Sidney Psalms

The Sidney Psalms or Sidneian Psalms was a 16th-century translation into English of the Psalms.

It was the work of Philip and Mary Sidney, aristocratic siblings who were very influential Elizabethan poets.

Mary Sidney completed the book and gave a copy to Queen Elizabeth I of England in 1599. They were celebrated in the work of John Donne.

Psalm 1

Psalm one is the first Psalm in the Sidney Psalter, written by brother and sister, Phillip and Mary Sidney in the 16th. Psalm One, as discussed here, was written by Phillip Sidney in the late 1500s. It is a poetic adaption of psalm one from the biblical book of psalms. Although there were many translations of the psalms during the renaissance period the Sidney psalms are different due to their concentration on aesthetics. Though some claim this takes away from true translations (which will be returned to in this article) they are still praised today for their creative poetic forms; John Donne a contemporary praised them as “The highest matter in the noblest form” (Donne, 1896).

Themes

Psalm 1 is, as the title suggests, the first psalm in the biblical book of Psalms and so the first in the Sidney Psalter. As the first psalm it can be seen as setting up several themes which recur through the Psalter:

The Separation of the sinful and the righteous

The book of Psalms and so the Sidney Psalter is very concerned with being righteous, there is pious apologies (i.e. psalm 31, 51), blaming God (i.e. Psalm 22) and lots and lots of blaming others (i.e. Psalm 109) when people aren’t completely sinless. But this may be due to the recurring theme of judgment, separating out the sinners from the righteous. This begins straight of in Psalm 1 where quite literally the wheat are sorted from the “chaff” (“the wicked, but like chaff” (Sidney, 2009, pg. 11)).

“Not with the just, be their meetings placed” (Sidney, 2009, pg. 11). This may be one of the most recurring themes in the Psalter so here are just a few examples:
Psalm 11:
“on them: storms, brimstone, coals he rains:
that is their share assigned.
But so of happy other side.”
(The Sidney Psalter, 2009, pg. 218)

Psalm 145:
“He will his lovers all preserve;
He will the wicked all destroy:”
(The Sidney Psalter, 2009, pg. 279)

One way in which the righteous and the sinful are often separated is by the path they choose. Psalm 1 sees two paths laid out for man “ruin’s way” where “wicked counsel leads” or the way of God. Paths or “the way”, especially choosing the right path, is a common theme throughout the whole bible, but also within the psalms. Phillip Sidney sets up this theme firmly in Psalm 1 with the opening line referring to “tread[ing]” the right path. This path can be seen as the beginning of a journey the psalms and through this lyrical Psalter.

Other references to paths in the Psalter include:
Psalm 16:
“Thou life’s path wilt make me know”
(The Sidney Psalter, 2009, pg. 31)

Psalm 119:
“and to thy paths will have a good eye”
(The Sidney Psalter, 2009, pg. 230)

Anthropomorphic Nature

One problem the psalm struggles with is describing the nature of God, how does a finite mind describe the infinite being? One way this problem is addressed in the psalms is by describing God as a man, but in doing so actual man must become less to preserve the distinction of our inferiority to God. When God is made man, man becomes a worm (psalm 22), a sheep (psalm 23) or, as in this psalm, he becomes a tree.

Verse 2 describes the righteous as “a freshly planted tree” and continues this metaphor throughout the stanza referring to the “braunches”, “fruite” and “leafe” of the tree as ways of describing a prosperous follower of God.
This sets up imagery for the rest of the Psalter where followers of God are often referred to as trees.

Trees are used throughout the psalms for several reasons: they are strongly routed and this is used are a metaphor for roots in God; they bear fruit, which is used as a metaphor for the gifts of God; they grow slowly but strongly, which is used as a metaphor for spiritual growth; and finally for their symbolic references, such as fig leaves for shame or sin.
Below are some examples of this recurring theme:

Psalm 72:
“I as an Olive tree,
Still green shall flourish:
God’s house the soil shall be
My roots to nourish.”
(The Sidney Psalter, 2009, pg. 136)

Psalm 92:
“like cedar high
and like date-bearing tree,
For green and growth, the just shall be”
(The Sidney Psalter, 2009, pg. 179)

Differences in Translation

(Remember in this section the word “translation” refers to translation of meaning!)

In the 16th century biblical translations were rife, with the growth of The Church of England promoting personal relationships with God and understanding of Holy texts. These different translations highlighted some of the problems with interpreting “The Word of God”: how is meaning truly translated? This is particularly true with literary versions such as The Sidney Psalter, which as aesthetic interpretations arguably let the focus on form and courtly style obscure the true message – or so thought the revisers of "The Whole Booke of Psalmes". The examples below highlight some of the differences in meaning implied by different translations. Sidney's Psalm One is here being compared to the anti-aesthetic King James Bible equivalent.

“He shall be like a freshly planted tree
To which sweet springs of waters neighbours be”
(Sidney, 2009, pg. 11)

“and he shall be like a tree planted by the rivers of water”
(King James Bible, psalm 1:3)

The main difference between these verse translations is the addition of adjectives. For example, the adjective “freshly” arguably changes the whole imagery of this section, from that of a firmly rooted, strong being of nature, to a weak and flexible sapling. Another interpretation of this, is that Sidney's tree represents a new “fresh” faith that still has room to grow with the aid of god's “sweet springs”.

Equally the inclusion of the noun “neighbours” in the following line gives new action to the “water”. Making the “waters neighbours” to the tree changes the relationship between the two from one of simple useful proximity to and active relationship of caring attention.

“wicked” (Sidney, 2009, pg. 11)    “ungodly” (King James Bible, psalm 1:2)

In both line 2, verse one and line 1, verse 3 Sidney prefers the word “ungodly” as used in the King James Bible for the word “wicked”. In the 16th Century the difference between these two adjectives were not as great as it appears to a modern audience however the different level of negative connotations is still there. Often in biblical literature the “ungodly” simply need educating and saving, making them appear more as “the lost sheep”; whereas, “the wicked” suggests much more intention in the person towards evil doing. Part of the definition of “wicked" in the Oxford English Dictionary is “inclined or addicted to wilful wrong-doing”. Therefore, this change in adjective actually changes the level of sinners "wilful" intent.

"but are like the chaf which the wind driveth away” (Sidney, 2009, pg. 11)
“but like chaf with wind/ Scattered.” 	(King James Bible, psalm 1:4)

In this line the main difference is obviously the use of the term “scattered” as opposed to “driveth away”. It is important to remember here that the King James Bible was not completed until 1611, long after the circulation of the Psalter, so it cannot be said that Sidney softened or harshened any terms as he had not the comparative reference we do here. What can be said is that different imagery is created: Sidney's psalm portrays the wicked being separated from one another, carelessly “scattered” away. Whereas the King James Bible gives the impression of force driving away the wicked to a separate and faraway place. “Scattered” also has some positive connotations however, especially when thinking of farming. A farmer would “scatter” seeds to grow, of “scatter” feed for animals. Although this is not the implied meaning here these connotations are significant when it is considered how often animal husbandry and agricultural language is used throughout the book of psalms.

“but on God’s law his heart’s delight doth binde.” (Sidney, 2009, pg. 11)
“but his delight is in the law of the Lord.” (King James Bible, Psalm 1:2)

There are many interesting differences between these lines. Firstly, let's examine the placement of God in the sentence construction. In both sentences “God” or “the Lord” is the object however where the King James Bible uses the now standard sentence construction SVO (subject, verb, object) placing “the Lord” at the end of the sentence; the Sidney psalm has an archaic OSV (object, subject, verb) form. One reason for this could simply be to make the line fit the rhyming pattern (“binde” rhyming with “minde” at the end of the following line). But it does change the importance placed on “God”/”the Lord” by placing him in the middle of the line his presence does not have as much impact as it does as the closing words in the verse in the King James Bible version.

Another difference between these lines is the inclusion of the possessive noun “heart’s”. As with the previous examples inclusion of extra words like these have often been put down to poetic flourishes, however, they do create different interpretations of the text. By making the “delight” from the “heart” Sidney makes the “delight” a purely emotional reaction, whereas, without this addition in The King James Bible translation, the delight can equally be from the mind – happy to choose the righteous option – or soul – naturally reacting to God – or any other part of man.

Criticism

In his journal “Sir Philip Sidney's Psalms, the Sixteenth-Century Psalter, and the Nature of Lyric” Roland Green praises Phillip Sidney as “the premier English poetical theorist of the time” (p. 20, 1990). However, most criticism and reviews of the Sidney Psalter focus on the later psalms written by Mary Sidney; with Moffet terming Mary Sidney's Psalmes “sweet and heavenly tuned,” (2011, pg. 226). This sadly leaves a gap in critical response to first 43 Psalms that were written by Phillip Sidney before his death; though there is much on his other works.

However, there is some criticism of the Psalter as a whole. David Norton explains how Bray, a Sidney contemporary and “great spreader of Christian culture”, hopped that “literary appreciation (of a sort) would make people more religious.” (2000, pg. 130). Bray praised the Psalter as a work of art that would make people more interested in the bible and therefore religion.

Psalm III
This article focuses on the third Psalm featured in the ‘Sidney Psalter’, a project that involved translating the Psalms into English poetry in the sixteenth century. Originally written by poet Sir Philip Sidney, the project was completed by his sister Mary Herbert, Countess of Pembroke, following Philip's death in 1586. Psalm 3 was written by Philip Sidney and is an adaptation of the third biblical Psalm told from the perspective of David when he fled from his son Absalom. When Philip Sidney died on military campaign, he had completed only forty-three of the Psalms. The remaining translations were left to be completed by his sister and a copy was presented to Elizabeth I in 1599. Although The Sidney Psalms were privately circulated, they were not officially published until 1828. While some have criticised them for the considerable differences between Sidney's poetic elaborations and the Psalms that feature in the anti-aesthetic King James bible, others have praised them for their creative poetic forms. Most notably, metaphysical poets John Donne and George Herbert were particularly complimentary of the Sidney Psalter.

Synopsis

Psalm 3 belongs to Sidney's ‘Psalmes of David’, as David is the subject of many of the Psalms, and is his personal thanksgiving to God for answering the prayer of an afflicted soul. In the King James Bible, the Psalm is introduced as “A Psalm of David, when he fled from Absalom his son.” Absalom led a fierce and powerful rebellion against his own father, seeking to take the Kingdom from David.  When David is left feeling betrayed by his own son and deserted by his subjects, he turns to God in prayer and confesses his faith. The story of Absalom can be found in the two Books of Samuel. Sidney's Psalm opens with David questioning God about the ever constant presence of sinners in the world. He then goes onto express that no matter how his enemies may multiply, he can rely on God to be his protector.

Structure
As is the case with all of Sidney's poetic adaptations, the third Psalm has a consistent rhyme scheme throughout. Psalm 3 is separated into six stanzas, each stanza opens with a rhyming couplet and has an AABCCB rhyme scheme. The original biblical Psalms do not make use of rhyme, highlighting the parallel between aestheticism and anti-aestheticism. However, Sidney's use of rhyme helps to maintain the traditional musical style of the Psalm.

Themes

The Segregation of the Sinful
A recurring theme amongst Sidney's Psalms is the divide between the righteous and the sinful, sinners frequently being referred to as "enemies". Psalm 3 opens with David directly questioning God about such enemies:
“LORD, how do they encrease,
That hatefull never cease
To breed my grievous trouble
How many ones there be,
That all against poor me
Their numbrous strength redouble?”
David expresses his deep feelings of betrayal by referring to Absalom, his subjects and all those involved in the rebellion. The verb “encrease” accompanied by the connotations of “breed” convey an animalistic image, suggesting that the traitors are a separate, growing species. In this way, the sinful are being dehumanised. In the final line of the stanza, David's enemies’ “numbrous strength redoubling" conveys an almost militaristic image. The idea of David's enemies becoming a vast army emphasises his solitude and presents him as a humbling narrator and therefore evokes sympathy, causing a division between the righteous and the sinful.

Differences Between Sidney's Psalm III and the King James Version

The King James Version (KJV), published in 1611, is a literal translation of the Christian bible from Hebrew to English and does not embrace the same aesthetic values that Sidney's Psalms do. The Sidneian Psalms are considerably longer than the ones in KJV, delving into more literary detail with more frequent use of metaphors, vivid imagery and elaborately poetic language. Psalms are often referred to as sacred songs or hymns, the word Psalm originating from the Greek psallein meaning "to pluck". However, in spite of Sidney's musical use of rhyme and rhythm, it has been argued that Sidney's Psalms inject a stronger poetical theme as opposed to a musical one, "Sidney and especially Pembroke put into thorough practice theories of psalmody as poetry that other authors did not, but in doing so separated their work from the mainstream use of complete metrical psalters: public congregational singing." This can be noticed in Psalm 3 through the use of the word 'selah' in the KJV. Selah is a musical direction used frequently at the end of a Psalm and is twice used in Psalm 3. The word does not feature in Sidney's translation which reemphasises the musical element that is perhaps lacking in Sidney's Psalms in order to focus more on being a work of poetry.

God as a Benevolent Figure
Arguably the most prominent way in which Sidney's Psalm 3 differs from the original text is its representation of God. As KJV is more closely connected to the original text from which it is translated, it presents God as a smiting and condemning figure, more in keeping with the God of the Old Testament. Sidney's Psalms represent a more all-loving and benevolent God, a figure that is more attributed to the New Testament, showing a clear juxtaposition between early readings of the bible and the sixteenth century interpretations. By the time Sidney began the project, the God of the Old Testament was no longer the God that Christians identified with. The figure of Jesus Christ as the son of God and his teachings of tolerance and forgiveness had caused God to evolve from being an icon of aggressive punishment to a far more fatherly figure. In Sidney's Psalm 3, David addresses God as his father: "Help me, my God and Father!" whereas God is never addressed this way in the KJV. In the KJV Psalm, instead of pleading God to "help" him, David instead asks God to "save" him. This perhaps implies that David fears the wrath of God and feels as though his soul requires saving, whereas Sidney's use of the word "help" connotes a far softer image and reinforces the more supportive and loving bond that he has with God. In the KJV, David thanks God for smiting his enemies. The use of violent imagery highlights the complete contrast between these two very different representations of the Christian God.

Differences in Translation and the Impact of Phraseology
There are vast differences in translation between the Sidney Psalter and the KJV, to the extent that each line in Sidney's Psalms are phrased almost entirely differently. Sidney has a tendency of taking one image from the original Psalm and elaborating on it so much to the extent that one line from the KJV can be conveyed in an entire stanza. This shows the difference in the purposes behind the two separate translations. Whilst the KJV is meant as a literal English translation of the word of God, Sidney clearly had more poetic and artistic motives, it isn't merely translating the bible into English but is also translating it into a work of art. Also, even slight differences in phraseology can be interpreted as conveying an entirely new meaning. Sidney translates the phrase "O LORD, [art] a shield for me" to "Yet, Lord, Thou art my shield". The use of the pronoun "thou" directly addresses God in prayer and therefore creates a more personal bond between David and God. Also, Sidney referring to God as "my shield" as opposed to "a shield" strengthens that personal connection and suggests that God is the only protector David needs whereas the KJV implies that he could be just one of many shields David has in his life.

Responses and Influences

Metaphysical poet John Donne wrote a poem celebrating the Sidney Psalter, 'Divine Poems Upon the Translation of the Psalms by Sir Philip Sidney and the Countess of Pembroke, His Sister', claiming that he could “scarce” call the English Church reformed until its psalter had been modeled after the poetic transcriptions of the Philip Sidney and Mary Herbert. This claim reveals the wider influence various transcriptions of the bible can have on the church and this begs the question as to which version of the text can Christians consider to be the "true word of God"?
The Sidney Psalter also had an influence on the later religious poetry of George Herbert and there are distinct similarities between the Psalter and his poem 'The Temple'.

Psalm 23

Themes

The main theme of Psalm 23 is the representation of God as a Shepherd, there to guide man like how a shepherd guides a sheep. Sidney also makes mention to being led upon a "righteous path"[1]. This creates a theme of faith and dutiful worship to God, almost as a show of gratitude for keeping his 'sheep' safe.

Context

Sidney's Psalm 23 can be traced back to the original Book of Psalms from the Old Testament, Psalm 23 originally being written by King David. According to Tom Wacaster "While most commentators believe that it was written in David’s youth while he was tending sheep for his father, it might just as well have been written at a later age after he had experienced the hardships of life and God’s guidance through those troubled times". This would add explanation to the allegorical imagery of God as the Shepherd, with David comparing his worship to that of a Sheep following the Shepherd. Sidney's version of the Psalm seems more intent on adding a sense of poetic styling more adept for the Sixteenth Century Englishman. Roland Greene makes the statement that "the Psalters deserve a central location in our understanding of what sixteenth-century poets did-for they certainly wrote a prodigious volume of psalmic translations-and of what they thought about what they did". He goes on to argue "that a striking development in sixteenth-century English lyric poetry is the sustained effort by often dissimilar poets to explore the boundaries between what we might call the ritual and the fictional dimensions of lyric. By the ritual element, I mean the poem's office as directions for a performance: a script compounded of sounds that serve referential or expressive purposes in non-poetic". This could be supportive to the idea of Sidney's Psalter creating a more aesthetic approach to the Psalms, and the context for re-writing them was to make them more beautifully worded as opposed to the original Hebrew' translations.

Analysis

Psalm 23 utilizes an unconventional rhyme scheme. While the first stanza does not follow the following stanza in rhythmic pattern exactly like the rest; the second, third and fourth follow an “ABBACC” rhyme scheme, similar to an English Sestet. Sidney seems to have done this to create a sense of lyricism not found in the original translations, such as the King James Version of The Bible.
However while it adds a sense of poetic lyricism to David's’ original Psalm, there are only subtle changes to the overall meaning behind the original translation into Sidney's version. Many of the references, such as “green pastures” and “thy rod and thy staff” remain unchanged in Sidney's version. However his portrayal of God is much more kind and gentle than how he is portrayed in David's version. This can be viewed by how Sidney alters certain text from the original version. Instead of God “Maketh me to lie down in green pastures” it becomes “he rests me in green pastures”.  This creates the image of God as a more benevolent and calming figure in Sidney's version of Psalm 23, as opposed to David's version who is more forceful and commanding.

Another reason for Sidney changing the meaning of the Psalms is said to bridge the understanding of their message for all as stated in  Sir Philip Sidney's Defense of Prophesying “The Psalms had always been integral to Christian worship, but sixteenth- century Protestants placed special emphasis on them. The trials, tribulations, and joys of the Psalmist resonated deeply with the Protestant experience; the ease with which the Psalms could be set to new tunes and memorized made them a perfect vehicle for turning the Protestant message into a mass movement capable of embracing the illiterate alongside the literate”

By this it seems that Sidney was attempting to make a more accessible version of the Psalms, removing the perception that biblical teachings must be handled by holy men such as Priests or Monks, and instead creating a unified understanding of The Bible that could be interpreted to each individual as how they would see it.

Another example of God being a less aggressive figure in the Sidney Psalms is the way the narrative voice refers to being taken towards water. In the original Psalm 23 written by David, God “leadeth me beside the still waters”, whereas in the Sidney version, it is said “by waters still, and sweet he guides my feet”. This all creates the idea of God as less of an authoritative figure and more assistive in letting man find their path towards heaven.

In From Testament to Covenant, Kenneth Hagen suggests “Since Christ is the author of the new testament, he antiquates the whole old law, including the moral law. Those who do not believe in Christ are still subject to the law, but those in Christ are free. The reason for this freedom is that Christ forgives sin and confers the Holy Spirit on Christians, who moves them to right acts. Christians do not need the law to prompt them to right deeds. They do what the law asks under the Spirit's guidance”.

This suggests that by the time of the 16th Century the Old Testament portrayal of God was made redundant, and a more fatherly perception found in the New Testament became the reference for most Christians in England. Therefore, Sidney's portrayal of God in his version of the Psalms would be less aggressive and commanding than the version seen in David's Psalm 23.

A similarity between both Sidney's version of Psalm 23 and David's version is the presence of Death and how it is portrayed in each version. David describes walking through “the valley of the shadow of death” and claiming to fear no evil, stating that “for thou art with me, thy rod and thy staff they comfort me”. As stated by Derwin L Grey “King David was experiencing a time of “doom and gloom”; he felt as though death was near. Hardship, peril, chaos, and deep suffering were invading his life. In our fallen world, these things will invade our lives, too. At some point, you and I, too, will make that long, slow, painful walk through the “valley of the shadow of death.”
However this suggests that David has faith in his connection to God and knowing that God's lead will keep him from being harmed or committing sin, keeping once again with the Shepherd theme of a pure innocent lamb being kept safe, as referenced by the image of the “staff” and “rod”.

Sidney alters this however, instead of a “shadow of death” he makes reference to “death’s dark shade”. This is more in line with later perceptions of evil or “the satan” taking a more physical form. In this case, Death being a looming figure who is attempting to sway the narrative voice from the path of Christianity,  and as stated by Sidney “Yea, thou I should through valley stray, Of death’s dark shade, I will No whit fear ill”.
It is once more suggestive to Sidney portraying God as a more understanding being in his translation of Psalm 23. While David says he knows he will not stray because of the lord, Sidney states that even though he may be lead astray, he knows that the lord will lead him back on the right path, creating an image of a more forgiving God not found within the Old Testament.

Another key alteration that Sir Philip Sidney makes is changing “the enemy” as mentioned in David's version of Psalm 23. David evokes a sense of the enemy as more than just on the battlefield, but also those who are unfaithful, sin itself and anyone who opposes Christianity, whereas Sidney changes this to the “foe”, and stating “ Ev’n when foe’s envious eye Doth it espy”.
This seems influenced by Sidney's time as a member of Queen Elizabeth's Court, until “In 1580, he incurred the Queen Elizabeth's displeasure by opposing her projected marriage to the Duke of Anjou, Roman Catholic heir to the French throne, and was dismissed from court for a time”. However he later re-joined the court where “Elizabeth instead summoned Sidney to court, and appointed him governor of Flushing in the Netherlands”.
It would therefore seem that Sidney's use of the term “espy” was in reference to his distrust to the Catholics and the French, his version Psalm 23 has more of a political agenda and not one of just faith to Christianity, but to Queen Elizabeth and her court as well.

Another example of Sidney modernising Psalm 23 to reflect the Elizabethan court is his description of heaven as a “hall” as opposed to a “house” as stated by David. David creates the sense of an eternal dwelling and a more homely place to eternally rest, whereas Sidney creates an image of God proceeding a high court, reflective of the one that he served in before his death, in the service of Queen Elizabeth.

Psalm 43
Psalm 43 in The Sidney Psalter is a Psalm written by brother and sister, Mary and Philip Sidney. The Sidney Psalter was written by both siblings because Philip had begun the work on writing it but died before he could finish it. This lead Mary Sidney to finish the work for him. The Psalm was written during the 16th Century by Philip Sidney, and was the last one he wrote before he died. The Sidney Psalter is a poetic adaption of the biblical psalms and differs greatly from other reworkings of the psalms throughout the renaissance period. Psalm 43 focuses on God as a protector alongside his absence and presence throughout. The Sidney Psalms are seen as "The most extreme example in this century of the wish to foster through translation an appreciation of the Psalms as poetry is the version begun by Sir Philip Sidney..." (Norton, 2000).

Themes
The themes that occur in Sidney's Psalm 43 are as follows:

God as a protector
Immediately in the first two lines of Psalm 43 we see the speaker's plea to God to be his protector. These two lines, "Judge of all, judge me And protector be" (Sidney, 2009, pg. 83) set up the rest of the first stanza in terms of pleading God to protect the speaker. This is seen when the speaker pleads to God to, "Save me from bad wights, In false colours dressèd." (Sidney, 2009, pg. 83). The last line, "In false colours dressèd" (Sidney, 2009, pg. 83) refers to heraldic insignia, people that are part of the coat of arms and that wear the insignia. The speaker's plea here is for God to protect the speaker in ways that the heraldic insignia cannot, as well as those that represent it; as he earlier refers to "bad wights" (Sidney, 2009, pg. 83). (bad people) and claims they dress in "false colours" (Sidney, 2009, pg. 83). A possibility here could be that those that represent the heraldic insignia are corrupt, perhaps even unmerciful. This can be due to representing such a high order in society that has an aim to protect people; yet the power that comes with it can cause corruption upon the person. The speaker, therefore, labels them as "bad wights"(Sidney, 2009, pg. 83). which means they cannot be protected by them for if they do let them, they too would become like them and lose their connection with God.

The second stanza continues with the theme as God as a protector as the speaker goes on to ask God, "Why then hast thou left me?"(Sidney, 2009, pg. 83). This shows the absence of God and emphasizes the speaker's suffering on Earth with his "prevailing foes" (Sidney, 2009, pg. 83) whilst he walks "in woes" (Sidney, 2009, pg. 83). God's absence at this point in the Psalm is important here as it shows how desperate the speaker is to reconnect with God. It is the beginning of the third stanza that further emphasizes God's absence and the speaker's desperation to connect with Him that leads onto the next theme.

Desperation to reconnect with God
As we reach stanza three, we notice the speaker becomes desperate to reconnect with God. This is seen from the speaker continuously pleading to God from this stanza until the end of the psalm. They begin with "Send thy truth and light, Let them guide me right" (Sidney, 2009, p. 83). This shows that the speaker is asking God to guide him again through the use of "truth and light" (Sidney, 2009, p. 83). The light represents something pure and innocent and in this case may be a glimpse of light from Heaven. The speaker appears to have lost his way in some way or another for him to ask God to send him things to guide him again, to what he labels as "thy hill most holy" (Sidney, 2009, p. 83). He goes on further, in his desperate plea, by saying "To God's altars tho Will I boldly go" (Sidney, 2009, p. 84) in stanza four. Here, the speaker is shown to claim that he would do anything for God in order to be reconnected with him. This leads into stanza five where he says, "Then, lo, then I will With sweet music's skill Grateful meaning show thee: Then, God, yea, my God, I will sing abroad What great thanks I owe thee." (Sidney, 2009, p. 84). The speaker, here, is saying that he will sing to everyone of God's glory and how he owes thanks to God. The desperation to reconnect with God is continuous throughout this stanza, especially when he refers to God as "my God" (Sidney, 2009, p. 84). Referring to God as his God establishes that he has complete faith in God. Further on in the stanza, when it says "I will sing abroad what great thanks I owe thee" (Sidney, 2009, p. 84) the speaker informs that he would sing loudly to those around him about God's greatness and how he is thankful for all God does for him.

The final stanza can be seen as the speaker making his re-connection with God as He is presented as being present in this stanza. An example that shows this is when it says at the end of the psalm, "Thank my God, I will, Sure aid, present comfort." (Sidney, 2009, p. 84). The use of the word "present" alone provides us with the idea that God is now present, which means the speaker has been successful in reconnecting with God. The line, "Sure aid, present comfort" (Sidney, 2009, p. 84) can be seen to mean that God is "Sure aid, present comfort" (Sidney, 2009, p. 84) making this a reason as to why God should be worshiped by others. This being because He, according to the speaker, provides aid and comfort for people when "thy soul" (Sidney, 2009, p. 84) is "Cast down in such dole". (Sidney, 2009, p. 84). The speaker ensures, however, that as long as the people "Wait on God" (Sidney, 2009, p. 84) and thank Him for His "Sure aid" (Sidney, 2009, p. 84) and "present comfort" (Sidney, 2009, p. 84) they will have some form of connection with God. In this psalm the speaker goes on a journey to reconnect with God and as it ends, the connection is re-established. This suggests that a person has to be patient with God as well as have faith in him to obtain this connection with Him.

Translation Differences and Criticism

There are many translation differences between the Sidney Psalter and the King James Bible. This caused issues during the 16th century as the translations show different interpretations of what is the word of God. The King James Bible version of Psalm 43 is significantly shorter than the Sidney Psalter's version. This in itself can be problematic because the KJB's psalm 43 is all of four lines long, whereas the Sidney Psalter's Psalm is a lengthy six stanzas long. This immediately would have caused controversy, especially when the Sidney Psalter is deemed to be more poetic than the KJB, as well as Sternhold and Hopkins translations being less poetic than the KJB and the Sidney Psalter. The differences in length of the psalm has been brought to attention by critics, one of these being Norton. Norton says that due to the type of differences in the Sidney Psalter  it makes it "unsurprising that the Sidney Psalter should have remained unpublished... the Sidney Psalter could not appeal to the religious populace." (Norton, 2000, p. 131). Again, this can be down to the translations of the bible and its contents. As translations have been done, the question of if the text is really translating God's word from its original Hebrew is accurate in them. This tends to be the reason as to why the Sidney Psalter is viewed more so as a literary work than an accurate translation of the Bible's psalms.

Psalm 137

Psalm 137, Super Flumina, was written by Mary Sidney, Countess of Pembroke. Super Flumina is taken from the Latin translation of the original Psalm 137, Super Flumina Babylonis. The choice to exclude ‘Babylonis’ from the title foreshadows other major differences Sidney made in her translation of the psalm. This psalm uses a modified ottava rima rhyming scheme, and is, in general, a woeful tale of exile and revenge.

Themes

Violent and Dark Imagery
A significant amount of violent and dark imagery can be found in Psalm 137.  The fourth and fifth stanzas of the psalm focus almost entirely on revenge and suffering; examples of this can be seen in lines 27-30 and lines 39-40."Who causelessly, yet hotly set

Thy holy city to deface,

Did thus the bloody victors whet

What time they ent'red first the place" (lines 27-30)The use of "deface" and "hotly" implies anger from the speakers, which is understandable given their situation. However, this escalates to violence with "bloody victors", and suggests them acting on their anger and thoughts and retaliating against their captors. It could also be that the 'victors' are bloody due to the injuries, both emotionally and physically, they have caused to the speakers by taking them from their homes by force, and therefore the blood from the speakers is on their hands. Whichever conclusion is taken from this line, it is clear that violence has happened in some form."Yea happy, who thy little ones

Shall take and dash against the stones." (lines 39-40)These lines are definitely darker than the previous quote, as it is literally saying that the speakers will be happy to see their captors punished by having their children thrown/dashed against stones. In fact, they are asking God to help them in punishing their captors, so it is also highlighting God's ability to punish people so easily if He should want to. It could even be said that they are taking advantage of God's power and even taking it too far in their anger, as they are too weak to rise up and take their revenge for themselves. The rhyming couplet of "ones" and "stones" on the final two lines of the stanza and the entire psalm makes them memorable. It is interesting how Mary Sidney wanted to emphasise such a violent and dark image as the last lines of the psalm. The lines and reference to dashing children against stones are in the church approved King James Version of Psalm 137, but the couplet emphasises this a lot more. There are a lot of double meanings in the psalm and potential dark undertones that Sidney uses, like in the first stanza where "we hardly expect the tears of the exiles to be figured as bounty nourishing the land of Babylon, but perhaps this is to be read bitterly as a form of exploitation.", as noted by Hamlin.

Grief
Grief can be found in the rest of the psalm, as it is about the speakers' mourning of the loss of their home. Specifically, the "tears of the exiles" refers to lines 3-5 of Psalm 137."Which then our tears in pearléd rows

Did help to water with their rain:

The thought of Sion bred such woes," (lines 3-5)This implies that they are unwillingly "help[ing]" their captors by watering their land. Also, the "pearléd rows", while being a metaphor for their tears, is also referring to the pearl necklaces that courtiers such as Mary Sidney would have worn in court, and to Sidney's life and social class. She was privileged enough to circulate her psalms at the courts and have them sung and praised by other prestigious members of the courts, like John Donne and George Herbert. Therefore, "her choices in wording reflect her own social class and personal experience - as a woman, as a courtier, and as a poet.", as Hannay summarises in her work.

Asking God for/Seeking Revenge
Revenge is a constant theme in Psalm 137, Super Flumina, as mentioned above. However, these lines refer to the speakers asking God for revenge as they feel like they cannot do it all by themselves, and they know how powerful God is."Down down with it at any hand,

Make all flat plane, let nothing stand.

And Babylon, that didst us waste,

Thy self shalt one day wasted be:" (lines 31-34)The phrase "let nothing stand" shows how angry they are, to the point where they ask God to completely destroy this city to punish the captors. The repetition of "down" could also be to emphasise how desperate and angry the speakers are, but it could also have been to fit with the chosen form Mary Sidney uses of 8 syllables for each line. This form is adapted from the popular poetry at the time, which is all about lovers proclaiming their love for one another, and it is interesting to see it adapted to the psalms, especially as the church was against this type of poetry and kept their psalms very traditional and close to the originals. Fisken says "what Mary Sidney emphasised were the parallel functions served by the sonnet cycle and the psalms, the resemblances between the anxiety of the lover beseeching his beloved and the anguish of the worshipper pleading with God.", which implies that the speakers in this psalm are, (or Mary Sidney herself, is) likening God to the typical lover seen in sonnets, praising Him and pleading for help to deal with this situation.

This is also the only time Mary Sidney uses the word "Babylon" in this psalm. She, as mentioned above, excludes 'Babylonis' from the title of the psalm, and uses "Babel" in the second line of the psalm. Hamlin notes that this could just be Sidney fitting the words to her chosen form, saying "The use of "Babel" rather than "Babylon" in several translations of Psalm 137 may echo the early "history" of the city in Genesis II, though the disyllabic name may sometimes also just be metrical convenience.". This also mentions that Sidney could just be using another name for the city, but it cannot be ignored that the use of "Babylon" is during time the speakers directly ask God for help in destroying this city. Therefore, they could be using the proper name as it is a 'formal' setting and they are addressing God Himself.

Psalm 137 as Song
Psalm 137 is a song, originally written to be sung, and Mary Sidney's translation definitely resonates that. The choice to use rhyme and a chosen 8 syllable form resonates that, as songs tend to rhyme, and having the next line come around faster than it would have if Sidney had stuck to the 11 syllable form typically used in the ottava rima scheme, makes it sound more song-like."O no, we have no voice, nor hand

For such a song, in such a land." (lines 15-16)These lines are a use of irony, as the speakers are talking about their reluctance and lack of enthusiasm to sing for their captors, as they feel it is degrading to entertain them. However, these lines are a part of song themselves, and are the last lines in the stanza so, according to the form of the psalm, they rhyme and sound even more song-like. However, despite the original psalm being a song, it lacks the rhyme and form of Sidney's translation, and the church stick to the original as close as possible. They still sing the psalms as song, but they disagree with Sidney's choice to elaborate on the song and make it rhyme and sound more song-like, because they don't want to change them. Norton notes that "complete in sense and form, unadapted to the traditional tunes and unaccompanied by music, the Sidney Psalter could appeal to the religious populace.", which shows that preventing Sidney's psalms from being accepted by the church was her adapting the psalm to traditional poetry and making it sound more like a song than it already does.

Structure
Another difference from the ottava rima form Sidney uses is a tetrameter rather than a pentameter. This, like using 8 syllables rather than 11, means that each line comes around faster, again making it more song-like. Each 8 line stanza follows an ABABABCC rhyme, manipulating the scheme to fit her song-like psalm, with the first six lines in an alternating rhyme sounding more like a poem and the last two lines in a couplet sounding more like a song. These couplets also emphasise the message for each stanza, like the last two drawing attention to the violent and dark image of dashing the children against the stones showing the overall message for the psalm and leaving a lasting image in the reader's mind.

Differences in Translation to the Church's KJV
"We hanged our harps upon the willows in the midst thereof" (Psalms 137:2)

"That though our harps we did retain,

Yet useless, and untouched there

On willows only hang'd they were." (lines 6-8)Mary Sidney's psalms look a lot different than the church's King James Version even at first glance. They are a lot longer (as above are the lines from Sidney's Psalm 137 compared to the KJV verse from Psalm 137 they relate to) and add description. Sidney adds that the harps are "useless, and untouched" rather than just harps. This shows that the speakers find no use for their once beloved harps as soon as they have been taken from their home, as they are refusing to play for and entertain their captors. And this is only one example of the difference in both texts, because, as Hannay says, "many of [Sidney's] Psalm paraphrases depart so radically in form and style from the biblical originals".

Overall, these were Sidney and her courtier friends' own interpretations and translations of the psalms and, in the words of Norton, "the admiration of such writers helped to foster such a much more ambitious artistic approach to the Psalms in the seventeenth century."

Further reading
 The Sidney Psalms (Fyfield Books) by Mary Sidney Herbert, Countess of Pembroke (Author), R.E. Pritchard (Editor)


Timiskaming

Timiskaming is a word from the Algonquin Temikami or Temikaming, from tim meaning "deep" and kami meaning "open waters". Alternate spellings include: Temiskaming, Témiscaming, Témiscamingue. The word Temagami comes from the same root.

Controversy exists over the spelling of this word.  A movement to change the spelling of the District of Timiskaming to Temiskaming (an e instead of an i) cites a typographical error by a government official, but the act of parliament that led to the name change granted this official authority to correct the spelling.  What he considered to be a spelling correction, some people today call a spelling mistake.

The spelling controversy goes back to the 18th century.  English maps from that century show the spelling of the lake as Temiscamin, Temescaming, Temiscaming, Timiscaming, and Temiscamino, with Temiscaming being the most common.  Spelling of the name of the aboriginal tribe presented even more alternatives.  In all cases, though, there is no k.  The 21st Century has inherited a debate from the 18th Century.

It refers to the following places, all in Canada:
 Lake Timiskaming (in French: Lac Témiscamingue)
 Nipissing—Timiskaming, a federal riding in the province of Ontario
 Timiskaming—Cochrane (provincial electoral district), a provincial riding of Ontario
 Timiskaming District, a census division of Ontario
 Temiskaming Shores, city in the Timiskaming District
 Unorganized East Timiskaming District, an unorganized territory in the Timiskaming District
 Unorganized West Timiskaming District, an unorganized territory in the Timiskaming District
 Abitibi—Témiscamingue, a federal electoral district in Quebec
 Rouyn-Noranda–Témiscamingue, a provincial electoral district in Quebec
 Abitibi-Témiscamingue, a region located in western Quebec
 Témiscamingue Regional County Municipality, Quebec, a regional county municipality RCM in Abitibi-Témiscamingue
 Timiskaming, Quebec, a First Nation reserve in Témiscamingue RCM
 Témiscaming, a city in Témiscamingue RCM
 Les Lacs-du-Témiscamingue, Quebec, an unorganized territory in Témiscamingue RCM
 Fort Témiscamingue, a former trading post and National Historic Site near Ville-Marie

The name was also used in several abolished federal and provincial ridings:
 Timiskaming (provincial electoral district)
 Timiskaming (electoral district) (federal)
 Timiskaming—Cochrane (federal)
 Timiskaming—French River (federal)
 Timiskaming North (federal)
 Timiskaming South (federal)
 Témiscamingue (electoral district) (federal)
 Témiscamingue (provincial electoral district)


Velvina, Aetolia-Acarnania

Velvina () is a village and a community in the municipal unit of Nafpaktos in Nafpaktia, Aetolia-Acarnania, Greece. According to the 2011 census, it had 57 inhabitants.

The village is about 9 km west of Nafpaktos. It is located at the foot of a northeastern foothill of Klokova and is on the right bank of the creek named Varia. In the vicinity toward the south is the ancient city of Molykreio, where an ancient temple is located.

History
Formerly part of the municipality of Nafpaktos, it became part of the community of Moui Agiou Georgiou (renamed to Molykreio in 1919) in 1912. Velvina became an independent community in 1946. It rejoined the municipality of Nafpaktos in 1997, and became part of the municipality of Nafpaktia in 2011.

Historical population


Davis v. City of Las Vegas

Davis v. City of Las Vegas, 478 F.3d 1048 (9th Cir. 2007), was a case in which the United States Court of Appeals for the Ninth Circuit determined whether a Las Vegas, Nevada police officer utilized excessive force when making an arrest.

Background and Opinion of the Court
On November 7, 2001, Frankie Davis was handcuffed by security at the Las Vegas Club Hotel & Casino after he was found in an area of the casino that was not open to the public. When a police officer, David Miller, arrived, Davis refused to consent to a search; at that point, Miller then "slammed [Davis] head-first into a wall several times, pinned him against the floor, and punched him in the face." As a result of these actions, Davis suffered a broken neck.

Davis filed a lawsuit, arguing that Miller's excessive use of force violated the Fourth Amendment of the United States Constitution, but the officer alleged that he was entitled to qualified immunity. The United States District Court for the District of Nevada granted Miller's motion for summary judgment based on his qualified immunity claim, but on appeal, the Ninth Circuit reversed. In an opinion written by Circuit Judge Stephen Reinhardt, the Court held that Miller was not entitled to qualified immunity because "any reasonable officer" in the same position would have known that "swinging a handcuffed man into a wall head-first multiple times and then punching him in the face while he lay face-down on the ground, and breaking his neck as a result, was unnecessary and excessive."

Commentary and analysis
In its summary of the case, the McQuillin Municipal Law Report stated that the Court "had no question" that the officer was not entitled to qualified immunity. University of Georgia School of Law professor Michael L. Wells argued that in Davis, the Ninth Circuit assumed a role "between judge and jury" by making an independent assessment of the "reasonableness" of the officer's actions. In the Ninth Circuit's 2010 opinion in Luchtel v. Hagemann, the court cited Davis as a case that affirmed the "continuing viability" of circuit precedent that recognized "causing fractures and dislocating shoulders while handcuffing a suspect is excessive force."


Naini

Naini (also known as Naini Industrial Area) is a satellite neighborhood and a twin city of Allahabad, India. By the 1950s Naini was established as the chief industrial area of the city.

History
Naini was infamous for its prison, Naini Central Prison, where many freedom fighters—including Pt. Jawahar Lal Nehru, the first Prime Minister of India—were imprisoned during the Indian independence movement. The first official Airmail flight in the world arrived in Naini from Allahabad. Henri Pequet carried 6,500 letters a distance of 13 km. This was the first commercial civil aviation flight in India.

Geography
Naini is located on the banks of River Yamuna, opposite Allahabad City. To the north, across the Ganges, is Jhunsi, which is a part of Allahabad itself. There are no direct paths or roadways between Jhusi and Naini.

Economy
Naini developed into major industrial centre. Some of the most reputed industries in Naini include Alstom, ITI Limited, Bharat Pumps & Compressors (headquarters), Areva, Steel Authority of India Limited (SAIL), Dey's medical, EMC Limited, Food Corporation of India (FCI), Triveni Structurals Limited (TSL) and Cotton Mills subsidiary of Central Government. Industrial development in Naini is increasing as the Government of India has approved Allahabad-Naini-Bara Investment Zone (3000 hectares) which is to be funded by the World Bank.

Culture

The culture of Naini is typical that of Allahabad. Hindi, Awadhi, Urdu, and Bagheli are the languages that are spoken there.
Arail, near Naini, has many Ashrams. Saint Shri Sachcha Baba, one of the pioneers in the tradition of Saints of India has a centre there with many devotees from India and abroad coming to visit.
Ashrams located at the Naini Ghat in the Naini area include:
Shri Sachcha Baba Ashram
Maharishi Mahesh Yogi Vidya Peeth
Ishwar prem ashram
Blind School
Hospital for lepers called Leprosy Mission Hospital
Siddha Sanjeevani Charitable Hospital

Education

University
Sam Higginbottom University of Agriculture, Technology and Sciences

Schools & Colleges
Ethel Higginbottom School & College, Rewa Road, Naini, Allahabad
Bethany Convent School, Naini Allahabad
United College of Engineering & Research
Nand Kishore Singh Degree College, Dhanuha, Chaka, Naini, Allahabad
Saint John's Academy, Mirzapur Road, Allahabad
Apex College of Education, Naini, Allahabad
 Madhav Gyan Kendra Inter college kharkauni, Naini , Allahabad
Kendriya Vidyalaya ITI Naini,Allahabad
Kendriya Vidyalaya COD Naini,Allahabad
Laurels International School, Naini

Transport

Naini is connected to Allahabad via two bridges over the river Yamuna. The older one, Old Naini Bridge was built in 1927, is a two lane bridge. The new one, New Yamuna Bridge was completed in 2004. NH-2 joins the Naini to Rewa through Ghoorpur.

Tempos, Bus and autos are the main mode of travel in Naini-Allahabad. This route doesn't have a very frequent local bus service, but recently, UPSRTC has launched the city bus services, making easier the public transportation from Naini to other nearby places, including heart of the city.

Apart from Naini Railway, Cheoki station is also used, but mainly it is used for transporting goods. However in recent times, Cheoki railway station has started to become more important as many of the trains are getting their schedule changed where in it is replacing Allahabad Junction itself.


Molepolole Airport

Molepolole Airport  was an airport serving Molepolole, Botswana.

Google Earth Historical Imagery (September 2002) shows a  dirt runway. Current Google Maps imagery shows the runway overbuilt with buildings and a large parking area.

Other airports in the area include Thebephatshwa Airport,  northwest, and Sir Seretse Khama International Airport,  southeast, by Gaborone.


Dactylinius

Dactylinius punctipennis is a species of beetles in the family Carabidae, the only species in the genus Dactylinius.


Valuev Circular

The Valuev Circular (; ) of 18 July 1863 was a secret decree (ukaz) of the Minister of Internal Affairs of the Russian Empire Pyotr Valuev (Valuyev) by which a large portion of the publications (religious, educational, and literature recommended for the use in primary literacy training of the commoners) in the Ukrainian language was forbidden, with the belles lettres works.

The Circular has put the reason for the growing number of textbooks in Ukrainian, and beginner-level books in Ukrainian with "the Poles' political interests" and the "separatist intentions of some of the Little Russians". The Circular quoted the opinion of the Kiev Censorship Committee that "a separate Little Russian language never existed, doesn't exist, and couldn't exist, and their [Little Russians]  tongue used by commoners  is nothing but Russian corrupted by the influence of Poland".

The Circular ordered the Censorship Committees to ban the publication of religious texts, educational texts, and beginner-level books in Ukrainian, but permitted publication of belles-lettres works in that language.

Further restrictions were placed on the Ukrainian language by the Ems Ukaz in 1876, which completely prohibited the usage of the language in open print.


Norman W. Ray

Norman Wilson Ray (born 25 June 1942) is a retired vice admiral in the United States Navy who served Deputy Chairman of the NATO Military Committee from 1992 to 1995. Ray graduated from the United States Naval Academy in 1964. After his retirement, he later served as the president of a defense contacting firm.


Johnson City metropolitan area, Tennessee

The Johnson City Metropolitan Statistical Area, as defined by the United States Census Bureau, is an area consisting of three counties in East Tennessee, anchored by the city of Johnson City. As of the 2000 census, the MSA had a population of 181,607 (though a July 1, 2008 estimate placed the population at 195,849).

Counties
Carter
Unicoi
Washington

Communities

Places with more than 50,000 inhabitants
Johnson City (principal city; partial)

Places with 10,000 to 50,000 inhabitants
Elizabethton

Places with 5,000 to 10,000 inhabitants
Erwin

Places with 2,500 to 5,000 inhabitants
Central (census-designated place)
Jonesborough
Oak Grove (census-designated place)
Pine Crest (census-designated place)
Spurgeon (census-designated place; partial)
Unicoi

Places with 1,000 to 2,500 inhabitants
Banner Hill (census-designated place)
Fall Branch (census-designated place; partial)
Gray (census-designated place)
Hunter (census-designated place)
Midway (census-designated place)
Roan Mountain (census-designated place)

Places with less than 1,000 inhabitants
Watauga

Unincorporated places
Flag Pond
Hampton
Limestone (partial)
Telford

Demographics
As of the census of 2000, there were 181,607 people, 75,197 households, and 51,047 families residing within the MSA. The racial makeup of the MSA was 95.31% White, 2.57% African American, 0.22% Native American, 0.52% Asian, 0.02% Pacific Islander, 0.48% from other races, and 0.88% from two or more races. Hispanic or Latino of any race were 1.28% of the population.

The median income for a household in the MSA was $30,117, and the median income for a family was $37,286. Males had a median income of $29,158 versus $20,517 for females. The per capita income for the MSA was $16,458.

Combined Statistical Area

The Johnson City–Kingsport–Bristol Combined Statistical Area (CSA) is made up of five counties in Eastern Tennessee as well as two counties and an independent city in Southwestern Virginia. The statistical area includes two metropolitan areas. As of the 2010 Census, the CSA had a population of 480,091 (though a July 1, 2008 estimate placed the population at 500,538).

Components
Metropolitan Statistical Areas (MSAs)
Johnson City (Carter County, TN; Unicoi County, TN; Washington, TN)
Kingsport–Bristol–Bristol (Hawkins County, TN; Sullivan County, TN; Scott County, VA; Washington County, VA; City of Bristol, VA)


The Reckoning (Needtobreathe album)

The Reckoning is the fourth studio album from American rock band Needtobreathe, released on September 20, 2011, through Atlantic Records. It is the last album featuring drummer Joe Stillwell. It debuted at No. 1 on the Billboard Christian Album chart, No. 1 on the Billboard Rock Albums chart, No. 4 on the Billboard Digital Albums chart and No. 6 on the Billboard 200 chart, selling 49,000 copies in its first week. The song "Oohs and Ahhs" was used in a promotional advertisement for J. J. Abrams's drama television series Alcatraz.

Background
The album released on September 20, 2011, through Atlantic Records, and it was produced by Needtobreathe, Rick Beato, Greg Wells. This was the fourth studio album by the band. The studios used while recording the album were Plantation Studios in Charleston, South Carolina, Blackbird Studios in Nashville, Tennessee and Rocket Carousel Studios in Los Angeles, California.

Music and lyrics
At Allmusic, Andrew Leahey stated that the album was a mixture of "sacred/secular" that is done with great precision, which takes the "best from both camps." Cross Rhythms' John Willoughby agrees with that noting the band "successfully managed the balancing act of having a foot in both the mainstream and Christian rock worlds." Matt Conner of CCM Magazine wrote that this was an album that "the sweet Southern Rock...captures the attention of all who hear it." At Christian Music Zine, Adrian Garza affirmed that listeners "enjoy music that sounds completely original, and unlike most of what they’ve ever heard", which the band do on the release. Jeremy V. Jones of Christianity Today said that the band has come "out guitars blazing on its fourth album, a muscular collection ready to shake arenas but paint their corners with warm southern and Americana gentility". Willoughby also believed strongly that this is the reason for the band's "huge appeal comes from the fact that they also straddle musical styles and can switch from tender alt-folk to swaggering pop rock."

Jen Rose of Jesus Freak Hideout noted that the album "doesn't retread past material or stick to a formula", however, she stated that "something feels a little off on the first listen or two. Perhaps it's the darker, subdued feel overall that is unsettling at first, or maybe it's the lack of standout upbeat songs". In addition, Jesus Freak Hideout's Jerold Wallace agreed that this album was just not "retreading" the same stuff all over again, but does have "Like the past albums, each piece borrows heavily from southern influences with a firm rock foundation." Also, Wallace noted how "Bear consistently impresses, be it with emotional highs that evolve into growls or a falsetto that we have not heard much of before." This was why Louder Than the Music's Jono Davies noted this album was "creative indie rock at its best." At Rock News and Reviews, Alexandre Romero said the album was "a balanced mix between genres already experienced during their career performed better than ever, plus some innovation touches."

Leahey noted that the album sound like "14 tracks are full of Bible allusions and parable-like lyrics." The Christian Manifesto's Lydia Akinola subscribed to the belief that this album "reads like a series of intimate thoughts put to poetry. More than the music, powerful lines hold the album together." In the thematic area, Akinola said that the album has "running theme[s] of redemption and grace that permeates" every part of the music.

Critical reception
{{Album ratings
|rev1 = AllMusic
|rev1score =
|rev2 = CCM Magazine
|rev2score =
|rev3 = The Christian Manifesto
|rev3score =
|rev4 = Christian Music Zine
|rev4score =
|rev5 = Christianity Today
|rev5score =
|rev6 = Cross Rhythms
|rev6score =
|rev7 = Jesus Freak Hideout
|rev7score =
|rev8 = Louder Than the Music
|rev8score=
|rev9 = Melodic
|rev9score= <ref name=net>{{cite web|url=http://www.melodic.net/?page=review&id=10267|title=Needtobreathe - The Reckoning|last=Wippsson|first=Johan|date=September 20, 2011|publisher=Melodic|accessdate=January 8, 2012}}</ref>
|rev10 = New Release Tuesday
|rev10score =
|rev11 = Rock News and Reviews|rev11score =
}}The Reckoning garnered critical acclaim from music critics. Leahey of Allmusic rated the album four stars, and noted that the album is full of "big music" that the band "have the balls and brawn to pull it off well." At CCM Magazine, Conner rated the album four stars, and stated that the album "offers proof positive that this South Carolina train isn't slowing anytime soon." The Christian Manifesto's Akinola rated the album four-and-a-half stars, and highlighted that the band have "pulled out all the stops – with magnificent results. It is hard not to be impressed, even when really; you weren’t expecting not to be." Garza of Christian Music Zine rated the album four stars, and brought up the "it" factor, which he said no one exactly knows what that is, "but what I do know is that this record has loads of good songs, and is one of the closest to “it” that I’ve heard in a while."

At Christianity Today, Jeremy V. Jones rated the album four stars, and said the band has "got swagger" but are humble at the same time. Cross Rhythms' John Willoughby rated the album nine squares out of ten, and called the album "A fine set." At Jesus Freak Hideout, Jen Rose rated the album four stars, and stated that the release was "a strong album" full of "intriguing, solid addition[s] to the catalog, even if it doesn't quite have the immediate spark of some of their past work...but for now, it is one worth the time to fully discover, whether as a newcomer or long-time listener." Jesus Freak Hideout's Wallace rated the album four-and-a-half stars, and advised "it may take some listeners a few spins before it settles in, but once it does it's arguably Needtobreathe's finest work to date", which adds "14 more solid entries into their catalog." At Louder Than The Music, Jono Davies rated the album a perfect five stars, and touted the music as "a creative set of songs, showing the world that indie rock can be at times dark, rocky and truthfully honest, but put that with great harmonies, interesting chord structures and savvy musicianship and you get a stunning set of songs for a very sturdy album."

Melodic's Johan Wippsson rated the album four stars, and reasoned that the album was "almost in the same class [as The Outsiders] and to me also surprisingly well. Did not think the band would be able to follow up on "The Outsiders", but this is a very well-written album with a great deal of heart and soul." At New Release Tuesday, Kevin Davis rated the album a perfect five stars, and lauded the band for crafting a "ridiculously fantastic album on all levels. You can be sure this is a 5 star masterpiece that will propel NEEDTOBREATHE to major headliner status just like GRAMMY Award winning bands Train, Kings of Leon and Muse." Kevin McNeese also of New Release Tuesday's rated it the same, and noted the album had a tremendous amount of "passion in these songs is something very much akin to what has been driving [him] to Switchfoot as of late", and he got "absolutely engrossed by this album, and the more [he] unearthed, the more [he] discovered." Rock News and Reviewss Alexandre Romero rated the album four-and-a-half stars, and said of the album that it satisfied the "requests of older fans and returns triumphantly to their roots, but without getting away from the softer sound that pushed them to mainstream in recent years.", and the album was absolutely "An important step to the group towards [getting] critical and commercial acclaim"

Track listing
Original releaseNotes'''
 "Cops" and "Disaster Road" included on limited edition vinyl record.
 Currently, the vinyl records are only for sale at the band's concerts.
 The vinyl records are white.
 The parenthesis are what the band called each one of the sides.

Keep Your Eyes Open EP

Personnel

Rick Beato – engineer, producer
Tchad Blake – mixing
Seth Bolt – engineer, mixing
Anthony Delia – A&R
Joshua Drake – photography
Leland Elliott – engineer
Mark Endert – mixing
Pete Ganbarg – A&R
Randall Harris – engineer
Ted Jensen – mastering
Ken Lanyon – engineer
Eric Legg – engineer
Ian MacGregor – engineer
Needtobreathe – producer
Aryanna Platt – A&R
Bear Rinehart – Group Member
Bo Rinehart – art direction, design, mixing
Ryan Stukenbroeker – engineer
Greg Wells – producer

Charts

Album

Year-end charts

Singles

Tour
The band completed The Reckoning Tour, which included the following stops.


Circus Fists

Circus Fists is a Sailor Steve Costigan short story by Robert E. Howard.  It was originally published in the December 1931 issue of Fight Stories.

The story is now in the public domain.


Iwate Development Railway

The  is the freight only railway company in Ōfunato, Iwate, Japan. This is one of the oldest third sector (half public, half private) railway operator in the country, founded in 1932. Its group also operates bus lines. It also had a passenger service until 1992. The line mainly transports limestones from the mine to Taiheiyō Cement Ōfunato Factory.

History
The Iwate Development Railway Co. started construction of a 6km line to Hikoroichi (日頃市線) in 1941, but work was suspended as a result of the Pacific War. Work recommenced after the war and the line opened in 1950, and was extended 4km to Iwate-Ishibashi in 1960. A 2km freight-only line to Akasaki (赤崎線) opened in 1957. The passenger service ceased in 1992, and the lines are now freight-only.


Masai Ujiri

Masai Ujiri (born 7 July 1970) is an English-born Kenyan-Nigerian professional basketball executive and former player who is the president of basketball operations of the Toronto Raptors in the National Basketball Association (NBA).

After a modest playing career, Ujiri became a scout in 2002, first for the Orlando Magic and then the Denver Nuggets. In 2008, he joined the backroom staff of the Toronto Raptors. Ujiri returned to the Nuggets in 2010 as general manager and executive vice president of basketball operations, and helped turn the team's fortunes around, returning them to the playoffs. As a result, he was named the NBA Executive of the Year in 2013. The following season, Ujiri returned to the Raptors as general manager. In the summer of 2018, Masai Ujiri relinquished his title as general manager to Bobby Webster, and accepted the position of president of basketball operations. As president of basketball operations Masai Ujiri worked to usher in a period of sustained success, helping the team win its first NBA championship in 2019.

Early life
Ujiri was born in Bournemouth, England, where his parents were studying.  With the family moving back to Nigeria when he was two years old, he grew up in Zaria, Nigeria. Ujiri's father, a hospital administrator and nursing educator, was an Isoko from Aviara in Delta state, while his mother, a doctor, is a Kenyan from Machakos County. He originally played football (international) as a youth before stating his interest in basketball as a 13-year-old playing with friends on outdoor basketball courts in northern Nigeria. This interest would be fed by American sports magazines and VHS tapes of NBA games or basketball movies. He admired Hakeem Olajuwon, an NBA star who was also Nigerian.

Entering high school, his parents allowed him to pursue his dream of playing college basketball and join a team in one of Europe’s top leagues. He left Nigeria to play for Nathan Hale High School in Seattle, WA while staying with a Nigerian family. After prep school, Ujiri enrolled and played two years of basketball at Bismarck State College, a junior college in North Dakota. After community college, he transferred to Montana State University Billings but left after one semester. He left Montana and returned to England to begin a pro career.

Career
Ujiri spent six years playing professionally in Europe. He played in Derby County in England for a year, then for a second-division team in Belgium and a team in Germany, followed by return stints in England and Belgium, then three months in Finland. He last played in Denmark. After ending a professional playing career in 2002, Ujiri worked as a youth coach in Nigeria. During an NBA summer league game in Boston, he met David Thorpe, who eventually introduced him to college coaches. In 2002, Ujiri was accompanying a young Nigerian player to a draft tryout in Orlando when he impressed Magic scouting director Gary Brokaw, who then introduced Ujiri to coach Doc Rivers and GM John Gabriel. Ujiri then became an unpaid scout for the NBA's Orlando Magic, paying his own way when he had to and sharing rooms with scouts or players when he could.

Jeff Weltman, then a young executive with the Denver Nuggets, introduced Ujiri to Nuggets general manager Kiki Vandeweghe, who then hired Ujiri on salary as an international scout. After four seasons there, he was hired away by Bryan Colangelo of the Toronto Raptors as their Director of Global Scouting. Ujiri became the Raptors' assistant general manager in 2008, and returned to the Nuggets in 2010, when he accepted his position as general manager and executive vice president in charge of basketball operations.  In 2013, Ujiri was named the NBA Executive of the Year for his work with the Nuggets, the only non-American ever to win the award.

Toronto Raptors
On May 31, 2013, Ujiri signed a 5-year, $15 million deal to become executive vice president and general manager of the Toronto Raptors, replacing Colangelo in that capacity. One of his first moves as Raptors GM was to trade away Andrea Bargnani to the New York Knicks. During Ujiri's tenure as general manager, the Raptors, led by the backcourt duo of Kyle Lowry and DeMar DeRozan, returned to the playoffs in 2014 and became a consistent playoff team every year, winning five Division titles and finishing the 2017-18 regular season with the best regular season record in the Eastern Conference. He also helped the team reach the Eastern Conference Finals for the first time in franchise history in 2016, where his contract was extended to act as the team's president. He later relinquished his title as general manager to Bobby Webster, and began reshaping the Raptors roster after suffering consecutive second-round eliminations in 2017 and 2018 (both four-game sweeps), all three playoff defeats at the hands of the Cleveland Cavaliers, led by LeBron James.

Ujiri fired head coach Dwane Casey shortly after their 2018 2nd round exit to Lebron James and the Cavs (despite Casey being named Coach of the Year), promoting assistant Nick Nurse to head coach, conducted the high-profile trade of DeRozan for Kawhi Leonard and Danny Green later that summer, and acquired Marc Gasol before the trade deadline. The DeRozan-for-Leonard trade was initially controversial since DeRozan was the longest-tenured Raptor and fan favourite while Leonard had spent most of the 2017-18 season injured, along with his demand to be traded to a Los Angeles-based team only. However, the move paid off as the Raptors went on to win the 2019 NBA championship, their first title in the history of their franchise, and Leonard was named NBA Finals MVP.

Activism
Ujiri, then a scout for the Nuggets, founded Giants of Africa in 2003 with a goal to discover talent. The first camp was held in Nigeria.

Ujiri has also been the director of the NBA's Basketball Without Borders Africa program, which promotes basketball throughout the continent. He also conducts two camps, one for the top 50 players of Nigeria, which is sponsored by Nestle Milo, and another for African big men, which Ujiri sponsors himself with help from Nike.

Ujiri and Basketball Without Borders are profiled in Hubert Davis's 2016 documentary film Giants of Africa.

Ujiri has taken personal offense to President Donald Trump's alleged comments about immigrants from places like Haiti and his homeland Nigeria, which Trump allegedly referred to as "shitholes". He noted that he didn't see how what President Trump said would be considered inspiring leadership, as well as it being unfair to those places and people that are there wanting to improve their life situations.

On November 28, 2018, Ujiri received the first-ever President's Peace Medal presented by the YMCA of Greater Toronto during Peace Week , alongside YMCA Peace Medal honourees, Toronto police constable Dale Swift and mental health activist Loizza Aquino .

In February 2020, Ujiri accompanied Canadian Prime Minister Justin Trudeau on an official visit to various African nations, including Ethiopia and Senegal. Ujiri appeared on behalf of sport charity Right To Play at an event in the Senegalese capital, Dakar.

Controversies

Swearing during 2014 Eastern Conference Playoffs
On April 19, 2014, at a fan rally prior to Game 1 of the first-round Eastern Conference playoff series against the Brooklyn Nets, Ujiri shouted, "F--- Brooklyn!" to the gathered crowd from the stage. During the halftime break of Game 1, Ujiri apologized for his comment while speaking with reporters. "Wrong choice of words out there," he said. "It is really not about me. It is about the players and the playoffs. Just trying to get the crowd out there rattled -- wrong choice of words. I apologize to kids out there and to the Brooklyn guys. Nothing against them. Just trying to get our fans going. That's it. I apologize for not taking any questions, but you know how I feel. I don't like 'em. I apologize." After early reports that Ujiri would only be issued a formal warning by the NBA, Commissioner Adam Silver, who attended Game 1, reconsidered and fined Ujiri $25,000.

Swearing during 2015 Eastern Conference Playoffs
Prior to the first-round Eastern Conference playoff series between the Washington Wizards and the Raptors, Wizards guard Paul Pierce stated in an interview with ESPN, "We haven't done particularly well against Toronto, but I don't feel they have the 'It' that makes you worried." On April 18, 2015, at a fan rally prior to Game 1, in response to Paul's comments, Ujiri shouted to the gathered crowd, "We don't give a s--t about 'it!'" NBA Commissioner Adam Silver, who was in attendance and acknowledged by Ujiri moments before the comment, fined Ujiri $35,000 and the Raptors organization another $25,000 for "for using obscene language in a public setting." Ujiri later apologized in a statement for his comments saying, "I have the deepest respect for Commissioner Silver and the NBA, and while showing passion for our team and fans I will choose my words more carefully in the future so as not to indicate otherwise. I apologize and have acknowledged the fine with the Commissioner. I consider the matter closed and our sole focus is on the playoffs."

Altercation with Alameda County Sheriff's Office
On June 13, 2019, just after the Toronto Raptors had clinched a 4-2 series win over the Golden State Warriors in the 2019 NBA Finals, Ujiri was captured on video in an altercation with an Alameda County Sheriff deputy. Sgt. Ray Kelly alleged that Ujiri failed to show proper credentials for access to the floor, and when stopped by the deputy, shoved him, saying that he made contact in response and that at which point Ujiri shoved him back also making contact with his face. Several bystanders and Oracle Arena security personnel intervened to separate the two. After a tense staredown between the men, which resulted in Ujiri being restrained from approaching the deputy, Kyle Lowry could be seen coming over to Ujiri and bringing him on to the court to celebrate with the team. Alternate angles of the incident show what appears to be Ujiri shouting in the direction of the deputy with his arm around Lowry after making his way onto the court. The department did not release footage depicting the start of the incident and furthermore announced that the body cam footage had happened to "switch off" when Ujiri allegedly struck the officer.

The sergeant in question had also come under fire earlier in the year for retweeting American neo-nazi Richard Spencer to the Alameda County Sheriff’s Office official Twitter account, but stated that it was "accidental" and done while doing research on Spencer. Warriors season ticket holder Greg Wiener, who was seated near the altercation, alleged that the police officer used excessive force and put his hands on Ujiri first, while two other fans, Ben Baller and Lucas Abrenica, both sitting within 10 feet of the incident, also disputed the officer's version of events. In the videos, Ujiri can be seen with game credentials in his hand. However, the NBA had released a media advisory prior to the conclusion of the game stating that only personnel with gold armbands would be allowed on the court due to a visiting team winning. Many of the gold armbands were visible on photographers and executives on the court including members of the Raptors ownership but not in any angles of Ujiri during the incident.

Following the altercation, the Alameda County Sheriff's Office stated that it would be recommending charges of battery against Ujiri. The deputy involved has claimed to have suffered a concussion from the incident. The office has declined to release full videos of the incident. If a report is filed, District Attorney Nancy O'Malley will decide whether to bring charges. The NBA and the Raptors organization said they are both gathering information on the incident. The investigation ended on September 21. Following a private meeting on October 21, 2019 with Ujiri, his attorneys and Assistant District Attorney Terry Wiley, which was held at the Sheriff's Department, Assistant District Attorney Teresa Drenick  wrote in an email to the The Toronto Star that the District Attorney's office would not be "taking any further action".


Shorea asahii

Shorea asahii is a species of plant in the Dipterocarpaceae family. It is endemic to Borneo.

Sources

asahii


Vaibhav Mangle

Vaibhav Mangle () is a Marathi actor and Hindi film, television and stage actor, noted for his comic roles in Marathi theatre and Marathi films and television from India. Anand Ingle and Vaibhav Mangle are seen playing BL Pathak in Zee Marathi's TV series Shejari Shejari Pakke Shejari

Television
He is well known for his skits in Fu Bai Fu, a Marathi standup comedy TV show on Zee Marathi. He also plays the main role, along with Anand Ingle, in the comedy show Shejaari Shejaari Pakke Shejaari also aired on Zee Marathi. In this serial, he plays the character of Brijlal Pathak, also known as Birju.

Also working in Shirdi Ke Saibaba, on SONY .

Filmography
His movies include Harishchandrachi Factory, Kaksparsh, Shikshanachya Aaicha Gho,Navra Maza Navsacha, Shahanpan Dega Deva, Fakta Ladh Mhana, Shala, Touring Talkies, Timepass are some of the successful movies in which he played an important role.

Following table shows list of films

Drama
He played the main role in the Marathi play Ek Daav Bhatacha. He was also part of famous Marathi play Mukkam Post Bombilwadi.

He played one of the lead roles in Albattya Galbattya and Iblis.


About Religion

About Religion was a UK religious affairs programme on Associated Television (ATV) 1958-1965. It was usually hosted by interviewer Julian Grenfell, with David King and John Brooking. An anthology of interviews was published in 1963.


Taisida, California

Taisida (also, Taichida, Taitcedawi, and Tychedas) is a former Maidu settlement a few miles south of Marysville, California in Yuba County. Its precise location is unknown.


Jessica Davenport

Jessica Davenport, born June 24, 1985, is an American basketball player, formerly a reserve center for the WNBA's Indiana Fever.  She previously played for The Ohio State University's women's basketball team.

High school
Davenport played for Independence High School in Columbus, Ohio, where she was named a WBCA All-American. She participated in the 2003 WBCA High School All-America Game where she scored eight points.

College
Davenport is 6'5" tall and weighs 215 pounds.  Noted for her blocking and rebounding ability, she guided Ohio State to a 29–3 season and a number 1 seed in the NCAA tournament in 2005.

Ohio State statistics
Source

USA Basketball
Davenport was a member of the United States women's national basketball team in 2005 and 2006, while at Ohio state, and in 2007 and 2008 while on the New York Liberty team. Davenport was the third leading scorer on the 2005 World University Games Team in Izmir, Turkey. She helped the team to a 7–0 record, and a gold medal at the event. Davenport joined the National team in 2006 for the 2006 Opals World Challenge. The team went 4–1. winning all games other than the final against Australia. Davenport was also part of the National team in 2007–08, participating on the Tour of Italy and the Australia Exhibition. The National team was 4–0 on the Tour of Italy and 2–0 at the Australia Exhibition.

Professional

Davenport was drafted second overall by the San Antonio Silver Stars in the 2007 WNBA Draft.  Immediately thereafter, Davenport's rights were  traded to the New York Liberty along with the Silver Stars' 2008 first round draft pick in exchange for guard Becky Hammon and the Liberty's second round pick in 2008.  Within the Liberty's first five games, she developed a reputation as a consistent scorer and strong post presence.

Davenport was waived by the Liberty prior to the 2009 season. She was signed by the Fever as a replacement for the injured Yolanda Griffith.

Davenport has expressed a desire to pursue a career in marketing at the conclusion of her basketball career.

Notes

External links
Jessica Davenport Player Profile from The Ohio State University website


Ministry of Mines (Myanmar)

The Ministry of Mines (; abbreviated MOM) administers Burma's mineral resources extraction, production, and export policies.

Ministry of Mines is currently led by Myint Aung, who was appointed by President Thein Sein on 7 September 2012.


Jerry L. White Center High School

Jerry L. White Center High School is a high school in Detroit, Michigan. It is a part of Detroit Public Schools. The school serves students with disabilities aged 14–19. It includes severely cognitively impaired, severely multiply impaired, moderately cognitively impaired, visually impaired, and hearing-impaired students. It was established in 2005.


Håkan von Eichwald

Håkan Ingvar von Eichwald (April 2, 1908, Turku – May 1, 1964, Malmö) was a Finnish-Swedish bandleader and conductor. He led dance bands which featured some of Sweden's most prominent early jazz musicians, and later became a conductor of symphonic and operatic works.

Von Eichwald was born into a Russian-Finnish noble family in Finland but lived most of his life in Sweden. He learned to play piano as a toddler and was playing public concerts at age six. By his late teens he was leading theater ensembles in Stockholm, and in 1930 began leading a dance band at the club Kaos. He led this group until 1932 and recorded with it; two years later, Arne Hülphers took over this group. He formed a new ensemble in 1936, which toured western Europe and recorded several times. Von Eichwald's ensembles featured musicians who were pivotal to Swedish jazz, including Charlie Norman, Thore Ehrling, Zilas Görling, and Gösta Theselius.

After the 1940s, von Eichwald devoted himself to more formal music idioms. He led symphony orchestras and conducted light opera productions, and also did work in scoring Swedish films (including Hjärter Knekt).


Kennett Square, Pennsylvania

Kennett Square is a borough in Chester County, Pennsylvania,  United States. It is known as the Mushroom Capital of the World because mushroom farming in the region produces over a million pounds of mushrooms a year, totaling half of the United States mushroom crop. To celebrate this heritage, Kennett Square has an annual Mushroom Festival, where the town shuts down to have a parade, tour mushroom farms, and buy and sell food and other goods. It is also home to the corporate headquarters of Genesis HealthCare which administers elderly care facilities.  The local high school is Kennett High School. Its population was 6,072 at the 2010 census.

History
The area to become known as Kennett Square was originally inhabited by the Lenape Native Americans. The town was originally called Kennet Square, with the name "Kennet", England, and "Square" coming from the original land grant from William Penn of one square mile. General Sir William Howe marched through Kennett to the Battle of Brandywine during the American Revolution. It was also known as an important part of the Underground Railroad, which helped slaves escaping to the North for freedom. Many of its prominent citizens helped slaves escape on the Underground Railroad. In 1853, a group asked for Kennett Square to be incorporated, and by 1855 it held elections.

Kennett Square's founder is credited with introducing mushroom growing to the area. He grew carnations, a popular local commodity around 1885, and wanted to make use of the wasted space under the elevated beds. He imported spawn from Europe and started experimenting with mushroom cultivation.

Kennett Square is the subject and setting of the novel The Story of Kennett, written by 19th-century American author Bayard Taylor, who lived nearby at Cedarcroft.

Geography
Kennett Square is located at  (39.844104, −75.710654).

According to the United States Census Bureau, the borough has a total area of , all of it land other than two small lakes.

Demographics

At the 2010 census, the borough was 42.8% non-Hispanic White, 7.2% Black or African American, 0.4% Native American, 0.8% Asian, and 3.3% were two or more races. 48.8% of the population were of Hispanic or Latino ancestry.

As of the census of 2010, there were 6,072 people, 1,868 households, and 1,242 families residing in the borough. The population density was 4,679.2 people per square mile (1,801.7/km²). There were 1,967 housing units at an average density of 1,745.5 per square mile (672.1/km²). The racial makeup of the borough was 73.58% White, 10.26% African American, 0.09% Native American, 1.63% Asian, 12.48% from other races, and 1.95% from two or more races. Hispanic or Latino of any race were 27.88% of the population.

There were 1,868 households, out of which 30.2% had children under the age of 18 living with them, 48.2% were married couples living together, 11.8% had a female householder with no husband present, and 33.5% were non-families. Of all households 28.2% were made up of individuals, and 11.9% had someone living alone who was 65 years of age or older. The average household size was 2.77 and the average family size was 3.39.

In the borough the population was spread out, with 24.8% under the age of 18, 10.2% from 18 to 24, 31.0% from 25 to 44, 20.1% from 45 to 64, and 13.8% who were 65 years of age or older. The median age was 35 years. For every 100 females, there were 98.6 males. For every 100 females age 18 and over, there were 96.8 males.

The median income for a household in the borough was $46,523, and the median income for a family was $54,948. Males had a median income of $35,978 versus $27,246 for females. The per capita income for the borough was $22,292. About 7.5% of families and 9.0% of the population were below the poverty line, including 11.9% of those under age 18 and 10.4% of those age 65 or over.

Government

The borough is governed by the Council-Manager form of government. There are seven Council Members and a mayor who are elected by the citizens.  The Borough Manager is an employee of the Borough, hired by the Council.  The present interim Borough manager is Joseph Scalise.

Events

The Kennett Mushroom Festival is held annually in early September. The festival has been highlighted on Food TV.  Annual parades are held on Memorial Day, Halloween, and before the Christmas holidays.  Kennett Square celebrates Cinco de Mayo, which is organized by Casa Guanajuato, and other local companies. A free summer concert series is held on Wednesday evenings at the beautiful (over 100 acre) Anson B Nixon park. In mid-May, the famous Kennett Run occurs that ends at the Park pavilion. The Kennett Brewfest is held each Fall, featuring unlimited tastings of select brewers pouring different, rare, exclusive, limited, or seasonal beers.  The local art galleries, studios, and independent boutiques participate in First Friday Art Strolls each month, presented by Historic Kennett Square. During temperate months there is an outdoor farmers market at the Genesis Walkway on State St. every Friday afternoon. These are but a few of the events for families and visitors throughout the year.

Education
Kennett Square schools are all part of the Kennett Consolidated School District.  This grouping of districts was the first consolidation of schools in the history of Pennsylvania (website). Students enrolled in kindergarten attend the Mary D. Lang Kindergarten Center (website). Grades 1 through 5 attend either Greenwood Elementary, () Bancroft Elementary () or New Garden Elementary. For grades 6 through 8, all students attend Kennett Middle School (website). For grades 9 through 12, students then attend Kennett High School.

Some homes, north of the US Route 1 by-pass, just north of Kennett Square, are assigned to the Unionville-Chadds Ford School District.  Unionville High school, the only one in the Unionville-Chadds Ford School District, is located on Unionville Road (Pennsylvania State Route 82) approximately 2 miles north of the Borough of Kennett Square.

Media
Kennett Square has three newspapers which cover local news, The Chester County Press (website), covering portions of the county, the Kennett Paper, (website), covering Kennett Square and environs, and the Daily Local News, a daily, covering the entire county.  There are also two print magazines, Fig Kennett (figkennett.com) and Kennett Square Today (website).

There is an internet radio station, BrandywineRadio.com, headquartered in the center of town which started on June 2, 2008. It focuses on local news, weather, traffic, and sports in the Brandywine Valley including Chester County, Delaware County, and New Castle County, DE.

Notable people
Marino Auriti (1891–1980), artist and mechanic best known as the creator of The Encyclopedic Palace of the World
Pat Ciarrocchi (born 1953), broadcast journalist
Bartholomew Fussell (1794-1871), Abolitionist active in the Underground Railroad, Early advocate for careers of women in medicine
Mike Grady (1869–1943), Major League Baseball player
Doris Grumbach (born 1918), writer
John Honnold (1915-2011), law professor at the University of Pennsylvania Law School
Bruce Johnston (criminal) (1939–2002), head of notorious Johnston Gang
Herb Pennock (1894–1948), Hall of Fame baseball pitcher also known as the Squire of Kennett Square
Jessica Savitch (1947–1983), broadcast journalist
William Marshall Swayne (1828–1918), sculptor
Bayard Taylor (1825–1878), writer
Collin Walsh (born 1992), musician with the pop punk band Grayscale
Harry Whitney (1873–1936), Arctic hunter, author, and adventurer

Points of interest
 Anson B Nixon Park
 East Penn Railroad
 Kennett Meetinghouse
 Kennett Area YMCA
Longwood Gardens
 Talula's Table


Coppa Italia (futsal)

The Coppa Italia is an annual cup competition for Italian futsal teams. It is Organized by the Divisione Calcio a 5, was founded in the season 1985–1986, is disputed between the first eight classified at the moment of half-season and is disputed in a neutral venue in different cities every year.

Current Formula
The first eight classified after the first half of the season are grouped into two groups: group A and group B. Group A are the first four of the standings, while in group B are the fifth to eighth place teams. In the quarterfinals, a team from each group with face off against each other with the winners moving on to the next round. In the event of a tie, there will be two extra times of 5 minutes each. If still tied at the end of the extra times then there will be a penalty shootout.

Season by season

Number of titles