languages of northern India Dhives Akuru GranthaSanskrit GujaratiGujarāti, Kachchi Gurmukhi scriptPunjabi Hanunó’o Javanese KagangaLampung, Rencong, Rejang KaithiBhojpuri and other languages of northern and eastern India KannadaKannada, Tulu, Konkani, Kodava Kawi Khmer Khojki Khotanese Khudawadi KolezhuthuTamil, Malayalam Kulitan Lao Leke Lepcha Limbu Lontara'Buginese, Makassar, and Mandar Mahajani MalayalamMalayalam MalayanmaMalayalam MarchenZhang-Zhung Meetei Mayek Meroitic ModiMarathi MultaniSaraiki NandinagariSanskrit NewarNepal Bhasa, Sanskrit New Tai Lue Odia Pallava scriptTamil, Sanskrit, various Prakrits Phags-paMongolian, Chinese, and other languages of the Yuan dynasty Mongol Empire RanjanaNepal Bhasa, Sanskrit SharadaSanskrit SiddhamSanskrit Sinhala Sourashtra Soyombo Sundanese Sylheti NagriSylheti language TagbanwaPalawan languages Tai Dam Tai Le Tai ThamKhün, and Northern Thai Takri Tamil Telugu Thai Tibetan TigalariSanskrit, Tulu TirhutaMaithili Tocharian VatteluttuTamil, Malayalam Zanabazar Square Zhang zhung scripts Kharoṣṭhī, from the 3rd century BC Ge'ez, from the 4th century AD Canadian Aboriginal syllabics CreeOjibwe syllabics Blackfoot syllabics Carrier syllabics Inuktitut syllabics Pollard script Pitman shorthand Fictional Tengwar Ihathvé Sabethired Abugida-like scripts Meroitic (an alphabet with an inherent vowel) – Meroitic, Old Nubian (possibly) Thaana (abugida with no inherent vowel) References External links Syllabic alphabets – Omniglot's list of abugidas, including examples of various writing systems Alphabets – list of abugidas and other scripts (in Spanish) Comparing Devanagari with Burmese, Khmer, Thai, and Tai Tham scripts

List of abugidas Brahmic family, descended from Brāhmī (c. 6th century BC) Ahom Assamese Balinese BatakToba and other Batak languages BaybayinIlocano, Pangasinan, Tagalog, Bikol languages, Visayan languages, and possibly other Philippine languages BengaliBengali, Assamese, Meitei, Bishnupriya Manipuri, Kokborok, Khasi, Bodo language Bhaiksuki BrahmiSanskrit, Prakrit Buhid BurmeseBurmese, Karen languages, Mon, and Shan Chakma Cham DevanagariHindi, Sanskrit, Marathi, Nepali, Konkani and other languages of northern India Dhives Akuru GranthaSanskrit GujaratiGujarāti, Kachchi Gurmukhi scriptPunjabi Hanunó’o Javanese KagangaLampung, Rencong, Rejang KaithiBhojpuri and other languages of northern and eastern India KannadaKannada, Tulu, Konkani, Kodava Kawi Khmer Khojki Khotanese Khudawadi KolezhuthuTamil, Malayalam Kulitan Lao Leke Lepcha Limbu Lontara'Buginese, Makassar, and Mandar Mahajani MalayalamMalayalam MalayanmaMalayalam MarchenZhang-Zhung Meetei Mayek Meroitic ModiMarathi MultaniSaraiki NandinagariSanskrit NewarNepal Bhasa, Sanskrit New Tai Lue Odia Pallava scriptTamil, Sanskrit, various Prakrits Phags-paMongolian, Chinese, and other languages of the Yuan dynasty Mongol Empire RanjanaNepal Bhasa, Sanskrit SharadaSanskrit SiddhamSanskrit Sinhala Sourashtra Soyombo Sundanese Sylheti NagriSylheti language TagbanwaPalawan languages Tai Dam Tai Le Tai ThamKhün, and Northern Thai Takri Tamil Telugu Thai Tibetan TigalariSanskrit, Tulu TirhutaMaithili Tocharian VatteluttuTamil, Malayalam Zanabazar Square Zhang zhung scripts Kharoṣṭhī, from the 3rd century BC Ge'ez, from the 4th century AD Canadian Aboriginal syllabics CreeOjibwe syllabics Blackfoot syllabics Carrier syllabics Inuktitut syllabics Pollard script Pitman shorthand Fictional Tengwar Ihathvé Sabethired Abugida-like scripts Meroitic (an alphabet with an inherent vowel) – Meroitic, Old Nubian (possibly) Thaana (abugida with no inherent vowel) References External links Syllabic alphabets – Omniglot's list of abugidas, including examples of various writing systems Alphabets – list of abugidas and other scripts (in Spanish) Comparing Devanagari with Burmese, Khmer, Thai, and Tai Tham scripts

ABBA ABBA ( , ) are a Swedish pop group formed in Stockholm in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. The group's name is an acronym of the first letters of their first names arranged as a palindrome. One of the most popular and successful musical groups of all time, they became one of the best-selling music acts in the history of popular music, topping the charts worldwide from 1974 to 1983, and in 2021. In 1974, ABBA were Sweden's first winner of the Eurovision Song Contest with the song "Waterloo", which in 2005 was chosen as the best song in the competition's history as part of the 50th anniversary celebration of the contest. During the band's main active years, it consisted of two married couples: Fältskog and Ulvaeus, and Lyngstad and Andersson. With the increase of their popularity, their personal lives suffered, which eventually resulted in the collapse of both marriages. The relationship changes were reflected in the group's music, with latter compositions featuring darker and more introspective lyrics. After ABBA separated in December 1982, Andersson and Ulvaeus continued their success writing music for multiple audiences including stage, musicals and movies, while Fältskog and Lyngstad pursued solo careers. Ten years after the group broke up, a compilation, ABBA Gold, was released, becoming a worldwide best-seller. In 1999, ABBA's music was adapted into Mamma Mia!, a successful musical that toured worldwide and, as of November 2021, is still in the top-ten longest running productions on both Broadway (closed in 2015) and the West End (still running). A film of the same name, released in 2008, became the highest-grossing film in the United Kingdom that year. A sequel, Mamma Mia! Here We Go Again, was released in 2018. In 2016, the group reunited and started working on a digital avatar concert tour. Newly recorded songs were announced in 2018. Voyage, their first new album in 40 years, was released on November 5, 2021. ABBA Voyage, a concert residency featuring ABBA as virtual avatars – dubbed 'ABBAtars' – is due to take place in London from May to December 2022. ABBA is one of the best-selling music artists of all time, with record sales estimated to be between 150 million to 385 million sold worldwide and the group were ranked 3rd best-selling singles artists in the United Kingdom with a total of 11.3 million singles sold by 3 November 2012. ABBA were the first group from a non-English-speaking country to achieve consistent success in the charts of English-speaking countries, including the United States, United Kingdom, Republic of Ireland, Canada, Australia, New Zealand and South Africa. They are the best-selling Swedish band of all time and the best-selling band originating in continental Europe. ABBA had eight consecutive number-one albums in the UK. The group also enjoyed significant success in Latin America and recorded a collection of their hit songs in Spanish. ABBA were inducted into the Vocal Group Hall of Fame in 2002.

ABBA ABBA ( , ) are a Swedish pop group formed in Stockholm in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. The group's name is an acronym of the first letters of their first names arranged as a palindrome. One of the most popular and successful musical groups of all time, they became one of the best-selling music acts in the history of popular music, topping the charts worldwide from 1974 to 1983, and in 2021. In 1974, ABBA were Sweden's first winner of the Eurovision Song Contest with the song "Waterloo", which in 2005 was chosen as the best song in the competition's history as part of the 50th anniversary celebration of the contest. During the band's main active years, it consisted of two married couples: Fältskog and Ulvaeus, and Lyngstad and Andersson. With the increase of their popularity, their personal lives suffered, which eventually resulted in the collapse of both marriages. The relationship changes were reflected in the group's music, with latter compositions featuring darker and more introspective lyrics. After ABBA separated in December 1982, Andersson and Ulvaeus continued their success writing music for multiple audiences including stage, musicals and movies, while Fältskog and Lyngstad pursued solo careers. Ten years after the group broke up, a compilation, ABBA Gold, was released, becoming a worldwide best-seller. In 1999, ABBA's music was adapted into Mamma Mia!, a successful musical that toured worldwide and, as of November 2021, is still in the top-ten longest running productions on both Broadway (closed in 2015) and the West End (still running). A film of the same name, released in 2008, became the highest-grossing film in the United Kingdom that year. A sequel, Mamma Mia! Here We Go Again, was released in 2018. In 2016, the group reunited and started working on a digital avatar concert tour. Newly recorded songs were announced in 2018. Voyage, their first new album in 40 years, was released on November 5, 2021. ABBA Voyage, a concert residency featuring ABBA as virtual avatars – dubbed 'ABBAtars' – is due to take place in London from May to December 2022. ABBA is one of the best-selling music artists of all time, with record sales estimated to be between 150 million to 385 million sold worldwide and the group were ranked 3rd best-selling singles artists in the United Kingdom with a total of 11.3 million singles sold by 3 November 2012. ABBA were the first group from a non-English-speaking country to achieve consistent success in the charts of English-speaking countries, including the United States, United Kingdom, Republic of Ireland, Canada, Australia, New Zealand and South Africa. They are the best-selling Swedish band of all time and the best-selling band originating in continental Europe. ABBA had eight consecutive number-one albums in the UK. The group also enjoyed significant success in Latin America and recorded a collection of their hit songs in Spanish. ABBA were inducted into the Vocal Group Hall of Fame in 2002.

The group were inducted into the Rock and Roll Hall of Fame in 2010, the first and only recording artists to receive this honour from outside an Anglophone country. In 2015, their song "Dancing Queen" was inducted into the Recording Academy's Grammy Hall of Fame. History 1958–1970: Before ABBA Member origins and collaboration Benny Andersson (born 16 December 1946 in Stockholm, Sweden) became (at age 18) a member of a popular Swedish pop-rock group, the Hep Stars, that performed, among other things, covers of international hits. The Hep Stars were known as "the Swedish Beatles". They also set up Hep House, their equivalent of Apple Corps. Andersson played the keyboard and eventually started writing original songs for his band, many of which became major hits, including "No Response", which hit number three in 1965, and "Sunny Girl", "Wedding", and "Consolation", all of which hit number one in 1966. Andersson also had a fruitful songwriting collaboration with Lasse Berghagen, with whom he wrote his first Svensktoppen entry, "Sagan om lilla Sofie" ("The tale of Little Sophie") in 1968. Björn Ulvaeus (born 25 April 1945 in Gothenburg, Sweden) also began his musical career at the age of 18 (as a singer and guitarist), when he fronted the Hootenanny Singers, a popular Swedish folk–skiffle group. Ulvaeus started writing English-language songs for his group, and even had a brief solo career alongside. The Hootenanny Singers and the Hep Stars sometimes crossed paths while touring. In June 1966, Ulvaeus and Andersson decided to write a song together. Their first attempt was "Isn't It Easy to Say", a song was later recorded by the Hep Stars. Stig Anderson was the manager of the Hootenanny Singers and founder of the Polar Music label. He saw potential in the collaboration, and encouraged them to write more. The two also began playing occasionally with the other's bands on stage and on record, although it was not until 1969 that the pair wrote and produced some of their first real hits together: "Ljuva sextital" ("Sweet Sixties"), recorded by Brita Borg, and the Hep Stars' 1969 hit "Speleman" ("Fiddler"). Andersson wrote and submitted the song "Hej, Clown" for Melodifestivalen 1969, the national festival to select the Swedish entry to the Eurovision Song Contest. The song tied for first place, but re-voting relegated Andersson's song to second place. On that occasion Andersson briefly met his future spouse, singer Anni-Frid Lyngstad, who also participated in the contest. A month later, the two had become a couple. As their respective bands began to break up during 1969, Andersson and Ulvaeus teamed up and recorded their first album together in 1970, called Lycka ("Happiness"), which included original songs sung by both men. Their partners were often present in the recording studio, and sometimes added backing vocals; Fältskog even co-wrote a song with the two. Ulvaeus still occasionally recorded and performed with the Hootenanny Singers until the middle of 1974, and Andersson took part in producing their records.

The group were inducted into the Rock and Roll Hall of Fame in 2010, the first and only recording artists to receive this honour from outside an Anglophone country. In 2015, their song "Dancing Queen" was inducted into the Recording Academy's Grammy Hall of Fame. History 1958–1970: Before ABBA Member origins and collaboration Benny Andersson (born 16 December 1946 in Stockholm, Sweden) became (at age 18) a member of a popular Swedish pop-rock group, the Hep Stars, that performed, among other things, covers of international hits. The Hep Stars were known as "the Swedish Beatles". They also set up Hep House, their equivalent of Apple Corps. Andersson played the keyboard and eventually started writing original songs for his band, many of which became major hits, including "No Response", which hit number three in 1965, and "Sunny Girl", "Wedding", and "Consolation", all of which hit number one in 1966. Andersson also had a fruitful songwriting collaboration with Lasse Berghagen, with whom he wrote his first Svensktoppen entry, "Sagan om lilla Sofie" ("The tale of Little Sophie") in 1968. Björn Ulvaeus (born 25 April 1945 in Gothenburg, Sweden) also began his musical career at the age of 18 (as a singer and guitarist), when he fronted the Hootenanny Singers, a popular Swedish folk–skiffle group. Ulvaeus started writing English-language songs for his group, and even had a brief solo career alongside. The Hootenanny Singers and the Hep Stars sometimes crossed paths while touring. In June 1966, Ulvaeus and Andersson decided to write a song together. Their first attempt was "Isn't It Easy to Say", a song was later recorded by the Hep Stars. Stig Anderson was the manager of the Hootenanny Singers and founder of the Polar Music label. He saw potential in the collaboration, and encouraged them to write more. The two also began playing occasionally with the other's bands on stage and on record, although it was not until 1969 that the pair wrote and produced some of their first real hits together: "Ljuva sextital" ("Sweet Sixties"), recorded by Brita Borg, and the Hep Stars' 1969 hit "Speleman" ("Fiddler"). Andersson wrote and submitted the song "Hej, Clown" for Melodifestivalen 1969, the national festival to select the Swedish entry to the Eurovision Song Contest. The song tied for first place, but re-voting relegated Andersson's song to second place. On that occasion Andersson briefly met his future spouse, singer Anni-Frid Lyngstad, who also participated in the contest. A month later, the two had become a couple. As their respective bands began to break up during 1969, Andersson and Ulvaeus teamed up and recorded their first album together in 1970, called Lycka ("Happiness"), which included original songs sung by both men. Their partners were often present in the recording studio, and sometimes added backing vocals; Fältskog even co-wrote a song with the two. Ulvaeus still occasionally recorded and performed with the Hootenanny Singers until the middle of 1974, and Andersson took part in producing their records.

The group were inducted into the Rock and Roll Hall of Fame in 2010, the first and only recording artists to receive this honour from outside an Anglophone country. In 2015, their song "Dancing Queen" was inducted into the Recording Academy's Grammy Hall of Fame. History 1958–1970: Before ABBA Member origins and collaboration Benny Andersson (born 16 December 1946 in Stockholm, Sweden) became (at age 18) a member of a popular Swedish pop-rock group, the Hep Stars, that performed, among other things, covers of international hits. The Hep Stars were known as "the Swedish Beatles". They also set up Hep House, their equivalent of Apple Corps. Andersson played the keyboard and eventually started writing original songs for his band, many of which became major hits, including "No Response", which hit number three in 1965, and "Sunny Girl", "Wedding", and "Consolation", all of which hit number one in 1966. Andersson also had a fruitful songwriting collaboration with Lasse Berghagen, with whom he wrote his first Svensktoppen entry, "Sagan om lilla Sofie" ("The tale of Little Sophie") in 1968. Björn Ulvaeus (born 25 April 1945 in Gothenburg, Sweden) also began his musical career at the age of 18 (as a singer and guitarist), when he fronted the Hootenanny Singers, a popular Swedish folk–skiffle group. Ulvaeus started writing English-language songs for his group, and even had a brief solo career alongside. The Hootenanny Singers and the Hep Stars sometimes crossed paths while touring. In June 1966, Ulvaeus and Andersson decided to write a song together. Their first attempt was "Isn't It Easy to Say", a song was later recorded by the Hep Stars. Stig Anderson was the manager of the Hootenanny Singers and founder of the Polar Music label. He saw potential in the collaboration, and encouraged them to write more. The two also began playing occasionally with the other's bands on stage and on record, although it was not until 1969 that the pair wrote and produced some of their first real hits together: "Ljuva sextital" ("Sweet Sixties"), recorded by Brita Borg, and the Hep Stars' 1969 hit "Speleman" ("Fiddler"). Andersson wrote and submitted the song "Hej, Clown" for Melodifestivalen 1969, the national festival to select the Swedish entry to the Eurovision Song Contest. The song tied for first place, but re-voting relegated Andersson's song to second place. On that occasion Andersson briefly met his future spouse, singer Anni-Frid Lyngstad, who also participated in the contest. A month later, the two had become a couple. As their respective bands began to break up during 1969, Andersson and Ulvaeus teamed up and recorded their first album together in 1970, called Lycka ("Happiness"), which included original songs sung by both men. Their partners were often present in the recording studio, and sometimes added backing vocals; Fältskog even co-wrote a song with the two. Ulvaeus still occasionally recorded and performed with the Hootenanny Singers until the middle of 1974, and Andersson took part in producing their records.

Anni-Frid "Frida" Lyngstad (born 15 November 1945 in Bjørkåsen in Ballangen, Norway) sang from the age of 13 with various dance bands, and worked mainly in a jazz-oriented cabaret style. She also formed her own band, the Anni-Frid Four. In the middle of 1967, she won a national talent competition with "En ledig dag" ("A Day Off") a Swedish version of the bossa nova song "A Day in Portofino", which is included in the EMI compilation Frida 1967–1972. The first prize was a recording contract with EMI Sweden and to perform live on the most popular TV shows in the country. This TV performance, amongst many others, is included in the 3½-hour documentary Frida – The DVD. Lyngstad released several schlager style singles on EMI without much success. When Benny Andersson started to produce her recordings in 1971, she had her first number-one single, "Min egen stad" ("My Own Town"), written by Benny and featuring all the future ABBA members on backing vocals. Lyngstad toured and performed regularly in the folkpark circuit and made appearances on radio and TV. She met Ulvaeus briefly in 1963 during a talent contest, and Fältskog during a TV show in early 1968. Lyngstad linked up with her future bandmates in 1969. On 1 March 1969, she participated in the Melodifestival, where she met Andersson for the first time. A few weeks later they met again during a concert tour in southern Sweden and they soon became a couple. Andersson produced her single "Peter Pan" in September 1969—her first collaboration with Benny & Björn, as they had written the song. Andersson would then produce Lyngstad's debut studio album, Frida, which was released in March 1971. Lyngstad also played in several revues and cabaret shows in Stockholm between 1969 and 1973. After ABBA formed, she recorded another successful album in 1975, Frida ensam, which included a Swedish rendition of "Fernando", a hit on the Swedish radio charts before the English version was released. Agnetha Fältskog (born 5 April 1950 in Jönköping, Sweden) sang with a local dance band headed by Bernt Enghardt who sent a demo recording of the band to Karl Gerhard Lundkvist. The demo tape featured a song written and sung by Agnetha: "Jag var så kär" ("I Was So in Love"). Lundkvist was so impressed with her voice that he was convinced she would be a star. After going through considerable effort to locate the singer, he arranged for Agnetha to come to Stockholm and to record two of her own songs. This led to Agnetha at the age of 18 having a number-one record in Sweden with a self-composed song, which later went on to sell over 80,000 copies. She was soon noticed by the critics and songwriters as a talented singer/songwriter of schlager style songs. Fältskog's main inspiration in her early years was singers such as Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks.

Anni-Frid "Frida" Lyngstad (born 15 November 1945 in Bjørkåsen in Ballangen, Norway) sang from the age of 13 with various dance bands, and worked mainly in a jazz-oriented cabaret style. She also formed her own band, the Anni-Frid Four. In the middle of 1967, she won a national talent competition with "En ledig dag" ("A Day Off") a Swedish version of the bossa nova song "A Day in Portofino", which is included in the EMI compilation Frida 1967–1972. The first prize was a recording contract with EMI Sweden and to perform live on the most popular TV shows in the country. This TV performance, amongst many others, is included in the 3½-hour documentary Frida – The DVD. Lyngstad released several schlager style singles on EMI without much success. When Benny Andersson started to produce her recordings in 1971, she had her first number-one single, "Min egen stad" ("My Own Town"), written by Benny and featuring all the future ABBA members on backing vocals. Lyngstad toured and performed regularly in the folkpark circuit and made appearances on radio and TV. She met Ulvaeus briefly in 1963 during a talent contest, and Fältskog during a TV show in early 1968. Lyngstad linked up with her future bandmates in 1969. On 1 March 1969, she participated in the Melodifestival, where she met Andersson for the first time. A few weeks later they met again during a concert tour in southern Sweden and they soon became a couple. Andersson produced her single "Peter Pan" in September 1969—her first collaboration with Benny & Björn, as they had written the song. Andersson would then produce Lyngstad's debut studio album, Frida, which was released in March 1971. Lyngstad also played in several revues and cabaret shows in Stockholm between 1969 and 1973. After ABBA formed, she recorded another successful album in 1975, Frida ensam, which included a Swedish rendition of "Fernando", a hit on the Swedish radio charts before the English version was released. Agnetha Fältskog (born 5 April 1950 in Jönköping, Sweden) sang with a local dance band headed by Bernt Enghardt who sent a demo recording of the band to Karl Gerhard Lundkvist. The demo tape featured a song written and sung by Agnetha: "Jag var så kär" ("I Was So in Love"). Lundkvist was so impressed with her voice that he was convinced she would be a star. After going through considerable effort to locate the singer, he arranged for Agnetha to come to Stockholm and to record two of her own songs. This led to Agnetha at the age of 18 having a number-one record in Sweden with a self-composed song, which later went on to sell over 80,000 copies. She was soon noticed by the critics and songwriters as a talented singer/songwriter of schlager style songs. Fältskog's main inspiration in her early years was singers such as Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks.

Anni-Frid "Frida" Lyngstad (born 15 November 1945 in Bjørkåsen in Ballangen, Norway) sang from the age of 13 with various dance bands, and worked mainly in a jazz-oriented cabaret style. She also formed her own band, the Anni-Frid Four. In the middle of 1967, she won a national talent competition with "En ledig dag" ("A Day Off") a Swedish version of the bossa nova song "A Day in Portofino", which is included in the EMI compilation Frida 1967–1972. The first prize was a recording contract with EMI Sweden and to perform live on the most popular TV shows in the country. This TV performance, amongst many others, is included in the 3½-hour documentary Frida – The DVD. Lyngstad released several schlager style singles on EMI without much success. When Benny Andersson started to produce her recordings in 1971, she had her first number-one single, "Min egen stad" ("My Own Town"), written by Benny and featuring all the future ABBA members on backing vocals. Lyngstad toured and performed regularly in the folkpark circuit and made appearances on radio and TV. She met Ulvaeus briefly in 1963 during a talent contest, and Fältskog during a TV show in early 1968. Lyngstad linked up with her future bandmates in 1969. On 1 March 1969, she participated in the Melodifestival, where she met Andersson for the first time. A few weeks later they met again during a concert tour in southern Sweden and they soon became a couple. Andersson produced her single "Peter Pan" in September 1969—her first collaboration with Benny & Björn, as they had written the song. Andersson would then produce Lyngstad's debut studio album, Frida, which was released in March 1971. Lyngstad also played in several revues and cabaret shows in Stockholm between 1969 and 1973. After ABBA formed, she recorded another successful album in 1975, Frida ensam, which included a Swedish rendition of "Fernando", a hit on the Swedish radio charts before the English version was released. Agnetha Fältskog (born 5 April 1950 in Jönköping, Sweden) sang with a local dance band headed by Bernt Enghardt who sent a demo recording of the band to Karl Gerhard Lundkvist. The demo tape featured a song written and sung by Agnetha: "Jag var så kär" ("I Was So in Love"). Lundkvist was so impressed with her voice that he was convinced she would be a star. After going through considerable effort to locate the singer, he arranged for Agnetha to come to Stockholm and to record two of her own songs. This led to Agnetha at the age of 18 having a number-one record in Sweden with a self-composed song, which later went on to sell over 80,000 copies. She was soon noticed by the critics and songwriters as a talented singer/songwriter of schlager style songs. Fältskog's main inspiration in her early years was singers such as Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks.

Most of her biggest hits were self-composed, which was quite unusual for a female singer in the 1960s. Agnetha released four solo LPs between 1968 and 1971. She had many successful singles in the Swedish charts. During filming of a Swedish TV special in May 1969, Fältskog met Ulvaeus and they married on 6 July 1971. Fältskog and Ulvaeus eventually were involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to Fältskog's third studio album, Som jag är ("As I Am") (1970). In 1972, Fältskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Fältskog released five studio albums. First live performance and the start of "Festfolket" An attempt at combining their talents occurred in April 1970 when the two couples went on holiday together to the island of Cyprus. What started as singing for fun on the beach ended up as an improvised live performance in front of the United Nations soldiers stationed on the island. Andersson and Ulvaeus were at this time recording their first album together, Lycka, which was to be released in September 1970. Fältskog and Lyngstad added backing vocals on several tracks during June, and the idea of their working together saw them launch a stage act, "Festfolket" (which translates from Swedish to "Party People" and in pronunciation also "engaged couples"), on 1 November 1970 in Gothenburg. The cabaret show attracted generally negative reviews, except for the performance of the Andersson and Ulvaeus hit "Hej, gamle man" ("Hello, Old Man")–the first Björn and Benny recording to feature all four. They also performed solo numbers from respective albums, but the lukewarm reception convinced the foursome to shelve plans for working together for the time being, and each soon concentrated on individual projects again. First record together "Hej, gamle man" "Hej, gamle man", a song about an old Salvation Army soldier, became the quartet's first hit. The record was credited to Björn & Benny and reached number five on the sales charts and number one on Svensktoppen, staying on the latter chart (which was not a chart linked to sales or airplay) for 15 weeks. It was during 1971 that the four artists began working together more, adding vocals to the others' recordings. Fältskog, Andersson and Ulvaeus toured together in May, while Lyngstad toured on her own. Frequent recording sessions brought the foursome closer together during the summer. 1970–1973: Forming the group After the 1970 release of Lycka, two more singles credited to "Björn & Benny" were released in Sweden, "Det kan ingen doktor hjälpa" ("No Doctor Can Help with That") and "Tänk om jorden vore ung" ("Imagine If Earth Was Young"), with more prominent vocals by Fältskog and Lyngstad–and moderate chart success. Fältskog and Ulvaeus, now married, started performing together with Andersson on a regular basis at the Swedish folkparks in the middle of 1971.

Most of her biggest hits were self-composed, which was quite unusual for a female singer in the 1960s. Agnetha released four solo LPs between 1968 and 1971. She had many successful singles in the Swedish charts. During filming of a Swedish TV special in May 1969, Fältskog met Ulvaeus and they married on 6 July 1971. Fältskog and Ulvaeus eventually were involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to Fältskog's third studio album, Som jag är ("As I Am") (1970). In 1972, Fältskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Fältskog released five studio albums. First live performance and the start of "Festfolket" An attempt at combining their talents occurred in April 1970 when the two couples went on holiday together to the island of Cyprus. What started as singing for fun on the beach ended up as an improvised live performance in front of the United Nations soldiers stationed on the island. Andersson and Ulvaeus were at this time recording their first album together, Lycka, which was to be released in September 1970. Fältskog and Lyngstad added backing vocals on several tracks during June, and the idea of their working together saw them launch a stage act, "Festfolket" (which translates from Swedish to "Party People" and in pronunciation also "engaged couples"), on 1 November 1970 in Gothenburg. The cabaret show attracted generally negative reviews, except for the performance of the Andersson and Ulvaeus hit "Hej, gamle man" ("Hello, Old Man")–the first Björn and Benny recording to feature all four. They also performed solo numbers from respective albums, but the lukewarm reception convinced the foursome to shelve plans for working together for the time being, and each soon concentrated on individual projects again. First record together "Hej, gamle man" "Hej, gamle man", a song about an old Salvation Army soldier, became the quartet's first hit. The record was credited to Björn & Benny and reached number five on the sales charts and number one on Svensktoppen, staying on the latter chart (which was not a chart linked to sales or airplay) for 15 weeks. It was during 1971 that the four artists began working together more, adding vocals to the others' recordings. Fältskog, Andersson and Ulvaeus toured together in May, while Lyngstad toured on her own. Frequent recording sessions brought the foursome closer together during the summer. 1970–1973: Forming the group After the 1970 release of Lycka, two more singles credited to "Björn & Benny" were released in Sweden, "Det kan ingen doktor hjälpa" ("No Doctor Can Help with That") and "Tänk om jorden vore ung" ("Imagine If Earth Was Young"), with more prominent vocals by Fältskog and Lyngstad–and moderate chart success. Fältskog and Ulvaeus, now married, started performing together with Andersson on a regular basis at the Swedish folkparks in the middle of 1971.

Most of her biggest hits were self-composed, which was quite unusual for a female singer in the 1960s. Agnetha released four solo LPs between 1968 and 1971. She had many successful singles in the Swedish charts. During filming of a Swedish TV special in May 1969, Fältskog met Ulvaeus and they married on 6 July 1971. Fältskog and Ulvaeus eventually were involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to Fältskog's third studio album, Som jag är ("As I Am") (1970). In 1972, Fältskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Fältskog released five studio albums. First live performance and the start of "Festfolket" An attempt at combining their talents occurred in April 1970 when the two couples went on holiday together to the island of Cyprus. What started as singing for fun on the beach ended up as an improvised live performance in front of the United Nations soldiers stationed on the island. Andersson and Ulvaeus were at this time recording their first album together, Lycka, which was to be released in September 1970. Fältskog and Lyngstad added backing vocals on several tracks during June, and the idea of their working together saw them launch a stage act, "Festfolket" (which translates from Swedish to "Party People" and in pronunciation also "engaged couples"), on 1 November 1970 in Gothenburg. The cabaret show attracted generally negative reviews, except for the performance of the Andersson and Ulvaeus hit "Hej, gamle man" ("Hello, Old Man")–the first Björn and Benny recording to feature all four. They also performed solo numbers from respective albums, but the lukewarm reception convinced the foursome to shelve plans for working together for the time being, and each soon concentrated on individual projects again. First record together "Hej, gamle man" "Hej, gamle man", a song about an old Salvation Army soldier, became the quartet's first hit. The record was credited to Björn & Benny and reached number five on the sales charts and number one on Svensktoppen, staying on the latter chart (which was not a chart linked to sales or airplay) for 15 weeks. It was during 1971 that the four artists began working together more, adding vocals to the others' recordings. Fältskog, Andersson and Ulvaeus toured together in May, while Lyngstad toured on her own. Frequent recording sessions brought the foursome closer together during the summer. 1970–1973: Forming the group After the 1970 release of Lycka, two more singles credited to "Björn & Benny" were released in Sweden, "Det kan ingen doktor hjälpa" ("No Doctor Can Help with That") and "Tänk om jorden vore ung" ("Imagine If Earth Was Young"), with more prominent vocals by Fältskog and Lyngstad–and moderate chart success. Fältskog and Ulvaeus, now married, started performing together with Andersson on a regular basis at the Swedish folkparks in the middle of 1971.

Stig Anderson, founder and owner of Polar Music, was determined to break into the mainstream international market with music by Andersson and Ulvaeus. "One day the pair of you will write a song that becomes a worldwide hit," he predicted. Stig Anderson encouraged Ulvaeus and Andersson to write a song for Melodifestivalen, and after two rejected entries in 1971, Andersson and Ulvaeus submitted their new song "Säg det med en sång" ("Say It with a Song") for the 1972 contest, choosing newcomer Lena Anderson to perform. The song came in third place, encouraging Stig Anderson, and became a hit in Sweden. The first signs of foreign success came as a surprise, as the Andersson and Ulvaeus single "She's My Kind of Girl" was released through Epic Records in Japan in March 1972, giving the duo a Top 10 hit. Two more singles were released in Japan, "En Carousel" ("En Karusell" in Scandinavia, an earlier version of "Merry-Go-Round") and "Love Has Its Ways" (a song they wrote with Kōichi Morita). First hit as Björn, Benny, Agnetha & Anni-Frid Ulvaeus and Andersson persevered with their songwriting and experimented with new sounds and vocal arrangements. "People Need Love" was released in June 1972, featuring guest vocals by the women, who were now given much greater prominence. Stig Anderson released it as a single, credited to Björn & Benny, Agnetha & Anni-Frid. The song peaked at number 17 in the Swedish combined single and album charts, enough to convince them they were on to something. The single also became the first record to chart for the quartet in the United States, where it peaked at number 114 on the Cashbox singles chart and number 117 on the Record World singles chart. Labelled as Björn & Benny (with Svenska Flicka- meaning Swedish Girl), it was released there through Playboy Records. This association with Playboy caused much confusion, many mistaking it for soft-core porn, including the record companies in the US and the UK, according to Ulvaeus, since it was common in Sweden at the time. According to Stig Anderson, "People Need Love" could have been a much bigger American hit, but a small label like Playboy Records did not have the distribution resources to meet the demand for the single from retailers and radio programmers. "Ring Ring" In 1973, the band and their manager Stig Anderson decided to have another try at Melodifestivalen, this time with the song "Ring Ring". The studio sessions were handled by Michael B. Tretow, who experimented with a "wall of sound" production technique that became a distinctive new sound thereafter associated with ABBA. Stig Anderson arranged an English translation of the lyrics by Neil Sedaka and Phil Cody and they thought this would be a success. However, on 10 February 1973, the song came third in Melodifestivalen; thus it never reached the Eurovision Song Contest itself. Nevertheless, the group released their debut studio album, also called Ring Ring.

Stig Anderson, founder and owner of Polar Music, was determined to break into the mainstream international market with music by Andersson and Ulvaeus. "One day the pair of you will write a song that becomes a worldwide hit," he predicted. Stig Anderson encouraged Ulvaeus and Andersson to write a song for Melodifestivalen, and after two rejected entries in 1971, Andersson and Ulvaeus submitted their new song "Säg det med en sång" ("Say It with a Song") for the 1972 contest, choosing newcomer Lena Anderson to perform. The song came in third place, encouraging Stig Anderson, and became a hit in Sweden. The first signs of foreign success came as a surprise, as the Andersson and Ulvaeus single "She's My Kind of Girl" was released through Epic Records in Japan in March 1972, giving the duo a Top 10 hit. Two more singles were released in Japan, "En Carousel" ("En Karusell" in Scandinavia, an earlier version of "Merry-Go-Round") and "Love Has Its Ways" (a song they wrote with Kōichi Morita). First hit as Björn, Benny, Agnetha & Anni-Frid Ulvaeus and Andersson persevered with their songwriting and experimented with new sounds and vocal arrangements. "People Need Love" was released in June 1972, featuring guest vocals by the women, who were now given much greater prominence. Stig Anderson released it as a single, credited to Björn & Benny, Agnetha & Anni-Frid. The song peaked at number 17 in the Swedish combined single and album charts, enough to convince them they were on to something. The single also became the first record to chart for the quartet in the United States, where it peaked at number 114 on the Cashbox singles chart and number 117 on the Record World singles chart. Labelled as Björn & Benny (with Svenska Flicka- meaning Swedish Girl), it was released there through Playboy Records. This association with Playboy caused much confusion, many mistaking it for soft-core porn, including the record companies in the US and the UK, according to Ulvaeus, since it was common in Sweden at the time. According to Stig Anderson, "People Need Love" could have been a much bigger American hit, but a small label like Playboy Records did not have the distribution resources to meet the demand for the single from retailers and radio programmers. "Ring Ring" In 1973, the band and their manager Stig Anderson decided to have another try at Melodifestivalen, this time with the song "Ring Ring". The studio sessions were handled by Michael B. Tretow, who experimented with a "wall of sound" production technique that became a distinctive new sound thereafter associated with ABBA. Stig Anderson arranged an English translation of the lyrics by Neil Sedaka and Phil Cody and they thought this would be a success. However, on 10 February 1973, the song came third in Melodifestivalen; thus it never reached the Eurovision Song Contest itself. Nevertheless, the group released their debut studio album, also called Ring Ring.

Stig Anderson, founder and owner of Polar Music, was determined to break into the mainstream international market with music by Andersson and Ulvaeus. "One day the pair of you will write a song that becomes a worldwide hit," he predicted. Stig Anderson encouraged Ulvaeus and Andersson to write a song for Melodifestivalen, and after two rejected entries in 1971, Andersson and Ulvaeus submitted their new song "Säg det med en sång" ("Say It with a Song") for the 1972 contest, choosing newcomer Lena Anderson to perform. The song came in third place, encouraging Stig Anderson, and became a hit in Sweden. The first signs of foreign success came as a surprise, as the Andersson and Ulvaeus single "She's My Kind of Girl" was released through Epic Records in Japan in March 1972, giving the duo a Top 10 hit. Two more singles were released in Japan, "En Carousel" ("En Karusell" in Scandinavia, an earlier version of "Merry-Go-Round") and "Love Has Its Ways" (a song they wrote with Kōichi Morita). First hit as Björn, Benny, Agnetha & Anni-Frid Ulvaeus and Andersson persevered with their songwriting and experimented with new sounds and vocal arrangements. "People Need Love" was released in June 1972, featuring guest vocals by the women, who were now given much greater prominence. Stig Anderson released it as a single, credited to Björn & Benny, Agnetha & Anni-Frid. The song peaked at number 17 in the Swedish combined single and album charts, enough to convince them they were on to something. The single also became the first record to chart for the quartet in the United States, where it peaked at number 114 on the Cashbox singles chart and number 117 on the Record World singles chart. Labelled as Björn & Benny (with Svenska Flicka- meaning Swedish Girl), it was released there through Playboy Records. This association with Playboy caused much confusion, many mistaking it for soft-core porn, including the record companies in the US and the UK, according to Ulvaeus, since it was common in Sweden at the time. According to Stig Anderson, "People Need Love" could have been a much bigger American hit, but a small label like Playboy Records did not have the distribution resources to meet the demand for the single from retailers and radio programmers. "Ring Ring" In 1973, the band and their manager Stig Anderson decided to have another try at Melodifestivalen, this time with the song "Ring Ring". The studio sessions were handled by Michael B. Tretow, who experimented with a "wall of sound" production technique that became a distinctive new sound thereafter associated with ABBA. Stig Anderson arranged an English translation of the lyrics by Neil Sedaka and Phil Cody and they thought this would be a success. However, on 10 February 1973, the song came third in Melodifestivalen; thus it never reached the Eurovision Song Contest itself. Nevertheless, the group released their debut studio album, also called Ring Ring.

The album did well and the "Ring Ring" single was a hit in many parts of Europe and also in South Africa. However, Stig Anderson felt that the true breakthrough could only come with a UK or US hit. When Agnetha Fältskog gave birth to her daughter Linda in 1973, she was replaced for a short period by Inger Brundin on a trip to West Germany. Official naming In 1973, Stig Anderson, tired of unwieldy names, started to refer to the group privately and publicly as ABBA (a palindrome). At first, this was a play on words, as Abba is also the name of a well-known fish-canning company in Sweden, and itself an abbreviation. However, since the fish-canners were unknown outside Sweden, Anderson came to believe the name would work in international markets. A competition to find a suitable name for the group was held in a Gothenburg newspaper and it was officially announced in the summer that the group were to be known as "ABBA". The group negotiated with the canners for the rights to the name. Fred Bronson reported for Billboard that Fältskog told him in a 1988 interview that "[ABBA] had to ask permission and the factory said, 'O.K., as long as you don't make us feel ashamed for what you're doing. "ABBA" is an acronym formed from the first letters of each group member's first name: Agnetha, Björn, Benny, Anni-Frid. The earliest known example of "ABBA" written on paper is on a recording session sheet from the Metronome Studio in Stockholm dated 16 October 1973. This was first written as "Björn, Benny, Agnetha & Frida", but was subsequently crossed out with "ABBA" written in large letters on top. Official logo Their official logo, distinct with the backward 'B', was designed by Rune Söderqvist, who designed most of ABBA's record sleeves. The ambigram first appeared on the French compilation album, Golden Double Album, released in May 1976 by Disques Vogue, and would henceforth be used for all official releases. The idea for the official logo was made by the German photographer on a velvet jumpsuit photo shoot for the teenage magazine Bravo. In the photo, the ABBA members held giant initial letters of their names. After the pictures were made, Heilemann found out that Benny Andersson reversed his letter "B"; this prompted discussions about the mirrored "B", and the members of ABBA agreed on the mirrored letter. From 1976 onward, the first "B" in the logo version of the name was "mirror-image" reversed on the band's promotional material, thus becoming the group's registered trademark. Following their acquisition of the group's catalogue, PolyGram began using variations of the ABBA logo, employing a different font. In 1992, Polygram added a crown emblem to it for the first release of the ABBA Gold: Greatest Hits compilation. After Universal Music purchased PolyGram (and, thus, ABBA's label Polar Music International), control of the group's catalogue returned to Stockholm. Since then, the original logo has been reinstated on all official products.

The album did well and the "Ring Ring" single was a hit in many parts of Europe and also in South Africa. However, Stig Anderson felt that the true breakthrough could only come with a UK or US hit. When Agnetha Fältskog gave birth to her daughter Linda in 1973, she was replaced for a short period by Inger Brundin on a trip to West Germany. Official naming In 1973, Stig Anderson, tired of unwieldy names, started to refer to the group privately and publicly as ABBA (a palindrome). At first, this was a play on words, as Abba is also the name of a well-known fish-canning company in Sweden, and itself an abbreviation. However, since the fish-canners were unknown outside Sweden, Anderson came to believe the name would work in international markets. A competition to find a suitable name for the group was held in a Gothenburg newspaper and it was officially announced in the summer that the group were to be known as "ABBA". The group negotiated with the canners for the rights to the name. Fred Bronson reported for Billboard that Fältskog told him in a 1988 interview that "[ABBA] had to ask permission and the factory said, 'O.K., as long as you don't make us feel ashamed for what you're doing. "ABBA" is an acronym formed from the first letters of each group member's first name: Agnetha, Björn, Benny, Anni-Frid. The earliest known example of "ABBA" written on paper is on a recording session sheet from the Metronome Studio in Stockholm dated 16 October 1973. This was first written as "Björn, Benny, Agnetha & Frida", but was subsequently crossed out with "ABBA" written in large letters on top. Official logo Their official logo, distinct with the backward 'B', was designed by Rune Söderqvist, who designed most of ABBA's record sleeves. The ambigram first appeared on the French compilation album, Golden Double Album, released in May 1976 by Disques Vogue, and would henceforth be used for all official releases. The idea for the official logo was made by the German photographer on a velvet jumpsuit photo shoot for the teenage magazine Bravo. In the photo, the ABBA members held giant initial letters of their names. After the pictures were made, Heilemann found out that Benny Andersson reversed his letter "B"; this prompted discussions about the mirrored "B", and the members of ABBA agreed on the mirrored letter. From 1976 onward, the first "B" in the logo version of the name was "mirror-image" reversed on the band's promotional material, thus becoming the group's registered trademark. Following their acquisition of the group's catalogue, PolyGram began using variations of the ABBA logo, employing a different font. In 1992, Polygram added a crown emblem to it for the first release of the ABBA Gold: Greatest Hits compilation. After Universal Music purchased PolyGram (and, thus, ABBA's label Polar Music International), control of the group's catalogue returned to Stockholm. Since then, the original logo has been reinstated on all official products.

The album did well and the "Ring Ring" single was a hit in many parts of Europe and also in South Africa. However, Stig Anderson felt that the true breakthrough could only come with a UK or US hit. When Agnetha Fältskog gave birth to her daughter Linda in 1973, she was replaced for a short period by Inger Brundin on a trip to West Germany. Official naming In 1973, Stig Anderson, tired of unwieldy names, started to refer to the group privately and publicly as ABBA (a palindrome). At first, this was a play on words, as Abba is also the name of a well-known fish-canning company in Sweden, and itself an abbreviation. However, since the fish-canners were unknown outside Sweden, Anderson came to believe the name would work in international markets. A competition to find a suitable name for the group was held in a Gothenburg newspaper and it was officially announced in the summer that the group were to be known as "ABBA". The group negotiated with the canners for the rights to the name. Fred Bronson reported for Billboard that Fältskog told him in a 1988 interview that "[ABBA] had to ask permission and the factory said, 'O.K., as long as you don't make us feel ashamed for what you're doing. "ABBA" is an acronym formed from the first letters of each group member's first name: Agnetha, Björn, Benny, Anni-Frid. The earliest known example of "ABBA" written on paper is on a recording session sheet from the Metronome Studio in Stockholm dated 16 October 1973. This was first written as "Björn, Benny, Agnetha & Frida", but was subsequently crossed out with "ABBA" written in large letters on top. Official logo Their official logo, distinct with the backward 'B', was designed by Rune Söderqvist, who designed most of ABBA's record sleeves. The ambigram first appeared on the French compilation album, Golden Double Album, released in May 1976 by Disques Vogue, and would henceforth be used for all official releases. The idea for the official logo was made by the German photographer on a velvet jumpsuit photo shoot for the teenage magazine Bravo. In the photo, the ABBA members held giant initial letters of their names. After the pictures were made, Heilemann found out that Benny Andersson reversed his letter "B"; this prompted discussions about the mirrored "B", and the members of ABBA agreed on the mirrored letter. From 1976 onward, the first "B" in the logo version of the name was "mirror-image" reversed on the band's promotional material, thus becoming the group's registered trademark. Following their acquisition of the group's catalogue, PolyGram began using variations of the ABBA logo, employing a different font. In 1992, Polygram added a crown emblem to it for the first release of the ABBA Gold: Greatest Hits compilation. After Universal Music purchased PolyGram (and, thus, ABBA's label Polar Music International), control of the group's catalogue returned to Stockholm. Since then, the original logo has been reinstated on all official products.

1973–1976: Breakthrough Eurovision Song Contest 1974 As the group entered the Melodifestivalen with "Ring Ring" but failed to qualify as the 1973 Swedish entry, Stig Anderson immediately started planning for the 1974 contest. Ulvaeus, Andersson and Stig Anderson believed in the possibilities of using the Eurovision Song Contest as a way to make the music business aware of them as songwriters, as well as the band itself. In late 1973, they were invited by Swedish television to contribute a song for the Melodifestivalen 1974 and from a number of new songs, the upbeat song "Waterloo" was chosen; the group were now inspired by the growing glam rock scene in England. ABBA won their nation's hearts on Swedish television on 9 February 1974, and with this third attempt were far more experienced and better prepared for the Eurovision Song Contest. Winning the 1974 Eurovision Song Contest on 6 April 1974 (and singing "Waterloo" in English instead of their native tongue) gave ABBA the chance to tour Europe and perform on major television shows; thus the band saw the "Waterloo" single chart in many European countries. Following their success at the Eurovision Song Contest, ABBA spent an evening of glory partying in the appropriately named first-floor Napoleon suite of The Grand Brighton Hotel. "Waterloo" was ABBA's first major hit in numerous countries, becoming their first number-one single in nine western and northern European countries, including the big markets of the UK and West Germany, and in South Africa. It also made the top ten in several other countries, including rising to number three in Spain, number four in Australia and France, and number seven in Canada. In the United States, the song peaked at number six on the Billboard Hot 100 chart, paving the way for their first album and their first trip as a group there. Albeit a short promotional visit, it included their first performance on American television, The Mike Douglas Show. The album Waterloo only peaked at number 145 on the Billboard 200 chart, but received unanimous high praise from the US critics: Los Angeles Times called it "a compelling and fascinating debut album that captures the spirit of mainstream pop quite effectively ... an immensely enjoyable and pleasant project", while Creem characterised it as "a perfect blend of exceptional, lovable compositions". ABBA's follow-up single, "Honey, Honey", peaked at number 27 on the US Billboard Hot 100, reached the top twenty in several other countries, and was a number-two hit in West Germany although it only reached the top 30 in Australia and the US. In the United Kingdom, ABBA's British record label, Epic, decided to re-release a remixed version of "Ring Ring" instead of "Honey, Honey", and a cover version of the latter by Sweet Dreams peaked at number 10. Both records debuted on the UK chart within one week of each other. "Ring Ring" failed to reach the Top 30 in the UK, increasing growing speculation that the group were simply a Eurovision one-hit wonder.

1973–1976: Breakthrough Eurovision Song Contest 1974 As the group entered the Melodifestivalen with "Ring Ring" but failed to qualify as the 1973 Swedish entry, Stig Anderson immediately started planning for the 1974 contest. Ulvaeus, Andersson and Stig Anderson believed in the possibilities of using the Eurovision Song Contest as a way to make the music business aware of them as songwriters, as well as the band itself. In late 1973, they were invited by Swedish television to contribute a song for the Melodifestivalen 1974 and from a number of new songs, the upbeat song "Waterloo" was chosen; the group were now inspired by the growing glam rock scene in England. ABBA won their nation's hearts on Swedish television on 9 February 1974, and with this third attempt were far more experienced and better prepared for the Eurovision Song Contest. Winning the 1974 Eurovision Song Contest on 6 April 1974 (and singing "Waterloo" in English instead of their native tongue) gave ABBA the chance to tour Europe and perform on major television shows; thus the band saw the "Waterloo" single chart in many European countries. Following their success at the Eurovision Song Contest, ABBA spent an evening of glory partying in the appropriately named first-floor Napoleon suite of The Grand Brighton Hotel. "Waterloo" was ABBA's first major hit in numerous countries, becoming their first number-one single in nine western and northern European countries, including the big markets of the UK and West Germany, and in South Africa. It also made the top ten in several other countries, including rising to number three in Spain, number four in Australia and France, and number seven in Canada. In the United States, the song peaked at number six on the Billboard Hot 100 chart, paving the way for their first album and their first trip as a group there. Albeit a short promotional visit, it included their first performance on American television, The Mike Douglas Show. The album Waterloo only peaked at number 145 on the Billboard 200 chart, but received unanimous high praise from the US critics: Los Angeles Times called it "a compelling and fascinating debut album that captures the spirit of mainstream pop quite effectively ... an immensely enjoyable and pleasant project", while Creem characterised it as "a perfect blend of exceptional, lovable compositions". ABBA's follow-up single, "Honey, Honey", peaked at number 27 on the US Billboard Hot 100, reached the top twenty in several other countries, and was a number-two hit in West Germany although it only reached the top 30 in Australia and the US. In the United Kingdom, ABBA's British record label, Epic, decided to re-release a remixed version of "Ring Ring" instead of "Honey, Honey", and a cover version of the latter by Sweet Dreams peaked at number 10. Both records debuted on the UK chart within one week of each other. "Ring Ring" failed to reach the Top 30 in the UK, increasing growing speculation that the group were simply a Eurovision one-hit wonder.

1973–1976: Breakthrough Eurovision Song Contest 1974 As the group entered the Melodifestivalen with "Ring Ring" but failed to qualify as the 1973 Swedish entry, Stig Anderson immediately started planning for the 1974 contest. Ulvaeus, Andersson and Stig Anderson believed in the possibilities of using the Eurovision Song Contest as a way to make the music business aware of them as songwriters, as well as the band itself. In late 1973, they were invited by Swedish television to contribute a song for the Melodifestivalen 1974 and from a number of new songs, the upbeat song "Waterloo" was chosen; the group were now inspired by the growing glam rock scene in England. ABBA won their nation's hearts on Swedish television on 9 February 1974, and with this third attempt were far more experienced and better prepared for the Eurovision Song Contest. Winning the 1974 Eurovision Song Contest on 6 April 1974 (and singing "Waterloo" in English instead of their native tongue) gave ABBA the chance to tour Europe and perform on major television shows; thus the band saw the "Waterloo" single chart in many European countries. Following their success at the Eurovision Song Contest, ABBA spent an evening of glory partying in the appropriately named first-floor Napoleon suite of The Grand Brighton Hotel. "Waterloo" was ABBA's first major hit in numerous countries, becoming their first number-one single in nine western and northern European countries, including the big markets of the UK and West Germany, and in South Africa. It also made the top ten in several other countries, including rising to number three in Spain, number four in Australia and France, and number seven in Canada. In the United States, the song peaked at number six on the Billboard Hot 100 chart, paving the way for their first album and their first trip as a group there. Albeit a short promotional visit, it included their first performance on American television, The Mike Douglas Show. The album Waterloo only peaked at number 145 on the Billboard 200 chart, but received unanimous high praise from the US critics: Los Angeles Times called it "a compelling and fascinating debut album that captures the spirit of mainstream pop quite effectively ... an immensely enjoyable and pleasant project", while Creem characterised it as "a perfect blend of exceptional, lovable compositions". ABBA's follow-up single, "Honey, Honey", peaked at number 27 on the US Billboard Hot 100, reached the top twenty in several other countries, and was a number-two hit in West Germany although it only reached the top 30 in Australia and the US. In the United Kingdom, ABBA's British record label, Epic, decided to re-release a remixed version of "Ring Ring" instead of "Honey, Honey", and a cover version of the latter by Sweet Dreams peaked at number 10. Both records debuted on the UK chart within one week of each other. "Ring Ring" failed to reach the Top 30 in the UK, increasing growing speculation that the group were simply a Eurovision one-hit wonder.

Post-Eurovision In November 1974, ABBA embarked on their first European tour, playing dates in Denmark, West Germany and Austria. It was not as successful as the band had hoped, since most of the venues did not sell out. Due to a lack of demand, they were even forced to cancel a few shows, including a sole concert scheduled in Switzerland. The second leg of the tour, which took them through Scandinavia in January 1975, was very different. They played to full houses everywhere and finally got the reception they had aimed for. Live performances continued in the middle of 1975 when ABBA embarked on a fourteen open-air date tour of Sweden and Finland. Their Stockholm show at the Gröna Lund amusement park had an estimated audience of 19,200. Björn Ulvaeus later said that "If you look at the singles we released straight after Waterloo, we were trying to be more like The Sweet, a semi-glam rock group, which was stupid because we were always a pop group." In late 1974, "So Long" was released as a single in the United Kingdom but it received no airplay from Radio 1 and failed to chart in the UK; the only countries in which it was successful were Austria, Sweden and Germany, reaching the top ten in the first two and number 21 in the latter. In the middle of 1975, ABBA released "I Do, I Do, I Do, I Do, I Do", which again received little airplay on Radio 1, but did manage to climb to number 38 on the UK chart, while making top five in several northern and western European countries, and number one in South Africa. Later that year, the release of their self-titled third studio album ABBA and single "SOS" brought back their chart presence in the UK, where the single hit number six and the album peaked at number 13. "SOS" also became ABBA's second number-one single in Germany, their third in Australia and their first in France, plus reached number two in several other European countries, including Italy. Success was further solidified with "Mamma Mia" reaching number-one in the United Kingdom, Germany and Australia and the top two in a few other western and northern European countries. In the United States, both "I Do, I Do, I Do, I Do, I Do" and "SOS" peaked at number 15 on the Billboard Hot 100 chart, with the latter picking up the BMI Award along the way as one of the most played songs on American radio in 1975. "Mamma Mia", however, stalled at number 32. In Canada, the three songs rose to number 12, nine and 18, respectively. The success of the group in the United States had until that time been limited to single releases. By early 1976, the group already had four Top 30 singles on the US charts, but the album market proved to be tough to crack.

Post-Eurovision In November 1974, ABBA embarked on their first European tour, playing dates in Denmark, West Germany and Austria. It was not as successful as the band had hoped, since most of the venues did not sell out. Due to a lack of demand, they were even forced to cancel a few shows, including a sole concert scheduled in Switzerland. The second leg of the tour, which took them through Scandinavia in January 1975, was very different. They played to full houses everywhere and finally got the reception they had aimed for. Live performances continued in the middle of 1975 when ABBA embarked on a fourteen open-air date tour of Sweden and Finland. Their Stockholm show at the Gröna Lund amusement park had an estimated audience of 19,200. Björn Ulvaeus later said that "If you look at the singles we released straight after Waterloo, we were trying to be more like The Sweet, a semi-glam rock group, which was stupid because we were always a pop group." In late 1974, "So Long" was released as a single in the United Kingdom but it received no airplay from Radio 1 and failed to chart in the UK; the only countries in which it was successful were Austria, Sweden and Germany, reaching the top ten in the first two and number 21 in the latter. In the middle of 1975, ABBA released "I Do, I Do, I Do, I Do, I Do", which again received little airplay on Radio 1, but did manage to climb to number 38 on the UK chart, while making top five in several northern and western European countries, and number one in South Africa. Later that year, the release of their self-titled third studio album ABBA and single "SOS" brought back their chart presence in the UK, where the single hit number six and the album peaked at number 13. "SOS" also became ABBA's second number-one single in Germany, their third in Australia and their first in France, plus reached number two in several other European countries, including Italy. Success was further solidified with "Mamma Mia" reaching number-one in the United Kingdom, Germany and Australia and the top two in a few other western and northern European countries. In the United States, both "I Do, I Do, I Do, I Do, I Do" and "SOS" peaked at number 15 on the Billboard Hot 100 chart, with the latter picking up the BMI Award along the way as one of the most played songs on American radio in 1975. "Mamma Mia", however, stalled at number 32. In Canada, the three songs rose to number 12, nine and 18, respectively. The success of the group in the United States had until that time been limited to single releases. By early 1976, the group already had four Top 30 singles on the US charts, but the album market proved to be tough to crack.

Post-Eurovision In November 1974, ABBA embarked on their first European tour, playing dates in Denmark, West Germany and Austria. It was not as successful as the band had hoped, since most of the venues did not sell out. Due to a lack of demand, they were even forced to cancel a few shows, including a sole concert scheduled in Switzerland. The second leg of the tour, which took them through Scandinavia in January 1975, was very different. They played to full houses everywhere and finally got the reception they had aimed for. Live performances continued in the middle of 1975 when ABBA embarked on a fourteen open-air date tour of Sweden and Finland. Their Stockholm show at the Gröna Lund amusement park had an estimated audience of 19,200. Björn Ulvaeus later said that "If you look at the singles we released straight after Waterloo, we were trying to be more like The Sweet, a semi-glam rock group, which was stupid because we were always a pop group." In late 1974, "So Long" was released as a single in the United Kingdom but it received no airplay from Radio 1 and failed to chart in the UK; the only countries in which it was successful were Austria, Sweden and Germany, reaching the top ten in the first two and number 21 in the latter. In the middle of 1975, ABBA released "I Do, I Do, I Do, I Do, I Do", which again received little airplay on Radio 1, but did manage to climb to number 38 on the UK chart, while making top five in several northern and western European countries, and number one in South Africa. Later that year, the release of their self-titled third studio album ABBA and single "SOS" brought back their chart presence in the UK, where the single hit number six and the album peaked at number 13. "SOS" also became ABBA's second number-one single in Germany, their third in Australia and their first in France, plus reached number two in several other European countries, including Italy. Success was further solidified with "Mamma Mia" reaching number-one in the United Kingdom, Germany and Australia and the top two in a few other western and northern European countries. In the United States, both "I Do, I Do, I Do, I Do, I Do" and "SOS" peaked at number 15 on the Billboard Hot 100 chart, with the latter picking up the BMI Award along the way as one of the most played songs on American radio in 1975. "Mamma Mia", however, stalled at number 32. In Canada, the three songs rose to number 12, nine and 18, respectively. The success of the group in the United States had until that time been limited to single releases. By early 1976, the group already had four Top 30 singles on the US charts, but the album market proved to be tough to crack.

The eponymous ABBA album generated three American hits, but it only peaked at number 165 on the Cashbox album chart and number 174 on the Billboard 200 chart. Opinions were voiced, by Creem in particular, that in the US ABBA had endured "a very sloppy promotional campaign". Nevertheless, the group enjoyed warm reviews from the American press. Cashbox went as far as saying that "there is a recurrent thread of taste and artistry inherent in Abba's marketing, creativity and presentation that makes it almost embarrassing to critique their efforts", while Creem wrote: "SOS is surrounded on this LP by so many good tunes that the mind boggles." In Australia, the airing of the music videos for "I Do, I Do, I Do, I Do, I Do" and "Mamma Mia" on the nationally broadcast TV pop show Countdown (which premiered in November 1974) saw the band rapidly gain enormous popularity, and Countdown become a key promoter of the group via their distinctive music videos. This started an immense interest for ABBA in Australia, resulting in "I Do, I Do, I Do, I Do, I Do" staying at number one for three weeks, then "SOS" spending a week there, followed by "Mamma Mia" staying there for ten weeks, and the album holding down the number one position for months. The three songs were also successful in nearby New Zealand with the first two topping that chart and the third reaching number two. 1976–1981: Superstardom Greatest Hits and Arrival In March 1976, the band released the compilation album Greatest Hits. It became their first UK number-one album, and also took ABBA into the Top 50 on the US album charts for the first time, eventually selling more than a million copies there. Also included on Greatest Hits was a new single, "Fernando", which went to number-one in at least thirteen countries all over the world, including the UK, Germany, France, Australia, South Africa and Mexico, and the top five in most other significant markets, including, at number four, becoming their biggest hit to date in Canada; the single went on to sell over 10 million copies worldwide. In Australia, "Fernando" occupied the top position for a then record breaking 14 weeks (and stayed in the chart for 40 weeks), and was the longest-running chart-topper there for over 40 years until it was overtaken by Ed Sheeran's "Shape of You" in May 2017. It still remains as one of the best-selling singles of all time in Australia. Also in 1976, the group received its first international prize, with "Fernando" being chosen as the "Best Studio Recording of 1975". In the United States, "Fernando" reached the Top 10 of the Cashbox Top 100 singles chart and number 13 on the Billboard Hot 100. It topped the Billboard Adult Contemporary chart, ABBA's first American number-one single on any chart.

The eponymous ABBA album generated three American hits, but it only peaked at number 165 on the Cashbox album chart and number 174 on the Billboard 200 chart. Opinions were voiced, by Creem in particular, that in the US ABBA had endured "a very sloppy promotional campaign". Nevertheless, the group enjoyed warm reviews from the American press. Cashbox went as far as saying that "there is a recurrent thread of taste and artistry inherent in Abba's marketing, creativity and presentation that makes it almost embarrassing to critique their efforts", while Creem wrote: "SOS is surrounded on this LP by so many good tunes that the mind boggles." In Australia, the airing of the music videos for "I Do, I Do, I Do, I Do, I Do" and "Mamma Mia" on the nationally broadcast TV pop show Countdown (which premiered in November 1974) saw the band rapidly gain enormous popularity, and Countdown become a key promoter of the group via their distinctive music videos. This started an immense interest for ABBA in Australia, resulting in "I Do, I Do, I Do, I Do, I Do" staying at number one for three weeks, then "SOS" spending a week there, followed by "Mamma Mia" staying there for ten weeks, and the album holding down the number one position for months. The three songs were also successful in nearby New Zealand with the first two topping that chart and the third reaching number two. 1976–1981: Superstardom Greatest Hits and Arrival In March 1976, the band released the compilation album Greatest Hits. It became their first UK number-one album, and also took ABBA into the Top 50 on the US album charts for the first time, eventually selling more than a million copies there. Also included on Greatest Hits was a new single, "Fernando", which went to number-one in at least thirteen countries all over the world, including the UK, Germany, France, Australia, South Africa and Mexico, and the top five in most other significant markets, including, at number four, becoming their biggest hit to date in Canada; the single went on to sell over 10 million copies worldwide. In Australia, "Fernando" occupied the top position for a then record breaking 14 weeks (and stayed in the chart for 40 weeks), and was the longest-running chart-topper there for over 40 years until it was overtaken by Ed Sheeran's "Shape of You" in May 2017. It still remains as one of the best-selling singles of all time in Australia. Also in 1976, the group received its first international prize, with "Fernando" being chosen as the "Best Studio Recording of 1975". In the United States, "Fernando" reached the Top 10 of the Cashbox Top 100 singles chart and number 13 on the Billboard Hot 100. It topped the Billboard Adult Contemporary chart, ABBA's first American number-one single on any chart.

The eponymous ABBA album generated three American hits, but it only peaked at number 165 on the Cashbox album chart and number 174 on the Billboard 200 chart. Opinions were voiced, by Creem in particular, that in the US ABBA had endured "a very sloppy promotional campaign". Nevertheless, the group enjoyed warm reviews from the American press. Cashbox went as far as saying that "there is a recurrent thread of taste and artistry inherent in Abba's marketing, creativity and presentation that makes it almost embarrassing to critique their efforts", while Creem wrote: "SOS is surrounded on this LP by so many good tunes that the mind boggles." In Australia, the airing of the music videos for "I Do, I Do, I Do, I Do, I Do" and "Mamma Mia" on the nationally broadcast TV pop show Countdown (which premiered in November 1974) saw the band rapidly gain enormous popularity, and Countdown become a key promoter of the group via their distinctive music videos. This started an immense interest for ABBA in Australia, resulting in "I Do, I Do, I Do, I Do, I Do" staying at number one for three weeks, then "SOS" spending a week there, followed by "Mamma Mia" staying there for ten weeks, and the album holding down the number one position for months. The three songs were also successful in nearby New Zealand with the first two topping that chart and the third reaching number two. 1976–1981: Superstardom Greatest Hits and Arrival In March 1976, the band released the compilation album Greatest Hits. It became their first UK number-one album, and also took ABBA into the Top 50 on the US album charts for the first time, eventually selling more than a million copies there. Also included on Greatest Hits was a new single, "Fernando", which went to number-one in at least thirteen countries all over the world, including the UK, Germany, France, Australia, South Africa and Mexico, and the top five in most other significant markets, including, at number four, becoming their biggest hit to date in Canada; the single went on to sell over 10 million copies worldwide. In Australia, "Fernando" occupied the top position for a then record breaking 14 weeks (and stayed in the chart for 40 weeks), and was the longest-running chart-topper there for over 40 years until it was overtaken by Ed Sheeran's "Shape of You" in May 2017. It still remains as one of the best-selling singles of all time in Australia. Also in 1976, the group received its first international prize, with "Fernando" being chosen as the "Best Studio Recording of 1975". In the United States, "Fernando" reached the Top 10 of the Cashbox Top 100 singles chart and number 13 on the Billboard Hot 100. It topped the Billboard Adult Contemporary chart, ABBA's first American number-one single on any chart.

At the same time, a compilation named The Very Best of ABBA was released in Germany, becoming a number-one album there whereas the Greatest Hits compilation which followed a few months later ascended to number two in Germany, despite all similarities with The Very Best album. The group's fourth studio album, Arrival, a number-one best-seller in parts of Europe, the UK and Australia, and a number-three hit in Canada and Japan, represented a new level of accomplishment in both songwriting and studio work, prompting rave reviews from more rock-oriented UK music weeklies such as Melody Maker and New Musical Express, and mostly appreciative notices from US critics. Hit after hit flowed from Arrival: "Money, Money, Money", another number-one in Germany, France, Australia and other countries of western and northern Europe, plus number two in the UK; and, "Knowing Me, Knowing You", ABBA's sixth consecutive German number-one, as well as another UK number-one, plus a top five hit in many other countries, although it was only a number nine hit in Australia and France. The real sensation was the first single, "Dancing Queen", not only topping the charts in loyal markets like the UK, Germany, Sweden, several other western and northern European countries, and Australia, but also reaching number-one in the United States, Canada, the Soviet Union and Japan, and the top ten in France, Spain and Italy. All three songs were number-one hits in Mexico. In South Africa, ABBA had astounding success with each of "Fernando", "Dancing Queen" and "Knowing Me, Knowing You" being among the top 20 best-selling singles for 1976–77. In 1977, Arrival was nominated for the inaugural BRIT Award in the category "Best International Album of the Year". By this time ABBA were popular in the UK, most of Europe, Australia, New Zealand and Canada. In Frida – The DVD, Lyngstad explains how she and Fältskog developed as singers, as ABBA's recordings grew more complex over the years. The band's popularity in the United States would remain on a comparatively smaller scale, and "Dancing Queen" became the only Billboard Hot 100 number-one single ABBA with "Knowing Me, Knowing You" later peaking at number seven; "Money, Money, Money", however, had barely charted there or in Canada (where "Knowing Me, Knowing You" had reached number five). They did, however, get three more singles to the number-one position on other Billboard US charts, including Billboard Adult Contemporary and Hot Dance Club Play). Nevertheless, Arrival finally became a true breakthrough release for ABBA on the US album market where it peaked at number 20 on the Billboard 200 chart and was certified gold by RIAA. European and Australian tour In January 1977, ABBA embarked on their first major tour. The group's status had changed dramatically and they were clearly regarded as superstars. They opened their much anticipated tour in Oslo, Norway, on 28 January, and mounted a lavishly produced spectacle that included a few scenes from their self-written mini-operetta The Girl with the Golden Hair.

At the same time, a compilation named The Very Best of ABBA was released in Germany, becoming a number-one album there whereas the Greatest Hits compilation which followed a few months later ascended to number two in Germany, despite all similarities with The Very Best album. The group's fourth studio album, Arrival, a number-one best-seller in parts of Europe, the UK and Australia, and a number-three hit in Canada and Japan, represented a new level of accomplishment in both songwriting and studio work, prompting rave reviews from more rock-oriented UK music weeklies such as Melody Maker and New Musical Express, and mostly appreciative notices from US critics. Hit after hit flowed from Arrival: "Money, Money, Money", another number-one in Germany, France, Australia and other countries of western and northern Europe, plus number two in the UK; and, "Knowing Me, Knowing You", ABBA's sixth consecutive German number-one, as well as another UK number-one, plus a top five hit in many other countries, although it was only a number nine hit in Australia and France. The real sensation was the first single, "Dancing Queen", not only topping the charts in loyal markets like the UK, Germany, Sweden, several other western and northern European countries, and Australia, but also reaching number-one in the United States, Canada, the Soviet Union and Japan, and the top ten in France, Spain and Italy. All three songs were number-one hits in Mexico. In South Africa, ABBA had astounding success with each of "Fernando", "Dancing Queen" and "Knowing Me, Knowing You" being among the top 20 best-selling singles for 1976–77. In 1977, Arrival was nominated for the inaugural BRIT Award in the category "Best International Album of the Year". By this time ABBA were popular in the UK, most of Europe, Australia, New Zealand and Canada. In Frida – The DVD, Lyngstad explains how she and Fältskog developed as singers, as ABBA's recordings grew more complex over the years. The band's popularity in the United States would remain on a comparatively smaller scale, and "Dancing Queen" became the only Billboard Hot 100 number-one single ABBA with "Knowing Me, Knowing You" later peaking at number seven; "Money, Money, Money", however, had barely charted there or in Canada (where "Knowing Me, Knowing You" had reached number five). They did, however, get three more singles to the number-one position on other Billboard US charts, including Billboard Adult Contemporary and Hot Dance Club Play). Nevertheless, Arrival finally became a true breakthrough release for ABBA on the US album market where it peaked at number 20 on the Billboard 200 chart and was certified gold by RIAA. European and Australian tour In January 1977, ABBA embarked on their first major tour. The group's status had changed dramatically and they were clearly regarded as superstars. They opened their much anticipated tour in Oslo, Norway, on 28 January, and mounted a lavishly produced spectacle that included a few scenes from their self-written mini-operetta The Girl with the Golden Hair.

At the same time, a compilation named The Very Best of ABBA was released in Germany, becoming a number-one album there whereas the Greatest Hits compilation which followed a few months later ascended to number two in Germany, despite all similarities with The Very Best album. The group's fourth studio album, Arrival, a number-one best-seller in parts of Europe, the UK and Australia, and a number-three hit in Canada and Japan, represented a new level of accomplishment in both songwriting and studio work, prompting rave reviews from more rock-oriented UK music weeklies such as Melody Maker and New Musical Express, and mostly appreciative notices from US critics. Hit after hit flowed from Arrival: "Money, Money, Money", another number-one in Germany, France, Australia and other countries of western and northern Europe, plus number two in the UK; and, "Knowing Me, Knowing You", ABBA's sixth consecutive German number-one, as well as another UK number-one, plus a top five hit in many other countries, although it was only a number nine hit in Australia and France. The real sensation was the first single, "Dancing Queen", not only topping the charts in loyal markets like the UK, Germany, Sweden, several other western and northern European countries, and Australia, but also reaching number-one in the United States, Canada, the Soviet Union and Japan, and the top ten in France, Spain and Italy. All three songs were number-one hits in Mexico. In South Africa, ABBA had astounding success with each of "Fernando", "Dancing Queen" and "Knowing Me, Knowing You" being among the top 20 best-selling singles for 1976–77. In 1977, Arrival was nominated for the inaugural BRIT Award in the category "Best International Album of the Year". By this time ABBA were popular in the UK, most of Europe, Australia, New Zealand and Canada. In Frida – The DVD, Lyngstad explains how she and Fältskog developed as singers, as ABBA's recordings grew more complex over the years. The band's popularity in the United States would remain on a comparatively smaller scale, and "Dancing Queen" became the only Billboard Hot 100 number-one single ABBA with "Knowing Me, Knowing You" later peaking at number seven; "Money, Money, Money", however, had barely charted there or in Canada (where "Knowing Me, Knowing You" had reached number five). They did, however, get three more singles to the number-one position on other Billboard US charts, including Billboard Adult Contemporary and Hot Dance Club Play). Nevertheless, Arrival finally became a true breakthrough release for ABBA on the US album market where it peaked at number 20 on the Billboard 200 chart and was certified gold by RIAA. European and Australian tour In January 1977, ABBA embarked on their first major tour. The group's status had changed dramatically and they were clearly regarded as superstars. They opened their much anticipated tour in Oslo, Norway, on 28 January, and mounted a lavishly produced spectacle that included a few scenes from their self-written mini-operetta The Girl with the Golden Hair.

The concert attracted immense media attention from across Europe and Australia. They continued the tour through Western Europe, visiting Gothenburg, Copenhagen, Berlin, Cologne, Amsterdam, Antwerp, Essen, Hanover, and Hamburg and ending with shows in the United Kingdom in Manchester, Birmingham, Glasgow and two sold-out concerts at London's Royal Albert Hall. Tickets for these two shows were available only by mail application and it was later revealed that the box-office received 3.5 million requests for tickets, enough to fill the venue 580 times. Along with praise ("ABBA turn out to be amazingly successful at reproducing their records", wrote Creem), there were complaints that "ABBA performed slickly...but with a zero personality coming across from a total of 16 people on stage" (Melody Maker). One of the Royal Albert Hall concerts was filmed as a reference for the filming of the Australian tour for what became ABBA: The Movie, though it is not exactly known how much of the concert was filmed. After the European leg of the tour, in March 1977, ABBA played 11 dates in Australia before a total of 160,000 people. The opening concert in Sydney at the Sydney Showground on 3 March to an audience of 20,000 was marred by torrential rain with Lyngstad slipping on the wet stage during the concert. However, all four members would later recall this concert as the most memorable of their career. Upon their arrival in Melbourne, a civic reception was held at the Melbourne Town Hall and ABBA appeared on the balcony to greet an enthusiastic crowd of 6,000. In Melbourne, the group gave three concerts at the Sidney Myer Music Bowl with 14,500 at each including the Australian Prime Minister Malcolm Fraser and his family. At the first Melbourne concert, an additional 16,000 people gathered outside the fenced-off area to listen to the concert. In Adelaide, the group performed one concert at Football Park in front of 20,000 people, with another 10,000 listening outside. During the first of five concerts in Perth, there was a bomb scare with everyone having to evacuate the Entertainment Centre. The trip was accompanied by mass hysteria and unprecedented media attention ("Swedish ABBA stirs box-office in Down Under tour...and the media coverage of the quartet rivals that set to cover the upcoming Royal tour of Australia", wrote Variety), and is captured on film in ABBA: The Movie, directed by Lasse Hallström. The Australian tour and its subsequent ABBA: The Movie produced some ABBA lore, as well. Fältskog's blonde good looks had long made her the band's "pin-up girl", a role she disdained. During the Australian tour, she performed in a skin-tight white jumpsuit, causing one Australian newspaper to use the headline "Agnetha's bottom tops dull show". When asked about this at a news conference, she replied: "Don't they have bottoms in Australia?" ABBA: The Album In December 1977, ABBA followed up Arrival with the more ambitious fifth album, ABBA: The Album, released to coincide with the debut of ABBA: The Movie.

The concert attracted immense media attention from across Europe and Australia. They continued the tour through Western Europe, visiting Gothenburg, Copenhagen, Berlin, Cologne, Amsterdam, Antwerp, Essen, Hanover, and Hamburg and ending with shows in the United Kingdom in Manchester, Birmingham, Glasgow and two sold-out concerts at London's Royal Albert Hall. Tickets for these two shows were available only by mail application and it was later revealed that the box-office received 3.5 million requests for tickets, enough to fill the venue 580 times. Along with praise ("ABBA turn out to be amazingly successful at reproducing their records", wrote Creem), there were complaints that "ABBA performed slickly...but with a zero personality coming across from a total of 16 people on stage" (Melody Maker). One of the Royal Albert Hall concerts was filmed as a reference for the filming of the Australian tour for what became ABBA: The Movie, though it is not exactly known how much of the concert was filmed. After the European leg of the tour, in March 1977, ABBA played 11 dates in Australia before a total of 160,000 people. The opening concert in Sydney at the Sydney Showground on 3 March to an audience of 20,000 was marred by torrential rain with Lyngstad slipping on the wet stage during the concert. However, all four members would later recall this concert as the most memorable of their career. Upon their arrival in Melbourne, a civic reception was held at the Melbourne Town Hall and ABBA appeared on the balcony to greet an enthusiastic crowd of 6,000. In Melbourne, the group gave three concerts at the Sidney Myer Music Bowl with 14,500 at each including the Australian Prime Minister Malcolm Fraser and his family. At the first Melbourne concert, an additional 16,000 people gathered outside the fenced-off area to listen to the concert. In Adelaide, the group performed one concert at Football Park in front of 20,000 people, with another 10,000 listening outside. During the first of five concerts in Perth, there was a bomb scare with everyone having to evacuate the Entertainment Centre. The trip was accompanied by mass hysteria and unprecedented media attention ("Swedish ABBA stirs box-office in Down Under tour...and the media coverage of the quartet rivals that set to cover the upcoming Royal tour of Australia", wrote Variety), and is captured on film in ABBA: The Movie, directed by Lasse Hallström. The Australian tour and its subsequent ABBA: The Movie produced some ABBA lore, as well. Fältskog's blonde good looks had long made her the band's "pin-up girl", a role she disdained. During the Australian tour, she performed in a skin-tight white jumpsuit, causing one Australian newspaper to use the headline "Agnetha's bottom tops dull show". When asked about this at a news conference, she replied: "Don't they have bottoms in Australia?" ABBA: The Album In December 1977, ABBA followed up Arrival with the more ambitious fifth album, ABBA: The Album, released to coincide with the debut of ABBA: The Movie.

The concert attracted immense media attention from across Europe and Australia. They continued the tour through Western Europe, visiting Gothenburg, Copenhagen, Berlin, Cologne, Amsterdam, Antwerp, Essen, Hanover, and Hamburg and ending with shows in the United Kingdom in Manchester, Birmingham, Glasgow and two sold-out concerts at London's Royal Albert Hall. Tickets for these two shows were available only by mail application and it was later revealed that the box-office received 3.5 million requests for tickets, enough to fill the venue 580 times. Along with praise ("ABBA turn out to be amazingly successful at reproducing their records", wrote Creem), there were complaints that "ABBA performed slickly...but with a zero personality coming across from a total of 16 people on stage" (Melody Maker). One of the Royal Albert Hall concerts was filmed as a reference for the filming of the Australian tour for what became ABBA: The Movie, though it is not exactly known how much of the concert was filmed. After the European leg of the tour, in March 1977, ABBA played 11 dates in Australia before a total of 160,000 people. The opening concert in Sydney at the Sydney Showground on 3 March to an audience of 20,000 was marred by torrential rain with Lyngstad slipping on the wet stage during the concert. However, all four members would later recall this concert as the most memorable of their career. Upon their arrival in Melbourne, a civic reception was held at the Melbourne Town Hall and ABBA appeared on the balcony to greet an enthusiastic crowd of 6,000. In Melbourne, the group gave three concerts at the Sidney Myer Music Bowl with 14,500 at each including the Australian Prime Minister Malcolm Fraser and his family. At the first Melbourne concert, an additional 16,000 people gathered outside the fenced-off area to listen to the concert. In Adelaide, the group performed one concert at Football Park in front of 20,000 people, with another 10,000 listening outside. During the first of five concerts in Perth, there was a bomb scare with everyone having to evacuate the Entertainment Centre. The trip was accompanied by mass hysteria and unprecedented media attention ("Swedish ABBA stirs box-office in Down Under tour...and the media coverage of the quartet rivals that set to cover the upcoming Royal tour of Australia", wrote Variety), and is captured on film in ABBA: The Movie, directed by Lasse Hallström. The Australian tour and its subsequent ABBA: The Movie produced some ABBA lore, as well. Fältskog's blonde good looks had long made her the band's "pin-up girl", a role she disdained. During the Australian tour, she performed in a skin-tight white jumpsuit, causing one Australian newspaper to use the headline "Agnetha's bottom tops dull show". When asked about this at a news conference, she replied: "Don't they have bottoms in Australia?" ABBA: The Album In December 1977, ABBA followed up Arrival with the more ambitious fifth album, ABBA: The Album, released to coincide with the debut of ABBA: The Movie.

Although the album was less well received by UK reviewers, it did spawn more worldwide hits: "The Name of the Game" and "Take a Chance on Me", which both topped the UK charts and racked up impressive sales in most countries, although "The Name of the Game" was generally the more successful in the Nordic countries and Down Under, while "Take a Chance on Me" was more successful in North America and the German-speaking countries. "The Name of the Game" was a number two hit in the Netherlands, Belgium and Sweden while also making the Top 5 in Finland, Norway, New Zealand and Australia, while only peaking at numbers 10, 12 and 15 in Mexico, the US and Canada. "Take a Chance on Me" was a number one hit in Austria, Belgium and Mexico, made the Top 3 in the US, Canada, the Netherlands, Germany and Switzerland, while only reaching numbers 12 and 14 in Australia and New Zealand, respectively. Both songs were Top 10 hits in countries as far afield as Rhodesia and South Africa, as well as in France. Although "Take a Chance on Me" did not top the American charts, it proved to be ABBA's biggest hit single there, selling more copies than "Dancing Queen". The drop in sales in Australia was felt to be inevitable by industry observers as an "Abba-Fever" that had existed there for almost three years could only last so long as adolescents would naturally begin to move away a group so deified by both their parents and grandparents. A third single, "Eagle", was released in continental Europe and Down Under becoming a number one hit in Belgium and a Top 10 hit in the Netherlands, Germany, Switzerland and South Africa, but barely charting Down Under. The B-side of "Eagle" was "Thank You for the Music", and it was belatedly released as an A-side single in the both the United Kingdom and Ireland in 1983. "Thank You for the Music" has become one of the best loved and best known ABBA songs without being released as a single during the group's lifetime. ABBA: The Album topped the album charts in the UK, the Netherlands, New Zealand, Sweden, Norway, Switzerland, while ascending to the Top 5 in Australia, Germany, Austria, Finland and Rhodesia, and making the Top 10 in Canada and Japan. Sources also indicate that sales in Poland exceeded 1 million copies and that sales demand in Russia could not be met by the supply available. The album peaked at number 14 in the US. Polar Music Studio formation By 1978, ABBA were one of the biggest bands in the world. They converted a vacant cinema into the Polar Music Studio, a state-of-the-art studio in Stockholm. The studio was used by several other bands; notably Genesis' Duke and Led Zeppelin's In Through the Out Door were recorded there. During May 1978, the group went to the United States for a promotional campaign, performing alongside Andy Gibb on Olivia Newton-John's TV show.

Although the album was less well received by UK reviewers, it did spawn more worldwide hits: "The Name of the Game" and "Take a Chance on Me", which both topped the UK charts and racked up impressive sales in most countries, although "The Name of the Game" was generally the more successful in the Nordic countries and Down Under, while "Take a Chance on Me" was more successful in North America and the German-speaking countries. "The Name of the Game" was a number two hit in the Netherlands, Belgium and Sweden while also making the Top 5 in Finland, Norway, New Zealand and Australia, while only peaking at numbers 10, 12 and 15 in Mexico, the US and Canada. "Take a Chance on Me" was a number one hit in Austria, Belgium and Mexico, made the Top 3 in the US, Canada, the Netherlands, Germany and Switzerland, while only reaching numbers 12 and 14 in Australia and New Zealand, respectively. Both songs were Top 10 hits in countries as far afield as Rhodesia and South Africa, as well as in France. Although "Take a Chance on Me" did not top the American charts, it proved to be ABBA's biggest hit single there, selling more copies than "Dancing Queen". The drop in sales in Australia was felt to be inevitable by industry observers as an "Abba-Fever" that had existed there for almost three years could only last so long as adolescents would naturally begin to move away a group so deified by both their parents and grandparents. A third single, "Eagle", was released in continental Europe and Down Under becoming a number one hit in Belgium and a Top 10 hit in the Netherlands, Germany, Switzerland and South Africa, but barely charting Down Under. The B-side of "Eagle" was "Thank You for the Music", and it was belatedly released as an A-side single in the both the United Kingdom and Ireland in 1983. "Thank You for the Music" has become one of the best loved and best known ABBA songs without being released as a single during the group's lifetime. ABBA: The Album topped the album charts in the UK, the Netherlands, New Zealand, Sweden, Norway, Switzerland, while ascending to the Top 5 in Australia, Germany, Austria, Finland and Rhodesia, and making the Top 10 in Canada and Japan. Sources also indicate that sales in Poland exceeded 1 million copies and that sales demand in Russia could not be met by the supply available. The album peaked at number 14 in the US. Polar Music Studio formation By 1978, ABBA were one of the biggest bands in the world. They converted a vacant cinema into the Polar Music Studio, a state-of-the-art studio in Stockholm. The studio was used by several other bands; notably Genesis' Duke and Led Zeppelin's In Through the Out Door were recorded there. During May 1978, the group went to the United States for a promotional campaign, performing alongside Andy Gibb on Olivia Newton-John's TV show.

Although the album was less well received by UK reviewers, it did spawn more worldwide hits: "The Name of the Game" and "Take a Chance on Me", which both topped the UK charts and racked up impressive sales in most countries, although "The Name of the Game" was generally the more successful in the Nordic countries and Down Under, while "Take a Chance on Me" was more successful in North America and the German-speaking countries. "The Name of the Game" was a number two hit in the Netherlands, Belgium and Sweden while also making the Top 5 in Finland, Norway, New Zealand and Australia, while only peaking at numbers 10, 12 and 15 in Mexico, the US and Canada. "Take a Chance on Me" was a number one hit in Austria, Belgium and Mexico, made the Top 3 in the US, Canada, the Netherlands, Germany and Switzerland, while only reaching numbers 12 and 14 in Australia and New Zealand, respectively. Both songs were Top 10 hits in countries as far afield as Rhodesia and South Africa, as well as in France. Although "Take a Chance on Me" did not top the American charts, it proved to be ABBA's biggest hit single there, selling more copies than "Dancing Queen". The drop in sales in Australia was felt to be inevitable by industry observers as an "Abba-Fever" that had existed there for almost three years could only last so long as adolescents would naturally begin to move away a group so deified by both their parents and grandparents. A third single, "Eagle", was released in continental Europe and Down Under becoming a number one hit in Belgium and a Top 10 hit in the Netherlands, Germany, Switzerland and South Africa, but barely charting Down Under. The B-side of "Eagle" was "Thank You for the Music", and it was belatedly released as an A-side single in the both the United Kingdom and Ireland in 1983. "Thank You for the Music" has become one of the best loved and best known ABBA songs without being released as a single during the group's lifetime. ABBA: The Album topped the album charts in the UK, the Netherlands, New Zealand, Sweden, Norway, Switzerland, while ascending to the Top 5 in Australia, Germany, Austria, Finland and Rhodesia, and making the Top 10 in Canada and Japan. Sources also indicate that sales in Poland exceeded 1 million copies and that sales demand in Russia could not be met by the supply available. The album peaked at number 14 in the US. Polar Music Studio formation By 1978, ABBA were one of the biggest bands in the world. They converted a vacant cinema into the Polar Music Studio, a state-of-the-art studio in Stockholm. The studio was used by several other bands; notably Genesis' Duke and Led Zeppelin's In Through the Out Door were recorded there. During May 1978, the group went to the United States for a promotional campaign, performing alongside Andy Gibb on Olivia Newton-John's TV show.

Recording sessions for the single "Summer Night City" were an uphill struggle, but upon release the song became another hit for the group. The track would set the stage for ABBA's foray into disco with their next album. On 9 January 1979, the group performed "Chiquitita" at the Music for UNICEF Concert held at the United Nations General Assembly to celebrate UNICEF's Year of the Child. ABBA donated the copyright of this worldwide hit to the UNICEF; see Music for UNICEF Concert. The single was released the following week, and reached number-one in ten countries. North American and European tours In mid-January 1979, Ulvaeus and Fältskog announced they were getting divorced. The news caused interest from the media and led to speculation about the band's future. ABBA assured the press and their fan base they were continuing their work as a group and that the divorce would not affect them. Nonetheless, the media continued to confront them with this in interviews. To escape the media swirl and concentrate on their writing, Andersson and Ulvaeus secretly travelled to Compass Point Studios in Nassau, Bahamas, where for two weeks they prepared their next album's songs. The group's sixth studio album, Voulez-Vous, was released in April 1979, with its title track recorded at the famous Criteria Studios in Miami, Florida, with the assistance of recording engineer Tom Dowd amongst others. The album topped the charts across Europe and in Japan and Mexico, hit the Top 10 in Canada and Australia and the Top 20 in the US. While none of the singles from the album reached number one on the UK chart, the lead single, "Chiquitita", and the fourth single, "I Have a Dream", both ascended to number two, and the other two, "Does Your Mother Know" and "Angeleyes" (with "Voulez-Vous", released as a double A-side) both made the top 5. All four singles reached number one in Belgium, although the last three did not chart in Sweden or Norway. "Chiquitita", which was featured in the Music for UNICEF Concert after which ABBA decided to donate half of the royalties from the song to UNICEF, topped the singles charts in the Netherlands, Switzerland, Finland, Spain, Mexico, South Africa, Rhodesia and New Zealand, rose to number two in Sweden, and made the Top 5 in Germany, Austria, Norway and Australia, although it only reached number 29 in the US. "I Have a Dream" was a sizeable hit reaching number one in the Netherlands, Switzerland, and Austria, number three in South Africa, and number four in Germany, although it only reached number 64 in Australia. In Canada, "I Have a Dream" became ABBA's second number one on the RPM Adult Contemporary chart (after "Fernando" hit the top previously) although it did not chart in the US.

Recording sessions for the single "Summer Night City" were an uphill struggle, but upon release the song became another hit for the group. The track would set the stage for ABBA's foray into disco with their next album. On 9 January 1979, the group performed "Chiquitita" at the Music for UNICEF Concert held at the United Nations General Assembly to celebrate UNICEF's Year of the Child. ABBA donated the copyright of this worldwide hit to the UNICEF; see Music for UNICEF Concert. The single was released the following week, and reached number-one in ten countries. North American and European tours In mid-January 1979, Ulvaeus and Fältskog announced they were getting divorced. The news caused interest from the media and led to speculation about the band's future. ABBA assured the press and their fan base they were continuing their work as a group and that the divorce would not affect them. Nonetheless, the media continued to confront them with this in interviews. To escape the media swirl and concentrate on their writing, Andersson and Ulvaeus secretly travelled to Compass Point Studios in Nassau, Bahamas, where for two weeks they prepared their next album's songs. The group's sixth studio album, Voulez-Vous, was released in April 1979, with its title track recorded at the famous Criteria Studios in Miami, Florida, with the assistance of recording engineer Tom Dowd amongst others. The album topped the charts across Europe and in Japan and Mexico, hit the Top 10 in Canada and Australia and the Top 20 in the US. While none of the singles from the album reached number one on the UK chart, the lead single, "Chiquitita", and the fourth single, "I Have a Dream", both ascended to number two, and the other two, "Does Your Mother Know" and "Angeleyes" (with "Voulez-Vous", released as a double A-side) both made the top 5. All four singles reached number one in Belgium, although the last three did not chart in Sweden or Norway. "Chiquitita", which was featured in the Music for UNICEF Concert after which ABBA decided to donate half of the royalties from the song to UNICEF, topped the singles charts in the Netherlands, Switzerland, Finland, Spain, Mexico, South Africa, Rhodesia and New Zealand, rose to number two in Sweden, and made the Top 5 in Germany, Austria, Norway and Australia, although it only reached number 29 in the US. "I Have a Dream" was a sizeable hit reaching number one in the Netherlands, Switzerland, and Austria, number three in South Africa, and number four in Germany, although it only reached number 64 in Australia. In Canada, "I Have a Dream" became ABBA's second number one on the RPM Adult Contemporary chart (after "Fernando" hit the top previously) although it did not chart in the US.

Recording sessions for the single "Summer Night City" were an uphill struggle, but upon release the song became another hit for the group. The track would set the stage for ABBA's foray into disco with their next album. On 9 January 1979, the group performed "Chiquitita" at the Music for UNICEF Concert held at the United Nations General Assembly to celebrate UNICEF's Year of the Child. ABBA donated the copyright of this worldwide hit to the UNICEF; see Music for UNICEF Concert. The single was released the following week, and reached number-one in ten countries. North American and European tours In mid-January 1979, Ulvaeus and Fältskog announced they were getting divorced. The news caused interest from the media and led to speculation about the band's future. ABBA assured the press and their fan base they were continuing their work as a group and that the divorce would not affect them. Nonetheless, the media continued to confront them with this in interviews. To escape the media swirl and concentrate on their writing, Andersson and Ulvaeus secretly travelled to Compass Point Studios in Nassau, Bahamas, where for two weeks they prepared their next album's songs. The group's sixth studio album, Voulez-Vous, was released in April 1979, with its title track recorded at the famous Criteria Studios in Miami, Florida, with the assistance of recording engineer Tom Dowd amongst others. The album topped the charts across Europe and in Japan and Mexico, hit the Top 10 in Canada and Australia and the Top 20 in the US. While none of the singles from the album reached number one on the UK chart, the lead single, "Chiquitita", and the fourth single, "I Have a Dream", both ascended to number two, and the other two, "Does Your Mother Know" and "Angeleyes" (with "Voulez-Vous", released as a double A-side) both made the top 5. All four singles reached number one in Belgium, although the last three did not chart in Sweden or Norway. "Chiquitita", which was featured in the Music for UNICEF Concert after which ABBA decided to donate half of the royalties from the song to UNICEF, topped the singles charts in the Netherlands, Switzerland, Finland, Spain, Mexico, South Africa, Rhodesia and New Zealand, rose to number two in Sweden, and made the Top 5 in Germany, Austria, Norway and Australia, although it only reached number 29 in the US. "I Have a Dream" was a sizeable hit reaching number one in the Netherlands, Switzerland, and Austria, number three in South Africa, and number four in Germany, although it only reached number 64 in Australia. In Canada, "I Have a Dream" became ABBA's second number one on the RPM Adult Contemporary chart (after "Fernando" hit the top previously) although it did not chart in the US.

"Does Your Mother Know", a rare song in which Ulvaeus sings lead vocals, was a Top 5 hit in the Netherlands and Finland, and a Top 10 hit in Germany, Switzerland, Australia, although it only reached number number 27 in New Zealand. It did better in North America than "Chiquitita", reaching number 12 in Canada and number 19 in the US, and made the Top 20 in Japan. "Voulez-Vous" was a Top 10 hit in the Netherlands and Switzerland, a Top 20 hit in Germany and Finland, but only peaked in the 80s in Australia, Canada and the US. Also in 1979, the group released their second compilation album, Greatest Hits Vol. 2, which featured a brand new track: "Gimme! Gimme! Gimme! (A Man After Midnight)", which was a Top 3 hit in the UK, Belgium, the Netherlands, Germany, Austria, Switzerland, Finland and Norway, and returned ABBA to the Top 10 in Australia. Greatest Hits Vol. 2 went to number one in the UK, Belgium, Canada and Japan while making the Top 5 in several other countries, but only reaching number 20 in Australia and number 46 in the US. In Russia during the late 1970s, the group were paid in oil commodities because of an embargo on the ruble. On 13 September 1979, ABBA began ABBA: The Tour at Northlands Coliseum in Edmonton, Canada, with a full house of 14,000. "The voices of the band, Agnetha's high sauciness combined with round, rich lower tones of Anni-Frid, were excellent...Technically perfect, melodically correct and always in perfect pitch...The soft lower voice of Anni-Frid and the high, edgy vocals of Agnetha were stunning", raved Edmonton Journal. During the next four weeks they played a total of 17 sold-out dates, 13 in the United States and four in Canada. The last scheduled ABBA concert in the United States in Washington, D.C. was cancelled due to Fältskog's emotional distress suffered during the flight from New York to Boston, when the group's private plane was subjected to extreme weather conditions and was unable to land for an extended period. They appeared at the Boston Music Hall for the performance 90 minutes late. The tour ended with a show in Toronto, Canada at Maple Leaf Gardens before a capacity crowd of 18,000. "ABBA plays with surprising power and volume; but although they are loud, they're also clear, which does justice to the signature vocal sound... Anyone who's been waiting five years to see Abba will be well satisfied", wrote Record World. On 19 October 1979, the tour resumed in Western Europe where the band played 23 sold-out gigs, including six sold-out nights at London's Wembley Arena. Progression In March 1980, ABBA travelled to Japan where upon their arrival at Narita International Airport, they were besieged by thousands of fans. The group performed eleven concerts to full houses, including six shows at Tokyo's Budokan. This tour was the last "on the road" adventure of their career.

"Does Your Mother Know", a rare song in which Ulvaeus sings lead vocals, was a Top 5 hit in the Netherlands and Finland, and a Top 10 hit in Germany, Switzerland, Australia, although it only reached number number 27 in New Zealand. It did better in North America than "Chiquitita", reaching number 12 in Canada and number 19 in the US, and made the Top 20 in Japan. "Voulez-Vous" was a Top 10 hit in the Netherlands and Switzerland, a Top 20 hit in Germany and Finland, but only peaked in the 80s in Australia, Canada and the US. Also in 1979, the group released their second compilation album, Greatest Hits Vol. 2, which featured a brand new track: "Gimme! Gimme! Gimme! (A Man After Midnight)", which was a Top 3 hit in the UK, Belgium, the Netherlands, Germany, Austria, Switzerland, Finland and Norway, and returned ABBA to the Top 10 in Australia. Greatest Hits Vol. 2 went to number one in the UK, Belgium, Canada and Japan while making the Top 5 in several other countries, but only reaching number 20 in Australia and number 46 in the US. In Russia during the late 1970s, the group were paid in oil commodities because of an embargo on the ruble. On 13 September 1979, ABBA began ABBA: The Tour at Northlands Coliseum in Edmonton, Canada, with a full house of 14,000. "The voices of the band, Agnetha's high sauciness combined with round, rich lower tones of Anni-Frid, were excellent...Technically perfect, melodically correct and always in perfect pitch...The soft lower voice of Anni-Frid and the high, edgy vocals of Agnetha were stunning", raved Edmonton Journal. During the next four weeks they played a total of 17 sold-out dates, 13 in the United States and four in Canada. The last scheduled ABBA concert in the United States in Washington, D.C. was cancelled due to Fältskog's emotional distress suffered during the flight from New York to Boston, when the group's private plane was subjected to extreme weather conditions and was unable to land for an extended period. They appeared at the Boston Music Hall for the performance 90 minutes late. The tour ended with a show in Toronto, Canada at Maple Leaf Gardens before a capacity crowd of 18,000. "ABBA plays with surprising power and volume; but although they are loud, they're also clear, which does justice to the signature vocal sound... Anyone who's been waiting five years to see Abba will be well satisfied", wrote Record World. On 19 October 1979, the tour resumed in Western Europe where the band played 23 sold-out gigs, including six sold-out nights at London's Wembley Arena. Progression In March 1980, ABBA travelled to Japan where upon their arrival at Narita International Airport, they were besieged by thousands of fans. The group performed eleven concerts to full houses, including six shows at Tokyo's Budokan. This tour was the last "on the road" adventure of their career.

"Does Your Mother Know", a rare song in which Ulvaeus sings lead vocals, was a Top 5 hit in the Netherlands and Finland, and a Top 10 hit in Germany, Switzerland, Australia, although it only reached number number 27 in New Zealand. It did better in North America than "Chiquitita", reaching number 12 in Canada and number 19 in the US, and made the Top 20 in Japan. "Voulez-Vous" was a Top 10 hit in the Netherlands and Switzerland, a Top 20 hit in Germany and Finland, but only peaked in the 80s in Australia, Canada and the US. Also in 1979, the group released their second compilation album, Greatest Hits Vol. 2, which featured a brand new track: "Gimme! Gimme! Gimme! (A Man After Midnight)", which was a Top 3 hit in the UK, Belgium, the Netherlands, Germany, Austria, Switzerland, Finland and Norway, and returned ABBA to the Top 10 in Australia. Greatest Hits Vol. 2 went to number one in the UK, Belgium, Canada and Japan while making the Top 5 in several other countries, but only reaching number 20 in Australia and number 46 in the US. In Russia during the late 1970s, the group were paid in oil commodities because of an embargo on the ruble. On 13 September 1979, ABBA began ABBA: The Tour at Northlands Coliseum in Edmonton, Canada, with a full house of 14,000. "The voices of the band, Agnetha's high sauciness combined with round, rich lower tones of Anni-Frid, were excellent...Technically perfect, melodically correct and always in perfect pitch...The soft lower voice of Anni-Frid and the high, edgy vocals of Agnetha were stunning", raved Edmonton Journal. During the next four weeks they played a total of 17 sold-out dates, 13 in the United States and four in Canada. The last scheduled ABBA concert in the United States in Washington, D.C. was cancelled due to Fältskog's emotional distress suffered during the flight from New York to Boston, when the group's private plane was subjected to extreme weather conditions and was unable to land for an extended period. They appeared at the Boston Music Hall for the performance 90 minutes late. The tour ended with a show in Toronto, Canada at Maple Leaf Gardens before a capacity crowd of 18,000. "ABBA plays with surprising power and volume; but although they are loud, they're also clear, which does justice to the signature vocal sound... Anyone who's been waiting five years to see Abba will be well satisfied", wrote Record World. On 19 October 1979, the tour resumed in Western Europe where the band played 23 sold-out gigs, including six sold-out nights at London's Wembley Arena. Progression In March 1980, ABBA travelled to Japan where upon their arrival at Narita International Airport, they were besieged by thousands of fans. The group performed eleven concerts to full houses, including six shows at Tokyo's Budokan. This tour was the last "on the road" adventure of their career.

In July 1980, ABBA released the single "The Winner Takes It All", the group's eighth UK chart topper (and their first since 1978). The song is widely misunderstood as being written about Ulvaeus and Fältskog's marital tribulations; Ulvaeus wrote the lyrics, but has stated they were not about his own divorce; Fältskog has repeatedly stated she was not the loser in their divorce. In the United States, the single peaked at number-eight on the Billboard Hot 100 chart and became ABBA's second Billboard Adult Contemporary number-one. It was also re-recorded by Andersson and Ulvaeus with a slightly different backing track, by French chanteuse Mireille Mathieu at the end of 1980 – as "Bravo tu as gagné", with French lyrics by Alain Boublil. November the same year saw the release of ABBA's seventh album Super Trouper, which reflected a certain change in ABBA's style with more prominent use of synthesizers and increasingly personal lyrics. It set a record for the most pre-orders ever received for a UK album after one million copies were ordered before release. The second single from the album, "Super Trouper", also hit number-one in the UK, becoming the group's ninth and final UK chart-topper. Another track from the album, "Lay All Your Love on Me", released in 1981 as a Twelve-inch single only in selected territories, managed to top the Billboard Hot Dance Club Play chart and peaked at number-seven on the UK singles chart becoming, at the time, the highest ever charting 12-inch release in UK chart history. Also in 1980, ABBA recorded a compilation of Spanish-language versions of their hits called Gracias Por La Música. This was released in Spanish-speaking countries as well as in Japan and Australia. The album became a major success, and along with the Spanish version of "Chiquitita", this signalled the group's breakthrough in Latin America. ABBA Oro: Grandes Éxitos, the Spanish equivalent of ABBA Gold: Greatest Hits, was released in 1999. 1981–1982: The Visitors and later performances In January 1981, Ulvaeus married Lena Källersjö, and manager Stig Anderson celebrated his 50th birthday with a party. For this occasion, ABBA recorded the track "Hovas Vittne" (a pun on the Swedish name for Jehovah's Witness and Anderson's birthplace, Hova) as a tribute to him, and released it only on 200 red vinyl copies, to be distributed to the guests attending the party. This single has become a sought-after collectable. In mid-February 1981, Andersson and Lyngstad announced they were filing for divorce. Information surfaced that their marriage had been an uphill struggle for years, and Benny had already met another woman, Mona Nörklit, whom he married in November 1981. Andersson and Ulvaeus had songwriting sessions in early 1981, and recording sessions began in mid-March. At the end of April, the group recorded a TV special, Dick Cavett Meets ABBA with the US talk show host Dick Cavett.

In July 1980, ABBA released the single "The Winner Takes It All", the group's eighth UK chart topper (and their first since 1978). The song is widely misunderstood as being written about Ulvaeus and Fältskog's marital tribulations; Ulvaeus wrote the lyrics, but has stated they were not about his own divorce; Fältskog has repeatedly stated she was not the loser in their divorce. In the United States, the single peaked at number-eight on the Billboard Hot 100 chart and became ABBA's second Billboard Adult Contemporary number-one. It was also re-recorded by Andersson and Ulvaeus with a slightly different backing track, by French chanteuse Mireille Mathieu at the end of 1980 – as "Bravo tu as gagné", with French lyrics by Alain Boublil. November the same year saw the release of ABBA's seventh album Super Trouper, which reflected a certain change in ABBA's style with more prominent use of synthesizers and increasingly personal lyrics. It set a record for the most pre-orders ever received for a UK album after one million copies were ordered before release. The second single from the album, "Super Trouper", also hit number-one in the UK, becoming the group's ninth and final UK chart-topper. Another track from the album, "Lay All Your Love on Me", released in 1981 as a Twelve-inch single only in selected territories, managed to top the Billboard Hot Dance Club Play chart and peaked at number-seven on the UK singles chart becoming, at the time, the highest ever charting 12-inch release in UK chart history. Also in 1980, ABBA recorded a compilation of Spanish-language versions of their hits called Gracias Por La Música. This was released in Spanish-speaking countries as well as in Japan and Australia. The album became a major success, and along with the Spanish version of "Chiquitita", this signalled the group's breakthrough in Latin America. ABBA Oro: Grandes Éxitos, the Spanish equivalent of ABBA Gold: Greatest Hits, was released in 1999. 1981–1982: The Visitors and later performances In January 1981, Ulvaeus married Lena Källersjö, and manager Stig Anderson celebrated his 50th birthday with a party. For this occasion, ABBA recorded the track "Hovas Vittne" (a pun on the Swedish name for Jehovah's Witness and Anderson's birthplace, Hova) as a tribute to him, and released it only on 200 red vinyl copies, to be distributed to the guests attending the party. This single has become a sought-after collectable. In mid-February 1981, Andersson and Lyngstad announced they were filing for divorce. Information surfaced that their marriage had been an uphill struggle for years, and Benny had already met another woman, Mona Nörklit, whom he married in November 1981. Andersson and Ulvaeus had songwriting sessions in early 1981, and recording sessions began in mid-March. At the end of April, the group recorded a TV special, Dick Cavett Meets ABBA with the US talk show host Dick Cavett.

In July 1980, ABBA released the single "The Winner Takes It All", the group's eighth UK chart topper (and their first since 1978). The song is widely misunderstood as being written about Ulvaeus and Fältskog's marital tribulations; Ulvaeus wrote the lyrics, but has stated they were not about his own divorce; Fältskog has repeatedly stated she was not the loser in their divorce. In the United States, the single peaked at number-eight on the Billboard Hot 100 chart and became ABBA's second Billboard Adult Contemporary number-one. It was also re-recorded by Andersson and Ulvaeus with a slightly different backing track, by French chanteuse Mireille Mathieu at the end of 1980 – as "Bravo tu as gagné", with French lyrics by Alain Boublil. November the same year saw the release of ABBA's seventh album Super Trouper, which reflected a certain change in ABBA's style with more prominent use of synthesizers and increasingly personal lyrics. It set a record for the most pre-orders ever received for a UK album after one million copies were ordered before release. The second single from the album, "Super Trouper", also hit number-one in the UK, becoming the group's ninth and final UK chart-topper. Another track from the album, "Lay All Your Love on Me", released in 1981 as a Twelve-inch single only in selected territories, managed to top the Billboard Hot Dance Club Play chart and peaked at number-seven on the UK singles chart becoming, at the time, the highest ever charting 12-inch release in UK chart history. Also in 1980, ABBA recorded a compilation of Spanish-language versions of their hits called Gracias Por La Música. This was released in Spanish-speaking countries as well as in Japan and Australia. The album became a major success, and along with the Spanish version of "Chiquitita", this signalled the group's breakthrough in Latin America. ABBA Oro: Grandes Éxitos, the Spanish equivalent of ABBA Gold: Greatest Hits, was released in 1999. 1981–1982: The Visitors and later performances In January 1981, Ulvaeus married Lena Källersjö, and manager Stig Anderson celebrated his 50th birthday with a party. For this occasion, ABBA recorded the track "Hovas Vittne" (a pun on the Swedish name for Jehovah's Witness and Anderson's birthplace, Hova) as a tribute to him, and released it only on 200 red vinyl copies, to be distributed to the guests attending the party. This single has become a sought-after collectable. In mid-February 1981, Andersson and Lyngstad announced they were filing for divorce. Information surfaced that their marriage had been an uphill struggle for years, and Benny had already met another woman, Mona Nörklit, whom he married in November 1981. Andersson and Ulvaeus had songwriting sessions in early 1981, and recording sessions began in mid-March. At the end of April, the group recorded a TV special, Dick Cavett Meets ABBA with the US talk show host Dick Cavett.

The Visitors, ABBA's eighth studio album, showed a songwriting maturity and depth of feeling distinctly lacking from their earlier recordings but still placing the band squarely in the pop genre, with catchy tunes and harmonies. Although not revealed at the time of its release, the album's title track, according to Ulvaeus, refers to the secret meetings held against the approval of totalitarian governments in Soviet-dominated states, while other tracks address topics like failed relationships, the threat of war, ageing, and loss of innocence. The album's only major single release, "One of Us", proved to be the last of ABBA's nine number-one singles in Germany, this being in December 1981; and the swansong of their sixteen Top 5 singles on the South African chart. "One of Us" was also ABBA's final Top 3 hit in the UK, reaching number-three on the UK Singles Chart. Although it topped the album charts across most of Europe, including Ireland, the UK and Germany, The Visitors was not as commercially successful as its predecessors, showing a commercial decline in previously loyal markets such as France, Australia and Japan. A track from the album, "When All Is Said and Done", was released as a single in North America, Australia and New Zealand, and fittingly became ABBA's final Top 40 hit in the US (debuting on the US charts on 31 December 1981), while also reaching the US Adult Contemporary Top 10, and number-four on the RPM Adult Contemporary chart in Canada. The song's lyrics, as with "The Winner Takes It All" and "One of Us", dealt with the painful experience of separating from a long-term partner, though it looked at the trauma more optimistically. With the now publicised story of Andersson and Lyngstad's divorce, speculation increased of tension within the band. Also released in the United States was the title track of The Visitors, which hit the Top Ten on the Billboard Hot Dance Club Play chart. Later recording sessions In the spring of 1982, songwriting sessions had started and the group came together for more recordings. Plans were not completely clear, but a new album was discussed and the prospect of a small tour suggested. The recording sessions in May and June 1982 were a struggle, and only three songs were eventually recorded: "You Owe Me One", "I Am the City" and "Just Like That". Andersson and Ulvaeus were not satisfied with the outcome, so the tapes were shelved and the group took a break for the summer. Back in the studio again in early August, the group had changed plans for the rest of the year: they settled for a Christmas release of a double album compilation of all their past single releases to be named The Singles: The First Ten Years. New songwriting and recording sessions took place, and during October and December, they released the singles "The Day Before You Came"/"Cassandra" and "Under Attack"/"You Owe Me One", the A-sides of which were included on the compilation album.

The Visitors, ABBA's eighth studio album, showed a songwriting maturity and depth of feeling distinctly lacking from their earlier recordings but still placing the band squarely in the pop genre, with catchy tunes and harmonies. Although not revealed at the time of its release, the album's title track, according to Ulvaeus, refers to the secret meetings held against the approval of totalitarian governments in Soviet-dominated states, while other tracks address topics like failed relationships, the threat of war, ageing, and loss of innocence. The album's only major single release, "One of Us", proved to be the last of ABBA's nine number-one singles in Germany, this being in December 1981; and the swansong of their sixteen Top 5 singles on the South African chart. "One of Us" was also ABBA's final Top 3 hit in the UK, reaching number-three on the UK Singles Chart. Although it topped the album charts across most of Europe, including Ireland, the UK and Germany, The Visitors was not as commercially successful as its predecessors, showing a commercial decline in previously loyal markets such as France, Australia and Japan. A track from the album, "When All Is Said and Done", was released as a single in North America, Australia and New Zealand, and fittingly became ABBA's final Top 40 hit in the US (debuting on the US charts on 31 December 1981), while also reaching the US Adult Contemporary Top 10, and number-four on the RPM Adult Contemporary chart in Canada. The song's lyrics, as with "The Winner Takes It All" and "One of Us", dealt with the painful experience of separating from a long-term partner, though it looked at the trauma more optimistically. With the now publicised story of Andersson and Lyngstad's divorce, speculation increased of tension within the band. Also released in the United States was the title track of The Visitors, which hit the Top Ten on the Billboard Hot Dance Club Play chart. Later recording sessions In the spring of 1982, songwriting sessions had started and the group came together for more recordings. Plans were not completely clear, but a new album was discussed and the prospect of a small tour suggested. The recording sessions in May and June 1982 were a struggle, and only three songs were eventually recorded: "You Owe Me One", "I Am the City" and "Just Like That". Andersson and Ulvaeus were not satisfied with the outcome, so the tapes were shelved and the group took a break for the summer. Back in the studio again in early August, the group had changed plans for the rest of the year: they settled for a Christmas release of a double album compilation of all their past single releases to be named The Singles: The First Ten Years. New songwriting and recording sessions took place, and during October and December, they released the singles "The Day Before You Came"/"Cassandra" and "Under Attack"/"You Owe Me One", the A-sides of which were included on the compilation album.

The Visitors, ABBA's eighth studio album, showed a songwriting maturity and depth of feeling distinctly lacking from their earlier recordings but still placing the band squarely in the pop genre, with catchy tunes and harmonies. Although not revealed at the time of its release, the album's title track, according to Ulvaeus, refers to the secret meetings held against the approval of totalitarian governments in Soviet-dominated states, while other tracks address topics like failed relationships, the threat of war, ageing, and loss of innocence. The album's only major single release, "One of Us", proved to be the last of ABBA's nine number-one singles in Germany, this being in December 1981; and the swansong of their sixteen Top 5 singles on the South African chart. "One of Us" was also ABBA's final Top 3 hit in the UK, reaching number-three on the UK Singles Chart. Although it topped the album charts across most of Europe, including Ireland, the UK and Germany, The Visitors was not as commercially successful as its predecessors, showing a commercial decline in previously loyal markets such as France, Australia and Japan. A track from the album, "When All Is Said and Done", was released as a single in North America, Australia and New Zealand, and fittingly became ABBA's final Top 40 hit in the US (debuting on the US charts on 31 December 1981), while also reaching the US Adult Contemporary Top 10, and number-four on the RPM Adult Contemporary chart in Canada. The song's lyrics, as with "The Winner Takes It All" and "One of Us", dealt with the painful experience of separating from a long-term partner, though it looked at the trauma more optimistically. With the now publicised story of Andersson and Lyngstad's divorce, speculation increased of tension within the band. Also released in the United States was the title track of The Visitors, which hit the Top Ten on the Billboard Hot Dance Club Play chart. Later recording sessions In the spring of 1982, songwriting sessions had started and the group came together for more recordings. Plans were not completely clear, but a new album was discussed and the prospect of a small tour suggested. The recording sessions in May and June 1982 were a struggle, and only three songs were eventually recorded: "You Owe Me One", "I Am the City" and "Just Like That". Andersson and Ulvaeus were not satisfied with the outcome, so the tapes were shelved and the group took a break for the summer. Back in the studio again in early August, the group had changed plans for the rest of the year: they settled for a Christmas release of a double album compilation of all their past single releases to be named The Singles: The First Ten Years. New songwriting and recording sessions took place, and during October and December, they released the singles "The Day Before You Came"/"Cassandra" and "Under Attack"/"You Owe Me One", the A-sides of which were included on the compilation album.

Neither single made the Top 20 in the United Kingdom, though "The Day Before You Came" became a Top 5 hit in many European countries such as Germany, the Netherlands and Belgium. The album went to number one in the UK and Belgium, Top 5 in the Netherlands and Germany and Top 20 in many other countries. "Under Attack", the group's final release before disbanding, was a Top 5 hit in the Netherlands and Belgium. "I Am the City" and "Just Like That" were left unreleased on The Singles: The First Ten Years for possible inclusion on the next projected studio album, though this never came to fruition. "I Am the City" was eventually released on the compilation album More ABBA Gold in 1993, while "Just Like That" has been recycled in new songs with other artists produced by Andersson and Ulvaeus. A reworked version of the verses ended up in the musical Chess. The chorus section of "Just Like That" was eventually released on a retrospective box set in 1994, as well as in the ABBA Undeleted medley featured on disc 9 of The Complete Studio Recordings. Despite a number of requests from fans, Ulvaeus and Andersson are still refusing to release ABBA's version of "Just Like That" in its entirety, even though the complete version has surfaced on bootlegs. The group travelled to London to promote The Singles: The First Ten Years in the first week of November 1982, appearing on Saturday Superstore and The Late, Late Breakfast Show, and also to West Germany in the second week, to perform on Show Express. On 19 November 1982, ABBA appeared for the last time in Sweden on the TV programme Nöjesmaskinen, and on 11 December 1982, they made their last performance ever, transmitted to the UK on Noel Edmonds' The Late, Late Breakfast Show, through a live link from a TV studio in Stockholm. Later performances Andersson and Ulvaeus began collaborating with Tim Rice in early 1983 on writing songs for the musical project Chess, while Fältskog and Lyngstad both concentrated on international solo careers. While Andersson and Ulvaeus were working on the musical, a further co-operation among the three of them came with the musical Abbacadabra that was produced in France for television. It was a children's musical using 14 ABBA songs. Alain and Daniel Boublil, who wrote Les Misérables, had been in touch with Stig Anderson about the project, and the TV musical was aired over Christmas on French TV and later a Dutch version was also broadcast. Boublil previously also wrote the French lyric for Mireille Mathieu's version of "The Winner Takes It All". Lyngstad, who had recently moved to Paris, participated in the French version, and recorded a single, "Belle", a duet with French singer Daniel Balavoine. The song was a cover of ABBA's 1976 instrumental track "Arrival".

Neither single made the Top 20 in the United Kingdom, though "The Day Before You Came" became a Top 5 hit in many European countries such as Germany, the Netherlands and Belgium. The album went to number one in the UK and Belgium, Top 5 in the Netherlands and Germany and Top 20 in many other countries. "Under Attack", the group's final release before disbanding, was a Top 5 hit in the Netherlands and Belgium. "I Am the City" and "Just Like That" were left unreleased on The Singles: The First Ten Years for possible inclusion on the next projected studio album, though this never came to fruition. "I Am the City" was eventually released on the compilation album More ABBA Gold in 1993, while "Just Like That" has been recycled in new songs with other artists produced by Andersson and Ulvaeus. A reworked version of the verses ended up in the musical Chess. The chorus section of "Just Like That" was eventually released on a retrospective box set in 1994, as well as in the ABBA Undeleted medley featured on disc 9 of The Complete Studio Recordings. Despite a number of requests from fans, Ulvaeus and Andersson are still refusing to release ABBA's version of "Just Like That" in its entirety, even though the complete version has surfaced on bootlegs. The group travelled to London to promote The Singles: The First Ten Years in the first week of November 1982, appearing on Saturday Superstore and The Late, Late Breakfast Show, and also to West Germany in the second week, to perform on Show Express. On 19 November 1982, ABBA appeared for the last time in Sweden on the TV programme Nöjesmaskinen, and on 11 December 1982, they made their last performance ever, transmitted to the UK on Noel Edmonds' The Late, Late Breakfast Show, through a live link from a TV studio in Stockholm. Later performances Andersson and Ulvaeus began collaborating with Tim Rice in early 1983 on writing songs for the musical project Chess, while Fältskog and Lyngstad both concentrated on international solo careers. While Andersson and Ulvaeus were working on the musical, a further co-operation among the three of them came with the musical Abbacadabra that was produced in France for television. It was a children's musical using 14 ABBA songs. Alain and Daniel Boublil, who wrote Les Misérables, had been in touch with Stig Anderson about the project, and the TV musical was aired over Christmas on French TV and later a Dutch version was also broadcast. Boublil previously also wrote the French lyric for Mireille Mathieu's version of "The Winner Takes It All". Lyngstad, who had recently moved to Paris, participated in the French version, and recorded a single, "Belle", a duet with French singer Daniel Balavoine. The song was a cover of ABBA's 1976 instrumental track "Arrival".

Neither single made the Top 20 in the United Kingdom, though "The Day Before You Came" became a Top 5 hit in many European countries such as Germany, the Netherlands and Belgium. The album went to number one in the UK and Belgium, Top 5 in the Netherlands and Germany and Top 20 in many other countries. "Under Attack", the group's final release before disbanding, was a Top 5 hit in the Netherlands and Belgium. "I Am the City" and "Just Like That" were left unreleased on The Singles: The First Ten Years for possible inclusion on the next projected studio album, though this never came to fruition. "I Am the City" was eventually released on the compilation album More ABBA Gold in 1993, while "Just Like That" has been recycled in new songs with other artists produced by Andersson and Ulvaeus. A reworked version of the verses ended up in the musical Chess. The chorus section of "Just Like That" was eventually released on a retrospective box set in 1994, as well as in the ABBA Undeleted medley featured on disc 9 of The Complete Studio Recordings. Despite a number of requests from fans, Ulvaeus and Andersson are still refusing to release ABBA's version of "Just Like That" in its entirety, even though the complete version has surfaced on bootlegs. The group travelled to London to promote The Singles: The First Ten Years in the first week of November 1982, appearing on Saturday Superstore and The Late, Late Breakfast Show, and also to West Germany in the second week, to perform on Show Express. On 19 November 1982, ABBA appeared for the last time in Sweden on the TV programme Nöjesmaskinen, and on 11 December 1982, they made their last performance ever, transmitted to the UK on Noel Edmonds' The Late, Late Breakfast Show, through a live link from a TV studio in Stockholm. Later performances Andersson and Ulvaeus began collaborating with Tim Rice in early 1983 on writing songs for the musical project Chess, while Fältskog and Lyngstad both concentrated on international solo careers. While Andersson and Ulvaeus were working on the musical, a further co-operation among the three of them came with the musical Abbacadabra that was produced in France for television. It was a children's musical using 14 ABBA songs. Alain and Daniel Boublil, who wrote Les Misérables, had been in touch with Stig Anderson about the project, and the TV musical was aired over Christmas on French TV and later a Dutch version was also broadcast. Boublil previously also wrote the French lyric for Mireille Mathieu's version of "The Winner Takes It All". Lyngstad, who had recently moved to Paris, participated in the French version, and recorded a single, "Belle", a duet with French singer Daniel Balavoine. The song was a cover of ABBA's 1976 instrumental track "Arrival".

As the single "Belle" sold well in France, Cameron Mackintosh wanted to stage an English-language version of the show in London, with the French lyrics translated by David Wood and Don Black; Andersson and Ulvaeus got involved in the project, and contributed with one new song, "I Am the Seeker". "Abbacadabra" premiered on 8 December 1983 at the Lyric Hammersmith Theatre in London, to mixed reviews and full houses for eight weeks, closing on 21 January 1984. Lyngstad was also involved in this production, recording "Belle" in English as "Time", a duet with actor and singer B. A. Robertson: the single sold well, and was produced and recorded by Mike Batt. In May 1984, Lyngstad performed "I Have a Dream" with a children's choir at the United Nations Organisation Gala, in Geneva, Switzerland. All four members made their (at the time, final) public appearance as four friends more than as ABBA in January 1986, when they recorded a video of themselves performing an acoustic version of "Tivedshambo" (which was the first song written by their manager Stig Anderson), for a Swedish TV show honouring Anderson on his 55th birthday. The four had not seen each other for more than two years. That same year they also performed privately at another friend's 40th birthday: their old tour manager, Claes af Geijerstam. They sang a self-written song titled "Der Kleine Franz" that was later to resurface in Chess. Also in 1986, ABBA Live was released, featuring selections of live performances from the group's 1977 and 1979 tours. The four members were guests at the 50th birthday of Görel Hanser in 1999. Hanser was a long-time friend of all four, and also former secretary of Stig Anderson. Honouring Görel, ABBA performed a Swedish birthday song "Med en enkel tulipan" a cappella. Andersson has on several occasions performed ABBA songs. In June 1992, he and Ulvaeus appeared with U2 at a Stockholm concert, singing the chorus of "Dancing Queen", and a few years later during the final performance of the B & B in Concert in Stockholm, Andersson joined the cast for an encore at the piano. Andersson frequently adds an ABBA song to the playlist when he performs with his BAO band. He also played the piano during new recordings of the ABBA songs "Like an Angel Passing Through My Room" with opera singer Anne Sofie von Otter, and "When All Is Said and Done" with Swede Viktoria Tolstoy. In 2002, Andersson and Ulvaeus both performed an a cappella rendition of the first verse of "Fernando" as they accepted their Ivor Novello award in London. Lyngstad performed and recorded an a cappella version of "Dancing Queen" with the Swedish group the Real Group in 1993, and also re-recorded "I Have a Dream" with Swiss singer Dan Daniell in 2003. Break and reunion ABBA never officially announced the end of the group or an indefinite break, but it was long considered dissolved after their final public performance together in 1982.

As the single "Belle" sold well in France, Cameron Mackintosh wanted to stage an English-language version of the show in London, with the French lyrics translated by David Wood and Don Black; Andersson and Ulvaeus got involved in the project, and contributed with one new song, "I Am the Seeker". "Abbacadabra" premiered on 8 December 1983 at the Lyric Hammersmith Theatre in London, to mixed reviews and full houses for eight weeks, closing on 21 January 1984. Lyngstad was also involved in this production, recording "Belle" in English as "Time", a duet with actor and singer B. A. Robertson: the single sold well, and was produced and recorded by Mike Batt. In May 1984, Lyngstad performed "I Have a Dream" with a children's choir at the United Nations Organisation Gala, in Geneva, Switzerland. All four members made their (at the time, final) public appearance as four friends more than as ABBA in January 1986, when they recorded a video of themselves performing an acoustic version of "Tivedshambo" (which was the first song written by their manager Stig Anderson), for a Swedish TV show honouring Anderson on his 55th birthday. The four had not seen each other for more than two years. That same year they also performed privately at another friend's 40th birthday: their old tour manager, Claes af Geijerstam. They sang a self-written song titled "Der Kleine Franz" that was later to resurface in Chess. Also in 1986, ABBA Live was released, featuring selections of live performances from the group's 1977 and 1979 tours. The four members were guests at the 50th birthday of Görel Hanser in 1999. Hanser was a long-time friend of all four, and also former secretary of Stig Anderson. Honouring Görel, ABBA performed a Swedish birthday song "Med en enkel tulipan" a cappella. Andersson has on several occasions performed ABBA songs. In June 1992, he and Ulvaeus appeared with U2 at a Stockholm concert, singing the chorus of "Dancing Queen", and a few years later during the final performance of the B & B in Concert in Stockholm, Andersson joined the cast for an encore at the piano. Andersson frequently adds an ABBA song to the playlist when he performs with his BAO band. He also played the piano during new recordings of the ABBA songs "Like an Angel Passing Through My Room" with opera singer Anne Sofie von Otter, and "When All Is Said and Done" with Swede Viktoria Tolstoy. In 2002, Andersson and Ulvaeus both performed an a cappella rendition of the first verse of "Fernando" as they accepted their Ivor Novello award in London. Lyngstad performed and recorded an a cappella version of "Dancing Queen" with the Swedish group the Real Group in 1993, and also re-recorded "I Have a Dream" with Swiss singer Dan Daniell in 2003. Break and reunion ABBA never officially announced the end of the group or an indefinite break, but it was long considered dissolved after their final public performance together in 1982.

As the single "Belle" sold well in France, Cameron Mackintosh wanted to stage an English-language version of the show in London, with the French lyrics translated by David Wood and Don Black; Andersson and Ulvaeus got involved in the project, and contributed with one new song, "I Am the Seeker". "Abbacadabra" premiered on 8 December 1983 at the Lyric Hammersmith Theatre in London, to mixed reviews and full houses for eight weeks, closing on 21 January 1984. Lyngstad was also involved in this production, recording "Belle" in English as "Time", a duet with actor and singer B. A. Robertson: the single sold well, and was produced and recorded by Mike Batt. In May 1984, Lyngstad performed "I Have a Dream" with a children's choir at the United Nations Organisation Gala, in Geneva, Switzerland. All four members made their (at the time, final) public appearance as four friends more than as ABBA in January 1986, when they recorded a video of themselves performing an acoustic version of "Tivedshambo" (which was the first song written by their manager Stig Anderson), for a Swedish TV show honouring Anderson on his 55th birthday. The four had not seen each other for more than two years. That same year they also performed privately at another friend's 40th birthday: their old tour manager, Claes af Geijerstam. They sang a self-written song titled "Der Kleine Franz" that was later to resurface in Chess. Also in 1986, ABBA Live was released, featuring selections of live performances from the group's 1977 and 1979 tours. The four members were guests at the 50th birthday of Görel Hanser in 1999. Hanser was a long-time friend of all four, and also former secretary of Stig Anderson. Honouring Görel, ABBA performed a Swedish birthday song "Med en enkel tulipan" a cappella. Andersson has on several occasions performed ABBA songs. In June 1992, he and Ulvaeus appeared with U2 at a Stockholm concert, singing the chorus of "Dancing Queen", and a few years later during the final performance of the B & B in Concert in Stockholm, Andersson joined the cast for an encore at the piano. Andersson frequently adds an ABBA song to the playlist when he performs with his BAO band. He also played the piano during new recordings of the ABBA songs "Like an Angel Passing Through My Room" with opera singer Anne Sofie von Otter, and "When All Is Said and Done" with Swede Viktoria Tolstoy. In 2002, Andersson and Ulvaeus both performed an a cappella rendition of the first verse of "Fernando" as they accepted their Ivor Novello award in London. Lyngstad performed and recorded an a cappella version of "Dancing Queen" with the Swedish group the Real Group in 1993, and also re-recorded "I Have a Dream" with Swiss singer Dan Daniell in 2003. Break and reunion ABBA never officially announced the end of the group or an indefinite break, but it was long considered dissolved after their final public performance together in 1982.

Their final public performance together as ABBA before their 2016 reunion was on the British TV programme The Late, Late Breakfast Show (live from Stockholm) on 11 December 1982. While reminiscing on "The Day Before You Came", Ulvaeus said: "we might have continued for a while longer if that had been a number one". In January 1983, Fältskog started recording sessions for a solo album, as Lyngstad had successfully released her album Something's Going On some months earlier. Ulvaeus and Andersson, meanwhile, started songwriting sessions for the musical Chess. In interviews at the time, Björn and Benny denied the split of ABBA ("Who are we without our ladies? Initials of Brigitte Bardot? "), and Lyngstad and Fältskog kept claiming in interviews that ABBA would come together for a new album repeatedly during 1983 and 1984. Internal strife between the group and their manager escalated and the band members sold their shares in Polar Music during 1983. Except for a TV appearance in 1986, the foursome did not come together publicly again until they were reunited at the Swedish premiere of the Mamma Mia! movie on 4 July 2008. The individual members' endeavours shortly before and after their final public performance coupled with the collapse of both marriages and the lack of significant activity in the following few years after that widely suggested that the group had broken up. In an interview with the Sunday Telegraph following the premiere, Ulvaeus and Andersson said that there was nothing that could entice them back on stage again. Ulvaeus said: "We will never appear on stage again. [...] There is simply no motivation to re-group. Money is not a factor and we would like people to remember us as we were. Young, exuberant, full of energy and ambition. I remember Robert Plant saying Led Zeppelin were a cover band now because they cover all their own stuff. I think that hit the nail on the head." However, on 3 January 2011, Fältskog, long considered to be the most reclusive member of the group and a major obstacle to any reunion, raised the possibility of reuniting for a one-off engagement. She admitted that she has not yet brought the idea up to the other three members. In April 2013, she reiterated her hopes for reunion during an interview with Die Zeit, stating: "If they ask me, I'll say yes." In a May 2013 interview, Fältskog, aged 63 at the time, stated that an ABBA reunion would never occur: "I think we have to accept that it will not happen, because we are too old and each one of us has their own life. Too many years have gone by since we stopped, and there's really no meaning in putting us together again". Fältskog further explained that the band members remained on amicable terms: "It's always nice to see each other now and then and to talk a little and to be a little nostalgic."

Their final public performance together as ABBA before their 2016 reunion was on the British TV programme The Late, Late Breakfast Show (live from Stockholm) on 11 December 1982. While reminiscing on "The Day Before You Came", Ulvaeus said: "we might have continued for a while longer if that had been a number one". In January 1983, Fältskog started recording sessions for a solo album, as Lyngstad had successfully released her album Something's Going On some months earlier. Ulvaeus and Andersson, meanwhile, started songwriting sessions for the musical Chess. In interviews at the time, Björn and Benny denied the split of ABBA ("Who are we without our ladies? Initials of Brigitte Bardot? "), and Lyngstad and Fältskog kept claiming in interviews that ABBA would come together for a new album repeatedly during 1983 and 1984. Internal strife between the group and their manager escalated and the band members sold their shares in Polar Music during 1983. Except for a TV appearance in 1986, the foursome did not come together publicly again until they were reunited at the Swedish premiere of the Mamma Mia! movie on 4 July 2008. The individual members' endeavours shortly before and after their final public performance coupled with the collapse of both marriages and the lack of significant activity in the following few years after that widely suggested that the group had broken up. In an interview with the Sunday Telegraph following the premiere, Ulvaeus and Andersson said that there was nothing that could entice them back on stage again. Ulvaeus said: "We will never appear on stage again. [...] There is simply no motivation to re-group. Money is not a factor and we would like people to remember us as we were. Young, exuberant, full of energy and ambition. I remember Robert Plant saying Led Zeppelin were a cover band now because they cover all their own stuff. I think that hit the nail on the head." However, on 3 January 2011, Fältskog, long considered to be the most reclusive member of the group and a major obstacle to any reunion, raised the possibility of reuniting for a one-off engagement. She admitted that she has not yet brought the idea up to the other three members. In April 2013, she reiterated her hopes for reunion during an interview with Die Zeit, stating: "If they ask me, I'll say yes." In a May 2013 interview, Fältskog, aged 63 at the time, stated that an ABBA reunion would never occur: "I think we have to accept that it will not happen, because we are too old and each one of us has their own life. Too many years have gone by since we stopped, and there's really no meaning in putting us together again". Fältskog further explained that the band members remained on amicable terms: "It's always nice to see each other now and then and to talk a little and to be a little nostalgic."

Their final public performance together as ABBA before their 2016 reunion was on the British TV programme The Late, Late Breakfast Show (live from Stockholm) on 11 December 1982. While reminiscing on "The Day Before You Came", Ulvaeus said: "we might have continued for a while longer if that had been a number one". In January 1983, Fältskog started recording sessions for a solo album, as Lyngstad had successfully released her album Something's Going On some months earlier. Ulvaeus and Andersson, meanwhile, started songwriting sessions for the musical Chess. In interviews at the time, Björn and Benny denied the split of ABBA ("Who are we without our ladies? Initials of Brigitte Bardot? "), and Lyngstad and Fältskog kept claiming in interviews that ABBA would come together for a new album repeatedly during 1983 and 1984. Internal strife between the group and their manager escalated and the band members sold their shares in Polar Music during 1983. Except for a TV appearance in 1986, the foursome did not come together publicly again until they were reunited at the Swedish premiere of the Mamma Mia! movie on 4 July 2008. The individual members' endeavours shortly before and after their final public performance coupled with the collapse of both marriages and the lack of significant activity in the following few years after that widely suggested that the group had broken up. In an interview with the Sunday Telegraph following the premiere, Ulvaeus and Andersson said that there was nothing that could entice them back on stage again. Ulvaeus said: "We will never appear on stage again. [...] There is simply no motivation to re-group. Money is not a factor and we would like people to remember us as we were. Young, exuberant, full of energy and ambition. I remember Robert Plant saying Led Zeppelin were a cover band now because they cover all their own stuff. I think that hit the nail on the head." However, on 3 January 2011, Fältskog, long considered to be the most reclusive member of the group and a major obstacle to any reunion, raised the possibility of reuniting for a one-off engagement. She admitted that she has not yet brought the idea up to the other three members. In April 2013, she reiterated her hopes for reunion during an interview with Die Zeit, stating: "If they ask me, I'll say yes." In a May 2013 interview, Fältskog, aged 63 at the time, stated that an ABBA reunion would never occur: "I think we have to accept that it will not happen, because we are too old and each one of us has their own life. Too many years have gone by since we stopped, and there's really no meaning in putting us together again". Fältskog further explained that the band members remained on amicable terms: "It's always nice to see each other now and then and to talk a little and to be a little nostalgic."

In an April 2014 interview, Fältskog, when asked about whether the band might reunite for a new recording said: "It's difficult to talk about this because then all the news stories will be: 'ABBA is going to record another song!' But as long as we can sing and play, then why not? I would love to, but it's up to Björn and Benny." Resurgence of public interest The same year the members of ABBA went their separate ways, the French production of a "tribute" show (a children's TV musical named Abbacadabra using 14 ABBA songs) spawned new interest in the group's music. After receiving little attention during the mid-to-late-1980s, ABBA's music experienced a resurgence in the early 1990s due to the UK synth-pop duo Erasure, who released Abba-esque, a four track extended play release featuring cover versions of ABBA songs which topped several European charts in 1992. As U2 arrived in Stockholm for a concert in June of that year, the band paid homage to ABBA by inviting Björn Ulvaeus and Benny Andersson to join them on stage for a rendition of "Dancing Queen", playing guitar and keyboards. September 1992 saw the release of ABBA Gold: Greatest Hits, a new compilation album. The single "Dancing Queen" received radio airplay in the UK in the middle of 1992 to promote the album. The song returned to the Top 20 of the UK singles chart in August that year, this time peaking at number 16. With sales of 30 million, Gold is the best-selling ABBA album, as well as one of the best-selling albums worldwide. With sales of 5.5 million copies it is the second-highest selling album of all time in the UK, after Queen's Greatest Hits. More ABBA Gold: More ABBA Hits, a follow-up to Gold, was released in 1993. In 1994, two Australian cult films caught the attention of the world's media, both focusing on admiration for ABBA: The Adventures of Priscilla, Queen of the Desert and Muriel's Wedding. The same year, Thank You for the Music, a four-disc box set comprising all the group's hits and stand-out album tracks, was released with the involvement of all four members. "By the end of the twentieth century," American critic Chuck Klosterman wrote a decade later, "it was far more contrarian to hate ABBA than to love them." ABBA were soon recognised and embraced by other acts: Evan Dando of the Lemonheads recorded a cover version of "Knowing Me, Knowing You"; Sinéad O'Connor and Boyzone's Stephen Gately have recorded "Chiquitita"; Tanita Tikaram, Blancmange and Steven Wilson paid tribute to "The Day Before You Came". Cliff Richard covered "Lay All Your Love on Me", while Dionne Warwick, Peter Cetera, Frank Sidebottom and Celebrity Skin recorded their versions of "SOS". US alternative-rock musician Marshall Crenshaw has also been known to play a version of "Knowing Me, Knowing You" in concert appearances, while legendary English Latin pop songwriter Richard Daniel Roman has recognised ABBA as a major influence. Swedish metal guitarist Yngwie Malmsteen covered "Gimme!

In an April 2014 interview, Fältskog, when asked about whether the band might reunite for a new recording said: "It's difficult to talk about this because then all the news stories will be: 'ABBA is going to record another song!' But as long as we can sing and play, then why not? I would love to, but it's up to Björn and Benny." Resurgence of public interest The same year the members of ABBA went their separate ways, the French production of a "tribute" show (a children's TV musical named Abbacadabra using 14 ABBA songs) spawned new interest in the group's music. After receiving little attention during the mid-to-late-1980s, ABBA's music experienced a resurgence in the early 1990s due to the UK synth-pop duo Erasure, who released Abba-esque, a four track extended play release featuring cover versions of ABBA songs which topped several European charts in 1992. As U2 arrived in Stockholm for a concert in June of that year, the band paid homage to ABBA by inviting Björn Ulvaeus and Benny Andersson to join them on stage for a rendition of "Dancing Queen", playing guitar and keyboards. September 1992 saw the release of ABBA Gold: Greatest Hits, a new compilation album. The single "Dancing Queen" received radio airplay in the UK in the middle of 1992 to promote the album. The song returned to the Top 20 of the UK singles chart in August that year, this time peaking at number 16. With sales of 30 million, Gold is the best-selling ABBA album, as well as one of the best-selling albums worldwide. With sales of 5.5 million copies it is the second-highest selling album of all time in the UK, after Queen's Greatest Hits. More ABBA Gold: More ABBA Hits, a follow-up to Gold, was released in 1993. In 1994, two Australian cult films caught the attention of the world's media, both focusing on admiration for ABBA: The Adventures of Priscilla, Queen of the Desert and Muriel's Wedding. The same year, Thank You for the Music, a four-disc box set comprising all the group's hits and stand-out album tracks, was released with the involvement of all four members. "By the end of the twentieth century," American critic Chuck Klosterman wrote a decade later, "it was far more contrarian to hate ABBA than to love them." ABBA were soon recognised and embraced by other acts: Evan Dando of the Lemonheads recorded a cover version of "Knowing Me, Knowing You"; Sinéad O'Connor and Boyzone's Stephen Gately have recorded "Chiquitita"; Tanita Tikaram, Blancmange and Steven Wilson paid tribute to "The Day Before You Came". Cliff Richard covered "Lay All Your Love on Me", while Dionne Warwick, Peter Cetera, Frank Sidebottom and Celebrity Skin recorded their versions of "SOS". US alternative-rock musician Marshall Crenshaw has also been known to play a version of "Knowing Me, Knowing You" in concert appearances, while legendary English Latin pop songwriter Richard Daniel Roman has recognised ABBA as a major influence. Swedish metal guitarist Yngwie Malmsteen covered "Gimme!

In an April 2014 interview, Fältskog, when asked about whether the band might reunite for a new recording said: "It's difficult to talk about this because then all the news stories will be: 'ABBA is going to record another song!' But as long as we can sing and play, then why not? I would love to, but it's up to Björn and Benny." Resurgence of public interest The same year the members of ABBA went their separate ways, the French production of a "tribute" show (a children's TV musical named Abbacadabra using 14 ABBA songs) spawned new interest in the group's music. After receiving little attention during the mid-to-late-1980s, ABBA's music experienced a resurgence in the early 1990s due to the UK synth-pop duo Erasure, who released Abba-esque, a four track extended play release featuring cover versions of ABBA songs which topped several European charts in 1992. As U2 arrived in Stockholm for a concert in June of that year, the band paid homage to ABBA by inviting Björn Ulvaeus and Benny Andersson to join them on stage for a rendition of "Dancing Queen", playing guitar and keyboards. September 1992 saw the release of ABBA Gold: Greatest Hits, a new compilation album. The single "Dancing Queen" received radio airplay in the UK in the middle of 1992 to promote the album. The song returned to the Top 20 of the UK singles chart in August that year, this time peaking at number 16. With sales of 30 million, Gold is the best-selling ABBA album, as well as one of the best-selling albums worldwide. With sales of 5.5 million copies it is the second-highest selling album of all time in the UK, after Queen's Greatest Hits. More ABBA Gold: More ABBA Hits, a follow-up to Gold, was released in 1993. In 1994, two Australian cult films caught the attention of the world's media, both focusing on admiration for ABBA: The Adventures of Priscilla, Queen of the Desert and Muriel's Wedding. The same year, Thank You for the Music, a four-disc box set comprising all the group's hits and stand-out album tracks, was released with the involvement of all four members. "By the end of the twentieth century," American critic Chuck Klosterman wrote a decade later, "it was far more contrarian to hate ABBA than to love them." ABBA were soon recognised and embraced by other acts: Evan Dando of the Lemonheads recorded a cover version of "Knowing Me, Knowing You"; Sinéad O'Connor and Boyzone's Stephen Gately have recorded "Chiquitita"; Tanita Tikaram, Blancmange and Steven Wilson paid tribute to "The Day Before You Came". Cliff Richard covered "Lay All Your Love on Me", while Dionne Warwick, Peter Cetera, Frank Sidebottom and Celebrity Skin recorded their versions of "SOS". US alternative-rock musician Marshall Crenshaw has also been known to play a version of "Knowing Me, Knowing You" in concert appearances, while legendary English Latin pop songwriter Richard Daniel Roman has recognised ABBA as a major influence. Swedish metal guitarist Yngwie Malmsteen covered "Gimme!

Gimme! Gimme! (A Man After Midnight)" with slightly altered lyrics. Two different compilation albums of ABBA songs have been released. ABBA: A Tribute coincided with the 25th anniversary celebration and featured 17 songs, some of which were recorded especially for this release. Notable tracks include Go West's "One of Us", Army of Lovers "Hasta Mañana", Information Society's "Lay All Your Love on Me", Erasure's "Take a Chance on Me" (with MC Kinky), and Lyngstad's a cappella duet with the Real Group of "Dancing Queen". A second 12-track album was released in 1999, titled ABBAmania, with proceeds going to the Youth Music charity in England. It featured all new cover versions: notable tracks were by Madness ("Money, Money, Money"), Culture Club ("Voulez-Vous"), the Corrs ("The Winner Takes It All"), Steps ("Lay All Your Love on Me", "I Know Him So Well"), and a medley titled "Thank ABBA for the Music" performed by several artists and as featured on the Brits Awards that same year. In 1998, an ABBA tribute group was formed, the ABBA Teens, which was subsequently renamed the A-Teens to allow the group some independence. The group's first album, The ABBA Generation, consisting solely of ABBA covers reimagined as 1990s pop songs, was a worldwide success and so were subsequent albums. The group disbanded in 2004 due to a gruelling schedule and intentions to go solo. In Sweden, the growing recognition of the legacy of Andersson and Ulvaeus resulted in the 1998 B & B Concerts, a tribute concert (with Swedish singers who had worked with the songwriters through the years) showcasing not only their ABBA years, but hits both before and after ABBA. The concert was a success, and was ultimately released on CD. It later toured Scandinavia and even went to Beijing in the People's Republic of China for two concerts. In 2000 ABBA were reported to have turned down an offer of approximately one billion US dollars to do a reunion tour consisting of 100 concerts. For the semi-final of the Eurovision Song Contest 2004, staged in Istanbul 30 years after ABBA had won the contest in Brighton, all four members made cameo appearances in a special comedy video made for the interval act, titled Our Last Video Ever. Other well-known stars such as Rik Mayall, Cher and Iron Maiden's Eddie also made appearances in the video. It was not included in the official DVD release of the 2004 Eurovision contest, but was issued as a separate DVD release, retitled The Last Video at the request of the former ABBA members. The video was made using puppet models of the members of the band. The video has surpassed 13 million views on YouTube as of November 2020. In 2005, all four members of ABBA appeared at the Stockholm premiere of the musical Mamma Mia!. On 22 October 2005, at the 50th anniversary celebration of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the competition's history.

Gimme! Gimme! (A Man After Midnight)" with slightly altered lyrics. Two different compilation albums of ABBA songs have been released. ABBA: A Tribute coincided with the 25th anniversary celebration and featured 17 songs, some of which were recorded especially for this release. Notable tracks include Go West's "One of Us", Army of Lovers "Hasta Mañana", Information Society's "Lay All Your Love on Me", Erasure's "Take a Chance on Me" (with MC Kinky), and Lyngstad's a cappella duet with the Real Group of "Dancing Queen". A second 12-track album was released in 1999, titled ABBAmania, with proceeds going to the Youth Music charity in England. It featured all new cover versions: notable tracks were by Madness ("Money, Money, Money"), Culture Club ("Voulez-Vous"), the Corrs ("The Winner Takes It All"), Steps ("Lay All Your Love on Me", "I Know Him So Well"), and a medley titled "Thank ABBA for the Music" performed by several artists and as featured on the Brits Awards that same year. In 1998, an ABBA tribute group was formed, the ABBA Teens, which was subsequently renamed the A-Teens to allow the group some independence. The group's first album, The ABBA Generation, consisting solely of ABBA covers reimagined as 1990s pop songs, was a worldwide success and so were subsequent albums. The group disbanded in 2004 due to a gruelling schedule and intentions to go solo. In Sweden, the growing recognition of the legacy of Andersson and Ulvaeus resulted in the 1998 B & B Concerts, a tribute concert (with Swedish singers who had worked with the songwriters through the years) showcasing not only their ABBA years, but hits both before and after ABBA. The concert was a success, and was ultimately released on CD. It later toured Scandinavia and even went to Beijing in the People's Republic of China for two concerts. In 2000 ABBA were reported to have turned down an offer of approximately one billion US dollars to do a reunion tour consisting of 100 concerts. For the semi-final of the Eurovision Song Contest 2004, staged in Istanbul 30 years after ABBA had won the contest in Brighton, all four members made cameo appearances in a special comedy video made for the interval act, titled Our Last Video Ever. Other well-known stars such as Rik Mayall, Cher and Iron Maiden's Eddie also made appearances in the video. It was not included in the official DVD release of the 2004 Eurovision contest, but was issued as a separate DVD release, retitled The Last Video at the request of the former ABBA members. The video was made using puppet models of the members of the band. The video has surpassed 13 million views on YouTube as of November 2020. In 2005, all four members of ABBA appeared at the Stockholm premiere of the musical Mamma Mia!. On 22 October 2005, at the 50th anniversary celebration of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the competition's history.

Gimme! Gimme! (A Man After Midnight)" with slightly altered lyrics. Two different compilation albums of ABBA songs have been released. ABBA: A Tribute coincided with the 25th anniversary celebration and featured 17 songs, some of which were recorded especially for this release. Notable tracks include Go West's "One of Us", Army of Lovers "Hasta Mañana", Information Society's "Lay All Your Love on Me", Erasure's "Take a Chance on Me" (with MC Kinky), and Lyngstad's a cappella duet with the Real Group of "Dancing Queen". A second 12-track album was released in 1999, titled ABBAmania, with proceeds going to the Youth Music charity in England. It featured all new cover versions: notable tracks were by Madness ("Money, Money, Money"), Culture Club ("Voulez-Vous"), the Corrs ("The Winner Takes It All"), Steps ("Lay All Your Love on Me", "I Know Him So Well"), and a medley titled "Thank ABBA for the Music" performed by several artists and as featured on the Brits Awards that same year. In 1998, an ABBA tribute group was formed, the ABBA Teens, which was subsequently renamed the A-Teens to allow the group some independence. The group's first album, The ABBA Generation, consisting solely of ABBA covers reimagined as 1990s pop songs, was a worldwide success and so were subsequent albums. The group disbanded in 2004 due to a gruelling schedule and intentions to go solo. In Sweden, the growing recognition of the legacy of Andersson and Ulvaeus resulted in the 1998 B & B Concerts, a tribute concert (with Swedish singers who had worked with the songwriters through the years) showcasing not only their ABBA years, but hits both before and after ABBA. The concert was a success, and was ultimately released on CD. It later toured Scandinavia and even went to Beijing in the People's Republic of China for two concerts. In 2000 ABBA were reported to have turned down an offer of approximately one billion US dollars to do a reunion tour consisting of 100 concerts. For the semi-final of the Eurovision Song Contest 2004, staged in Istanbul 30 years after ABBA had won the contest in Brighton, all four members made cameo appearances in a special comedy video made for the interval act, titled Our Last Video Ever. Other well-known stars such as Rik Mayall, Cher and Iron Maiden's Eddie also made appearances in the video. It was not included in the official DVD release of the 2004 Eurovision contest, but was issued as a separate DVD release, retitled The Last Video at the request of the former ABBA members. The video was made using puppet models of the members of the band. The video has surpassed 13 million views on YouTube as of November 2020. In 2005, all four members of ABBA appeared at the Stockholm premiere of the musical Mamma Mia!. On 22 October 2005, at the 50th anniversary celebration of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the competition's history.

In the same month, American singer Madonna released the single "Hung Up", which contains a sample of the keyboard melody from ABBA's 1979 song "Gimme! Gimme! Gimme! (A Man After Midnight)"; the song was a smash hit, peaking at number one in at least 50 countries. On 4 July 2008, all four ABBA members were reunited at the Swedish premiere of the film Mamma Mia!. It was only the second time all of them had appeared together in public since 1986. During the appearance, they re-emphasised that they intended never to officially reunite, citing the opinion of Robert Plant that the re-formed Led Zeppelin was more like a cover band of itself than the original band. Ulvaeus stated that he wanted the band to be remembered as they were during the peak years of their success. Gold returned to number-one in the UK album charts for the fifth time on 3 August 2008. On 14 August 2008, the Mamma Mia! The Movie film soundtrack went to number-one on the US Billboard charts, ABBA's first US chart-topping album. During the band's heyday the highest album chart position they had ever achieved in America was number 14. In November 2008, all eight studio albums, together with a ninth of rare tracks, were released as The Albums. It hit several charts, peaking at number-four in Sweden and reaching the Top 10 in several other European territories. In 2008, Sony Computer Entertainment Europe, in collaboration with Universal Music Group Sweden AB, released SingStar ABBA on both the PlayStation 2 and PlayStation 3 games consoles, as part of the SingStar music video games. The PS2 version features 20 ABBA songs, while 25 songs feature on the PS3 version. On 22 January 2009, Fältskog and Lyngstad appeared together on stage to receive the Swedish music award "Rockbjörnen" (for "lifetime achievement"). In an interview, the two women expressed their gratitude for the honorary award and thanked their fans. On 25 November 2009, PRS for Music announced that the British public voted ABBA as the band they would most like to see re-form. On 27 January 2010, ABBAWORLD, a 25-room touring exhibition featuring interactive and audiovisual activities, debuted at Earls Court Exhibition Centre in London. According to the exhibition's website, ABBAWORLD is "approved and fully supported" by the band members. "Mamma Mia" was released as one of the first few non-premium song selections for the online RPG game Bandmaster. On 17 May 2011, "Gimme! Gimme! Gimme!" was added as a non-premium song selection for the Bandmaster Philippines server. On 15 November 2011, Ubisoft released a dancing game called ABBA: You Can Dance for the Wii. In January 2012, Universal Music announced the re-release of ABBA's final album The Visitors, featuring a previously unheard track "From a Twinkling Star to a Passing Angel". A book titled ABBA: The Official Photo Book was published in early 2014 to mark the 40th anniversary of the band's Eurovision victory.

In the same month, American singer Madonna released the single "Hung Up", which contains a sample of the keyboard melody from ABBA's 1979 song "Gimme! Gimme! Gimme! (A Man After Midnight)"; the song was a smash hit, peaking at number one in at least 50 countries. On 4 July 2008, all four ABBA members were reunited at the Swedish premiere of the film Mamma Mia!. It was only the second time all of them had appeared together in public since 1986. During the appearance, they re-emphasised that they intended never to officially reunite, citing the opinion of Robert Plant that the re-formed Led Zeppelin was more like a cover band of itself than the original band. Ulvaeus stated that he wanted the band to be remembered as they were during the peak years of their success. Gold returned to number-one in the UK album charts for the fifth time on 3 August 2008. On 14 August 2008, the Mamma Mia! The Movie film soundtrack went to number-one on the US Billboard charts, ABBA's first US chart-topping album. During the band's heyday the highest album chart position they had ever achieved in America was number 14. In November 2008, all eight studio albums, together with a ninth of rare tracks, were released as The Albums. It hit several charts, peaking at number-four in Sweden and reaching the Top 10 in several other European territories. In 2008, Sony Computer Entertainment Europe, in collaboration with Universal Music Group Sweden AB, released SingStar ABBA on both the PlayStation 2 and PlayStation 3 games consoles, as part of the SingStar music video games. The PS2 version features 20 ABBA songs, while 25 songs feature on the PS3 version. On 22 January 2009, Fältskog and Lyngstad appeared together on stage to receive the Swedish music award "Rockbjörnen" (for "lifetime achievement"). In an interview, the two women expressed their gratitude for the honorary award and thanked their fans. On 25 November 2009, PRS for Music announced that the British public voted ABBA as the band they would most like to see re-form. On 27 January 2010, ABBAWORLD, a 25-room touring exhibition featuring interactive and audiovisual activities, debuted at Earls Court Exhibition Centre in London. According to the exhibition's website, ABBAWORLD is "approved and fully supported" by the band members. "Mamma Mia" was released as one of the first few non-premium song selections for the online RPG game Bandmaster. On 17 May 2011, "Gimme! Gimme! Gimme!" was added as a non-premium song selection for the Bandmaster Philippines server. On 15 November 2011, Ubisoft released a dancing game called ABBA: You Can Dance for the Wii. In January 2012, Universal Music announced the re-release of ABBA's final album The Visitors, featuring a previously unheard track "From a Twinkling Star to a Passing Angel". A book titled ABBA: The Official Photo Book was published in early 2014 to mark the 40th anniversary of the band's Eurovision victory.

In the same month, American singer Madonna released the single "Hung Up", which contains a sample of the keyboard melody from ABBA's 1979 song "Gimme! Gimme! Gimme! (A Man After Midnight)"; the song was a smash hit, peaking at number one in at least 50 countries. On 4 July 2008, all four ABBA members were reunited at the Swedish premiere of the film Mamma Mia!. It was only the second time all of them had appeared together in public since 1986. During the appearance, they re-emphasised that they intended never to officially reunite, citing the opinion of Robert Plant that the re-formed Led Zeppelin was more like a cover band of itself than the original band. Ulvaeus stated that he wanted the band to be remembered as they were during the peak years of their success. Gold returned to number-one in the UK album charts for the fifth time on 3 August 2008. On 14 August 2008, the Mamma Mia! The Movie film soundtrack went to number-one on the US Billboard charts, ABBA's first US chart-topping album. During the band's heyday the highest album chart position they had ever achieved in America was number 14. In November 2008, all eight studio albums, together with a ninth of rare tracks, were released as The Albums. It hit several charts, peaking at number-four in Sweden and reaching the Top 10 in several other European territories. In 2008, Sony Computer Entertainment Europe, in collaboration with Universal Music Group Sweden AB, released SingStar ABBA on both the PlayStation 2 and PlayStation 3 games consoles, as part of the SingStar music video games. The PS2 version features 20 ABBA songs, while 25 songs feature on the PS3 version. On 22 January 2009, Fältskog and Lyngstad appeared together on stage to receive the Swedish music award "Rockbjörnen" (for "lifetime achievement"). In an interview, the two women expressed their gratitude for the honorary award and thanked their fans. On 25 November 2009, PRS for Music announced that the British public voted ABBA as the band they would most like to see re-form. On 27 January 2010, ABBAWORLD, a 25-room touring exhibition featuring interactive and audiovisual activities, debuted at Earls Court Exhibition Centre in London. According to the exhibition's website, ABBAWORLD is "approved and fully supported" by the band members. "Mamma Mia" was released as one of the first few non-premium song selections for the online RPG game Bandmaster. On 17 May 2011, "Gimme! Gimme! Gimme!" was added as a non-premium song selection for the Bandmaster Philippines server. On 15 November 2011, Ubisoft released a dancing game called ABBA: You Can Dance for the Wii. In January 2012, Universal Music announced the re-release of ABBA's final album The Visitors, featuring a previously unheard track "From a Twinkling Star to a Passing Angel". A book titled ABBA: The Official Photo Book was published in early 2014 to mark the 40th anniversary of the band's Eurovision victory.

The book reveals that part of the reason for the band's outrageous costumes was that Swedish tax laws at the time allowed the cost of garish outfits that were not suitable for daily wear to be tax deductible. A sequel to the 2008 movie Mamma Mia!, titled Mamma Mia! Here We Go Again, was announced in May 2017; the film was released on 20 July 2018. Cher, who appeared in the movie, also released Dancing Queen, an ABBA cover album, in September 2018. In June 2017, a blue plaque outside Brighton Dome was set to commemorate their 1974 Eurovision win. In May 2020, it was announced that ABBA's entire studio discography would be released on coloured vinyl for the first time, in a box set titled ABBA: The Studio Albums. The initial release sold out in just a few hours. 2016–present: Reunion, Voyage and ABBAtars On 20 January 2016, all four members of ABBA made a public appearance at Mamma Mia! The Party in Stockholm. On 6 June 2016, the quartet appeared together at a private party at Berns Salonger in Stockholm, which was held to celebrate the 50th anniversary of Andersson and Ulvaeus's first meeting. Fältskog and Lyngstad performed live, singing "The Way Old Friends Do" before they were joined on stage by Andersson and Ulvaeus. British manager Simon Fuller announced in a statement in October 2016 that the group would be reuniting to work on a new 'digital entertainment experience'. The project would feature the members in their "life-like" avatar form, called ABBAtars, based on their late 1970s tour and would be set to launch by the spring of 2019. On 27 April 2018, all four original members of ABBA made a joint announcement that they had recorded two new songs, titled "I Still Have Faith in You" and "Don't Shut Me Down", to feature in a TV special set to air later that year. In September 2018, Ulvaeus stated that the two new songs, as well as the aforementioned TV special, now called ABBA: Thank You for the Music, An All-Star Tribute, would not be released until 2019. The TV special was later revealed to be scrapped by 2018, as Andersson and Ulvaeus rejected Fuller's project, and instead partnered with visual effects company Industrial Light and Magic to prepare the ABBAtars for a music video and a concert. In January 2019, it was revealed that neither song would be released before the summer. Andersson hinted at the possibility of a third song. In June 2019, Ulvaeus announced that the first new song and video containing the ABBAtars would be released in November 2019. In September, he stated in an interview that there were now five new ABBA songs to be released in 2020. In early 2020, Andersson confirmed that he was aiming for the songs to be released in September 2020. In April 2020, Ulvaeus gave an interview saying that in the wake of the COVID-19 pandemic, the avatar project had been delayed by six months.

The book reveals that part of the reason for the band's outrageous costumes was that Swedish tax laws at the time allowed the cost of garish outfits that were not suitable for daily wear to be tax deductible. A sequel to the 2008 movie Mamma Mia!, titled Mamma Mia! Here We Go Again, was announced in May 2017; the film was released on 20 July 2018. Cher, who appeared in the movie, also released Dancing Queen, an ABBA cover album, in September 2018. In June 2017, a blue plaque outside Brighton Dome was set to commemorate their 1974 Eurovision win. In May 2020, it was announced that ABBA's entire studio discography would be released on coloured vinyl for the first time, in a box set titled ABBA: The Studio Albums. The initial release sold out in just a few hours. 2016–present: Reunion, Voyage and ABBAtars On 20 January 2016, all four members of ABBA made a public appearance at Mamma Mia! The Party in Stockholm. On 6 June 2016, the quartet appeared together at a private party at Berns Salonger in Stockholm, which was held to celebrate the 50th anniversary of Andersson and Ulvaeus's first meeting. Fältskog and Lyngstad performed live, singing "The Way Old Friends Do" before they were joined on stage by Andersson and Ulvaeus. British manager Simon Fuller announced in a statement in October 2016 that the group would be reuniting to work on a new 'digital entertainment experience'. The project would feature the members in their "life-like" avatar form, called ABBAtars, based on their late 1970s tour and would be set to launch by the spring of 2019. On 27 April 2018, all four original members of ABBA made a joint announcement that they had recorded two new songs, titled "I Still Have Faith in You" and "Don't Shut Me Down", to feature in a TV special set to air later that year. In September 2018, Ulvaeus stated that the two new songs, as well as the aforementioned TV special, now called ABBA: Thank You for the Music, An All-Star Tribute, would not be released until 2019. The TV special was later revealed to be scrapped by 2018, as Andersson and Ulvaeus rejected Fuller's project, and instead partnered with visual effects company Industrial Light and Magic to prepare the ABBAtars for a music video and a concert. In January 2019, it was revealed that neither song would be released before the summer. Andersson hinted at the possibility of a third song. In June 2019, Ulvaeus announced that the first new song and video containing the ABBAtars would be released in November 2019. In September, he stated in an interview that there were now five new ABBA songs to be released in 2020. In early 2020, Andersson confirmed that he was aiming for the songs to be released in September 2020. In April 2020, Ulvaeus gave an interview saying that in the wake of the COVID-19 pandemic, the avatar project had been delayed by six months.

The book reveals that part of the reason for the band's outrageous costumes was that Swedish tax laws at the time allowed the cost of garish outfits that were not suitable for daily wear to be tax deductible. A sequel to the 2008 movie Mamma Mia!, titled Mamma Mia! Here We Go Again, was announced in May 2017; the film was released on 20 July 2018. Cher, who appeared in the movie, also released Dancing Queen, an ABBA cover album, in September 2018. In June 2017, a blue plaque outside Brighton Dome was set to commemorate their 1974 Eurovision win. In May 2020, it was announced that ABBA's entire studio discography would be released on coloured vinyl for the first time, in a box set titled ABBA: The Studio Albums. The initial release sold out in just a few hours. 2016–present: Reunion, Voyage and ABBAtars On 20 January 2016, all four members of ABBA made a public appearance at Mamma Mia! The Party in Stockholm. On 6 June 2016, the quartet appeared together at a private party at Berns Salonger in Stockholm, which was held to celebrate the 50th anniversary of Andersson and Ulvaeus's first meeting. Fältskog and Lyngstad performed live, singing "The Way Old Friends Do" before they were joined on stage by Andersson and Ulvaeus. British manager Simon Fuller announced in a statement in October 2016 that the group would be reuniting to work on a new 'digital entertainment experience'. The project would feature the members in their "life-like" avatar form, called ABBAtars, based on their late 1970s tour and would be set to launch by the spring of 2019. On 27 April 2018, all four original members of ABBA made a joint announcement that they had recorded two new songs, titled "I Still Have Faith in You" and "Don't Shut Me Down", to feature in a TV special set to air later that year. In September 2018, Ulvaeus stated that the two new songs, as well as the aforementioned TV special, now called ABBA: Thank You for the Music, An All-Star Tribute, would not be released until 2019. The TV special was later revealed to be scrapped by 2018, as Andersson and Ulvaeus rejected Fuller's project, and instead partnered with visual effects company Industrial Light and Magic to prepare the ABBAtars for a music video and a concert. In January 2019, it was revealed that neither song would be released before the summer. Andersson hinted at the possibility of a third song. In June 2019, Ulvaeus announced that the first new song and video containing the ABBAtars would be released in November 2019. In September, he stated in an interview that there were now five new ABBA songs to be released in 2020. In early 2020, Andersson confirmed that he was aiming for the songs to be released in September 2020. In April 2020, Ulvaeus gave an interview saying that in the wake of the COVID-19 pandemic, the avatar project had been delayed by six months.

As of 2020, five out of the eight original songs written by Benny for the new album had been recorded by the two female members, and the release of a new music video with new unseen technology that cost £15 million was to be decided. In July 2020, Ulvaeus told podcaster Geoff Lloyd that the release of the new ABBA recordings had been delayed until 2021. On 22 September 2020, all four ABBA members reunited at Ealing Studios in London to continue working on the avatar project and filming for the tour. Björn said that the avatar tour would be scheduled for 2022 since the nature of the technology was complex. When questioned if the new recordings were definitely coming out in 2021, Björn said "There will be new music this year, that is definite, it's not a case anymore of it might happen, it will happen." On 26 August 2021, a new website was launched, with the title ABBA Voyage. On the page, visitors were prompted to subscribe "to be the first in line to hear more about ABBA Voyage". Simultaneously with the launch of the webpage, new ABBA Voyage social media accounts were launched, and billboards around London started to appear, all showing the date "02.09.21", leading to expectation of what was to be revealed on that date. On 29 August, the band officially joined TikTok with a video of Benny Andersson playing "Dancing Queen" on the piano, and media reported on a new album to be announced on 2 September. On that date, Voyage, their first new album in 40 years, was announced to be released on 5 November 2021, along with ABBA Voyage, a concert residency in London featuring the motion capture digital avatars of the four band members alongside a 10-piece live band, due to start in May 2022. Fältskog stated that the Voyage album and tour are likely to be their last. The announcement of the new album was accompanied by the release of the previously-announced new singles "I Still Have Faith in You" and "Don't Shut Me Down". The music video for "I Still Have Faith in You", featuring footage of the band during their performing years and also a first look at the ABBAtars, earned over a million views in its first three hours. "Don't Shut Me Down" became the first ABBA release since October 1978 to top the singles chart in Sweden. In October 2021, the third single "Just a Notion" was released, and it was announced that ABBA would split for good after the release of Voyage. However, in an interview with BBC Radio 2 on 11 November, Lyngstad stated "don't be too sure" that Voyage is the final ABBA album. Also, in an interview with BBC News on 5 November, Andersson stated "if they (the ladies) twist my arm I might change my mind." The fourth single from the album, “Little Things”, was released on 3 December.

As of 2020, five out of the eight original songs written by Benny for the new album had been recorded by the two female members, and the release of a new music video with new unseen technology that cost £15 million was to be decided. In July 2020, Ulvaeus told podcaster Geoff Lloyd that the release of the new ABBA recordings had been delayed until 2021. On 22 September 2020, all four ABBA members reunited at Ealing Studios in London to continue working on the avatar project and filming for the tour. Björn said that the avatar tour would be scheduled for 2022 since the nature of the technology was complex. When questioned if the new recordings were definitely coming out in 2021, Björn said "There will be new music this year, that is definite, it's not a case anymore of it might happen, it will happen." On 26 August 2021, a new website was launched, with the title ABBA Voyage. On the page, visitors were prompted to subscribe "to be the first in line to hear more about ABBA Voyage". Simultaneously with the launch of the webpage, new ABBA Voyage social media accounts were launched, and billboards around London started to appear, all showing the date "02.09.21", leading to expectation of what was to be revealed on that date. On 29 August, the band officially joined TikTok with a video of Benny Andersson playing "Dancing Queen" on the piano, and media reported on a new album to be announced on 2 September. On that date, Voyage, their first new album in 40 years, was announced to be released on 5 November 2021, along with ABBA Voyage, a concert residency in London featuring the motion capture digital avatars of the four band members alongside a 10-piece live band, due to start in May 2022. Fältskog stated that the Voyage album and tour are likely to be their last. The announcement of the new album was accompanied by the release of the previously-announced new singles "I Still Have Faith in You" and "Don't Shut Me Down". The music video for "I Still Have Faith in You", featuring footage of the band during their performing years and also a first look at the ABBAtars, earned over a million views in its first three hours. "Don't Shut Me Down" became the first ABBA release since October 1978 to top the singles chart in Sweden. In October 2021, the third single "Just a Notion" was released, and it was announced that ABBA would split for good after the release of Voyage. However, in an interview with BBC Radio 2 on 11 November, Lyngstad stated "don't be too sure" that Voyage is the final ABBA album. Also, in an interview with BBC News on 5 November, Andersson stated "if they (the ladies) twist my arm I might change my mind." The fourth single from the album, “Little Things”, was released on 3 December.

As of 2020, five out of the eight original songs written by Benny for the new album had been recorded by the two female members, and the release of a new music video with new unseen technology that cost £15 million was to be decided. In July 2020, Ulvaeus told podcaster Geoff Lloyd that the release of the new ABBA recordings had been delayed until 2021. On 22 September 2020, all four ABBA members reunited at Ealing Studios in London to continue working on the avatar project and filming for the tour. Björn said that the avatar tour would be scheduled for 2022 since the nature of the technology was complex. When questioned if the new recordings were definitely coming out in 2021, Björn said "There will be new music this year, that is definite, it's not a case anymore of it might happen, it will happen." On 26 August 2021, a new website was launched, with the title ABBA Voyage. On the page, visitors were prompted to subscribe "to be the first in line to hear more about ABBA Voyage". Simultaneously with the launch of the webpage, new ABBA Voyage social media accounts were launched, and billboards around London started to appear, all showing the date "02.09.21", leading to expectation of what was to be revealed on that date. On 29 August, the band officially joined TikTok with a video of Benny Andersson playing "Dancing Queen" on the piano, and media reported on a new album to be announced on 2 September. On that date, Voyage, their first new album in 40 years, was announced to be released on 5 November 2021, along with ABBA Voyage, a concert residency in London featuring the motion capture digital avatars of the four band members alongside a 10-piece live band, due to start in May 2022. Fältskog stated that the Voyage album and tour are likely to be their last. The announcement of the new album was accompanied by the release of the previously-announced new singles "I Still Have Faith in You" and "Don't Shut Me Down". The music video for "I Still Have Faith in You", featuring footage of the band during their performing years and also a first look at the ABBAtars, earned over a million views in its first three hours. "Don't Shut Me Down" became the first ABBA release since October 1978 to top the singles chart in Sweden. In October 2021, the third single "Just a Notion" was released, and it was announced that ABBA would split for good after the release of Voyage. However, in an interview with BBC Radio 2 on 11 November, Lyngstad stated "don't be too sure" that Voyage is the final ABBA album. Also, in an interview with BBC News on 5 November, Andersson stated "if they (the ladies) twist my arm I might change my mind." The fourth single from the album, “Little Things”, was released on 3 December.

Artistry Recording process ABBA were perfectionists in the studio, working on tracks until they got them right rather than leaving them to come back to later on. They spent the bulk of their time within the studio; in separate 2021 interviews Ulvaeus stated they may have toured for only 6 months while Andersson said they played fewer than 100 shows during the band's career. The band created a basic rhythm track with a drummer, guitarist and bass player, and overlaid other arrangements and instruments. Vocals were then added, and orchestra overdubs were usually left until last. Fältskog and Lyngstad contributed ideas at the studio stage. Andersson and Ulvaeus played them the backing tracks and they made comments and suggestions. According to Fältskog, she and Lyngstad had the final say in how the lyrics were shaped. After vocals and overdubs were done, the band took up to five days to mix a song. Their single "S.O.S." was "heavily influenced by Phil Spector's Wall of Sound and the melodies of the Beach Boys", according to Billboard writer Fred Bronson, who also reported that Ulvaeus had said, "Because there was the Latin-American influence, the German, the Italian, the English, the American, all of that. I suppose we were a bit exotic in every territory in an acceptable way." Fashion, style, videos, advertising campaigns ABBA was widely noted for the colourful and trend-setting costumes its members wore. The reason for the wild costumes was Swedish tax law: the cost of the clothes was deductible only if they could not be worn other than for performances. Choreography by Graham Tainton also contributed to their performance style. The videos that accompanied some of the band's biggest hits are often cited as being among the earliest examples of the genre. Most of ABBA's videos (and ABBA: The Movie) were directed by Lasse Hallström, who would later direct the films My Life as a Dog, The Cider House Rules and Chocolat. ABBA made videos because their songs were hits in many different countries and personal appearances were not always possible. This was also done in an effort to minimise travelling, particularly to countries that would have required extremely long flights. Fältskog and Ulvaeus had two young children and Fältskog, who was also afraid of flying, was very reluctant to leave her children for such a long time. ABBA's manager, Stig Anderson, realised the potential of showing a simple video clip on television to publicise a single or album, thereby allowing easier and quicker exposure than a concert tour. Some of these videos have become classics because of the 1970s-era costumes and early video effects, such as the grouping of the band members in different combinations of pairs, overlapping one singer's profile with the other's full face, and the contrasting of one member against another. In 1976, ABBA participated in an advertising campaign to promote the Matsushita Electric Industrial Co.'s brand, National, in Australia. The campaign was also broadcast in Japan.

Artistry Recording process ABBA were perfectionists in the studio, working on tracks until they got them right rather than leaving them to come back to later on. They spent the bulk of their time within the studio; in separate 2021 interviews Ulvaeus stated they may have toured for only 6 months while Andersson said they played fewer than 100 shows during the band's career. The band created a basic rhythm track with a drummer, guitarist and bass player, and overlaid other arrangements and instruments. Vocals were then added, and orchestra overdubs were usually left until last. Fältskog and Lyngstad contributed ideas at the studio stage. Andersson and Ulvaeus played them the backing tracks and they made comments and suggestions. According to Fältskog, she and Lyngstad had the final say in how the lyrics were shaped. After vocals and overdubs were done, the band took up to five days to mix a song. Their single "S.O.S." was "heavily influenced by Phil Spector's Wall of Sound and the melodies of the Beach Boys", according to Billboard writer Fred Bronson, who also reported that Ulvaeus had said, "Because there was the Latin-American influence, the German, the Italian, the English, the American, all of that. I suppose we were a bit exotic in every territory in an acceptable way." Fashion, style, videos, advertising campaigns ABBA was widely noted for the colourful and trend-setting costumes its members wore. The reason for the wild costumes was Swedish tax law: the cost of the clothes was deductible only if they could not be worn other than for performances. Choreography by Graham Tainton also contributed to their performance style. The videos that accompanied some of the band's biggest hits are often cited as being among the earliest examples of the genre. Most of ABBA's videos (and ABBA: The Movie) were directed by Lasse Hallström, who would later direct the films My Life as a Dog, The Cider House Rules and Chocolat. ABBA made videos because their songs were hits in many different countries and personal appearances were not always possible. This was also done in an effort to minimise travelling, particularly to countries that would have required extremely long flights. Fältskog and Ulvaeus had two young children and Fältskog, who was also afraid of flying, was very reluctant to leave her children for such a long time. ABBA's manager, Stig Anderson, realised the potential of showing a simple video clip on television to publicise a single or album, thereby allowing easier and quicker exposure than a concert tour. Some of these videos have become classics because of the 1970s-era costumes and early video effects, such as the grouping of the band members in different combinations of pairs, overlapping one singer's profile with the other's full face, and the contrasting of one member against another. In 1976, ABBA participated in an advertising campaign to promote the Matsushita Electric Industrial Co.'s brand, National, in Australia. The campaign was also broadcast in Japan.

Artistry Recording process ABBA were perfectionists in the studio, working on tracks until they got them right rather than leaving them to come back to later on. They spent the bulk of their time within the studio; in separate 2021 interviews Ulvaeus stated they may have toured for only 6 months while Andersson said they played fewer than 100 shows during the band's career. The band created a basic rhythm track with a drummer, guitarist and bass player, and overlaid other arrangements and instruments. Vocals were then added, and orchestra overdubs were usually left until last. Fältskog and Lyngstad contributed ideas at the studio stage. Andersson and Ulvaeus played them the backing tracks and they made comments and suggestions. According to Fältskog, she and Lyngstad had the final say in how the lyrics were shaped. After vocals and overdubs were done, the band took up to five days to mix a song. Their single "S.O.S." was "heavily influenced by Phil Spector's Wall of Sound and the melodies of the Beach Boys", according to Billboard writer Fred Bronson, who also reported that Ulvaeus had said, "Because there was the Latin-American influence, the German, the Italian, the English, the American, all of that. I suppose we were a bit exotic in every territory in an acceptable way." Fashion, style, videos, advertising campaigns ABBA was widely noted for the colourful and trend-setting costumes its members wore. The reason for the wild costumes was Swedish tax law: the cost of the clothes was deductible only if they could not be worn other than for performances. Choreography by Graham Tainton also contributed to their performance style. The videos that accompanied some of the band's biggest hits are often cited as being among the earliest examples of the genre. Most of ABBA's videos (and ABBA: The Movie) were directed by Lasse Hallström, who would later direct the films My Life as a Dog, The Cider House Rules and Chocolat. ABBA made videos because their songs were hits in many different countries and personal appearances were not always possible. This was also done in an effort to minimise travelling, particularly to countries that would have required extremely long flights. Fältskog and Ulvaeus had two young children and Fältskog, who was also afraid of flying, was very reluctant to leave her children for such a long time. ABBA's manager, Stig Anderson, realised the potential of showing a simple video clip on television to publicise a single or album, thereby allowing easier and quicker exposure than a concert tour. Some of these videos have become classics because of the 1970s-era costumes and early video effects, such as the grouping of the band members in different combinations of pairs, overlapping one singer's profile with the other's full face, and the contrasting of one member against another. In 1976, ABBA participated in an advertising campaign to promote the Matsushita Electric Industrial Co.'s brand, National, in Australia. The campaign was also broadcast in Japan.

Five commercial spots, each of approximately one minute, were produced, each presenting the "National Song" performed by ABBA using the melody and instrumental arrangements of "Fernando" and revised lyrics. Political use of ABBA's music In September 2010, band members Andersson and Ulvaeus criticised the right-wing Danish People's Party (DF) for using the ABBA song "Mamma Mia" (with modified lyrics referencing Pia Kjærsgaard) at rallies. The band threatened to file a lawsuit against the DF, saying they never allowed their music to be used politically and that they had absolutely no interest in supporting the party. Their record label Universal Music later said that no legal action would be taken because an agreement had been reached. Success in the United States During their active career, from 1972 to 1982, 20 of ABBA's singles entered the Billboard Hot 100; 14 of these made the Top 40 (13 on the Cashbox Top 100), with 10 making the Top 20 on both charts. A total of four of those singles reached the Top 10, including "Dancing Queen", which reached number one in April 1977. While "Fernando" and "SOS" did not break the Top 10 on the Billboard Hot 100 (reaching number 13 and 15 respectively), they did reach the Top 10 on Cashbox ("Fernando") and Record World ("SOS") charts. Both "Dancing Queen" and "Take a Chance on Me" were certified gold by the Recording Industry Association of America for sales of over one million copies each. The group also had 12 Top 20 singles on the Billboard Adult Contemporary chart with two of them, "Fernando" and "The Winner Takes It All", reaching number one. "Lay All Your Love on Me" was ABBA's fourth number-one single on a Billboard chart, topping the Hot Dance Club Play chart. Ten ABBA albums have made their way into the top half of the Billboard 200 album chart, with eight reaching the Top 50, five reaching the Top 20 and one reaching the Top 10. In November 2021, Voyage became ABBA's highest charting album on the Billboard 200 peaking at No. 2. Five albums received RIAA gold certification (more than 500,000 copies sold), while three acquired platinum status (selling more than one million copies). The compilation album ABBA Gold: Greatest Hits topped the Billboard Top Pop Catalog Albums chart in August 2008 (15 years after it was first released in the US in 1993), becoming the group's first number-one album ever on any of the Billboard album charts. It has sold 6 million copies there. On 15 March 2010, ABBA were inducted into the Rock and Roll Hall of Fame by Bee Gees members Barry Gibb and Robin Gibb. The ceremony was held at the Waldorf Astoria Hotel in New York City. The group were represented by Anni-Frid Lyngstad and Benny Andersson. in November 2021, ABBA received a Grammy nomination for Record of the Year. The single, "I Still Have Faith In You", from the album, Voyage, was their first ever nomination.

Five commercial spots, each of approximately one minute, were produced, each presenting the "National Song" performed by ABBA using the melody and instrumental arrangements of "Fernando" and revised lyrics. Political use of ABBA's music In September 2010, band members Andersson and Ulvaeus criticised the right-wing Danish People's Party (DF) for using the ABBA song "Mamma Mia" (with modified lyrics referencing Pia Kjærsgaard) at rallies. The band threatened to file a lawsuit against the DF, saying they never allowed their music to be used politically and that they had absolutely no interest in supporting the party. Their record label Universal Music later said that no legal action would be taken because an agreement had been reached. Success in the United States During their active career, from 1972 to 1982, 20 of ABBA's singles entered the Billboard Hot 100; 14 of these made the Top 40 (13 on the Cashbox Top 100), with 10 making the Top 20 on both charts. A total of four of those singles reached the Top 10, including "Dancing Queen", which reached number one in April 1977. While "Fernando" and "SOS" did not break the Top 10 on the Billboard Hot 100 (reaching number 13 and 15 respectively), they did reach the Top 10 on Cashbox ("Fernando") and Record World ("SOS") charts. Both "Dancing Queen" and "Take a Chance on Me" were certified gold by the Recording Industry Association of America for sales of over one million copies each. The group also had 12 Top 20 singles on the Billboard Adult Contemporary chart with two of them, "Fernando" and "The Winner Takes It All", reaching number one. "Lay All Your Love on Me" was ABBA's fourth number-one single on a Billboard chart, topping the Hot Dance Club Play chart. Ten ABBA albums have made their way into the top half of the Billboard 200 album chart, with eight reaching the Top 50, five reaching the Top 20 and one reaching the Top 10. In November 2021, Voyage became ABBA's highest charting album on the Billboard 200 peaking at No. 2. Five albums received RIAA gold certification (more than 500,000 copies sold), while three acquired platinum status (selling more than one million copies). The compilation album ABBA Gold: Greatest Hits topped the Billboard Top Pop Catalog Albums chart in August 2008 (15 years after it was first released in the US in 1993), becoming the group's first number-one album ever on any of the Billboard album charts. It has sold 6 million copies there. On 15 March 2010, ABBA were inducted into the Rock and Roll Hall of Fame by Bee Gees members Barry Gibb and Robin Gibb. The ceremony was held at the Waldorf Astoria Hotel in New York City. The group were represented by Anni-Frid Lyngstad and Benny Andersson. in November 2021, ABBA received a Grammy nomination for Record of the Year. The single, "I Still Have Faith In You", from the album, Voyage, was their first ever nomination.

Five commercial spots, each of approximately one minute, were produced, each presenting the "National Song" performed by ABBA using the melody and instrumental arrangements of "Fernando" and revised lyrics. Political use of ABBA's music In September 2010, band members Andersson and Ulvaeus criticised the right-wing Danish People's Party (DF) for using the ABBA song "Mamma Mia" (with modified lyrics referencing Pia Kjærsgaard) at rallies. The band threatened to file a lawsuit against the DF, saying they never allowed their music to be used politically and that they had absolutely no interest in supporting the party. Their record label Universal Music later said that no legal action would be taken because an agreement had been reached. Success in the United States During their active career, from 1972 to 1982, 20 of ABBA's singles entered the Billboard Hot 100; 14 of these made the Top 40 (13 on the Cashbox Top 100), with 10 making the Top 20 on both charts. A total of four of those singles reached the Top 10, including "Dancing Queen", which reached number one in April 1977. While "Fernando" and "SOS" did not break the Top 10 on the Billboard Hot 100 (reaching number 13 and 15 respectively), they did reach the Top 10 on Cashbox ("Fernando") and Record World ("SOS") charts. Both "Dancing Queen" and "Take a Chance on Me" were certified gold by the Recording Industry Association of America for sales of over one million copies each. The group also had 12 Top 20 singles on the Billboard Adult Contemporary chart with two of them, "Fernando" and "The Winner Takes It All", reaching number one. "Lay All Your Love on Me" was ABBA's fourth number-one single on a Billboard chart, topping the Hot Dance Club Play chart. Ten ABBA albums have made their way into the top half of the Billboard 200 album chart, with eight reaching the Top 50, five reaching the Top 20 and one reaching the Top 10. In November 2021, Voyage became ABBA's highest charting album on the Billboard 200 peaking at No. 2. Five albums received RIAA gold certification (more than 500,000 copies sold), while three acquired platinum status (selling more than one million copies). The compilation album ABBA Gold: Greatest Hits topped the Billboard Top Pop Catalog Albums chart in August 2008 (15 years after it was first released in the US in 1993), becoming the group's first number-one album ever on any of the Billboard album charts. It has sold 6 million copies there. On 15 March 2010, ABBA were inducted into the Rock and Roll Hall of Fame by Bee Gees members Barry Gibb and Robin Gibb. The ceremony was held at the Waldorf Astoria Hotel in New York City. The group were represented by Anni-Frid Lyngstad and Benny Andersson. in November 2021, ABBA received a Grammy nomination for Record of the Year. The single, "I Still Have Faith In You", from the album, Voyage, was their first ever nomination.

Band members Agnetha Fältskog – lead and backing vocals Anni-Frid "Frida" Lyngstad – lead and backing vocals Björn Ulvaeus – guitars, backing and lead vocals Benny Andersson – keyboards, synthesizers, piano, accordion, guitars, backing and lead vocals The members of ABBA were married as follows: Agnetha Fältskog and Björn Ulvaeus from 1971 to 1980: Benny Andersson and Anni-Frid Lyngstad from 1978 to 1981. In addition to the four members of ABBA, other musicians played on their studio recordings, live appearances and concert performances. These include Rutger Gunnarsson (1972–1982) bass guitar and string arrangements, Ola Brunkert (1972–1981) drums, Mike Watson (1972–1980) bass guitar, Janne Schaffer (1972–1982) lead electric guitar, Roger Palm (1972–1979) drums, Malando Gassama (1973–1979) percussion, Lasse Wellander (1974–2021) lead electric guitar, and Per Lindvall (1980–2021) drums. ABBA-related tributes Musical groups Abbaesque – An Irish ABBA tribute band A-Teens – A pop music group from Stockholm, Sweden Björn Again – An Australian tribute band; notable as the earliest-formed ABBA tribute band (1988) and, as of 2021, still currently touring. Gabba – An ABBA–Ramones tribute band that covers the former in the style of the latter, the name being a reference to the Ramones catchphrase "Gabba Gabba Hey". Media Saturday Night (1975) (TV) .... Season 1 Episode 5 (Hosted by Robert Klein with Musical Numbers by ABBA and Loudon Wainwright III) Abbacadabra – A French children's musical based on songs from ABBA Abba-esque – A 1992 cover EP by Erasure Abbasalutely – A compilation album released in 1995 as a tribute album to ABBA Mamma Mia! – A musical stage show based on songs of ABBA ABBAmania – An ITV programme and tribute album to ABBA released in 1999 Mamma Mia! – A film adaptation of the musical stage show Mamma Mia! Here We Go Again – A prequel/sequel to the original film ABBA: You Can Dance – A dance video game released by Ubisoft in 2011 with songs from ABBA and also a spin-off of Just Dance video game series Dancing Queen - A 2018 cover album by Cher Discography Studio albums Ring Ring (1973) Waterloo (1974) ABBA (1975) Arrival (1976) The Album (1977) Voulez-Vous (1979) Super Trouper (1980) The Visitors (1981) Voyage (2021) Tours 1973: Swedish Folkpark Tour 1974–1975: European Tour 1977: European & Australian Tour 1979–1980: ABBA: The Tour 2022: ABBA Voyage Awards and nominations See also ABBA: The Museum ABBA City Walks – Stockholm City Museum ABBAMAIL List of best-selling music artists List of Swedes in music Music of Sweden Popular music in Sweden Citations References Bibliography Further reading Benny Andersson, Björn Ulvaeus, Judy Craymer: Mamma Mia! How Can I Resist You? : The Inside Story of Mamma Mia! and the Songs of ABBA. Weidenfeld & Nicolson, 2006 Carl Magnus Palm. ABBA – The Complete Recording Sessions (1994) Carl Magnus Palm (2000). From "ABBA" to "Mamma Mia!" Elisabeth Vincentelli: ABBA Treasures: A Celebration of the Ultimate Pop Group.

Band members Agnetha Fältskog – lead and backing vocals Anni-Frid "Frida" Lyngstad – lead and backing vocals Björn Ulvaeus – guitars, backing and lead vocals Benny Andersson – keyboards, synthesizers, piano, accordion, guitars, backing and lead vocals The members of ABBA were married as follows: Agnetha Fältskog and Björn Ulvaeus from 1971 to 1980: Benny Andersson and Anni-Frid Lyngstad from 1978 to 1981. In addition to the four members of ABBA, other musicians played on their studio recordings, live appearances and concert performances. These include Rutger Gunnarsson (1972–1982) bass guitar and string arrangements, Ola Brunkert (1972–1981) drums, Mike Watson (1972–1980) bass guitar, Janne Schaffer (1972–1982) lead electric guitar, Roger Palm (1972–1979) drums, Malando Gassama (1973–1979) percussion, Lasse Wellander (1974–2021) lead electric guitar, and Per Lindvall (1980–2021) drums. ABBA-related tributes Musical groups Abbaesque – An Irish ABBA tribute band A-Teens – A pop music group from Stockholm, Sweden Björn Again – An Australian tribute band; notable as the earliest-formed ABBA tribute band (1988) and, as of 2021, still currently touring. Gabba – An ABBA–Ramones tribute band that covers the former in the style of the latter, the name being a reference to the Ramones catchphrase "Gabba Gabba Hey". Media Saturday Night (1975) (TV) .... Season 1 Episode 5 (Hosted by Robert Klein with Musical Numbers by ABBA and Loudon Wainwright III) Abbacadabra – A French children's musical based on songs from ABBA Abba-esque – A 1992 cover EP by Erasure Abbasalutely – A compilation album released in 1995 as a tribute album to ABBA Mamma Mia! – A musical stage show based on songs of ABBA ABBAmania – An ITV programme and tribute album to ABBA released in 1999 Mamma Mia! – A film adaptation of the musical stage show Mamma Mia! Here We Go Again – A prequel/sequel to the original film ABBA: You Can Dance – A dance video game released by Ubisoft in 2011 with songs from ABBA and also a spin-off of Just Dance video game series Dancing Queen - A 2018 cover album by Cher Discography Studio albums Ring Ring (1973) Waterloo (1974) ABBA (1975) Arrival (1976) The Album (1977) Voulez-Vous (1979) Super Trouper (1980) The Visitors (1981) Voyage (2021) Tours 1973: Swedish Folkpark Tour 1974–1975: European Tour 1977: European & Australian Tour 1979–1980: ABBA: The Tour 2022: ABBA Voyage Awards and nominations See also ABBA: The Museum ABBA City Walks – Stockholm City Museum ABBAMAIL List of best-selling music artists List of Swedes in music Music of Sweden Popular music in Sweden Citations References Bibliography Further reading Benny Andersson, Björn Ulvaeus, Judy Craymer: Mamma Mia! How Can I Resist You? : The Inside Story of Mamma Mia! and the Songs of ABBA. Weidenfeld & Nicolson, 2006 Carl Magnus Palm. ABBA – The Complete Recording Sessions (1994) Carl Magnus Palm (2000). From "ABBA" to "Mamma Mia!" Elisabeth Vincentelli: ABBA Treasures: A Celebration of the Ultimate Pop Group.

Band members Agnetha Fältskog – lead and backing vocals Anni-Frid "Frida" Lyngstad – lead and backing vocals Björn Ulvaeus – guitars, backing and lead vocals Benny Andersson – keyboards, synthesizers, piano, accordion, guitars, backing and lead vocals The members of ABBA were married as follows: Agnetha Fältskog and Björn Ulvaeus from 1971 to 1980: Benny Andersson and Anni-Frid Lyngstad from 1978 to 1981. In addition to the four members of ABBA, other musicians played on their studio recordings, live appearances and concert performances. These include Rutger Gunnarsson (1972–1982) bass guitar and string arrangements, Ola Brunkert (1972–1981) drums, Mike Watson (1972–1980) bass guitar, Janne Schaffer (1972–1982) lead electric guitar, Roger Palm (1972–1979) drums, Malando Gassama (1973–1979) percussion, Lasse Wellander (1974–2021) lead electric guitar, and Per Lindvall (1980–2021) drums. ABBA-related tributes Musical groups Abbaesque – An Irish ABBA tribute band A-Teens – A pop music group from Stockholm, Sweden Björn Again – An Australian tribute band; notable as the earliest-formed ABBA tribute band (1988) and, as of 2021, still currently touring. Gabba – An ABBA–Ramones tribute band that covers the former in the style of the latter, the name being a reference to the Ramones catchphrase "Gabba Gabba Hey". Media Saturday Night (1975) (TV) .... Season 1 Episode 5 (Hosted by Robert Klein with Musical Numbers by ABBA and Loudon Wainwright III) Abbacadabra – A French children's musical based on songs from ABBA Abba-esque – A 1992 cover EP by Erasure Abbasalutely – A compilation album released in 1995 as a tribute album to ABBA Mamma Mia! – A musical stage show based on songs of ABBA ABBAmania – An ITV programme and tribute album to ABBA released in 1999 Mamma Mia! – A film adaptation of the musical stage show Mamma Mia! Here We Go Again – A prequel/sequel to the original film ABBA: You Can Dance – A dance video game released by Ubisoft in 2011 with songs from ABBA and also a spin-off of Just Dance video game series Dancing Queen - A 2018 cover album by Cher Discography Studio albums Ring Ring (1973) Waterloo (1974) ABBA (1975) Arrival (1976) The Album (1977) Voulez-Vous (1979) Super Trouper (1980) The Visitors (1981) Voyage (2021) Tours 1973: Swedish Folkpark Tour 1974–1975: European Tour 1977: European & Australian Tour 1979–1980: ABBA: The Tour 2022: ABBA Voyage Awards and nominations See also ABBA: The Museum ABBA City Walks – Stockholm City Museum ABBAMAIL List of best-selling music artists List of Swedes in music Music of Sweden Popular music in Sweden Citations References Bibliography Further reading Benny Andersson, Björn Ulvaeus, Judy Craymer: Mamma Mia! How Can I Resist You? : The Inside Story of Mamma Mia! and the Songs of ABBA. Weidenfeld & Nicolson, 2006 Carl Magnus Palm. ABBA – The Complete Recording Sessions (1994) Carl Magnus Palm (2000). From "ABBA" to "Mamma Mia!" Elisabeth Vincentelli: ABBA Treasures: A Celebration of the Ultimate Pop Group.

Omnibus Press, 2010, Oldham, Andrew, Calder, Tony & Irvin, Colin (1995) "ABBA: The Name of the Game", Potiez, Jean-Marie (2000). ABBA – The Book Simon Sheridan: The Complete ABBA. Titan Books, 2012, Anna Henker (ed. ), Astrid Heyde (ed. ): Abba – Das Lexikon. Northern Europe Institut, Humboldt-University Berlin, 2015 (German) Steve Harnell (ed. ): Classic Pop Presents Abba: A Celebration. Classic Pop Magazine (special edition), November 2016 Documentaries A for ABBA. BBC, 20 July 1993 Thierry Lecuyer, Jean-Marie Potiez: Thank You ABBA. Willow Wil Studios/A2C Video, 1993 Barry Barnes: ABBA − The History. Polar Music International AB, 1999 Chris Hunt: The Winner Takes it All − The ABBA Story. Littlestar Services/lambic Productions, 1999 Steve Cole, Chris Hunt: Super Troupers − Thirty Years of ABBA. BBC, 2004 The Joy of ABBA. BBC 4, 27 December 2013 (BBC page) Carl Magnus Palm, Roger Backlund: ABBA – When Four Became One. SVT, 2 January 2012 Carl Magnus Palm, Roger Backlund: ABBA – Absolute Image. SVT, 2 January 2012 ABBA – Bang a boomerang. ABC 1, 30 January 2013 (ABC page) ABBA: When All Is Said and Done, 2017 Thank you for the music . Sunday Night (7 News), 1 October 2019 External links Official ABBA Voyage website Owen Gleibermann: The Secret Majesty of ABBA: They Were the Feminine Pop Opera of Their Time. Variety, 22 July 2018 Barry Walters: ABBA's Essential, Influential Melancholy. NPR, 23 May 2015 Jackie Mansky: What’s Behind ABBA’s Staying Power?. Smithonian, 20 July 2018 ABBAinter.net TV-performances archive ABBA Songs – ABBA Album and Song details. Abba – The Articles – extensive collection of contemporary international newspaper and magazine articles on Abba 1972 establishments in Sweden Atlantic Records artists English-language singers from Sweden Epic Records artists Eurodisco groups Eurovision Song Contest entrants for Sweden Eurovision Song Contest entrants of 1974 Eurovision Song Contest winners Melodifestivalen contestants Melodifestivalen winners Musical groups disestablished in 1982 Musical groups established in 1972 Musical groups from Stockholm Musical groups reestablished in 2018 Musical quartets Palindromes RCA Records artists Schlager groups Swedish dance music groups Swedish musical groups Swedish pop music groups Swedish pop rock music groups Swedish-language singers

Omnibus Press, 2010, Oldham, Andrew, Calder, Tony & Irvin, Colin (1995) "ABBA: The Name of the Game", Potiez, Jean-Marie (2000). ABBA – The Book Simon Sheridan: The Complete ABBA. Titan Books, 2012, Anna Henker (ed. ), Astrid Heyde (ed. ): Abba – Das Lexikon. Northern Europe Institut, Humboldt-University Berlin, 2015 (German) Steve Harnell (ed. ): Classic Pop Presents Abba: A Celebration. Classic Pop Magazine (special edition), November 2016 Documentaries A for ABBA. BBC, 20 July 1993 Thierry Lecuyer, Jean-Marie Potiez: Thank You ABBA. Willow Wil Studios/A2C Video, 1993 Barry Barnes: ABBA − The History. Polar Music International AB, 1999 Chris Hunt: The Winner Takes it All − The ABBA Story. Littlestar Services/lambic Productions, 1999 Steve Cole, Chris Hunt: Super Troupers − Thirty Years of ABBA. BBC, 2004 The Joy of ABBA. BBC 4, 27 December 2013 (BBC page) Carl Magnus Palm, Roger Backlund: ABBA – When Four Became One. SVT, 2 January 2012 Carl Magnus Palm, Roger Backlund: ABBA – Absolute Image. SVT, 2 January 2012 ABBA – Bang a boomerang. ABC 1, 30 January 2013 (ABC page) ABBA: When All Is Said and Done, 2017 Thank you for the music . Sunday Night (7 News), 1 October 2019 External links Official ABBA Voyage website Owen Gleibermann: The Secret Majesty of ABBA: They Were the Feminine Pop Opera of Their Time. Variety, 22 July 2018 Barry Walters: ABBA's Essential, Influential Melancholy. NPR, 23 May 2015 Jackie Mansky: What’s Behind ABBA’s Staying Power?. Smithonian, 20 July 2018 ABBAinter.net TV-performances archive ABBA Songs – ABBA Album and Song details. Abba – The Articles – extensive collection of contemporary international newspaper and magazine articles on Abba 1972 establishments in Sweden Atlantic Records artists English-language singers from Sweden Epic Records artists Eurodisco groups Eurovision Song Contest entrants for Sweden Eurovision Song Contest entrants of 1974 Eurovision Song Contest winners Melodifestivalen contestants Melodifestivalen winners Musical groups disestablished in 1982 Musical groups established in 1972 Musical groups from Stockholm Musical groups reestablished in 2018 Musical quartets Palindromes RCA Records artists Schlager groups Swedish dance music groups Swedish musical groups Swedish pop music groups Swedish pop rock music groups Swedish-language singers

Omnibus Press, 2010, Oldham, Andrew, Calder, Tony & Irvin, Colin (1995) "ABBA: The Name of the Game", Potiez, Jean-Marie (2000). ABBA – The Book Simon Sheridan: The Complete ABBA. Titan Books, 2012, Anna Henker (ed. ), Astrid Heyde (ed. ): Abba – Das Lexikon. Northern Europe Institut, Humboldt-University Berlin, 2015 (German) Steve Harnell (ed. ): Classic Pop Presents Abba: A Celebration. Classic Pop Magazine (special edition), November 2016 Documentaries A for ABBA. BBC, 20 July 1993 Thierry Lecuyer, Jean-Marie Potiez: Thank You ABBA. Willow Wil Studios/A2C Video, 1993 Barry Barnes: ABBA − The History. Polar Music International AB, 1999 Chris Hunt: The Winner Takes it All − The ABBA Story. Littlestar Services/lambic Productions, 1999 Steve Cole, Chris Hunt: Super Troupers − Thirty Years of ABBA. BBC, 2004 The Joy of ABBA. BBC 4, 27 December 2013 (BBC page) Carl Magnus Palm, Roger Backlund: ABBA – When Four Became One. SVT, 2 January 2012 Carl Magnus Palm, Roger Backlund: ABBA – Absolute Image. SVT, 2 January 2012 ABBA – Bang a boomerang. ABC 1, 30 January 2013 (ABC page) ABBA: When All Is Said and Done, 2017 Thank you for the music . Sunday Night (7 News), 1 October 2019 External links Official ABBA Voyage website Owen Gleibermann: The Secret Majesty of ABBA: They Were the Feminine Pop Opera of Their Time. Variety, 22 July 2018 Barry Walters: ABBA's Essential, Influential Melancholy. NPR, 23 May 2015 Jackie Mansky: What’s Behind ABBA’s Staying Power?. Smithonian, 20 July 2018 ABBAinter.net TV-performances archive ABBA Songs – ABBA Album and Song details. Abba – The Articles – extensive collection of contemporary international newspaper and magazine articles on Abba 1972 establishments in Sweden Atlantic Records artists English-language singers from Sweden Epic Records artists Eurodisco groups Eurovision Song Contest entrants for Sweden Eurovision Song Contest entrants of 1974 Eurovision Song Contest winners Melodifestivalen contestants Melodifestivalen winners Musical groups disestablished in 1982 Musical groups established in 1972 Musical groups from Stockholm Musical groups reestablished in 2018 Musical quartets Palindromes RCA Records artists Schlager groups Swedish dance music groups Swedish musical groups Swedish pop music groups Swedish pop rock music groups Swedish-language singers

Allegiance An allegiance is a duty of fidelity said to be owed, or freely committed, by the people, subjects or citizens to their state or sovereign. Etymology From Middle English ligeaunce (see medieval Latin ligeantia, "a liegance"). The al- prefix was probably added through confusion with another legal term, allegeance, an "allegation" (the French allegeance comes from the English). Allegiance is formed from "liege," from Old French liege, "liege, free", of Germanic origin. The connection with Latin ligare, "to bind," is erroneous. Usage Traditionally, English legal commentators used the term allegiance in two ways. In one sense, it referred to the deference which anyone, even foreigners, was expected to pay to the institutions of the country where one lived. In the other sense, it meant national character and the subjection due to that character. Types Local allegiance Natural allegiance United Kingdom The English doctrine, which was at one time adopted in the United States, asserted that allegiance was indelible: "Nemo potest exuere patriam". As the law stood prior to 1870, every person who by birth or naturalisation satisfied the conditions set forth, even if removed in infancy to another country where their family resided, owed an allegiance to the British crown which they could never resign or lose, except by act of parliament or by the recognition of the independence or the cession of the portion of British territory in which they resided. This refusal to accept any renunciation of allegiance to the Crown led to conflict with the United States over impressment, which led to further conflicts during the War of 1812, when thirteen Irish American prisoners of war were executed as traitors after the Battle of Queenston Heights; Winfield Scott urged American reprisal, but none was carried out. Allegiance was the tie which bound the subject to the sovereign, in return for that protection which the sovereign afforded the subject. It was the mutual bond and obligation between monarch and subjects, whereby subjects were called their liege subjects, because they are bound to obey and serve them; and the monarch was called their liege lord, because they should maintain and defend them (Ex parte Anderson (1861) 3 El & El 487; 121 ER 525; China Navigation Co v Attorney-General (1932) 48 TLR 375; Attorney-General v Nissan [1969] 1 All ER 629; Oppenheimer v Cattermole [1972] 3 All ER 1106). The duty of the crown towards its subjects was to govern and protect them. The reciprocal duty of the subject towards the crown was that of allegiance. At common law, allegiance was a true and faithful obedience of the subject due to their sovereign. As the subject owed to their sovereign their true and faithful allegiance and obedience, so the sovereign (Calvin's Case (1608) 7 Co Rep 1a; Jenk 306; 2 State Tr 559; 77 ER 377). Natural allegiance and obedience is an incident inseparable to every subject, for parte Anderson (1861) 3 El & El 487; 121 ER 525). Natural-born subjects owe allegiance wherever they may be.

Allegiance An allegiance is a duty of fidelity said to be owed, or freely committed, by the people, subjects or citizens to their state or sovereign. Etymology From Middle English ligeaunce (see medieval Latin ligeantia, "a liegance"). The al- prefix was probably added through confusion with another legal term, allegeance, an "allegation" (the French allegeance comes from the English). Allegiance is formed from "liege," from Old French liege, "liege, free", of Germanic origin. The connection with Latin ligare, "to bind," is erroneous. Usage Traditionally, English legal commentators used the term allegiance in two ways. In one sense, it referred to the deference which anyone, even foreigners, was expected to pay to the institutions of the country where one lived. In the other sense, it meant national character and the subjection due to that character. Types Local allegiance Natural allegiance United Kingdom The English doctrine, which was at one time adopted in the United States, asserted that allegiance was indelible: "Nemo potest exuere patriam". As the law stood prior to 1870, every person who by birth or naturalisation satisfied the conditions set forth, even if removed in infancy to another country where their family resided, owed an allegiance to the British crown which they could never resign or lose, except by act of parliament or by the recognition of the independence or the cession of the portion of British territory in which they resided. This refusal to accept any renunciation of allegiance to the Crown led to conflict with the United States over impressment, which led to further conflicts during the War of 1812, when thirteen Irish American prisoners of war were executed as traitors after the Battle of Queenston Heights; Winfield Scott urged American reprisal, but none was carried out. Allegiance was the tie which bound the subject to the sovereign, in return for that protection which the sovereign afforded the subject. It was the mutual bond and obligation between monarch and subjects, whereby subjects were called their liege subjects, because they are bound to obey and serve them; and the monarch was called their liege lord, because they should maintain and defend them (Ex parte Anderson (1861) 3 El & El 487; 121 ER 525; China Navigation Co v Attorney-General (1932) 48 TLR 375; Attorney-General v Nissan [1969] 1 All ER 629; Oppenheimer v Cattermole [1972] 3 All ER 1106). The duty of the crown towards its subjects was to govern and protect them. The reciprocal duty of the subject towards the crown was that of allegiance. At common law, allegiance was a true and faithful obedience of the subject due to their sovereign. As the subject owed to their sovereign their true and faithful allegiance and obedience, so the sovereign (Calvin's Case (1608) 7 Co Rep 1a; Jenk 306; 2 State Tr 559; 77 ER 377). Natural allegiance and obedience is an incident inseparable to every subject, for parte Anderson (1861) 3 El & El 487; 121 ER 525). Natural-born subjects owe allegiance wherever they may be.

Where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Allegiance is owed both to the sovereign as a natural person and to the sovereign in the political capacity (Re Stepney Election Petition, Isaacson v Durant (1886) 17 QBD 54 (per Lord Coleridge CJ)). Attachment to the person of the reigning sovereign is not sufficient. Loyalty requires affection also to the office of the sovereign, attachment to royalty, attachment to the law and to the constitution of the realm, and he who would, by force or by fraud, endeavour to prostrate that law and constitution, though he may retain his affection for its head, can boast but an imperfect and spurious species of loyalty (R v O'Connell (1844) 7 ILR 261). There were four kinds of allegiances (Rittson v Stordy (1855) 3 Sm & G 230; De Geer v Stone (1882) 22 Ch D 243; Isaacson v Durant (1886) 54 LT 684; Gibson, Gavin v Gibson [1913] 3 KB 379; Joyce v DPP [1946] AC 347; Collingwood v Pace (1661) O Bridg 410; Lane v Bennett (1836) 1 M & W 70; Lyons Corp v East India Co (1836) 1 Moo PCC 175; Birtwhistle v Vardill (1840) 7 Cl & Fin 895; R v Lopez, R v Sattler (1858) Dears & B 525; Ex p Brown (1864) 5 B & S 280); (a) Ligeantia naturalis, absoluta, pura et indefinita, and this originally is due by nature and birthright, and is called alta ligeantia, and those that owe this are called subditus natus; (b) Ligeantia acquisita, not by nature but by acquisition or denization, being called a denizen, or rather denizon, because they are subditus datus; (c) Ligeantia localis, by operation of law, when a friendly alien enters the country, because so long as they are in the country they are within the sovereign's protection, therefore they owe the sovereign a local obedience or allegiance (R v Cowle (1759) 2 Burr 834; Low v Routledge (1865) 1 Ch App 42; Re Johnson, Roberts v Attorney-General [1903] 1 Ch 821; Tingley v Muller [1917] 2 Ch 144; Rodriguez v Speyer [1919] AC 59; Johnstone v Pedlar [1921] 2 AC 262; R v Tucker (1694) Show Parl Cas 186; R v Keyn (1876) 2 Ex D 63; Re Stepney Election Petn, Isaacson v Durant (1886) 17 QBD 54); (d) A legal obedience, where a particular law requires the taking of an oath of allegiance by subject or alien alike. Natural allegiance was acquired by birth within the sovereign's dominions (except for the issue of diplomats or of invading forces or of an alien in an enemy occupied territory).

Where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Allegiance is owed both to the sovereign as a natural person and to the sovereign in the political capacity (Re Stepney Election Petition, Isaacson v Durant (1886) 17 QBD 54 (per Lord Coleridge CJ)). Attachment to the person of the reigning sovereign is not sufficient. Loyalty requires affection also to the office of the sovereign, attachment to royalty, attachment to the law and to the constitution of the realm, and he who would, by force or by fraud, endeavour to prostrate that law and constitution, though he may retain his affection for its head, can boast but an imperfect and spurious species of loyalty (R v O'Connell (1844) 7 ILR 261). There were four kinds of allegiances (Rittson v Stordy (1855) 3 Sm & G 230; De Geer v Stone (1882) 22 Ch D 243; Isaacson v Durant (1886) 54 LT 684; Gibson, Gavin v Gibson [1913] 3 KB 379; Joyce v DPP [1946] AC 347; Collingwood v Pace (1661) O Bridg 410; Lane v Bennett (1836) 1 M & W 70; Lyons Corp v East India Co (1836) 1 Moo PCC 175; Birtwhistle v Vardill (1840) 7 Cl & Fin 895; R v Lopez, R v Sattler (1858) Dears & B 525; Ex p Brown (1864) 5 B & S 280); (a) Ligeantia naturalis, absoluta, pura et indefinita, and this originally is due by nature and birthright, and is called alta ligeantia, and those that owe this are called subditus natus; (b) Ligeantia acquisita, not by nature but by acquisition or denization, being called a denizen, or rather denizon, because they are subditus datus; (c) Ligeantia localis, by operation of law, when a friendly alien enters the country, because so long as they are in the country they are within the sovereign's protection, therefore they owe the sovereign a local obedience or allegiance (R v Cowle (1759) 2 Burr 834; Low v Routledge (1865) 1 Ch App 42; Re Johnson, Roberts v Attorney-General [1903] 1 Ch 821; Tingley v Muller [1917] 2 Ch 144; Rodriguez v Speyer [1919] AC 59; Johnstone v Pedlar [1921] 2 AC 262; R v Tucker (1694) Show Parl Cas 186; R v Keyn (1876) 2 Ex D 63; Re Stepney Election Petn, Isaacson v Durant (1886) 17 QBD 54); (d) A legal obedience, where a particular law requires the taking of an oath of allegiance by subject or alien alike. Natural allegiance was acquired by birth within the sovereign's dominions (except for the issue of diplomats or of invading forces or of an alien in an enemy occupied territory).

Where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Allegiance is owed both to the sovereign as a natural person and to the sovereign in the political capacity (Re Stepney Election Petition, Isaacson v Durant (1886) 17 QBD 54 (per Lord Coleridge CJ)). Attachment to the person of the reigning sovereign is not sufficient. Loyalty requires affection also to the office of the sovereign, attachment to royalty, attachment to the law and to the constitution of the realm, and he who would, by force or by fraud, endeavour to prostrate that law and constitution, though he may retain his affection for its head, can boast but an imperfect and spurious species of loyalty (R v O'Connell (1844) 7 ILR 261). There were four kinds of allegiances (Rittson v Stordy (1855) 3 Sm & G 230; De Geer v Stone (1882) 22 Ch D 243; Isaacson v Durant (1886) 54 LT 684; Gibson, Gavin v Gibson [1913] 3 KB 379; Joyce v DPP [1946] AC 347; Collingwood v Pace (1661) O Bridg 410; Lane v Bennett (1836) 1 M & W 70; Lyons Corp v East India Co (1836) 1 Moo PCC 175; Birtwhistle v Vardill (1840) 7 Cl & Fin 895; R v Lopez, R v Sattler (1858) Dears & B 525; Ex p Brown (1864) 5 B & S 280); (a) Ligeantia naturalis, absoluta, pura et indefinita, and this originally is due by nature and birthright, and is called alta ligeantia, and those that owe this are called subditus natus; (b) Ligeantia acquisita, not by nature but by acquisition or denization, being called a denizen, or rather denizon, because they are subditus datus; (c) Ligeantia localis, by operation of law, when a friendly alien enters the country, because so long as they are in the country they are within the sovereign's protection, therefore they owe the sovereign a local obedience or allegiance (R v Cowle (1759) 2 Burr 834; Low v Routledge (1865) 1 Ch App 42; Re Johnson, Roberts v Attorney-General [1903] 1 Ch 821; Tingley v Muller [1917] 2 Ch 144; Rodriguez v Speyer [1919] AC 59; Johnstone v Pedlar [1921] 2 AC 262; R v Tucker (1694) Show Parl Cas 186; R v Keyn (1876) 2 Ex D 63; Re Stepney Election Petn, Isaacson v Durant (1886) 17 QBD 54); (d) A legal obedience, where a particular law requires the taking of an oath of allegiance by subject or alien alike. Natural allegiance was acquired by birth within the sovereign's dominions (except for the issue of diplomats or of invading forces or of an alien in an enemy occupied territory).

The natural allegiance and obedience are an incident inseparable from every subject, for as soon as they are born they owe by birthright allegiance and obedience to the Sovereign (Ex p. Anderson (1861) 3 E & E 487). A natural-born subject owes allegiance wherever they may be, so that where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Acquired allegiance was acquired by naturalisation or denization. Denization, or ligeantia acquisita, appears to be threefold (Thomas v Sorrel (1673) 3 Keb 143); (a) absolute, as the common denization, without any limitation or restraint; (b) limited, as when the sovereign grants letters of denization to an alien, and the alien's male heirs, or to an alien for the term of their life; (c) It may be granted upon condition, cujus est dare, ejus est disponere, and this denization of an alien may come about three ways: by parliament; by letters patent, which was the usual manner; and by conquest. Local allegiance was due by an alien while in the protection of the crown. All friendly resident aliens incurred all the obligations of subjects (The Angelique (1801) 3 Ch Rob App 7). An alien, coming into a colony, also became, temporarily, a subject of the crown, and acquired rights both within and beyond the colony, and these latter rights could not be affected by the laws of that colony (Routledge v Low (1868) LR 3 HL 100; 37 LJ Ch 454; 18 LT 874; 16 WR 1081, HL; Reid v Maxwell (1886) 2 TLR 790; Falcon v Famous Players Film Co [1926] 2 KB 474). A resident alien owed allegiance even when the protection of the crown was withdrawn owing to the occupation of an enemy, because the absence of the crown's protection was temporary and involuntary (de Jager v Attorney-General of Natal [1907] AC 326). Legal allegiance was due when an alien took an oath of allegiance required for a particular office under the crown. By the Naturalisation Act 1870, it was made possible for British subjects to renounce their nationality and allegiance, and the ways in which that nationality is lost were defined. So British subjects voluntarily naturalized in a foreign state are deemed aliens from the time of such naturalization, unless, in the case of persons naturalized before the passing of the act, they had declared their desire to remain British subjects within two years from the passing of the act.

The natural allegiance and obedience are an incident inseparable from every subject, for as soon as they are born they owe by birthright allegiance and obedience to the Sovereign (Ex p. Anderson (1861) 3 E & E 487). A natural-born subject owes allegiance wherever they may be, so that where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Acquired allegiance was acquired by naturalisation or denization. Denization, or ligeantia acquisita, appears to be threefold (Thomas v Sorrel (1673) 3 Keb 143); (a) absolute, as the common denization, without any limitation or restraint; (b) limited, as when the sovereign grants letters of denization to an alien, and the alien's male heirs, or to an alien for the term of their life; (c) It may be granted upon condition, cujus est dare, ejus est disponere, and this denization of an alien may come about three ways: by parliament; by letters patent, which was the usual manner; and by conquest. Local allegiance was due by an alien while in the protection of the crown. All friendly resident aliens incurred all the obligations of subjects (The Angelique (1801) 3 Ch Rob App 7). An alien, coming into a colony, also became, temporarily, a subject of the crown, and acquired rights both within and beyond the colony, and these latter rights could not be affected by the laws of that colony (Routledge v Low (1868) LR 3 HL 100; 37 LJ Ch 454; 18 LT 874; 16 WR 1081, HL; Reid v Maxwell (1886) 2 TLR 790; Falcon v Famous Players Film Co [1926] 2 KB 474). A resident alien owed allegiance even when the protection of the crown was withdrawn owing to the occupation of an enemy, because the absence of the crown's protection was temporary and involuntary (de Jager v Attorney-General of Natal [1907] AC 326). Legal allegiance was due when an alien took an oath of allegiance required for a particular office under the crown. By the Naturalisation Act 1870, it was made possible for British subjects to renounce their nationality and allegiance, and the ways in which that nationality is lost were defined. So British subjects voluntarily naturalized in a foreign state are deemed aliens from the time of such naturalization, unless, in the case of persons naturalized before the passing of the act, they had declared their desire to remain British subjects within two years from the passing of the act.

The natural allegiance and obedience are an incident inseparable from every subject, for as soon as they are born they owe by birthright allegiance and obedience to the Sovereign (Ex p. Anderson (1861) 3 E & E 487). A natural-born subject owes allegiance wherever they may be, so that where territory is occupied in the course of hostilities by an enemy's force, even if the annexation of the occupied country is proclaimed by the enemy, there can be no change of allegiance during the progress of hostilities on the part of a citizen of the occupied country (R v Vermaak (1900) 21 NLR 204 (South Africa)). Acquired allegiance was acquired by naturalisation or denization. Denization, or ligeantia acquisita, appears to be threefold (Thomas v Sorrel (1673) 3 Keb 143); (a) absolute, as the common denization, without any limitation or restraint; (b) limited, as when the sovereign grants letters of denization to an alien, and the alien's male heirs, or to an alien for the term of their life; (c) It may be granted upon condition, cujus est dare, ejus est disponere, and this denization of an alien may come about three ways: by parliament; by letters patent, which was the usual manner; and by conquest. Local allegiance was due by an alien while in the protection of the crown. All friendly resident aliens incurred all the obligations of subjects (The Angelique (1801) 3 Ch Rob App 7). An alien, coming into a colony, also became, temporarily, a subject of the crown, and acquired rights both within and beyond the colony, and these latter rights could not be affected by the laws of that colony (Routledge v Low (1868) LR 3 HL 100; 37 LJ Ch 454; 18 LT 874; 16 WR 1081, HL; Reid v Maxwell (1886) 2 TLR 790; Falcon v Famous Players Film Co [1926] 2 KB 474). A resident alien owed allegiance even when the protection of the crown was withdrawn owing to the occupation of an enemy, because the absence of the crown's protection was temporary and involuntary (de Jager v Attorney-General of Natal [1907] AC 326). Legal allegiance was due when an alien took an oath of allegiance required for a particular office under the crown. By the Naturalisation Act 1870, it was made possible for British subjects to renounce their nationality and allegiance, and the ways in which that nationality is lost were defined. So British subjects voluntarily naturalized in a foreign state are deemed aliens from the time of such naturalization, unless, in the case of persons naturalized before the passing of the act, they had declared their desire to remain British subjects within two years from the passing of the act.

Persons who, from having been born within British territory, are British subjects, but who, at birth, came under the law of any foreign state or of subjects of such state, and, also, persons who, though born abroad, are British subjects by reason of parentage, may, by declarations of alienage, get rid of British nationality. Emigration to an uncivilized country left British nationality unaffected: indeed the right claimed by all states to follow with their authority their subjects so emigrating was one of the usual and recognized means of colonial expansion. United States The doctrine that no man can cast off his native allegiance without the consent of his sovereign was early abandoned in the United States, and Chief Justice John Rutledge also declared in Talbot v. Janson, "a man may, at the same time, enjoy the rights of citizenship under two governments." On July 27, 1868, the day before the Fourteenth Amendment was adopted, U.S. Congress declared in the preamble of the Expatriation Act that "the right of expatriation is a natural and inherent right of all people, indispensable to the enjoyment of the rights of life, liberty and the pursuit of happiness," and (Section I) one of "the fundamental principles of this government" (United States Revised Statutes, sec. 1999). Every natural-born citizen of a foreign state who is also an American citizen, and every natural-born American citizen who is also a citizen of a foreign land, owes a double allegiance, one to the United States, and one to their homeland (in the event of an immigrant becoming a citizen of the US) or to their adopted land (in the event of an emigrant natural-born citizen of the US becoming a citizen of another nation). If these allegiances come into conflict, the person may be guilty of treason against one or both. If the demands of these two sovereigns upon their duty of allegiance come into conflict, those of the United States have the paramount authority in American law; likewise, those of the foreign land have paramount authority in their legal system. In such a situation, it may be incumbent on the individual to renounce one of their citizenships, to avoid possibly being forced into situations where countervailing duties are required of them, such as might occur in the event of war. Oath of allegiance The oath of allegiance is an oath of fidelity to the sovereign taken by all persons holding important public office and as a condition of naturalization. By ancient common law, it was required of all persons above the age of 12, and it was repeatedly used as a test for the disaffected. In England, it was first imposed by statute in the reign of Elizabeth I (1558), and its form has, more than once, been altered since.

Persons who, from having been born within British territory, are British subjects, but who, at birth, came under the law of any foreign state or of subjects of such state, and, also, persons who, though born abroad, are British subjects by reason of parentage, may, by declarations of alienage, get rid of British nationality. Emigration to an uncivilized country left British nationality unaffected: indeed the right claimed by all states to follow with their authority their subjects so emigrating was one of the usual and recognized means of colonial expansion. United States The doctrine that no man can cast off his native allegiance without the consent of his sovereign was early abandoned in the United States, and Chief Justice John Rutledge also declared in Talbot v. Janson, "a man may, at the same time, enjoy the rights of citizenship under two governments." On July 27, 1868, the day before the Fourteenth Amendment was adopted, U.S. Congress declared in the preamble of the Expatriation Act that "the right of expatriation is a natural and inherent right of all people, indispensable to the enjoyment of the rights of life, liberty and the pursuit of happiness," and (Section I) one of "the fundamental principles of this government" (United States Revised Statutes, sec. 1999). Every natural-born citizen of a foreign state who is also an American citizen, and every natural-born American citizen who is also a citizen of a foreign land, owes a double allegiance, one to the United States, and one to their homeland (in the event of an immigrant becoming a citizen of the US) or to their adopted land (in the event of an emigrant natural-born citizen of the US becoming a citizen of another nation). If these allegiances come into conflict, the person may be guilty of treason against one or both. If the demands of these two sovereigns upon their duty of allegiance come into conflict, those of the United States have the paramount authority in American law; likewise, those of the foreign land have paramount authority in their legal system. In such a situation, it may be incumbent on the individual to renounce one of their citizenships, to avoid possibly being forced into situations where countervailing duties are required of them, such as might occur in the event of war. Oath of allegiance The oath of allegiance is an oath of fidelity to the sovereign taken by all persons holding important public office and as a condition of naturalization. By ancient common law, it was required of all persons above the age of 12, and it was repeatedly used as a test for the disaffected. In England, it was first imposed by statute in the reign of Elizabeth I (1558), and its form has, more than once, been altered since.

Persons who, from having been born within British territory, are British subjects, but who, at birth, came under the law of any foreign state or of subjects of such state, and, also, persons who, though born abroad, are British subjects by reason of parentage, may, by declarations of alienage, get rid of British nationality. Emigration to an uncivilized country left British nationality unaffected: indeed the right claimed by all states to follow with their authority their subjects so emigrating was one of the usual and recognized means of colonial expansion. United States The doctrine that no man can cast off his native allegiance without the consent of his sovereign was early abandoned in the United States, and Chief Justice John Rutledge also declared in Talbot v. Janson, "a man may, at the same time, enjoy the rights of citizenship under two governments." On July 27, 1868, the day before the Fourteenth Amendment was adopted, U.S. Congress declared in the preamble of the Expatriation Act that "the right of expatriation is a natural and inherent right of all people, indispensable to the enjoyment of the rights of life, liberty and the pursuit of happiness," and (Section I) one of "the fundamental principles of this government" (United States Revised Statutes, sec. 1999). Every natural-born citizen of a foreign state who is also an American citizen, and every natural-born American citizen who is also a citizen of a foreign land, owes a double allegiance, one to the United States, and one to their homeland (in the event of an immigrant becoming a citizen of the US) or to their adopted land (in the event of an emigrant natural-born citizen of the US becoming a citizen of another nation). If these allegiances come into conflict, the person may be guilty of treason against one or both. If the demands of these two sovereigns upon their duty of allegiance come into conflict, those of the United States have the paramount authority in American law; likewise, those of the foreign land have paramount authority in their legal system. In such a situation, it may be incumbent on the individual to renounce one of their citizenships, to avoid possibly being forced into situations where countervailing duties are required of them, such as might occur in the event of war. Oath of allegiance The oath of allegiance is an oath of fidelity to the sovereign taken by all persons holding important public office and as a condition of naturalization. By ancient common law, it was required of all persons above the age of 12, and it was repeatedly used as a test for the disaffected. In England, it was first imposed by statute in the reign of Elizabeth I (1558), and its form has, more than once, been altered since.

Up to the time of the revolution, the promise was "to be true and faithful to the king and his heirs, and truth and faith to bear of life and limb and terrene honour, and not to know or hear of any ill or damage intended him without defending him therefrom." This was thought to favour the doctrine of absolute non-resistance, and, accordingly, the Convention Parliament enacted the form that has been in use since that time – "I do sincerely promise and swear that I will be faithful and bear true allegiance to His Majesty ..." In the United States and some other republics, the oath is known as the Pledge of Allegiance. Instead of declaring fidelity to a monarch, the pledge is made to the flag, the republic, and to the core values of the country, specifically liberty and justice. The reciting of the pledge in the United States is voluntary because of the rights guaranteed to the people under the First Amendment to the United States Constitution - specifically, the guarantee of freedom of speech, which inherently includes the freedom not to speak. In Islam The word used in the Arabic language for allegiance is bay'at (Arabic: بيعة), which means "taking hand". The practice is sanctioned in the Quran by Surah 48:10: "Verily, those who give thee their allegiance, they give it but to Allah Himself". The word is used for the oath of allegiance to an emir. It is also used for the initiation ceremony specific to many Sufi orders. See also Impressment Legitimacy (political) Mandate of Heaven Renunciation of citizenship Treason Usurpation War of 1812 Winfield Scott References Further reading Salmond on "Citizenship and Allegiance," in the Law Quarterly Review (July 1901, January 1902). Nationalism de:Loyalität es:Lealtad ko:충 no:Lojalitet sv:Lojalitet

Up to the time of the revolution, the promise was "to be true and faithful to the king and his heirs, and truth and faith to bear of life and limb and terrene honour, and not to know or hear of any ill or damage intended him without defending him therefrom." This was thought to favour the doctrine of absolute non-resistance, and, accordingly, the Convention Parliament enacted the form that has been in use since that time – "I do sincerely promise and swear that I will be faithful and bear true allegiance to His Majesty ..." In the United States and some other republics, the oath is known as the Pledge of Allegiance. Instead of declaring fidelity to a monarch, the pledge is made to the flag, the republic, and to the core values of the country, specifically liberty and justice. The reciting of the pledge in the United States is voluntary because of the rights guaranteed to the people under the First Amendment to the United States Constitution - specifically, the guarantee of freedom of speech, which inherently includes the freedom not to speak. In Islam The word used in the Arabic language for allegiance is bay'at (Arabic: بيعة), which means "taking hand". The practice is sanctioned in the Quran by Surah 48:10: "Verily, those who give thee their allegiance, they give it but to Allah Himself". The word is used for the oath of allegiance to an emir. It is also used for the initiation ceremony specific to many Sufi orders. See also Impressment Legitimacy (political) Mandate of Heaven Renunciation of citizenship Treason Usurpation War of 1812 Winfield Scott References Further reading Salmond on "Citizenship and Allegiance," in the Law Quarterly Review (July 1901, January 1902). Nationalism de:Loyalität es:Lealtad ko:충 no:Lojalitet sv:Lojalitet

Up to the time of the revolution, the promise was "to be true and faithful to the king and his heirs, and truth and faith to bear of life and limb and terrene honour, and not to know or hear of any ill or damage intended him without defending him therefrom." This was thought to favour the doctrine of absolute non-resistance, and, accordingly, the Convention Parliament enacted the form that has been in use since that time – "I do sincerely promise and swear that I will be faithful and bear true allegiance to His Majesty ..." In the United States and some other republics, the oath is known as the Pledge of Allegiance. Instead of declaring fidelity to a monarch, the pledge is made to the flag, the republic, and to the core values of the country, specifically liberty and justice. The reciting of the pledge in the United States is voluntary because of the rights guaranteed to the people under the First Amendment to the United States Constitution - specifically, the guarantee of freedom of speech, which inherently includes the freedom not to speak. In Islam The word used in the Arabic language for allegiance is bay'at (Arabic: بيعة), which means "taking hand". The practice is sanctioned in the Quran by Surah 48:10: "Verily, those who give thee their allegiance, they give it but to Allah Himself". The word is used for the oath of allegiance to an emir. It is also used for the initiation ceremony specific to many Sufi orders. See also Impressment Legitimacy (political) Mandate of Heaven Renunciation of citizenship Treason Usurpation War of 1812 Winfield Scott References Further reading Salmond on "Citizenship and Allegiance," in the Law Quarterly Review (July 1901, January 1902). Nationalism de:Loyalität es:Lealtad ko:충 no:Lojalitet sv:Lojalitet

Altenberg Altenberg (German for "old mountain" or "mountain of the old") may refer to: Places Austria Altenberg, a town in Sankt Andrä-Wördern, Tulln District Altenberg bei Linz, in Upper Austria Altenberg an der Rax, in Styria Germany Altenberg (Bergisches Land), an area in Odenthal, North Rhine-Westphalia, Germany Altenberg Abbey, Cistercian monastery in Altenberg (Bergisches Land) Altenberger Dom sometimes called Altenberg Cathedral, the former church of this Cistercian monastery Altenberg, Saxony, a town in the Free State of Saxony Altenberga, a municipality in the Saale-Holzfeld district, Thuringia Altenberg Abbey, Solms, a former Premonstratensian nunnery near Wetzlar in Hesse Zinkfabrik Altenberg, a former zinc factory, now a branch of the LVR Industrial Museum, Oberhausen, North Rhine-Westphalia Grube Altenberg, a show mine near Kreuztal, North Rhine-Westphalia Other places Altenberg, the German name for Vieille Montagne (old mountain in French), a former zinc mine in Kelmis, Moresnet, Belgium Altenberg, a district in the city of Bern, Switzerland Other uses Altenberg Lieder (Five Orchestral Songs), composed by Alban Berg in 1911/12 Altenberg Publishing (1880–1934), a former Polish publishing house Altenberg Trio, a Viennese piano trio People with the surname Jakob Altenberg (1875–1944), Austrian businessman Lee Altenberg, theoretical biologist Peter Altenberg (1859–1919), nom de plume of Austrian writer and poet Richard Engländer See also Altenburg (disambiguation)

Altenberg Altenberg (German for "old mountain" or "mountain of the old") may refer to: Places Austria Altenberg, a town in Sankt Andrä-Wördern, Tulln District Altenberg bei Linz, in Upper Austria Altenberg an der Rax, in Styria Germany Altenberg (Bergisches Land), an area in Odenthal, North Rhine-Westphalia, Germany Altenberg Abbey, Cistercian monastery in Altenberg (Bergisches Land) Altenberger Dom sometimes called Altenberg Cathedral, the former church of this Cistercian monastery Altenberg, Saxony, a town in the Free State of Saxony Altenberga, a municipality in the Saale-Holzfeld district, Thuringia Altenberg Abbey, Solms, a former Premonstratensian nunnery near Wetzlar in Hesse Zinkfabrik Altenberg, a former zinc factory, now a branch of the LVR Industrial Museum, Oberhausen, North Rhine-Westphalia Grube Altenberg, a show mine near Kreuztal, North Rhine-Westphalia Other places Altenberg, the German name for Vieille Montagne (old mountain in French), a former zinc mine in Kelmis, Moresnet, Belgium Altenberg, a district in the city of Bern, Switzerland Other uses Altenberg Lieder (Five Orchestral Songs), composed by Alban Berg in 1911/12 Altenberg Publishing (1880–1934), a former Polish publishing house Altenberg Trio, a Viennese piano trio People with the surname Jakob Altenberg (1875–1944), Austrian businessman Lee Altenberg, theoretical biologist Peter Altenberg (1859–1919), nom de plume of Austrian writer and poet Richard Engländer See also Altenburg (disambiguation)

MessagePad The MessagePad is a discontinued series of personal digital assistant devices developed by Apple for the Newton platform in 1993. Some electronic engineering and the manufacture of Apple's MessagePad devices was undertaken in Japan by the Sharp. The devices were based on the ARM 610 RISC processor and all featured handwriting recognition software and were developed and marketed by Apple. The devices ran the Newton OS. History The development of Newton Message first began when Apple's former senior vice president of research and development, Jean-Louis Gassée; his team includes Steve Capps, co-writer of macOS Finder, and an employed engineer named Steve Sakoman. Since then, the development of the Newton Message Pad operates in secret until it was eventually revealed to the Apple Board of Directors in late 1990. When Gassee resigned from his position due to a significant disagreement with the board, seeing how his employer was treated, Sakoman also stopped developing the MessagePad on March 2, 1990. Bill Atkinson, an Apple Executive responsible for the company's Lisa's graphical interface, invited Steve Capps, John Sculley, Andy Hertzfeld, Susan Kare, and Marc Porat to a meeting on March 11, 1990. There, they brainstormed a way of saving the MessagePad. Sculley suggested adding new features, including libraries, museums, databases, or institutional archives features, allowing customers to navigate through various window tabs or opened galleries/stacks. The Board later approved his suggestion; he then gave Newton it is official and full backing. The first MessagePad on May 29, 1992 was unveiled by Sculley at the summer Consumer Electronics Show (CES) in Chicago. Even so, Sculley caved in to pressure too early because the Newton did not officially ship for another 14 months on August 2, 1993. Over 50,000 units were sold near late November 1993, starting at the price of $900 to $1,569. Details Screen and input With the MessagePad 120 with Newton OS 2.0, the Newton Keyboard by Apple became available, which can also be used via the dongle on Newton devices with a Newton InterConnect port, most notably the Apple MessagePad 2000/2100 series, as well as the Apple eMate 300. Newton devices featuring Newton OS 2.1 or higher can be used with the screen turned horizontally ("landscape") as well as vertically ("portrait"). A change of a setting rotates the contents of the display by 90, 180 or 270 degrees. Handwriting recognition still works properly with the display rotated, although display calibration is needed when rotation in any direction is used for the first time or when the Newton device is reset. Handwriting recognition In initial versions (Newton OS 1.x) the handwriting recognition gave extremely mixed results for users and was sometimes inaccurate. The original handwriting recognition engine was called Calligrapher, and was licensed from a Russian company called Paragraph International.

MessagePad The MessagePad is a discontinued series of personal digital assistant devices developed by Apple for the Newton platform in 1993. Some electronic engineering and the manufacture of Apple's MessagePad devices was undertaken in Japan by the Sharp. The devices were based on the ARM 610 RISC processor and all featured handwriting recognition software and were developed and marketed by Apple. The devices ran the Newton OS. History The development of Newton Message first began when Apple's former senior vice president of research and development, Jean-Louis Gassée; his team includes Steve Capps, co-writer of macOS Finder, and an employed engineer named Steve Sakoman. Since then, the development of the Newton Message Pad operates in secret until it was eventually revealed to the Apple Board of Directors in late 1990. When Gassee resigned from his position due to a significant disagreement with the board, seeing how his employer was treated, Sakoman also stopped developing the MessagePad on March 2, 1990. Bill Atkinson, an Apple Executive responsible for the company's Lisa's graphical interface, invited Steve Capps, John Sculley, Andy Hertzfeld, Susan Kare, and Marc Porat to a meeting on March 11, 1990. There, they brainstormed a way of saving the MessagePad. Sculley suggested adding new features, including libraries, museums, databases, or institutional archives features, allowing customers to navigate through various window tabs or opened galleries/stacks. The Board later approved his suggestion; he then gave Newton it is official and full backing. The first MessagePad on May 29, 1992 was unveiled by Sculley at the summer Consumer Electronics Show (CES) in Chicago. Even so, Sculley caved in to pressure too early because the Newton did not officially ship for another 14 months on August 2, 1993. Over 50,000 units were sold near late November 1993, starting at the price of $900 to $1,569. Details Screen and input With the MessagePad 120 with Newton OS 2.0, the Newton Keyboard by Apple became available, which can also be used via the dongle on Newton devices with a Newton InterConnect port, most notably the Apple MessagePad 2000/2100 series, as well as the Apple eMate 300. Newton devices featuring Newton OS 2.1 or higher can be used with the screen turned horizontally ("landscape") as well as vertically ("portrait"). A change of a setting rotates the contents of the display by 90, 180 or 270 degrees. Handwriting recognition still works properly with the display rotated, although display calibration is needed when rotation in any direction is used for the first time or when the Newton device is reset. Handwriting recognition In initial versions (Newton OS 1.x) the handwriting recognition gave extremely mixed results for users and was sometimes inaccurate. The original handwriting recognition engine was called Calligrapher, and was licensed from a Russian company called Paragraph International.

Calligrapher's design was quite sophisticated; it attempted to learn the user's natural handwriting, using a database of known words to make guesses as to what the user was writing, and could interpret writing anywhere on the screen, whether hand-printed, in cursive, or a mix of the two. By contrast, Palm Pilot's Graffiti had a less sophisticated design than Calligrapher, but was sometimes found to be more accurate and precise due to its reliance on a fixed, predefined stroke alphabet. The stroke alphabet used letter shapes which resembled standard handwriting, but which were modified to be both simple and very easy to differentiate. Palm Computing also released two versions of Graffiti for Newton devices. The Newton version sometimes performed better and could also show strokes as they were being written as input was done on the display itself, rather than on a silkscreen area. For editing text, Newton had a very intuitive system for handwritten editing, such as scratching out words to be deleted, circling text to be selected, or using written carets to mark inserts. Later releases of the Newton operating system retained the original recognizer for compatibility, but added a hand-printed-text-only (not cursive) recognizer, called "Rosetta", which was developed by Apple, included in version 2.0 of the Newton operating system, and refined in Newton 2.1. Rosetta is generally considered a significant improvement and many reviewers, testers, and most users consider the Newton 2.1 handwriting recognition software better than any of the alternatives even 10 years after it was introduced. Recognition and computation of handwritten horizontal and vertical formulas such as "1 + 2 =" was also under development but never released. However, users wrote similar programs which could evaluate mathematical formulas using the Newton OS Intelligent Assistant, a unique part of every Newton device. The handwriting recognition and parts of the user interface for the Newton are best understood in the context of the broad history of pen computing, which is quite extensive. A vital feature of the Newton handwriting recognition system is the modeless error correction. That is, correction done in situ without using a separate window or widget, using a minimum of gestures. If a word is recognized improperly, the user could double-tap the word and a list of alternatives would pop up in a menu under the stylus. Most of the time, the correct word will be in the list. If not, a button at the bottom of the list allows the user to edit individual characters in that word. Other pen gestures could do such things as transpose letters (also in situ). The correction popup also allowed the user to revert to the original, un-recognized letter shapes - this would be useful in note-taking scenarios if there was insufficient time to make corrections immediately. To conserve memory and storage space, alternative recognition hypotheses would not be saved indefinitely. If the user returned to a note a week later, for example, they would only see the best match.

Calligrapher's design was quite sophisticated; it attempted to learn the user's natural handwriting, using a database of known words to make guesses as to what the user was writing, and could interpret writing anywhere on the screen, whether hand-printed, in cursive, or a mix of the two. By contrast, Palm Pilot's Graffiti had a less sophisticated design than Calligrapher, but was sometimes found to be more accurate and precise due to its reliance on a fixed, predefined stroke alphabet. The stroke alphabet used letter shapes which resembled standard handwriting, but which were modified to be both simple and very easy to differentiate. Palm Computing also released two versions of Graffiti for Newton devices. The Newton version sometimes performed better and could also show strokes as they were being written as input was done on the display itself, rather than on a silkscreen area. For editing text, Newton had a very intuitive system for handwritten editing, such as scratching out words to be deleted, circling text to be selected, or using written carets to mark inserts. Later releases of the Newton operating system retained the original recognizer for compatibility, but added a hand-printed-text-only (not cursive) recognizer, called "Rosetta", which was developed by Apple, included in version 2.0 of the Newton operating system, and refined in Newton 2.1. Rosetta is generally considered a significant improvement and many reviewers, testers, and most users consider the Newton 2.1 handwriting recognition software better than any of the alternatives even 10 years after it was introduced. Recognition and computation of handwritten horizontal and vertical formulas such as "1 + 2 =" was also under development but never released. However, users wrote similar programs which could evaluate mathematical formulas using the Newton OS Intelligent Assistant, a unique part of every Newton device. The handwriting recognition and parts of the user interface for the Newton are best understood in the context of the broad history of pen computing, which is quite extensive. A vital feature of the Newton handwriting recognition system is the modeless error correction. That is, correction done in situ without using a separate window or widget, using a minimum of gestures. If a word is recognized improperly, the user could double-tap the word and a list of alternatives would pop up in a menu under the stylus. Most of the time, the correct word will be in the list. If not, a button at the bottom of the list allows the user to edit individual characters in that word. Other pen gestures could do such things as transpose letters (also in situ). The correction popup also allowed the user to revert to the original, un-recognized letter shapes - this would be useful in note-taking scenarios if there was insufficient time to make corrections immediately. To conserve memory and storage space, alternative recognition hypotheses would not be saved indefinitely. If the user returned to a note a week later, for example, they would only see the best match.

Calligrapher's design was quite sophisticated; it attempted to learn the user's natural handwriting, using a database of known words to make guesses as to what the user was writing, and could interpret writing anywhere on the screen, whether hand-printed, in cursive, or a mix of the two. By contrast, Palm Pilot's Graffiti had a less sophisticated design than Calligrapher, but was sometimes found to be more accurate and precise due to its reliance on a fixed, predefined stroke alphabet. The stroke alphabet used letter shapes which resembled standard handwriting, but which were modified to be both simple and very easy to differentiate. Palm Computing also released two versions of Graffiti for Newton devices. The Newton version sometimes performed better and could also show strokes as they were being written as input was done on the display itself, rather than on a silkscreen area. For editing text, Newton had a very intuitive system for handwritten editing, such as scratching out words to be deleted, circling text to be selected, or using written carets to mark inserts. Later releases of the Newton operating system retained the original recognizer for compatibility, but added a hand-printed-text-only (not cursive) recognizer, called "Rosetta", which was developed by Apple, included in version 2.0 of the Newton operating system, and refined in Newton 2.1. Rosetta is generally considered a significant improvement and many reviewers, testers, and most users consider the Newton 2.1 handwriting recognition software better than any of the alternatives even 10 years after it was introduced. Recognition and computation of handwritten horizontal and vertical formulas such as "1 + 2 =" was also under development but never released. However, users wrote similar programs which could evaluate mathematical formulas using the Newton OS Intelligent Assistant, a unique part of every Newton device. The handwriting recognition and parts of the user interface for the Newton are best understood in the context of the broad history of pen computing, which is quite extensive. A vital feature of the Newton handwriting recognition system is the modeless error correction. That is, correction done in situ without using a separate window or widget, using a minimum of gestures. If a word is recognized improperly, the user could double-tap the word and a list of alternatives would pop up in a menu under the stylus. Most of the time, the correct word will be in the list. If not, a button at the bottom of the list allows the user to edit individual characters in that word. Other pen gestures could do such things as transpose letters (also in situ). The correction popup also allowed the user to revert to the original, un-recognized letter shapes - this would be useful in note-taking scenarios if there was insufficient time to make corrections immediately. To conserve memory and storage space, alternative recognition hypotheses would not be saved indefinitely. If the user returned to a note a week later, for example, they would only see the best match.

Error correction in many current handwriting systems provides such functionality but adds more steps to the process, greatly increasing the interruption to a user's workflow that a given correction requires. User interface Text could also be entered by tapping with the stylus on a small on-screen pop-up QWERTY virtual keyboard, although more layouts were developed by users. Newton devices could also accept free-hand "Sketches", "Shapes", and "Ink Text", much like a desktop computer graphics tablet. With "Shapes", Newton could recognize that the user was attempting to draw a circle, a line, a polygon, etc., and it would clean them up into perfect vector representations (with modifiable control points and defined vertices) of what the user was attempting to draw. "Shapes" and "Sketches" could be scaled or deformed once drawn. "Ink text" captured the user's free-hand writing but allowed it to be treated somewhat like recognized text when manipulating for later editing purposes ("ink text" supported word wrap, could be formatted to be bold, italic, etc.). At any time a user could also direct their Newton device to recognize selected "ink text" and turn it into recognized text (deferred recognition). A Newton note (or the notes attached to each contact in Names and each Dates calendar or to-do event) could contain any mix of interleaved text, Ink Text, Shapes, and Sketches. While the Newton offered handwriting recognition training and would clean up sketches into vector shapes, both were unreliable and required much rewriting and redrawing. The most reliable application of the Newton was collecting and organizing address and phone numbers. While handwritten messages could be stored, they could not be easily filed, sorted or searched. While the technology was a probable cause for the failure of the device (which otherwise met or exceeded expectations), the technology has been instrumental in producing the future generation of handwriting software that realizes the potential and promise that began in the development of Newton-Apple's Ink Handwriting Recognition. Connectivity The MessagePad 100 series of devices used Macintosh's proprietary serial ports—round Mini-DIN 8 connectors. The MessagePad 2000/2100 models (as well as the eMate 300) have a small, proprietary Newton InterConnect port. However, the development of the Newton hardware/software platform was canceled by Steve Jobs on February 27, 1998, so the InterConnect port, while itself very advanced, can only be used to connect a serial dongle. A prototype multi-purpose InterConnect device containing serial, audio in, audio out, and other ports was also discovered. In addition, all Newton devices have infrared connectivity, initially only the Sharp ASK protocol, but later also IrDA, though the Sharp ASK protocol was kept in for compatibility reasons. Unlike the Palm Pilot, all Newton devices are equipped with a standard PC Card expansion slot (two on the 2000/2100). This allows native modem and even Ethernet connectivity; Newton users have also written drivers for 802.11b wireless networking cards and ATA-type flash memory cards (including the popular CompactFlash format), as well as for Bluetooth cards.

Error correction in many current handwriting systems provides such functionality but adds more steps to the process, greatly increasing the interruption to a user's workflow that a given correction requires. User interface Text could also be entered by tapping with the stylus on a small on-screen pop-up QWERTY virtual keyboard, although more layouts were developed by users. Newton devices could also accept free-hand "Sketches", "Shapes", and "Ink Text", much like a desktop computer graphics tablet. With "Shapes", Newton could recognize that the user was attempting to draw a circle, a line, a polygon, etc., and it would clean them up into perfect vector representations (with modifiable control points and defined vertices) of what the user was attempting to draw. "Shapes" and "Sketches" could be scaled or deformed once drawn. "Ink text" captured the user's free-hand writing but allowed it to be treated somewhat like recognized text when manipulating for later editing purposes ("ink text" supported word wrap, could be formatted to be bold, italic, etc.). At any time a user could also direct their Newton device to recognize selected "ink text" and turn it into recognized text (deferred recognition). A Newton note (or the notes attached to each contact in Names and each Dates calendar or to-do event) could contain any mix of interleaved text, Ink Text, Shapes, and Sketches. While the Newton offered handwriting recognition training and would clean up sketches into vector shapes, both were unreliable and required much rewriting and redrawing. The most reliable application of the Newton was collecting and organizing address and phone numbers. While handwritten messages could be stored, they could not be easily filed, sorted or searched. While the technology was a probable cause for the failure of the device (which otherwise met or exceeded expectations), the technology has been instrumental in producing the future generation of handwriting software that realizes the potential and promise that began in the development of Newton-Apple's Ink Handwriting Recognition. Connectivity The MessagePad 100 series of devices used Macintosh's proprietary serial ports—round Mini-DIN 8 connectors. The MessagePad 2000/2100 models (as well as the eMate 300) have a small, proprietary Newton InterConnect port. However, the development of the Newton hardware/software platform was canceled by Steve Jobs on February 27, 1998, so the InterConnect port, while itself very advanced, can only be used to connect a serial dongle. A prototype multi-purpose InterConnect device containing serial, audio in, audio out, and other ports was also discovered. In addition, all Newton devices have infrared connectivity, initially only the Sharp ASK protocol, but later also IrDA, though the Sharp ASK protocol was kept in for compatibility reasons. Unlike the Palm Pilot, all Newton devices are equipped with a standard PC Card expansion slot (two on the 2000/2100). This allows native modem and even Ethernet connectivity; Newton users have also written drivers for 802.11b wireless networking cards and ATA-type flash memory cards (including the popular CompactFlash format), as well as for Bluetooth cards.

Error correction in many current handwriting systems provides such functionality but adds more steps to the process, greatly increasing the interruption to a user's workflow that a given correction requires. User interface Text could also be entered by tapping with the stylus on a small on-screen pop-up QWERTY virtual keyboard, although more layouts were developed by users. Newton devices could also accept free-hand "Sketches", "Shapes", and "Ink Text", much like a desktop computer graphics tablet. With "Shapes", Newton could recognize that the user was attempting to draw a circle, a line, a polygon, etc., and it would clean them up into perfect vector representations (with modifiable control points and defined vertices) of what the user was attempting to draw. "Shapes" and "Sketches" could be scaled or deformed once drawn. "Ink text" captured the user's free-hand writing but allowed it to be treated somewhat like recognized text when manipulating for later editing purposes ("ink text" supported word wrap, could be formatted to be bold, italic, etc.). At any time a user could also direct their Newton device to recognize selected "ink text" and turn it into recognized text (deferred recognition). A Newton note (or the notes attached to each contact in Names and each Dates calendar or to-do event) could contain any mix of interleaved text, Ink Text, Shapes, and Sketches. While the Newton offered handwriting recognition training and would clean up sketches into vector shapes, both were unreliable and required much rewriting and redrawing. The most reliable application of the Newton was collecting and organizing address and phone numbers. While handwritten messages could be stored, they could not be easily filed, sorted or searched. While the technology was a probable cause for the failure of the device (which otherwise met or exceeded expectations), the technology has been instrumental in producing the future generation of handwriting software that realizes the potential and promise that began in the development of Newton-Apple's Ink Handwriting Recognition. Connectivity The MessagePad 100 series of devices used Macintosh's proprietary serial ports—round Mini-DIN 8 connectors. The MessagePad 2000/2100 models (as well as the eMate 300) have a small, proprietary Newton InterConnect port. However, the development of the Newton hardware/software platform was canceled by Steve Jobs on February 27, 1998, so the InterConnect port, while itself very advanced, can only be used to connect a serial dongle. A prototype multi-purpose InterConnect device containing serial, audio in, audio out, and other ports was also discovered. In addition, all Newton devices have infrared connectivity, initially only the Sharp ASK protocol, but later also IrDA, though the Sharp ASK protocol was kept in for compatibility reasons. Unlike the Palm Pilot, all Newton devices are equipped with a standard PC Card expansion slot (two on the 2000/2100). This allows native modem and even Ethernet connectivity; Newton users have also written drivers for 802.11b wireless networking cards and ATA-type flash memory cards (including the popular CompactFlash format), as well as for Bluetooth cards.

Newton can also dial a phone number through the built-in speaker of the Newton device by simply holding a telephone handset up to the speaker and transmitting the appropriate tones. Fax and printing support is also built in at the operating system level, although it requires peripherals such as parallel adapters, PCMCIA cards, or serial modems, the most notable of which is the lightweight Newton Fax Modem released by Apple in 1993. It is powered by 2 AA batteries, and can also be used with a power adapter. It provides data transfer at 2,400 bit/s, and can also send and receive fax messages at 9,600 and 4,800 bit/s respectively. Power options The original Apple MessagePad and MessagePad 100 used four AAA batteries. They were eventually replaced by AA batteries with the release of the Apple MessagePad 110. The use of 4 AA NiCd (MessagePad 110, 120 and 130) and 4x AA NiMH cells (MP2x00 series, eMate 300) give a runtime of up to 30 hours (MP2100 with two 20 MB Linear Flash memory PC Cards, no backlight usage) and up to 24 hours with backlight on. While adding more weight to the handheld Newton devices than AAA batteries or custom battery packs, the choice of an easily replaceable/rechargeable cell format gives the user a still unsurpassed runtime and flexibility of power supply. This, together with the flash memory used as internal storage starting with the Apple MessagePad 120 (if all cells lost their power, no data was lost due to the non-volatility of this storage), gave birth to the slogan "Newton never dies, it only gets new batteries". Later efforts and improvements The Apple MessagePad 2000/2100, with a vastly improved handwriting recognition system, 162 MHz StrongARM SA-110 RISC processor, Newton OS 2.1, and a better, clearer, backlit screen, attracted critical plaudits. eMate 300 The eMate 300 was a Newton device in a laptop form factor offered to schools in 1997 as an inexpensive ($799 US, originally sold to education markets only) and durable computer for classroom use. However, in order to achieve its low price, the eMate 300 did not have all the speed and features of the contemporary MessagePad equivalent, the MessagePad 2000. The eMate was cancelled along with the rest of the Newton products in 1998. It is the only Newton device to use the ARM710 microprocessor (running at 25 MHz), have an integrated keyboard, use Newton OS 2.2 (officially numbered 2.1), and its batteries are officially irreplaceable, although several users replaced them with longer-lasting ones without any damage to the eMate hardware whatsoever. Prototypes Many prototypes of additional Newton devices were spotted. Most notable was a Newton tablet or "slate", a large, flat screen that could be written on.