title: Hudson Hornet

text: For the 1954 model year, the Hornet underwent a major square-lined redesign and to match the look of the compact Hudson Jet that was introduced in 1953. This entailed extensive retooling because of the way the step-down frame wrapped around the passenger compartment. The front had a simpler grille that complemented the now-functional hood scoop and a new one-piece curved windshield, while the sides gained period-typical fender chrome accents, and the formerly sloped rear end was squared off. The front to rear fender line was styled to make the car look longer and taillamps were also redesigned. The interior was also updated with a new dash and instrument cluster that were surprisingly modern. An example is a Hornet owner writing for "Popular Mechanics" in 1999, noting that "the car's unique, low slung appearance and silky handling earned Hudson an image that — for many buyers — eclipsed luxury marques like Cadillac."


title: Hudson Hornet

text: There was no V8 engine available, but the six-cylinder was standard in Hornets and produced , the racing-inspired "Twin-H-Power" (dual carburetor) option was popular, and a 7-X version of the engine was offered as a factory option, producing over using a high compression head, special camshaft, and other "severe usage" parts designed for racing. The engine produced high torque at low RPMs and had a fairly flat torque curve, which helped the Hornet beat V8s from other makes whose power advantage came only at much higher rpm. The engine was more powerful compared to the contemporary low-priced competition (the Chevrolet I6 and Ford V8) and was close to the V8 engines offered by the medium-priced competition (Oldsmobile and Buick). The Hornet's performance delivered up to and "quasi-thrifty" fuel economy.


title: Hudson Hornet

text: Although the Hornet's redesign put it on par with its contemporaries in terms of looks and style, it came too late to boost sales. The news that Hudson was in financial difficulties and had been essentially taken over by Nash-Kelvinator to form American Motors Corporation during the 1954 model year was known by the car-buying public.


title: Hudson Hornet

text: The updated Hornet Brougham convertible, the only open top body design available from Hudson, was attractive but considered overpriced at $3,288 for a six-cylinder car in 1954. These top line model included hydraulic window lifts and leather upholstery in blue, maroon, or green with the fabrics tops available in maroon, black, or tan. A total of 540 convertibles were built.


title: Hudson Hornet

text: Hudson's Board of Directors approved a merger with Nash-Kelvinator on 14 January 1954, and ratified by shareholders on 24 March 1954, with the new American Motors Corporation formed on 1 May 1954. Further production of Hudson cars was to be in Nash's Kenosha, Wisconsin, with the last Detroit-built Hudson was built on 30 October 1954.


title: Hudson Hornet

text: A 1954 Hornet two-door hardtop was customized by Harold Du Charme of Grosse Pointe, Michigan, who was a large stockholder in the automaker. He did not like the redesign of the car and proposed changes to improve Hudson's flagging sales. Changes included a top chopping and channeling the midsection as well as repositioned headlamps in an egg-crate grille, twin hood scoops, extended rear fenders with Lincoln taillights, and a continental kit.


title: Hudson Hornet

text: Hudson was the first automobile manufacturer to get involved in stock car racing. The Hornet "dominated stock car racing in the early-1950s, when stock car racers actually raced stock cars."


title: Hudson Hornet

text: During 1952, Marshall Teague finished the 1952 AAA season with a 1000-point lead over his closest rival, winning 12 of the 13 scheduled events. Hornets driven by NASCAR aces Herb Thomas, Dick Rathmann, Al Keller, Frank Mundy, and Tim Flock won 27 NASCAR races driving for the Hudson team.


title: Hudson Hornet

text: In the AAA racing circuit, Teague drove a stock Hornet that he called the Fabulous Hudson Hornet to 14 wins during the season. This brought the Hornet's season record to 40 wins in 48 events, a winning percentage of 83%.


title: Hudson Hornet

text: Overall, Hudson won 27 of the 34 NASCAR Grand National races in 1952, followed by 22 wins of 37 in 1953, and capturing 17 of the 37 races in 1954 — "an incredible accomplishment, especially from a car that had some legitimate luxury credentials."


title: Hudson Hornet

text: The original Fabulous Hudson Hornet can be found today fully restored in Ypsilanti, Michigan at the Ypsilanti Automotive Heritage Museum, a facility that was formerly home to Miller Motors, the last Hudson dealership in the world.


title: Hudson Hornet

text: In its final three model years, the Hornet became a product of the newly-formed American Motors Corporation (AMC). Following the 1954 merger of the Hudson Motor Car Company and Nash-Kelvinator, Hudson's Detroit manufacturing facility was closed and the production of Hudson models was shifted to Nash's Wisconsin factory. No longer built on the "Step-down" platform, all Hudsons were now based on the senior Nash models, but featuring distinctive Hudson styling themes.


title: Hudson Hornet

text: The 1955 Hudson senior models were built on the Nash platform with styling themes by Pinin Farina, Edmund Anderson, and Frank Spring. The cars featured a front end that was originally designed by Spring and the Hudson stylists for an updated 1955 version of the 1954 Hudson "Step-Down" platform.


title: Hudson Hornet

text: The new models were delayed to a January 1955 introduction, "as American Motors engineers work out the problem of making two completely different looking automobiles with identical body shells."


title: Hudson Hornet

text: As the first entirely new car from American Motors, the 1955 Hudson emerged conservatively styled compared to the competition. The 1955 Hornet was the cleanest model with a broad egg-crate grille and distinctive two-toning. Sedan and hardtop body styles were offered, but the coupe and convertible were no longer available. The 1955 Hornets shared the styling with the new Wasps, but featured a longer wheelbase.


title: Hudson Hornet

text: The straight-six engine continued in or versions. For the first time, the Hornet could be ordered with a Packard-built V8 engine producing and Packard's Ultramatic automatic transmission. The rear suspension now incorporated a torque tube system for the driveshaft and coil spring rear suspension along with front springs that are twice as long as most other cars.


title: Hudson Hornet

text: Along with Nash, the new Hudsons had the widest front seats in the industry. Two trim levels were available, Super and Custom, with the Custom series including a continental tire carrier, a "table-like" center armrest for the rear seat, a padded dashboard, transparent sun visors, and an over the windshield interior package net.


title: Hudson Hornet

text: The Weather Eye heating and ventilation with an optional air conditioning system were highly rated in terms of efficiency. The integrated placement of major air conditioning systems under the hood and the price of only $395 (about half the cost as on other cars) also won praise. Automotive journalist Floyd Clymer rated the Hudson Hornet as the safest car built in the United States because of (1) the single unit welded body, (2) high-quality braking system with an added mechanical backup system, (3) roadability, general handling, and maneuverability; as well as (4) excellent acceleration and power for emergency situations.


title: Hudson Hornet

text: Marketing efforts included incentives such as "Dealer Volume Investment Fund" and "Sun Valley Sweepstakes" for salesmen as well as a contest for the public with new cars and trips to Disneyland as prizes. Production for the 1955 model year totaled 10,010 four-door sedans and 3,324 Hollywood two-door hardtops.


title: Hudson Hornet

text: For the 1956 model year, AMC executives decided to give the Hornet more character and the design for the vehicles was given over to designer Richard Arbib, who provided the Hornet and Wasp with one of the more distinctive looks in the 1950s which he called "V-Line Styling". Taking the traditional Hudson tri-angle, Arbib applied its "V" form in every conceivable manner across the interior and exterior of the car. Combined with tri-tone paint combinations, the Hudson's look was unique and immediately noticeable.


title: Hudson Hornet

text: The legendary straight-six engine, with and without Twin-H Power, was offered and gained for 1956. However, Packard's V8 engine was available only during the first half of 1956. At mid-model year Hornet Special was introduced featuring a lower price and AMC's new V8 engine. The Hornet Special models were built on a shorter and slightly lighter Statesman/Wasp four-door sedan and two-door hardtop platform with Hornet trim.


title: Hudson Hornet

text: The 1956 design failed to excite buyers and Hudson Hornet sales decreased to 8,152 units, of which 6,512 were four-door sedans and 1,640 Hollywood two-door hardtops.


title: Hudson Hornet

text: In 1957, the historic Hudson name came only in a Hornet version in "Super" and "Custom" series, and was available as a four-door sedan or a two-door "Hollywood" hardtop. For the second year, the V-Line styling featured an enormous egg-crate grille, creases and chrome strips on the sides, and five tri-tone schemes for the Custom models. There was more ornamentation to the cars, including fender "finettes" atop the rounded rear quarter panels for 1957, as well as very unusual twin-fin trim on top of both front fenders.


title: Hudson Hornet

text: The price was reduced and the power was increased by way of AMC's new V8 that was rated at with a four-barrel carburetor and dual exhausts.


title: Hudson Hornet

text: Prompted by Automobile Manufacturer Association ban on factory-supported racing beginning in 1957, production of Hudson Hornet ended on 25 June 1957, at which time the Hudson brand name with its racing heritage was discontinued and all American Motors Corporation automobiles were then marketed as being made by "Rambler" Division. Total production of 1957 Hornets was 4,108, split between 3,359 sedans and 749 Hollywood Hardtops.


title: Hudson Hornet

text: The Hudson Hornet was sold in foreign markets, either exported as complete cars or locally-built from knock-down kits.


title: Hudson Hornet

text: Canadian assembly of Hudson vehicles commenced in 1932 by Hudson Motors of Canada in Tilbury, Ontario. World War II interrupted operations and production ceased in 1941. Post-war operations resumed in 1950, with Hudsons being assembled by CHATCO Steel Products in Tilbury, Ontario. Operations in Tilbury ceased permanently in 1954 following the formation of American Motors Corporation. As a result of the merger, Toronto-based Nash Motors of Canada Ltd. became American Motors (Canada) Ltd. and all subsequent Hudson, Nash, and Rambler assembly operations continued in Toronto.


title: Hudson Hornet

text: Hudson vehicles were imported into New Zealand from 1912 and eventually locally assembled from knock-down kits from 1919.


title: Hudson Hornet

text: From 1935, Hudson and other marques were assembled by Christchurch company Motor Assemblies Limited. Production ended when the company was acquired by Standard-Triumph International in 1954. From 1954 the Hudson Hornet was built in New Zealand by Auckland company VW Motors as a secondary line to the Volkswagens they assembled. AMC's subsequent Rambler models were assembled thereafter at VW Motors' new plant in Otahuhu, Auckland from 1958 until 1962. AMC formed an agreement in 1963 with Campbell Motor Industries (CMI) of Thames to assemble Ramblers, production of which ran from 1964 until 1971.


title: Hudson Hornet

text: Hudson vehicles were assembled in South Africa beginning in the 1920s by Stanley Motors at their plant, National Motor Assemblers (NMA), in Natalspruit (Gauteng). The Hudson Hornet was assembled in right-hand-drive from knock-down kits sourced from Canada. After the Hudson and Nash merger, NMA continued to assemble AMC's new Ramblers until 1967, although the 1957 Rambler was instead marketed in South Africa as the "Hudson 108."


title: Hudson Hornet

text: Hudsons were introduced to the United Kingdom in 1911 and eventually a factory was built where Hudson (and Essex) vehicles were locally assembled from 1927. The British company was renamed Hudson Motors Ltd. in 1932.


title: Hudson Hornet

text: The Hudson Hornet was assembled in right-hand-drive for the U.K market and other European countries. Following the demise of the Hudson marque, the British company was renamed Rambler Motors (A.M.C.) Limited in 1966 and continued to import AMC vehicles through the 1970s.


title: Hudson Hornet

text: The 1951 Hudson Hornet was selected as the "Car of the Year" in a book profiling seventy-five years of noteworthy automobiles by automotive journalist Henry Bolles Lent.


title: Hudson Hornet

text: For the 1970 model year, American Motors resurrected the Hornet name for their new compact car that replaced the Rambler American (see AMC Hornet).


title: Hudson Hornet

text: The Disney Pixar film "Cars" and several spin-off video games featured a Fabulous Hudson Hornet named Doc Hudson, a retired Piston Cup champion voiced by Paul Newman, who was an avid auto-racing enthusiast. The Piston Cup is the film franchise's version of the Winston Cup Series, which changed names several times since its inception.


title: Hudson Hornet

text: The Hudson Hornet was featured in the video games , Forza Horizon 4, and Forza Motorsport 4 as a part of the July Car Pack.


title: Hudson Hornet

text: First-generation Hudson Hornets are legendary for their NASCAR racing history and Jay Leno lists the 1951-1954 models as one of the "top ten of America's most collectible cars". "One of the great postwar landmarks - a true champion" gives it a big edge in collector appeal. Richard M. Langworth describes the first-generation Hornets in his book "Complete Book of Collectible Cars: 70 Years of Blue Chip Auto Investments" as "the most remembered Hudson of the postwar years, one of the industry's all-time greats." For example, prices on the Club Coupes, the body style used by the winning NASCAR drivers, have greatly appreciated in the last several years where several nicely restored examples have broken the $75K barrier in several cases. The convertible versions have also increased in value with a restored 1953 bringing $150,000 in 2013.


title: The Ward (film)

text: The Ward (titled onscreen as John Carpenter's The Ward) is a 2010 American supernatural psychological horror film directed by John Carpenter and starring Amber Heard, Mamie Gummer, Danielle Panabaker, Laura-Leigh, Lyndsy Fonseca and Jared Harris. Set in 1966, the film chronicles a young woman who is institutionalized after setting fire to a house, and who finds herself haunted by the ghost of a former inmate at the psychiatric ward. As of 2022, this is Carpenter's most recent film as a director.


title: The Ward (film)

text: In rural Oregon, at the Coos Bay Psychiatric Hospital in 1966, a young patient named Tammy is killed by an unseen force at night.


title: The Ward (film)

text: Kristen (Amber Heard), a troubled young woman, sets fire to an abandoned farmhouse and is arrested. The local police take her to Coos Bay, where she meets the other patients in the ward: artistic Iris (Lyndsy Fonseca), seductive Sarah (Danielle Panabaker), wild Emily (Mamie Gummer), and child-like Zoey (Laura-Leigh). Kristen is taken to a room previously occupied by their friend, Tammy, and meets therapist, Dr. Stringer (Jared Harris). She reveals that she is unable to recall anything about her past. She is attacked by a horribly deformed figure that had been staring at her earlier, but upon telling the nurse this, she is drugged and put through intense electroshock therapy.


title: The Ward (film)

text: Dr. Stringer uses hypnotherapy to unlock Iris's hidden memories. After the session, Iris is killed by transorbital lobotomy by the deformed figure. Kristen finds Iris' sketch of her attacker with the name 'Alice Hudson', a former patient at the hospital. That night, Kristen and Emily attempt to find Iris and escape. However, Kristen is thwarted by Alice, and loses consciousness while Emily is caught.


title: The Ward (film)

text: Sarah is killed by Alice. Kristen discovers that all of the girls had killed Alice together because Alice constantly hurt them. Now she is after the girls for revenge. Kristen tries to talk Emily down from attempting suicide but Alice kills her by slitting her throat with a scalpel. Kristen plans to escape again by holding Zoey as a pretend hostage but is drugged and placed in a straitjacket. She escapes it and she and Zoey try to get out. Zoey is killed by Alice off-screen. After a lengthy chase, Kristen seemingly manages to destroy Alice. She finds Alice's file in Dr. Stringer's office, which has each of the girls' names, including Kristen herself.


title: The Ward (film)

text: Dr. Stringer, catching her in his office, reveals that Kristen is actually one of many personalities of the real Alice Hudson, who was kidnapped at age eleven, eight years earlier, and left chained for two months in the basement of the same farmhouse Kristen burned down. In order to survive the trauma, she developed multiple personality disorder, creating each one of the girls from the ward as a different personality. Over time, Alice's own personality became so overwhelmed by the others that she became lost. Dr. Stringer attempted experimental techniques to bring Alice's own personality back, resulting in the manifestation of Ghost Alice, who destroyed the individual personalities one by one. Her treatments were working until 'Kristen' appeared, as an attempt of Alice's mind to protect the other personalities so she wouldn't need to face her trauma.


title: The Ward (film)

text: At the end of the movie, Alice packs a suitcase with her belonging as she prepares to leave the hospital. When she opens the medicine cabinet above her sink, Kristen lunges out at her.


title: The Ward (film)

text: The film marks a return for Carpenter after a ten-year hiatus of not making any films; his last was the 2001 film "Ghosts of Mars". According to Carpenter, "I was burned out...I had fallen out of love with cinematic storytelling". Despite this, in the meantime he had done two episodes for the anthology TV show "Masters of Horror". Carpenter said that the series reminded him of why he fell in love with the craft in the first place. Carpenter said that the script "came along at the right time for me", and he was particularly fascinated by how the film took place within a single location.


title: The Ward (film)

text: The film was shot on location in Spokane, Washington, and at the Eastern State Hospital in Medical Lake, Washington. The film was shot at a real operating mental hospital, and the crew was caged in to prevent patients from intervening.


title: The Ward (film)

text: The first footage revealed from the film was on French channel Canal+. The film premiered on September 13 at the 2010 Toronto International Film Festival. "The Ward" was released in the UK on January 21, 2011. After its debut in a handful of film festivals in late 2010, "The Ward" was released in a few US theatres on July 8, 2011, where it grossed $7,760. The worldwide gross was $5.3 million. It was released on DVD and Blu-ray Disc in the US on August 16, 2011, and in the UK on October 17, 2011.


title: The Ward (film)

text: "The Ward" received generally negative reviews. Rotten Tomatoes, a review aggregator, reports that 33% of 72 surveyed critics gave the film a positive review; the average rating is 4.50/10. The site's consensus states: "Lacking the hallmarks of his best work, "The Ward" proves to be a disappointingly mundane swan song for director John Carpenter." Metacritic rated it 38/100 based on 18 reviews.


title: The Ward (film)

text: Dennis Harvey of "Variety" wrote, "As usual Carpenter uses the widescreen frame with aplomb, but pic suffers from too little character detailing (even if a late twist explains that), rote scares, and emphasis on a hectic pace over atmosphere." Michael Rechtshaffen of "The Hollywood Reporter" called it "an atmospheric supernatural thriller that has been stripped of the filmmaker's later excesses". Tim Grierson of "Screen International" wrote, "Tight as a drum and plenty of fun, John Carpenter's first film in nine years is hardly a groundbreaker, but when the execution is this expert, why complain?" "Film Journal International" wrote, "Genre veteran John Carpenter's sleekly professional ghost story is well-acted and directed but sadly derivative. Horror fans have seen it all before."" The Guardian"'s Phelim O'Neill also considered the film to be unoriginal, but nevertheless "a well-made film, with some finely crafted shocks"


title: The Ward (film)

text: Jeannette Catsoulis of "The New York Times" wrote that the film "continues the painful decline of a director who seems more nostalgic for past glories than excited about new ideas". Robert Abele of the "Los Angeles Times" wrote that the film "feels like a foot-wetting exercise rather than a full-bodied romp in familiar waters". Owen Gleiberman of "Entertainment Weekly" rated it B− and wrote, "While he does bring his trademark craftsmanship to this snake-pit mental-asylum thriller, the picture has too many old-movie bits rattling around in it." Adam Nayman of "Fangoria" wrote, "The problem with "The Ward" is not so much its lack of style as the fact that the director doesn't seem to have much interest in the material". David Harley of Bloody Disgusting rated it 1/5 stars and wrote, "If someone other than Carpenter had been at the helm of "The Ward", then no one would be talking about it." Serena Whitney of Dread Central rated it 3.5/5 stars and wrote, ""John Carpenter's The Ward" is a mediocre thriller that lacks any true original scares and blatantly rips off a twist ending from a far better film."


title: Mylène Farmer

text: Mylène Jeanne Gautier (; born 12 September 1961), known professionally as Mylène Farmer (), is a Canadian-born French singer, songwriter, occasional actress, writer, and entrepreneur. Having sold more than 30 million records in France, she is among the most successful recording artists of all time in that country. She holds the record for the most number one hit singles in the French charts, with twenty-one to date – eight of which were consecutive.


title: Mylène Farmer

text: Born in Pierrefonds, Quebec, Canada (a former city now part of the Montreal borough of Pierrefonds-Roxboro), to French parents, the family soon relocated to Chaville, near Paris, where Farmer pursued a career in modelling and acting. She later gained prominence as a recording artist with the release of her debut single "Maman a tort" in 1984. In 1988, she released her second studio album, "Ainsi soit je...", which sold 1.5 million copies in France. The album spawned Farmer's first number one on the French singles chart, "Pourvu qu'elles soient douces". Her third studio album, "L'Autre...", sold two million copies, becoming Farmer's best-selling album to date. Its lead single, "Désenchantée", became Farmer's most successful single, and is often described as her signature song.


title: Mylène Farmer

text: Departing from the synth-pop and Europop soundscape of her first albums, Farmer reinvented her musical style with the release of her fourth studio album, "Anamorphosée", in 1995. Recorded in the United States, the album features more live instrumentation and shows rock and R&B-oriented influences. Her fifth studio album, "Innamoramento", was released in 1999, featuring more techno influences. In the second part of the 2000s, Farmer continued exploring a range of genres on her albums, namely acoustic pop music on "Avant que l'ombre..." and electronica on "Point de suture".


title: Mylène Farmer

text: In 2010, Farmer released her eighth studio album, "Bleu noir". The album marked Farmer's return to the dark synth-pop and Europop production of her first albums. The lead single, "Oui mais... non", sold over 170.000 copies in France. In 2015, Farmer's tenth studio album, "Interstellaires", debuted at number one in France; the album was preceded by the lead single "Stolen Car", a duet with Sting, which reached the number one position on the French singles chart in September 2015. Her eleventh studio album, "Désobéissance", was released in 2018, debuting at number one and selling over 265.000 copies.


title: Mylène Farmer

text: In addition to her music career, Farmer also worked as a songwriter for French singer Alizée, while also being responsible for her image and public appearances. Her debut single, "Moi... Lolita", written by Farmer, reached number one in several countries in Europe, and peaked at number nine on the UK Singles Chart in February 2002. Farmer made her film debut in 1994, starring in "Giorgino", and in 2018, she starred in the English-language horror film "Ghostland".


title: Mylène Farmer

text: Throughout her career, Farmer has broken a number of records. She is the best-selling French singer since 1984, has a record number of diamond records, and she is the only artist to have obtained a diamond album in four consecutive decades. Selling over two million copies, her 2001 greatest hits album "Les Mots" is the highest-selling compilation album by a French recording artist.


title: Mylène Farmer

text: Mylène Jeanne Gautier was born 12 September 1961 in Pierrefonds, Quebec, Canada (a former city now part of the present-day Montreal borough of Pierrefonds-Roxboro). Her father, Max Gautier was a dam engineer; her mother, Marguerite (née Martin) was a homemaker. The family moved from France in the late 1950s due to her father's work responsibilities. Her family moved back to France when Farmer was eight, settling in the Parisian banlieue of Chaville. When she first arrived in France, she took speech classes after her school declared her Québécois accent to be "improper". At the age of 17, Farmer discovered acting and undertook a three-year course at the Cours Florent, a drama school in Paris. Changing her name to Mylène Farmer as a tribute to her idol, 1930s Hollywood actress Frances Farmer, she began to earn a living as a model acting in several TV adverts, such as those for IKEA, Fiskars and Caisse d'Epargne. Farmer also appeared in a local stage production of "Le père Noël est une ordure".


title: Mylène Farmer

text: In 1984, Farmer met Laurent Boutonnat, a young film student, after answering a newspaper advert for an actress for a small film project he was working on. Farmer and Boutonnat became friends and forged a creative partnership, writing and producing the music. Boutonnat, whose ambition was to become a film director, became the creative force behind Farmer's videos. In 1984, Farmer recorded and released the song "Maman a tort", written by Boutonnat and Jérôme Dahan. The trio continued to work together on what would become Farmer's first studio album.


title: Mylène Farmer

text: Farmer's debut studio album, "Cendres de lune", was released in 1986. During the recording process, it was decided that Farmer would write lyrics and Boutonnat would write music and direct the music videos. "Libertine" was released as the lead single of the album, accompanied by a music video in the style of a short film, inspired by 19th century literature.


title: Mylène Farmer

text: In 1988, Boutonnat and Farmer started work on her sophomore album, "Ainsi soit je...". The album sold 1.5 million copies in France and spawned Farmer's first number one on the French singles chart, "Pourvu qu'elles soient douces". The album also features the songs "Sans contrefaçon" and the Juliette Gréco cover "Déshabillez-moi". "Ainsi soit je..." was the best-selling female album of the 1980s in France.


title: Mylène Farmer

text: Following the positive response to small-scale concerts at the Palais de Sport, Farmer agreed to embark on a 50-date tour throughout francophone Europe in 1989. The tour saw Farmer play in arenas and featured dancers and outfits designed by French fashion designer Thierry Mugler. A live album documenting the tour was released at the end of that year, titled "En Concert".


title: Mylène Farmer

text: Farmer released the song "Désenchantée" in March 1991. An uptempo pop song, "Désenchantée" talks about a disillusioned generation. The song was preceded by a number of demonstrations in Paris, led by high-school students, who were "protest[ing] against overcrowded classrooms, inadequate security and too few teachers". The song ended up spending nine weeks atop the French singles chart, becoming Farmer's most successful single to date and her signature song. The song was also successful in Belgium, where it spent six weeks at number one, and it was a top ten hit in several European countries. Its accompanying music video, shot in Budapest, sees Farmer play a rebelling prisoner in a concentration camp.


title: Mylène Farmer

text: Led by the success of "Désenchantée", "L'autre..." was released in April 1991. The album spent twenty consecutive weeks on top of the French album charts, becoming Farmer's best-selling studio album to date with two million copies sold. The album also charted in Switzerland, Sweden and Germany. To further promote the album, the singles "Regrets", "Je t'aime mélancolie" and "Beyond My Control" were released.


title: Mylène Farmer

text: 1992 saw the release of the remix compilation "Dance Remixes". It was led by the single "Que mon cœur lâche", which deals with the topic of AIDS and sexual relations. It was accompanied by a video directed by Luc Besson, in which Farmer plays an angel sent down to earth by God to report on the changing ways people experience love.


title: Mylène Farmer

text: In 1994, Farmer starred in the film "Giorgino", written and directed by Boutonnat. The film received mixed-to-negative reviews from critics and was a box-office bomb. Following this, Farmer relocated to Los Angeles.


title: Mylène Farmer

text: While in the U.S., Farmer and Boutonnat started working on her fourth studio album, "Anamorphosée". The album marked an artistic turn for Farmer, moving away from her early synth-pop music in favour of pop rock, R&B and new jack swing influences. The album was launched by "XXL", the music video of which was directed by Marcus Nispel and features Farmer strapped to the front of a moving train. To further promote the album, the singles "L'Instant X", "California", "Comme j'ai mal" and "Rêver" were released. The music video for "California" was directed by American filmmaker Abel Ferrara and features Farmer in a dual role. The album differs lyrically from Farmer's previous work: "Rêver" deals with the Holocaust and features a call for tolerance, "XXL" talks about universal love from a feminist perspective, and "L'Instant X" offers a humorous look at the end of the world.


title: Mylène Farmer

text: In summer 1996, Farmer embarked on her second concert tour, during which she performed 21 shows in arenas around France, Belgium and Switzerland. Inspired by American concert tours, Farmer performed the majority of songs from "Anamorphosée", songs from her previous studio albums, and a cover of "La Poupée qui fait non" with French singer Khaled. The corresponding live album, "Live à Bercy", was released in May 1997.


title: Mylène Farmer

text: Farmer released her fifth studio album "Innamoramento" in 1999. The album was preceded by "L'Âme-stram-gram", an uptempo techno song with a music video inspired by the film "A Chinese Ghost Story". Both the single and the album reached the second position on the French charts. The music video for the second single, "Je te rends ton amour", sparked controversy because of its religious and transgressive imagery, and was censored by French TV channel M6. Consequently, the video was released on VHS, with the profits donated to French charity Sidaction to support HIV/AIDS research. Furthermore, the singles "Souviens-toi du jour", "Optimistique-moi" and "Innamoramento" were released in promotion of the album.


title: Mylène Farmer

text: In late 1999, Farmer embarked on her third concert tour, the "Mylenium Tour". The stage of the show featured aerial structures and a pharaonic statue at the centre of the stage. Farmer performed 42 shows in total, including three shows in Russia, her first concerts in a non-French-speaking country. The tour concluded in March 2000.


title: Mylène Farmer

text: In 2000, Farmer and Boutonnat started working on songs and video ideas they felt appropriate for a younger singer. They discovered Alizée Jacotey on the French television show "Graines de stars". Farmer and Boutonnat wrote and produced Alizée's albums "Gourmandises" (2001) and "Mes courants électriques" (2003). In addition, Farmer was also responsible for Alizée's image and public appearances. Her debut single, "Moi... Lolita", written by Farmer, reached number one in several countries in Europe, and peaked at number nine on the UK Singles Chart in February 2002. It also went on to sell more than one million copies in France. In 2005, after two albums and a concert tour, Alizée amicably parted ways with the duo to work with different songwriters and producers.


title: Mylène Farmer

text: In 2001, Farmer recorded "L'Histoire d'une fée, c'est..." for the animated film "." At the end of the year, Universal released Farmer's first greatest hits collection: "Les Mots." "Les Mots" was the best selling album of 2001 and 2002, and remains the best selling greatest hits album in France with more than 1.5 million copies sold. The album also featured new tracks, including the title track, a duet with British singer Seal, "C'est une belle journée" and "Pardonne-moi".


title: Mylène Farmer

text: After a hiatus of four years, Farmer held a press conference in 2005, announcing her new album, "Avant que l'ombre...," the single "Fuck Them All", as well as a special 13-night concert engagement at the Palais Omnisports de Paris-Bercy in January 2006. The residency in Bercy featured a complex set designed by Mark Fisher, including two stages, a mobile bridge to link the two stages and a water curtain used to project words and the singer's silhouette. A live album and a concert DVD, "Avant que l'ombre... à Bercy", were released in December 2006.


title: Mylène Farmer

text: Following this, Farmer and American electronic musician Moby worked on the French-language duet version of the singer's song "Slipping Away", with the French lyrics translated by Farmer herself. In 2007, Farmer recorded a song "Devant soi" for the soundtrack of the film "Jacquou le Croquant", and worked as a voice actress in Luc Besson's animated feature "Arthur and the Minimoys", lending her voice to Princess Selenia. Farmer would later reprise her role in the film's two sequels.


title: Mylène Farmer

text: Farmer's seventh studio album, "Point de Suture", was released on 25 August 2008, debuting at number one on the French album chart. Along with its lead single "Dégénération", the album features more electronic instrumentation and is predominately uptempo. Other singles released from the album include "Appelle mon numéro" and "C'est dans l'air", bothof which charted at number one on the French singles chart.


title: Mylène Farmer

text: Following the release of the album, Farmer embarked on her fifth concert tour entitled "Mylène Farmer en tournée". The tour saw Farmer play in stadiums for the first time in her career, giving concerts at the Stade de France, Stade de Genève and King Baudouin Stadium, as well as a number of arenas in France and Russia. A live album, "N°5 on Tour", was released on 7 December 2009, which was followed by a DVD of her Stade de France concerts.


title: Mylène Farmer

text: Farmer recorded a duet with French Chanson singer Line Renaud entitled "C'est pas l'heure". In November 2010, Farmer recorded her vocals for a cover of "Never Tear Us Apart" with Ben Harper for Australian band INXS's album "Original Sin".


title: Mylène Farmer

text: 2010 also saw the release of Farmer's eighth studio album, "Bleu noir". Produced by RedOne, Moby and British alternative band Archive, it entered the French album chart at number one and remained at the top for three consecutive weeks. It was the 9th best-selling album in France in 2010, with more than 300,000 copies sold in only three weeks. "Oui mais... non", the album's lead single was released in October 2010 and went on to become the singer's most successful single since 2002. In promotion of the album, the singles "Bleu Noir" and "Lonely Lisa" were released.


title: Mylène Farmer

text: Farmer's second greatest hits collection, titled "2001.2011," was released in late 2011, featuring all singles recorded after 2001's "Les Mots", and a new single titled "Du temps""."


title: Mylène Farmer

text: In early 2012, Farmer said that she was recording a new album which was to be released late 2012. The lead single, "À l'ombre" had its radio premiere in October 2012, and the album, "Monkey Me" entered the French charts at number one in December 2012.In support of "Bleu noir" and "Monkey Me", Farmer embarked on the "Timeless 2013" concert tour, starting in September 2013. More than 500,000 people in total attended the tour, which visited arenas in France, Belgium, Switzerland, Belarus and Russia. The live album of the tour was released in December, with an eponymous film shot in widescreen during the shows in Lyon.


title: Mylène Farmer

text: In 2015, Farmer collaborated with French photographer Sylvie Lancrenon on a coffee table book entitled "Fragile". Featuring 90 photos of Farmer taken by Lancrenon, the imagery consists of intimate photographs of the singer covered in talc and clay, focusing on the juxtaposition of fragility and powerfulness.


title: Mylène Farmer

text: In August 2015, a new site was launched, announcing new material from Farmer. The first single to be released was "Stolen Car", a duet with Sting, who originally recorded the song for his 2003 album "Sacred Love". The single reached number one on the French and Belgian (Wallonia) singles chart and also marks Farmer's debut on top of "Billboard"'s Dance Club Songs chart. Its parent record, "Interstellaires", was released on 6 November 2015, becoming Farmer's 12th number one album in France. Farmer collaborated with American producer Martin Kierszenbaum and French DJ The Avener on the album, which also features a cover of "I Want You to Want Me", a song by American rock band Cheap Trick. To promote the album and "Stolen Car" in the U.S., the singer was interviewed on "Late Night with Jimmy Fallon" accompanied by Sting, and the two also performed a live rendition of the song.


title: Mylène Farmer

text: In 2017, it was announced that Farmer had signed a new record deal with Sony Music Entertainment France. In January 2018, the single "Rolling Stone" was unveiled, making it her first release under her new label. It was followed up by a duet with American singer-songwriter LP, entitled "N’oublie pas". The song was co-written by LP, and the video, set in Iceland, marked the artistic return of Farmer's long-time collaborator, Laurent Boutonnat. Farmer's eleventh studio album, "Désobéissance", was released in September 2018. The album was commercially and critically successful, topping the French album chart in its first week, and being described as Farmer's best album in 15 years.


title: Mylène Farmer

text: To promote the albums "Interstellaires" and "Désobéissance", Farmer began a nine-date concert residency titled "Mylène Farmer 2019" at the Paris La Défense Arena in June 2019. A live album titled "Live 2019" was released in October that year.


title: Mylène Farmer

text: In 2020, Farmer and Boutonnat started working with upcoming French singer Julia. Her album "Passe... comme tu sais" was released on 19 June 2020, featuring songs penned by Farmer and produced by Boutonnat.


title: Mylène Farmer

text: 2020 also saw the premiere of "Mylène Farmer - L'Ultime Création", a behind-the-scenes documentary about her 2019 residency concerts. In order to promote the documentary, and a subsequent greatest hits album entitled "Histoires de", the new single "L'âme dans l'eau" was announced, along with a music video consisting of footage from the upcoming documentary. A collection of live and studio recordings between 1984 and 2020, "Histoires de" debuted at number two on the French charts on 4 December 2020.


title: Mylène Farmer

text: In July 2021, several hints about Nevermore were given from her official YouTube channel. It showed motion videos of a crow's eye, adapted from the album cover of L'Autre... and a picture of Mylène Farmer that was taken from the En Concert album cover. There were three teasers: the first one showed the title Nevermore, the second one showed the title , and a few days after, it was revealed from the third teaser that Nevermore 2023 was indeed the name of her next stadium tour. It will consist of thirteen shows which will be held in France, Switzerland, and Belgium, in June and July 2023. The tour was also planned to go to Russia around August or September 2023 but was cancelled due to the current situation in the country. Tickets of the stadium tour were also available to be purchased after the announcement published on YouTube.


title: Mylène Farmer

text: On 13 May 2022, Pascal Nègre, Mylène Farmer's manager, confirmed in an Instagram story that Mylène Farmer is currently working on her new studio album along with musicians Woodkid, AaRon, Moby and Archive. The album is due to be released in late 2022.


title: Mylène Farmer

text: On 26 August 2022, the song "À tout jamais", a song written by Woodkid, was released. It is the first single from the forthcoming album, with the music video being released on September 12. The Maxi Single of the song, which contains remixes, released in Vinyl, CD, and Digital Platforms on September 30. The album was revealed to be called "L'Emprise" in October 2022.


title: Mylène Farmer

text: Farmer's influences include musicians, actors and literary figues. The singer adopted her stage name as an homage to Hollywood actress Frances Farmer, whose character always fascinated her. Other cinematic figures Farmer says she is inspired by include Greta Garbo, Michelle Pfeiffer, Steven Spielberg, and Andrei Tarkovsky. In addition, she has named Depeche Mode, Kate Bush and Jacques Brel as musical influences. In turn, Farmer's work has influenced a number of French recording artists, including Christine and the Queens, Damso and Gims.


title: Mylène Farmer

text: Farmer is known for her poetic songwriting, which often features philosophical ideas, symbolism, transgression, religious imagery, alliterations, double entendres and neologisms. Common topics of her lyrics include sex, death, religion and love. Farmer's literary influences include Charles Baudelaire, Edgar Allan Poe, Pierre Reverdy, Stefan Zweig and Søren Kierkegaard.


title: Mylène Farmer

text: Musically, Farmer is usually described as a pop and French pop artist; nevertheless, she is known for reinventing her style with every album cycle. All her albums between 1984 and 2008 were produced by her collaborator, Laurent Boutonnat. Her first albums, "Cendres de lune", "Ainsi soit je..." and "L'Autre..." feature dark synth-pop and new wave instrumentation. 1995 saw the release of "Anamorphosée", which features more simplistic lyrics and pop rock-influenced music. "Innamoramento" and "Avant que l'ombre..." are often described as merging acoustic instruments with electronic beats. Farmer then experimented with electronica and club music on 2008's "Point de suture". In 2010, Farmer released her first album without Laurent Boutonnat, "Bleu noir", featuring songs produced by RedOne, Moby and British alternative band Archive. The album saw Farmer return to the darker synth-pop and Europop production of her debut album. For 2012's "Monkey Me", Farmer collaborated with Boutonnat in the studio for the last time. "Interstellaires", the singer's tenth studio album shows influences of pop rock and adult contemporary styles, produced by French DJ The Avener and Martin Kierszenbaum. On "Désobéissance", Farmer collaborated with French DJ Feder, American singer-songwriter LP and American producer Mike Del Rio, marking a return to electronic dance music.


title: Mylène Farmer

text: In 1988, she refused to appear at the "Victoire de la musique" awards ceremony due to the behind the scenes hypocrisy she experienced while rehearsing for the show.


title: Mylène Farmer

text: In November 1991, Laurent Berger, a disturbed man who had been stalking Farmer, entered the Polydor Records headquarters in Paris and held employees at gunpoint demanding to talk to her. After not being granted the singer's address, the man killed the receptionist with a gunshot. It is said that the incident contributed to Farmer's absence in the media.


title: Mylène Farmer

text: Farmer is regarded as a gay icon. Her status has been attributed to her lyrics, which often feature references to homosexual love and sexuality, and her tomboy image early in her career. She publicly accepted her position as a gay icon in 2008 by saying "We've been following each other for many years, that's important to me. I also think that I share with the gay public, as with other audiences, the feeling of being "different", a feeling that causes difficulty to live in this world."


title: Mylène Farmer

text: In January 2015, following the Île-de-France attacks, Farmer declared her support for the Je suis Charlie movement. In March 2020, Farmer's management shared her drawing in support of doctors and nurses working in French hospitals amidst the COVID-19 pandemic, and another unpublished drawing of hers was later auctioned to support the purchase of protective equipment for caregivers.


title: Mylène Farmer

text: Farmer met American actor, singer and guitarist Jeff Dahlgren on the set of their 1994 movie "Giorgino." Following the commercial failure of the film, the couple relocated to Los Angeles. Dahlgren played the guitar on the singer's 1990s albums "Anamorphosée" and "Innamoramento", and accompanied her on stage during her "Mylenium Tour". The couple ended their relationship in 1999.


title: Mylène Farmer

text: In 2002, Farmer began a relationship with French director and producer . The couple met while creating the animated music video for Farmer's single "C'est une belle journée". Di Sabatino also directed the music video for "L'amour n'est rien..." in 2006 and "Appelle mon numéro" in 2008.


title: Charter of the United Nations

text: The Charter of the United Nations (UN) is the foundational treaty of the UN, an intergovernmental organization. It establishes the purposes, governing structure, and overall framework of the UN system, including its six principal organs: the Secretariat, the General Assembly, the Security Council, the Economic and Social Council, the International Court of Justice, and the Trusteeship Council.


title: Charter of the United Nations

text: The UN Charter mandates the UN and its member states to maintain international peace and security, uphold international law, achieve "higher standards of living" for their citizens, address "economic, social, health, and related problems", and promote "universal respect for, and observance of, human rights and fundamental freedoms for all without distinction as to race, sex, language, or religion". As a charter and constituent treaty, its rules and obligations are binding on all members and supersede those of other treaties.


title: Charter of the United Nations

text: During the Second World War, the Allies—formally known as the United Nations—agreed to establish a new postwar international organization. Pursuant to this goal, the UN Charter was discussed, prepared, and drafted during the San Francisco Conference that began 25 April 1945, which involved most of the world's sovereign nations. Following two-thirds approval of each part, the final text was unanimously adopted by delegates and opened for signature on 26 June 1945; it was signed in San Francisco, United States, by 50 of the 51 original member countries.


title: Charter of the United Nations

text: The Charter entered into force on 24 October 1945, following ratification by the five permanent members of the United Nations Security Council—China, France, the Soviet Union, the United Kingdom, and the United States—and a majority of the other signatories; this is considered the official starting date of the United Nations, with the first session of the General Assembly, representing all 51 initial members, opening in London the following January. The General Assembly formally recognized 24 October as United Nations Day in 1947, and declared it an official international holiday in 1971. With 193 parties, most countries have now ratified the Charter.


title: Charter of the United Nations

text: The preamble consists of two principal parts. The first part contains a general call for the maintenance of peace and international security and respect for human rights. The second part of the preamble is a declaration in a contractual style that the governments of the peoples of the United Nations have agreed to the Charter and it is the first international document regarding human rights.


title: Charter of the United Nations

text: The principles and conceptual framework of the United Nations were formulated incrementally through a series of conferences by the Allied nations during the Second World War. The Declaration of St James's Palace, issued in London on 12 June 1941, was the first joint statement of the goals and principles of the Allies, and the first to express a vision for a postwar world order. The Declaration called for the "willing cooperation of free peoples" so that "all may enjoy economic and social security".


title: Charter of the United Nations

text: Roughly two months later, the United States and the United Kingdom issued a joint statement elaborating these goals, known as the Atlantic Charter. It called for no territorial changes made against the wishes of the people, the right to self-determination for all peoples, restoration of self-government to those deprived of it, reduction of trade barriers, global cooperation to secure better economic and social conditions for the world, freedom from fear and want, freedom of the seas, and abandonment of the use of force, including mutual disarmament after the war. Many of these principles would inspire or form part of the UN Charter.


title: Charter of the United Nations

text: The following year, on 1 January 1942, representatives of thirty nations formally at war with the Axis powers—led by the "Big Four" powers of China, the Soviet Union, the U.K., and the U.S.—signed the Declaration by United Nations, which formalized the anti-Axis alliance and reaffirmed the purposes and principles of the Atlantic Charter. The following day, representatives of twenty-two other nations added their signatures. The term "United Nations" became synonymous with the Allies for the duration of the war, and was considered the formal name under which they were fighting. The Declaration by United Nations formed the basis of the United Nations Charter; virtually all nations that acceded to it would be invited to take part in the 1945 San Francisco Conference to discuss and prepare the Charter.


title: Charter of the United Nations

text: On 30 October 1943, the Declaration of the Four Nations, one of the four Moscow Declarations, was signed by the foreign ministers of the Big Four, calling for the establishment of a "general international organization, based on the principle of the sovereign equality of all peace-loving states, and open to membership by all such states, large and small, for the maintenance of international peace and security.” This was the first formal announcement that a new international organization was being contemplated to replace the moribund League of Nations.


title: Charter of the United Nations

text: Pursuant to the Moscow Declarations, from 21 August 1944 to 7 October 1944, the U.S. hosted the Dumbarton Oaks Conference to develop a blueprint for what would become the United Nations. Many of the rules, principles, and provisions of the UN Charter were proposed during the conference, including the structure of the UN system; the creation of a "Security Council" to prevent future war and conflict; and the establishment of other "organs" of the organization, such as the General Assembly, International Court of Justice, and Secretariat. The conference was led by the Big Four, with delegates from other nation participating in the consideration and formulation of these principles. At the Paris peace conference in 1919, it was Prime Minister Jan Smuts of South Africa and Lord Cecil of the United Kingdom who came up with the structure of the League of Nations with the League being divided into a League Assembly consisting of all the member states and a League Council consisting of the great powers. The same design that Smuts and Cecil had devised for the League of Nations was copied for the United Nations with a Security Council made up of the great powers and a General Assembly of the UN member states.


title: Charter of the United Nations

text: The subsequent Yalta Conference in February 1945 between the U.S., U.K., and Soviet Union resolved the lingering debate regarding the voting structure of the proposed Security Council, calling for a "Conference of United Nations" in San Francisco on 25 April 1945 to "prepare the charter of such an organization, along the lines proposed in the formal conversations of Dumbarton Oaks.”


title: Charter of the United Nations

text: The San Francisco Conference, formally the United Nations Conference on International Organization (UNCIO), began as scheduled on 25 April 1945 with the goal of drafting a charter that would create a new international organization. The Big Four, which sponsored the event, invited all forty-six signatories to the Declaration by United Nations. Conference delegates invited four more nations: Belorussian Soviet Socialist Republic, the Ukrainian Soviet Socialist Republic, recently liberated Denmark and Argentina.


title: Charter of the United Nations

text: The conference was perhaps the largest international gathering up to that point, with 850 delegates, along with advisers and organizers, for a total of 3,500 participants. An additional 2,500 representatives from media and various civil society groups were also in attendance. Plenary meetings involving all delegates were chaired on a rotational basis by the lead delegates of the Big Four. Several committees were formed to facilitate and address different aspects of the drafting process, with over 400 meetings convened in the subsequent weeks. Following multiple reviews, debates, and revisions, a final full meeting was held on 25 June 1945 with the final proposed draft posed to attendees. Following unanimous approval, the Charter was signed by delegates the following day in Veterans' Memorial Hall.


title: Charter of the United Nations

text: Although the Preamble is an integral part of the Charter, it does not set out any of the rights or obligations of member states; its purpose is to serve as an interpretative guide for the provisions of the Charter through the highlighting of some of the core motives of the founders of the organization.


title: Charter of the United Nations

text: The Organization and its Members, in pursuit of the Purposes stated in Article 1, shall act in accordance with the following Principles:


title: Charter of the United Nations

text: The General Assembly has the power to amend the UN Charter. Amendments adopted by a vote of two-thirds of the members of the Assembly need to be ratified by two-thirds of the Member-States, including all the Permanent Members of the Security Council.


title: Charter of the United Nations

text: Provided that the Charter would enter into force once ratified by the Permanent Five members of the United Nations Security Council and a majority of the other signatory states, and set forth related procedures, such as providing certified copies to ratifying governments.


title: Sultanate of Sulu

text: The Sultanate of Sulu (Tausūg: "Kasultanan sin Sūg", كاسولتانن سين سوڬ; Malay: "Kesultanan Sulu"; ; Chavacano: "Sultanato de Sulu/Joló"; ) was a Muslim state that ruled the Sulu Archipelago, parts of Mindanao and certain portions of Palawan in today's Philippines, alongside parts of present-day Sabah, North and East Kalimantan in north-eastern Borneo.


title: Sultanate of Sulu

text: The sultanate was founded either on 17 November 1405 or 1457 by Johore-born explorer and religious scholar Sharif ul-Hashim. "Paduka Mahasari Maulana al Sultan Sharif ul-Hashim" became his full regnal name, "Sharif-ul Hashim" is his abbreviated name. He settled in Buansa, Sulu. After the marriage of Abu Bakr and a local "dayang-dayang" (princess) Paramisuli, he founded the sultanate. The sultanate gained its independence from the Bruneian Empire in 1578.


title: Sultanate of Sulu

text: At its peak, it stretched over the islands that bordered the western peninsula of Zamboanga in Mindanao in the east to Palawan in the north. It also covered areas in the northeast of Borneo, stretching from Marudu Bay, to Tepian Durian (in present-day Kalimantan, Indonesia). Another source stated the area included stretched from Kimanis Bay, which also overlaps with the boundaries of the Bruneian Sultanate. Following the arrival of western powers such as the Spanish, the British, the Dutch, French, Germans, the Sultan thalassocracy and sovereign political powers were relinquished by 1915 through an agreement that was signed with the United States. In the second half of the 20th century, Filipino government extended official recognition of the head of the royal house of the sultanate, before the ongoing succession dispute.


title: Sultanate of Sulu

text: In Kakawin Nagarakretagama, the Sultanate of Sulu is referred to as Solot, one of the countries in the Tanjungnagara archipelago (Kalimantan-Philippines), which is one of the areas that is under the influence of the mandala area of the Majapahit kingdom in the archipelago.


title: Sultanate of Sulu

text: The present area of the Sultanate of Sulu was once under the influence of the Bruneian Empire before it gained its own independence in 1578. During the 13th century the people of Sulu began migrating to present-day Zamboanga and the Sulu archipelago from their homelands in northeastern Mindanao. Scott (1994) mentions the origins of the Sulu as being the descendants of ancient Butuanons and Surigaonons from the Rajahnate of Butuan, which was then Hindu like pre-islamic Sulu. They moved south and established a spice trading port in pre-Islamic Sulu. Sultan Batarah Shah Tengah, who ruled as sultan in 1600, was said to be an actual native of Butuan. The Butuanon-Surigaonon origins of the Tausugs is suggested by the relationship of their languages, as the Butuanon, Surigaonon and Tausug languages are all grouped under the Southern sub-family of Visayan. Later, the earliest known settlement in this area soon to be occupied by the sultanate was in Maimbung, Jolo. During this time, Sulu was called Lupah Sug. The principality of Maimbung, populated by Buranun people (or "Budanon", literally means "mountain-dwellers"), was first ruled by a certain rajah who assumed the title Rajah Sipad the Older. According to Majul, the origins of the title "rajah sipad" originated from the Hindu sri pada, which symbolises authority. The principality was instituted and governed using the system of rajahs. Sipad the Older was succeeded by Sipad the Younger.


title: Sultanate of Sulu

text: Some Chams who migrated to Sulu were called Orang Dampuan. The Champa civilization and the port-kingdom of Sulu engaged in commerce with each other which resulted in merchant Chams settling in Sulu where they were known as Orang Dampuan from the 10th–13th centuries. In contrast to their cousins in the Butuan Rajahnate that considered themseleves diplomatic competitors against Champa for China trade, (under Butuan's Rajah Kiling); instead, Sulu freely traded with the Champa civilization. The Orang Dampuans from Champa however were eventually slaughtered by envious native Sulu Buranuns due to the wealth of the Orang Dampuan. The Buranun were then subjected to retaliatory slaughter by the Orang Dampuan. Harmonious commerce between Sulu and the Orang Dampuan was later restored. The Yakans were descendants of the Taguima-based Orang Dampuan who came to Sulu from Champa. Sulu received civilization in its Indic form from the Orang Dampuan.


title: Sultanate of Sulu

text: During the reign of Sipad the Younger, a mystic named "Tuan" Mashā′ikha arrived in Jolo in 1280 AD. Little is known to the origins and early biography of Tuan Mashā′ikha, except that he is a Muslim "who came from foreign lands" at the head of a fleet of Muslim traders, or he was issued from a stalk of bamboo and was considered a prophet, thus well respected by the people. Other reports, however, insisted that Tuan Mashā′ikha together with his parents, Jamiyun Kulisa and Indra Suga, were sent to Sulu by Alexander the Great (who is known as "Iskandar Zulkarnain" in Malay Annals). However, Najeeb Mitry Saleeby, a Lebanese American doctor who wrote "A History of Sulu" in 1908 and other studies of the Moros, dismisses this claim by concluding that Jamiyun Kulisa and Indra Suga were mythical names. According to "tarsila", during the coming of Tuan Mashā′ikha, the people of Maimbung worshipped tombs and stones of any kind. After he preached Islam in the area, he married Sipad the Younger's daughter, Idda Indira Suga and bore three children: Tuan Hakim, Tuan Pam and 'Aisha. Tuan Hakim, in turn, begot five children. From the genealogy of Tuan Mashā′ikha, another titular system of aristocracy called "tuanship" started in Sulu. Apart from the Idda Indira Suga, Tuan Mashā′ikha also married into another "unidentified woman" and begot Moumin. Tuan Mashā′ikha died in 710 A.H. (equivalent to 1310 AD), and was buried in Bud Dato near Jolo, with an inscription of "Tuan Maqbālū".


title: Sultanate of Sulu

text: A descendant of Tuan Mashā′ikha named Tuan May also begot a son named "Datu" Tka. The descendants of Tuan May did not assume the title "tuan", instead, they started to use "datu". It is the first time "datu" was used as a political institution. During the coming of Tuan Mashā′ikha, the Tagimaha people (literally means "the party of the people") coming from Basilan and several places in Mindanao, also arrived and settled in Buansa. After the Tagimaha came the Baklaya people (which means "seashore dwellers"), believed to be originated from Sulawesi, and settled in Patikul. After these came the Bajau people (or "Samal") from Johor. The Bajau were accidentally driven towards Sulu by a heavy monsoon, some of them to the shores of Brunei and others to Mindanao. The population of Buranun, Tagimaha, and Baklaya in Sulu created three parties with distinct system of government and subjects. In the 1300s the Chinese annals, "Nanhai zhi", reported that Brunei invaded or administered the Philippine kingdoms of Butuan, Sulu and Ma-i (Mindoro) which would regain their independence at a later date. According to the Nagarakretagama, the Majapahit Empire under Emperor Hayam Wuruk, invaded Sulu at year 1365. However, in 1369, the Sulus rebelled and regained independence and in vengeance, assaulted the Majapahit Empire and its province "Po-ni" (Brunei), and had invaded the Northeast Coast of Borneo and thereafter went to the capital, looting it of treasure and gold. In the sacking of Brunei, the Sulus had stolen 2 sacred pearls from the Bruneian king. A fleet from the Majapahit capital succeeded in driving away the Sulus, but "Po-ni" was left weaker after the attack. Since Chinese historiographies later recorded there to be a Maharaja of Sulu, it is assumed that it was unable to be reconquered by Majapahit and it was a rival to that state. By 1390 AD, Rajah Baguinda Ali, a prince of the Pagaruyung Kingdom arrived at Sulu and married into the local nobility. At least in 1417, when Sulu rivaled Majapahit, according to Chinese annals, three kings (or monarchs) ruled three civilised kingdoms in the island. Patuka Pahala (Paduka Batara) ruled the eastern kingdom (The Sulu Archipelago), he was the most powerful; the west kingdom was ruled by Mahalachi (Maharajah Kamal ud-Din) (Ruler of Kalimantan in Indonesia); and the kingdom near the cave (or Cave King) was Paduka Patulapok (From Palawan Island). The Bajau settlers were distributed among the three kingdoms. During this time, Sulu had avenged itself from Majapahit Imperialism by encroaching upon the Majapahit Empire as the alliance of the 3 Sulu kings had territory that reached Kalimantan, specifically East and North Kalimantan, which were former Majapahit provinces.


title: Sultanate of Sulu

text: Moumin's descendants, the son of Tuan Mashā′ikha populated Sulu. After some time, a certain Timway Orangkaya Su'il was mentioned by the second page of tarsila, that he received four Bisaya slaves (People from the Kedatuan of Madja-as) from Manila (presumably Kingdom of Maynila) as a sign of friendship between the two countries. The descendants of Timway Orangkaya Su'il then inherited the title timway, which means "chief". On tarsila's third page, it accounts the fact that the slaves were the ancestors of the inhabitants in the island to Parang, Lati, Gi'tung, and Lu'uk respectively.


title: Sultanate of Sulu

text: The fourth page then narrates the coming of the Buranun (addressed in the "tarsila" as "the Maimbung people") Tagimaha, Baklaya, then the drifted Bajau immigrants from Johor. The condition of Sulu before the arrival of Islam can be summarised as such: The island was inhabited by several cultures, and was reigned over by three independent kingdoms ruled by the Buranun, Tagimaha, and Baklaya peoples. Likewise, the socio-political systems of these kingdoms were characterised by several distinct institutions: rajahship, datuship, tuanship and timwayship. The arrival of Tuan Mashā′ikha afterwards established a core Islamic community in the island.


title: Sultanate of Sulu

text: At the end of the 14th century, a notable Arab judge and religious scholar named Karim ul-Makhdum from Mecca arrived in the Malacca Sultanate. He preached Islam to the people, and thus many citizens, including the ruler of Malacca, converted to Islam. Chinese Muslims, Arabs, Persians, Malays, and Indian Muslims introduced Sulu and other Muslim sultanates to Islam. Chinese Muslim merchants participated in the local commerce, and the sultanate had diplomatic relations with China during the time of the Ming dynasty (1368–1644), being involved in the tribute system. The Sulu leader Paduka Pahala and his sons moved to China, where he died, and Chinese Muslims brought up his sons in Dezhou, where their descendants live and have the surnames An and Wen.


title: Sultanate of Sulu

text: In 1380 AD, Karim ul-Makhdum arrived in Simunul island from Malacca, again with Arab traders. Apart from being a scholar, he operated as a trader; some see him as a Sufi missionary originating from Mecca. He preached Islam in the area, and was thus accepted by the core Muslim community. He was the second person who preached Islam in the area, following Tuan Mashā′ikha. To facilitate easy conversion of nonbelievers, he established a mosque in Tubig-Indagan, Simunul, which became the first Islamic temple to be constructed in the area, as well as the first in the Philippines. This later became known as Sheik Karimal Makdum Mosque. He died in Sulu, although the exact location of his grave is unknown. In Buansa, he was known as Tuan Sharif Awliyā. On his alleged grave in Bud Agad, Jolo, an inscription was written as "Mohadum Aminullah Al-Nikad". In Lugus, he is referred to as Abdurrahman. In Sibutu, he is known by his name.


title: Sultanate of Sulu

text: The different of beliefs on his grave locations came about due to the fact that Karim ul-Makhdum travelled to several islands in the Sulu Sea to preach Islam. In many places in the archipelago, he was beloved. It is said that the people of Tapul built a mosque honouring him and that they claim descent from Karim ul-Makhdum. Thus, the success of Karim ul-Makhdum of spreading Islam in Sulu threw a new light in Islamic history in the Philippines. The customs, beliefs and political laws of the people changed and customised to adopt the Islamic tradition.


title: Sultanate of Sulu

text: In 1417, the Sulu sultanate began a tributary relationship with the Ming Empire. However, Sulu abruptly stopped sending tributes to the Ming in 1424. Antonio Pigafetta, in his journals, records that the sultan of Brunei went and invaded Sulu in order subjugate the nation and retrieve the two sacred pearls Sulu pillaged from Brunei during earlier times. A sultan of Brunei, Sultan Bolkiah married a princess ("dayang-dayang") of Sulu, Puteri Laila Menchanai, and they became the grandparents of the Muslim prince of Maynila, Rajah Matanda, as Manila was a Muslim city-state and vassal to Brunei before the Spanish colonized them and converted them from Islam to Christianity. Islamic Manila ended after the failed attack of Tarik Sulayman, a Muslim Kapampangan commander, in the failure of the Conspiracy of the Maharlikas, when the formerly Muslim Manila nobility attempted a secret alliance with the Japanese shogunate and Bruneiean sultanate (together with her Manila and Sulu allies) to expel the Spaniards from the Philippines. The Spanish had native allies against the former Muslims they conquered like Hindu Tondo which resisted Islam when Brunei invaded and established Manila as a Muslim city-state to supplant Hindu Tondo.


title: Sultanate of Sulu

text: The Sulu sultanate became notorious for its so-called "Moro Raids" or acts of piracy directed toward Spanish settlements in the Visayan areas with the aim of capturing slaves and other goods from these coastal towns. The Tausug pirates used boats known collectively by Europeans as "proas" (predominantly the "lanong" and "garay" warships), which varied in design and were much lighter than the Spanish galleons and could easily out-sail these ships, and also often carried large swivel guns or "lantaka" and also carried a crew of pirates from different ethnic groups throughout Sulu, such as the Iranun, Bajaus and Tausugs alike. By the 18th century, the Sulu pirates had become the virtual masters of the Sulu seas and the surrounding areas, wreaking havoc on Spanish settlements. This prompted the Spaniards to build a number of fortifications across the Visayan islands of Cebu and Bohol; churches were built on higher ground, and watchtowers were built along coastlines to warn of impending raids.


title: Sultanate of Sulu

text: The maritime supremacy of Sulu was not directly controlled by the sultan, independent "datu"s and warlords waged their own wars against the Spaniards and even with the capture of Jolo on numerous occasions by the Spaniards, other settlements like Maimbung, Banguingui and Tawi-Tawi were used as assembly areas and hideouts for pirates.


title: Sultanate of Sulu

text: The sultanate's control over the Sulu seas was at its height around the late 17th to early 18th centuries were Moro raids became very common for the Visayans and Spaniards.


title: Sultanate of Sulu

text: In Sulu and in the Mindanao interior, the slave trade flourished and majority of these slaves that were being imported and exported were of Visayan ethnicity; the term "Bisaya" eventually became synonymous to "slave" in these areas. Its maritime supremacy over the Spaniards, at the time, the Spaniards acquired steam-powered ships that began to curb Muslim piracy in the region, the Moro piratical raids began to decrease in number until Governor Narciso Clavería launched the Balanguingui expedition in 1848 to crush the pirate settlements there, effectively ending the Moro pirate raids. By the last quarter of the 19th century, Moro pirates had virtually disappeared and the maritime influence of the sultanate became dependent on the Chinese junk trade.


title: Sultanate of Sulu

text: In the 18th century, Sulu's dominion covered most of northeastern part of Borneo. However areas like Tempasuk and Abai had never really shown much allegiance to its earlier ruler, Brunei, subsequently similar treatment was given to Sulu. Dalrymple, who made a treaty of allegiance in 1761 with Sulu, had to make a similar agreement with the rulers of Tempasuk and Abai on the north Borneo coast in 1762. The Sultanate of Sulu totally gave up its domain over Palawan to Spain in 1705 and Basilan to Spain in 1762. The territory ceded to Sulu by Brunei initially stretched south to Tapean Durian (now Tanjong Mangkalihat) (another source mentioned the southernmost boundary is at Dumaring), near the Straits of Macassar (now Kalimantan). From 1726 to 1733, the Sulu sultanate restarted their tributary relationship with China, now the Qing Empire, about 300 years since it last ended.


title: Sultanate of Sulu

text: By 1800–1850, the areas gained from Brunei had been effectively controlled by the sultanate of Bulungan in Kalimantan, reducing the boundary of Sulu to a cape named Batu Tinagat and Tawau River.


title: Sultanate of Sulu

text: In 1848 and 1851, the Spanish launched attacks on Balanguingui and Jolo respectively. A peace treaty was signed on 30 April 1851 in which the sultan could only regain its capital if Sulu and its dependencies became a part of the Philippine Islands under the sovereignty of Spain. There were different understandings of this treaty, in which although the Spanish interpreted it as the sultan accepted Spanish sovereignty over Sulu and Tawi-Tawi, however the sultan took it as a friendly treaty amongst equals. These areas were only partially controlled by the Spanish, and their power was limited to only military stations and garrisons and pockets of civilian settlements. This lasted until they had to abandon the region as a consequence of their defeat in the Spanish–American War. On 22 January 1878, an agreement was signed between the Sultanate of Sulu and British commercial syndicate (Alfred Dent and Baron de Overbeck), which stipulated that North Borneo was either ceded or leased (depending on translation used) to the British in return for payment of five thousand malayan dollars per year.


title: Sultanate of Sulu

text: On 22 April 1903, Sultan Jamalul Kiram signed a document known as "Confirmation of cession of certain islands", in which he granted and ceded additional islands in the neighbourhood of the mainland of North Borneo from Banggi Island to Sibuku Bay to British North Borneo Company. The confirmatory deed of 1903 makes it known and understood between the two parties that the islands mentioned were included in the cession of the districts and islands mentioned on 22 January 1878 agreement. Additional cession money was set at 300 dollars a year with arrears due for past occupation of 3,200 dollars. The originally agreed 5,000 dollars increased to 5,300 dollars per year payable annually.


title: Sultanate of Sulu

text: The Sulu sultanate later came under the control of Spain in Manila. In 1885, Great Britain, Germany and Spain signed the Madrid Protocol to cement Spanish influence over the islands of the Philippines. In the same agreement, Spain relinquished all claim to North Borneo which had belonged to the sultanate in the past to the British government.


title: Sultanate of Sulu

text: The sultanate's political power was relinquished in March 1915 after American commanders negotiated with Sultan Jamalul Kiram on behalf of Governor-General Francis Burton Harrison. An agreement was subsequently signed, called the "Carpenter Agreement". By this agreement, the sultan relinquished all political power over territory within the Philippines (except for certain specific land granted to Sultan Jamalul Kiram and his heirs), with the religious authority as head of Islam in Sulu.


title: Sultanate of Sulu

text: In 1962, the Philippine government under the administration of President Diosdado Macapagal officially recognised the continued existence of the Sultanate of Sulu. It has been asserted that Macapagal was a cousin of the Sulu sultan due to his royal descent tracing to Lakandula of Tondo, Lakandula was the uncle of the Muslim king of Manila, Rajah Sulayman, and they had a grandmother from Sulu in the person of the Tausug princess, Laila Mechanai, wife of Sultan Bolkiah of Brunei and ancestor of Rajah Matanda and Rajah Sulayman of Manila. On 24 May 1974, the reign of Sultan Mohammed Mahakuttah Kiram began and lasted until 1986. He was the last officially recognized Sulu sultan in the Philippines, having been recognized by President Ferdinand Marcos.


title: Sultanate of Sulu

text: After the death of Mahakuttah A. Kiram, the Philippine national government has not formally recognised a new sultan. Mahakutta's crown prince Muedzul Lail Kiram, the heir to the throne according to the line of succession as recognised by the Philippine governments from 1915 to 1986, was 20 years old upon his father's death. Due to his young age, he failed to claim the throne in a time of political instability in the Philippines that led to the peaceful revolution and subsequent removal of President Marcos. The gap in the sultanate leadership was filled by claimants of rival branches. Therefore, the succeeding claimants to the sultanship were not crowned with the support of the Philippine government nor received formal recognition from the national government as their predecessors had until 1986. However, the Philippine national government decided to deal with one or more of the sultan claimants regarding issues concerning the sultanate’s affairs.


title: Sultanate of Sulu

text: Muedzul Lail Tan Kiram claims that he is the legitimate successor as the 35th sultan of Sulu based on Memorandum Order 427 of 1974, in which former Philippine President Ferdinand Marcos recognised his father, Mahakuttah A. Kiram, as the sultan of Sulu.


title: Sultanate of Sulu

text: The dispute is based on a territorial claim by the Philippines since the era of President Diosdado Macapagal over much of the eastern part of Sabah in Malaysia. Sabah was known as North Borneo prior to the formation of the Malaysian federation in 1963. The Eastern Sabah territory was allegedly gifted by the Brunei Sultanate to the Sulu Sultanate due to Sulu intervention in the Brunei Civil War. However Brunei historian Leigh R. Wright has claimed that Sulu never really provided assistance during the civil war. The Philippines, via the heritage of the Sultanate of Sulu, claim Sabah on the basis that Sabah was only leased to the British North Borneo Company with the sultanate's sovereignty never being relinquished. The dispute stems from the difference in the interpretation used on an agreement signed between Sultanate of Sulu and the British commercial syndicate (Alfred Dent and Baron von Overbeck) in 1878, which stipulated that North Borneo was either ceded or leased (depending on translation used) to the British chartered company in return for payment of 5,000 dollars per year. Malaysia views the dispute as a "non-issue", as it not only considers the agreement in 1878 as one of cession, but it also deems that the residents had exercised their act of self-determination when they joined to form the Malaysian federation in 1963. As reported by the Secretary-General of the United Nations, the independence of North Borneo was brought about as the result of the expressed wish of the majority of the people of the territory as supported by the findings of the Cobbold Commission.


title: Sultanate of Sulu

text: Moreover, a later 1903 Confirmation of Cession agreement between the sultan of Sulu and the British government, has provided reaffirmation regarding the understanding of the sultan of Sulu on the treaty in 1878, i.e. it is of the form of a cession. Throughout the British administration of North Borneo, the British government continued to make the annual "cession money" payment to the sultan and its heir and these payments were expressly shown in the receipts as "cession money". In a 1961 conference in London, during which a Philippine and British panel met to discuss on the Philippine claim of North Borneo, the British panel informed the Congressman Salonga that the wording of the receipts has not been challenged by the sultan or its heir. During a meeting of Maphilindo between the Philippine, Malayan and Indonesian governments in 1963, the Philippine government said the sultan of Sulu wanted the payment of 5,000 from the Malaysian government. The first Malaysian Prime Minister at the time, Tunku Abdul Rahman said he would go back to Kuala Lumpur and get on the request. Since then, the Malaysian Embassy in the Philippines issues a cheque in the amount of RM5,300 (approx. ₱77,000 or US$1,710) to the legal counsel of the heirs of the sultan of Sulu. Malaysia considers the settlement an annual "cession payment" for the disputed state, while the sultan's descendants consider it "rent". These payments however have been stopped as of 2013 in light of the attempted invasion of Sabah since Malaysia viewed that as an act of violation of the 1903 Confirmation of Cession agreement and its earlier 1878 agreement.


title: Sultanate of Sulu

text: Republic Act 5446 in the Philippines, which took effect on 18 September 1968, regards Sabah as a territory "over which the Republic of the Philippines has acquired dominion and sovereignty". On 16 July 2011, the Supreme Court of the Philippines ruled that the Philippine claim over Sabah is retained and may be pursued in the future. , Malaysia maintains that their Sabah claim is a non-issue and non-negotiable, thereby rejecting any calls from the Philippines to resolve the matter in the International Court of Justice. Sabah authorities sees the claim made by the Philippines' Moro leader Nur Misuari to take Sabah to International Court of Justice as a non-issue and thus dismissed the claim.


title: Sultanate of Sulu

text: In February 2022, an international court ruled that Malaysia had violated a treaty signed in 1878 of annual cession payment and would have to pay at least US$14.92 billion (RM62.59 billion) to the descendants of the Sulu sultan, which Malaysia ceased payment in 2013 as it deemed that the Sulu counterpart had first violated the treaty through 2013 Sabah incursion. The award was reportedly issued in an arbitration court in Paris, France by Spanish arbitrator Gonzalo Stampa. In March 2022, Malaysia filed an application to annul final award over claims by Sulu sultan’s heirs since the appointment of arbitrator Dr Gonzalo Stampa was itself annulled by Madrid High Court in June 2021, rendering any decisions by him to be invalid including the 2022 award. Lawyers for the heirs indicated that they will seek the award’s recognition and execution, citing a 1958 U.N. Convention on Recognition and Enforcement of Foreign Arbitral Awards. In July 2022, court bailiffs in Luxembourg served Petronas Azerbaijan (Shah Denis) and Petronas South Caucus with a "saiseie-arret," or a size order or behalf of descendants of the Sulu sultan. Petronas said it would defend its legal position.


title: Sultanate of Sulu

text: Outside the North Borneo dispute, the heirs and claimants of the Sulu sultanate have been involved in contemporary Philippine politics such as the lobbying for the creation of a constituent state called Zambasulta within the Philippines under a federal form of government.


title: Sultanate of Sulu

text: Chinese who lived in Sulu ran guns across a Spanish blockade to supply the Moro datus and sultanates with weapons to fight the Spanish, who were engaging in a campaign to subjugate the Moro sultanates on Mindanao. A trade involving the Moros selling slaves and other goods in exchange for guns developed. The Chinese had entered the economy of the sultanate, taking almost total control of the sultanate's economies in Mindanao and dominating the markets. Though the sultans did not like one group of people exercising exclusive control over the economy, they did business with them.


title: Sultanate of Sulu

text: The Chinese set up a trading network between Singapore, Zamboanga, Jolo and Sulu. The Chinese sold small arms like Enfield and Spencer Rifles to the Buayan Datu Uto. They were used to battle the Spanish invasion of Buayan. The datu paid for the weapons in slaves. The population of Chinese in Mindanao in the 1880s was 1,000. The Chinese ran guns across a Spanish blockade to sell to Mindanao Moros. The purchases of these weapons were paid for by the Moros in slaves in addition to other goods. The main group of people selling guns were the Chinese in Sulu. The Chinese took control of the economy and used steamers to ship goods for exporting and importing. Opium, ivory, textiles, and crockery were among the other goods which the Chinese sold.


title: Sultanate of Sulu

text: The Chinese on Maimbung sent the weapons to the Sulu sultanate, who used them to battle the Spanish and resist their attacks. A Chinese-Mestizo was one of the sultan's brothers-in-law, the sultan was married to his sister. He and the sultan both owned shares in the ship (named the Far East) which helped smuggle the weapons. The Spanish launched a surprise offensive under Colonel Juan Arolas in April 1887 by attacking the sultanate's capital at Maimbung in an effort to crush resistance. Weapons were captured and the property of the Chinese were destroyed while the Chinese were deported to Jolo.


title: Sultanate of Sulu

text: After the destruction of the pirate haunts of Balanguingui effectively ending the centuries of slave raids, which the Sulu sultanate's economy had so depended on, along with the economy of mainland Mindanao, the sultanate's economy experienced a sharp decline as slaves became more inaccessible and the islands' agricultural produce wasn't enough, thus it became dependent on the Mindanao interior even for rice and produce. The Spaniards thought they had dealt the death blow for the sultanate when they captured Jolo in 1876, rather, the sultanate's capital and economic and trading hub was moved to Maimbung on the other side of the island. Up until the American occupation, this was the residence and economic centre of Sulu. This is where the Sultan Jamalul Kiram II and his adviser Hadji Butu began the Sulu pearling industry to increase the sultan's wealth, they organised the Sulu pearling fleet. The sultan's pearling fleet was active way into the early 20th century, when in 1910, the sultan reportedly sold a single giant pearl in London for $100,000.


title: Sultanate of Sulu

text: Among the people of the Sultanate of Sulu, the title of nobility could be acquired only by lineage, a "closed system" whereby the titled persons inherit their offices of powers and prestige.


title: Sultanate of Sulu

text: The commoners or "maharlika" are those who do not trace their descent from royalty. The Wakil Kesultan's, Panglimas, Parkasa's and Laksaman's who are commoners hold responsible positions involving administrative matters.


title: Sultanate of Sulu

text: The males who hold offices above shall be addressed by the title of nobility "tuan" (the title is directly attached to the office), followed by the rank of the office they hold, their given name, surname and region. The females who hold offices above shall be addressed by the title of nobility Sitti (the title is directly attached to the office), followed by the rank of the office they hold, their given name, surname and region.


title: Sultanate of Sulu

text: A very large part of the Sulu society, as well as in the Sultanate of Maguindanao were slaves captured from slave raids or bought from slave markets. They were known as the "bisaya", reflecting their most common origin – the Christianized Visayans from Spanish territories in the Philippines – although they also included captured slaves from other ethnic groups throughout Southeast Asia. They were also known as "banyaga", "ipun", or "ammas". It is estimated that as much as 50% of the population of Sulu in the 1850s were "bisaya" slaves and they dominated the Sulu economy. For the most part, they were treated like commoners, with their own houses and were responsible for cultivating farms and fisheries of Tausug nobility. But there were harsh punishments for attempts to escape, and a large number of the slaves were sold to European, Chinese, Makassar, and Bugis slavers in the Dutch East Indies.


title: Sultanate of Sulu

text: The Sultanate of Sulu, along with the rest of Mindanao, has a long tradition of decorative arts known as "okir" or "ukkil". "Ukkil" is the Tausug word for "wood carving" or "engraving". The Tausug and Maranao peoples traditionally carved and decorated their boats, houses and even grave markers with "ukkil" carvings. Aside from wood carvings, "ukkil" motifs were found on various clothing in the Sulu archipelago. "Ukkil" motifs tend to emphasise geometric patterns and a flowing design, with floral and leaf patterns as well as folk elements. The Tausug also decorated their weapons with these motifs, and various "kris" and "barong" blades have finely decorated handles as well as blades covered in floral patterns and the like. Bronze "lantaka" also bear some "ukkil" patterns.


title: Police procedural

text: The police show, or police crime drama, is a subgenre of procedural drama and detective fiction that emphasizes the investigative procedure of a police officer or department as the protagonist(s), as contrasted with other genres that focus on either a private detective, an amateur investigator or the characters who are the targets of investigations. While many police procedurals conceal the criminal's identity until the crime is solved in the narrative climax (the so-called whodunit), others reveal the perpetrator's identity to the audience early in the narrative, making it an inverted detective story. Whatever the plot style, the defining element of a police procedural is the attempt to accurately depict the profession of law enforcement, including such police-related topics as forensic science, autopsies, gathering evidence, search warrants, interrogation and adherence to legal restrictions and procedure.


title: Police procedural

text: The roots of the police procedural have been traced to at least the mid-1880s. Wilkie Collins's novel "The Moonstone" (1868), a tale of a Scotland Yard detective investigating the theft of a valuable diamond, has been described as perhaps the earliest clear example of the genre.


title: Police procedural

text: As detective fiction rose to worldwide popularity in the late 19th century and early 20th century, many of the pioneering and most popular characters, at least in the English-speaking world, were private investigators or amateurs. See C. Auguste Dupin, Sherlock Holmes, Sam Spade, Miss Marple and others. Hercule Poirot was described as a veteran of the Belgian police, but as a protagonist he worked independently. Only after World War II would police procedural fiction rival the popularity of PIs or amateur sleuths.


title: Police procedural

text: Lawrence Treat's 1945 novel "V as in Victim" is often cited as the first police procedural, by Anthony Boucher (mystery critic for the "New York Times Book Review") among others. Another early example is Hillary Waugh's "Last Seen Wearing..." 1952. Even earlier examples from the 20th Century, predating Treat, include the novels "Vultures in the Dark", 1925, and "The Borrowed Shield", 1925, by Richard Enright, retired New York City Police Commissioner, "Harness Bull", 1937, and "Homicide", 1937, by former Southern California police officer Leslie T. White, "P.C. Richardson's First Case", 1933, by Sir Basil Thomson, former Assistant Commissioner of Scotland Yard, and the short story collection "Policeman's Lot", 1933, by former Buckinghamshire High Sheriff and Justice of the Peace Henry Wade.


title: Police procedural

text: The procedural became more prominent after World War II, and, while the contributions of novelists like Treat were significant, a large part of the impetus for the post-war development of the procedural as a distinct subgenre of the mystery was due, not to prose fiction, but to the popularity of a number of American films which dramatized and fictionalized actual crimes. Dubbed "semidocumentary films" by film critics, these motion pictures, often filmed on location, with the cooperation of the law enforcement agencies involved in the actual case, made a point of authentically depicting police work. Examples include "The Naked City" (1948), "The Street with No Name" (1948), "T-Men" (1947), "He Walked by Night" (1948), and "Border Incident" (1949).


title: Police procedural

text: Films from other countries soon began following the semi-documentary trend. In France, there was "Quai des orfevres" (1947), released in the United States as "Jenny Lamour". In Japanese cinema, there was Akira Kurosawa's 1949 film "Stray Dog", a serious police procedural film noir that was also a precursor to the buddy cop film genre. In the UK, there were films such as "The Blue Lamp" (1950) and "The Long Arm" (1956) set in London and depicting the Metropolitan Police.


title: Police procedural

text: One semidocumentary, "He Walked By Night" (1948), released by Eagle-Lion Films, featured a young radio actor named Jack Webb in a supporting role. The success of the film, along with a suggestion from LAPD Detective Sergeant Marty Wynn, the film's technical advisor, gave Webb an idea for a radio drama that depicted police work in a similarly semi-documentary manner. The resulting series, "Dragnet", which debuted on radio in 1949 and made the transition to television in 1951, has been called "the most famous procedural of all time" by mystery novelists William L. DeAndrea, Katherine V. Forrest and Max Allan Collins.


title: Police procedural

text: The same year that "Dragnet" debuted on radio, Pulitzer Prize-winning playwright Sidney Kingsley's stage play "Detective Story" opened on Broadway. This frank, carefully researched dramatization of a typical day in an NYPD precinct detective squad became another benchmark in the development of the police procedural.


title: Police procedural

text: "Dragnet" marked a turn in the depiction of the police on screen. Instead of being corrupt laughingstocks, this was the first time police officers represented bravery and heroism. In their quest for authenticity, "Dragnet"'s producers used real police cars and officers in their scenes. However, this also meant that in exchange, the LAPD could vet scripts for authenticity. The LAPD vetted every scene, which would allow them to remove elements they did not agree with or did not wish to draw attention to.


title: Police procedural

text: Over the next few years, the number of novelists who picked up on the procedural trend following "Dragnet"'s example grew to include writers like Ben Benson, who wrote carefully researched novels about the Massachusetts State Police, retired police officer Maurice Procter, who wrote a series about North England cop Harry Martineau, and Jonathan Craig, who wrote short stories and novels about New York City police officers. Police novels by writers who would come to virtually define the form, like Hillary Waugh, Ed McBain, and John Creasey started to appear regularly.


title: Police procedural

text: In 1956, in his regular "New York Times Book Review" column, mystery critic Anthony Boucher, noting the growing popularity of crime fiction in which the main emphasis was the realistic depiction of police work, suggested that such stories constituted a distinct subgenre of the mystery, and, crediting the success of "Dragnet" for the rise of this new form, coined the phrase "police procedural" to describe it.


title: Police procedural

text: As police procedurals became increasingly popular, they maintained this image of heroic police officers who are willing to bend the rules to save the day, as well as the use of police consultants. This would allow Hollywood to form a friendly relationship with law enforcement who are also responsible for granting shooting permits. This, however, has garnered criticisms.


title: Police procedural

text: French "roman policier" value induction over deduction, synthesis of character over analysis of crime.


title: Police procedural

text: The "Inspector Maigret" novels of Georges Simenon feature a strong focus on the lead character, but the novels have always included subordinate members of his staff as supporting characters. Simenon, who had been a journalist covering police investigations before creating Maigret, gave the appearance of an accurate depiction of law enforcement in Paris. Simenon influenced later European procedural writers, such as Sweden's Maj Sjöwall and Per Wahlöö, and Baantjer.


title: Police procedural

text: Perhaps ranking just behind McBain in importance to the development of the procedural as a distinct mystery subgenre is John Creasey, a prolific writer of many different kinds of crime fiction, from espionage to criminal protagonist. He was inspired to write a more realistic crime novel when his neighbor, a retired Scotland Yard detective, challenged Creasey to "write about us as we are". The result was "Inspector West Takes Charge", 1940, the first of more than forty novels to feature Roger West of the London Metropolitan Police. The West novels were, for the era, an unusually realistic look at Scotland Yard operations, but the plots were often wildly melodramatic, and, to get around thorny legal problems, Creasey gave West an "amateur detective" friend who was able to perform the extra-procedural acts that West, as a policeman, could not.


title: Police procedural

text: In the mid-1950s, inspired by the success of television's "Dragnet" and a similar British TV series, "Fabian of the Yard", Creasey decided to try a more down-to-earth series of cop stories. Adopting the pseudonym "J.J. Marric", he wrote "Gideon's Day", 1955, in which George Gideon, a high-ranking detective at Scotland Yard, spends a busy day supervising his subordinates' investigations into several unrelated crimes. This novel was the first in a series of more than twenty books which brought Creasey his best critical notices. One entry, "Gideon's Fire", 1961, won an Edgar Award from the Mystery Writers of America for Best Mystery Novel. The Gideon series, more than any other source, helped establish the common procedural plot structure of threading several autonomous story lines through a single novel.


title: Police procedural

text: Hillary Waugh, in 1952, wrote "Last Seen Wearing ...", a commercial and critical success, exploring detailed and relentless police work.