title: Louie Louie

text: When Mike Mitchell died on April 16, 2021, he was the only remaining member of the Kingsmen's original lineup who still performed with the band. His "Louie Louie" guitar break has been called "iconic", "blistering", and "one of the most famous guitar solos of all time". "Guitar Player" magazine noted, "Raw, lightning-fast, and loud, the solo's unbridled energy helped make the song a No. 2 pop hit, but also helped set the template for garage-rock – and later hard-rock – guitar."


title: Louie Louie

text: Paul Revere & the Raiders also recorded a version of "Louie Louie", probably on April 11 or 13, 1963, in the same Portland studio as the Kingsmen. The recording was paid for and produced by KISN radio personality Roger Hart, who soon became personal manager for the band. Released on Hart's Sandē label and plugged on his radio show, their version was more successful locally. Columbia Records issued the single nationally in June 1963 and it went to No. 1 in the West and Hawaii, but only reached No. 103 on the "Billboard" Bubbling Under Hot 100 chart. The quick success of "Louie Louie" faltered, however, possibly due to lack of support from Columbia and its A&R man Mitch Miller, a former bandleader ("Sing Along With Mitch") with "retrogressive taste" who disliked the "musical illiteracy" of rock and roll.


title: Louie Louie

text: The Raiders version opened with a distinctive "Grab yo woman, its-a 'Louie Louie' time!" followed by a sax intro similar to the Rockin' Robin Roberts version (guitar in later releases). Another distinctive lyric was "Stomp and shout and work it on out". The original version also contains a scarcely audible "dirty lyric" when Mark Lindsay says, "Do she fuck? That psyches me up!" behind the guitar solo.


title: Louie Louie

text: Robert Lindahl, president and chief engineer of NWI and sound engineer on both the Kingsmen and Raiders recordings, stated that the Raiders version was not known for "garbled lyrics" or an amateurish recording technique, but, as one author noted, their "more competent but uptight take on the song" was less exciting than the Kingsmen's version.


title: Louie Louie

text: Live versions were included on "Here They Come!" (1965), "Paul Revere Rides Again!" (1983), and "The Last Madman of Rock and Roll" (1986, DVD). Later releases featured different lead vocalists on "Special Edition" (1982, Michael Bradley), "Generic Rock & Roll" (1993, Carlo Driggs), "Flower Power" (2011, Darren Dowler), and "The Revolutionary Hits of Paul Revere & the Raiders" (2019, David Huizenga).


title: Louie Louie

text: Surf music icons the Beach Boys released their version on the 1964 album "Shut Down Volume 2" with lead vocals shared by Carl Wilson and Mike Love. Their effort was unusual in that it was rendered "in a version so faithful to Berry's Angeleno-revered original" instead of the more common garage rock style as they "pay tribute to the two most important earlier recordings of 'Louie Louie' — the 1957 original by Richard Berry and the Pharaohs, and the infamously unintelligible 1963 cover by the Kingsmen". Other surf music versions included the Chan-Dells in 1963, the Pyramids and the Surfaris in 1964, the Trashmen, the Invictas, and Jan and Dean in 1965, the Challengers in 1966, the Ripp Tides in 1981, and the Shockwaves in 1988.


title: Louie Louie

text: Otis Redding's version was released on his 1964 album "Pain in My Heart". Dave Marsh called it "the best of the era" and noted that he "rearranged it to suit his style" by adding a full horn section and "garbles the lyrics so completely that it seems likely he made up the verses on the spot" as he "sang a story that made sense in his life" (including making Louie a female). Other versions by R&B artists included Ike & Tina Turner, the Tams, and Nat & John in 1968, Wilbert Harrison in 1969, the Topics in 1970, and Barry White in 1981.


title: Louie Louie

text: With a version on their 1964 album "A Halo to You", the Angels were the first girl group to cover "Louie Louie". Their rendition also appeared on "The Best of Louie Louie, Volume 2".


title: Louie Louie

text: A Minnesota girl group, the Shaggs, released a version as a 1965 single (Concert 1-78-65), and Honey Ltd. covered the song on their eponymous 1968 album and as a single (LHI 1216); however, the distinction of first girl group participation on a released version of "Louie Louie" would go to the Shalimars, an Olympia girl group who provided overdubbed backing vocals in 1960 for a recording by Little Bill (Englehardt) released as a single in 1961 (Topaz 1305).


title: Louie Louie

text: Female solo artist versions in the 1960s included Maddalena in 1967, titled "Lui Lui", as a single (RCA Italiana 3413), Tina Turner in 1968, released in 1989 on "The Best of Louie Louie, Volume 2", and "a sexiest-of-all version by smokey-voiced diva Julie London" released as a single (Liberty 56085) and included on her 1969 album "Yummy, Yummy, Yummy".


title: Louie Louie

text: The Kinks recorded "Louie Louie" on October 18, 1964. It was released in November on the "Kinksize Session" EP and on two 1965 US-only albums, "Kinks-Size" and "Kinkdom". Live 1960s versions were released on bootlegs "The Kinks in Germany" (1965), "Kinky Paris" (1965), "Live in San Francisco" (1969), "Kriminal Kinks" (1972), and "The Kinks at the BBC" (2012). The Kast Off Kinks continue to perform it live, occasionally joined by Ray Davies at the annual Kinks Konvention.


title: Louie Louie

text: Sources vary on the impact of "Louie Louie" on the writing of "You Really Got Me" and "All Day and All of the Night". One writer called the two songs "sparse representations of a "Louie Louie" mentality", Another noted that the "You Really Got Me" riff is "unquestionably a guitar-based piece, [that] fundamentally differs from "Louie Louie" and other earlier riff pieces with which it sometimes is compared", while another succinctly calls it "a rewrite of the Kingsmen's 'Louie Louie'". A 1965 letter to London's Record Mirror opined, "Besides completely copying the Kingsmen's vocal and instrumental style, The Kinks rose to fame with two watery twists of this classic..."


title: Louie Louie

text: Dave Marsh asserted that the Kinks "blatantly based their best early hits" on the "Louie Louie" riff. Other sources stated that Davies wrote "You Really Got Me" while trying to work out the chords of "Louie Louie" at the suggestion of the group's manager, Larry Page. According to biographer Thomas M. Kitts, Davies confirmed that Page suggested that "he write a song like 'Louie Louie'", but denied any direct influence.


title: Louie Louie

text: Biographer Johnny Rogan noted no "Louie Louie" influence, writing that Davies adapted an earlier piano riff to the jazz blues style of Mose Allison, and that he was further influenced by seeing Chuck Berry and Gerry Mulligan in ""Jazz on a Summer's Day"", a 1958 film about the Newport Jazz Festival. Rogan also cited brother Dave Davies' distorted power chords as "the sonic contribution that transformed the composition" into a hit song.


title: Louie Louie

text: Whether directly or indirectly, the Kingsmen version influenced the musical style of the early Kinks. They were huge fans of the Kingsmen’s "Louie Louie" and Dave Davies remembered the song inspiring Ray’s singing, saying in an interview:


title: Louie Louie

text: "We played that record over and over. And Ray copied a lot of his vocal style from that guy [Jack Ely]. I was always trying to get Ray to sing, because I thought he had a great voice, but he was very shy. Then we heard The Kingsmen and he had that lazy, throwaway, laid-back drawl in his voice, and it was magic."


title: Louie Louie

text: After their No. 1 hit "Guantanamera", the Sandpipers, with producer Tommy LiPuma and arranger Nick DeCaro, "cleverly revived" the same soft rock, smooth ballad Spanish language approach to "Louie Louie", reaching No. 30 and No. 35 on the Billboard and Cash Box charts, respectively (the highest charting U.S. version after the Kingsmen). The success of their "smoky version" heralded the entry of the ever adaptable "Louie Louie" into the MOR and easy listening categories and many followed: David McCallum and J.J. Jones (1967), Honey Ltd. (1968), Julie London (1969), Sounds Orchestral (1970), Line Renaud (1973), Dave Stewart and Barbara Gaskin (1991), and others released singles and albums featuring slower and mellower versions of what had previously been an up tempo pop and rock standard.


title: Louie Louie

text: With the only instrumental version to make the charts, Travis Wammack reached No. 128 on the Bubbling Under Hot 100 in April 1966. An early guitar innovator, his proto-fuzztone sound on "Louie Louie" was created by playing through an overdriven drive-in movie speaker.


title: Louie Louie

text: Released as a single (Atlantic 2322), the track was not included on Wammack's first album in 1972 or any thereafter. It appeared on a 1967 French release ("Formidable Rhythm And Blues (Vol. 3)"), but not again until two Wammack compilations, "That Scratchy Guitar From Memphis" (1987) and "Scr-Scr-Scratchy!" (1989). It was also included on two later various artists compilations, "Love That Louie: The Louie Louie Files" (2002) and "Boom Boom A Go-Go!" (2014).


title: Louie Louie

text: Other notable 1960s instrumental versions included the Ventures and Ian Whitcomb in 1965, Ace Cannon and Sandy Nelson in 1966, Floyd Cramer and Pete Fountain in 1967, and Willie Mitchell in 1969.


title: Louie Louie

text: The Sonics released their version as a 1965 single (Etiquette ET-23) and on the 1966 album "Boom". Later versions appeared on "Sinderella" (1980) and "Live at Easy Street" (2016).


title: Louie Louie

text: Described as a major influence on punk and garage music worldwide, the group's characteristic hard-edged, fuzz-drenched sound and "abrasive, all-out approach" "took the Northwest garage sound to its most primitive extreme" and made their "Louie Louie" version ahead of its time. They also made it more "fierce and threatening" by altering the traditional 1-4-5-4 chord pattern to the "sinister-sounding" 1-3b-4-3b.


title: Louie Louie

text: The "Watermelon Man", Cuban percussionist and bandleader Mongo Santamaria, returned "Louie Louie" to its Afro-Cuban roots, echoing Rene Touzet's "El Loco Cha Cha" with his conga- and trumpet-driven Latin jazz version. Originally released on the 1967 album "Hey! Let's Party", it was also included on the 1983 compilation "The Best of Louie Louie, Volume 2". Other early Latin-flavored versions were released by Pedrito Ramirez con los Yogis (Angelo 518, 1965), Pete Terrace ("El Nuevo Pete Terrace", 1966), Eddie Cano ("Brought Back Live from P.J.'s", 1967), Mario Allison ("De Fiesta", 1967), and Rey Davila ("On His Own", 1971).


title: Louie Louie

text: Latin American jazz/rock innovator Carlos Santana compared Tito Puente's 1962 "Oye Como Va" to "Louie Louie" saying, "... how close the feel was to 'Louie Louie' and some Latin jazz tunes" and "... this is a song like 'Louie Louie' or 'Guantanamera'. This is a song that when you play it, people are going to get up and dance, and that's it."


title: Louie Louie

text: "Louie Louie" repeatedly figured in the musical lexicon of Frank Zappa and the Mothers of Invention in the 1960s; he categorized the riff as one of several "Archetypal American Musical Icons ... [whose] presence in an arrangement puts a spin on any lyric in their vicinity" and used it initially "to make fun of the old-fashioned rock 'n' roll they had transcended".


title: Louie Louie

text: His original compositions "Plastic People" and "Ruthie-Ruthie" (from You Can't Do That on Stage Anymore, Vol. 1) were set to the melody of "Louie Louie" and included Richard Berry co-writer credits. Zappa said that he fired guitarist Alice Stuart from the Mothers of Invention because she couldn't play "Louie Louie", although this comment was obviously intended as a joke.


title: Louie Louie

text: At a 1967 concert at the Royal Albert Hall in London, Mothers of Invention keyboardist Don Preston climbed up to the venue's famous pipe organ, usually used for classical works, and played the signature riff (included on the 1969 album "Uncle Meat"). Quick interpolations of "Louie Louie" also frequently turn up in other Zappa works.


title: Louie Louie

text: Iggy Pop (then known as Jim Osterberg) began performing "Louie Louie" "with his own version of the dirty lyrics" in 1965 as a member of the Iguanas. Later with the Stooges and as a solo performer, he recorded multiple versions of the song. As the "godfather of punk", he inspired a host of punk rock successors, including many with their own versions as the song became a "live staple for many punk-rock bands of the 1970s".


title: Louie Louie

text: An early London rehearsal version from 1972 was released on "Heavy Liquid" (2005) and again on "Born In A Trailer" (2016). A 1973 live version was released on "The Detroit Tapes" (2009). "Metallic KO" (1976) featured a provocative version with impromptu obscene lyrics from the last performance of Iggy and the Stooges in 1974 at the Michigan Palace in Detroit where, according to Lester Bangs, "you can actually hear hurled beer bottles breaking on guitar strings". ("55 Minute Louie-Louie", released in 2017 by Shave on their "High Alert" digital album, commemorated the occasion.) "Consequence" called this version "a rock standard blown up from the inside out" and said, "The band’s cover of 'Louie Louie' somehow both honors their rock ‘n’ roll forebears and spits on their legacy. In other words, it's punk at its best."


title: Louie Louie

text: Pop later wrote a new version with political and satirical verses instead of obscenities that was released on "American Caesar" in 1993. One lyric in particular captured Pop's long term relationship with the song: "I think about the meaning of my life again, and I have to sing "Louie Louie" again." "Far Out Magazine" called it "the best version of the song out there". It was used during the opening credits of Michael Moore's "" and as an ending song in Jim Jarmusch's "Coffee and Cigarettes" in which Pop took part as himself. The Just Dance video game also featured this version performed by a dancing Iggy Pop avatar.


title: Louie Louie

text: Multiple live versions were released on "Nuggets" (recorded 1980, released 1999), "Where The Faces Shine - Volume 2" (recorded 1982, released 2008), "The Legendary Breaking Point Tour" (recorded 1983, released 1993), "Kiss My Blood" (1991, VHS), "Beside You" (1993), and "Roadkill Rising" (1994).


title: Louie Louie

text: "Louie Louie" journeyed to its lyrical Jamaican destination with a reggae version by Toots and the Maytals. It was released as a 1972 UK single (Trojan TR-7865) and on the 1973 "Funky Kingston" album, described by rock critic Lester Bangs writing in "Stereo Review" as "Perfection, the most exciting and diversified set of reggae tunes by a single artist yet released".


title: Louie Louie

text: A BBC reviewer said, "The goofy garage anthem becomes both fiery sermon and dance-til-you-drop marathon. And, thanks to Toots’ soulman’s disregard for verbal meaning, the words are, if anything, even harder to discern than in the Kingsmen's version." Rolling Stone wrote, "And it passes the toughest test of any 'Louie Louie' remake — it rocks hard" and "Hi-Fi News & Record Review" cited its "incomprehensible majesty" and "crazy vigour" that made it "the best version ever". Another author, writing about the song's use in a scene in "This Is England" noted, "A black Jamaican band's cover of a black American song, made famous by a white American band, seems an appropriate signifier of the racial harmony that [director Shane] Meadows seeks to evoke ..."


title: Louie Louie

text: The group performed the song frequently in concert and a live version appeared on the 1998 various artists album "Reggae Live Sessions Volume 2". Toots Hibbert also performed it solo and with other acts, most notably the Red Hot Chili Peppers and the Dave Matthews Band.


title: Louie Louie

text: Although musically not a true cover version, "Brother Louie", Errol Brown and Tony Wilson's song about an interracial romance, was termed by Dave Marsh as "one of the truest heirs Richard Berry's 'Louie Louie' ever had" based on its theme of separated lovers and its minor key reprise of the chorus. The original release by Hot Chocolate reached No. 7 on the UK singles chart. A cover version by Stories was a No. 1 hit in the U.S. later the same year, but with the racial roles reversed. In 1993, the Quireboys' version reached No. 31 in the UK.


title: Louie Louie

text: Multiple live versions by Patti Smith, the "punk poet laureate", were released in the mid-1970s on bootleg albums "Let's Deodorize The Night", "Teenage Perversity & Ships In The Night", "In Heat", and "Bicentenary Blues", usually as a medley in which Lou Reed's "Pale Blue Eyes" would "sacrilegiously segue" into "Louie Louie". Her cover version has been described as tapping "directly into the primal, urchin-like spirit of rock's renaissance".


title: Louie Louie

text: Described as "a committed and omnipresent figure on the punk and post-punk scene in Manchester", Jon the Postman became known for waiting until headline bands like the Buzzcocks, the Fall, and Warsaw (later Joy Division) had finished their sets (sometimes before they had finished) before mounting the stage in a drunken state, grabbing the microphone, and performing his own versions of "Louie Louie". The first occurrence was at a Buzzcocks concert at the Band on the Wall venue on May 2, 1977, which he described:


title: Louie Louie

text: "I think the Buzzcocks left the stage and the microphone was there and a little voice must have been calling, 'This is your moment, Jon.' I've no idea to this day why I sang 'Louie Louie,' the ultimate garage anthem from the 60s. And why I did it "a cappella" and changed all the lyrics apart from the actual chorus, I have no idea. I suppose it was my bid for immortality, one of those great bolts of inspiration. For some reason it appeared to go down rather well. I suppose it was taking the punk ethos to the extreme – anyone can have a go. Before punk it was like you had to have a double degree in music. It was a liberation for someone like me who was totally unmusical but wanted to have a go."


title: Louie Louie

text: A version of the song by The Fall with Jon on vocals appeared on the "Live 1977" album which was described by Stewart Home as taking "the amateurism of the Kingsmen to its logical conclusion with grossly incompetent musicianship and a drummer who seems to be experiencing extreme difficulty simply keeping time". A version with his group Puerile was included on the 1978 album "John the Postman's Puerile".


title: Louie Louie

text: "Louie Louie" was Motörhead's first single for Bronze Records in 1978, following their initial release on Chiswick Records in 1977. A "rough-edged cover of the garage rock warhorse" with Clarke's guitar emulating the Hohner Pianet electric piano riff, it was released with "Tear Ya Down" as a 7" vinyl single. Supported by a "back-breaking" touring schedule, the "high-octane" version reached No. 68 on the UK Singles Chart.


title: Louie Louie

text: The track also appeared on the CD re-issues of "Overkill" (1996) and "The Best of Motörhead" (2000). On 25 October 1978 a pre-recording of the band playing the song was broadcast on the BBC show "Top of the Pops", and was subsequently released on the 2005 album "BBC Live & In-Session". Another live 1978 version was released on "Lock Up Your Daughters" (1990) and a 1978 alternate studio track appeared "" (2000). The 2005 "deluxe edition" of "Overkill" included the original version, the BBC version, and two alternate versions.


title: Louie Louie

text: Bluto Blutarsky (John Belushi) performing "Louie Louie" in "National Lampoon's Animal House" forever cemented the song's status as a "frat rock" classic and a staple of toga parties. Belushi may have insisted on singing "Louie Louie" because he associated it with losing his virginity, but, according to director John Landis, it was included in the screenplay by soundtrack producer Kenny Vance long before Belushi was involved with the project because "... it would be the song the Deltas would sing".


title: Louie Louie

text: In the film, the Deltas were clearly aping the Kingsmen version complete with slurred dirty lyrics, but the setting was 1962, a year before the Kingsmen recording. Although Richard Berry released his original version of the song in 1957, and the song had been popular with local bands in the Northwest following Rockin' Robin Roberts' 1961 single, the mythical Faber College was based on Dartmouth College in the Northeast U.S., so the use of "Louie Louie" was an anachronism.


title: Louie Louie

text: The Kingsmen version was heard during the film along with a brief live rendition by Belushi with Tim Matheson, Peter Riegert, Tom Hulce, Stephen Furst, Bruce McGill, and James Widdoes. A separate version by Belushi played during the credits and was included on the soundtrack album. The Belushi version was also released as a single (MCA 3046) and reached No. 89 and No. 91 on the Billboard and Cash Box charts, respectively.


title: Louie Louie

text: Another actor from the film, DeWayne Jessie as Otis Day of Otis Day and the Knights, included a version on the VHS release "Otis My Man" in 1987. The film's soundtrack producer Kenny Vance (formerly of Jay and the Americans) also released a version with his group The Planotones on the 2007 album "Dancin' And Romancin"'.


title: Louie Louie

text: Bruce Springsteen has had a long association with "Louie Louie", playing it at multiple concerts and guest appearances, and commenting often on its significance.


title: Louie Louie

text: From the 1979 "No Nukes" concert:"Rock is primarily about longing. All the great rock songs are about longing. "Like A Rolling Stone" is about longing; 'How does it feel to be without a home?' — "Louie, Louie"! You're yearning for –'Where's that big party that I know is out there, but I can't find it'."


title: Louie Louie

text: From the 2018 soundtrack album for "Springsteen on Broadway" (spoken intro to "Tenth Avenue Freeze-Out"):


title: Louie Louie

text: "There is no love without one plus one equaling three. It's the essential equation of art. It's the essential equation of rock 'n' roll. It's the reason the universe will never be fully comprehensible. It's the reason "Louie Louie" will never be fully comprehensible. And it's the reason true rock 'n' roll, and true rock 'n' roll bands, will never die."


title: Louie Louie

text: He has said that "Born in the U.S.A." was "the most misunderstood song since 'Louie Louie'", and one critic characterized "The River" as "Less Kierkegaard, lots more Kingsmen".


title: Louie Louie

text: The first known recorded performance was on September 9, 1978 at the University of Notre Dame on the Darkness Tour, followed by other tour performances in 1978, 1981, 2009, and 2014. He also played the song in guest appearances with other groups in 1982 (at the Stone Pony with Cats on a Hot Surface) and 1983 (at The Headliner in Neptune, NJ with Midnight Thunder). Song "snippets" are frequently played within other songs: "High School Confidential", "Twist and Shout", "Glory Days", and "Pay Me My Money Down".


title: Louie Louie

text: Multiple concert bootleg albums included a live "Louie Louie" version: "Reggae 'N' Soul" (1988), "Notre Dame Game" (1981), "Rockin' Days" (1983), "Rock Through The Jungle" (1983), "Rock & Roll is Here to Stay" (1990), "Clubs' Stories" (1994), "Songs for an Electric Mule" (1994), "Lost & Live" (1995), "The Boss Hits the Sixties" (2009), "Satisfaction" (2014), "Charlotte, NC 04/19/14" (2014), "Who´s Been Covered By The Boss" (2014), "Saginaw 1978" (2015), and "High Hopes Tour 2014" (2018).


title: Louie Louie

text: E Street Band drummer Max Weinberg played "Louie Louie" on his 2017 live "Jukebox" show, and guitarist Nils Lofgren credited some of his success to "I just happened to play 'Louie Louie' a little different than the other guys." Steven Van Zandt remembered it as the record that changed his life saying, "That's where it all started."


title: Louie Louie

text: More recently, Springsteen included the Kingsmen's version in a curated "frat rock" playlist on the 25th episode of his "From My Home to Yours" Sirius XM radio show in July 2021.


title: Louie Louie

text: The Hermosa Beach, California, hardcore punk band Black Flag released a "raw", "rubbished" version of "Louie Louie" as a single in 1981 through Posh Boy Records. It was the band's first release with Dez Cadena as singer, replacing Ron Reyes who had left the group the previous year. Cadena would go on to sing on the "Six Pack" EP before switching to rhythm guitar and being replaced on vocals by Henry Rollins. Cadena improvised his own "nihilistic rewording",


title: Louie Louie

text:
You know the pain that's in my heart
It just shows I'm not very smart
Who needs love when you've got a gun?
Who needs love to have any fun?


title: Louie Louie

text: The single also included an early version of "Damaged I", which would be re-recorded with Rollins for the band's debut album, "Damaged", later that year. Demo versions of both tracks, recorded with Cadena, were included on the 1982 compilation album "Everything Went Black".


title: Louie Louie

text: The front cover art shows the main verse of the lyrics to "Louie Louie" over a photograph by Edward Colver featuring Black Flag's third singer Dez Cadena.


title: Louie Louie

text: Bryan Carroll of AllMusic gave the single four out of five stars, saying, "Of the more than 1,500 commitments of Richard Berry's 'Louie Louie' to wax ... Black Flag's volatile take on the song is incomparable. No strangers to controversy themselves, the band pummel the song with their trademark pre-Henry Rollins era guitar sludge, while singer Dez Cadena spits out his nihilistic rewording of the most misunderstood lyrics in rock history." Both tracks from the single were included on the 1983 compilation album "The First Four Years", and "Louie Louie" was also included on 1987's "Wasted...Again". A live version of "Louie Louie", recorded by the band's 1985 lineup, was released on the live album "Who's Got the 10½?", with Rollins improvising his own lyrics.


title: Louie Louie

text: Continued touring, line-up changes, and occasional reunions have resulted in multiple recorded live versions with various lead singers Keith Morris, Dez Cadena, Henry Rollins, Ron Reyes, and Mike Vallely.


title: Louie Louie

text: A duo of "jazz rock fusioneers", bassist Stanley Clarke and keyboardist George Duke, included a "killer version" "funk cover" on "The Clarke/Duke Project", a 1981 album of eight original compositions and one cover. The song's combination of narration and singing within a storytelling structure elicited a variety of critic's reactions ranging from "appealing" and "imaginative adaptation to "probably the funkiest version of 'Louie Louie' ever recorded". One Allmusic reviewer called it "a truly bizarre rendition" while another lamented that the Clarke/Duke version "criminally, never made it onto any of the various artists collections that showcased the legendary Richard Berry tune."


title: Louie Louie

text: A single was also released in Europe (cut to 3:38 from the album's 5:05 length). The album was nominated for a 1982 Grammy Award for Best R&B Performance by a Duo or Group with Vocals.


title: Louie Louie

text: Disco king Barry White created Richard Berry's "all-time favorite" version as he "reworked and revamped" the original to create a "Latin-tinged" rendition that "took the song from pure rock 'n' roll to pure moan 'n' groan". Not all reaction was positive, however, as CD Review dismissed it as "blasphemy" and "disco-fied".


title: Louie Louie

text: White commented,I'm gonna sing just like Richard Berry. I'm gonna do this song that this black guy wrote. Everybody thinks that these white guys recorded it, but a black guy did this.


title: Louie Louie

text: Dave Marsh summarized Berry's reaction,In White's arrangement, "Louie Louie" emerges as an up-tempo Latin groove, driven by timbales and congas and punctuated by brilliant trumpet riffs, while White supplements the chorus with the plaintive interpolation "Comin' home, Jamaaaica!" Richard Berry loved it because White's version finally brought to life his original vision of "all the timbales and congas going, and me singing 'Louie Louie'." "Barry White did it exactly the way I wanted to do it," Berry enthused, "I loved it."


title: Louie Louie

text: The track was released on White's 1981 "Beware!" album, and also as 12" and a 7" single (shortened from 7:14 to 3:35). White also performed it on "Soul Train" on September 19, 1981.


title: Louie Louie

text: The Fat Boys with producers Latin Rascals brought "Louie Louie" up to date in 1988 with a hip hop version which reached No. 89 on the "Billboard" Hot 100 chart and No. 46 on the UK Top 100. Their rap, with rewritten lyrics, "chronicled a pursuit of the song's real words".


title: Louie Louie

text: The Fat Boys version was released on the "Coming Back Hard Again" album on the Tin Pan Apple label, and also on a 12" single (5:42 and 3:50 edits) and a 7" single (3:50 edit). The 2009 compilation album "Fat Boys On Rewind" included it as well. Notable live performances in 1988 included Club MTV and the MTV Video Music Awards.


title: Louie Louie

text: The music video, directed by Scott Kalvert, was a parody of Animal House with food fights, dancing girls, and togas. Dave Marsh in 1993 called their version "the last great "Louie Louie" to date".


title: Louie Louie

text: The year 1988 also saw multiple rap and hip hop releases with "Louie Louie" sampling (see Use in sampling section below).


title: Louie Louie

text: Written by Mike Binder and directed by Joe Roth, "Coupe de Ville" featured an extended scene discussing possible interpretations of the "Louie Louie" lyrics and a closing credit montage of multiple "Louie Louie" versions.


title: Louie Louie

text: Hearing the Kingsmen version on a car radio sparks an extended debate among the three Libner brothers (Patrick Dempsey, Arye Gross, Daniel Stern) about the lyrics and whether it is a "hump song", a "dance song", or a "sea chanty" with the eldest and most worldly brother arguing for the last interpretation. As the Los Angeles Times noted, "Joe Roth obviously knows the importance of the "Louie Louie" lyric controversy".


title: Louie Louie

text: Multiple versions played during the closing credits: Richard Berry, the Rice University Marching Owl Band, the Sandpipers, Les Dantz and his Orchestra, the Kingsmen, and Young MC’s "Louie Louie House Mix" (a remix of the Kingsmen version with samples from Richard Berry and the Rice University MOB). The movie trailer also used the Richard Berry and Kingsmen versions.


title: Louie Louie

text: The soundtrack album, released by Cypress Records on vinyl, CD and cassette, included the Kingsmen and Young MC versions. A 12" EP (Cypress Records V-74500) was released with four tracks: "Louie Rap", "Louie Vocal Attack", "Louie Louie House Mix", and "Louie DePalma Mix" (all "featuring Maestro Fresh Wes" and "produced by Young MC").


title: Louie Louie

text: A music video of "Louie Louie House Mix", credited to "Various Artists (featuring Young MC)", was concurrently released and included appearances by Robert Townsend ("It’s a hump song!"), Kareem Abdul Jabbar ("It’s a dance song!"), Martin Short, Young MC, and others.


title: Louie Louie

text: The inclusion of the Kingsmen's "Louie Louie" is a bit of an anachronism in that the film takes place on a trip from Detroit to Florida during the summer of 1963. The initial release of the Kingsmen version on the regional Jerden label was in May 1963, but no significant national radio airplay and chart activity (or lyrics controversy) occurred until October and its national chart debut was not until early November.


title: Louie Louie

text: The first release by the Three Amigos (Dylan Amlot, Milroy Nadarajah, and Marc Williams) was their cover of "Louie Louie". The 12" EP, titled "Louie Louie", included "Original Mix", "Da Digglar Mix", "Wiseguys Remix", and "Touché's Bonus Beats". Released in July 1999, the "Original Mix" version reached No. 15 on the UK Singles Chart, higher than the Kingsmen's No. 26 in 1964, and to date remains the last "Louie Louie" version to appear on the US or UK charts.


title: Louie Louie

text: Shortly after the Kingsmen's version charted in late 1963, the first international covers appeared. Since the original lyrics were notoriously difficult to discern, the translations were often inaccurate or adapted to a different storyline. Early foreign language versions included:


title: Louie Louie

text: In 1966 the Sandpipers, a US group, released a slower tempo Spanish language version that reached No. 30 on the Billboard Hot 100 and was covered that same year in German by .


title: Louie Louie

text: The 1983 compilation "The Best of Louie, Louie" featured a Russian version by Red Square, and in 1997 an entire album of Spanish covers, "The First Louie Louie Spanish Compilation", was released with versions by the Flaming Sideburns, the Navahodads, , and eight others. Other Spanish versions were released by Los Hermanos Carrion (Mexico), as "Alu, Aluai" on a 1971 album "Lagrimas de Cristal Que Manera de Perder", (Spain), as "Luisa Se Va" on a 1985 album "Paso A Paso", and (Spain), on a 1997 album "Por Un Puñado De Temas".


title: Louie Louie

text: In 1988, Michael Doucet released a "great vocal treatment" of "Louie Louie" in Cajun French on the "Michael Doucet and Cajun Brew" album. "CD Review" characterized his version as "oddly appropriate".


title: Louie Louie

text: "Louie Louie" has spawned a number of answer songs, sequels, and tributes from the 1960s to the present:


title: Louie Louie

text: As "Louie Louie" began to climb the national charts in late 1963, Jack Ely's "slurry snarl" and "mush-mouthed", "gloriously garbled" vocals gave rise to dark rumors about "dirty lyrics". The Kingsmen initially ignored the rumors, but soon "news networks were filing reports from New Orleans, Florida, Michigan, and elsewhere about an American public nearly hysterical over the possible dangers of this record". The song quickly became "something of a Rorschach test for dirty minds" who "thought they could detect obscene suggestions in the lyric".


title: Louie Louie

text: In January 1964, Indiana governor Matthew E. Welsh, acting on multiple complaint letters, determined the lyrics to be pornographic because his "ears tingled" when he listened to the record. He referred the matter to the FCC (which declined to act) and also requested that the Indiana Broadcasters Association advise their member stations to pull the record from their playlists. The National Association of Broadcasters also investigated and deemed it "unintelligible to the average listener", but that "The phonetic qualities of this recording are such that a listener possessing the 'phony' lyrics could imagine them to be genuine." In response, Max Feirtag of publisher Limax Music offered $1,000 to "anyone finding anything suggestive in the lyrics", and "Broadcasting" magazine published the actual lyrics as provided by Limax. Scepter/Wand Records commented, "Not in anyone's wildest imagination are the lyrics as presented on the Wand recording suggestive, let alone obscene."


title: Louie Louie

text: The following month an outraged parent wrote to Attorney General Robert F. Kennedy alleging that the lyrics of "Louie Louie" were obscene, saying, "The lyrics are so filthy that I can-not "[sic]" enclose them in this letter." The Federal Bureau of Investigation investigated the complaint, and looked into the various rumors of "real lyrics" that were circulating among teenagers. In June 1965, the FBI laboratory obtained a copy of the Kingsmen recording and, after 31 months of investigation, concluded that it could not be interpreted, that it was unintelligible at any speed, and therefore the Bureau could not find that the recording was obscene. Over the course of the investigation, the FBI interviewed Richard Berry, members of the Kingsmen, members of Paul Revere and the Raiders, and record company executives. The one person they never interviewed was the man who actually sang the words in question, Jack Ely, whose name apparently never came up because he was no longer with the Kingsmen.


title: Louie Louie

text: By contrast, in 1964 the Ohio State University newspaper "The Lantern" initiated an investigation in response to a growing campus controversy. Working with local radio station WCOL, a letter was sent to Wand Records requesting a copy of the lyrics. The paper printed the lyrics in full, resolving the issue, and resulting in booking the Kingsmen for the fall homecoming entertainment.


title: Louie Louie

text: In a 1964 interview, Lynn Easton of the Kingsmen said, "We took the words from the original version and recorded them faithfully." Richard Berry told "Esquire" Magazine in 1988 that the Kingsmen had sung the song exactly as written and often deflected questions about the lyrics by saying, "If I told you the words, you wouldn't believe me anyway."


title: Louie Louie

text: A history of the song and its notoriety was published in 1993 by Dave Marsh, including an extensive recounting of the multiple lyrics investigations, but he was unable to obtain permission to publish the song's actual lyrics because the then current owner, Windswept Pacific, wanted people to "continue to fantasize what the words are". Marsh noted that the lyrics controversy "reflected the country's infantile sexuality" and "ensured the song's eternal perpetuation"; he also included multiple versions of the supposed "dirty lyrics". Other authors noted that the song "reap[ed] the benefits that accrue from being pursued by the guardians of public morals" and "Such stupidity helped ensure 'Louie Louie' a long and prosperous life."


title: Louie Louie

text: The lyrics controversy resurfaced briefly in 2005 when the superintendent of the school system in Benton Harbor, Michigan, refused to let a marching band play the song in a local parade; she later relented.


title: Louie Louie

text: The Who were impacted in their early recording career by the riff/rhythm of "Louie Louie", owing to the song's influence on the Kinks, who, like the Who, were produced by Shel Talmy. Talmy wanted the successful sounds of the Kinks' 1964 hits "You Really Got Me", "All Day and All of the Night", and "Till the End of the Day" to be copied by the Who. As a result, Pete Townshend penned "I Can't Explain", "a desperate copy of The Kinks", released in March 1965. In 1979 "Louie Louie" (Kingsmen version) was included on the soundtrack album to "Quadrophenia".


title: Louie Louie

text: In 1967 French composers Michel Colombier and Pierre Henry, collaborating as Les Yper-Sound, produced a synthesizer and musique concrète work based on the "Louie Louie" riff titled "Psyché Rock". They subsequently worked with choreographer Maurice Béjart on a "Psyché Rock"-based score for the ballet "Messe pour le temps présent". The full score with multiple mixes of "Psyché Rock" was released the same year on the album "Métamorphose". The album was reissued in 1997 with additional remixes including one by Ken Abyss titled "Psyché Rock (Metal Time Machine Mix)" that, along with the original, heavily influenced Christopher Tyng's "Futurama" theme song.


title: Louie Louie

text: In the early 1980s KALX in Berkeley and KFJC in Los Altos Hills engaged in a "Louie Louie" marathon battle with each station increasing the number of versions played. KFJC's Maximum Louie Louie Marathon topped the competition in August 1983 with 823 versions played over 63 hours, plus in studio performances by Richard Berry and Jack Ely. During a change in format from adult-contemporary to all-oldies in 1997, WXMP in Peoria became "all Louie, all the time," playing nothing but covers of "Louie Louie" for six straight days. Other stations used the same idea to introduce format changes including KROX (Dallas), WNOR (Norfolk), and WRQN (Toledo). In 2011, KFJC celebrated International Louie Louie Day with a reprise of its 1983 event, featuring multiple "Louie Louie" versions, new music by Richard Berry and appearances by musicians, DJs, and celebrities with "Louie Louie" connections. In April 2015 Orme Radio broadcast the First Italian Louie Louie Marathon, playing 279 versions in 24 hours.


title: Louie Louie

text: The Kingsmen version was used in television commercials for "Spaced Invaders" (1990), but did not appear in the movie. The Kingsmen version also appeared on More American Graffiti (1975) and Good Morning Vietnam (1987) compilations, but was not used in either movie.


title: Louie Louie

text: Music critic Dave Marsh wrote a 245-page book about the song, "Louie Louie: The History and Mythology of the World's Most Famous Rock 'n Roll Song, Including the Full Details of Its Torture and Persecution at the Hands of the Kingsmen, J.Edgar Hoover's F.B.I, and a Cast of Millions".


title: Louie Louie

text: Early video games with chiptune versions of "Louie Louie" included "California Games" and "Donkey Konga". Since its introduction in 1987, "California Games" has been ported to more than a dozen gaming platforms, resulting in multiple unique "Louie Louie" versions based on different or improved programmable sound generator (PSG) chips. "Back 2 Back", composed by Hideki Naganuma for "Sonic Rush", borrows the "Louie Louie" riff for its main section.


title: Louie Louie

text: More recent rhythm action games featured individual artist versions including "Rocksmith" (Joan Jett), "Just Dance" (Iggy Pop), and "Rocksmith 2014" (Motörhead).


title: Louie Louie

text: "Louie Louie" has long been a popular downloadable ringtone, starting with early MIDI versions, then audio track excerpts, and then full audio tracks. Tom Cruise in "Knight and Day" (2010) used the Kingsmen version as a ringtone/movement reminder.


title: Louie Louie

text: In 2015 Microsoft Messenger introduced the Zya Ditty app which allowed users to create short text-to-autotune music videos using a library of pre-licensed songs including "Louie Louie" and others. In 2017 ByteDance acquired Musical.ly and merged it with TikTok to deliver app functionality for creating short lip-sync and music videos. TikTok's current Commercial Music Library of 150,000+ pre-licensed songs includes "Louie Louie" versions by the Kingsmen, the Kinks, Otis Redding, Motörhead, Young and Restless, and the Most.


title: Louie Louie

text: The earliest known sampling of "Louie Louie" (Kingsmen version) was "Flying Saucer" by Ed Solomon in 1964 (Diamond 160), one of many "break-in" records popular in the 1960s.


title: Louie Louie

text: Beginning in 1988, multiple rap and hip hop artists used audio samples of the keyboard intro and chorus of the Kingsmen version.


title: Louie Louie

text: In the 1980s, due to the widespread availability of sheet music arrangements, "Louie Louie" became a staple of concert, marching, and pep bands for middle schools, high schools, and colleges and universities in the U.S. The earliest known high school band albums with a song version were the Evanston Township High School's "Hi-Lights 1965" and the Franklin High School Choir, Orchestra, and Stage Band's "1966 Bel Cantos Concert". The first college band album was the USC Trojan Marching Band's "Let The Games Begin" in 1984. Early big band releases included Dick Crest ("Would You Believe - The Dick Crest Orchestra") and Neil Chotem ("Neil Chotem and his Orchestra"), both in 1968.


title: Louie Louie

text: Although not commercially released, an example of the song's influence was the 2000 performance by the Dover High School Band joined on saxophone by Bill Clinton (who played in a jazz trio named the Kingsmen at Hot Springs High School, and at whose 1964 graduation dance the actual Kingsmen played).


title: Louie Louie

text: In 1985, Ross Shafer, host and a writer-performer of the late-night comedy series "Almost Live!" on the Seattle TV station KING, spearheaded an effort to have "Louie Louie" replace "Washington, My Home" by Helen Davis as Washington's official state song. Picking up on this initially prankish effort, Whatcom County Councilman Craig Cole introduced Resolution No. 85-12 in the state legislature, citing the need for a "contemporary theme song that can be used to engender a sense of pride and community, and in the enhancement of tourism and economic development". His resolution also called for the creation of a new "Louie Louie County". While the House did not pass it, the Senate's Resolution 1985-37 declared April 12, 1985, "Louie Louie Day". A crowd of 4,000, estimated by press reports, convened at the state capitol that day for speeches, singalongs, and performances by the Wailers, the Kingsmen, and Paul Revere & the Raiders. Two days later, a Seattle event commemorated the occasion with the premiere performance of a new, Washington-centric version of the song written by composer Berry. After a spirited debate, the legislature ultimately preserved "Washington, My Home" as the state song while also adopting Woody Guthrie's "Roll On, Columbia, Roll On" as the official folk song. "Louie Louie" remains the "unofficial state rock song".


title: Louie Louie

text: While the effort failed in the end, a cover of Berry's rewritten version was released in 1986 by Jr. Cadillac and included on the 1994 compilation "The Louie Louie Collection". The "state rock song" was played following "Take Me Out to the Ball Game" during the seventh-inning stretch at all Seattle Mariners home games from 1990 up until the 2022 season.


title: Louie Louie

text: April 11 (Richard Berry's birthday) is celebrated as International Louie Louie Day and is listed by Chase's Calendar of Events, the National Special Events Registry, and other sources. This date was chosen as the most significant date for the observance of International Louie Louie Day from a list of ""Louie Louie""-related dates occurring in April, including:


title: Louie Louie

text: April 11 or 13, 1963 – Paul Revere and the Raiders recorded their competing version in the same studio.


title: Louie Louie

text: April 10, 1998 – The Kingsmen won a historic legal case against Gusto Records/GML, regaining ownership and royalty rights to all their recordings.


title: Louie Louie

text: Support for International Louie Louie Day and other "Louie Louie"–related observances is provided by the Louie Louie Advocacy and Music Appreciation Society (LLAMAS). and "Louie Louie" fans worldwide. Commemorations of International Louie Louie Day have included newspaper articles, magazine stories, and radio programs with discussions of the song's history and playlists of multiple "Louie Louie" versions.


title: Louie Louie

text: The City of Tacoma held a summer music and arts festival from 2003 to 2012 in July named LouieFest. The event began in 2003 as the "1000 Guitars Festival" and featured a group performance of "Louie Louie" open to anyone with a guitar. The event was renamed LouieFest in 2004. Members of the Wailers, Kingsmen, Raiders, Sonics and other groups with "Louie Louie" associations regularly made appearances. The grand finale each year was the "Celebration of 1000 Guitars" mass performance of "Louie Louie" on the main stage.


title: Louie Louie

text: The largest "Louie Louie" parade, organized by WWMR deejay John DeBella, was held in Philadelphia from 1985 to 1989 with proceeds going to leukemia victims. DeBella described it as "... a parade for no reason ... and the no reason would be 'Louie Louie'." It regularly drew crowds in excess of 50,000, but was ultimately cancelled due to excessive rowdiness.


title: Louie Louie

text: Peoria, Illinois has held an annual "Louie Louie" street party and festival every year since 1988. The Children's Hospital of Illinois is the most recent charitable beneficiary.


title: Louie Louie

text: A sculpture titled "Louie Louie, 2013" by Las Vegas-based artist Tim Bavington is displayed on the lobby wall of the Edith Green - Wendell Wyatt Federal Building in Portland, Oregon. The work is constructed of 80 colored glass and acrylic panels representing the waveforms of the song using Bavington's concept of sculpting sound waves.


title: Louie Louie

text: A hotel room in the McMenamins Crystal Hotel in Portland, Oregon has a "Louie Louie" theme including a painting representing the song by artist Jonathan Case and lyrics on the walls. The hotel is a block away from the site of the 1963 Kingsmen and Raiders recordings.


title: Louie Louie

text: The Seattle Times annually bestows its Louie Awards upon "those who - through conscious act, rotten luck or slip of the tongue - stretch the limits of imagination or tolerance or taste in the Great Northwest."


title: Rocket Power

text: Rocket Power is an American animated television series created by Arlene Klasky and Gábor Csupó, the creators of "Rugrats". The series aired on Nickelodeon from August 16, 1999 to July 30, 2004.


title: Rocket Power

text: "Rocket Power" revolves around the day-to-day adventures of a gang of four young and loyal friends; the adventurous and vain sports enthusiast and perfectionist: Oswald "Otto" Rocket (Joseph Ashton); his tomboyish and kind-hearted older sister: Regina "Reggie" Rocket (Shayna Fox); Otto's dim-witted but loyal best friend and videographer: Maurice "Twister" Rodriguez (Ulysses Cuadra in Seasons 1–3; Gilbert Leal in Season 4); and the brainy techno whiz kid and relative newcomer: Sam "Squid" Dullard (Sam Saletta in Seasons 1–2; Mike Lane in Season 2; Gary LeRoi Gray in Seasons 2–3; Sean Marquette in Season 4) — who live in the fictional Southern California beach town of Ocean Shores, where they spend their free time playing extreme sports (such as Skateboarding, Surfing, Snowboarding, Biking, Street Hockey, etc.), getting into various situations and overcoming the trials and challenges of growing up.


title: Rocket Power

text: Otto and Reggie live with their widowed strict but loving dad, Ray "Raymundo" Rocket (John Kassir), who along with his best friend and business partner, Tito Makani (Ray Bumatai), owns and operates the Shore Shack, a combination burger joint and surf shop where the gang usually hang out. In most episodes, they get involved in competitions, but end up learning that their friendship is more important than winning.


title: Rocket Power

text: A VHS tape titled "Maxing Out" was released in 2001 containing five episodes ("Bruised Man's Curve" • "Super McVarial 900" • "Big Thursday" • "Big Air Dare" • "Otto's Big Break"). In 2004, Nickelodeon released four episodes of the series ("Island of the Menehune" • "Tito's Lucky Shell" • "Welcome to Ottoworld" • "Follow the Leader") on the "Island of the Menehune" DVD. Other episodes were featured on Nickelodeon compilation DVDs such as "Nicktoons Christmas", "Nicktoons Halloween" and "Nickstravaganza! 2".


title: Rocket Power

text: Nickelodeon and Amazon.com teamed up to release "Rocket Power" and other Nick shows on manufacture-on-demand DVD-R discs available exclusively through Amazon.com's CreateSpace arm.


title: Rocket Power

text: "Rocket Power" premiered on Nickelodeon on August 16, 1999, and its final episode (a television movie called "The Big Day") aired on July 30, 2004. Reruns were then aired on the channel until October 7, 2011.


title: Rocket Power

text: Nicktoons aired the series from 2002 to 2010. Nick GAS also aired the series from 2003 to 2005. The series reran on TeenNick's former block NickRewind (formerly The '90s Are All That, The Splat and NickSplat) from 2014 to 2017.


title: Rocket Power

text: Other projects related to "Rocket Power" and developed under the aegis of Klasky-Csupo and/or Nickelodeon have included "", and "Maximum Rocket Power Live: The Battle for Madtown Park", a live-action extreme-sports dramatic arena play that briefly toured the U.S. Midwest in spring 2002, before being canceled over low ticket sales (it had originally been scheduled to tour about 40 cities all over the U.S., all the way into fall).


title: Rocket Power

text: Several video games based on the series was released on the PlayStation, PlayStation 2, GameCube, Game Boy Color, Game Boy Advance and PC throughout the years, including "Rocket Power: Team Rocket Rescue", "", "Rocket Power Gettin' Air", "Rocket Power: Dream Scheme", "Rocket Power: Zero Gravity Zone" and "Rocket Power: Extreme Arcade Games".


title: Rocket Power

text: The soundtrack album to "Rocket Power" was released on February 6, 2002. It is officially the soundtrack to the television film "Rocket Power: Race Across New Zealand".


title: Rocket Power

text: Common Sense Media give the series a three out of five stars, writing "Parents need to know that watching this show just might inspire future X-games participation. The kids -- never without a skateboard, bike, hockey stick, or surfboard -- perform incredible stunts, seemingly without risk of injury. A boy with less sports ability than the others shows kids that it's OK to need a lot of practice and only take the risks you're personally comfortable with."


title: Ivan Ilyin

text: Ivan Alexandrovich Ilyin or Il'in (Ива́н Алекса́ндрович Ильи́н, – 21 December 1954) was a Russian jurist, a dogmatic religious and political philosopher, an orator and conservative monarchist. He perceived the February Revolution as a "temporary disorder", and the October Revolution as a "national catastrophe", and actively joined the struggle against the Bolshevik regime. He became a white émigré journalist, a slavophile and an ideologue of the Russian All-Military Union. As an anti-communist, Ilyin initially defended Hitler but within a year he was dismissed for being Russian, arrested and subsequently banned from making public appearances for refusing to promote anti-Semitic policies. While Ilyin lost his main source of income Sergei Rachmaninov helped him financially to stay in Switzerland. As Ilyin was not allowed to work or to be politically active, he mostly studied aesthetic, ethical and psychological questions.


title: Ivan Ilyin

text: Ivan Ilyin, often sick, wrote over 40 books and hundreds of articles and pamphlets in Russian and German. Almost all of his works steeped in religion and related to Russia. Ilyin did not belong to the group of followers of Vladimir Solovyov, who preached worldwide theocracy and with whom the Russian religious and philosophical Renaissance of the early 20th century is usually associated. Ilyin was a firm believer in a strong state and rejected federalism. He called for patriarchal form of rule for Russia, based on orthodoxy and faith in the Tsar (the autocrat, not the tyrant). Appeals to heroism and moral aristocratism appear throughout Ilyin’s writings. He became the purveyor of the doctrine of Western "Russophobia.


title: Ivan Ilyin

text: Ilyin criticized individualism, liberalism, and neutrality, and was an enemy of intellectualism and Western analytic philosophy. The ultra-nationalist Ilyin was critical of Western-style democracy, emphasizing instead the importance of a strong government in accord with Russia’s autocratic heritage. Ilyin's views on the social structure of Russia had a great influence on post-Soviet intellectuals and politicians, including Alexander Solzhenitsyn, and Russian President Vladimir Putin.


title: Ivan Ilyin

text: Ivan Ilyin was born in an aristocratic family claiming Rurikid descent. Ilyin's grandfather was a military man who moved to Moscow, where he became a civil engineer. His last job was as commandant of the Grand Kremlin Palace and gates. His father, Alexander Ivanovich Ilyin (1851-1921), was born and raised in the palace and a lawyer at the Moscow District Court. Ilyin's mother, Caroline Louise née Schweikert (1858-1942), was of German Russian descent and confessing Lutheran. To be able to marry Alexander Ilyin in 1880 she converted to Russian Orthodoxy and took the name Yekaterina Yulyevna.


title: Ivan Ilyin

text: Ivan Ilyin was brought up in the centre of Moscow in Khamovniki District. He graduated on the 1st Moscow Gymnasium in 1901 and entered the Law faculty of the Moscow State University but would rather have studied history. Ilyin wrote as well in German as in Russian and mastered Church Slavic. He was a political radical during his student days and supported the freedom of assembly. In 1904, he took part in a student march, was arrested, and spent a month in prison. The events of the First Russian Revolution and the October Manifesto were reflected in his pamphlets "Freedom of Assembly and popular Representation" (a way of public participation in politics), "What is a Political Party", "From Russian Antiquity: The Revolt of Stenka Razin". Ilyin produced them under the pseudonym "Nikolai Ivanov".


title: Ivan Ilyin

text: Under influence of Pavel Novgorodtsev Ilyin became interested in philosophy of law. In 1906, Ilyin graduated and married Natalia Nikolaevna Vocach (1882-1963) in Bykovo. She was a translator, art-historian and a niece of Sergei Muromtsev, a Kadet and chairman of the First Duma. Ilyin worked with Natalia on a translation of "Anarchism" by Paul Eltzbacher and a treatise by J.J. Rousseau ("Idea of the General will") which were never published. From 1909 he began working as a scholar. (In the same year Lenin published his Materialism and Empirio-criticism under the pseudonym Vl. Ilyin).


title: Ivan Ilyin

text: In January 1911, knyaz Evgeny Trubetskoy, along with a large group of professors, left Moscow University as a sign of disagreement with the government's violation of the principles of university autonomy. Ilyin moved to Western Europe (Heidelberg, Freiburg, Berlin, Göttingen and Paris) studying the latest trends in European philosophy, including philosophy of life and phenomenology influenced by Husserl, who concentrated on the ideal, essential structures of consciousness, Scheler, who published "The Nature of Sympathy", Fichte and Schelling on Absolute idealism. Meanwhile Ilyin worked on his thesis ""Crisis of rationalistic philosophy in Germany in the 19th century"" which he never finished. In May 1912 he returned to work in the university and delivered a series of lectures called ""Introduction to the Philosophy of Law"". Novgorodtsev offered to have Ilyin lecture on theory of public law at the Moscow Commercial Institute.


title: Ivan Ilyin

text: In 1913 it seems, the couple broke with their relatives and met with Leo Tolstoy, according to Konstantin Krylov. He was known as being extremely intolerant towards Andrei Bely, who called Ilyin "mentally insane". For six weeks he and his wife paid visits to Sigmund Freud in 1914. After returning from Vienna, Ilyin was obsessed with psychoanalysis, diagnosing everything and everyone in Freudian terms, reducing every personal problem to neurotic symptoms, and according to one observer, psychoanalyzing every little gesture of those around him. The two became pioneers of the psychoanalytic movement in Russia. He began to develop a career as a writer and public figure.


title: Ivan Ilyin

text: Having been taught a severe personal lesson by having his Hegel dissertation manuscript, notes, and materials confiscated in Austria at the outbreak of the First World War, which then had to be rewritten or reconstructed, all the evidence suggests that Ilyin took care to retain and preserve his papers and his books for posterity.


title: Ivan Ilyin

text: After the breakout of World War I, Evgeny Trubetskoy, once a member of the Party of Peaceful Renovation, arranged a series of public lectures devoted to the "ideology of war". Ilyin contributed to this with several lectures, the first of which was called ""The Spiritual Meaning of the War"" (1915). He believed that since Russia had already been involved in the war, the duty of every Russian was to support his country to the end. During the April Crisis (1917) he agreed with the Kadet Minister of Foreign Affairs Pavel Milyukov who staunchly opposed Petrograd Soviet demands for peace at any cost. In the summer of 1917, he published the pamphlets ""The Party program and maximalism"", ""On the term of convocation of the Constituent Assembly"", ""Order or disorder?"", ""Demagogy and provocation"", and ""Why not continue the war?""


title: Ivan Ilyin

text: At first, Ilyin perceived the February Revolution as the liberation of the people. Along with many other intellectuals he generally approved of it and supported the Russian Provisional Government. However, he was gradually disappointing and by the time the October Revolution has been complete, viewed it as a catastrophe. The Moscow State Conference convened by the Provisional Government was attended by representatives of all major political parties, with the exception of the Bolsheviks. Ilyin warned the audience, about 2,500 people, "The revolution turned into self-interested plundering of the state". In the autumn, he wrote under the pseudonym Justus ""Where is revolutionary democracy going?"", ""Mr. Kerensky's refusal"", ""What to expect?"", ""Nightmare"", and ""Who are they?""


title: Ivan Ilyin

text: After the October Revolution Ilyin became part of Pyotr Wrangel's inner circle but not everybody was charmed by Wrangel's personality. In April 1918 Ilyin was arrested and accused of financially supporting a voluntary army in Moscow and having visited Andrey Avinoff, supporting the Imperial Army. The case was initiated by Felix Dzerzhinsky. The money he had received, Ilyin said, was destined for publishing: ""The Philosophy of Hegel as a Doctrine of the Concreteness of God and Humanity"". He was in the Butyrka prison dungeons for about a week but got serious problems with his health; he suffered from bronchitis (?) and needed regular treatment. He was released for lack of evidence and allowed to give lectures and defend his thesis. For three weeks Ilyin was laying on bed; Novgorodtsev's apartment was searched on the eve of the defence. On 19 May 1918, Ilyin received two degrees at once. However, the publisher Lehman-Abrikosov made a broad gesture and offered to publish the two-volume book for free – so Ilyin returned the money to the sponsor Bari & Co. This two-volume dissertation (a provocative interpretation of Hegel) published in the revolutionary chaos of 1918, is considered one of the best commentaries on Hegel's philosophy, not only by Vladimir Lenin. Ilyin remained a right Hegelian all his life, exploring the themes of the state, law, power in world history. He was an opponent of Russian spelling reform of 1918 and stuck to the old fashioned spelling. In 1920 he replaced Leo Mikhailovich Lopatin as head of the Moscow Psychological Society.


title: Ivan Ilyin

text: Ilyin became a professor of law in Moscow University. As was customary among Russian religious thinkers, he lectured at the Moscow higher women's courses. He was imprisoned between 11-24 August, but released with the help of Ivan Yakovlev's son. On 19 December, Ilyin received a summons to appear at a meeting of the Revolutionary Tribunal (non-recognition of Soviet power). In 1919 Ilyin wrote: "In Moscow, the winter is fierce, there is no firewood, we are hungry. They have already taken me to Cheka three times – and tried in a tribunal "for preparing an armed uprising". The ability to hate, despise, insult ideological opponents was particularly pronounced. Ilyin was again imprisoned in 1919, February 1920 and September 1922 for alleged anti-communist activity. He, along with many other “irreconcilable” anti-Bolshevik intellectuals, were condemned to execution, and then forcibly exiled. On 29 September some 160 prominent intellectuals and their families were expelled, on a so-called "philosophers' ship" from Petrograd to Stettin.


title: Ivan Ilyin

text: In February 1923, the Russian Scientific Institute was founded in Berlin; funded by the YMCA. Ilyin delivered a topical speech "Problems of Modern Legal Consciousness". It wasn't an educational institute; there were occasional lectures on Russian history, literature, law and other areas of Russian culture in the Schinkel's Bauakademie. In July he lost his citizenship for anti-Soviet activities abroad. Ilyin cooperated with Nikolai Berdyaev on Russian Religious Renaissance. It was the notorious year of hyperinflation in the Weimar Republic in October and the failed Beer Hall Putsch in November. The institute was going through a severe financial crisis. Berdyaev, the philosopher of love, moved to Paris, Novgorodtsev moved to Prague. In July 1924 Ilyin visited Italy for his health; his portrait of Benito Mussolini was sympathetic but not uncritical.


title: Ivan Ilyin

text: In his book "On resisting evil by force" (1925) Ilyin advocated the use of violence in the struggle against Bolshevism, which he regarded as despotism or “left totalitarianism”. He criticized anarchist ideology of Tolstoy and pacifist Tolstoyism. Ilyin called for the courage to "arrest, condemn, and shoot," which Maxim Gorky called a "gospel of revenge" and Berdyaev compared to a "Cheka of God" and “legalism devoid of grace”. For Zinaida Gippius his book was "military field theology"; according to her "this is not a philosopher who writes books, not a publicist who writes feuilletons: it's a man possessed running amok." The book divided the Russian Émigrés; it contains a dedication to veterans of the White movement. In 1926 he bitterly wrote about the loss of the Motherland. Ilyin became the unofficial ideologue of the White émigrés who gathered in Paris. Between 1927 and 1930 Ilyin was a publisher and editor of the journal "Russkiy Kolokol". He actively published in right-wing conservative newspapers.


title: Ivan Ilyin

text: During the 1920s more than 300,000 Russians living in Berlin. There were three daily newspapers and five weeklies. Seventeen Russian publishing houses had sprung up within a single year. Ilyin lectured in Germany and other European countries and would give 200 speeches. About 60,000 Russian emigrants were living in Germany in 1932; the Berlin colony numbered 8,320 people.


title: Ivan Ilyin

text: In February, the Reichstag building was set on fire. Göring blamed a communist plot. The Reichstag Fire Decree restricted the rights of personal freedom, freedom of expression, including the freedom of the press, the freedom to organize and assemble, the privacy of postal, telegraphic and telephonic communications. On 1 April the Nazis organized a one-day boycott of all Jewish-owned businesses in Germany. An Aryan certificate was required from all employees and officials in the public sector, including education. On 11 April, Ilyin handed the Ministry of Internal Affairs a voluminous work entitled “Directives of the Comintern for the Bolshevisation of Germany,” consisting of hundreds of excerpts from Comintern documents that had been published in the press.


title: Ivan Ilyin

text: In May Ilyin published in "Vozrojdénie" his infamous article ""National Socialism. A New Spirit"". When Semyon Frank was forced to leave his position as head of the Institute in June 1933 due to his Jewish origin, Ilyin took over the head of the institute. In July, the Nazi Party was declared the only legal political party in Germany. The Russian emigrants feared that Hitler, who on various occasions had spoken out strongly against foreigners, would begin persecuting them. In September, Adolf Ehrt who headed the organization Anti-Komintern, financed by the Ministry of Propaganda, recruited Ilyin and the Mladorossi to work with him. In October, the institute was placed under the Reich Ministry of Propaganda by Joseph Goebbels. Ilyin was replaced by Adolf Erth, but allowed to stay as one of the three employees.


title: Ivan Ilyin

text: During the new opening of the reorganized institute in January 1934, Ilyin made a report on the plans of the Communist International to conquer the world. Early 1934 only three lectures were held; one was by Ilyin on the work of Ivan Bunin who had won the Nobel Prize for Literature. Erth demanded that the professors of the Russian Scientific Institute join in anti-Jewish propaganda. Only after the adoption of the charter to which only "German compatriots" could be employees of the Institute, did Ilyin have to leave.


title: Ivan Ilyin

text: For a short time Ilyin was assigned commissar for the Baltic Germans, but the NSDAP seem to have changed their mind several times. It was impossible to be employed as either a writer or a lecturer. In 1935, Ilyin spent much of the summer at a large dacha in rural Latvia that the Klimoffs had rented. In 1936, Hitler put Vasily Biskupsky in charge of the "Russische Vertrauensstelle", a government body dealing with the Russian émigré community. Ilyin's speech in Riga, dedicated to the 100th anniversary of Pushkin's death, shocked/exited many listeners. In early 1938, the Gestapo confiscated Ilyin's works and banned him from independent political activity (in all cases). Ilyin decided to leave, but the Berlin police forbade his departure. In July he left with a Nansen passport to continue his work in Switzerland. During a summer holiday in Locarno and with financial help from Sergei Rachmaninoff, he was able to pay the bail, but he was not allowed to work or to be politically active. Ilyin refused to join Alexander Lvovich Kazembek, a self-styled neomonarchist.


title: Ivan Ilyin

text: From 1940 Ilyin resided stateless in the village of Zollikon near Lake Zürich and began to publish in local newspapers and lectured Russian literature at folk high schools, which was not considered work. There was no danger from Ilyin's lectures, according to an expert opinion issued by the Swiss Army Command in 1942. They were "national in the sense that it is directed against the whole of the West". Ilyin corresponded with the composer and pianist Nikolai Medtner, living in London. During the war he refused to cooperate with the Russian Liberation Army. In 1946 Ilyin stated he was never a Hegelian, as he himself expressed in the introduction to the German translation of his theses, a revised version of "Die Philosophie Hegels als kontemplative Gotteslehre". In his 1950 essay, "What Dismemberment of Russia Entails for the World", Ilyin predicted the fall of the Soviet Union and gave instructions on how to save Russia from the evils of the Western world.


title: Ivan Ilyin

text: At the end of his life, Ivan Alexandrovich managed to finish and publish a work on which he worked for more than 33 years "‘Axioms of Religious Experience’", and three volumes of philosophical and literary prose, originally written in German. He suddenly died in a hospital on 21 December 1954. In 1956, his postwar articles were compiled into a two-volume anthology called "‘Our Tasks’". These short political essays (in a verbose and pious style) were not only very profound, but also truly prophetic. It is about the future of Russia and its State, once freed of Communism. He did not describe this future very clearly, it is something bright, good, but blurry, according to the literary critic .


title: Ivan Ilyin

text: The Ilyins owned a dairy farm, 260 km from Moscow, in Ryazan Governorate where they spent the summers. He had four brothers Alexey, Alexander, Julius, and Igor. In 1905 Alexey joined the Socialist Revolutionary Party but died in 1913. Alexander was a zemstvo warden but moved to America before the revolution. Igor, a lawyer, was arrested on charges of "counter-revolutionary agitation" by Stalin's NKVD in the Moscow region. He was executed and buried at Butovo firing range on 19 November 1937. In 1938/1955 his wife N.N. Ilyina published "The Expulsion of the Normans from Russian history". Her father was (1807-1876) a German physician and pioneer of homeopathy, who moved from Wittenberg to Moscow in 1832 and appointed in the Table of Ranks. His cousin was an art-historian, involved in the design of Dobryninskaya, a Moscow metro-station.


title: Ivan Ilyin

text: In exile, Ivan Ilyin argued that Russia should not be judged by what he called the Communist danger it represented at that time but looked forward to a future in which it would liberate itself with the help of a Christian fascist totalitarianism. (Already according to Machiavelli: religious zeal must necessarily be combined with patriotism.) Starting from his 1918 thesis on Hegel's philosophy, he authored many books on political, social and spiritual topics pertaining to the historical mission of Russia. One of the problems he worked on was the question: what has eventually led Russia to the tragedy of the revolution? He answered that the reason was "the weak, damaged spiritual self-esteem" of Russians.


title: Ivan Ilyin

text: As a result, mutual distrust and suspicion between the state and the people emerged. The authorities and nobility constantly misused their power, subverting the unity of the people. Ilyin thought that any state must be established as a corporation in which a citizen is a member with certain rights and certain duties. Therefore, Ilyin recognized inequality of people as a necessary state of affairs in any country. But that meant that educated upper classes had a special duty of spiritual guidance towards uneducated lower classes. This did not happen in Russia.


title: Ivan Ilyin

text: The other point was the wrong attitude towards private property among common people in Russia. Ilyin wrote that many Russians believed that private property and large estates are gained not through hard labour but through power and maladministration of officials. Therefore, property becomes associated with dishonest behaviour.


title: Ivan Ilyin

text: The key concept Ilyin’s legal philosophy was legal consciousness (правосозна́ние, pravosoznanie) which he understood as an ability of an individual and of the society as a whole to respect the law and to obey it willingly, to defer the authority and other citizens. Ilyin derived the concept of law from the Hegelian idea of the spirit and asserted that:


title: Ivan Ilyin

text: Legal consciousness, therefore, being “already given in embryo to each person”. Positive law, then, is a way to shape transcendental norms of law present in legal consciousness. Ilyin draws a distinction between a “correct” legal consciousness based on conservatism, morality and religion and a “formalist” legal consciousness that considers only the posited, rationalized law and, therefore, gives no clues to understanding what law is. According to Ilyin, mature legal consciousness is always rooted in Christian ethics and monarchism, the monarchy being the natural realization of the Divine providence. Monarchic legal consciousness tends to perceive the state as a family and unite the citizens with family bonds while the monarch becomes not only legal, but also spiritual ruler. His ideal was the monarch who would rule for the good of the country, would not belong to any party and would embody the union of all people, whatever their beliefs are. To serve this monarch is not an act of submission but rather of conscious and free choice of a responsible citizen. To the contrary, republican legal consciousness praises individual freedom, social climbing and disregard to authority and is eager to radical changes. People view the state not as a family, but rather as a danger which needs to be contained with checks and balances. Democratic elections, according to Ilyin, tend to elevate sneaky and evasive politicians. Ilyin repeatedly condemned the totalitarian state and emphasised the need to develop a form of pravosoznanie (‘legal consciousness’) among the population. In his 1949 article, Ilyin argued against both totalitarianism and "formal" democracy in favor of a "third way" of building a state in Russia: "Facing this creative task, appeals of foreign parties to formal democracy remain naive, light-minded and irresponsible."


title: Ivan Ilyin

text: Ilyin praised the Russian monarchy of the XIX century which he deemed consistent with his ideas and not absolute but essentially limited by religious and moral norms, and criticized Nicholas II for his abdication, eventually leading to the abolition of monarchy in Russia.


title: Ivan Ilyin

text: Paul Valliere wrote, Ilyin can certainly be exonerated of the charge that he proposed to induce virtue by force, like Tomás de Torquemada or Robespierre. He explicitly rejected this idea. He can also be exonerated of the charge of advocating holy war, although his position bears a resemblance to holy war in certain respects.


title: Ivan Ilyin

text: Ilyin elaborated these views in writings which were eventually published posthumously. The first ten chapters of ‘’ On the Essence of Legal Consciousness’’ (published in 1956) were written between 1916 and 1918 under the influence of writings of Novgorodtsev and Bogdan Kistyakovski, but it was not until after World War II when Ilyin finished it. "On Monarchy and Republic" was supposed to consist of twelve chapters but Ilyin died having written the introduction and seven chapters. It was published in 1978.


title: Ivan Ilyin

text: Drawing on historical, geographical, ethnographical, linguistic, musicological and religious studies, the Eurasianists suggested that the lands of the Russian Empire, and then of the Soviet Union, formed a natural unity, making Russia a distinct civilization, neither European nor Asian but Eurasian, according to Paul Robinson. A key feature of Eurasianism is the rejection of Russian ethnic nationalism that seeks a purely Slavic state. Aversion to democracy is an important characteristic of Eurasianism. Unlike many of the white Russians, the Eurasianists rejected all hope for a restoration of the monarchy. One of the key figures was Nikolai Trubetzkoy. Another participant was Vladimir Nikolaevich Ilyin (1890-1974), a philosopher, theologian and composer from Kyiv and not related to Ivan A. Ilyin who has been presented in the literature by various authors as belonging to the group. The first Eurasianists were mostly pacifist Émigres, and their vision of the future had features of romanticism and utopianism. The goal of the Eurasianists was the unification of the main Christian churches under the leadership of the Russian Orthodox Church.


title: Ivan Ilyin

text: In October 1925 the Eurasianists held a congress in Prague with the intention of creating a seminar. In the late 1920s, Eurasianists polarized and became divided in to two groups, the left Eurasianists, who were becoming increasingly pro-Soviet and pro-communist and the classic right Eurasianists, who remained staunchly anti-communist and anti-Soviet. The Eurasianists faded quickly from the Russian émigré community; N. Trubetzkoy and V.N. Ilyin left. For Ivan Ilyin, however, eurasianism was "mental subterfuge".


title: Ivan Ilyin

text: Ilyin’s chauvinistic views of Ukraine and Ukrainians are typical of Russian White émigrés. Ukrainian independence was anathema to him. In 1934 Ilyin stated he was "in no way sympathetic to either conversations or plans for the separation of Ukraine. In 1938, in a small, but significant article Ilyin wrote: "Little Russia and Great Russia are bound together by faith, tribe, historical destiny, geographical location, economy, culture and politics", and predicted: "History has not yet said its last word".


title: Ivan Ilyin

text: Ilyin disputed that an individual could choose their nationality any more than cells can decide whether they are part of a body. What Snyder actually said: “Social advancement was impossible because the political system, the social system, is like a body… you have a place in this body. Freedom means knowing your place.”


title: Ivan Ilyin

text: His 1928 article "On Russian Fascism" is about the fascist "method" of dealing with the Bolshevik plague. Fascism is the Italian secular variation of the white movement. The Russian white movement is "more perfect" than fascism due to its religious component.”


title: Ivan Ilyin

text: On 17 May, 1933, Ilyin published in the Paris newspaper "Vozrojdénie" an infamous article titled ""National Socialism. A New Spirit"" in support of the takeover of Germany by Nazis, in which he accused Berliner Tageblatt, the Vossische Zeitung, and the Frankfurter Zeitung of being pro-Bolshevik newspapers. (This was before the Nuremberg laws were introduced). Ilyin bitterly attacked the “Jewish bourgeois press” of Weimar Germany, which he accused of being pro-Soviet and never telling the truth about Russia.


title: Ivan Ilyin

text: When the Berlin Institute was placed under Reich Ministry of Public Enlightenment and Propaganda in October 1933 not only the Jews, but also Ilyin lost his job as head of the institute because of his refusal to incorporate Nazi propaganda into his courses. Ilyin noted the Nazi government’s assault on the civil rights of German Jews but did not regard those measures as a sufficient reason for calling the entire German fascist project into question. When he was asked to join the anti-Jewish propaganda Ilyin refrained from following it. This was followed by a ban on teaching activities. After that, he was arrested for all his printed works and completely banned from public speaking. The initial support proved to be short-lived: he had fallen victim to Émigré denunciations, which prompted the search of his house by police and subsequent interrogation. In a letter to Ivan Shmelyov, dated August 7, 1934, Ilyin wrote: "At the beginning of July, I was dismissed along with all my other compatriots from the position I had occupied for 12 years — dismissed for being Russian.


title: Ivan Ilyin

text: Ilyin initially saw Adolf Hitler as a defender of civilization from Bolshevism and approved of the way Hitler had, in his view, derived his anti-communism and antisemitism from the ideology of the Russian Whites. Ilyin looked on Mussolini and Hitler as exemplary leaders who were saving Europe by dissolving democracy. Ilyin’s admiration for early fascism, his arguments for a strong state, organically connected to the people, and his assertion that ‘at the head of the state there must be a single will’ have inevitably produced comparisons with his German counterpart Carl Schmitt.


title: Ivan Ilyin

text: Ilyin considered Nazism a positive phenomenon that with some modifications and adjustments could serve as a model for the future Russia. In 1948, Ilyin in his work "On Fascism" gives a series of justification for fascism and sums it up at the end of his work:


title: Ivan Ilyin

text: A number of Ilyin's works (including those written after the Italian and German defeats in 1945) advocated fascism. "Italian fascism expressed in its own, Roman way the things that Russia had for centuries been standing on," he wrote in 1948. A year later Roman Gul accused Ilyin of antisemitism : "I still have among the clippings your pro-Hitler article where you recommend the Russians not to look at Hitlerism "through the eyes of Jews" and sing the praises of this movement!" Ilyin would describe Nazis as those who had "walked the path of Anti-Christ."


title: Ivan Ilyin

text: According to Timothy D. Snyder, Ilyin's ideas are a hodgepodge of German idealism, psychoanalysis, Italian fascism, and Christianity. Some of his work has a rambling and commonsensical character, and it is easy to find tensions and contradictions. Attempts to identify him as ‘Putin’s philosopher’ by citing selective quotations from Ilyin are usually misleading.


title: Ivan Ilyin

text: Paul Valliere, professor of Religion, Butler University, wrote "Like Hegel, Ilyin was a statist and a monarchist, but to deny that liberal values occupied a central place in his political thought is a mistake. For the same reason, it is a mistake to call Ilyin a “fascist philosopher.” Ilyin's thought never manifested such signal features of fascism as populism, totalitarianism, racism, anti-Semitism, thuggery, or the politics of hysteria. One may criticize Ilyin severely for not recognizing the catastrophic vices of fascism from the start." After the attack on Milyukov and Nabokov in 1922 he warned Struve against the extreme Markov.


title: Ivan Ilyin

text: Paul Robinson (University of Ottawa Faculty of Social Sciences), the author of the book "Russian Conservatism", points out if you want to find a fascist Ilyin, you can. But if you want to find a liberal one, you can do that too.


title: Ivan Ilyin

text: According to Wolfgang Eilenberger, the author of ""Time of the Magicians: The Great Decade of Philosophy, 1919-1929"" at least three contemporary philosophers didn't believe in parliamentary democracy during the Weimar Republic:


title: Ivan Ilyin

text: The Ilyins had no children and in 1954 Ilyin expressed the hope that his books would be saved from destruction. Following the death of Ilyin's wife in 1963, Ilyin scholar Nikolai Poltoratzky had Ilyin's manuscripts and papers brought from Zurich to Michigan State University, where he was a professor of Russian language. 1. The Archive would not be sold to nor bestowed upon Michigan State University, but would be provided to the University for temporary use;


title: Ivan Ilyin

text: 2. After the liquidation of the Communist regime in Russia, the Archive should be transferred to Moscow University.


title: Ivan Ilyin

text: In the USSR, Ilyin was hardly mentioned openly, but his works began to be published in 1988 during glasnost. Sometimes his name is surprisingly absent from descriptions of events of which Ilyin was an active participant, or his role is not considered in enough detail.


title: Ivan Ilyin

text: In Russia’s political culture today, Ilyin enjoys popularity among nationalists and authoritarians who admire his emphatic patriotism and his calls for strong state power in Russia. Ilyin's views influenced Aleksandr Solzhenitsyn and Aleksandr Dugin, facing the dissolution of the Soviet Union. Brilliant analyses and forecasts of Ilyin made some of the Russian scientists think that it was necessary to research the methodological basis of Ilyin's analyses and his curriculum vitae. As of 2005, 23 volumes of Ilyin's collected works have been published in Russia.


title: Ivan Ilyin

text: The Russian filmmaker Nikita Mikhalkov, in particular, was instrumental in propagating Ilyin's ideas in post-Soviet Russia. He authored several articles about Ilyin and came up with the idea of transferring his remains from Switzerland to the Donskoy Monastery in Moscow, where the philosopher had dreamed to find his last retreat. The ceremony of reburial, also of Anton Denikin, a general whose slogan was ‘Russia, One and Indivisible’ was held on 3 October 2005. The Russian Cultural Foundation, founded by Raisa Gorbacheva and affiliated with the Russian Ministry of Culture, formally requested that the papers be returned to Russia. In May 2006, and with the financial help of Viktor Vekselberg the MSU transferred Ilyin's papers and books to the Scientific Library of the Lomonosov Moscow State University. In 2007 the CIA published a work on him. In April 2008, a memorial plaque of the graduate and teacher was installed on the oldest building of the Moscow State University at Mokhovaya Street. In June 2012, a monument - cast from meteorite iron - was unveiled in Yekaterinburg.


title: Ivan Ilyin

text: Ilyin has been quoted by Russian President Vladimir Putin in his speeches on various occasions, and is considered by some observers to be a major ideological inspiration for Putin. Putin decreed moving Ilyin's remains back to Russia, and in 2009 consecrated his grave. At Russian New Year 2014, all high-ranking bureaucrats and local government officials were sent a copy of "Our Tasks", a work by Nikolai Berdyaev and Vladimir Solovyov. He was quoted or mentioned by Dmitry Medvedev, Sergey Lavrov, Patriarch Kirill of Moscow, Vladislav Surkov, and Vladimir Ustinov. On 30 September 2022, Putin gave a speech on the Russian annexation of four territories in Ukraine, where he quoted Ilyin.


title: OLM, Inc.

text: , formerly Oriental Light and Magic, is a Japanese animation and film studio headquartered in Setagaya, Tokyo, Japan, founded on October 3, 1990.


title: OLM, Inc.

text: OLM was founded as Oriental Light & Magic, Inc. on October 3rd, 1990 by Toshiaki Okuno, Shūkichi Kanda, Shōji Ōta, Kunihiko Yuyama, Naohito Takahashi, Yuriko Chiba, Nobuyuki Wasaki, Tsukasa Koitabashi, and Takaya Mizutani, all of which were formerly affiliated with Studio Gallop or OB Planning Co., Ltd. Their name is derived from the American special effects studio Industrial Light & Magic.


title: OLM, Inc.

text: In 1995, OLM representative director Toshiaki Okuno founded OLM Digital, which became the main CG work company behind a majority of OLM's works. Toshiaki Okuno stands as both companies' representative director.


title: OLM, Inc.

text: Similar to other anime studios, OLM is separated into distinct production teams that are responsible for certain series or franchises. They are unique in the regard that they are distinctly credited in productions.


title: Duke of Normandy

text: In the Middle Ages, the duke of Normandy was the ruler of the Duchy of Normandy in north-western France. The duchy arose out of a grant of land to the Viking leader Rollo by the French king Charles III in 911. In 924 and again in 933, Normandy was expanded by royal grant. Rollo's male-line descendants continued to rule it until 1135. In 1202 the French king Philip II declared Normandy a forfeited fief and by 1204 his army had conquered it. It remained a French royal province thereafter, still called the Duchy of Normandy, but only occasionally granted to a duke of the royal house as an apanage.


title: Duke of Normandy

text: Despite both the 13th century loss of mainland Normandy, and the extinction of the duchy itself in modern-day, republican France, in the Channel Islands the monarch of the United Kingdom is regardless still referred to by the title "Duke of Normandy". This is the title used whether the monarch is a king or a queen.


title: Duke of Normandy

text: There is no record of Rollo holding or using any title. His son and grandson, Duke William I and Duke Richard I, used the titles "count" (Latin "comes" or "consul") and "prince" ("princeps"). Prior to 1066, the most common title of the ruler of Normandy was "Count of Normandy" ("comes Normanniae") or "Count of the Normans" ("comes Normannorum"). The title Count of Rouen ("comes Rotomagensis") was never used in any official document, but it was used of William I and his son by the anonymous author of a lament ("planctus") on his death. Defying Norman pretensions to the ducal title, Adhemar of Chabannes was still referring to the Norman ruler as "Count of Rouen" as late as the 1020s. In the 12th century, the Icelandic historian Ari Thorgilsson in his "Landnámabók" referred to Rollo as "Ruðu jarl" (earl of Rouen), the only attested form in Old Norse, although too late to be evidence for 10th-century practice. The late 11th-century Norman historian William of Poitiers used the title "Count of Rouen" for the Norman rulers down to Richard II. Although references to the Norman rulers as counts of Rouen are relatively sparse and confined to narrative sources, there is a lack of documentary evidence about Norman titles before the late 10th century.


title: Duke of Normandy

text: The first recorded use of the title duke ("dux") is in an act in favour of the Abbey of Fécamp in 1006 by Richard II, Duke of Normandy. Earlier, the writer Richer of Reims had called Richard I a "dux pyratorum", but which only means "leader of pirates" and was not a title. During the reign of Richard II, the French king's chancery began to call the Norman ruler "Duke of the Normans" ("dux Normannorum") for the first time. As late as the reign of Duke William II (1035–87), the ruler of Normandy could style himself "prince and duke, count of Normandy" as if unsure what his title should be. The literal Latin equivalent of "Duke of Normandy", "dux Normanniae", was in use by 1066, but it did not supplant "dux Normannorum" until the Angevin period (1144–1204), at a time when Norman identity was fading.


title: Duke of Normandy

text: Richard I experimented with the title "marquis" ("marchio") as early as 966, when it was also used in a diploma of King Lothair. Richard II occasionally used it, but he seems to have preferred the title duke. It is his preference for the ducal title in his own charters that has led historians to believe that it was the chosen title of the Norman rulers. Certainly it was not granted to them by the French king. In the twelfth century, the Abbey of Fécamp spread the legend that it had been granted to Richard II by Pope Benedict VIII (ruled 1012–24). The French chancery did not regularly employ it until after 1204, when the duchy had been seized by the crown and Normandy lost its autonomy and its native rulers.


title: Duke of Normandy

text: The actual reason for the adoption of a higher title than that of count was that the rulers of Normandy began to grant the comital title to members of their own family. The creation of Norman counts subject to the ruler of Normandy necessitated the latter taking a higher title. The same process was at work in other principalities of France in the eleventh century, as the comital title came into wider use and thus depreciated. The Normans nevertheless kept the title of count for the ducal family and no non-family member was granted a county until Helias of Saint-Saens was made Count of Arques by Henry I in 1106.


title: Duke of Normandy

text: From 1066, when William II conquered England, becoming King William I, the title Duke of Normandy was often held by the King of England. In 1087, William died and the title passed to his eldest son, Robert Curthose, while his second surviving son, William Rufus, inherited England. In 1096, Robert mortgaged Normandy to William, who was succeeded by another brother, Henry I, in 1100. In 1106, Henry conquered Normandy. It remained with the King of England down to 1144, when, during the civil war known as the Anarchy, it was conquered by Geoffrey Plantagenet, the Count of Anjou. Geoffrey's son, Henry II, inherited Normandy (1150) and then England (1154), reuniting the two titles. In 1202, King Philip II of France, as feudal suzerain, declared Normandy forfeit and by 1204 his armies had conquered it. Henry III finally renounced the English claim in the Treaty of Paris (1259).


title: Duke of Normandy

text: Thereafter, the duchy formed an integral part of the French royal demesne. The kings of the House of Valois started a tradition of granting the title to their heirs apparent. The title was granted four times (1332, 1350, 1465, 1785) between the French conquest of Normandy and the dissolution of the French monarchy in 1792. The French Revolution brought an end to the Duchy of Normandy as a political entity, by then a province of France, and it was replaced by several "départements".


title: Duke of Normandy

text: In 1204, the King of France confiscated the Duchy of Normandy (with only the Channel Islands remaining under English control) and subsumed it into the crown lands of France. Thereafter, the ducal title was held by several French princes.


title: Duke of Normandy

text: In 1332, King Philip VI gave the Duchy in appanage to his son John, who became king John II of France in 1350. He in turn gave the Duchy in appanage to his son Charles, who became king Charles V of France in 1364. In 1465, Louis XI, under constraint, gave the Duchy to his brother Charles de Valois, Duke of Berry. Charles was unable to hold the Duchy and in 1466 it was again subsumed into the crown lands and remained a permanent part of them. The title was conferred on a few junior members of the French royal family before the abolition of the French monarchy in 1792.


title: Duke of Normandy

text: In the Channel Islands, the British monarch is known as the "Duke of Normandy", irrespective of whether or not the holder is male (as in the case of Queen Elizabeth II who was known by this title). The Channel Islands are the last remaining part of the former Duchy of Normandy to remain under the rule of the British monarch. Although the English monarchy relinquished claims to continental Normandy and other French claims in 1259 (in the Treaty of Paris), the Channel Islands (except for Chausey under French sovereignty) remain Crown dependencies of the British throne. The British historian Ben Pimlott noted that while Queen Elizabeth II was on a visit to mainland Normandy in May 1967, French locals began to doff their hats and shout "Vive la Duchesse!", to which the Queen supposedly replied "Well, I "am" the Duke of Normandy!" Both Channel Islands legislatures refer to the current monarch Charles III in writing as "The King in the right of Jersey" or "The King in the right of Guernsey" respectively. However, the King is referred to as "The Duke of Normandy", the title used by the islanders, especially during their loyal toast, where they say, "The Duke of Normandy, our King", or "The King, our Duke", ""L'Rouai, nouotre Duc"" or ""L'Roué, note Du"" in Norman (Jèrriais and Guernésiais respectively), or ""Le Roi, notre Duc"" in Standard French, rather than simply "The King", as is the practice in the United Kingdom.


title: Duke of Normandy

text: A statue of the first seven dukes was erected in Falaise in Normandy in the 19th century. It depicts William the Conqueror, the Duke of Normandy and later King of England, on a horse, and is surrounded by statues of his six predecessors.


title: Sustainable agriculture

text: Sustainable agriculture is farming in sustainable ways meeting society's present food and textile needs, without compromising the ability for current or future generations to meet their needs. It can be based on an understanding of ecosystem services. There are many methods to increase the sustainability of agriculture. When developing agriculture within sustainable food systems, it is important to develop flexible business process and farming practices. Agriculture has an enormous environmental footprint, playing a significant role in causing climate change (food systems are responsible for one third of the anthropogenic GHG emissions), water scarcity, water pollution, land degradation, deforestation and other processes; it is simultaneously causing environmental changes and being impacted by these changes. Sustainable agriculture consists of environment friendly methods of farming that allow the production of crops or livestock without damage to human or natural systems. It involves preventing adverse effects to soil, water, biodiversity, surrounding or downstream resources—as well as to those working or living on the farm or in neighboring areas. Elements of sustainable agriculture can include permaculture, agroforestry, mixed farming, multiple cropping, and crop rotation.