title: Isuzu Elf

text: The cab-over Elf (TL221) was originally introduced in August 1959. It was originally only available with the GL150 petrol engine rated at . It had single headlights and rear-hinged doors. A longer wheelbase version, on versus the of the regular version, was also available. This carries the TL251 chassis code.


title: Isuzu Elf

text: In March 1960, a 2.0-liter diesel engine rated at was introduced (TL121/151), a first for the class in Japan - this was soon followed by diesel models from Isuzu's competitors. In 1962 the engines were updated, and were now rated at respectively. The chassis codes were changed to TL321/351 for the diesel version, reflecting the installation of the all new DL201 engine. A little later on, the chassis codes were reorganized and were now TLG10/11 for the petrol models and TLD10/11 for the diesels. In 1964, the long wheelbase model became the standard version. In 1964, the diesel version was also upgraded to the larger 2.2-litre C220 engine rated at . In 1965, the Elf received a facelift, now having twin headlights.


title: Isuzu Elf

text: Isuzu ended up offering a very wide variety of bodyworks for the first generation Elf. These include the original integrated bed, as well as a separate truckbed with dropsides. There was a double-cab version available, as well as special bodywork for dedicated purposes such as a soda truck, a dumper, and a tanker. There was also a "Route Van" model with a glazed rear compartment and seating either three or six passengers, as well as the "Elf Bus" which was available in two models from 1960. The Elf Light Bus has integrated bodywork with the long wheelbase and seats 21 passengers (chassis codes BL171/271 for the diesel/petrol) while the Elf Micro Bus fits into the very narrow slot between the Route Van and the Light Bus. The Micro Bus originally had the Route Van's bodywork but was more passenger-oriented (seating 12 or 15). It carried the TL121/151/21/251B chassis codes, and from 1961 it received its own rear bodywork with bigger glazing. The Elf Bus later became its own line, called the Isuzu Journey.


title: Isuzu Elf

text: In August 1967, the all-new "Isuzu Light Elf" was added to the existing lineup; this lighter duty version was rated for a . It had single round headlights and a KA-series chassis code; it came with the same G150 engine as fitted to period Isuzu Belletts, rated at . This was the first of the second generation Elfs to be introduced, heavier duty models soon followed and replaced the first generation variants.


title: Isuzu Elf

text: In April 1968, the second generation Elf appeared (TL21/TLD21 series). A walk-through van ("Elf Hi-Roof") was also introduced, another first for Japan. In September 1969, the "Light Elf" was upgraded to and now offered a more powerful 1.6-liter engine (G161AB) rated at . In October 1970, this part of the range became the Elf 150 while the regular Elf (2-2.5 tonnes) became the Elf 250; the 250 was updated to a 2.4-litre diesel engine. This was combined with the introduction of the heavier duty, Elf 350. This re-shake of the lineup was then followed by the very modern Elf Mi-Pack in April 1972. The Mi-Pack was a front-wheel drive model with a flat and low loading floor, only off the ground. Because of its high price combined with customer reluctance to a front-wheel drive truck it was retired after only a few years on the market. Instead a low-floor model of the Elf 150 was added to the lineup in 1974, featuring small twinned rear tires.


title: Isuzu Elf

text: The heavier duty Elf 350 was not immediately replaced but continued in production until the 1980 model year, when in February a 350 model of the third generation Elf was introduced ("350 Wide").


title: Isuzu Elf

text: The third generation Elf arrived in June 1975. Initial models were the Elf 150 and 250. It was nicknamed "Tora-san" after Kiyoshi Atsumi's (a famous Japanese actor) most beloved film character which supposedly looked similar. In January 1977, a 250 Low-Flat model was added, followed in 1978 by a facelift and an altered front grille. In 1979 a bigger 3.3-liter version of the Elf 250 was introduced, called the "Elf 250 Super". There was also an "Elf 150 Super" version, which has the larger, 2.4-liter C240 diesel engine which was usually installed in the Elf 250. In 1978, Isuzu also sold their millionth Elf. In January 1980, the Elf was updated to meet Japan's 1979 emissions standards, which was also when the design was changed to accommodate a tilting cab. The Elf 250 Wide and 350 Wide were added, with KT and KS chassis codes respectively, meaning that the second generation Elf 350 could finally be retired. The Elf Wide has a cabin width of , rather than the cabin used in the TL and KA series Elfs.


title: Isuzu Elf

text: In 1981, the Elf range underwent another facelift, with an updated dashboard as well. For the third generation Elf the diesel engines had been modernized for more ease of operation, while the world's then smallest direct injection diesel engine - the 3.3-liter 4BC2 - was also introduced. It arrived in 1982 and replaced the less powerful 4BC1 which had been introduced in 1979. In March 1983, the diesel engines were again modified, reflecting new Japanese emissions standards for commercial vehicles. While the third generation Elf was mostly replaced in 1984, the "Route Van" (three- or six-seater van version) continued in production until the early 1990s. With the same bodywork there was also a more habitable bus version available; this was marketed as the Isuzu Journey S and was based on the Elf 150 (KAD51ZB).


title: Isuzu Elf

text: The fourth generation Elf range appeared in July 1984. This generation of the Elf was exported widely across the world and manufactured in several different countries, including the United States. The fourth Elf/N series originally had twin rectangular headlamps and a grille with five separate segments (seven for the Wide Cab models). In February 1987, a facelifted version with a grille of only two larger segments appeared, at which time the engine lineup was also altered. This was followed by a second facelift in June 1990, after which the grille became a single. lower opening and the headlights were changed to more aerodynamic, single-piece units. This generation was the last to be-rebadged as a "Bedford" in Australian and European markets, some months after the discontinuation of the similar Bedford TK and TL trucks, with the "Isuzu" badge used from 1992, although UK variants were still assembled at the IBC (Isuzu Bedford Company) Vehicles plant.


title: Isuzu Elf

text: In Japan, this generation was only offered with direct injection diesel engines, introducing the new 2.8-liter 4JB1 family industrial version with dual mode transmission depending in application and the 3.6-liter 4BE1 direct injection engine for the Elf 250 and Elf 350 NPR. which replaced the long running 4BA1 as the standard Elf 150 10 ft. And Elf 150 14 ft. 6 wheel. In September 1987, a 16 ft. heavier version Elf 350 wide was added to the range. The Elf 250 was originally only available with the 4BE1 engine. Later, the long stroke 4BD1 direct injection engine with or without a turbocharger was added to the Elf 250, as was a four-wheel drive version with dual mode manual transmission.


title: Isuzu Elf

text: This model was also manufactured in China, by BLAC (Beijing Light Automobile Corporation) from 1984 until 2002. Later it was also built by YCACO, a subsidiary of Guangzhou. After a company reorganization it has been built by them as the Guangzhou Hino 300J (YC5040XXY) since 2008, with a redesigned front and various other improvements.


title: Isuzu Elf

text: In the US it was sold as the Chevrolet Tiltmaster and as the GMC Forward, which replaced their L series which had been introduced in 1960. These trucks arrived for the 1984 model year and had a turbodiesel straight-six engine. It was also the first model to use the long-running Isuzu N-series label. In 1986 a heavier duty 8.4-litre diesel version of the Forward (W7) was added to the US market. The Forward and the Tiltmaster were offered as Class 3 or Class 5 trucks, with GVWR respectively. The smaller Tiltmaster/Forward W4 has a diesel inline-four engine while the heavier W6 received a six-cylinder diesel. These models were also sold as the Isuzu NPR/NRR respectively, with Isuzu adding the "Flatlow" model with low-profile 15-inch rear tires for a lower frame height.


title: Isuzu Elf

text: While US sales of the Chevrolet-badged Spectrum passenger cars always exceeded those of Isuzu's own corresponding model, the Chevrolet/GMC-badged trucks sold slower than their Isuzu counterparts. In 1986, for instance, 507 W4 Tiltmasters and 1,292 W4 Forwards were sold, as against 4,954 equivalent NPRs (2,267 GM-badged W7s were also sold; Isuzu did not market a version of this truck). In 1986, Isuzu and General Motors also combined their systems for importing and distributing these trucks rather than importing them separately.


title: Isuzu Elf

text: In 2009 both the Chevrolet Kodiak and the Isuzu H-Series trucks were discontinued, with the W-Series taking their place.


title: Isuzu Elf

text: The fifth generation Isuzu Elf appeared in July 1993, with more sculpted headlights. The 2.8 4JB1 and 4JB1T are standard on both Elf 150 10 ft/14 ft and Elf 250 along with 3.6 4BE1. The non-turbo 4JB1 featured a new VE Rotary injection pump which increase power to 90 PS. In May 1995 it received a minor change, including upgraded, cleaner diesel engines. The H-series 4.0-liter 4HE1 and 4.3-liter 4HF1. The 16 ft chassis with an H-series engine was standard while the 14 ft version was optional and is still in production. An OEM deal with Nissan led to the Elf also being badged as a Nissan Atlas H41/ H42 and a Nissan Diesel Condor 20/30/35 beginning at this time, followed by the Nissan Atlas Max from 1996 until 2000. The Atlas Max was based on the new, lighter-dutyElf 100 (June 1995) which was available with a 2.0-liter petrol, or a 2.5 or 2.7-liter diesel engine.


title: Isuzu Elf

text: The bonneted version (walk through van) of Isuzu ELF also exists as Isuzu ELF UT, . It was sold only in Japan. Mechanically wise, it only came with 3.1-liter 4JG2 and 4.3-liter 4HF1 engines, and available only in rear-wheel drive. Production of Isuzu ELF UT began in 1996 and ended in 2001. The ELF UT was also rebadged as Nissan Atlas Max. The successor of Isuzu ELF UT was Isuzu Begin , which was based on Isuzu Rodeo frame. Isuzu Begins were produced from 2001 to 2004.


title: Isuzu Elf

text: In the United States, the Elf maintained the four rectangular halogen headlights from the 4th generation through 2005. 2006 and early year 2007 Models had facelifted trapezoidal headlights. The Elf was marketed as the Isuzu NPR and Chevrolet/GMC W series, each available with either the 4BD2T 3.9-liter turbo Diesel engine until 1998, the 4HE1 4.8-liter turbo Diesel engine from 1998 to 2004, the 4HK1 5.2-liter turbo Diesel engine from 2005. It then became available with GM's 5.7-liter L31 Vortec or GM's 6.0-liter LQ4 Vortec engine with 4L80-E Automatic Transmission. The 5.7-liter engine was rated at at 4,600 rpm and of torque at 2,800 rpm. As well as the 6.0-liter engine was rated at at 4,400 rpm and of torque at 2,800 rpm.


title: Isuzu Elf

text: In May 2004, subsequent to a few minor changes, the Elf underwent a major facelift with new and larger trapezoidal headlamps. Another OEM deal was forged at this time and the Elf was now also marketed as the Mazda Titan in parallel.


title: Isuzu Elf

text: In Malaysia, this truck is manufactured by Heavy Industries Corporation of Malaysia (Isuzu HICOM Malaysia) under the name of HICOM Perkasa, but carrying the Isuzu N-Series Commando badge. It was introduced in 1996 and discontinued in 2011, 15 years after its inception.


title: Isuzu Elf

text: The sixth generation Elf/N series was introduced in December 2006 (High Cab and Wide Cab) and February 2007 (Regular Cab). By the time the full range was available, the fifth generation Elf was retired. This was also assembled in Colombia (alongside the heavier F series), where it was sold as the Chevrolet NKR, NPR, or NQR. The sixth generation model was also rebadged as the Nissan Atlas H43 in Japan.


title: Isuzu Elf

text: The headlight-turnsignal cluster is now configured in the shape of the Isuzu "twin bar" logo, which was used from 1974 to 1991. In North America, GM sold the Isuzu N series as the Chevrolet and GMC W-Series until 2009. In 2016, it reintroduced the model as the Low Cab Forward (LCF) series, named simply the Chevrolet 3500, 4500, or 5500, and available with the same gasoline or diesel engines.


title: Isuzu Elf

text: The Elf is sold as an Elf in some markets aside from the domestic Japanese, such as Mexico and Indonesia, but in most export markets it is called the Isuzu N series and Q Series.


title: Brenda Marshall

text: Brenda Marshall (born Ardis Ankerson; September 29, 1915 – July 30, 1992), was an American film actress.


title: Brenda Marshall

text: Marshall made her first film appearance as Ardis Gaines in "Wives of Tomorrow" (1937). Her initial billing as Brenda Marshall came in "Espionage Agent" (1939). The following year, she played the leading lady to Errol Flynn in "The Sea Hawk". After divorcing actor Richard Gaines in 1940, she married William Holden in 1941, and her own career soon slowed. She starred opposite James Cagney in "Captains of the Clouds" (1942).


title: Brenda Marshall

text: Marshall had a popular success in "The Constant Nymph" (1943), but she virtually retired after this, appearing in only four more films, including the Western "Whispering Smith" (1948). She also played scientist Nora Goodrich in the B picture cult film "Strange Impersonation" (1946). In 1955, five years after her last film role, she made an appearance as herself (billed as Mrs. William Holden) in the fourth-season episode of "I Love Lucy" titled "The Fashion Show".


title: Brenda Marshall

text: Marshall was born as Ardis Ankerson in the American Philippines to Swedish parents. She was one of two daughters of Otto Peter Ankerson, overseer of a large sugar plantation near Bacolod. Her mother died in 1925 when she was young, so Ardis, along with her older sister Ruth, attended grammar school and began high school studies as boarding students at the Brent School in Baguio. In the early 1930s, the girls were sent to San Antonio, Texas to complete high school. She attended Texas State College for Women in her freshman and sophomore years, 1933–1935, and was named the Freshman Class Beauty in 1934, chosen by modern dancer Ted Shawn.


title: Brenda Marshall

text: Brenda Marshall was her stage name, but she refused to use the name off-camera and insisted that her friends call her by her real name. She married the actor Richard Huston Gaines in 1936, and they had one daughter, Virginia; the couple divorced in 1940.


title: Brenda Marshall

text: In 1941, Marshall married actor William Holden, who adopted Virginia Gaines (born November 17, 1937, New York City). Marshall and Holden had two sons together, Peter Westfield "West" Holden (1943–2014) and Scott Porter Holden (1946–2005). After several separations, Marshall and Holden were divorced in 1971. Marshall moved to Palm Springs, California in 1971. She died in 1992 from throat cancer in Palm Springs, aged 76.


title: Cox–Zucker machine

text: The Cox–Zucker machine is an algorithm created by David A. Cox and Steven Zucker. This algorithm determines whether a given set of sections provides a basis (up to torsion) for the Mordell–Weil group of an elliptic surface "E" → "S", where "S" is isomorphic to the projective line.


title: Cox–Zucker machine

text: The algorithm was first published in the 1979 article "Intersection numbers of sections of elliptic surfaces" by Cox and Zucker and was later named the "Cox–Zucker machine" by Charles Schwartz in 1984.


title: Cox–Zucker machine

text: The name sounds similar to the obscenity "". This was a deliberate choice by Cox and Zucker, who conceived of the idea of coauthoring a paper in 1970, while first-year graduate students at Princeton University, for the express purpose of enabling this joke. They followed through on it five years later, as members of the faculty at Rutgers, the State University of New Jersey.


title: Cox–Zucker machine

text: As Cox explained in a memorial tribute to Zucker in "Notices of the American Mathematical Society" in 2021: "A few weeks after we met, we realized that we had to write a joint paper because the combination of our last names, in the usual alphabetical order, is remarkably obscene."


title: Chicago Fire (season 2)

text: The second season of "Chicago Fire", an American drama television series with executive producer Dick Wolf, and producers Derek Haas, Michael Brandt, and Matt Olmstead, premiered on September 24, 2013, but on a new timeslot on Tuesday at 10:00 pm from Wednesday at 10:00 pm, on NBC television network. The season concluded on May 13, 2014, and consisted of 22 episodes.


title: Chicago Fire (season 2)

text: The show follows the lives of the firefighters and paramedics working for the Chicago Fire Department at the firehouse of Engine 51, Truck 81, Squad 3, Ambulance 61 and Battalion 25.


title: Chicago Fire (season 2)

text: On April 26, 2013, NBC renewed "Chicago Fire" for a second season and moved its time slot to Tuesdays at 10:00 pm EST. The season debuted on September 24, 2013.


title: Chicago Fire (season 2)

text: A crossover between the two "Chicago" shows aired on April 29 and 30, 2014, depicting an explosion that brings the fire and police departments together.


title: Perturbation theory

text: In mathematics and applied mathematics, perturbation theory comprises methods for finding an approximate solution to a problem, by starting from the exact solution of a related, simpler problem. A critical feature of the technique is a middle step that breaks the problem into "solvable" and "perturbative" parts. In perturbation theory, the solution is expressed as a power series in a small parameter The first term is the known solution to the solvable problem. Successive terms in the series at higher powers of formula_1 usually become smaller. An approximate 'perturbation solution' is obtained by truncating the series, usually by keeping only the first two terms, the solution to the known problem and the 'first order' perturbation correction.


title: Perturbation theory

text: Perturbation theory is used in a wide range of fields, and reaches its most sophisticated and advanced forms in quantum field theory. Perturbation theory (quantum mechanics) describes the use of this method in quantum mechanics. The field in general remains actively and heavily researched across multiple disciplines.


title: Perturbation theory

text: Perturbation theory develops an expression for the desired solution in terms of a formal power series known as a perturbation series in some "small" parameter, that quantifies the deviation from the exactly solvable problem. The leading term in this power series is the solution of the exactly solvable problem, while further terms describe the deviation in the solution, due to the deviation from the initial problem. Formally, we have for the approximation to the full solution , a series in the small parameter (here called ), like the following:


title: Perturbation theory

text: In this example, would be the known solution to the exactly solvable initial problem and represent the first-order, second-order and higher-order terms, which may be found iteratively by a mechanistic procedure. For small these higher-order terms in the series generally (but not always) become successively smaller. An approximate "perturbative solution" is obtained by truncating the series, often by keeping only the first two terms, expressing the final solution as a sum of the initial (exact) solution and the "first-order" perturbative correction


title: Perturbation theory

text: Some authors use big O notation to indicate the order of the error in the approximate solution: formula_4.


title: Perturbation theory

text: If the power series in converges with a nonzero radius of convergence, the perturbation problem is called a regular perturbation problem. In regular perturbation problems, the asymptotic solution smoothly approaches the exact solution. However, the perturbation series can also diverge, and the truncated series can still be a good approximation to the true solution if it is truncated at a point at which its elements are minimum. This is called an "asymptotic series". If the perturbation series is divergent or not a power series (e.g., the asymptotic expansion has non-integer powers formula_5 or negative powers formula_6) then the perturbation problem is called a singular perturbation problem. Many special techniques in perturbation theory have been developed to analyze singular perturbation problems.


title: Perturbation theory

text: The earliest use of what would now be called "perturbation theory" was to deal with the otherwise unsolvable mathematical problems of celestial mechanics: for example the orbit of the Moon, which moves noticeably differently from a simple Keplerian ellipse because of the competing gravitation of the Earth and the Sun.


title: Perturbation theory

text: Perturbation methods start with a simplified form of the original problem, which is "simple enough" to be solved exactly. In celestial mechanics, this is usually a Keplerian ellipse. Under Newtonian gravity, an ellipse is exactly correct when there are only two gravitating bodies (say, the Earth and the Moon) but not quite correct when there are three or more objects (say, the Earth, Moon, Sun, and the rest of the Solar System) and not quite correct when the gravitational interaction is stated using formulations from general relativity.


title: Perturbation theory

text: Keeping the above example in mind, one follows a general recipe to obtain the perturbation series. The perturbative expansion is created by adding successive corrections to the simplified problem. The corrections are obtained by forcing consistency between the unperturbed solution, and the equations describing the system in full. Write formula_7 for this collection of equations; that is, let the symbol formula_7 stand in for the problem to be solved. Quite often, these are differential equations, thus, the letter "D".


title: Perturbation theory

text: The process is generally mechanical, if laborious. One begins by writing the equations formula_7 so that they split into two parts: some collection of equations formula_10 which can be solved exactly, and some additional remaining part formula_11 for some small formula_12. The solution formula_13 (to formula_10) is known, and one seeks the general solution formula_15 to formula_16.


title: Perturbation theory

text: Next the approximation formula_17 is inserted into formula_11. This results in an equation for formula_19, which, in the general case, can be written in closed form as a sum over integrals over formula_13. Thus, one has obtained the "first-order correction" formula_19 and thus formula_17 is a good approximation to formula_15. It is a good approximation, precisely because the parts that were ignored were of size formula_24. The process can then be repeated, to obtain corrections formula_25, and so on.


title: Perturbation theory

text: In practice, this process rapidly explodes into a profusion of terms, which become extremely hard to manage by hand. Isaac Newton is reported to have said, regarding the problem of the Moon's orbit, that ""It causeth my head to ache."" This unmanageability has forced perturbation theory to develop into a high art of managing and writing out these higher order terms. One of the fundamental breakthroughs for controlling the expansion are the Feynman diagrams, which allow perturbation series to be written down diagrammatically.


title: Perturbation theory

text: Perturbation theory has been used in a large number of different settings in physics and applied mathematics. Examples of the "collection of equations" formula_7 include algebraic equations,


title: Perturbation theory

text: and commonly wave equations), thermodynamic free energy in statistical mechanics, radiative transfer,


title: Perturbation theory

text: Examples of the kinds of solutions that are found perturbatively include the solution of the equation of motion ("e.g.", the trajectory of a particle), the statistical average of some physical quantity ("e.g.", average magnetization), the ground state energy of a quantum mechanical problem.


title: Perturbation theory

text: Examples of exactly solvable problems that can be used as starting points include linear equations, including linear equations of motion (harmonic oscillator, linear wave equation), statistical or quantum-mechanical systems of non-interacting particles (or in general, Hamiltonians or free energies containing only terms quadratic in all degrees of freedom).


title: Perturbation theory

text: Examples of systems that can be solved with perturbations include systems with nonlinear contributions to the equations of motion, interactions between particles, terms of higher powers in the Hamiltonian/free energy.


title: Perturbation theory

text: For physical problems involving interactions between particles, the terms of the perturbation series may be displayed (and manipulated) using Feynman diagrams.


title: Perturbation theory

text: Perturbation theory was first devised to solve otherwise intractable problems in the calculation of the motions of planets in the solar system. For instance, Newton's law of universal gravitation explained the gravitation between two astronomical bodies, but when a third body is added, the problem was, "How does each body pull on each?" Newton's equation only allowed the mass of two bodies to be analyzed. The gradually increasing accuracy of astronomical observations led to incremental demands in the accuracy of solutions to Newton's gravitational equations, which led several notable 18th and 19th century mathematicians, such as Lagrange and Laplace, to extend and generalize the methods of perturbation theory.


title: Perturbation theory

text: These well-developed perturbation methods were adopted and adapted to solve new problems arising during the development of quantum mechanics in 20th century atomic and subatomic physics. Paul Dirac developed quantum perturbation theory in 1927 to evaluate when a particle would be emitted in radioactive elements. This was later named Fermi's golden rule. Perturbation theory in quantum mechanics is fairly accessible, as the quantum notation allows expressions to be written in fairly compact form, thus making them easier to comprehend. This resulted in an explosion of applications, ranging from the Zeeman effect to the hyperfine splitting in the hydrogen atom.


title: Perturbation theory

text: Despite the simpler notation, perturbation theory applied to quantum field theory still easily gets out of hand. Richard Feynman developed the celebrated Feynman diagrams by observing that many terms repeat in a regular fashion. These terms can be replaced by dots, lines, squiggles and similar marks, each standing for a term, a denominator, an integral, and so on; thus complex integrals can be written as simple diagrams, with absolutely no ambiguity as to what they mean. The one-to-one correspondence between the diagrams, and specific integrals is what gives them their power. Although originally developed for quantum field theory, it turns out the diagrammatic technique is broadly applicable to all perturbative series (although, perhaps, not always so useful).


title: Perturbation theory

text: In the second half of the 20th century, as chaos theory developed, it became clear that unperturbed systems were in general completely integrable systems, while the perturbed systems were not. This promptly lead to the study of "nearly integrable systems", of which the KAM torus is the canonical example. At the same time, it was also discovered that many (rather special) non-linear systems, which were previously approachable only through perturbation theory, are in fact completely integrable. This discovery was quite dramatic, as it allowed exact solutions to be given. This, in turn, helped clarify the meaning of the perturbative series, as one could now compare the results of the series to the exact solutions.


title: Perturbation theory

text: The improved understanding of dynamical systems coming from chaos theory helped shed light on what was termed the small denominator problem or small divisor problem. It was observed in the 19th century (by Poincaré, and perhaps earlier), that sometimes 2nd and higher order terms in the perturbative series have "small denominators". That is, they have the general form formula_27 where formula_28, formula_29 and formula_30 are some complicated expressions pertinent to the problem to be solved, and formula_31 and formula_32 are real numbers; very often they are the energy of normal modes. The small divisor problem arises when the difference formula_33 is small, causing the perturbative correction to blow up, becoming as large or maybe larger than the zeroth order term. This situation signals a breakdown of perturbation theory: it stops working at this point, and cannot be expanded or summed any further. In formal terms, the perturbative series is a asymptotic series: a useful approximation for a few terms, but ultimately inexact. The breakthrough from chaos theory was an explanation of why this happened: the small divisors occur whenever perturbation theory is applied to a chaotic system. The one signals the presence of the other.


title: Perturbation theory

text: Since the planets are very remote from each other, and since their mass is small as compared to the mass of the Sun, the gravitational forces between the planets can be neglected, and the planetary motion is considered, to a first approximation, as taking place along Kepler's orbits, which are defined by the equations of the two-body problem, the two bodies being the planet and the Sun.


title: Perturbation theory

text: Since astronomic data came to be known with much greater accuracy, it became necessary to consider how the motion of a planet around the Sun is affected by other planets. This was the origin of the three-body problem; thus, in studying the system Moon–Earth–Sun the mass ratio between the Moon and the Earth was chosen as the small parameter. Lagrange and Laplace were the first to advance the view that the constants which describe the motion of a planet around the Sun are "perturbed", as it were, by the motion of other planets and vary as a function of time; hence the name "perturbation theory".


title: Perturbation theory

text: Perturbation theory was investigated by the classical scholars—Laplace, Poisson, Gauss—as a result of which the computations could be performed with a very high accuracy. The discovery of the planet Neptune in 1848 by Urbain Le Verrier, based on the deviations in motion of the planet Uranus (he sent the coordinates to Johann Gottfried Galle who successfully observed Neptune through his telescope), represented a triumph of perturbation theory.


title: Perturbation theory

text: The standard exposition of perturbation theory is given in terms of the order to which the perturbation is carried out: first-order perturbation theory or second-order perturbation theory, and whether the perturbed states are degenerate, which requires singular perturbation. In the singular case extra care must be taken, and the theory is slightly more elaborate.


title: Perturbation theory

text: Many of the ab initio quantum chemistry methods use perturbation theory directly or are closely related methods. Implicit perturbation theory works with the complete Hamiltonian from the very beginning and never specifies a perturbation operator as such. Møller–Plesset perturbation theory uses the difference between the Hartree–Fock Hamiltonian and the exact non-relativistic Hamiltonian as the perturbation. The zero-order energy is the sum of orbital energies. The first-order energy is the Hartree–Fock energy and electron correlation is included at second-order or higher. Calculations to second, third or fourth order are very common and the code is included in most ab initio quantum chemistry programs. A related but more accurate method is the coupled cluster method.


title: Plato's theory of soul

text: Plato's theory of soul, which was inspired by the teachings of Socrates, considered the psyche () to be the essence of a person, being that which decides how people behave. Plato considered this essence to be an incorporeal, eternal occupant of a person's being. Plato said that even after death, the soul exists and is able to think. He believed that as bodies die, the soul is continually reborn (metempsychosis) in subsequent bodies. Plato divided the soul into three parts: the "logistikon" (reason), the "thymoeides" (spirit), and the "epithymetikon" (appetite).


title: Plato's theory of soul

text: Plato was the first person in the history of philosophy to believe that the soul was both the source of life and the mind. In Plato's dialogues, we find the soul playing many disparate roles. Among other things, Plato believes that the soul is what gives life to the body (which was articulated most of all in the "Laws" and "Phaedrus") in terms of self-motion: to be alive is to be capable of moving yourself; the soul is a self-mover. He also thinks that the soul is the bearer of moral properties (i.e., when I am virtuous, it is my soul that is virtuous as opposed to, say, my body). The soul is also the mind: it is that which thinks in us.


title: Plato's theory of soul

text: We see this casual oscillation between different roles of the soul in many dialogues. First of all, in the "Republic":Is there any function of the soul that you could not accomplish with anything else, such as taking care of something ("epimeleisthai"), ruling, and deliberating, and other such things? Could we correctly assign these things to anything besides the soul, and say that they are characteristic ("idia") of it?


title: Plato's theory of soul

text: That absolutely is.The "Phaedo" most famously caused problems to scholars who were trying to make sense of this aspect of Plato's theory of the soul.


title: Plato's theory of soul

text: Accordingly, the "Phaedo" presents a real challenge to commentators through the way that Plato oscillates between different conceptions of the soul.


title: Plato's theory of soul

text: In the cyclical and Form-of-life arguments, for instance, the soul is presented as something connected with life, where, in particular in the final argument, this connection is spelled out concretely by means of the soul's conceptual connection with life. This connection is further developed in the "Phaedrus" and "Laws" where the definition of soul is given as self-motion. Rocks, for instance, do not move unless something else moves them; inanimate, unliving objects are always said to behave this way. In contrast, living things are capable of moving themselves. Plato uses this observation to illustrate his famous doctrine that the soul is a self-mover: life is self-motion, and the soul brings life to a body by moving it.


title: Plato's theory of soul

text: Meanwhile, in the recollection and affinity arguments, the connection with life is not explicated or used at all. These two arguments present the soul as a knower (i.e., a mind). This is most clear in the affinity argument, where the soul is said to be immortal in virtue of its affinity with the Forms that we observe in acts of cognition.


title: Plato's theory of soul

text: It is not at all clear how these two roles of the soul are related to each other. Sarah Broadie famously complained that “readers of the Phaedo sometimes take Plato to task for confusing soul as mind or that which thinks, with soul as that which animates the body." Others included II.M. Crombie and Dorothea Frede.


title: Plato's theory of soul

text: More-recent scholarship has overturned this accusation, arguing that part of the novelty of Plato's theory of the soul is that it was the first to unite the different features and powers of the soul that became commonplace in later ancient and medieval philosophy. For Plato, the soul moves things by means of its thoughts, as one scholar puts it, and accordingly, the soul is both a mover (i.e., the principle of life, where life is conceived of as "self-motion") and a thinker.


title: Plato's theory of soul

text: In his treatise the "Republic", and also with the chariot allegory in "Phaedrus", Plato asserted that the three parts of the "psyche" also correspond to the three classes of a society ("viz." the rulers, the military, and the ordinary citizens). The function of the "epithymetikon" is to produce and seek pleasure. The function of the "logistikon" is to gently rule through the love of learning. The function of the "thymoeides" is to obey the directions of the "logistikon" while ferociously defending the whole from external invasion and internal disorder.


title: Plato's theory of soul

text: Whether in a city or an individual, justice (,"dikaiosyne") is declared to be the state of the whole in which each part fulfills its function, while temperance is the state of the whole where each part does not attempt to interfere in the functions of the others. Injustice (, "adikia") is the contrary state of the whole, often taking the specific form in which the spirited is obedient to the appetitive, while they together either ignore the logical entirely or employ it in their pursuits of pleasure.


title: Plato's theory of soul

text: In Book IV, part 4, of the "Republic", Socrates and his interlocutors (Glaucon and Adeimantus) are attempting to answer whether the soul is one or made of parts. Socrates states: "It is obvious that the same thing will never do or suffer opposites in the same respect in relation to the same thing and at the same time. So that if ever we find these contradictions in the functions of the mind we shall know that it was not the same thing functioning but a plurality." (This is an example of Plato's principle of non-contradiction.) For instance, it seems that, given each person has only one soul, it should be impossible for a person to simultaneously desire something yet also at that very moment be averse to the same thing, as when one is tempted to commit a crime but also averse to it. Both Socrates and Glaucon agree that it should not be possible for the soul to be at the same time both in one state and its opposite. From this it follows that there must be at least two aspects to soul. Having named these as "reason" and "appetite", Plato goes on to identify a third aspect, "spirit", which in a healthy psyche ought to be aligned with reason.


title: Plato's theory of soul

text: The logical or "logistikon" (from "logos") is the thinking part of the soul which loves the truth and seeks to learn it. Plato originally identifies the soul dominated by this part with the Athenian temperament.


title: Plato's theory of soul

text: Plato makes the point that the "logistikon" would be the smallest part of the soul (as the rulers would be the smallest population within the Republic), but that, nevertheless, a soul can be declared just only if all three parts agree that the "logistikon" should rule.


title: Plato's theory of soul

text: According to Plato, the spirited or "thymoeides" (from "thymos") is the part of the soul by which we are angry or get into a temper. He also calls this part 'high spirit' and initially identifies the soul dominated by this part with the Thracians, Scythians and the people of "northern regions".


title: Plato's theory of soul

text: Plato's theory of the reincarnation of the soul combined the ideas of Socrates and Pythagoras, mixing the divine privileges of men with the path of reincarnations between different animal species. He believed the human prize for the virtuous or the punishment for the guilty were not placed in different parts of the underworld, but directly on Earth. After death, a guilty soul would be re-embodied first in a woman (in accordance with Plato's belief that women occupied a lower level of the natural scale), and then in an animal species, descending from quadrupeds down to snakes and fish. According to this theory, women and the lower animals were created only in order to provide a habitation for degraded souls.


title: Plato's theory of soul

text: Plato most of the time says that there is a distinct reward-and-punishment phase of the afterlife between reincarnations. Only in the "Timaeus" and "Laws" does the reward-and-punishment phase disappear; in these two texts, the punishment is said to be the reincarnation itself. Recent scholars have argued that the theory of reincarnation is intended to be literally true. In the "Timaeus", for instance, it appears as a scientific theory to explain the generation of non-human animals; elsewhere, it appears as the conclusion of other philosophical commitments that Plato argues for, such as that virtue is always rewarded and vice punished, and that the only way to punish a soul is to embody it.


title: Jill Ritchie

text: Jill Susanne Ritchie (born March 5, 1974) is an American actress and the younger sister of rapper-singer-songwriter Kid Rock.


title: Jill Ritchie

text: Ritchie starred in the 2004 film "D.E.B.S." and in "Breakin' All the Rules", and had a guest role as Bluth family publicist Jessie in an episode of "Arrested Development". She co-starred in the VH1 series "I Hate My 30's". She is friends with Liam Kyle Sullivan and she also appeared in his video "Let Me Borrow That Top" as Katelyn (the girl Kelly wants the top from and who was homecoming queen). Ritchie also appeared in the movie "", playing Charisma.


title: Omnium Gatherum (album)

text: Omnium Gatherum is the 20th studio album and first double album by Australian psychedelic rock band King Gizzard & the Lizard Wizard, released on 22 April 2022. The album was announced on 8 March 2022 and made available for pre-order on 22 March. It marked the first studio release where all band members are playing together live since the onset of the COVID-19 pandemic. As with previous releases, the album features music of numerous genres, including psychedelia, progressive rock, heavy metal and synth-pop, as well as the band's first experiments with hip hop. It received generally positive reviews, although critics were divided on its length and consistency.


title: Omnium Gatherum (album)

text: During the production of "Fishing for Fishies", the band recorded at a house owned by members of Tropical Fuck Storm. The two bands together recorded a jam session informally titled "Hat Jam" (named after the hats worn by the various members of the bands during the session) - footage of which appeared in the "How to Gut a Fishie" behind-the-scenes documentary uploaded on 21 April 2019. Elements of the "Hat Jam" were taken by both bands, with King Gizzard incorporating elements of the jam into "Omnium Gatherum"<nowiki>'</nowiki>s first single "The Dripping Tap" while Tropical Fuck Storm incorporated elements into their joint EP with King Gizzard, "Satanic Slumber Party". A limited-edition vinyl, titled "Hat Jam", was also released featuring both "The Dripping Tap" and "Satanic Slumber Party".


title: Omnium Gatherum (album)

text: On 29 May 2021, a teaser for the album "Butterfly 3000" was included by the band on a video for their live album "Live in Sydney '21". It contained a 15-second snippet that was believed to be a clip from the record. However, the music in the clip did not end up appearing anywhere on the record, and instead was an extract of the then unreleased "Omnium Gatherum" track "Magenta Mountain". That same day "Live in Sydney '21" was released through the band's bootleg program, the 7th live recording in the program, and the 9th album overall.


title: Omnium Gatherum (album)

text: On 10 August, the band announced via Twitter that they had finished their next album, and included emojis of a diamond and a pickaxe. Then, on 15 August, the band tweeted 2 more emojis; a drop of water and a faucet filling a glass, leading to speculation that these emojis were related to a future album.


title: Omnium Gatherum (album)

text: On 30 October, the band played an unreleased track from an unspecified album at Melbourne's "Play On Victoria" event at the Sidney Myer Music Bowl. The next day, the band released the lyrics to the song, "Gaia", via a screenshot posted to twitter.


title: Omnium Gatherum (album)

text: In January 2022, the tweets with emojis resumed, and the account began to like tweets that were able to discern the song titles. During this batch of emoji tweets, the King Gizzard Twitter liked a tweet asking the band to like if a double album is coming, leading many to presume that "Omnium Gatherum" will be a double album.


title: Omnium Gatherum (album)

text: In February, the band announced a three-hour marathon set in Melbourne, naming the one-off show as "Return Of The Curse Of Timeland", set to take place on March 5. During the show, the band played four songs from the record: "Magenta Mountain", "The Garden Goblin", "The Dripping Tap" and "Gaia".


title: Omnium Gatherum (album)

text: The album is the first studio recording since the COVID-19 pandemic began where the band played together in the studio; "K.G.", "L.W.", and "Butterfly 3000" were recorded remotely during lockdown.


title: Omnium Gatherum (album)

text: The album's rap songs were the result of Mackenzie learning sampling using numerous vinyl records he had purchased on Discogs, with Kenny-Smith then rapping over them. "The Guardian" described the experiments as a "rare contentious issue within the group".


title: Omnium Gatherum (album)

text: The album was announced on 8 March 2022, and the band released the eighteen-minute song "The Dripping Tap"—their longest studio recording to date and the first song since 2019's "Fishing for Fishies" featuring performances recorded by all six current members on the same day. In the announcement, bandleader Stu Mackenzie hinted that "Omnium Gatherum" would be the band's longest studio album so far and represents "a turning point" in their career as it is "going to change the way we write and record music — at least for a while", adding that the band is "entering into our 'jammy period'".


title: Omnium Gatherum (album)

text: The album's second single, "Magenta Mountain", was released on 29 March, and was accompanied with a video for a live version of the song, recorded on 5 March at the "Return of the Curse of Timeland" show. A third single, "Kepler-22b", was released on 19 April, also accompanied by a music video.


title: Omnium Gatherum (album)

text: "Omnium Gatherum" is an album that sees the band hopping between numerous different genres, including psychedelia, progressive rock, heavy metal, synth-pop, folk, jazz, R&B, and soul. "The Dripping Tap" is a prog-jam that zigzags between krautrock, thrash metal, stoned soul, neo soul, acid rock, and noise music. "Magenta Mountain" and "Kepler-22b" are dream pop, neo-psychedelia, and psychedelic pop songs reminiscent of the band's 2021 album "Butterfly 3000" that feature "shuffling beats under wonderful harmonies", with the former including electronic pop and the latter incorporating astral-jazz. "Gaia" and "Predator X" are both heavy metal and heavy psych songs following up on the sound of the 2019 album "Infest the Rats' Nest" (with the latter track featuring the inclusion of a callback to the track "Perihelion"), with the former incorporating thrash metal, psychedelic metal, grind metal, death metal and psych-prog.


title: Omnium Gatherum (album)

text: "Ambergris" is a jazz-funk and lounge-funk track, while "Candles" drifts into late 90s chillout. "Sadie Sorceress" and "The Grim Reaper" introduce rap elements to the King Gizzard sound, with the latter incorporating microtonality and psychedelia. "The Garden Goblin" is a twee lo-fi bedroom-prog and psych-pop song and "Evilest Man" features political acid rock and callbacks to the track "Cyboogie" from the 2019 album "Fishing for Fishies". Lounge-influenced closer "The Funeral" has middle eastern guitar flourishes and an ethereal ending. The final few seconds of "The Funeral" consists of a steady ticking at 60 BPM - the same tempo as the consistent "ticking clock" motif present throughout the band's prior album "Made in Timeland".


title: Omnium Gatherum (album)

text: "Omnium Gatherum" received a score of 72 out of 100 from media aggregate site Metacritic based on seven critical reviews.


title: Omnium Gatherum (album)

text: "Clash" writer Sam Walker-Smart called "Omnium Gatherum" "a phenomenal entry-point to 'the Gizzverse'" and "an all-killer no-filler release that may just stand as the best thing King Gizzard & The Lizard Wizard have ever released." Nathan Whittle, writing for "Louder Than War", called the album "the distillation of everything that the band are great at and, as always, done purely on their own terms" and "proof that the band are enjoying a newfound freedom of being unshackled from their own self-imposed limitations to work albums through individual styles". Alfie Verity of "Gigwise" was complimentary towards' the band's continued experimentation 20 albums in, but said that the album "lacks a definitive thread" and "the shine wears off at points." "Loud and Quiet"s Jack Doherty criticized the album's disparate styles, claiming that it "crumbles under its inability to surprise, leaving us with the sound of a band with nowhere left to go." Jordan Blum of "Consequence" called the album "expansive, assorted, and at least a little self-indulgent, but that's precisely what makes it brilliant." "Under the Radar" contributor Kyle Kersey wrote "Taken as a complete album experience, it's a little too all over the place to measure up to their most focused work, and its robust length is pretty intimidating. But as a smorgasbord of strange sonic shape-shifting, it's a pretty fun listen."


title: Christian metal

text: Christian metal, also known as white metal, Jesus metal or heavenly metal, is heavy metal music distinguished by its Christian themed song lyrics and the dedication of the band members to Christianity. Christian metal is typically performed by professed Christians, principally for Christians and is often produced and distributed through various Christian networks.


title: Christian metal

text: Christian metal bands exist in most of the subgenres of heavy metal music, and the only common link among most Christian metal bands are the lyrics. The Christian themes are often melded with the subjects of the genre the band is rooted in, regularly providing a Christian take on the subject matter. It has been argued that the marginal yet transnational Christian metal subculture provides its core members with an alternative religious expression and Christian identity, and that the music serves the purpose of offering a positive message through lyrical content. This may not necessarily show a direct connection or reference to the Christian faith but often it does.


title: Christian metal

text: Christian metal emerged in the late 1970s as a means of evangelization to the wider heavy metal music scene and was pioneered by the American Resurrection Band and Barnabas, the Swedish Jerusalem, and Canadian Daniel Band. Los Angeles' Stryper achieved wide success in the 1980s. In the mid to late 1980s, extreme metal genres were popularized by bands such as Vengeance Rising, Deliverance, Believer and Tourniquet. Another Christian metal band that was successful during the 80s was American band Stryper, whose album, "To Hell with the Devil", sold over two million copies.


title: Christian metal

text: In the early 1990s, the Australian death metal band Mortification rose to prominence within its country's underground metal scene. At the turn of the 21st century, the nu metal band P.O.D, with two platinum-selling albums, achieved a mainstream commercial success rivaling that of Stryper. The metalcore groups Underoath, Demon Hunter, As I Lay Dying and Norma Jean (dubbed "The Holy Alliance" by Revolver Magazine) also brought some mainstream attention to the movement in the first decade of the 2000s, achieving ranks in the "Billboard" 200. Between the 2000s and 2020s, the Christian metal band Skillet had two albums receiving Grammy nominations, two albums certified platinum and double platinum, and various singles certified platinum and gold.


title: Christian metal

text: Christian metal is not a solitary style of music, but rather an ideological umbrella term that comprises almost every subgenre of heavy metal music. The musicians within Christian metal bands typically base their lyrics on Judeo-Christian traditions. The lyrical approach of Christian metal bands is somewhat varied, as some emphasize the positive aspects of faith matters while others iterate the teachings of Christ. Some bands keep their message hidden in metaphors. Only a minority take an aggressive attitude towards those who speak against Christianity, "preaching full-on fire and brimstone and Old Testament style God's wrath back at extreme Satanists". References to eschatology and apocalyptic themes, particularly the ongoing spiritual warfare between good and evil as well as the Last Judgment and fall from grace are typical.


title: Christian metal

text: The lyrical style varies depending on culture, denomination, and country. For example, in Northern Europe the bands with Lutheran members usually prefer a personal lyrical approach, which is seldom meant to "convert" in an aggressive manner, since evangelism has been more typical among American bands. Christian bands never deny their conviction but typically avoid preaching, and sometimes the matter is left unexpressed, leaving religion as a private issue of the listener. Certain bands choose to deal with everyday life experiences from a Christian perspective in order to draw both Christian and non-Christian listeners. In such cases, identifying a "Christian band" can be difficult. Secular bands that occasionally deal with Christian topics are a different matter altogether. Defining a Christian band is a much debated issue on Christian metal forums. A Christian band is expected to have either professed Christian members or a Christian message, preferably both.


title: Christian metal

text: The term 'heavy metal', as it was used by Lester Bangs and Dave Marsh at "Creem", referred to a sound best exemplified by albums such as Led Zeppelin's "Led Zeppelin II", Deep Purple's "Deep Purple in Rock", and Black Sabbath's "Paranoid". An examination of some of the lyrics from bands such as these show a lack of any explicitly negative themes. Led Zeppelin's "Whole Lotta Love" could just as well be a conversation between husband and wife, as not. Black Sabbath's "Electric Funeral" exactly parallels the blood red moon of the "Book of Revelation" by John of Patmos, while their "Hand of Doom" describes the ravages of drug abuse. Ozzy Osbourne could be heard preaching to his audience in the earlier song, "Children of the Grave": "Tell the world that love is still alive you must be brave; or the children of today are children of the grave." Later, in the song "In My Time of Dying", Robert Plant even pleaded to Jesus: "Meet me Jesus, meet me; Meet me in the middle of the air; if my wings should fail me Lord, please meet me with another pair." Perhaps not overtly Christian, but songs such as these exhibited similar themes. Early heavy metal fans were viewed by the populace as a counterculture, just as the fans of rock and roll, in general, were. Early heavy metal lyrics and themes were often accused of challenging Christian values, and as the genre grew, some bands actually did.


title: Christian metal

text: Among the early bands who were accused of adding negative connotations to the term was Black Sabbath. Their and other early bands' profligate use and combination of black, occult, tattoo/piercings, and other features in stage- and album-styling; repeated musical features like distorted guitar-filters, open/power chords, riffs (including chords with roots a tritone apart); and moody explorations of diverse spiritual themes (including the social connections of metal-enthusiasts) led to a range of responses, from intense-fandom/identification, widespread patronage for at least the most well-known albums and bands, and polarizing criticism.


title: Christian metal

text: Those uncomfortable with heavy-metal musical and fan/scene-features, especially on the religious right (sometimes including fans of other music, including progressive- and mainstream-rock) became more vocal through the 1970s and '80s, at worst casting the makers and fans of such music as "followers of Satan". Despite such accusations, more serious examinations of Black Sabbath lyrics find several songs actually advocate Christianity and specifically warn audiences about the Devil. "Rolling Stone" reviewer Lester Bangs noted the Christian theme of their song "After Forever" when it was released. Further, as Deena Weinstein and others have established, the vast majority of metal fans are male, white, and blue-collar-identified. Although there are now metal fans of more-advanced ages, from its origins through the 1980s their age centered on teen years.


title: Christian metal

text: Bands such as Mötley Crüe, Ratt, and Twisted Sister took "themes of generalized rage, sexual abandon, drug abuse, violence, and despair into the homes of millions of young record buyers." In the 1980s, with the growing appeal of metal, the National Coalition on Television Violence "called attention to the destructive potential of music videos, many of which graphically depict violence and rebellion." A British cleric and metal fan analysed that because of distorted guitar sounds, "intense" beats and "muscular" vocals, heavy metal music songs are "unafraid to deal with death, violence and destruction" and that "much of metal's fascination with Satan or evil is play-acting, driven by a desire to shock." The Italian Capuchin friar and former metal vocalist Cesare Bonizzi ("Fratello Metallo") stated that there are "maybe" some Satanic metal bands "but I think it's an act so that they sell more," and went to add that "metal is the most energetic, vital, deep and true musical language that I know."


title: Christian metal

text: Some metal songs criticize religion, such as "Death Church" by Machine Head, which "critici[zes] the hypocrisy of the Christian church." Metal groups "…seek out every…avenue to assault religion", including "religious hypocrisy", specifically Christianity. Metal songs use themes from the Book of Revelation which focus on apocalypse (e.g., Iron Maiden’s "Number of the Beast"). The metal subgenre with the most emphasis on apocalyptic themes is thrash metal. Anti-patriarchal themes are common in metal. Black metal song lyrics usually attack Christianity using apocalyptic language and Satanic elements.


title: Christian metal

text: Christian metal has its origins in the late 1960s and early 1970s in the Jesus movement, a hippie movement with Christian ideology consisting of hippies that converted to Christianity. The Christian hippies within this movement, known as "Jesus People", developed a musical movement called Jesus music, which primarily began in southern California, ex. Los Angeles when hippie street musicians converted to Christianity. These musicians continued playing the same styles of music they had played before converting, among them heavy metal music, though they infused their lyrics with a Christian message. Larry Norman was one of the earliest Christian rock musicians who released his first album titled "Upon This Rock" in 1969 which is arguably the first Christian rock album produced. Norman's song "Why Should the Devil Have All the Good Music?" summarised the ideas of these musicians.


title: Christian metal

text: The first Christian hard rock group was possibly the California-based band Agape, formed in the late 1960s. Known for their psychedelic rock and blues influences, the band released an album titled "Gospel Hard Rock" in 1971, followed by "Victims of Tradition" in 1972. After Agape, the Resurrection Band was formed in 1972 in Milwaukee's Jesus People community and released the hard rock album "Music to Raise the Dead" in 1974. The Swedish group Jerusalem was formed in 1975 and is cited as another early Christian hard rock group. In 1978, Resurrection Band released its album "Awaiting Your Reply" and Jerusalem released "Jerusalem (Volume 1)". Both albums had a notable impact on Christian music culture. During that time, heavy metal was a new style of music for the Christian music industry, and many Christian labels did not expect it to sell well. However, "Awaiting Your Reply" hit big in the Christian market, and reached No. 6 on the Gospel album sales charts. "Jerusalem" also became an instant hit among listeners, and within the first six months the record sold 20,000 copies, unheard of within the genre of Christian rock in Europe. The Canadian Daniel Band is cited among the first bands, as is Barnabas.


title: Christian metal

text: In the early 1980s, there were four notable Christian heavy metal groups: Messiah Prophet, Leviticus, Saint, and Stryper. Although it is debatable as to which band was formed first, the Orange County native glam metal group Stryper was the most popular one. Stryper was also the first band to identify as Christian metal. Stryper gained attention with their way of throwing Bibles to the audience at their concerts. In the beginning, mostly Christians went to Stryper's concerts but soon they reached non-Christian audience. In the 1980s, Christian metal bands closely followed the trends of mainstream heavy metal bands.


title: Christian metal

text: During the mid-1980s, heavy metal music divided into autonomous subgenres. Weinstein described the thematic diversity that cross-cuts musical styles: "In the 1980s, white metal and black metal emerged. Their lyrical themes are at polar opposites to each other, one of them bringing the 'good news' and the other the 'bad news.' Both include bands whose sounds span the full spectrum of metal. White metal is commonly called Christian metal. In part a response to the popularity of the heavy metal genre, it transforms the code of heavy metal to serve purposes of Evangelical Christian sects and other denominations. In part, also, Christian metal is a well-crafted missionary effort to recruit members and save souls. [...] Black metal stands in the thematic opposition to Christianity, not looking upward to heaven but setting its sights on the underworld. Satanic symbols and imagery have been a staple of heavy metal since its beginnings with Black Sabbath and Led Zeppelin. In the West, there is no better symbol for rebellion. But groups such as Mercyful Fate claimed that they were not playing. Their claims to be true believers, followers of the lord of the underworld, were seen by many to be a commercial ploy." Chicago doom metal group Trouble was known to be the first band that was publicly marketed as "white metal" since their early albums "Psalm 9" and "The Skull" feature Biblical references. The origin of the "white metal" term remains unclear; it is merely known that the non-Christian label Metal Blade Records used "white metal" as a marketing term, in contrast to black metal.


title: Christian metal

text: Soon the Christian metal bands became controversial for their beliefs and often evangelistic goals in the metal music scene, which typically holds individualism in particularly high esteem. Stryper, for instance, although a commercial success at that time, received a hostile reception when they played at a Dutch metal festival in 1985. Regardless of this, Stryper helped to popularize the genre. They were the first Christian band to reach platinum status on an album. The 1986 album "To Hell with the Devil" sold 2 million copies and achieved a Grammy nomination. The music videos for "Free", "Calling on You", and the power ballad "Honestly" all spent many weeks on MTV's Top 10, and "Free" was in the No. 1 position for 12 weeks (60 days), May 4 – July 24, 1987.


title: Christian metal

text: Not only was Christian metal criticized by non-Christian metal fans, but soon the movement was also criticized by fundamentalists; Allmusic wrote that "when church leaders were accusing heavy metal of encouraging Satanism, Stryper set out to prove that metal and hard rock could be used to promote Christianity. The southern California band was viewed with suspicion by both ministers (who refused to believe that Christianity and metal were compatible) and fellow headbangers—and yet, Stryper managed to sell millions of albums to both Christian and secular audiences." For example, the televangelist Jimmy Swaggart wrote a book titled "Religious Rock n' Roll – A Wolf in Sheep's Clothing" in 1987 and criticized the scene, particularly Stryper, for using heavy metal music to preach the gospel of Christianity.


title: Christian metal

text: In contrast, however, many Christian evangelists and church organizations took a more supportive role. For example, televangelist Jim Bakker expressed public support for the group Stryper, watching them perform and becoming personal friends with the band's members. Many new bands began to arise, eventually drawing the attention of record labels that specialized in Christian music.


title: Christian metal

text: Christian metal soon developed into its own independent record labels and networks. The first Christian metal label was Pure Metal Records, a sublabel of Refuge Records. Soon there appeared other labels such as R.E.X. Records and Intense Records. Fanzines were published in several countries, with "Heaven's Metal" as the first one in the US in 1985. During that time almost every Christian record label became interested in Christian metal, and they advertised the newly signed metal bands on their roster on "Heaven's Metal" since it was the only publication exclusively covering the movement. Soon "Heaven's Metal" achieved more popularity and became an official, professional publication. "Heaven's Metal" achieved a dedicated flock of 15,000 readers. Bands' sales usually rose when the ensembles were covered on the magazine. During the 1980s and early 1990s, the more underground Christian metal releases were typically distributed in Christian bookstores, and those as well as the fanzines also traded Christian metal cassette copies with the music fans.


title: Christian metal

text: Many rock and metal fans that became Christians through the ministry of Christian metal bands were rejected from churches in the 1980s. In 1984, California pastor Bob Beeman saw this problem and soon started the ministry called Sanctuary - The Rock and Roll Refuge. This fellowship brought many musicians together and formed groups such as Tourniquet, Deliverance, Vengeance and Mortal that would soon become ground breaking acts in Christian music culture. Sanctuary's first worship leader was Stryper's vocalist Michael Sweet and later Barren Cross' bass player Jim LaVerde. Sanctuary sponsored the first Christian metal festival, The Metal Mardi Gras, held in 1987 in Los Angeles. This proved influential and soon Christian metal festivals were organized elsewhere as well. Sanctuary's activities began spreading, and it had 36 parishes all over the United States at its peak by the 1990s. The Sanctuary parishes had a significant impact on the Christian metal movement: groups that would later become notable such as P.O.D. performed their first concerts in Sanctuary.


title: Christian metal

text: By the late 1990s, the parish's workers felt that regular churches' attitudes towards metalheads, rockers and punks had become more permissive, and therefore did not feel the need to keep Sanctuary going on any longer, hence, most of the parishes of Sanctuary were closed. Sanctuary became Sanctuary International, and it currently gives international studies and lessons on Christianity. Sanctuary also runs an internet radio station called "Intense Radio" which, in 2003, reached approximately 150,000 listeners.


title: Christian metal

text: Doug Van Pelt of "HM Magazine" stated that Christian metal had its "heyday" in the late 1980s and early 1990s. By 1987, there were more than a hundred Christian metal bands, and their records were sold at both Christian bookstores and non-Christian retails. By 1988, the four largest Christian metal bands (excluding the mainstream success Stryper) were Bloodgood, Barren Cross, Whitecross, and Leviticus. The Kentucky-based band Bride initially played speed metal, particularly on "Live to Die", and reached a wider audience when they released "Snakes in the Playground" (1992). Despite being criticized for their abrupt changes in style in favor of what's "hot", are still considered "a primeval force at the centre of Christian heavy metal."


title: Christian metal

text: In 1989, the Orange County group X-Sinner released its debut album "Get It", and was one of the most talked about bands within the white metal scene at the time. Noted for a classic metal sound similar to AC/DC, X-Sinner has managed to stay at the head of the Christian classic metal scene.


title: Christian metal

text: Glam metal band Holy Soldier, another group hailing from California, released its self-titled debut on Word and A&M Records (Myrrh imprint) in 1990 to critical and commercial acclaim. Two years later, the band followed up their debut with "Last Train", another critical success, leading to 60 city world tour. The band Guardian achieved some mainstream attention for its album "Fire and Love", and one of the videos was included in the MTV's Headbangers Ball rotation. The heavy metal band Angelica introduced vocalist Rob Rock, who also achieved initial fame as the vocalist for guitar virtuoso Chris Impellitteri's band Impellitteri during the 1980s and 1990s and then went solo with his "Rage of Creation" album.


title: Christian metal

text: In the early 1990s, the rising musical styles, especially grunge, began to take their places as the dominant styles in the mainstream, which resulted in heavy metal music losing popularity and going underground for a decade. Many Christian metal musicians began to play extreme metal, and soon death metal replaced thrash metal in popularity. Audiences in many underground metal scenes began favoring more extreme sounds and disparaging the popular styles. As with other glam metal acts of the time, Stryper lost popularity and split up in 1993.


title: Christian metal

text: Bruce Moore writes in the e-book "Metal Missionaries" that during mid-1990s Christian metal "ceased to play catch up (replicating secular bands) and began to assimilate into its rightful place in the Extreme music scene and the artists who played became influential in helping to define this relatively new, but growing genre." With risen musical quality and more street-credibility, Christian metal and hardcore bands were signed to record labels such as Tooth and Nail, Solid State, Facedown Records as well as secular labels Metal Blade and Victory Records. Christian metal was available through non-Christian outlets; "For the first time Extreme Christian music moved from the dusty back bin of the Christian book stores to the front racks at super retailers like Best Buy, Circuit City, FYE and even giant retailers like Wal-Mart, Target and Hot Topic." The German secular metal label Nuclear Blast Records also released Christian metal. Torodd Fuglesteg of Norway's Arctic Serenades Records has claimed: "The owner of Nuclear Blast was a committed Christian and he was pushing everything with that religious agenda through Nuclear Blast. Mortification and Horde were pushed like mad by Nuclear Blast when other labels were pushing pure satanic stuff."


title: Christian metal

text: In the first decade of the 21st century some groups reached mainstream popularity. There are Christian metal bands that perform virtually every subgenre of metal. The Christian metal movement has spread worldwide since it emerged in the early 1980s, and there are now hundreds of active Christian metal bands. Inspired by the metal revival, many 1980s bands have made comebacks including Saint, Bloodgood and Stryper. In October 2004, Doug Van Pelt brought "Heaven's Metal" back as its own fanzine. The Internet has had a significant role on the revival of Christian metal as well. Many websites and online communities are dedicated to discussions about Christian metal's music, events, and bands.


title: Christian metal

text: For the first time since Stryper's success in the 1980s, certain Christian metal artists found mainstream acceptance selling millions of albums to both Christian and non-Christian fans, including Underoath and P.O.D. The latter became the most successful Christian metal band when their 2001 album "Satellite" went multi-platinum, while the former's 2006 album, "Define the Great Line", ranked No. 2 on the "Billboard" 200. Stryper would re-form in 2003 and eclipse over 10 million in total album sales. They had adopted more of a power metal sound than the "hair metal" style they were known for. Skillet, who is also often labeled as a metal band reached mainstream success while being open about their Christian faith. Their efforts have resulted in over 12 million units sold including 2 platinum albums. From their 2× platinum album "Awake", the song "Monster" alone would sell over 3 million copies. From the same album, the song "Hero" would also reach multi-platinum status"."


title: Christian metal

text: Metalcore features many popular Christian bands, including such crossover bands such as Underoath, As I Lay Dying, August Burns Red, Blessthefall, Norma Jean, Haste the Day, The Devil Wears Prada, Silent Planet, Wolves at the Gate, For Today and Demon Hunter. Many of these bands have Grammy nominated or have made it high in the charts of the Billboard 200. Norma Jean was nominated for a Grammy Award for "Best Recording Package" for their album "O God, the Aftermath". As I Lay Dying entered the "Billboard" 200 charts (No. 8) for its record sales and were nominated for the "Best Metal Performance" Grammy for the single "Nothing Left" from the 2007 album "An Ocean Between Us". The album made its debut on Metal Blade Records, charting at No. 19 in Canada. In the United States, nearly 40,000 units were sold in its first week. The second week after it was released, it charted at No. 39 in both the United States and Canada. Other Top 200 debuts around the world include a No. 117 in the United Kingdom and No. 154 in Japan. In 2011, The Devil Wears Prada's album "Dead Throne" charted at No. 10 in the Billboard 200. In 2015, August Burns Red was nominated for "Best Metal Performance" at the Grammys for their song "Identity", off their "Found in Far Away Places" album.


title: Christian metal

text: In its 2006 in Review issue (February 2007), "Revolver" magazine dubbed Christian metal the phenomenon of the year. Editor in Chief Tom Beaujour interviewed the lead vocalists of As I Lay Dying, Demon Hunter, Norma Jean, and Underoath (Tim Lambesis, Ryan Clark, Cory Brandan Putman, and Spencer Chamberlain, respectively) as the front-page article for the issue. Tooth and Nail Records, P.O.D., Zao, War of Ages, Still Remains, and He Is Legend were also mentioned. In 2018, Chamberlain stated that the band no longer identifies as Christian.


title: Christian metal

text: Some notable American Christian thrash metal groups include Deliverance, Believer, Vengeance (frontman, vocalist and last remaining member Roger Martinez currently against Christianity) and Tourniquet. Allmusic states that Vengeance Rising's first two albums "were huge successes in the world of Christian music, making them one of the few bands in the genre to cross over into the secular music scene." Tourniquet was called "arguably the greatest Christian metal band in history" by Cross Rhythms in 1996. Tourniquet's "Psycho Surgery" was ranked as the second most influential Christian metal album of all time by "HM Magazine". Deliverance's 1990 music video for the title track of "Weapons of Our Warfare" album received some airplay on MTV. Allmusic wrote about Believer's "Sanity Obscure" album: "Before 1990, the Christian heavy metal genre rarely strayed from generic riffing and poor lyrics. Bands like Petra and Sacred Warrior never broke through to the mainstream for this very reason. With low expectations, Believer released this massive slab of molten metal. Although it never really became popular, several mainstream magazines praised the album."


title: Christian metal

text: The British bands Seventh Angel and Detritus introduced Christian thrash metal to Europe. Seventh Angel were considered to be thrash metal pioneers, and their albums achieved mainstream distribution through the Music for Nations label. Cross Rhythms states that for a long time Seventh Angel were considered to be the best metal act in the UK. Seventh Angel also has included aspects of doom metal on some recordings. In the 1990s, New Mexico based Ultimatum and Oklahoman group called Eternal Decision gained some attention, the latter with its thrash and groove metal style. The band's eponymous 1997 album hit the record stores in the U.S. and 16 other countries, achieving considerable acclaim and providing the band with even more notice.


title: Christian metal

text: In 1990, the Australian group Mortification became the first widely recognized Christian death metal band. Their 1992 album "Scrolls of the Megilloth" garnered the band some attention from the heavy metal underground, according to Allmusic.


title: Christian metal

text: At roughly the same time, the band Living Sacrifice was creating thrash and death metal, particularly on the albums "Nonexistent" (1992) and "Inhabit" (1994), with Allmusic commenting that "the term Christian death metal seems like one of music's most comical oxymorons." Later they "evolved from their early death metal-inspired rumblings into a crushing, staccato-driven, heavily percussive metallic behemoth that pummels listeners with intense riffage and a decidedly personal, though nevertheless, often evangelical lyrical viewpoint." The Minneapolis-based Crimson Thorn is described by Allmusic as "one of the world's most extreme-sounding Christian metal bands." Norwegian band Extol's 1998 album "Burial" was called "Revolutionary. This release may have single-handedly been responsible for the revival of the Christ-centered extreme metal." The band was popular among both Christian and general metal fans, mostly touring with well-known non-Christian bands.


title: Christian metal

text: Horde is widely considered to be the first unblack metal (also called Christian black metal) band. As a one-man band with only one release (in 1994), Horde initiated controversy within the extreme metal community, opposing the more common lyrical themes of Satanism and evil. The title of Horde's only release – "Hellig Usvart" – means "Holy Unblack", which is now often used by Christians to refer to Christian black metal, in order to avoid the negative connotations of the term "black metal".


title: Christian metal

text: Antestor (then called Crush Evil) existed prior to the release of "Hellig Usvart" but their music was a death/doom style, and was not yet musically considered black metal. During the early 1990s when the band was known as Crush Evil, Euronymous, guitarist for the seminal black metal band Mayhem, was planning to stop Crush Evil from continuing. However, this never took place.


title: Christian metal

text: The release of Antestor's "The Return of the Black Death" on the British black metal label Cacophonous Records in 1998 "set the standard for Christian black metal". Swedish Crimson Moonlight's "The Covenant Progress", "HM Magazine" stated, "rivals the best any other band (Christian or secular) in this subgenre can offer." While the unblack scene is not part of the traditional black metal scene, several musicians from both have co-operated: Stian Aarstad of Dimmu Borgir produced Vaakevandring's eponymous EP, and Jan Axel Blomberg of Mayhem played drums for Antestor's "The Forsaken" (2005) album.


title: Christian metal

text: Sacred Warrior preceded Christian power metal in the United States. The German group Seventh Avenue, formed in 1989, was one of more notable Christian power metal bands in the 1990s. They released "Rainbowland" in 1995, and after that the band was signed to Treasure Hunt Records. Their first release on this label, "Tales of Tales", topped at 18 on the Japanese Heavy Metal Charts.


title: Christian metal

text: Later in the 1990s, the Swedish group Narnia made contributions to Christian power metal history, having signed with Nuclear Blast Records, Germany, and Pony Canyon Records, Japan. Later there appeared more notable European groups such as the German bands Chrystyne and Lightmare, and the Swedish groups XT, Divinefire, Harmony, and Heartcry.


title: Christian metal

text: Among the progressive metal representatives were Balance of Power, whose album "When the World Falls Down" was picked by Japanese label Pony Canyon. Jacobs Dream was signed to Metal Blade Records. "HM" wrote of the Athens, Georgia based Theocracy's self-titled debut album that "Not only did this release gain [the then-sole member] Matt [Smith] a lot of notoriety in the small Christian power/prog scene but the much larger secular power/prog secene embraced this as well." Later turned to a full band, their sophomore 2008 album "Mirror of Souls" "defines excellence in current Christian metal."


title: Christian metal

text: In 1987, the Swedish group Veni Domine started playing progressive and symphonic doom metal and released its first album "Fall Babylon Fall" in 1992, ranked as the 38th most influential Christian metal album of all time by "HM". "HM Magazine" wrote that Paramaecium, with its 1993 album "Exhumed of the Earth", "essentially delivered the most powerful and moving death/doom recording in the history of Christian metal." Saviour Machine's "Saviour Machine I" was called "amazing accomplishment" by "HM" and that "their gothic-tinged, progressive metal was quite unique to the scene when it was released in 1993."


title: Christian metal

text: The alternative metal style's leading groups included the nu metal bands P.O.D., Thousand Foot Krutch, Disciple, and Pillar. Zao was a pioneer of metalcore, paving way for bands such as Underoath and Norma Jean. The California-based group Mortal is cited as one of the first Christian bands that represented the industrial metal style. Cross Rhythms wrote that when Mortal's second album "Fathom" hit the scene in 1993 "there was nothing else quite like it" and that it is "truly a musical milestone."


title: Christian metal

text: Another 1990s reputive Christian industrial metal band was Circle of Dust. The band received MTV exposure with a music video for "Telltale Crime", and a part of the song "Deviate" was used as the intro-song for a long time in the now defunct "MTV Sports" show.


title: Christian metal

text: Argyle Park, an underground supergroup of Christian industrial metal, received some success with the album "Misguided" (1995) as did, to some extent, LVL and Klank with "Still Suffering" in 1997. Klank's second album "Numb" was somewhat successful because the song "Blind" became a hit single. The Australian industrial metal band called Screams of Chaos was known for its bizarre style that combined several extreme metal influences with industrial. The late 1990s and early first decade of the 21st century popular American shock rock group Rackets & Drapes was known to have elements of industrial metal, and received a following.


title: Christian metal

text: While not as well known as Mortification, fellow Australian band, Vomitorial Corpulence was widely known as the first Christian grindcore band. The band had minor success but certainly helped the Extreme metal side of Christian metal.


title: Christian metal

text: There are notable mainstream acts that feature or have featured Christian members. While these bands may or may not have had lyrics using Christian themes or symbolism, some have caused controversy in their claims to Christianity, such as Tom Araya of Slayer. Others, such as Alice Cooper, Killswitch Engage, Linkin Park, Iron Maiden, and Megadeth also have members who are Christian and often use spiritual themes.


title: Christian metal

text: While not uncommon in predominantly Catholic cultures, Christian metal is rooted in evangelical Protestantism, beginning as a means of evangelism among the non-Christian metal scene. Over the years the focus changed because of the increased secularization of Christianity in the West during the 1990s. Moberg (2008) notes that the current scene seems to have very little interest in evangelism, especially in Northern Europe. Instead, it is argued that the current Christian metal music scene ultimately provides its core members with important resources for the shaping of an alternative and complementary form of religious expression and practice and an alternative Christian identity. Thus, Moberg states that Christian metal serves four main purposes: an alternative form of religious expression and identity; as a legitimate form of religious expression; as an effective means of evangelism and fighting and standing up for the Christian faith; as a positive alternative to non-Christian metal.


title: Christian metal

text: In a 2006 interview with "HM Magazine", Steve Rowe of Mortification, one of the best known figures in the scene, implies that evangelism is of secondary importance and that Christian metal should first and foremost bring "spiritual encouragement" for its Christian listeners. Moberg (2006) suspects that Christian metal music may suggest dissatisfaction with traditional forms of worship among today's young Christians: "They may not feel comfortable with just going to church and singing hymns, they need an alternative means to express the same faith." Apart from evangelism, Christian metal may also provide a means "to get away from the image of Christianity as something rigid and boring".


title: Christian metal

text: Luhr (2009) states that Christian metal expresses feeling of isolation and rebellion just like non-Christian metal - but in a completely different way. Christian metal's rebellion is about "Christian opposition to the perceived sinfulness and immorality of a late modern society and culture in which traditional family values have been eroded through such things as the legalization and increasing acceptability of abortion and pornography and the rise of gay rights and feminist movements." Causes for the feeling of isolation can be explained with the fundamental Christian struggle of being in the world but not of it. Bloodgood and Barren Cross inverted the meaning of rebellion by declaring that in Western society and culture the Christian faith is true rebellion. As in non-Christian metal, fans are encouraged to stand up for their faith, think for themselves and not blindly follow authorities, including religious ones.


title: Christian metal

text: According to Moberg (2008), Christian metal has developed scenes in countries with long-standing metal subcultures: United States, Brazil, Mexico, Germany, Netherlands, Norway, Sweden and Finland. Despite its seemingly marginal niche audience, as Christian metal fans are counted in the thousands and the non-Christian metal fans in the millions, the Christian metal scene is one of the few transnational Christian communities that do not have any leaders or creed - only music connects its attendees. Just like non-Christian metal, the Christian metal scene has developed its own infrastructure of record labels, promotion and distribution channels, specialized media, discussion forums, attitude, rhetorics, slogans such as "Turn or Burn!", "Faster for the Master!" and "Support the War against Satan!", webstores and festivals. Brazil and Mexico have tiny parishes of Christian metal fans. Finland in particular, with metal being more mainstream there than anywhere in the world, has held popular Metal Masses picked up by the Lutheran former state church since 2006.


title: Christian metal

text: Most Christian metalheads also listen to non-Christian metal; Christian metal merely offers counterbalance for the dark message of non-Christian metal, and most Christian metalheads only avoid the most satanic bands, if even them, since some ignore the issue altogether. Some differences in concert gestures have been noticed: "Los Angeles Times" reported in 1985 that in Stryper shows the audience were seen "poking stubby 'one way' fingers heavenward—a refutation of the double-fingered devil horns salute of many metal groups".


title: Christian metal

text: Certain Christian groups, most notably those in some King James Only denominations, consider all types of rock and metal music to be opposition to their faith, regardless of lyrical content or the lifestyles of the band members. However, fans and artists see metal as another genre of music, parallel to such genres as blues, classical, jazz, punk, and hip-hop. Bands such as Showbread and Antestor believe that the instrumentation of the music is simply a medium of art, while the person creating the music as well as the lyrics being presented provide the message. Therefore, Christian metal is created when Christians compose metal music in a way that reflects their faith in Christ.


title: Christian metal

text: Keith Kahn-Harris, an English scholar of metal, states in the book "Extreme Metal" that sometimes fans of metal consider Christian faith and adherence in Church a membership of an established authority, and therefore Christian metal bands are seen as "posers" and the use of Christian lyrics to be opposed to the "true" purpose of metal, which values individualism and ignoring the opinions or rejection of religion.


title: Christian metal

text: Christian metal groups such as Barnabas and Extol have criticized bands within the industry for a lack of innovation and for isolating bands within the industry. Pastor Bob Beeman of Sanctuary International stated that this is a compliment to secular music, as it lets people to listen to the music they enjoyed without feeling like they are giving up on the style they love and allows bands to crossover into mainstream success.


title: Christian metal

text: Some groups within the Christian metal movement have criticized bands within the industry for isolating the genre from general industry too avidly. For example, Christer Espevoll of Extol stated in 2003: "I wish the scenes were more together. For a long time there has been a huge – and still growing – distance between Christian and secular music industries. This is the situation peculiarly in the US but also in Scandinavia. In my opinion this kind of polarization is not a good thing. Music is first and foremost about music so why should every band or artist that represents a religion or lack of it have its own industry? Music has no religious borders." However, most Christian bands today oppose to being isolated in the Christian music industry and have become mainstream successes, such as Virgin Black, and Norma Jean.


title: Christian metal

text: Since Christian metal is very much a counterculture of the Christian music scene, it has never had any major corporate radio outlets, as opposed to the more accepted CCM-associated Christian music formats. Nevertheless, it has remained culturally significant in the genre, primarily enduring the test of time through word of mouth and through the help of pioneering Christian rock and metal broadcasters. Despite the lack of commercial radio support, Christian metal broadcasters have managed to hit the airwaves on public radio, campus radio, Internet radio, and in recent years through podcasting via the Internet. As digital broadcasting technology becomes more accessible, the number of Christian metal broadcasters has steadily increased. Some of today's largest non-commercial Christian alternative radio stations such as RadioU, Call FM, and Effect Radio have some Christian metal programing late nights and on weekends. However, as a whole these larger stations generally maintain a format prescribed by the Gospel Music Association. Other stations such as Almighty Metal Radio, Savage Rock Radio, Reign Radio, Metal Blessing Radio, The Cross Stream, The Refinery Rock Radio, www.theBlast.fm, and FuelRadio.FM have been able to maintain twenty-four-hour Christian metal formats through Internet radio. In September 2011 The Refinery Rock Radio became Dead to Self Radio and in November 2016 FuelRadio.FM changed to FuelRadio.net. Dead to Self Radio and Fuel Radio are owned by Thomas Johns. Some notable Christian metal radio DJs, shows and podcasts include: ""Jesus Solid Rock"" Show ('74–'80) hosted by Pastor Bob Beeman, ""Intense Radio"" ('95–present) founded by Pastor Bob Beeman and Sanctuary International, ""HM Podcast"" with "HM Magazine" founder & publisher Doug Van Pelt, "" The Full Armor of God Broadcast"" ('97–present) hosted by Bro Scotland Kubinski (Kuba "The Demon Slayer"), ""Radio U Hardcore"" and ('02–present) hosted by Jaddeus Dempsey (A.K.A. "Jad"), and ""The Nation of Rockwell"".


title: Itamar Ben-Gvir

text: Itamar Ben-Gvir (; born 6 May 1976) is an Israeli lawyer and far-right politician. He is a leader in the Israeli far-right Otzma Yehudit party. He is currently a member of the Knesset, his voter base mostly consisting of young Israelis. Ben-Gvir is expected to be the first Minister of National Security.


title: Itamar Ben-Gvir

text: Ben-Gvir, an extremist who had faced dozens of charges of hate speech against Arabs, was known to have a portrait in his living room of Israeli-American terrorist Baruch Goldstein, who massacred 29 Palestinian Muslim worshipers and wounded 125 others in Hebron, in the 1994 Cave of the Patriarchs massacre. He removed the portrait after he entered politics. In 1995, after Israeli Prime Minister Yitzhak Rabin signed the Oslo Accords peace agreements with Palestine, Ben-Gvir threatened Prime Minister Rabin, stealing the hood ornament from Rabin's Cadillac and saying, "we got to his car, and we'll get to him too." Rabin was assassinated by another right-wing extremist two weeks later.


title: Itamar Ben-Gvir

text: As a lawyer, he is known for defending Jewish radicals on trial in Israel. He has called for the expulsion of Arab citizens of Israel who are not loyal to Israel.


title: Itamar Ben-Gvir

text: Itamar Ben-Gvir was born in Mevaseret Zion. His father was born in Jerusalem to Iraqi Jewish immigrants. He worked at a gasoline company and dabbled in writing. His mother was a Kurdish Jewish immigrant who had been active in the Irgun as a teenager and was a homemaker. His family was secular, but as a teenager he adopted religious and radical right-wing views during the First Intifada. He first joined a right-wing youth movement affiliated with Moledet, a party which advocated transferring Arabs out of Israel, and then joined the youth movement of the even more radical Kach and Kahane Chai party, which was eventually designated as a terrorist organization and outlawed by the Israeli government. He became youth coordinator of Kach, and claimed that he was detained at age 14. When he came of age for conscription into the Israel Defense Forces at 18, he was exempted from service by the IDF due to his extreme-right political background.


title: Itamar Ben-Gvir

text: Ben-Gvir continued to be associated with the Kahanist movement, of which his party, Otzma Yehudit, is said to be one of the ideological successors to Kahane. In the 1990s, he was active in protests against the Oslo Accords. In 1995, a few weeks before the assassination of Prime Minister Yitzhak Rabin, Ben-Gvir came to public attention for the first time when he appeared on television brandishing a Cadillac emblem that had been stolen from Rabin's car and declared: "We got to his car, and we'll get to him too." However, when forming the Otzma Yehudit party, he claimed that it would not be a Kach Kahane Chai or splinter group. He carried out a series of far-right activities that have resulted in dozens of indictments. In a November 2015 interview, he claimed to have been indicted 53 times. In most cases, the charges were thrown out of court. In 2007, however, he was convicted for incitement to racism.


title: Itamar Ben-Gvir

text: Ben-Gvir is married to Ayala Nimrodi, a distant relative of Ofer Nimrodi, the former owner of the "Maariv" daily newspaper. The couple has five children, and they live in Kiryat Arba/Hebron in the Occupied West Bank.


title: Itamar Ben-Gvir

text: Ben-Gvir was the parliamentary assistant in the 18th Knesset for Michael Ben-Ari. On 23 July 2017, he was part of the leadership of a protest that included dozens of people outside of the Prime Minister's office in Jerusalem. The protest was held by both Lehava and Otzma Yehudit.


title: Itamar Ben-Gvir

text: On 25 February 2019, Ben-Gvir said that Arab citizens of Israel who were not loyal to Israel "must be expelled". Ben-Gvir had a photo of Baruch Goldstein, who massacred 29 Muslims at the Cave of the Patriarchs in 1994, hanging in his home; he removed it in preparation for the 2020 Israeli legislative election in hope of being allowed to run on the unified right list headed by Naftali Bennett.


title: Itamar Ben-Gvir

text: Ben-Gvir had planned to run for a seat in the Knesset in the September 2019 Israeli legislative election in the first slot of a combined Noam/Otzma Yehudit electoral list, though the two parties split over Otzma's inclusion of a secular candidate on the combined list (which Noam disagreed with). Ben-Gvir was in the third slot of a joint list that includes Otzma Yehudit, Noam and the Religious Zionist Party that ran in the 2021 Israeli legislative election. He was elected to the Knesset as the alliance won six seats.


title: Itamar Ben-Gvir

text: In May 2021, he was reported to be frequenting the East Jerusalem neighborhood of Sheikh Jarrah, in a show of solidarity with Jewish settlers who live there.


title: Itamar Ben-Gvir

text: In the 2022 Israeli legislative election, Ben-Gvir's party had an unprecedented success, more than doubling its votes from the 2022 Israeli legislative election, thus becoming the 3rd largest party in the 25th Knesset. Ben-Gvir and his party are expected to be an integral part of a Netanyahu-led government. It was reported in late November 2022 that Ben-Gvir would head the newly created National Security Ministry, whose duties would include overseeing the Israel Border Police in the West Bank.