title: Danish West Indies

text: The Danes formed a Board of Trade in 1668 and secured a commercial treaty with Britain, providing for the unmolested settlement of uninhabited islands, in July 1670. The Danish West India Company was organized in December and formally chartered by King Christian V the next year on 11 March 1671. Jørgen Iversen Dyppel, a successful trader on Saint Christopher, was made governor and the king provided convicts from his jails and two vessels for the establishment of the colony, the yacht "Den forgyldte Krone" and the frigate "Færøe". "Den forgyldte Krone" was ordered to run ahead and wait but ended up returning to Denmark after the "Færøe" under Capt. Zacharias Hansen Bang was delayed for repairs in Bergen. The "Færøe" completed her mission alone, establishing a settlement on St. Thomas on 25 May 1672. From an original contingent of 190 12 officials, 116 company "employees" (indentured servants), and 62 felons and former prostitutes only 104 remained, 9 having escaped and 77 having died in transit. Another 75 died within the first year, leaving only 29 to carry on the colony.


title: Danish West Indies

text: In 1675, Iversen claimed St. John and placed two men there; in 1684, Governor Esmit granted it to two English merchants from Barbados but their men were chased off the island by two British sloops sent by Governor Stapleton of the British Leeward Islands. Further instructions in 1688 to establish a settlement on St. John seem not to have been acted on until Governor Bredal made an official establishment on 25 March 1718.


title: Danish West Indies

text: The islands quickly became a base for pirates attacking ships in the vicinity and also for the Brandenburg African Company. Governor Lorentz raised enormous taxes upon them and seized warehouses and cargoes of tobacco, sugar, and slaves in 1689 only to have his actions repudiated by the authorities in Copenhagen; his hasty action to seize Crab Island prohibited the Brandenburgers from establishing their own Caribbean colony, however. Possession of the island was subsequently disputed with the Scottish in 1698 and fully lost to the Spanish in 1811.


title: Danish West Indies

text: St. Croix was purchased from the French West India Company in 1733. In 1754, the islands were sold to the Danish king, Frederick V of Denmark, becoming royal Danish colonies.


title: Danish West Indies

text: The first British invasion and occupation of the Danish West Indies occurred during the French Revolutionary Wars, when at the end of March 1801 a British fleet arrived at St Thomas. The Danes accepted the Articles of Capitulation the British proposed and the British occupied the islands without a shot being fired. The British occupation lasted until April 1802, when the British returned the islands to Denmark.


title: Danish West Indies

text: The second British invasion of the Danish West Indies took place during the Napoleonic Wars in December 1807 when a British fleet captured St Thomas on 22 December and Saint Croix on 25 December. The Danes did not resist and the invasion was bloodless. This British occupation of the Danish West Indies lasted until 20 November 1815, when Britain returned the islands to Denmark.


title: Danish West Indies

text: By the 1850s, the Danish West Indies had a total population of about 41,000 people. The government of the islands was under a governor-general, whose jurisdiction extended to the other Danish colonies of the group. However, because the islands formerly belonged to Great Britain, the inhabitants were English in customs and in language. The islands of that period consisted of:


title: Danish West Indies

text: In 1916, a referendum was held in Denmark itself on the future of the islands, which had become both a financial burden and a strategic concern. On 17 January 1917, according to the Treaty of the Danish West Indies, the Danish government sold the islands to the United States for $25 million ($ in current prices), when the United States and Denmark exchanged their respective treaty ratifications. Danish administration ended on 31 March 1917, when the United States took formal possession of the territory and renamed it the United States Virgin Islands.


title: Danish West Indies

text: The United States had been interested in the islands since at least the 1860s. The United States finally acted in 1917 because of the islands' strategic position near the approach to the Panama Canal and because of a fear that Germany might seize them to use as U-boat bases during World War I.


title: Danish West Indies

text: At the time of the U.S. purchase of the Danish West Indies in 1917, the colony did not include Water Island, which had been sold by Denmark to the East Asiatic Company, a private shipping company, in 1905. The company eventually sold the island to the United States in 1944, during the German occupation of Denmark.


title: Danish West Indies

text: St Thomas was a hub of the West Indies packet trade from 1851 to 1885. Denmark issued stamps for the Danish West Indies from 1856 onward.


title: Danish West Indies

text: The Danish West Indies were inhabited by many different cultures, and each had its own traditions and religions. The king and the church worked closely together to maintain law and order; the church was responsible for people's moral upbringing, and the king led the civil order. There was no state-sponsored religion in Denmark until 1849, but in the Danish West Indies there had always been a great deal of religious freedom. Danish authorities tended to be lenient towards religious beliefs, but required that all citizens had to observe Danish holidays. Freedom of religion was partially granted to help settle the islands, as there was a shortage of willing settlers from Europe. This worked to an extent, seeing that a large proportion of settlers were in fact Dutch and British natives fleeing religious persecution.


title: Danish West Indies

text: Jews began settling the colony in 1655, and by 1796 the first synagogue was inaugurated. In its heyday in the mid-19th century, the Jewish community made up half of the white population. One of the earliest colonial governors, Gabriel Milan, was a Sephardic Jew.


title: Danish West Indies

text: In spite of a general tolerance for religion, many African religions were not recognized because they typically revolved around belief in animism and magic, beliefs that were consistently met with scorn, and were regarded as immoral and subservient. A widespread viewpoint was that if one could convert slaves to Christianity, they could have a better life, and therefore many slaves were converted.


title: Danish West Indies

text: By 1900, with a population of 30,000, a fourth of the people were Roman Catholics, while most of the rest were Anglicans, Moravians, or other Protestants. For decades, the Moravians had organized missions and also taken charge of the educational system.


title: Danish West Indies

text: Chattel slavery was practiced in the Danish West Indies from at least the 1670s until the abolition of slavery in 1848. Most slaves worked on plantations, particularly in sugar production, though some also worked at the harbors.


title: Danish West Indies

text: Slaves outnumbered whites on all islands, often by large margins. On Saint Thomas, population expansion was recorded as 422 blacks and 317 whites in 1688, 555 blacks and 383 whites in 1699, and 3,042 blacks and 547 whites in 1715 (a ratio of more than 5:1), and by 1755 slaves outnumbered whites 12:1. On Saint John, there were 677 blacks and 123 whites in 1728, 1086 blacks and 208 whites in 1733 (a ratio of more than 5:1), and by 1770 slaves outnumbered whites 19:1. On Saint Croix in 1797, there were 25,452 slaves and 2,223 whites (a ratio of more than 11:1) as well as 1,164 freedmen, and in 1815 there were 24,330 slaves and 180 whites (a ratio of more than 135:1) as well as 2,480 freedmen. At that time, freedmen (many of whom had purchased their freedom) also outnumbered whites on Saint Thomas and Saint John.


title: Danish West Indies

text: Trading African slaves was part of the transatlantic slave trade by Denmark–Norway around 1671, when the Danish West India Company was chartered, until 1 January 1803, when the 1792 law to abolish the slave trade came into effect.


title: Danish West Indies

text: By 1778, it was estimated that the Danes were bringing about 3,000 Africans to the Danish West Indies yearly for enslavement. These transports continued until the end of 1802, when a 1792 law by Crown Prince Regent Frederik that banned the trade of slaves came into effect.


title: Danish West Indies

text: Laws and regulations in the Danish West Indies were based on Denmark's laws, but the local government was allowed to adapt them to match local conditions. For example, things like animals, land, and buildings were regulated according to Danish law, but Danish law did not regulate slavery. Slaves were treated as common property, and therefore did not necessitate specific laws.


title: Danish West Indies

text: In 1733, differentiation between slaves and other property was implied by a regulation that stated that slaves had their own will and thus could behave inappropriately or be disobedient. There was a general consensus that if the slaves were punished too hard or were malnourished, the slaves would start to rebel. This was borne out by the 1733 slave insurrection on St. John, where many plantation owners and their families were killed by the Akwamu, including Breffu, before it was suppressed later the following year. In 1755 Frederick V of Denmark issued more new Regulations, in which slaves were guaranteed the right not to be separated from their children and the right to medical support during periods of illness or old age. However, the colonial government had the ability to amend laws and regulations according to local conditions, and thus the regulations were never enacted in the colony, on grounds that it was more disadvantageous than advantageous.


title: Danish West Indies

text: The 1733 slave insurrection on St. John, which lasted from November 1733 until August 1734, was one of the earliest and longest slave rebellions in the Americas. The insurrection started on 23 November 1733, when 150 slaves, primarily Akwamus, revolted against plantation owners and managers. The slaves captured the fort in Coral Bay and took control of most of the island.


title: Danish West Indies

text: Planters regained control by the end of May 1734, after the Akwamu were defeated by several hundred better-armed French and Swiss troops sent in April from Martinique, a French colony. Colony militia continued to hunt down maroons and finally declared the rebellion at an end in late August 1734.


title: Danish West Indies

text: By the 1830s and 1840s, the sugar beet industry had reduced the profitability of sugarcane. The British Slavery Abolition Act of 1833 emancipated slaves in the neighboring British West Indies, fully effective as of 1840. Abolition in the Danish West Indies was discussed, with Governor von Scholten, who had been seeking reforms since 1830, in favor of emancipation. Scholarly consensus suggests von Scholten's views were influenced by his free-colored mistress Anna Heegaard.


title: Danish West Indies

text: King Christian VIII supported the gradual abolition of slavery and ruled in 1847 that every child born of an unfree woman should be free from birth, and that slavery would end entirely after 12 years. That ruling satisfied neither the slaves nor the plantation owners.


title: Danish West Indies

text: Meanwhile, on 27 April 1848, France signed a law to abolish slavery in their colonies within two months, but a slave insurrection on Martinique led to immediate abolition on Martinique on 22 May and Guadeloupe on 27 May.


title: Danish West Indies

text: The slaves in the Danish West Indies did not want to wait for their freedom, either. On 2 July 1848, freedman John Gottlieb (also known as "Moses Gottlieb" or "General Buddhoe") and Admiral Martin King (among others) led a slave rebellion, taking over Frederiksted, Saint Croix. That evening, hundreds of slaves gathered peaceably outside Fort Frederik refusing to work the next day and demanding freedom. By 10 a.m. the following morning, about 8,000 slaves had joined.


title: Danish West Indies

text: On the afternoon of 3 July 1848 (now known as Emancipation Day), Peter von Scholten, in order to end the rebellion and prevent bloodshed and damages, went to Frederiksted and announced an immediate and total emancipation of all slaves. He then went to Christiansted, where a second rebellion had formed and some fires had been set, and had notices disseminated to the other islands. General Buddhoe worked with the governor and other officials to end the riots and violence that had broken out on a few estates.


title: Danish West Indies

text: In the aftermath, Buddhoe is said to have been jailed and exiled to Trinidad. Governor von Scholten also fared poorly. As governor, he did not actually have the authority to end slavery, but had found himself in a situation where he needed to take immediate action that could not wait for communicating with Denmark. For his actions, he was called back to Denmark to face a trial for treason. He was first denied his pension, but later cleared of the charges.


title: Danish West Indies

text: When Denmark abolished slavery in 1848, many plantation owners wanted full reimbursement on the grounds that their assets were damaged by the loss of the slaves, and by the fact that they would have to pay for labor in the future. The Danish government paid fifty dollars for every slave the plantation owners had owned and recognized that the slaves' release had caused a financial loss for the owners.


title: Danish West Indies

text: The lives of the formerly enslaved people changed very little because many continued to be bound to the plantation system through contractual servitude. Most were bound to serve the plantations where they had previously been enslaved. As employees, former slaves were not the plantation owners' responsibility and did not receive food or care from their employers. As part of a sharecropping system, some formerly enslaved people received a small hut, a little land, and some money; however, this one-time compensation did not change the harsh working conditions.


title: Danish West Indies

text: The Fireburn labor riot, considered to be the largest labor revolt in Danish colonial history, took place on October 1, 1878. The revolt began because the formerly enslaved continued to live and work in slave-like conditions even though three decades had passed since the abolition of slavery. Mary Leticia Thomas, today referred to as Queen Mary of St. Croix, spearheaded the revolt alongside three other women: Axeline ‘Agnes’ Elizabeth Salomon, Matilde McBean and Susanna ‘Bottom Belly’ Abrahamsson. The Fireburn uprising and its leaders continue to have a meaningful role in St. Croix.


title: Danish West Indies

text: 2017 marked the 100th anniversary of the sale of the colony by Denmark to the United States. With this centennial, conversations on the legacy of Danish–Norwegian colonization and slavery were reignited in the Scandinavian mainstream. For example, the artists Jeannette Ehlers and La Vaughn Belle unveiled Denmark's first statue of a black woman, I Am Queen Mary, to memorialize Denmark's colonial impact.


title: Jeet filmography

text: Jeet is an Indian Bengali film actor, producer and television presenter. He made his film debut with a Telugu film, named "Chandu" that was released in 2001 which did not do that well at the box office. Further, Jeet moved on to do Bengali films and had his first breakthrough by portraying the lead character in Sathi He has become one of the biggest stars Bengali cinema through the years, with films like - "Awara", "", "Bachchan, , , Badsha - The Don, Inspector Nottyk, Jor, Beshi Korechi Prem Korechi, Fighter, Dui Prithibi, Raavan to" his credit, all of them being Blockbuster.


title: Jeet filmography

text: From 2014 to 2020, he has starred in many films, including the critically and commercially successful venture, the psychological thriller "The Royal Bengal Tiger", and "Shesh Theke Shuru Raavan"


title: Jeet filmography

text: In 2022, he starred Raavan, a film made under his production house, Jeetz Filmworks. It was released on Eid al-Fitr. He is currently working with the director Rajesh Ganguly for his upcoming film titled "Chengiz", an action thriller.


title: Jeet filmography

text: Jeet is commercially successful as a producer. He along with his younger Brother "Gopal Madnani" and Nephew "Amit Jumrani" runs the production house. He is one among all the Biggest superstars of Bengal, who has produced maximum numbers of commercially successful films and also have produced more numbers of films than any other superstars. His film production company is well known by the banner Jeetz Filmworks/Grassroot Entertainment, two names under same production team


title: Laibach

text: Laibach () is a Slovenian avant-garde music group associated with the industrial, martial, and neo-classical genres. Formed in the mining town of Trbovlje (at the time in Yugoslavia) in 1980, Laibach represents the musical wing of the Neue Slowenische Kunst (NSK) collective, a group which Laibach helped found in 1984. "Laibach" is the German historical name for the Slovenian capital Ljubljana, itself an oblique reference to the Nazi occupation of Slovenia in World War II.


title: Laibach

text: From the early days, the band was subject to controversies and bans due to their elaborate use of iconography with ambiguously repugnant parodies and pastiches of elements from totalitarianism, nationalism and militarism, a concept they have preserved throughout their career. Censored and banned in Socialist Yugoslavia and receiving a kind of dissident status, the band embarked on international tours and gradually acquired international fame. After Slovenia became independent in 1991, Laibach's status in the country has turned from rejection to promotion into a national cultural icon, which included performances with the Slovenian symphony orchestra.


title: Laibach

text: Early Laibach albums were pure industrial, with heavy rhythms and roaring vocals. Later in the mid-80s, the sound became more richly layered, featuring samples from pop and classical music. The band's lyrics, variously written in German, Slovene and English, are usually delivered by the baritone voice of the singer Milan Fras. Initially the lyrics handled war and military themes; later, the focus turned to any highly charged political issue of the moment, sending intentionally ambiguous messages. They recorded several cover versions of popular songs, often turning light melodies into sinister-sounding Gothic tunes.


title: Laibach

text: The band has seen numerous line-up changes, with Dejan Knez, Milan Fras, Ervin Markošek and Ivan "Jani" Novak forming the best-known line-up. They have worked with a number of collaborators and guest musicians. Laibach has also recorded film soundtracks, theatre music and produced works of visual arts, while the band members have embarked on a number of side projects.


title: Laibach

text: Laibach was formed on 1 June 1980 in Trbovlje, a mining-industry town. "Laibach" is the German language name of the city of Ljubljana, a name used during the period when Slovenia was a part of the Habsburg monarchy and the World War II occupation of Yugoslavia. At the time, the group collaborated with art groups Irwin (painting) and Rdeči Pilot (theatre). Since its formation, Laibach had been preparing a multimedia project "Rdeči revirji" ("Red District"), a piece intended to challenge and provoke the current political structures in Trbovlje. The group's use of Malevich's black crosses on their posters was determined to be "improper and irresponsible," leading to the cancellation of the performance of "Red District," an action which was met with considerable negative reaction in the media and by the general public. At this early stage of their career, Laibach's visuals employed mining iconography. Eventually, the group would add such symbols as Triglav, deer horns and the Malevich's black cross encircled with a gear.


title: Laibach

text: The first live appearance and an exhibition entitled "Žrtve letalske nesreče" ("Victims of an Air Accident") took place in January 1982 at the Ljubljana club FV, followed by performances in Belgrade and Zagreb. At the time, the group's musical style was characterized by critics as "industrial rock", and for their live performances they used gramophones, radio devices and electronic instruments constructed by themselves. Instead of the dry ice stage effect, the group used original military smoke bombs which was as unpleasant for themselves as for the audience. At the Novi Rock festival in Ljubljana during the same year, the frontman Tomaž Hostnik appeared in a military uniform and despite being hit by a bottle in the face, causing him serious injuries, he managed to bring the performance to an end. However, Hostnik committed ritual suicide in December 1982 by hanging himself from one of the most powerful Slovenian national symbols, a hayrack, near his hometown of Medvode. Laibach disapproved of his act of suicide and posthumously expelled Hostnik from the group, returning him to his private identity. Despite this, the group often referred to him and dedicated various projects to him, including an installation entitled "Apologia Laibach", created around Hostnik's self-portrait.


title: Laibach

text: In April 1983 the group resumed its activities with a live appearance in Ljubljana, featuring guest performances by the English bands Last Few Days and 23 Skidoo, for which recordings of dogs barking and snarling were used as the concert intro. The day after the performance, the group received considerable media coverage for a concert at the Zagreb Biennale entitled "Mi kujemo bodočnost" ("We Forge the Future"), during which the group used simultaneous projections of a pornographic movie and the film "Revolucija še traja" ("The Revolution is Still Going On"). The performance was eventually interrupted by the police, forcing the group to leave the stage after the appearance of a penis and Josip Broz Tito at the same time on the screens. The subsequent debut television appearance on 23 June 1983, in the informative-political program "TV Tednik", caused major negative reactions after which they were banned from using the name Laibach as well as performing in public.


title: Laibach

text: The group then started an international "The Occupied Europe Tour '83", with the group Last Few Days, which included sixteen dates in eight Eastern and Western European countries. The performances provoked a lot of interest in the European media, especially with the totalitarian musical and visual style. The socialist realism background, effective live appearances and a dissident status in their home country provided the group with a swift increase of interest of the Western countries. Their provocative usage of symbols from Nazi Germany firstly provoked the Slovene WW2 Veteran Organization in Yugoslavia. By combining the imagery of socialist realism, Nazism and Italian futurism, the group created a unique aesthetic style which could not pass unnoticed by the public. The song lyrics were initially written in German, but having included cover versions of English-language songs, the group focused more on the latter.


title: Laibach

text: In 1984, the group moved to London and started working as labourers, acted as soldiers in Stanley Kubrick's "Full Metal Jacket" and worked at a pier in Belfast. Due to the fact that they were banned from using the name Laibach, the group held a secret concert at the Ljubljana Malči Belič hall dedicated to the deceased Tomaž Hostnik. During that period, the group, with their early collaborators Irwin and Rdeči Pilot founded the informal art organization "Neue Slowenische Kunst" (German for "New Slovene Art").


title: Laibach

text: The following year, the group released their debut studio album, "Laibach", through the Ljubljana ŠKUC Ropot label, which did not feature the group name on the album cover, due to its ban, and a sample from a speech by Tito on one of the album tracks was also censored. During the same year, the German label WUS released a compilation album "Rekapitulacija 1980–1984" ("Recapitulation 1980–1984"). With the Gledališče Sester Scipion Nasice, the group performed in their own play "Krst pod Triglavom" ("A Baptism Under Triglav") at the Ljubljana Cankarjev dom. During 1985, the group also released its second album "Nova Akropola" ("The New Acropolis") via British independent record label Cherry Red. After the album release, the group performed its first legal concert in Hum (Slovenia), entitled "Krvava gruda, plodna zemlja" ("Bloody Land, Fertile Soil"). They had asked the 12th congress of the SSO of Slovenia to be allowed to use the name Laibach and have public performances, a request which had been accepted. The group subsequently got the "Zlata ptica" ("The Golden Bird") award at the Yugoslav Youth Day.


title: Laibach

text: In London, The group recorded three songs for John Peel session, performed for the Michael Clark dance company's "No Fire Escape from Hell". Having signed for Mute Records, started recording their third studio album, "Opus Dei", with Slavko Avsenik Jr. The inner sleeve of the cover featured a swastika consisting of four bloodied axes designed by John Heartfield, an anti-Nazi artist. The record was sold secretly in some European countries, as the meaning of the cover was not recognised. The usage of Nazi symbols and the name "Opus Dei" caused the Catholic institution of the same name to sue the group but the case was eventually decided in favour of Laibach. Following the album release, the group embarked on a European tour, during which they stated at a press conference in France that their influences are Tito, Toto, and Tati.


title: Laibach

text: In Hamburg, the group performed and wrote the music for an adaptation of William Shakespeare's "Macbeth" at the Deutsches Schauspielhaus, which was eventually released in 1989 as "Macbeth". In 1988, the group released the album "Let It Be", featuring cover versions of all the songs from the Beatles album of the same name, with the exception of the title track, which they did not record owing to lack of studio time, and "Maggie Mae", which was replaced by the German anthems "Auf der Lüneburger Heide" and "Was Gleicht Wohl Auf Erden". A part of the recorded material from the album was broadcast by Paul McCartney before his concerts.


title: Laibach

text: In 1989, their performance in Zagreb started with the Serbian instrument the gusle and in Belgrade, the NSK philosopher Peter Mlakar held a speech as a cynical parody of Slobodan Milošević's speeches in SAP Kosovo. The following year, the group released the EP "Sympathy for the Devil", an album of different cover versions of the Rolling Stones song of the same name. The group also achieved a commercial success with the cover versions of "Live Is Life" by Opus and "One Vision" by Queen. During the same year, on 21 December the group celebrated their 10th anniversary with a first ever live performance at the thermoelectric power station in Trbovlje. 16 years later Chris Bohn of the Wire magazine proclaimed this show as one of the 60 most powerful concerts of all times. After this concert, the group undertook a tour of Bosnia and Herzegovina.


title: Laibach

text: In 1992, the group released "Kapital" an album featuring their own vision of materialism. The following year, Mute Records released the "Ljubljana–Zagreb–Beograd" live album, recorded at performances in the three cities in 1982, presenting a document of politically active rock from the group's early career, especially in the songs "Tito-Tito", "Država" ("The State"), and "Rdeči molk" ("Red Silence"). In 1994, they released the album "NATO", which commented on the current political events in Eastern Europe, former Yugoslavia and the actions of the NATO pact, filtered through their vision of techno and pop. The album featured cover versions of Europe's "The Final Countdown", Bolland & Bolland's "In the Army Now", Don Fardon's "Indian Reservation" (renamed to "National Reservation"), and the Stanislav Binički composition "Marš na Drinu" ("March on the Drina").


title: Laibach

text: Following the album release, the group went on the "Occupied Europe NATO Tour 1994-95", resulting in the live and video album of the same name, which featured a selection of recordings from the two-year tour, including the performance in Sarajevo on the date of the signing of the Dayton Agreement. In 1995, the group for a while considered splitting into several simultaneous lineups so that they could perform in different places at the same time, but the idea was abandoned. The following year, the group released "Jesus Christ Superstars", a reference to the Andrew Lloyd Webber's rock opera "Jesus Christ Superstar". The group promoted the album in the US with an eighteen-date tour, as well as a German tour.


title: Laibach

text: On 15 May 1997, the group performed with the Slovenian symphony orchestra, conducted by Marko Letonja, and the "Tone Tomšič" choir, for the opening ceremony of the Ljubljana European Month of Culture, presenting orchestral versions of their earliest material, which they rarely performed live, arranged by Uroš Rojko and Aldo Kumar with the members of the group. During the same year, the live album "M.B. 21 December 1984" was released, featuring recordings of the forbidden concert in the Ljubljana Malči Belič Hall, a February 1985 concert at the Berlin Atonal festival, and the April 1985 performance at the Zagreb club Kulušić. The performances had featured a guest appearance by Jože Pegam on clarinet and trumpet, and recordings of Tito's speeches. On 14 November 1997 at a concert in Belgrade, another Peter Mlakar speech received a decidedly mixed audience reaction (in sharp contrast to the 1989 speech), in which he asked the audience to "eat the pig and digest it once and for all", referring to the then president Slobodan Milošević.


title: Laibach

text: In 2003, the group released the album "WAT" (an acronym for "We Are Time"), which, as well as new material, featured the song "Tanz mit Laibach" (German for "Dance with Laibach"), inspired by the German band D.A.F. The song lyrics were co-written with Peter Mlakar, and the music was co-written with the producer Iztok Turk (former member of Videosex) and the DJs Umek, Bizzy and Dojaja. The following year, the group released a double compilation album "Anthems", featuring a career spanning selection of material as well as the previously unreleased song "Mama Leone", a Drafi Deutscher cover, and remixes by Random Logic, Umek, Octex, Iztok Turk and others. The compilation also features a thorough group biography written by Alexei Monroe. The group also released two DVD's: the first, "Laibach", featured music videos, including a new music video for the song "Das Spiel ist aus", and "A Film about WAT" directed by Sašo Podgoršek. The second DVD was "2" with a recording from the "Occupied Europe NATO Tour" concert in Ljubljana on 26 October 1995 and "A Film from Slovenia", directed by Daniel Landin and Peter Vezjak.


title: Laibach

text: In 2004, the group recorded "The Divided States of America – Laibach 2004 Tour", released on DVD in 2006 and directed by Sašo Podgoršek during the group's fourth USA tour. During 2006, the group released the album "Volk" (Slovenian for "Wolf", German for "People"), featuring cover versions of national anthems, including the NSK state anthem "Das Lied der Deutschen", originally written in 1797 and used during the Weimar Republic. Each cover featured a guest vocalist singing the anthem in their own language. During the same year, on 1 June, the group performed J. S. Bach's "The Art of Fugue" in his hometown Leipzig, and their interpretation of the work was released on the album "Laibachkunstderfuge" in 2008.


title: Laibach

text: On 15 October 2013 Laibach announced new album "Spectre" to be released in 2014, and they released the EP record "S" featuring three songs from the album and one from a 2012 live album. The songs from the new album are also downloadable for limited time for subscribers of their mailing list. The album's first single "Resistance is Futile" was published on 8 January 2014.


title: Laibach

text: In July 2014, Laibach released an EP to coincide with the 70th anniversary of the outbreak of the Warsaw Uprising. The project was commissioned by Poland's National Cultural Centre and includes a reworking of one of the classic songs of the insurgency; "Warszawskie Dzieci" ("Children of Warsaw").


title: Laibach

text: In April 2015, Laibach launched an Indiegogo fundraising campaign to augment costs of a tour in the United States which started in May 2015.


title: Laibach

text: On 11 June 2015, Laibach announced that they would be performing a show in Pyongyang, North Korea in August 2015. The band later confirmed through their website and the website of their record label, Mute Records, that they would perform two concerts on 19 and 20 August 2015 at Kim Won Gyun Musical Conservatory in Nampo-dong, Pyongyang, to coincide with the 70th anniversary of the end of Japanese colonial rule in Korea. The concert is the subject of the documentary film "Liberation Day" by Morten Traavik and Uģis Olte, which premiered in 2016. Unlike press releases suggest, Laibach was not the first western rock band to perform in North Korea.


title: Laibach

text: On 8 June 2017, Laibach announced new album "Also Sprach Zarathustra" to be released on 14 July 2017 along with the lead single "Das Nachtlied I" and an accompanying tour. The songs on the album were originally composed for a theatrical production of Thus Spoke Zarathustra, based on Friedrich Nietzsche's novel of the same name.


title: Laibach

text: On 12 June 2018, Laibach marked the historic summit in Singapore between President Donald Trump and the leader of North Korea, Kim Jong-un, by sharing a track Arirang dedicated to the Korean reunification process.


title: Laibach

text: Laibach's cover versions are often used to subvert the original message or intention of the song—a notable example being their version of the song "Live Is Life" by Opus, an Austrian arena rock band. Laibach recorded two new interpretations of the song, titled "Leben heißt Leben" and "Opus Dei". The first, the opening song on the Laibach album "Opus Dei" (1987), was sung in German. The second was promoted as a single, and its promotional video (which used the title "Life Is Life") was played extensively on American cable channel MTV. "Opus Dei" retained some of the original song's English lyrics, but was delivered in a musical style that left the meaning of the lyrics open to interpretation. Whereas the original is a feel-good pop anthem, Laibach's interpretation twists the melody into a triumphant military march. With the exception of the promotional video, the refrain is at one point translated into German, giving an example of the sensitivity of lyrics to their context. The "Opus Dei" album also features a cover of Queen's "One Vision" with lyrics translated into German under the title '"Geburt einer Nation" ("Birth of a Nation"), revealing the ambiguity of lines like "One race one hope/One real decision". In "NATO" (1994), Laibach also memorably re-worked Europe's glam metal anthem "The Final Countdown" as a bombastic disco epic.


title: Laibach

text: Other notable covers include "Let It Be" (1988), reinterpretation of the eponymous Beatles album. The ensuing maxi-single "Sympathy for the Devil" (1988) deconstructs the Rolling Stones song of the same name with seven different interpretations.


title: Laibach

text: Laibach not only references modern artists through reinterpretation, but also samples or reinvents older musical pieces. For example, their song "Anglia" is based on the national anthem of the United Kingdom, "God Save the Queen", released on "Volk", a collection of Laibach's versions of several national anthems. On this album they also included an anthem for their NSK State in Time, based on their song "The Great Seal" from "Opus Dei".


title: Laibach

text: They have also toured with an audio-visual performance centered on Johann Sebastian Bach's "Die Kunst der Fuge". Since this work has no specifications of acquired instruments and is furthermore based on mathematical principles, Laibach has argued that the music can be seen as proto-techno. Therefore, the band found "Die Kunst der Fuge" to be ideal for an interpretation using computers and software.


title: Laibach

text: In 2009 Laibach reworked Richard Wagner's "Overture to Tannhäuser", "Siegfried-Idyll" and "The Ride Of The Valkyries" in collaboration with the symphonic orchestra RTV Slovenia, conducted by Izidor Leitinger. Laibach's version is titled "VolksWagner".


title: Laibach

text: In addition to cover songs, Laibach has remixed songs by other bands. These include two songs by the Florida death metal band Morbid Angel that appear on the Morbid Angel EP "Laibach Re-mixes".


title: Laibach

text: In 2009 Laibach made new versions of their own songs from the early 1980s such as "Brat moj", "Boji" and "Smrt za smrt".


title: Laibach

text: Although primarily a musical group, Laibach has sometimes worked in other media. In their early years, especially before the founding of Neue Slowenische Kunst (NSK), Laibach produced several works of visual art. A notable example was "MB 84 Memorandum" (1984) an image of a black cross that served as a way to advertise Laibach's appearances during a period in the 1980s when the government of Yugoslavia banned the name "Laibach". Cross imagery, and variations on the cross are apparent in many Laibach recordings and publications.


title: Laibach

text: The visual imagery of Laibach's art (or 'Laibach Kunst', as it calls itself) has been described as "radically ambiguous". An early example of this ambiguity would be the woodcut entitled "The Thrower," also known as "Metalec" ("The Metal Worker"). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer aloft. The work could be seen as promoting industrial protest or as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word 'LAIBACH', evoking memories of the Nazi occupation of Slovenia (when the capital city was briefly known by its German language name of Laibach). This piece was featured prominently during a TV interview of Laibach in 1983, during which the interviewer Jure Pengov called Laibach "enemies of the people."


title: Laibach

text: Laibach has frequently been accused of both far left and far right political stances due to their use of uniforms and totalitarian-style aesthetics. They were also accused of being members of the neo-nationalism movement, which reincarnates modern ideas of nationalism. When confronted with such accusations, Laibach is quoted as replying with the ambiguous response "We are fascists as much as Hitler was a painter". In addition, Laibach also provided most of the soundtrack for Iron Sky, a film that mocked Nazism.


title: Laibach

text: The members of Laibach are notorious for rarely stepping out of character. Some releases feature artwork by the communist and early Dada artist and satirist John Heartfield. Laibach concerts have sometimes aesthetically appeared as political rallies. When interviewed, they often answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.


title: Laibach

text: Finnish author Tuomas Tähti tells in his 2019 book "Nationalistin henkinen horisontti" that Laibach member Ivan "Jani" Novak told him in March 2015 that Laibach is a communist group and most of Laibach's work is connected to communism.


title: Laibach

text: Some early material by Laibach and later neoclassical releases by the band, such as 1990's "Macbeth" release, were influential on certain artists within the martial industrial music genre.


title: Laibach

text: Laibach is often cited as an influence for the popular German Neue Deutsche Härte band Rammstein. The parallel is regularly made between the bands regarding their aesthetics and deep male vocals both groups share and with their respective backgrounds of originating from former socialist countries. When asked about the topic in an interview, the guitar player of Rammstein, Richard Kruspe, claimed Rammstein to have a more emotional approach instead of the more "intellectual" style of Laibach. In the same interview the keyboard player of Rammstein Christian Lorenz drew a parallel between the deep voices of Till Lindemann and Milan Fras but considered this to be the only similarity between the two music groups. The film "Liberation day" ends with a notice stating that a member of a certain industrial metal band was supposed to be interviewed for the film about the influence Laibach had on their earlier work, but it had to be removed due to the prospect of arrest or a fine from the district court of Berlin towards the makers of the film. This, and the early promotional material for the film suggest that it was Paul Landers who was to appear in the film, thus to some extent confirming the connection between these two music groups.


title: Laibach

text: When members of Laibach were asked by an interviewer about Rammstein "stealing" from them, they responded: "Laibach does not believe in originality... Therefore, Rammstein could not 'steal' much from us. They simply let themselves get inspired by our work, which is absolutely a legitimate process. We are glad that they made it. In a way, they have proven once again that a good 'copy' can make more money on the market than the 'original'. Anyhow, today we share the territory: Rammstein seem to be a kind of Laibach for adolescents and Laibach are Rammstein for grown-ups." Laibach would later provide a remix for the Rammstein single "Ohne dich".


title: Laibach

text: In 1978, Dejan Knez formed his first band Salte Morale, which was essentially the first incarnation of Laibach. During the summer of 1980, following the suggestion of Knez's father, the well-known Slovenian painter and artist Janez Knez, the band renamed itself Laibach. This incarnation included Dejan Knez, Srečko Bajda, Andrej Lupinc, Tomaž Hostnik and Marko Košnik. Soon after that, Knez's relative Ivan "Jani" Novak and Milan Fras joined the band. First a quintet, Laibach quickly became a quartet and declared that the group had four members – "Vier Personen".


title: Laibach

text: From mid-1980s to mid-1990s, while the core quartet included Dejan Knez, Milan Fras, Ervin Markošek and Ivan "Jani" Novak, the members frequently used the pseudonyms Dachauer, Keller, Saliger and Eber. The pseudonym "Ivo Saliger" was originally used by original singer Tomaž Hostnik (since deceased) and more recently by Ivan Novak. Former member Andrej Lupinc has continued to use the pseudonym Keller after leaving the band. The pseudonym Elk Eber has been used by Dejan Knez. Occasionally, other musicians supplemented the core group, some of whom include Oto Rimele (from Lačni Franz), Nikola Sekulović (bass player from the Demolition Group), Matej Mršnik, and tour drummer Roman Dečman. Slovene singer and radio announcer Anja Rupel has also performed with the group.


title: Laibach

text: On 20 June 2015, the band performed a sound performance "Musical Nocturne" with their most famous line-up of Knez, Novak, Fras and Markošek.


title: Patience

text: Patience (or forbearance) is the ability to endure difficult circumstances. Patience may involve perseverance in the face of delay; tolerance of provocation without responding in disrespect/anger; or forbearance when under strain, especially when faced with longer-term difficulties, or being able to wait for a long amount of time without getting irritated or bored. Patience is the level of endurance one can have before disrespect. It is also used to refer to the character trait of being steadfast. Antonyms include and impetuousness.


title: Patience

text: In psychology and in cognitive neuroscience, patience is studied as a decision-making problem, involving the choice of either a small reward in the short-term, versus a more valuable reward in the long-term.


title: Patience

text: In 2005 a study involving common marmosets and cottontop tamarins, animals of both species faced a self-control paradigm in which individuals chose between taking an immediate small reward and waiting a variable amount of time for a large reward. Under these conditions, marmosets waited significantly longer for food than tamarins. This difference cannot be explained by life history, social behaviour or brain size. It can, however, be explained by feeding ecology: marmosets rely on gum, a food product acquired by waiting for exudate to flow from trees, whereas tamarins feed on insects, a food product requiring impulsive action. Foraging ecology, therefore, may provide a selective pressure for the evolution of self-control.


title: Patience

text: Patience of human users in the online world has been the subject of much recent scientific research. In a 2012 study involving tens of millions of users who watched videos on the Internet, Krishnan and Sitaraman show that online users lose patience in as little as two seconds while waiting for their chosen video to start playing. The study also shows that users who are connected to the Internet at faster speeds are less patient than their counterparts connected at slower speeds, demonstrating a link between the human expectation of speed and human patience. These and other scientific studies of patience have led many social commentators to conclude that the rapid pace of technology is rewiring humans to be less and less patient.


title: Patience

text: Patience and fortitude are prominent themes in Judaism. The Talmud extols patience as an important personal trait. The story of Micah, for example, is that he suffers many challenging conditions and yet endures, saying "I will wait for the God who saves me." Patience in God, it is said, will aid believers in finding the strength to be delivered from the evils that are inherent in the physical life.


title: Patience

text: In the Hebrew Torah, patience is referred to in several proverbs, such as "The patient man shows much good sense, but the quick-tempered man displays folly at its height" (Proverbs 14:29, NAB); "An ill-tempered man stirs up strife, but a patient man allays discord." (Proverbs 15:18, NAB); and "A patient man is better than a warrior, and he who rules his temper, than he who takes a city." (Proverbs 16:32). The emotion is also discussed in other sections, such as Ecclesiastes: "Better is the patient spirit than the lofty spirit. Do not in spirit become quickly discontented, for discontent lodges in the bosom of a fool." (Ecclesiastes 7:8-9, NAB).


title: Patience

text: In the Christian religion, patience is one of the most valuable virtues of life. Increasing patience is viewed as the work of the Holy Ghost in the Christian who has accepted the gift of salvation. While patience is not one of the traditional biblical three theological virtues nor one of the traditional cardinal virtues, it is part of the fruit of the Holy Spirit, according to the Apostle Paul in his Epistle to the Galatians. Patience was included in later formulations of the seven virtues.


title: Patience

text: In the Christian Bible, patience is referred to in several sections. The Book of Proverbs notes that "through patience a ruler can be persuaded, and a gentle tongue can break a bone" (, NIV); Ecclesiastes points out that the "end of a matter is better than its beginning, and patience is better than pride" (, NIV); and 1 Thessalonians states that we should "be patient with all. See that no one returns evil for evil; rather, always seek what is good for each other and for all" (, NAB). In the Epistle of James, the Bible urges Christians to be patient, and " see how the farmer waits for the precious fruit of the earth...until it receives the early and the late rains." (, NAB). In Galatians, patience is listed as part of the "fruit of the Spirit": "love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self-control. Against such things there is no law". (, NIV). In Timothy, the Bible states that "Jesus might display his unlimited patience as an example for those who would believe on him and receive eternal life".( NIV).


title: Patience

text: Patience with steadfast belief in Allah is called "sabr" (), one of the best virtues of life in Islam. Through sabr, a Muslim believes that an individual can grow closer to God and thus attain true peace. It is also stressed in Islam, that Allah is with those who are patient, more specifically during calamity and suffering. Several verses in Quran urge Muslims to seek Allah's help when faced with fear and loss, with patient prayers and perseverance for Allah. For example:


title: Patience

text: In Islamic tradition, Job (Arabic: أيوب, romanized: Ayyūb) illustrates a story where he demonstrated patience and steadfast belief in Allah. Ibn Kathir narrates the story in the following manner: Job was a very rich person with much land, and many animals and children — all of which were lost and soon he was struck with disease as a test from Allah. He remained steadfast and patient in his prayers to Allah, so Allah eventually relieved him of the disease, gave him double the money he lost, and raised to life twice the number of children who had died before him.


title: Patience

text: In Buddhism, patience (Skt.: "kshanti"; Pali: "khanti") is one of the "perfections" ("paramitas") that a bodhisattva trains in and practices to realize perfect enlightenment ("bodhi"). The Buddhist concept of patience is distinct from the English definition of the word. In Buddhism, patience refers to not returning harm, rather than merely enduring a difficult situation. It is the ability to control one's emotions even when being criticized or attacked. In verse 184 of the Dhammapada it is said that 'enduring patience is the highest austerity'.


title: Patience

text: Patience and forbearance is considered an essential virtue in Hinduism. In ancient literature of Hinduism, the concept of patience is referred to with the word "pariksaha" (patience and forbearance, Sanskrit: परिषहा), and several other words such as sahiṣṇutā (patient toleration, Sanskrit: सहिष्णुता), "titiksha" (forbearance, Sanskrit: तितिक्षा), "sah" or "sahanshilata" (suffer with patience, Sanskrit: सह, सहनशीलता) and several others.


title: Patience

text: Patience, in Hindu philosophy, is the cheerful endurance of trying conditions and the consequence of one's action and deeds (karma). It is also the capacity to wait, endure opposites - such as pain and pleasure, cold and heat, sorrows and joys - calmly, without anxiety, and without a desire to seek revenge. In interpersonal relationships, virtuous "titiksha" means that if someone attacks or insults without cause, one must endure it without feeling enmity, anger, resentment or anxiety. The concept of patience is explained as being more than trust, and as a value that reflects the state of one's body and mind. The term "pariksaha" is sometimes also translated as test or exam, in other contexts. Some of these concepts have been carried into the spiritual understanding of yoga. Sandilya Upanishad of Hinduism identifies ten sources of patience and forbearances: Ahimsa, Satya, Asteya, Brahmacharya, Daya, Arjava, Kshama, Dhriti, Mitahara and Saucha. In each of these ten forbearances, the virtuous implicit belief is that our current spirit and the future for everyone, including oneself, will be stronger if these forbearances are one's guide. Each source of those ten pariksaha (patience and forbearances) are:


title: Patience

text: The classical literature of Hinduism exists in many Indian languages. For example, "Tirukkuṛaḷ" written between 200 BC and 400 AD, and sometimes called the Tamil Veda, is one of the most cherished classics on Hinduism written in a South Indian language. It too discusses patience and forbearance, dedicating Chapter 16 of Book 1 to it. "Tirukkuṛaḷ" suggests "patience" is necessary for an ethical life and one's long term happiness, even if patience is sometimes difficult in the short term. Some of the verse excerpts from this book are: "our conduct must always foster forbearance"; "one must patiently endure rude remarks, because it delivers us to purity"; "if we are unjustly wronged by others, it is best to conquer our hurt with patience, accept suffering, and refrain from unrighteous retaliation"; "it is good to patiently endure injuries done to you, but to forget them is even better"; "just as the Earth bears those who dig into her, one must with patience bear with those who despise us", and so on.


title: Patience

text: The spiritual teacher Meher Baba stated that "[O]ne of the first requirements of the [spiritual] aspirant is that he should combine "unfailing enthusiasm with unyielding patience"...Spiritual effort demands not only physical endurance and courage, but also unshrinking forbearance and unassailable moral courage."


title: Patience

text: In "Human, All Too Human", philosopher Friedrich Nietzsche argued that "being able to wait is so hard that the greatest poets did not disdain to make the inability to wait the theme of their poetry." He notes that "Passion will not wait", and gives the example of cases of duels, in which the "advising friends have to determine whether the parties involved might be able to wait a while longer. If they cannot, then a duel is reasonable [because]...to wait would be to continue suffering the horrible torture of offended honor...".


title: Defection

text: In politics, a defector is a person who gives up allegiance to one state in exchange for allegiance to another, changing sides in a way which is considered illegitimate by the first state. More broadly, defection involves abandoning a person, cause, or doctrine to which one is bound by some tie, as of allegiance or duty.


title: Defection

text: This term is also applied, often pejoratively, to anyone who switches loyalty to another religion, sports team, political party, or other rival faction. In that sense, the defector is often considered a traitor by their original side.


title: Defection

text: The physical act of defection is usually in a manner which violates the laws of the nation or political entity from which the person is seeking to depart. By contrast, mere changes in citizenship, or working with allied militia, usually do not violate any law(s).


title: Defection

text: For example, in the 1950s, East Germans were increasingly prohibited from traveling to the western Federal Republic of Germany where they were automatically regarded as citizens according to Exclusive mandate. The Berlin Wall (1961) and fortifications along the Inner German border (1952 onward) were erected by the Communist German Democratic Republic to enforce the policy. When people tried to "defect" from the GDR they were to be shot on sight. Several hundred people were killed along that border in their Republikflucht attempt. Official crossings did exist, but permissions to leave temporarily or permanently were seldom granted. On the other hand, the GDR citizenship of some "inconvenient" East Germans was revoked, and they had to leave their home on short notice against their will. Others, like singer Wolf Biermann, were prohibited from returning to the GDR.


title: Defection

text: During the Cold War, the many people illegally emigrating from the Soviet Union or Eastern Bloc to the West were called defectors. Westerners defected to the Eastern Bloc as well, often to avoid prosecution as spies. Some of the more famous cases were British spy Kim Philby, who defected to the USSR to avoid exposure as a KGB mole, and 22 Allied POWs (one Briton and twenty-one Americans) who declined repatriation after the Korean War, electing to remain in China.


title: Defection

text: When the individual leaves his country and provides information to a foreign intelligence service, they are a HUMINT source defector. In some cases, defectors remain in the country or with the political entity they were against, functioning as a defector in place. Intelligence services are always concerned when debriefing defectors with the possibility of a fake defection.


title: Defection

text: Entire militaries can defect and choose not to follow orders from a state's leaders. During the Arab Spring protests, militaries in Egypt and Tunisia refused orders to fire upon protesters or use other methods to disperse them. The decision to defect can be driven by the desire to prevent insubordination: if a military leader judges that lower officers will disobey orders to fire upon protesters, they could be more likely to defect.


title: Amhrán na bhFiann

text: "" (), called "The Soldier's Song" in English, is Ireland's national anthem. The music was composed by Peadar Kearney and Patrick Heeney, the original English lyrics by Kearney, and the Irish-language translation, now usually the version heard, by Liam Ó Rinn. The song has three verses, but only the choral refrain is used as the national anthem.


title: Amhrán na bhFiann

text: The Presidential Salute, played when the President of Ireland arrives at an official engagement, consists of the first four bars of the national anthem immediately followed by the last five.


title: Amhrán na bhFiann

text: The song, as "A Soldier's Song", was composed "early in 1910 or late in 1909", with words by Peadar Kearney, and music by his childhood friend and neighbour Patrick Heeney, who had collaborated on songs since 1903. Kearney assisted Heeney in setting the refrain. Heeney composed it with his melodeon. Seán Rogan, later of the Irish Citizen Army, may also have helped with the music, and first wrote it in musical notation. Kearney wrote much of the text in the Swiss Café at the corner of O'Connell Street and North Earl Street. The first draft of the text, handwritten on copybook paper, sold at auction in Dublin in 2006 for €760,000. After being rejected by "The United Irishman", Bulmer Hobson's magazine "Irish Freedom" published the text in 1912. Whelan and Son of Ormond Quay, Dublin, published the lyrics for sale as a flysheet. It was used as a marching song by the Irish Volunteers and Seamus Hughes first sang it in public at a Volunteer fundraising concert. It was sung by rebels in the General Post Office (GPO) during the Easter Rising of 1916. Its popularity increased among rebels held in Frongoch internment camp after the Rising.


title: Amhrán na bhFiann

text: The sheet music was first published in late 1916 by Whelan and Son, in an arrangement by Cathal Mac Dubhghaill (Cecil Grange MacDowell). In December 1916 in New York City, Victor Herbert published his own piano and orchestral arrangements under the title "Soldiers of Erin, the Rallying Song of the Irish Volunteers", on the instigation of R. F. O'Reilly, an Irish priest. O'Reilly arranged for proceeds to go to the Gaelic League, but paid royalties to Kearney and Heeney once he discovered they were the authors. With later cheques from the US, Kearney earned "not much more than £100". The song's first commercial recording was made in New York City in early 1917 by George Potter and commissioned by Ellen Byrne De Witt, a prominent Irish-American businesswoman.


title: Amhrán na bhFiann

text: By 1917, according to Séumas Robinson, the song was being parodied by British soldiers in Ireland. Éamon de Valera's platform at the June 1917 East Clare by-election featured a large banner with the opening two lines. That October the Irish Volunteers allied with Sinn Féin under de Valera and during the Irish War of Independence (1919–21) the Volunteers evolved into the Irish Republican Army (IRA). The song's popularity led to its being called the "Sinn Féin anthem". Copies were confiscated by British security forces as seditious. Carl Hardebeck played it unannounced on Low Sunday 1918 in St Peter's Cathedral, Belfast. Victor Herbert's version was well known to Irish Americans by 1919, when de Valera arrived as President of Dáil Éireann of the self-proclaimed Irish Republic. In the 1922–23 Civil War, the IRA split into the "National Army" of the nascent Irish Free State and the "Irregulars" loyal to the defunct Republic. Both sides continued to sing "The Soldier's Song". After the war, it remained popular as an Army tune, and was played at many military functions.


title: Amhrán na bhFiann

text: The Free State did not initially adopt any official state anthem. The delicate political state in the aftermath of the Civil War provoked a desire to avoid controversy. Ex-unionists continued to regard "God Save the King" as the national anthem, as it had been for the rest of the British Empire. For nationalists, the fact that "The Soldier's Song" described Irishmen fighting a foreign foe allowed it to overlook the painful memory of the Civil War. W. T. Cosgrave, 1922–32 President of the Executive Council, avoided explicitly making it the national anthem for fear of exacerbating the antipathy for the Free State held by unionists in Northern Ireland. On the other hand, the government did not want to disassociate the state from the anthem for fear of leaving a potent symbol available for its republican opponents to claim. The same equivocation hung around the status of the Irish tricolour.


title: Amhrán na bhFiann

text: "The Soldier's Song" was widely if unofficially sung by nationalists. Public perception that it was officially recognised sprang from a concert on 3 February 1924 at the Theatre Royal, Dublin by the Army Music School under its German-born director, Colonel Fritz Brase. As an encore to the concert, Brasé conducted "Irish March, no.1", his medley of Irish patriotic airs, which ended with that of "The Soldier's Song". Most dignitaries present stood up at this point, including Governor-General Tim Healy, Cosgrave and most of the Executive Council, although Richard Mulcahy remained seated. On 28 April 1924, Cosgrave expressed opposition to replacing "The Soldier's Song", which was provisionally used within the State. Sean Lester, Publicist at the Department of External Affairs considered "The Soldier's Song" to be "hardly suitable in words or music" and favoured the music, though not the words, of "Let Erin Remember". This was used as the anthem for the state at the 1924 Olympics in Paris, and other events abroad for the next two years. The "Dublin Evening Mail" held contests in 1924 and 1925 to find verses for a new anthem; the first produced no sufficiently good entry, and the second's winning entry was soon forgotten.


title: Amhrán na bhFiann

text: There was concern that the lack of an official anthem was giving unionists an opportunity to persist with "God Save the King". Ewan Morris writes, "While some, perhaps many, nationalists undoubtedly disliked 'The soldier's song', few would have objected so strongly as to refuse to honour it as the national anthem. But for ex-unionists 'The soldier's song' remained anathema, and 'God save the king' continued to be the national anthem they honoured." By 1926 foreign diplomats' protocol offices were requesting copies of the anthem's score. On 12 July 1926, the Executive Council decided to adopt it as the National Anthem, with Cosgrave the driving force in the decision. He wrote to Lester, "there must be uniformity in regard to the national anthem and that for the present the 'Soldier's song' is to be used for this purpose both at home and abroad". The decision was not publicised. On 20 June 1926, Osmond Esmonde asked President Cosgrave what the National Anthem was, but the Ceann Comhairle Michael Hayes ruled 'If the Deputy desires to investigate any problem in regard to the National Anthem, he cannot ask a question of the President. The President cannot be asked to define what is the National Anthem. It is not part of his functions.' Esmonde instead asked Minister for Defence Peter Hughes what 'as far as the Army is concerned' was the National Anthem. The draft response provided for Hughes stated that 'while no final decision has been come to', "The Soldier's Song" was 'at present accepted as the National Anthem', However, this wording was vetoed by Cosgrave, and in the Dáil chamber Hughes responded simply 'The "Soldier's Song."'


title: Amhrán na bhFiann

text: In 1928, the Army band established the practice of playing only the chorus of the song as the Anthem, because the longer version was discouraging audiences from singing along. Also in 1928, Chief Justice Hugh Kennedy, returning from an official trip to North America, reported that an official arrangement of the music was "very badly needed" for circulation abroad. This was produced in July 1929 by Fritz Brase. This consisted only of the chorus, and was published under the title "The Soldier's Song" rather than "A Soldier's Song", although variants such as "the "Soldiers' Song"" continued to occur in later official documentation.


title: Amhrán na bhFiann

text: The national anthem was played at closedown by Radio Éireann from its inception in 1926. The Catholic Truth Society of Ireland included it in a 1929 publication commemorating the centenary of the Roman Catholic Relief Act 1829. Cinemas and theatres played the anthem when closing from 1932 until 1972. Peadar Kearney, who had received royalties from sheet music publishers, issued legal proceedings for royalties from those now performing the anthem. He was joined by Michael Heeney, brother of Patrick Heeney, who had died in 1911. In 1934, the Department of Finance acquired the copyright of the song for the sum of £1,200 (£980 to the copyright holders plus £220 expenses). Copyright law changed in the 1950s, such that the government had to reacquire copyright in 1965, for £2,500. Ruth Sherry states that it is unclear whether the official anthem is the music alone or the text also; however, the official 1934 "Estimate of the amount required ... for the acquisition by the state of copyright in the national anthem" includes the line item, 'Payment to the holders of copyright in the words and music of the "Soldier's Song"' [emphasis added]. While the state held the copyright, most requests for publication were accepted, "although several of a purely commercial nature, such as its use in advertisements, were refused". As per EU copyright law, the English lyrics' copyright expired on 1 January 2013, following the 70th anniversary of Kearney's death. In 2016, three Fianna Fáil senators introduced a private member's bill intended to restore the state's copyright in the anthem. The ending of copyright also encourage the Seanad to announce a public consultation on the anthem.


title: Amhrán na bhFiann

text: The Governor-General of the Irish Free State was the King's representative and, as such, unionists considered that the appropriate official salute to play was "God Save The King" rather than the Free State Anthem. At James McNeill's 1928 inauguration, the Army band played "The Soldier's Song", but that summer, at two events with unionist organisers, he was greeted by "God Save The King". The Executive Council advised him that in future the Free State anthem must be played. McNeill declined a June 1929 invitation to the Trinity College sports when the college insisted that the British anthem was its tradition. Unionists and people in Great Britain took this as a snub, while for republican commentators it encapsulated the Free State's attempts to suppress the truth about its subservience to Britain. A compromise adopted in 1931 was that "The Soldier's Song" would mark the Governor General's arrival and he would leave before the end of the sports, when "God Save The King" would be played. Following the 1932 general election, Éamon de Valera became President of the Executive Council; as part of his campaign to abolish the office of Governor-General, he forbade the Army band from playing "The Soldier's Song" in McNeill's presence.


title: Amhrán na bhFiann

text: The first ceremonial regulations for the Irish Defence Forces, drawn up in 1926, provided that the official "Presidential Salute" for the President of the Executive Council would be the first and last eight bars of the national anthem. The 1937 Constitution renamed the head of government "Taoiseach", and introduced the office of President of Ireland. The "Presidential Salute" has since 1937 been used for the President of Ireland, who as head of state takes precedence over the Taoiseach. The Taoiseach's salute is "Mór Chluana", an old Irish air to which Osborn Bergin set "Amhrán Dóchais", which in the 1930s was often suggested as a replacement national anthem.


title: Amhrán na bhFiann

text: The Irish translation was written by Liam Ó Rinn (1886–1943), later the Chief Translator of the Oireachtas, who was involved in the Irish versions of both the 1922 Constitution and the 1937 Constitution. Although Sherry says the Irish version was first published in "An tÓglach" (the magazine of the Irish Defence Forces) on 3 November 1923, an almost identical text was printed in the "Freeman's Journal" on 3 April 1923, under Ó Rinn's pen name "Coinneach". It may have been written as early as 1917. Ó Rinn's grandson Nial claims Liam started work on a translation while interned in Frongoch after the 1916 Rising. Several other translations had been made by 1923, which Ó Rinn criticised as unreadable. These were in literary Classical Irish, whereas Ó Rinn favoured the living vernacular spoken in Gaeltacht areas. On the other hand, Ó Rinn's Irish was a second language which some native speakers found inelegant. "Rosc Catha na nÓglach", T. F. O'Rahilly's translation, was used by Conradh na Gaeilge in the early 1920s; in 1924, Padraig de Burca said it "deserves more favour than it has received". Other translations included one sung by Claisceadal in University College Galway in December 1931, and others by Pádraig Mac Cárthaigh, Sean Dubhthaigh, Seamus Mac Grianna, and Ernest Blythe. From the 1930s, the Gaelic Athletic Association (GAA) encouraged singing the anthem in Irish at its matches. The text of the Ó Rinn version was printed in 1933 in "An Camán", and in the programs of GAA matches at Croke Park, where the crowd was led via the public address system by singers from St Patrick's College of Education and Conradh na Gaeilge, led by Seán Ó Síocháin. Also in 1933 Eamonn O'Neill suggested in the Dáil that schoolchildren should be taught the words in both English and Irish. In 1935 Charles Bewley, Irish envoy to Germany, requested Irish lyrics because "the English text ... makes a bad impression abroad".


title: Amhrán na bhFiann

text: Both the English and Irish texts appeared in various editions of "Facts about Ireland", published by the Department of Foreign Affairs, and on the official website of the Department of the Taoiseach.


title: Amhrán na bhFiann

text: However, no Irish version has been officially adopted, the state does not hold the copyright to any Irish version, and Ó Rinn, unlike Kearney and Heeney's estate, never received royalties. A memorandum in the Department of the Taoiseach on 5 April 1958 discussed five distinct Irish translations, noting that Ó Rinn's was the best known; it suggested that, if it were to be officially endorsed, the spelling and grammar should be standardised and the opening words "Sinne Fianna Fáil" changed to "Sinne laochra Fáil" to avoid association with the Fianna Fáil political party. The 2018 Seanad report on the anthem recommended no change to the wording, and pointed out that the law would not prevent a new political party adopting revised words like "Laochra Fáil" as its name.


title: Amhrán na bhFiann

text: The English version has been almost totally eclipsed, and many are unaware that the Irish lyrics are a translation. In 1960 it was remarked that the anthem's effect at Croke Park was impaired by the fact that some people sang in English and others in Irish. "The Irish Times" reported audience participation at a 1962 concert in the Olympia Theatre, Dublin under the headline "Sang National Anthem in Irish". Frank Ormsby's 2017 poem "The National Anthem" parodies the Irish text ( becomes "Binned. Arse. Loo.") which about 1960 he uncomprehendingly learnt by rote in a Catholic school in Northern Ireland. In the 21st century the English version is still sung at home matches of Celtic F.C., a Glasgow Irish-Scots football club. It was sung in Canada during a state visit by President Mary McAleese in 1998, and at the 2004 Ryder Cup in the United States. The latter prompted objections from Fáilte Ireland, and what Gaeltacht Minister Éamon Ó Cuív called "an outcry" from viewers in Ireland. The 2018 Seanad report suggested that "For those not familiar with the Irish language, it may be appropriate to produce a phonetic version of the National Anthem". Some foreign-born Irish international sportspeople have learned the Irish words via ad hoc phonetic versions, including Mick McCarthy of the association football team and CJ Stander of the rugby union team.


title: Amhrán na bhFiann

text: In 1987, the anthem was recommended, but not required, to be taught as part of the civics syllabus in national schools. Fianna Fáil's manifesto in the 2007 general election promised to "include the national anthem in the primary school curriculum". the primary school Social Personal and Health Education curriculum includes being "aware" of the anthem in third/fourth class, and "respecting" it in fifth/sixth class. Richard Bruton, the Minister for Education stated that it was "not Departmental policy to impose regulations on schools regarding national expression", but that it had supported several initiatives which included the national anthem. To mark the 2016 centenary of the Easter Rising, members of the Defence Forces visited each national school and presented it with a national flag and copies of the national anthem and the 1916 Proclamation. A 2017 opinion poll found 82% supported teaching the anthem in school; 40% claimed to know all the words and 40% "some" of them. The 2018 Seanad report said the anthem was "indeed currently on the curriculum at primary school level. However, once it has been taught at primary school level there are opportunities for students to use the National Anthem within the school environment". It said suggestions to sing the anthem at school every day "may not be possible", but school children could be encouraged to sing it on the eve of Saint Patrick's Day.


title: Amhrán na bhFiann

text: Although only the chorus forms the official national anthem, the music of both verse and chorus has often been played at sports events outside Ireland. The text of the first verse appears as well as the chorus in early (1960s) editions of the Department of External Affairs's book "Facts About Ireland". Later editions include only the chorus.


title: Amhrán na bhFiann

text: The song is used by many Irish nationalists as an anthem for the entire island of Ireland. As such it is played at all GAA matches, including those in Northern Ireland and overseas. The 2018 Seanad report on the anthem recommended awareness of the anthem among "Irish citizens at home and abroad, as well as new citizens of Ireland". It was common in the twentieth century, and not unknown today, for a music session in a pub to end at closing time with the playing of the national anthem. A 1961 "Evening Herald" editorial complained that the anthem was played "far too often" and "usually in a most undignified manner", and that it "should be limited to very special occasions".


title: Amhrán na bhFiann

text: There is no protocol specified for the anthem; the 2018 Seanad report on the anthem recommended adopting one and provided a draft. The flag protocol issued by the Department of the Taoiseach states that when the anthem is played in the presence of the national flag, all present should face the flag and stand to attention, and Defence Forces personnel should salute the flag, "until the last note of the music". History professor Caoimhín De Barra comments, "I don't think I have ever seen anyone salute the flag during Amhrán na bhFiann. Certainly, nobody is standing to attention until the last note of music, given that we have effectively replaced the last line of the song with collective freestyle screaming and roaring."


title: Amhrán na bhFiann

text: In 2017, the Seanad Public Consultation Committee invited comments on "the most appropriate way the State should treat the National Anthem". Its chair, Mark Daly, said, "The debate around this issue includes aspects of copyright law, cultural tolerance, respect for national symbols, public opinion, free speech and a range of other factors." The committee heard public submissions from selected commenters on 5 December 2017. Michael W. D'Arcy said the government favoured guidelines rather than legislation, and that penalties for misuse might prove counterproductive. The committee's report was published in July 2018; it recommended producing an official translation into Irish Sign Language (ISL). A deaf choir performed an ISL version of the anthem in Leinster House at the report's official launch. In January 2019, Fianna Fáil senators introduced a private member's bill "to confirm that the choral refrain, with or without the lyrics, of 'Amhrán na bhFiann' or, in the English Language, 'The Soldier's Song' is and continues to be the National Anthem; to provide for a version of the National Anthem in the Irish Sign Language; [and] to confirm that the Presidential Salute is and continues to be the music of the first 4 bars, followed by the last 4 bars, of the National Anthem". The bill lapsed on the Dáil's 2020 dissolution.


title: Amhrán na bhFiann

text: In the 1933 Dáil debate on the state's acquisition of the song's copyright, there was discussion of its merits or lack thereof. Frank MacDermot said, 'Leaving out sentiment, I must confess, from both a literary and a musical point of view, I would regard the "Soldier's Song" as, shall we say, a jaunty little piece of vulgarity, and I think we could have done a lot better.' Thomas F. O'Higgins responded, "National Anthems come about, not because of the suitability of the particular words or notes, but because they are adopted generally by the nation. That is exactly how the "Soldier's Song" became a National Anthem in this country. It happened to be the Anthem on the lips of the people when they came into their own and when the outsiders evacuated the country and left the insiders here to make the best or the worst of the country. It was adopted by the people here before ever it was adopted by the Executive Council". Fintan O'Toole called it "Edwardian English music hall jingo".


title: Amhrán na bhFiann

text: The Irish version is a free translation of the English; in particular, "Sinne Fianna Fáil" is not a literal translation of "Soldiers are we". "Fianna Fáil", variously translated as "Soldiers of Destiny", "Warriors of Fál", "Warriors of Destiny", "The Irish Army", or "Soldiers of Ireland", Éamon de Valera regarded the phrase's untranslatability as a virtue. This is from the Irish "Fianna" ("bands of warriors") of "Fál" (a coronation stone, and metonymically "Ireland"). As an Irish name for the Irish Volunteers, it was an alternative to "Óglaigh na hÉireann". The initials "FF" appeared on the Volunteer badge, and remain on that of Irish Defence Forces as successor to the Volunteers. On 2 April 1926, "Fianna Fáil" was chosen as the name of Éamon de Valera's new political party. Ó Rinn's version appeared in a 1927 volume of poetry with a foreword by de Valera. Since the Irish version of the anthem became popular in the 1930s, there has been intermittent resentment of the party name's occurring in it. Publishers Browne & Nolan printed a version in 1938 substituting "Sinne laochra Fáil" for "Sinne Fianna Fáil" ("laochra" = "heroes", "warriors"), which is occasionally heard instead. TD Maureen O'Sullivan likewise favoured changing to "laochra Fáil". In the Dáil in 2011 and 2012, she asked the Minister for Finance Michael Noonan whether "Sinne Fianna Fáil" was "appropriate and correct" or had "party political connotations"; Noonan stated it was appropriate and had no such connotations, given that the translation predated the party's founding. The 2018 Seanad report on the anthem took the same view. Mícheál Ó Súilleabháin said the Irish lyrics sound worse than the English ones, which rhyme and so are easier to learn.


title: Amhrán na bhFiann

text: Ulster unionists regard the anthem as specific to the Republic of Ireland, not symbolic of the whole island of Ireland, and deprecate its use with United Ireland symbolism as irredentism. (The symbolism of flags in Northern Ireland raises similar issues.) In 1933, the unionist government invoked its Special Powers Act to ban public display of the tricolour when "representing the Irish Republican Army ... an Irish Republic ... or... any ... unlawful association"; the order was interpreted as a ban in all circumstances unless flown explicitly to represent the Free State. Similar orders specifically banning "The Soldier's Song" were drafted before the 1935 Westminster and 1938 Stormont elections, but the government felt they were too controversial to implement; a general order against music "likely to lead to a breach of the peace" was often invoked when "The Soldier's Song" was played. After the Northern Ireland peace process, when unionists and Conservatives began attending GAA matches in their official capacity, they arrived after the playing of "Amhrán na bhFiann", including sports minister Edwin Poots in 2008, First Minister Peter Robinson in 2012, and Northern Ireland Secretary James Brokenshire in 2017. Robinson's successor Arlene Foster stood for the anthem at the 2018 Ulster Football Final, which was played in the Republic.


title: Amhrán na bhFiann

text: F. Gunther Eyck's survey of national anthems classifies "Amhrán na bhFiann" under "resistance anthems", alongside "La Marseillaise", "A Portuguesa", and "Poland Is Not Yet Lost". The lyrics have been criticised by some commentators for alleged outdatedness, militarism, and anti-British sentiment. Others deny such faults or attribute them to national anthems generally. Richard Parfitt remarks of the lyrics that "few who sing it really wish to stand amidst 'cannon's roar' against the 'Saxon foe'". Kevin Myers described calls for it to be amended or replaced as "seasonal as spring". Questions in the Dáil have been asked by Frank MacDermot in 1932; Noel Lemass in 1973; Trevor Sargent in 1993; Derek McDowell in 1995; and John Browne in 2000. Commentators on the 1929 Trinity College incident suggested "The Soldier's Song" would be an impediment to closer ties between the Free State and Northern Ireland. The executive of arts body Aosdána rejected a 1989 proposal by Aloys Fleischmann to campaign for a change of anthem, on the basis that it was a political rather than an artistic question. In 1995, during the Northern Ireland peace process, Taoiseach John Bruton suggested at the Forum for Peace and Reconciliation that the anthem be changed, with Fianna Fáil and Sinn Féin disagreeing. The Forum drafted an unpublished report on "obstacles to reconciliation in the Republic"; 1998 newspaper articles summarising the draft claimed it suggested "the government could commission alternative anthems for sporting and other non-official occasions" which were not "excessively militaristic". In 1996 Fergus McCann responded to sectarianism in Glasgow by banning Celtic F.C. terrace chants of Irish rebel songs; "The Soldier's Song" was specifically excluded from the ban. A 2017 opinion poll found 84% supported retaining the anthem, while 10% favoured replacing it. Historian Fearghal McGarry suggests the fact that the lyrics are no longer sung in English dampens demand for change: "public unfamiliarity with Peadar Kearney's original words has almost certainly extended his song's shelf life as the national anthem".


title: Amhrán na bhFiann

text: In a debate during the 2011 presidential election, candidates were asked whether the anthem was "fit for purpose". Most acknowledged strong public attachment to it. Martin McGuinness and Dana Rosemary Scallon opposed any change. Mary Davis said people "shouldn't consider changing it lightly". Michael D. Higgins suggested the Constitutional Convention could discuss the matter. Seán Gallagher had "mixed views" and was "open to explore revising it". David Norris said other anthems were more "blood-thirsty". The 2018 Seanad report on the anthem recommended no change to the wording.


title: Amhrán na bhFiann

text: The previous anthem used by Irish nationalists was "God Save Ireland", with words written by Timothy Daniel Sullivan in 1867 to the tune of "Tramp! Tramp! Tramp!", an American Civil War song written in 1864 by George Frederick Root. "God Save Ireland" commemorated the Manchester Martyrs, executed in 1867 for felony murder for their part in an Irish Republican Brotherhood ambush, and it quickly replaced the previous unofficial anthem, "A Nation Once Again", written in 1845 by Thomas Davis of the Young Ireland movement. "God Save Ireland" was associated with the Irish Parliamentary Party and its eclipse by "The Soldier's Song" after 1916 mirrored the party's eclipse by Sinn Féin.


title: Amhrán na bhFiann

text: The Irish Rugby Football Union (IRFU) and Ireland national rugby union team are all-island bodies with many unionist supporters; although "Amhrán na bhFiann" is played at Ireland matches in the Republic, it is not played elsewhere, and unionist players are not expected to sing it. During the Troubles, no anthem was played at matches outside Ireland. In Paris, "The Last Rose of Summer" was played in 1929, and before the 1931 match the Department of External Affairs advised ambassador Gerald O'Kelly de Gallagh that, if the organisers refused to allow "The Soldier's Song", then "appropriate Irish airs would be 'St. Patrick's Day', 'The Last Rose of Summer' or 'Let Erin Remember'". At the inaugural Rugby World Cup, captain Donal Lenihan objected that all other teams would have an anthem. At the last minute before the side's opening match in Athletic Park, Wellington, a James Last cassette recording of "The Rose of Tralee" was borrowed from Phil Orr; the music and poor recording quality attracted much criticism and no anthem was played for later matches. At the 1991 World Cup, there was no anthem away to Scotland, Ireland's only game outside Dublin.


title: Amhrán na bhFiann

text: For the 1995 World Cup in South Africa, the IRFU decided to commission a song from Phil Coulter. His composition, "Ireland's Call", has since been played alongside "Amhrán na bhFiann" at matches within the Republic, and on its own elsewhere, including in Northern Ireland. Other all-island teams have adopted "Ireland's Call" for similar reasons to the IRFU's. The men's and women's hockey teams adopted it in 2000, having previously used the "Londonderry Air"; however, a first-ever Olympic qualification saw the Olympic Council of Ireland standard "Amhrán na bhFiann" used at Rio 2016. Some sports use no anthem, including badminton and bowls. Criticism that "Ireland's Call" was uninspiring prompted "The Irish Times" to commission a jocular "alternanthem" from The Duckworth Lewis Method for Saint Patrick's Day 2010.


title: Amhrán na bhFiann

text: A recording of "O'Donnell Abú" was played for the Irish showjumping team at a 1937 competition in Paris; ambassador Art O'Brien threatened a diplomatic incident since the other teams' anthems had been played by a military band. The organisers had been unable to locate a copy of the score, and the Irish embassy had only a piano arrangement. The same air was chosen by the women's hockey team for a 1951 away match against the Netherlands.


title: Amhrán na bhFiann

text: "The Fields of Athenry" was adopted as a terrace chant by Irish fans at the 1990 FIFA World Cup and later by fans of the rugby team. It has been described as a "de facto national sporting anthem" and "unofficial national anthem".


title: Amhrán na bhFiann

text: The air is of a style comparable with British marches and songs of the era. Colm Ó Lochlainn said, "The tune is not Irish; it sounds to me something between a Sousa march and a German regimental song". The melody's pentatonic scale adds some difficulty for the singer. It is usually sung or played in march time. Different tempos may be used, however, and the verse and chorus are occasionally played. In 1926 the radio orchestra of 2RN was found too small for an adequate rendition, so a recording by the New York "Fighting Irish" 69th Infantry was soon adopted, prompting complaints that it was too jazz-influenced. A 1961 "Evening Herald" editorial complained that the anthem was "usually played without any arrangement and often at a tempo more suggestive of a jig tune than an anthem". Fritz Brase's 1930 arrangement was replaced for Defence Forces bands in the 1980s by one by Colonel James R. McGee which simplified the high woodwind parts. Raidió Teilifís Éireann (RTÉ), the Irish national broadcasting company, played an orchestral version in a slow tempo at the close of transmission from 1962 onwards. This was produced by Gerard Victory and arranged by Brian Boydell (who disliked the tune) on the advice of a Canadian consultant who said, "I wan' it BIG! I envisage the kind of music that will stir the hearts of the Irish people". Boydell's version replaced one by John Francis Larchet introduced in 1954. A special arrangement incorporating traditional Irish instruments was played instead during Easter Week 1966, to mark the 50th anniversary of the Easter Rising. There was negative comment at the lively tempo used in the ceremony for Michelle Smith's gold medals at the 1996 Olympics.


title: Amhrán na bhFiann

text: The lyrics are those of an Irish rebel song, exhorting all Irish people (both "Gaels" and "men of the Pale") to participate in the struggle to end the hegemony ("despot" over "slave") of the English ("Saxon foe") in Ireland ("Inisfail"). There are allusions to , and to support from Irish Americans ("from a land beyond the wave") such as Clan na Gael. Eyck attributes the song's rise to popularity to its "down-to-earth lines, descriptive imagery, fighting stance, and patriotic passion".


title: Amhrán na bhFiann

text: Slight variations exist in published versions; in the following texts, the chorus is from the 2018 Seanad report; and the verses are based on "National Anthems of the World" (6th edition) with Irish spellings altered to meet the standards of "An Caighdeán Oifigiúil", though, the original Munster Irish spellings are still in common usage.


title: Amhrán na bhFiann

text: The anthem consists only of the chorus of the song. The original has three verses, set to a slightly different tune, with the following lyrics:


title: Amhrán na bhFiann

text: In the summer of 1937, probably motivated by the enactment of the Constitution of Ireland and its inclusion of Northern Ireland within the "national territory", Kearney wrote an extra verse "in answer to a request that the Irish of the Six North-Eastern Counties could register a protest against the British-planned Partition of Ulster". It was published in "The Irish Press" in 1938. , no recorded version included the extra verse, which runs:


title: Where-to-be-born Index

text: The Economist Intelligence Unit’s where-to-be-born index (previously called the quality-of-life index, abbreviated QLI) attempts to measure which country will provide the best opportunities for a healthy, safe and prosperous life in the years ahead. It is based on a method that links the results of subjective life-satisfaction surveys to the objective determinants of quality of life across countries along with a onward-looking elements.


title: Where-to-be-born Index

text: The index calculated for 2013 includes data from 80 countries and territories. The survey used ten quality of life factors along with forecasts of future GDP per capita to determine a nation's score.


title: Where-to-be-born Index

text: The life satisfaction scores for 2006 (on a scale of 1 to 10) for 130 countries (from the Gallup Poll) are related in a multivariate regression to various factors. As many as 11 indicators are statistically significant. Together these indicators explain some 85% of the inter-country variation in life satisfaction scores. The values of the life satisfaction scores that are predicted by the indicators represent a country's quality of life index. The coefficients in the estimated equation weight automatically the importance of the various factors. The estimated equation for 2006 can be utilized to calculate index values for year in the past and future, allowing for comparison over time as well across countries.


title: Where-to-be-born Index

text: The original quality-of-life index was released in 1988. It included a "philistine factor" for a lack of culture and a "yawn index" which measured how boring a country might be despite all its other advantages.


title: Aneesh Chaganty

text: Aneesh Chaganty (; born January 30, 1991) is an American film director and screenwriter. He made his feature film directorial debut with the 2018 thriller "Searching", for which he won the Alfred P. Sloan Feature Film Prize at the 2018 Sundance Film Festival.


title: Aneesh Chaganty

text: Aneesh Chaganty was born in Redmond, Washington, and grew up in San Jose, California. His parents, originally from Andhra Pradesh, India, moved to the U.S. in the 1980s. His father, who obtained an MS degree in computer engineering from Drexel University, serves as a director and Chief Technology Officer at a software publishing, consultancy and supply company founded by both his parents, AppEnsure Inc.


title: Aneesh Chaganty

text: Chaganty attended Valley Christian High School from 2005 to 2009. He graduated from USC School of Cinematic Arts in 2013 with a degree in film and television production.


title: Aneesh Chaganty

text: In 2014, Chaganty's two minute short film, a Google Glass spot called "Seeds", became an internet sensation after garnering more than 1 million YouTube views in 24 hours. Following its success, Chaganty was invited to join the Google 5 team at Google Creative Lab in New York City, where he spent two years developing, writing and directing Google commercials.


title: Aneesh Chaganty

text: After working on over 25 short films and videos, Chaganty directed his first feature film, "Searching", which was originally pitched as a short film but was offered a production budget for a feature instead, was released on August 24, 2018 before opening wide on August 31, also premiering at the Sundance Film Festival on January 21, 2018.


title: Aneesh Chaganty

text: Chaganty's second film "Run", a thriller starring Sarah Paulson and Kiera Allen, was set to be released on January 24, 2020, then May 8, 2020, but was pushed back because of the COVID-19 pandemic, and was released on Hulu on November 20, 2020, and internationally by Netflix on April 2, 2021.


title: Monica Padman

text: Monica Padman is an American podcaster, actor, and producer. She is best known for co-creating, co-hosting, and editing the podcast "Armchair Expert" alongside co-host Dax Shepard. As an actor, she has appeared in films and television shows including "CHiPs", "The Good Place", "Rutherford Falls", and "Ryan Hansen Solves Crimes on Television".


title: Monica Padman

text: Padman was born in Atlanta, Georgia, to an engineer father and a computer programmer mother. Her mother moved to the United States from India at the age of six, and her father moved to the United States from India as a college student for educational opportunities. While attending Duluth High School, Padman took Advanced Placement classes and was on the cheerleading squad- where she served as a flyer. During her time at DHS, Padman and her team secured two state championships in cheerleading. Padman graduated from Duluth High School in 2006 and attended the University of Georgia on the Hope Scholarship, which was awarded to high performing high school students in Georgia.


title: Monica Padman

text: Padman cites her love of the show "Friends" and the film "Good Will Hunting" as making her want to become an actor when she was in eighth grade. She began studying theater in high school and, in college at the University of Georgia, she double-majored in theater and public relations, choosing the latter in order to placate her parents. Padman completed an internship at the Radmin Company while in college. She graduated from UGA with a 4.0 GPA and afterwards moved to Los Angeles.


title: Monica Padman

text: In 2011, Padman moved to Los Angeles to pursue an acting career. She trained in improvisational comedy at the Upright Citizens Brigade, and supported herself by babysitting and working at the front desk at SoulCycle. Padman met Kristen Bell and Dax Shepard through social circles, then coincidentally booked an acting job on an episode of "House of Lies" playing an assistant to Bell's character. Bell subsequently hired Padman to occasionally babysit for them, and Padman eventually became their full-time nanny. Her role gradually evolved into serving as an assistant to Bell and then becoming a professional partner to both Bell and Shepard. In 2019, Bell referred to Padman as her "chief of staff".


title: Monica Padman

text: During this time, Padman booked several major commercial campaigns including Geico and Herbal Essence. She also had appearances in shows and a movies affiliated with Dax and Kristen Bell. Her professional relationship also continued to develop with the couple, and she began writing things for Kristen Bell and helping to produce content, like Momsplaining with Kristen Bell.


title: Monica Padman

text: Padman is the co-creator and co-host of the podcast "Armchair Expert" with Dax Shepard, which evolved from Padman's and Shepard's habit of debating ideas on the back porch of Shepard and Bell's home. The show launched on February 14, 2018, and focuses on in-depth conversations about guests' upbringings, challenges and successes. Episodes typically run 90–120 minutes, ending with a fact check, in which Padman and Shepard discuss the show after Padman has researched any verifiable claims made by Shepard or their guests during the interview. The fact check typically lasts about 30 minutes, often straying into personal anecdotes and featuring Padman more heavily than the interview portion of the show. Padman has said she felt anxiety early on about whether her voice was being heard enough on the podcast, particularly when their guests were Hollywood figures who could potentially aid her acting career, but eventually she realized, "I don't need to prove myself to any of these people. I can just be." In addition to her role as co-host, she also edits each episode and books guests.