title: Military of the Ottoman Empire

text: Sultan Mahmud II, Selim III's successor and nephew, who was a great reformer, disbanded the Janissaries in 1826 with so-called known as "Vaka-ı Hayriye" (the auspicious incident).


title: Military of the Ottoman Empire

text: Egypt, as part of the empire, also underwent drastic military changes during Muhammad Ali Pasha's reign. The two largest military reforms were the effective practices of indoctrination and surveillance, which dramatically changed the way the military was both conducted by the leadership and also perceived by the rest of society. New military law codes resulted in isolation, extreme surveillance, and severe punishments to enforce obedience. The Pasha's goal was to create a high regard for the law and strict obedience stemming from sincere want. This shift from direct control by bodily punishment to indirect control through strict law enforcement aimed to make the soldiers' lives predictable, thus creating a more manageable military for the Pasha.


title: Military of the Ottoman Empire

text: The main theme of this period is organizing and training the newly formed units. The change of French system to German system as the German military mission was most effective during the period. The military units formed were used in the Balkan Wars and World War I.


title: Military of the Ottoman Empire

text: The shift from Classical Army (1451–1606) took more than a century beginning from failed attempts of Selim III (1789) to a period of Ottoman military reforms (1826–1858) and finally Abdulhamid II. Abdulhamid II, as early as 1880 sought, and two years later secured, German assistance, which culminated in the appointment of Lt. Col. Kohler. However. Although the consensus that Abdulhamid favored the modernization of the Ottoman army and the professionalization of the officer corps was fairly general, it seems that he neglected the military during the last fifteen years of his reign, and he also cut down the military budget. The formation of Ottoman Modern Army was a slow process with ups and downs.


title: Military of the Ottoman Empire

text: The Ottoman Navy, also known as the Ottoman Fleet, was established in the early 14th century after the empire first expanded to reach the sea in 1323 by capturing Karamürsel, the site of the first Ottoman naval shipyard and the nucleus of the future Navy. During its long existence, it was involved in many conflicts and signed a number of maritime treaties. At its height, the Navy extended to the Indian Ocean, sending an expedition to Indonesia in 1565.


title: Military of the Ottoman Empire

text: For much of its history, the Navy was led by the position of the Kapudan Pasha (Grand Admiral; literally "Captain Pasha"). This position was abolished in 1867, when it was replaced by the Minister of the Navy () and a number of Fleet Commanders ().


title: Military of the Ottoman Empire

text: After the demise of the Ottoman Empire, the Navy's tradition was continued under the Turkish Naval Forces of the Republic of Turkey in 1923.


title: Military of the Ottoman Empire

text: The Ottoman Aviation Squadrons were military aviation units of the Ottoman Army and Navy. The history of Ottoman military aviation dates back to June 1909 or July 1911 depending if active duty assignment is accepted as the establishment. The organisation is sometimes referred to as the Ottoman Air Force. According to Edward J. Erickson, the very term Ottoman Air Force is a gross exaggeration and the term Osmanlı Hava Kuvvetleri (Ottoman Air Force) unfortunately is often repeated in contemporary Turkish sources. The fleet size reached its greatest in December 1916, when the Ottoman aviation squadrons had 90 airplanes. The Aviation Squadrons were reorganized as the "General Inspectorate of Air Forces" ("Kuva-yı Havaiye Müfettiş-i Umumiliği") on 29 July 1918. With the signing of the Armistice of Mudros on 30 October 1918, the Ottoman military aviation effectively came to an end. At the time of the armistice, the Ottoman military aviation had around 100 pilots; 17 land-based airplane companies (4 planes each); and 3 seaplane companies (4 planes each); totalling 80 aircraft.


title: Military of the Ottoman Empire

text: In 1389 the Ottomans introduced a system of military conscription. In times of need every town, quarter, and village had the duty to present a fully equipped conscript at the recruiting office. The new force of irregular infantrymen, called "Azabs", was used in a number of different ways. They supported the supplies to the front-line, they dug roads and built bridges. On rare occasions they were used as cannon fodder to slow down an enemy advance. A branch of the Azabs were the bashi-bazouk (başıbozuk). These specialized in close combat and were sometimes mounted. Recruited from the homeless, vagrants and criminals, they became notorious for their undisciplined brutality.


title: Military of the Ottoman Empire

text: The Ottoman Military College in Istanbul was the Ottoman Empire's two-year military staff college, which aimed to educate staff officers for the Ottoman Army.


title: Military of the Ottoman Empire

text: Marshal Ahmed Fevzi Pasha together with Mehmed Namık Pasha formed the academy in 1834 as the Mekteb-i Harbiye (Ottoman Turkish: lit. "War School"), and the first class of officers graduated in 1841. This foundation occurred in the context of military reforms within the Ottoman Empire, which recognized the need for more educated officers to modernize its army. The need for a new military order was part of the reforms of Sultan Mahmud II (), continued by his son Sultan Abdulmejid I ().


title: Military of the Ottoman Empire

text: After the demise of the Ottoman Empire the school renamed itself as Turkish Military Academy under the Republic of Turkey


title: Military of the Ottoman Empire

text: The origin of the Naval Academy goes back to 1773, when Sultan Mustafa III's Grand Vizier and Admiral Cezayirli Gazi Hasan Pasha founded a naval school under the name of "Naval Engineering at Golden Horn Naval Shipyard". François Baron de Tott, a French officer and advisor to the Ottoman military, was appointed for the establishment of a course to provide education on plane geometry and navigation. The course, attended also by civilian captains of the merchant marine, took place on board a galleon anchored at Kasimpaşa in Istanbul and lasted three months. The temporary course turned into a continuous education on land with the establishment of "Naval Mathematical College" in February 1776. With growing numbers of cadets, the college building at the naval shipyard was extended. On 22 October 1784 the college, renamed the "Imperial Naval Engineering School" (), started its three-year education courses in the new building. From 1795 on, the training was divided into navigation and cartography for officers of the deck, and naval architecture and shipbuilding for naval engineers. In 1838 the naval school moved into its new building in Kasımpaşa. With the beginning (1839) of the reformation efforts, the school was renamed "Naval School" () and continued to operate in Kasımpaşa for 12 years. Then it was relocated in 1850 to Heybeliada for the last time. During the Second Constitutional Era, an upgraded education system was adapted in 1909 from the Royal Naval Academy.


title: Military of the Ottoman Empire

text: After the demise of the Ottoman Empire the school renamed itself as Naval Academy (Turkey) under the Republic of Turkey


title: Military of the Ottoman Empire

text: The collects the individual wards and decorations. The Ottoman War Medal, better known as the Gallipoli Star, was instituted by the Sultan Mehmed Reshad V on 1 March 1915 for gallantry in battle. The Iftikhar Sanayi Medal was first granted by Sultan Abdulhamid II. Order of the Medjidie was instituted in 1851 by Sultan Abdülmecid I. The Order of Osmanieh was created in January 1862 by Sultan Abdulaziz. This became the second highest order with the obsolescence of the Nişan-i Iftikhar. The Order of Osmanieh ranks below the Nişan-i Imtiyaz.


title: Euterpe

text: Euterpe (; , from + ) was one of the Muses in Greek mythology, presiding over music. In late Classical times, she was named muse of lyric poetry. She has been called “Giver of delight” by ancient poets.


title: Euterpe

text: Euterpe was born as one of the daughters of Mnemosyne, Titan goddess of memory, and fathered by Zeus, god of the gods. Her sisters include Calliope (muse of epic poetry), Clio (muse of history), Melpomene (muse of tragedy), Terpsichore (muse of dancing), Erato (muse of erotic poetry), Thalia (muse of comedy), Polyhymnia (muse of hymns), and Urania (muse of astronomy). Sometimes they are referred to as water nymphs having been born from the four sacred springs on Helicon which flowed from the ground after Pegasus, the winged horse, stamped his hooves on the ground. The mountain spring on Mount Parnassus was sacred to Euterpe and the other Muses. It flowed between two high rocks above the city of Delphi, and in ancient times its sacred waters were introduced into a square stone basin, where they were retained for the use of the Pythia, the priests, priestesses, as well as the oracle of Apollo.


title: Euterpe

text: Along with her sister Muses, Euterpe was believed to have lived on Mount Olympus where she and her sisters entertained their father and the other Olympian gods with their great artistry. Later on, tradition also placed them on Mount Helicon in Boeotia where there was a major cult center to the goddesses, or on Mount Parnassus where the Castalian spring was a favorite destination for poets and artists.


title: Euterpe

text: Some people believe that she invented the aulos or double-flute, though most mythographers credit Marsyas or Athena with its invention. Some say she also invented other wind instruments. Euterpe is often depicted holding a flute in artistic renditions of her.


title: Euterpe

text: Pindar and other sources (the author of the "Bibliotheca", and Servius), describe the Thracian king Rhesus, who appears in the "Iliad", as son of Euterpe and the river-god Strymon; Homer calls him son of Eioneus.


title: Euterpe

text: Euterpe's role, alongside her sisters, was to entertain the gods on Mount Olympus. She inspired the development of liberal and fine arts in Ancient Greece, serving as an inspiration to poets, dramatists, and authors such as Homer.


title: Euterpe

text: Traditionally, musicians would invoke Euterpe to inspire, guide and assist them in their compositions. Such petitions might take the form of a prayer for divine inspiration from the muse.


title: HQ (video game)

text: HQ is a trivia mobile game developed by Intermedia Labs for iOS, Android, iPadOS, and tvOS. First released in 2017, the HQ app allows users to play in daily live trivia games, through which they can win or split prize money. HQ was developed by Vine creators Rus Yusupov and Colin Kroll, and credited as a production of Intermedia Labs. The app's original game was HQ Trivia, in which players have 10 seconds to answer multiple-choice questions that incrementally increase in difficulty. Additional games, such as HQ Words and HQ Tunes, were added later. Recent HQ games are now hosted once a week, with a prize pot of $1,500, and typically see around 15,000 players each. HQ has not paid out any money since August 25, 2022, when they paid out games up to June 30.


title: HQ (video game)

text: On February 14, 2020, the company that owned HQ Trivia sent a memo to staff that "effective today, HQ will cease operations and move to dissolution." However, four days later, Yusupov said that he had a tentative deal in place with another company to purchase the HQ franchise and keep it operational. On March 29, HQ Trivia resumed its daily games.


title: HQ (video game)

text: HQ Trivia was first released on August 26, 2017, for iOS, and on December 31, 2017, for Android. Shows are broadcast live from New York City. The primary host of HQ Trivia was initially Scott Rogowsky. In April 2019, Rogowsky was replaced by Matt Richards as the primary host of the game after negotiations between HQ and Rogowsky broke down over his new baseball show on DAZN. Richards, a stand-up comedian from Queens, New York, who has played comedy roles in several TV shows, had previously worked regularly for HQ Trivia as a fill-in host. Additional hosts included Sharon Carpenter (who was also the main host for the British games), Sarah Pribis, David Magidoff, Sian Welby, Alexandra Maurer (regular host for the German games), Leonie Zeumer, Lara Falkner, Kathryn Goldsmith, Lauren Gambino, Lyndsey Rodrigues, and, exclusively for the British games, Beric Livingstone.


title: HQ (video game)

text: HQ has been made available worldwide—with the exception of Russia and India—on the iOS App Store and Google Play. The average number of participants has ranged from 100,000 to 125,000. The app's record high of concurrent players was 2.38 million on March 28, 2018.


title: HQ (video game)

text: On February 14, 2020, it was announced that the app would immediately cease operations after its primary investors had stopped funding the company and a potential sale of HQ to an "established business" fell through. A final episode of HQ After Dark was aired that night, hosted by Matt Richards and Anna Roisman. The show ended with Richards showering Roisman and himself with a large bottle of champagne. The final payout was between $0.00–$0.01 per player, split between just over 500 players, as $5 was the final jackpot prize, which Richards said he paid for out of his own pocket.


title: HQ (video game)

text: On February 18, 2020, Yusupov said on Twitter that he had reached a tentative deal with an unspecified company to purchase the HQ franchise, thus allowing it to continue in the near future.


title: HQ (video game)

text: On March 29, Yusupov publicly announced that HQ was resuming operations that evening. During the first game, host Matt Richards announced that HQ was donating $100,000 to World Central Kitchen, founded by José Andrés.


title: HQ (video game)

text: For other game shows that were added, Anna Roisman regularly hosted HQ Words, Melody Alanna was the host of HQ Tunes, Lauren Gambino served as the host of HQ Sports, and Matt Friend was the host of HQX. These shows were all discontinued in February 2020, and HQ Sports returned (with Gambino) in May 2020.


title: HQ (video game)

text: In May 2020, "The Ringer" released a podcast called "Boom/Bust: The Rise and Fall of HQ Trivia" that charts the app's rise and fall. The eight-part series includes interviews from host Alyssa Bereznak with fans, former HQ employees, and venture capitalists about the game's initial popularity, the chaotic work environment of Intermedia Labs, and what led to its initial shut down.


title: HQ (video game)

text: HQ Trivia takes the form of a live trivia game, which usually airs daily at 9pm US Eastern Time. On Fridays, the game's format shifted for HQ Tunes, until that game ceased in February 2020. In 2018, the app broadcast games in Germany, Australia, and the UK. However, international games were discontinued shortly afterward.


title: HQ (video game)

text: The host asks a series of increasingly difficult multiple choice questions, each with three possible answers. Players who choose the correct answer within the 10-second limit earn points and move on; the rest are eliminated. Any question that eliminates the majority of players is deemed a "savage question". In the usual case that multiple people correctly answer all the questions, the prize is split between all the respective winners. , the prize for games had ranges from $5 to $400,000 in addition to a points jackpot that was also split evenly amongst the winners. Players can purchase "Extra Lives" – or earn them through gameplay or by inviting additional players – and are able to use up to three to return to the game after being eliminated. In addition, players can earn "Erasers" by playing two other nearby HQ Trivia players to eliminate one of the wrong answers to a question.


title: HQ (video game)

text: HQ Trivia partnered with Nike, Wendy's, Warner Bros. and other organizations to promote products and movies such as "Rampage", "" , "Ready Player One" and "The Lego Movie 2". Special modes of gameplay included formats such as "Winner Takes All" and "The 100".


title: HQ (video game)

text: In May 2019, the game began offering prize money (later, game "Coins") to those who correctly answer specific questions within the game, rather than only those who correctly answered all the questions. The number of questions for the 9pm ET shows were also increased and the prize pots for those shows were increased to accommodate this.


title: HQ (video game)

text: Additional modifications to the game included a format change in which the game ran over the course of a shorter "season" played over several days or weeks. In each season, players could level up via point accumulation to gain special advantages in all game modes (except HQX) such as bonus strikes in Words and Free-Passes for questions in Trivia, Sports, and Tunes. Also, a mini-game called Daily Challenge offered 12-question (non-hosted) rounds which could be played when none of the main games were in progress. Each challenge question answered correctly was worth 250 points, added to the player's current score. At the end of each mini-game, the player was shown their accumulated points towards leveling up and was rewarded with game coins to purchase Extra Lives, Erasers, and Point Multipliers for Trivia, Sports, Words, and Tunes in addition to Super Spins which were only playable in Words. Once a season ended, all players' scores reset to Level 0 for the next season which started the following day, though game coins (and items purchased with them) remained.


title: HQ (video game)

text: Also in September 2019, HQ introduced an additional version of the game called "HQ After Dark". This version played in the same format as Trivia, except this version was more adult-oriented, as the hosts were allowed to freely use swear words, interact more directly than in a regular game by responding to the chat, and appeared to drink on camera as it was played late at night. There was no set time when "HQ After Dark" was played, though it would most often occur after midnight Eastern Time. The game was hosted by two members of the hosting group, most often Matt Richards and Anna Roisman. "HQ After Dark" usually occurred on a weekly basis.


title: HQ (video game)

text: On May 31, 2018, HQ introduced HQ Sports, a spinoff game in which players answer sports trivia questions. HQ Sports was hosted by Lauren Gambino, co-host of the fantasy football web show "Offsides". HQ Sports was usually played every Monday and Wednesday at 8pm ET and its standard jackpot was $1,000 each show. On May 7, 2020, Matt Richards announced that HQ Sports would return on May 10, hosted again by Gambino, scheduled for Sundays and Thursdays at 5pm ET. After airing six games sponsored by Busch Light beer, Gambino announced another HQ Sports hiatus during the broadcast of May 28, 2020.


title: HQ (video game)

text: In December 2018, HQ launched another game called HQ Words, a word puzzle game in the style of "Wheel of Fortune". Players first spin a wheel to receive a free letter which automatically appears for them if it is in a specific puzzle. Players are then given a series of 12 puzzles in which they fill in letters to complete the word or short sentence. Initially, if players entered 3 letters wrong in a single puzzle, they were eliminated from the game. Beginning on February 13, 2019, HQ Words began allowing 10 total incorrect letter choices across all the game's puzzles. By April 2019, it had changed to 5 strikes plus one for each level the player has attained in the current HQ Season. The prize ranged from $1,000 to $10,000. HQ Words was usually hosted by comedian Anna Roisman, but had been guest hosted by Matt Richards, Timothy Dunn, and Neil Patrick Harris. This game was played on Tuesdays and Thursdays at 9:30 ET.


title: HQ (video game)

text: On January 29, 2021, HQ announced on their HQ Trivia Twitter page that HQ Words would be returning to the app on Wednesdays at 9pm ET.


title: HQ (video game)

text: On October 9, 2019, HQ announced and launched a spinoff trivia game called "HQ Tunes" hosted by New York City singer and songwriter Melody Alanna, who was a host of the former music trivia app, "Out of Tune". Unlike the main Trivia format, players had 10 seconds to answer multimedia questions that played behind the answer choices. This game was played on Fridays at 9pm ET.


title: HQ (video game)

text: On December 12, 2019, HQ launched HQX, a multi-themed photo competition hosted by Matt Friend. Participants submitted and rated photos, and the most popular in each game was deemed the winner. This game was usually played on Sundays and Thursdays at 8 pm ET.


title: HQ (video game)

text: Beginning its beta stage in September 2019, HQ Jokes is a live comedy show where users rate standup comedians' jokes live. The show would usually have between 3-6 guests with around three sets each. During the voting round, users can choose to like, dislike, or tip the comedian 10 coins as much as they please. At the end of the show, the top three comedians with the most votes win the game.


title: HQ (video game)

text: HQ Drops was a live QVC-like show hosted by Lauren Gambino. During the show, HQ merchandise would be displayed and users would have between 60 and 180 seconds to purchase the current item either using Apple Pay or Google Pay. After the first and final Drops game, the feature would continue to be used on Trivia, Sports, and After Dark.


title: HQ (video game)

text: HQ had been criticized for its method of paying winners. Some players or previous winners had a grey cashout button, which meant that either the player had not won anything or they were soft-banned from the game due to "bot checking". For iOS users, some winners had the cashout button gray. For Android users, the cashout button could be clicked, but it would display a message saying that the player needed $0.01 or more to cashout even though they had met the payout threshold. Typically, victorious players received under $1, although payouts on occasion got as high as $100,000 and a pair of HQ Nike sneakers. In order to cash out and receive their winnings through a PayPal deposit, winners previously needed to have achieved a "minimum prize balance" of $20 accumulated within a period of 90 days, or all prior winnings are forfeited, per the game's terms of service. Starting on January 26, 2018, during the 3pm ET show, it was announced that there would be no minimum amount to cash out.


title: HQ (video game)

text: Alex Jacob, who won a $20,000 prize on HQ Trivia in June 2019, stated he had not been paid his winnings a month after his win. In lieu of a direct payment, HQ had initially informed Jacob that they would email further instructions but never sent the email and failed to respond to follow-ups. Jacob eventually received his payment in August and gave a public statement noting that the company had delayed in the payout to ensure that he had not defrauded the system.


title: HQ (video game)

text: The iOS and Android apps experienced many technical glitches as the app grew in popularity, sparking outrage from players. In addition, users complained of lagging, freezing, and premature elimination during gameplay, which on several occasions, including January 17, 2018, and May 8, 2018, became so severe the game was postponed to address the difficulties.


title: HQ (video game)

text: Creators Rus Yusupov and Colin Kroll sought to attract investors and venture capitalist firms to fund HQ with the intent of landing a post-money valuation as high as $100 million. However, the pair's prior split from Twitter caused issues; Kroll departed the social media site in 2014 after accusations of incompetence and alleged inappropriate behavior towards women, and Yusupov was laid off in 2015, giving potential investors reasons for pause. , HQ's fundraising prospects were ongoing and its parent company, Intermedia Labs, was still in talks with potential investors. On December 16, 2018, Kroll was found dead from an apparent drug overdose in his Manhattan apartment.


title: HQ (video game)

text: The game won the A-Train Award for Best Mobile Game at the New York Game Awards 2018. It also won the award for "Word & Trivia Game" with "Nike and HQ Trivia – Nike X HQ Air Max Day" at the 2019 Webby Awards.


title: HQ (video game)

text: On July 16, 2019, it was announced that HQ Trivia was nominated for a Primetime Emmy Award for Outstanding Interactive Program for its partnership with Warner Bros. to promote "".


title: Keith Powers

text: Keith Tyree Powers (born August 22, 1992) is an American actor and model. He is best known for his roles as Ronnie DeVoe in BET's miniseries "The New Edition Story" and Tyree in the film "Straight Outta Compton".


title: Keith Powers

text: After graduating from high school in 2010, he moved to Los Angeles with his father to focus on modeling, signing with the Wilhelmina Agency.


title: Keith Powers

text: In 2013, Powers landed a role in the movie "". After flying to South Africa for shooting, he decided to pursue acting full-time. He played Gutta in the BET hip hop anthology series "Tales", and Cameron Drake in the Netflix original film "Reality High". He had a recurring role on the MTV series "Faking It" and has since become known for his part as Tyree in the film "Straight Outta Compton". He was cast as Ronnie DeVoe in "The New Edition Story" and since April 2017 has co-starred in "Famous in Love" on Freeform. He also stars in the Netflix series "What/If" (2019).


title: Keith Powers

text: Keith Powers was in a relationship with actress/singer Ryan Destiny from late 2017-2022. After 4 years together, the break up was announced by People Magazine online exclusive on January 18, 2022.


title: Belarusian ruble

text: The ruble ( "rubeĺ’"; Abbreviation: Rbl (plural: Rbls); ISO code: BYN) is the currency of Belarus. It is also known as the rubel, or in Commonwealth English as the rouble. The ruble is subdivided into 100 copecks (sometimes written as "kopecks"; "kapeyka").


title: Belarusian ruble

text: As a result of the breakup of the supply chain in the former Soviet enterprises, goods started to be bought and sold in the market, often requiring cash settlement. The Belarusian unit of the USSR State Bank had neither the capacity nor the licence to print Soviet banknotes, so the government decided to introduce its own national currency to ease the cash situation. The German word "Thaler" (), divided into 100 "Groschen" () was suggested as the name for a Belarusian currency, but the Communist majority in the Supreme Soviet of Belarus rejected the proposal and stuck to the word "ruble" that had been used in Belarus from the times of the Soviet Union and the Russian Empire. The word "ruble" has also been used as a name for a currency in circulation in the medieval Grand Duchy of Lithuania, of which Belarus was a major part (see Lithuanian long currency).


title: Belarusian ruble

text: From the collapse of the Soviet Union until May 1992, the Soviet ruble circulated in Belarus alongside the Belarusian ruble. New Russian banknotes also circulated in Belarus, but were replaced by notes issued by the National Bank of the Republic of Belarus in May 1992. The first post-Soviet Belarusian ruble was assigned the ISO code "BYB" and replaced the Soviet currency at the rate of 1 Belarusian ruble = 10 Soviet rubles. It took about two years before the ruble became the official currency of the country.


title: Belarusian ruble

text: In 2000, a new ruble was introduced (ISO 4217 code "BYR"), replacing the first at a rate of 1 BYR = 1,000 BYB. This was redenomination with three zeros removed. Only banknotes were issued; coins were minted solely as commemorative collectibles.


title: Belarusian ruble

text: From the beginning of his presidency in 1994, Alexander Lukashenko began to suggest the idea of integration with the Russian Federation, and undertook steps in this direction. The idea of introducing a united currency for the Union of Russia and Belarus was floated; Article 13 of the 1999 ""Treaty of Creation of the Union State of Russia and Belarus"" foresaw a unified currency. Belarus' economy was largely a Soviet-style centrally controlled one heavily reliant on cheap energy supplies from Russia. Discussions on the common currency continued well past the 2005 implementation goal set by both nations. Starting in 2008, the Central Bank of Belarus announced that the ruble would be tied to the United States dollar instead of the Russian roble. Former bank chairman Stanislav Bogdankevich called it a political decision, tied to Belarus' open displeasure with Russia's hike of oil and gas export prices to Belarus earlier that year.


title: Belarusian ruble

text: In July 2016, a new ruble was introduced (ISO 4217 code "BYN"), at a rate of 1 BYN = 10,000 BYR. Old and new rubles circulated in parallel from 1 July to 31 December 2016. Belarus also issued coins for general circulation for the first time. Seven banknote denominations (5-, 10-, 20-, 50-, 100-, 200-, and 500 rubles) and eight coin denominations (1-, 2-, 5-, 10-, 20-, and 50 copecks, and 1- and 2 rubles) are in circulation as of 1 July 2016. The banknotes have security threads and show 2009 as an issue date (the date of an unsuccessful attempt at currency reform).


title: Belarusian ruble

text: On December 27, 2016, for the first time in the Belarusian ruble's history, coins were introduced, due to the redenomination. Previously, Belarus was one of the few countries in the world never to have issued coins; this was largely due to rampant inflation, a problem since independence.


title: Belarusian ruble

text: Slovakia offered to mint the coins, and provided prototypes. Coins of up to 5 copecks are struck in copper-plated steel; 10, 20, and 50 copeck coins are struck in brass-plated steel; 1 ruble coins are nickel-plated steel and 2 ruble coins a bi-metallic composition with a brass-plated steel ring and a nickel-plated steel center plug). All coins show the national emblem of Belarus, the inscription 'БЕЛАРУСЬ' (Belarus) and the year of minting on their obverse. The reverse shows the value of the coin and different symbolic ornaments.


title: Belarusian ruble

text: Belarus is a large producer of commemorative coinage for the numismatic market, most particularly gold and silver bullion coins and non-circulating legal tender. Their designs range from fairly commonplace to unique and innovative ONE; themes range from "native culture and events" to fairy tales and pop culture topics unrelated to Belarus. A majority of these coins have a face value of 1 ruble; a few are 3-, 5 rubles and higher. Considered novelties, these coins are unlikely to be seen in general circulation.


title: Belarusian ruble

text: In 1992, banknotes were introduced in denominations of 50 copecks, and 1, 3, 5, 10, 25, 50, 100, 200, 500, 1,000, and 5,000 rubles. These were followed by banknotes of 20,000 rubles in 1994, 50,000 rubles in 1995, 100,000 rubles in 1996, 500,000 rubles in 1998 and 1,000,000 and 5,000,000 rubles in 1999.


title: Belarusian ruble

text: In 2000, notes were introduced in denominations of 1, 5, 10, 20, 50, 100, 500, 1,000, and 5,000 rubles. In 2001, higher denominations of 10,000, 20,000, and 50,000 rubels were introduced, followed by 100,000 rubles in 2005 and 200,000 rubles in 2012. There were no coins or banknotes issued in copecks.


title: Belarusian ruble

text: "On 1 September 2010, new rules of Belarusian orthography came into force. According to the old rules, the correct spelling of the word “fifty” in Belarusian was “пяцьдзесят,” (pyats'dzesyat) but under the new rules, it should be spelled “пяцьдзясят,” (pyats'dzyasyat) the difference being that the seventh character was the Cyrillic letter YE but is now the Cyrillic letter YA. As a result of these new rules, the existing 50 and 50,000 ruble notes dated 2000 now technically contain errors where the denominations are spelled out on the notes. On 29 December 2010, the National Bank of Belarus introduced new 50- and 50,000-ruble banknotes to bring the inscriptions on the notes into compliance with the new rules of Belarusian spelling and punctuation. The images, colors, and sizes of the notes remain consistent with the preceding issues of the same denominations dated 2000. The modified 50 ruble notes also no longer has a security thread, and the modified 50,000 ruble notes have replaced the solid security thread for a 2mm-wide windowed security thread."


title: Belarusian ruble

text: In 2016, banknotes were introduced in denominations of 5-, 10-, 20-, 50-, 100-, 200-, and 500 rubles. On 4 November 2015, the National Bank of the Republic of Belarus announced that the banknotes that had been in use at that time would be replaced by the new ones due to the upcoming redenomination. The redenomination would be made in a ratio of 1:10,000 (10,000 rubles of the 2000 series = 1 ruble of the 2009 series). This currency reform also brought the introduction of coins, for the first time in The Republic of Belarus.


title: Belarusian ruble

text: The banknotes are printed by the United Kingdom-based banknote manufacturer, security printing, paper-making and cash handling systems company De La Rue. As for coins, they have been minted by both the Lithuanian Mint and the Kremnica Mint. Both banknotes and coins have been ready in 2009, but the financial crisis prevented them from being put into circulation immediately, resulting in a 7-year delay conditional on the necessity to lower inflation. Their designs are very similar to the euro banknotes.


title: Belarusian ruble

text: On 2 January 2009, the National Bank of the Republic of Belarus lowered the exchange rate of the ruble by 50%.


title: Belarusian ruble

text: On 24 May 2011, the National Bank of the Republic of Belarus lowered the exchange rate of the ruble by 56%. Alexei Moiseev, chief economist at Russia's VTB Capital, said at the time that "a '91-style meltdown is almost inevitable", referring to the crisis which accompanied the dissolution of the Soviet Union.


title: Belarusian ruble

text: On 20 October 2011, the exchange rate of the ruble dropped 42% (from Rbl 5,712 to Rbl 8,680 per US$) when it was fully floated following demands to do so by Russia and the IMF.


title: Belarusian ruble

text: In January 2015, the National Bank of the Republic of Belarus devalued its currency by 23% against the US dollar despite efforts to keep Russia's currency crisis from spreading across the border. As of 1 February, one U.S. dollar was worth Rbls 15,400; by Tuesday, it fell to Rbls 15,450 to the dollar, as per data from the Belarusian Central Bank's website.


title: Belarusian ruble

text: As of mid-March 2022, the Belarusian ruble had reached an all-time low of Rbls 3.33 per US$1, during fallout from the 2022 Russian invasion of Ukraine. On 1 April 2022, it traded at Rbls 3.26 per US$, and had lost 21.5% of its value year-to-date. By 8 October 2022, it had recovered.


title: Jan Magnussen

text: Jan Ellegaard Magnussen (born 4 July 1973) is a Danish professional racing driver and was a factory driver for General Motors until the end of the 2020 season. He has competed in Championship Auto Racing Teams (CART), NASCAR, the FIA Formula One World Championship and the 24 Hours of Le Mans.


title: Jan Magnussen

text: Born in Roskilde, Magnussen won the 1992 Formula Ford Festival at Brands Hatch, then dominated the 1994 British Formula 3 championship with Paul Stewart Racing, winning 14 of the 18 events and breaking Ayrton Senna's F3 record.


title: Jan Magnussen

text: Magnussen scored his first British F3 win that April at Donington Park, also taking pole for the race. He also won at Brands Hatch, twice at Silverstone, and at Thruxton. He won six of the first eight races. He then won again at Donington Park, and both season-ending rounds at Silverstone.


title: Jan Magnussen

text: He made his Formula One debut at the 1995 Pacific Grand Prix in Aida, sitting in for Mika Häkkinen, who was unwell. In 1996 Magnussen drove in the CART series and International Touring Car Championship.


title: Jan Magnussen

text: For 1997–1998 he had a seat in Formula One with the newly founded Stewart Grand Prix team, owned in part by his old F3 boss Paul Stewart. Team founder Jackie Stewart once described him as "the most talented young driver to emerge since Ayrton Senna", but his performance was underwhelming. He scored his only championship point in his last race in F1, the 1998 Canadian Grand Prix; for the rest of the season he was replaced by Jos Verstappen. Magnussen started 24 GPs, one less than he entered, because his car was damaged in an accident during the start of the 1997 Brazilian Grand Prix causing him to retire before the restart.


title: Jan Magnussen

text: In 1999 he participated in 7 CART races. In 1999 and 2000 he raced in the American Le Mans Series with Panoz. 2001 he drove a Peugeot in Danish Touring Car series (DTC) and raced in 8 ALMS races. 2002 he also raced for Peugeot in DTC and in 10 ALMS races. Jan Magnussen won the 2008 GT1 and 2013 GT drivers' championships, both with Corvette Racing.


title: Jan Magnussen

text: Magnussen has participated in various classes in the 24 hours of Le Mans every year since 1999. His best results so far are the victories in the GTS class in 2004 and GT1 class in 2005, 2006, and 2009, each time in a Chevrolet Corvette with Oliver Gavin and Olivier Beretta as teammates in 2005 and 2006, and Johnny O'Connell and Antonio García in 2009.


title: Jan Magnussen

text: Also, Magnussen has participated in the 12 Hours of Sebring every year since 1999, winning the GT1 class in 2006, 2008, and 2009.


title: Jan Magnussen

text: Magnussen was still an active driver, competing in the Danish Touring Car Championship (DTC) until 2010 and in a Chevrolet Corvette C7.R in the WeatherTech SportsCar Championship with Antonio Garcia as teammate until 2019 – and in the 24 hours of Le Mans. In the Danish Touring Car series he drove a Chevrolet Lacetti for Perfection Racing. He won the DTC in 2003 and 2008.


title: Jan Magnussen

text: On 11 June 2010, it was announced that Magnussen would make his NASCAR Sprint Cup Series debut driving the No. 09 HendrickCars.com Chevrolet for Phoenix Racing at Infineon Raceway. After starting 32nd on the grid, he finished in 12th position.


title: Jan Magnussen

text: On 14 June 2010 it was announced that Magnussen and Perfection Racing would not be participating in the DTC, leaving Magnussen and the team to focus on the Scandinavian Touring Car Cup's remaining two rounds.


title: Jan Magnussen

text: Magnussen drove the No. 57 Stevenson Motorsports Chevrolet Camaro with Robin Liddell and Andrew Davis in the 2010 GRAND-AM Rolex Sports Car Series season opener, the Rolex 24 at Daytona. Following the Rolex 24, he moved to the team's No. 97 car and competed in the majority of the races with Gunter Schaldach. Magnussen finished 24th in GT points and his best finish was second (Miller) with four top-10s.


title: Jan Magnussen

text: On 7 November 2019, Magnussen was confirmed to drive in the inaugural TCR Denmark Touring Car Series for LM Racing in a VW Golf GTI TCR.


title: Jan Magnussen

text: Magnussen's oldest son Kevin is also a racing driver, having raced in Formula 1 for McLaren, Renault and Haas F1. Kevin mentioned that his father was his first hero when he was a child.


title: Jan Magnussen

text: Driver did not finish the Grand Prix, but was classified as he had completed over 90% of the race distance.


title: For the Love of God

text: For the Love of God is a sculpture by artist Damien Hirst produced in 2007. It consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond. The skull's teeth are original, and were purchased by Hirst in London. The artwork is a "memento mori", or reminder of the mortality of the viewer.


title: For the Love of God

text: In 2007, art historian Rudi Fuchs described the work as "out of this world, celestial almost. It proclaims victory over decay. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself." Costing £12 million to produce, the work was placed on its inaugural display at the White Cube gallery in London in an exhibition "Beyond Belief", with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist. In January 2022, Hirst stated that he still co-owned the sculpture, and that it was in storage in London.


title: For the Love of God

text: The base for the work is a human skull bought in a shop in Islington. It is thought to be that of a 35-year-old European who lived between 1720 and 1810. The work's title was supposedly inspired by Hirst's mother, who once asked, "For the love of God, what are you going to do next?"


title: For the Love of God

text: Designed and sculpted by Jack du Rose and manufactured by the Piccadilly jewellers Bentley & Skinner, 8,601 flawless pavé-laid diamonds, weighing in total , over a platinum cast, cover the entirety of the skull. At the centre of the forehead lies a pear-shaped pink diamond, the centrepiece of the work. All diamonds used for the work are said to be ethically sourced.


title: For the Love of God

text: Hirst stated the idea for the work came from an Aztec turquoise skull at the British Museum. However, artist John LeKay, a friend of Hirst's in the early 1990s, said the work is based on a skull covered with crystals which LeKay had made in 1993. LeKay said, "When I heard he was doing it, I felt like I was being punched in the gut. When I saw the image online, I felt that a part of me was in the piece. I was a bit shocked."


title: For the Love of God

text: On 1 June 2007, "For the Love of God" went on display in an illuminated glass case in a darkened room on the top floor of the White Cube gallery in St James's, London with heavy security. It was reported on 11 June 2007 that the singer George Michael and his partner Kenny Goss were interested in purchasing the piece for around £50 million.


title: For the Love of God

text: During November–December 2008, Hirst exhibited the diamond skull at the historic Rijksmuseum in Amsterdam, the Netherlands, amidst public controversy. The skull was exhibited next to an exhibition of paintings from the collection of the museum that were selected and curated by Hirst. According to Wim Pijbes, the museum director, there wasn't controversy amongst the board members. He explained that the exhibition "will attract people—and give a new aspect to the image of the Rijksmuseum as well. It boosts our image. Of course, we do the Old Masters but we are not a 'yesterday institution'. It's for now. And Damien Hirst shows this in a very strong way." A Belgian journalist in response remarked how the installation of the diamond skull at the Rijks was "an intentionally quite controversial project".


title: For the Love of God

text: "For the Love of God" was also displayed in the Palazzo Vecchio in Florence, Italy, and at Tate Modern, London, between 4 April 2012 and 25 June 2012.


title: For the Love of God

text: The work was displayed at Hirst's first solo exhibition in the Middle East, at the Relics Exhibition of Doha, Qatar from 10 October 2013 to 22 January 2014.


title: For the Love of God

text: Between 16 September and 15 November 2015 the skull was displayed at Astrup Fearnley Museum of Modern Art in Oslo, Norway.


title: For the Love of God

text: Hirst said that the work was sold on 30 August 2007, for £50 million, to an anonymous consortium. Hirst claimed he had sold it for the full asking price, in cash, leaving no paper trail. The consortium that bought the piece included Hirst himself.


title: For the Love of God

text: In the 6 February 2012 issue of "Time" magazine, Hirst elaborated, in his "10 Questions" interview: "In the end I covered my fabrication and a few other costs by selling a third of it to an investment group, who are anonymous."


title: For the Love of God

text: In January 2022, Hirst stated the sculpture was still owned by him, along with the White Cube gallery and undisclosed investors, and was in storage in a Hatton Garden vault in London. This was taken by Artnet as meaning that the 2007 sale had never happened.


title: For the Love of God

text: The media coverage of the "sale" of the diamond skull was extensive and led some to question to what extent the announcement of the sale was some kind of media art, especially as the "sale" continues to be in question. This was further supported by the performative nature of the Sotheby's exhibition and auction of Hirst's artwork the following year.


title: For the Love of God

text: In an article in "The Guardian", Germaine Greer said, "Damien Hirst is a brand, because the art form of the 21st century is marketing. To develop so strong a brand on so conspicuously threadbare a rationale is hugely creative - revolutionary even."


title: For the Love of God

text: Richard Dorment, art critic of "The Daily Telegraph", wrote: "If anyone but Hirst had made this curious object, we would be struck by its vulgarity. It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend, little taste, and no knowledge of art. I can imagine it gracing the drawing room of some African dictator or Colombian drug baron. But not just anyone made it - Hirst did. Knowing this, we look at it in a different way and realise that in the most brutal, direct way possible, "For the Love of God" questions something about the morality of art and money."


title: For the Love of God

text: Ralph Rugoff of the Hayward Gallery in London criticised the work as a mere decorative object, saying "It's not challenging or fresh. It's a decorative object which is not particularly well done."


title: For the Love of God

text: The performative nature of Hirst's work was later addressed in the exhibition at Tate Modern, "Pop Life: Art in a material world", which critic Ben Lewis found very offensive: "the gallery texts have the temerity to claim that the greed-fuelled auction sale was a work of performance art in itself. That's just the same as Stockhausen calling 9/11 a work of art."


title: For the Love of God

text: In June and July 2007 Polish artist Peter Fuss presented his work "For the Laugh of God" at the exhibitions in Gdańsk and London parodying Hirst's "For the Love of God". The work was a plastic human skull covered in "artificial diamonds".


title: For the Love of God

text: A photo of the work thrown out with rubbish bags outside the White Cube gallery was a spoof by artist Laura Keeble who created a replica skull with 6522 Swarovski crystals.


title: For the Love of God

text: In 2008, the Gaelic-language publisher Ùr-sgeul published a short story by Maoilios Caimbeul, "An Claigeann aig Damien Hirst" ("Damian Hirst's Skull"), as a fictional response to the work of art. This in turn was followed in 2009 by a single performed by the Gaelic rock band, Na Gathan, "Claigeann Damien Hirst" ("Damian Hirst's Skull"), released by Ùr-sgeul, which was inspired by Caimbeul's work. The song was shortlisted in the Nòs-ùr contest for a new song in a Celtic language or Scots.


title: For the Love of God

text: In December 2008 Hirst threatened to sue the artist Cartrain for copyright infringement. Cartrain had incorporated photos of "For the Love of God" into collages and sold them on the Internet.


title: For the Love of God

text: In 2009, Spanish artist Eugenio Merino unveiled a piece entitled ""4 The Love of Go(l)d"", a giant sculpture, encased in glass, of Hirst shooting himself in the head. Merino, in fact an admirer of Hirst, intended the piece as a comment on the emphasis on money within the art world, and with Hirst in particular. "I thought that, given that he thinks so much about money, his next work could be that he shot himself", said Merino. "Like that the value of his work would increase dramatically ... Obviously, though, he would not be around to enjoy it."


title: For the Love of God

text: In 2015, the band Rosie released a song called "For The Love of God", which contains lyrics written from the perspective of the jewelled skull. The song was featured in the rhythm video game "".


title: For the Love of God

text: The piece appears in the second episode of the American-Japanese animated television series "Neo Yokio", when it is possessed by a demon at the Metropolitan Museum of Art.


title: For the Love of God

text: A skull that looks similar to "For the Love of God" serves as the driving force in the video game "".


title: For the Love of God

text: "For the Love of God" graces the cover art of Canadian rapper Tory Lanez's single "Diamonds", which he released on SoundCloud in 2017.


title: For the Love of God

text: In issue #10 of the 2016 comic book series "The Flintstones", a similarly gem-encrusted skull appears in an art gallery.


title: Protest song

text: A protest song is a song that is associated with a movement for social change and hence part of the broader category of "topical" songs (or songs connected to current events). It may be folk, classical, or commercial in genre.


title: Protest song

text: Among social movements that have an associated body of songs are the abolition movement, prohibition, women's suffrage, the labour movement, the human rights movement, civil rights, the Native American rights movement, the Jewish rights movement, disability rights, the anti-war movement and 1960s counterculture, the feminist movement, the sexual revolution, the gay rights movement, animal rights movement, vegetarianism and veganism, gun control, drug control, tobacco control, and environmentalism.


title: Protest song

text: Protest songs are often situational, having been associated with a social movement through context. "Goodnight Irene", for example, acquired the aura of a protest song because it was written by Lead Belly, a black convict and social outcast, although on its face it is a love song. Or they may be abstract, expressing, in more general terms, opposition to injustice and support for peace, or free thought, but audiences usually know what is being referred to. Ludwig van Beethoven's "Ode to Joy", a song in support of universal brotherhood, is a song of this kind. It is a setting of a poem by Friedrich Schiller celebrating the continuum of living beings (who are united in their capacity for feeling pain and pleasure and hence for empathy), to which Beethoven himself added the lines that all men are brothers. Songs which support the status quo do not qualify as protest songs.


title: Protest song

text: Protest song texts may have significant specific content. The labour movement musical "Pins and Needles" articulated a definition of a protest song in a number called "Sing Me a Song of Social Significance." Phil Ochs once explained, "A protest song is a song that's so specific that you cannot mistake it for BS."


title: Protest song

text: An 18th-century example of a topical song intended as a feminist protest song is "Rights of Woman" (1795), sung to the tune of "God Save the King", written anonymously by "A Lady" and published in the "Philadelphia Minerva", October 17, 1795. There is no evidence that it was ever sung as a movement song, however.


title: Protest song

text: The sociologist R. Serge Denisoff saw protest songs rather narrowly in terms of their function, as forms of persuasion or propaganda. Denisoff saw the protest song tradition as originating in the "psalms" or songs of grassroots Protestant religious revival movements, terming these hymns "protest-propaganda", as well.


title: Protest song

text: Denisoff subdivided protest songs as either "magnetic" or "rhetorical". "Magnetic" protest songs were aimed at attracting people to the movement and promoting group solidarity and commitment – for example, "Keep Your Eyes on the Prize" and "We Shall Overcome". "Rhetorical" protest songs, on the other hand, are often characterized by individual indignation and offer a straightforward political message designed to change political opinion. Denisoff argued that although "rhetorical" songs often are not overtly connected to building a larger movement, they should nevertheless be considered as "protest-propaganda". Examples include Bob Dylan's "Masters of War" (which contains the lines "I hope that you die / And your death'll come soon") and "What's Going On" by Marvin Gaye.


title: Protest song

text: Ron Eyerman and Andrew Jamison, in "Music and Social Movements: Mobilizing Tradition in the Twentieth Century" (1998), take issue with what they consider Denisoff's reductive approach to the history and function of song (and particularly traditional song) in social movements. They point out that Denisoff had paid little attention to the song tunes of protest music, considered them strictly subordinate to the texts, a means to the message. It is true that in the highly text-oriented western European song tradition, tunes can be subordinate, interchangeable, and even limited in number (as in Portuguese "fado", which only has 64 tunes), nevertheless, Eyerman and Jamison point out that some of the most effective protest songs gain power through their appropriation of tunes that are bearers of strong cultural traditions. They also note that:There is more to music and movements than can be captured within a functional perspective, such as Denisoff's, which focuses on the use made of music within already-existing movements. Music, and song, we suggest, can maintain a movement even when it no longer has a visible presence in the form of organizations, leaders, and demonstrations, and can be a vital force in preparing the emergence of a new movement. Here the role and place of music needs to be interpreted through a broader framework in which tradition and ritual are understood as processes of identity and identification, as encoded and embodied forms of collective meaning and memory.


title: Protest song

text: Martin Luther King Jr. described the freedom songs this way: "They invigorate the movement in a most significant way... these freedom songs serve to give unity to a movement."


title: Protest song

text: Raï () is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms. Its origins date back to the 1920s and has been primarily evolved by the women referred to as cheikhas, who performed in cafes, bars or bordellos, often for men. A typical performance included the cheikhas accompanied by two to four male instrumentalists playing a gasba (a wooden flute) and gallal (a metal drum). Rai was considered a rejection of the traditional Algerian music of the time, and the cheikhas " . . . used lewd lyrics focusing on the hardships of life facing peasant women in a big city, the pain of love, the lure of alcohol, immigration, and mourning."


title: Protest song

text: By the 1950s, and through the 1960s, male musicians began performing rai music and incorporated the use of what was considered to be modern musical instruments of that time, such as the violin, the accordion, the lute, and the trumpet. As the genre evolved over time, it continued to have associations with political movements and organizations, such as the Algerian Freedom Fighters who rallied against the French occupation. Even after Algeria achieved independence in 1962, Rai continued to have an adverse relationship with the Algerian government, which exerted a tight grip upon its culture. In fact, Raï had been banned from broadcast media, though it thrived in underground spaces, such as cabarets. It was forbidden to the point of one popular singer, Cheb Hasni, being assassinated. However, since the government lifted its restrictions on rai in the 1980s, it has enjoyed some considerable success.


title: Protest song

text: The song "Parisien Du Nord" by Cheb Mami is a recent example of how the genre has been used as a form of protest, as the song was written as a protest against the racial tensions that sparked the 2005 French riots. According to Memi: It is a song against racism, so I wanted to sing it with a North African who was born in France... Because of that and because of his talent, I chose K-Mel. In the song, we say, 'In your eyes, I feel like foreigner.' It's like the kids who were born in France but they have Arab faces. They are French, and they should be considered French."Rai continues to be regarded, as Al-Neen states, "[the] music of rebellion and the symbol of cynicism. Rai has emerged as an outlet for voicing the frustrations of youths and placing greater emphasis on freedom and liberty."


title: Protest song

text: Ahmed Fouad Negm is considered a key dissident figure whose poetry in colloquial Arabic gave voice to the underclass in Egypt, and inspired protesters. He teamed up in the 1960s with composer Sheikh Imam Eissa who gave music to his verses, the partnership lasting for twenty years. Lines from Negm's poem "Who Are They, and Who Are We?" were chanted at Tahrir Square in 2011 during protests against President Hosni Mubarak.


title: Protest song

text: Music played a key role in mobilizing the 2011 protests at Tahrir Square against President Hosni Mubarak which led to the Egyptian revolution. "Ezzay," meaning "How come?" by Egyptian singer and actor Mohamed Mounir is considered one of the most popular songs associated with the protests. "Irhal," meaning "Leave", by Ramy Essam became an internet hit, and was subsequently described in the media as having become an anthem for the revolution.


title: Protest song

text: The majority of South African protest music of the 20th century concerned itself with apartheid, a system of legalized racial segregation in which blacks were stripped of their citizenship and rights from 1948 to 1994. As the apartheid regime forced Africans into townships and industrial centres, people sang about leaving their homes, the horror of the coal mines and the degradation of working as domestic servants. Examples of which include Benedict Wallet Vilakazi's "Meadowlands", the "Toyi-toyi" chant and "Bring Him Back Home" (1987) by Hugh Masekela, which became an anthem for the movement to free Nelson Mandela. The Special AKA wrote a song on Nelson Mandela called "Free Nelson Mandela". The track is upbeat and celebratory, drawing on musical influence from South Africa, was immensely popular in Africa. Masekela's song "Soweto Blues", sung by his former wife, Miriam Makeba, is a blues/jazz piece that mourns the carnage of the Soweto riots in 1976. Basil Coetzee and Abdullah Ibrahim's "Mannenberg" became an unofficial soundtrack to the anti-apartheid resistance.


title: Protest song

text: In Afrikaans, the 1989 Voëlvry movement led by Johannes Kerkorrel, Koos Kombuis, and Bernoldus Niemand, provided a voice of opposition from within the white Afrikaner community. These musicians sought to redefine Afrikaner identity, and although met with opposition from the authorities, Voëlvry played to large crowds at Afrikaans university campuses and was quite popular among Afrikaner youth.


title: Protest song

text: Following apartheid's demise, most Afrikaans writers and musicians followed public sentiments by embracing the new South Africa, but cracks soon emerged in the dream of the "rainbow nation" and criticism started to emerge, criticism that has grown in frequency and intensity in recent years. Violent crime put South Africa in the top category of most dangerous country in the world, along with poverty, government corruption, and the AIDS pandemic. For this reason, writers and musicians in which some of them veterans of anti-apartheid movements, are once again protesting against what they consider to be a government failing to uphold the promise of 'peace, democracy and freedom for all' that Nelson Mandela made upon his release from prison. By 2000, Johannes Kerkorrel claimed in the song "Die stad bloei vanaand" [The city bleeds tonight]: "the dream was promised, but just another lie has been sold."


title: Protest song

text: Two Afrikaans compilation albums of predominantly protest music were released recently: "Genoeg is genoeg" [Enough is enough] (2007) and "Vaderland" [Fatherland] (2008), and Koos Kombuis also released a CD called "Bloedrivier" [Blood River] (2008), which is primarily a protest album. One track, "Waar is Mandela" [Where is Mandela] asks, "Where is Mandela when the shadows descend ... Where is the rainbow, where is the glory?" and another, "Die fokkol song" [The fuck all song], tells tourists who visit South Africa for the 2010 Football World Cup that there is nothing in South Africa; no jobs, no petrol, no electric power, not even jokes. However, these compilations only represent the tip of the iceberg, as many prominent musicians have included protest songs on recent albums, including Bok van Blerk, Fokofpolisiekar, and KOBUS!.


title: Protest song

text: The reality of the New South Africa is decidedly violent and crime is a well-known theme in post-apartheid Afrikaans protest music. The punk group Fokofpolisiekar (which translates to "fuck off police car") sings in "Brand Suid-Afrika" [Burn South Africa]: "For you knives lie in wait, in the garden outside you house," and Radio Suid-Afrika sings in "Bid" [Pray]: "Pray that no-one will be waiting in the garden, pray for strength and for mercy in each dark day." Theirs is a country of "murder and child rape" where the only respite is alcohol abuse. In "Blaas hom" [Blow him away] by the industrial band Battery9, the narrator sings how he gleefully unloads his gun on a burglar after being robbed for the third time, and in "Siek bliksems" [Sick bastards] Kristoe Strauss asks God to help against the "sick bastards" responsible for hijackings. The metal band KOBUS! pleads for a reinstatement of the death penalty in "Doodstraf", because they feel the promise of peace has not been realized. In "Reconciliation Day", Koos Kombuis sings: "Our streets run with blood, every day a funeral procession, they steal all our goods, on Reconciliation Day." Elsewhere he states, "we're in a state of war." The video of this song features a lawless microcosm of theft, rape and abuse – a lawlessness reflected in Valiant Swart's "Sodom en Gomorra": "two cities in the north, without laws, without order, too wonderful for words." Hanru Niemand rewrites the traditional Afrikaans song Sarie Marais, turning it into a murder ballad speculating on where Sarie's body will be found. The new protest musicians also parody Voëlvry's music: Johannes Kerkorrel's "Sit dit af" [Switch it off] – a satire on P. W. Botha of the apartheid regime – is turned into "Sit dit aan" [Switch it on] by Koos Kombuis, now a song protesting mismanagement resulting in chronic power failures.


title: Protest song

text: Much of the protest by Afrikaans musicians concerns the legacy of apartheid: In "Blameer dit op apartheid" [Blame it on apartheid] Koos Kombuis sings how "the whole country is evil," yet the situation is blamed on apartheid. Klopjag, in "Ek sal nie langer" [I will no longer] sings that they will no longer apologize for apartheid, a theme echoed by many others, including Koos Kombuis in "Hoe lank moet ons nog sorry sê" [For how long do we still have to say sorry]. Piet Paraat sings in "Toema Jacob Zuma" [Never mind Jacob Zuma]: "My whole life I'm punished for the sins of my father." There is also a distinct feeling that the Afrikaner is being marginalized by the ANC government: Fokofpolisiekar sings in "Antibiotika" [Antibiotics], "I'm just a tourist in the country of my birth," Bok van Blerk sings in "Die kleur van my vel" [The colour of my skin] that the country does not want him despite his willingness to work, because he is white, and in "Bloekomboom" Rian Malan uses the metaphor of a blue gum tree (an alien species) to plead that Afrikaners should not be regarded as settlers, but as part of the nation. Steve Hofmeyr has expressed concern about the statistically high murders of Afrikaner farmers, and has also appealed in several speeches to remember Afrikaner heritage. His songs "Ons Sal Dit Oorleef" (We will survive this) and "My Kreed" (My Cry) also echoes many Afrikaners' fears of losing their culture and rights. The appeals by these musicians, and several others, to be included follows a sense of exclusion manifested in the political, linguistic and economic realms, an exclusion depicted particularly vividly by Bok van Blerk's "Kaplyn" [Cut line], a song that laments that fallen South African soldiers have been omitted in one of the country's show-case memorials, the Freedom Park Memorial, despite official claims of it being a memorial for all who had fought for the country.


title: Protest song

text: Emel Mathlouthi composed songs since a young age which called for freedom and dignity in a Tunisia ruled by the dictator Zine El Abidine Ben Ali, earning her scrutiny from internal security forces and forcing her to retreat to Paris. Banned from the official airwaves, her protest songs found listeners on social media. In late 2010 and early 2011, Tunisian protesters referred to her song Kelmti Horra (my word is free) as an anthem of the Tunisian Revolution.


title: Protest song

text: Chinese-Korean Cui Jian's 1986 song "Nothing to My Name" was popular with protesters in Tiananmen Square.


title: Protest song

text: Chinese singer Li Zhi made references to the Tiananmen Square massacre in his songs and were subsequently banned from China in 2019. Three years later, during the anti-lockdown protests in China, this was used as a protest song across YouTube.


title: Protest song

text: Hong Kong rock band Beyond's "Boundless Oceans Vast Skies" (1993) and "Glory Days" (光輝歲月) (1990) have been considered as protest anthems in various social movements.


title: Protest song

text: During the 2019–20 Hong Kong protests, Les Misérables' "Do You Hear The People Sing" (1980) and Thomas dgx yhl's "Glory to Hong Kong" (2019) were sung in support of the movement. The latter has been widely adopted as the anthem of these protests, with some even regarding it as the "national anthem of Hong Kong".


title: Protest song

text: Cultural Activism in India has always been considered one of the most effective tools to mobilise people into making a social change since pre-independence times. India provided many examples of protest songs throughout its struggle for freedom from Britain.


title: Protest song

text: Indian rapper Raftaar's ""Mantoiyat"" lashes out at corrupt politicians and police and brings to light injustices that plague the country. In the song he talks about deep rooted issues and brings light to the hypocrisy of the people and the government. Artists such as Poojan Sahil, Seedhe Maut, Vishkyun, Prabh Deep, Rapper Shaz, Sumit Roy & Ahmer usually talk about social issues in their songs. The rock fusion band Indian Ocean's song "Chitu" was one of their first and prominent songs, a tribal anthem that Ram had come across over the course of being involved in the Narmada Movement.


title: Protest song

text: In 2019, India's citizenship Law led to a mass protest all over the country. Artists like Varun Grover, Poojan Sahil, Rapper Shaz & Madara joined the cause with their own sonic protest.


title: Protest song

text: In more contemporary times, protest music has been a regular feature of movements in India. The Dalit rights movement especially uses music to further its goals. The Kabir Kala Manch is one such well known troupe of singers who used their performances to raise awareness and support for their cause. The widely acclaimed documentary film, Jai Bhim Comrade, highlighted the work of Kabir Kala Manch and presented this form of protest music to both Indian as well as international audiences. Similar, albeit less known, Dalit musical groups exist in various parts of India.


title: Protest song

text: The leftist movements of India too use protest music along with street plays as a means to propagate their message amongst the masses. Protest music was a big feature of plays organized by the Indian People's Theatre Association (IPTA). Similar organisations formed after the break-up of IPTA and highly influenced by its work, like the Jana Natya Manch (JANAM), also made protest music a regular feature of their plays. In recent decades, however, the Left's cultural activism has increasingly been relegated to the margins of the cultural sphere. Some attribute this to the political decline of the mainstream Left in India, as well as a shift in focus to local movements and languages as identity politics took a greater hold of Indian Polity.


title: Protest song

text: Protest music also features regularly in protests held by other mainstream national parties of India.


title: Protest song

text: During the 1967 war, Naomi Shemer added a third verse to her song "Jerusalem of Gold", sung by Shuli Natan, about the recapturing of Jerusalem after 2,000 years. Later on that year, a different point of view of the song was introduced by the folk singer Meir Ariel, who recorded an anti-war version and named it "Jerusalem of Iron".


title: Protest song

text: Gush Emunim supporters have taken a repertoire of old religious songs and invested them with political meaning. An example is the song "Utsu Etsu VeTufar" (They gave counsel but their counsel was violated). The song signifies the ultimate rightness of those steadfast in their beliefs, suggesting the rightness of Gush Emunim's struggle against anti-settlement policy by the government.


title: Protest song

text: Minutes before Prime Minister Yitzhak Rabin was murdered at a political rally in November 1995, Israeli folk singer Miri Aloni sang the Israeli pop song "Shir Lashalom" ("Song for Peace"). This song, originally written in 1969 and performed extensively at the time by an Israeli military performing group, has become one of the anthems of the Israeli peace camp.


title: Protest song

text: During the Arab uprising known as the First Intifada, Israeli singer Si Heyman sang "Yorim VeBokhim" ("Shoot and Weep") to protest Israeli policy in the territories. Pink Floyd's "Another Brick in the Wall" is used as a protest song by some opponents of Israel's barrier in the West Bank. The lyrics were adapted to: "We don't need no occupation. We don't need no racist wall."


title: Protest song

text: Since the onset of the Oslo Process and, more recently, Israel's unilateral disengagement plan, protest songs became a major avenue for opposition activists to express sentiments. Songs protesting these policies were written and performed by Israeli musicians such as Ariel Zilber, Aharon Razel, and others.


title: Protest song

text: During the 8888 Uprising, Naing Myanmar, a Burmese composer, penned "Kabar Makyay Bu" (ကမ္ဘာမကျေဘူး), rendered in English as "We Won’t Be Satisfied till the End of the World" as a protest song. Set to the tune of Kansas' "Dust in the Wind," the song quickly gained popularity across the country, as an emotional appeal for freedom. The song was recorded and distributed on cassette tapes, reaching millions of Burmese eventually becoming an anthem of the 8888 Uprising.


title: Protest song

text: In the aftermath of the 2021 Myanmar coup d'etat, the country's nascent civil disobedience movement has revitalized this song, performing it during protests and acts of civil disobedience.


title: Protest song

text: Palestinian music () deals with the conflict with Israel, the longing for peace, and the love of the Palestinians' land. A typical example of such a song is "Biladi, Biladi" (My Country, My Country), which has become the unofficial Palestinian national anthem. Additionally, there are very few Palestinian peace songs that do not indict Israel, and outwardly militaristic. Certain commentators have compared this with the general unwillingness of Palestinians to speak about internal problems, as they tend to be taboo in Palestinian society, and dissent is outlawed in Gaza, under Hamas control.


title: Protest song

text: Another example is the song "Al-Quds (Jerusalem) our Land", with words by Sharif Sabri. The song, sung by Amr Diab from Port Said, Egypt, won first prize in 2003 in a contest in Egypt for video clips produced in the West Bank and Gaza. DAM is an Arabic hip-hop group, rapping in Arabic and Hebrew about the problems faced by Palestinians under occupation and calling for change. Kamilya Jubran's song "Ghareeba", a setting of a poem by Khalil Gibran, deals with a sense of isolation and loneliness felt by the Palestinian woman.


title: Protest song

text: Protest music in Pakistan has been deeply inspired by South Asian traditions since pre-independence times.


title: Protest song

text: The song "Hum Dekhenge" is just one example of protest music from Pakistan. Faiz Ahmed, a poet and a prominent Pakistani Marxist, originally penned the poem with the same title as a response to General Zia ul Haq's repressive dictatorship. The poem is considered a critical commentary of Zia's brand of authoritarian Islam. His political beliefs set him up as a natural critic of General Zia Ul Haq. In 1985, as part of Zia's programme of forced Islamicization, the sari, part of the traditional attire for women on the subcontinent was banned. That year, Iqbal Bano, one of Pakistan's best-loved singers and artists, sang Hum Dekhenge to an audience of 50,000 people in a Lahore stadium wearing a black sari. The recording was smuggled out and distributed on bootleg cassette tapes across the country. Cries of "Inquilab Zindabad" ("Long Live Revolution") and thunderous applause from the audience can be heard on the . Faiz was in prison at the time.


title: Protest song

text: The song has since the fall of the Zia dictatorship, regularly featured in protests in Pakistan. More recently, a newer rendition of the song by Pakistani singer, Rahat Fateh Ali Khan, was used as the title song for the political party, Pakistan Tehreek-e-Insaf, in the 2013 Pakistani general election, and in the Azadi march of 2014.


title: Protest song

text: The international anthem "girti hui deewaron ko aik dhakka aur do" by famous poet Ali Arshad Mir created in the 1970s found profound place in various protests. This revolutionary anthem is still in use in resistance movements against oppressive political regimes and failing institutions by politicians and common people alike.


title: Protest song

text: From the revolutionary songs of the Katipunan to the songs being sung by the New People's Army, Filipino protest music deals with poverty, oppression as well as anti-imperialism and independence. A typical example was during the American era, as Jose Corazon de Jesus created a well-known protest song entitled "Bayan Ko", which calls for redeeming the nation against oppression, mainly colonialism, and also became popular as a song against the Marcos regime.


title: Protest song

text: During the 1960s, Filipino protest music became aligned with the ideas of Communism as well as of revolution. The protest song ""Ang Linyang Masa"" came from Mao Zedong and his Mass Line and ""Papuri sa Pag-aaral"" was from Bertolt Brecht. These songs, although Filipinized, rose to become another part of Filipino protest music known as Revolutionary songs that became popular during protests and campaign struggles.


title: Protest song

text: Commonly, protest songs in South Korea are known as "Minjung Gayo" (, literally "People's song"), and the genre of protest songs is called "Norae Undong", translating to the literal meaning "song movement". It was raised by people in the 1970s~1980s to be against the military governments of presidents Park Jeong-hee and Jeon Doo-hwan.


title: Protest song

text: The Minjung-Gayo (Hangul: 민중가요; Hanja: 民衆歌謠) is one of Korean modern singing culture, which has been used as musical means of pro-democracy movement. It was mainly enjoyed by the people who are critical of mainstream song culture in the process of democratization movement. The term of Minjung-Gayo was naturally coined by people in the mid-1980s. Since this was the period when protest songs were grown rapidly and the singing movement began, It was needed to take care of protest songs, a new term that could be used to differentiate them from popular songs was necessary. In a broad sense, The Minjung-Gayo includes the anti-Japanese song on Japanese colonial era which is continued to the early 1970s. But Generally, the Minjung-Gayo means the culture which is matured in the late 1970s and lasted in 1990.


title: Protest song

text: Korean protest song called Minjung-Gayo reflects the will of crowd and voices of criticism of the day. Korean protest song has emerged on 1980s, especially before and after of the June Democracy Movement in 1987.


title: Protest song

text: The starting point of Korean protest songs was the music culture of Korean students movements around 1970. With criticizing about pop music or overcoming, it started that their own unique music culture having certain coriander layer and own existing method distinguished with pop culture. a few songs called as 'Demo-ga' (demonstration songs) and others from the 1960s was chosen as 'Minjung-Gayo' (Korean protest songs). There're 'Haebang-ga(Hangul; 해방가)',' Tana-Tana', 'Barami-bunda'(Hangul; 바람이 분다), 'Stenka Razin' and so on. After 1975, another songs like 'Hula-song', 'Jungui-ga' was added in the list.


title: Protest song

text: Through the era of an emergency measure, the atmosphere of Korean universities was getting stiffer. Students who participated in the students' movements had to be prepared to die and they were required to have much stronger faith and actions. Students who participated in students' movements became critics of the old social systems and pop culture. Due to it being the result of old social system, they started to pursue progressive and political culture. Spreading the criticism against pop music, a series of certain music culture which had such unique criticism of university students was established and it is the base of Korean protest songs.


title: Protest song

text: The short 'Spring of democracy' before May 1980 coming after 10.26 situation in 1979 was such a big opportunity to show the protest songs hidden by a few students to many students in public demonstrations. the organizers of demonstrations was spreading papers that the lyrics and sheet music was written on in continued demonstrations and in this period, the most of demonstrations were started to make the atmosphere with learning the songs.


title: Protest song

text: The mainstream of Korean protest songs in 1980s could divided in three periods. The first period is the establishment of the protest songs. It is the period that many songs composed as marching song with minor like "The March for Her" (Hangeul: ) were being written and the number of the songs were increased massively from 1980 to 1984.


title: Protest song

text: The second period started with young men fresh just out of college, who had engaged in music club. They perform a concert the story of song "Eggplant Flower" (Hangul: 가지꽃) in Aeogae little theater by lending the name of theater "Handurae" (Hangeul: 한두레). In this period, music has taken a part of social movement.


title: Protest song

text: The third period is after the Democratic uprising in June 1987 and the first regular performing of 'People seeking music' held in Korean church 100th anniversary memorial in October that same year after the great labor conflict in July, August, and September 1987. In this period, they were trying to figure out how could they overcome limits that the music movement in universities had and find new ways that they should be on. After successive the great labor conflict in July to September, protest songs reflected the joys and sorrows of workers. After going through this period, protest song embraces not only the intellectuals, but also the working-class population.


title: Protest song

text: From the middle of the 1990s, since the social voices of the students' demonstrations and the labor demonstrations started getting decreased, Korean protest songs have lost their popularity in many other fields except the struggle scenes. It is the period that the music groups in universities and the professional cultural demonstration groups started trying to change the form of Korean protest songs and trying new things. It was not easy to change such generalized form of the music into the new wave.


title: Protest song

text: In the 2000s, the memorial candle demonstration for the middle school girls who were killed by U.S Army's tank to the demonstration against importing mad cow disease beef from U.S, such people participatory demonstration culture started being settled. In this period, the songs not having such solemn atmosphere like 'Fucking USA', 'The First Korean Constitution' was made, but the influence still could not spread wide and only stayed in the field.


title: Protest song

text: "Island's Sunrise" (Chinese: 島嶼天光) is the theme song of 2014 Sunflower Student Movement in Taiwan. Also, the theme song of Lan Ling Wang TV drama series "Into The Array Song" (Chinese: 入陣曲), sung by Mayday, expressed all the social and political controversies during Taiwan under the president Ma Ying-jeou administration.


title: Protest song

text: In Thailand, protest songs are known as "Phleng phuea chiwit" (, ; lit. "songs for life"), a music genre that originated in the '70s, by famous artists such as Caravan, Carabao, Pongthep Kradonchamnan and Pongsit Kamphee.


title: Protest song

text: The roots of the rebellious/protest music in Anatolia goes back to the 16th century. Asiks who lived in that era, like Pir Sultan Abdal, Koroglu and Dadaloglu who lived in the 18th century are still the inspirations. The tradition of rebellion have gone for centuries and have given many song to this geography's culture. The message in Turkish protest music has been against inequality, lack of freedom, poverty, and the freedom of expression. Milder elements in this style are referred to as progressive, while some die-hard protest musicians have been prosecuted, and sometimes persecuted, in the 20th century Turkey. More than a few Turkish singers have been forced to exile, most notably Cem Karaca, who later returned to Turkey during freer conditions and atmosphere. Typically, protest music bands are leftist bands with a huge following, especially in high schools and universities. The music is a crossover between folk and rock and the lyrics are about freedom, repression and uprising, capitalism and the oppressed, and the revolution that never comes. It's customary to say anti-American slogans here and there. The male singers always have what is called a Davidian voice (meaning deep and husky a la Barry White) and the females usually sing nasally with a high pitch.


title: Protest song

text: The first famous Belarusian protest songs were created at the beginning of the 20th century during the rise of the Belarusian People's Republic and war for independence from the Russian Empire and Soviet Russia. This period includes such protest songs as "Advieku My Spali" ("We've slept enough", also known as Belarusian Marselliese) and "Vajaćki Marš" ("March of the Warriors"), which was an anthem of the Belarusian People's Republic. The next period of protest songs was in the 1990s, with many created by such bands as NRM, Novaje Nieba and others, which led to the unspoken prohibition of these musicians. As an example, Lavon Volski, frontman of NRM, Mroja and Krambambulia, had issues with officials at the majority of his concert due to the criticism of the Belarusian political system. One of the most famous bands of Belarus, Lyapis Trubetskoy, was forbidden from performing in the country due to being critical of Aleksandr Lukashenka in his lyrics. These prohibitions lead most "forbidden" bands to organize concerts in Vilnius, which, though situated in modern Lithuania, is considered to be a Belarusian historical capital because less than a hundred years ago most dwellers of Vilnius (Vilnia, as it was called before it was given to Lithuania) were Belarusians. But in the middle of the 2010s, the situation began to change a bit and many protest bands started to organize concerts in Belarus.


title: Protest song

text: Many of the songs performed at the Estonian Laulupidu are protest songs, particularly those written during the Singing Revolution. Due to the official position of the Soviet Union at the time, the lyrics are frequently allusive, rather than explicitly anti-Soviet, such as Tõnis Mägi's song "Koit". In contrast, "Eestlane olen ja eestlaseks jään", sung by Ivo Linna and the group In Spe is explicitly in favour of an Estonian identity.


title: Protest song

text: Finland has a tradition of socialist and communist protest songs going back to the Finnish Civil War, most of which were imported and translated from Soviet Russia. In the 21st century the socialist protest song tradition is somewhat continued by left wing rap artists and to lesser degree in more traditional Taistoist form by KOM-theatre choir.


title: Protest song

text: "The Internationale" (""L'Internationale"" in French) is a socialist, anarchist, communist, and social-democratic anthem.


title: Protest song

text: "The Internationale" became the anthem of international socialism. Its original French refrain is "C'est la lutte finale/ Groupons-nous et demain/ L'Internationale/ Sera le genre humain." (Freely translated: "This is the final struggle/ Let us join together and tomorrow/ The Internationale/ Will be the human race.") The "Internationale" has been translated into most of the world's languages. Traditionally it is sung with the hand raised in a clenched fist salute. "The Internationale" is sung not only by communists but also (in many countries) by socialists or social democrats. The Chinese version was also a rallying song of the students and workers at the Tiananmen Square protests of 1989.


title: Protest song

text: There is not so much a protest song trend in France, but rather of a permanent background of criticism and contestation, and individuals who personify it. World War II and its horrors forced French singers to think more critically about war in general, forcing them to question their governments and the powers who ruled their society.


title: Protest song

text: Jazz trumpeter and singer Boris Vian's was one of the first to protest against the Algerian war with his anti-war song "Le déserteur" (The deserter), which was banned by the government.


title: Protest song

text: Several French songwriters, such as Léo Ferré (1916–1993), Georges Brassens (1921–1981), Jacques Brel (1929–1978) (actually a Belgian singer), Maxime Le Forestier (born 1949) or interpreters (Yves Montand, Marcel Mouloudji, Serge Reggiani, Graeme Allwright ...) often wrote or sang songs aligned against majority ideas and political powers. Because racial tensions did not rise to the same levels as those in the United States, criticism was focused more toward bourgeoisie, power, religion, and songs defending liberty of thought, speech and action. After 1945, immigration became a source of inspiration for some singers: Pierre Perret (born 1934), well known for his humorous songs, started writing several more "serious" and committed songs against racism ("Lily", 1977), which critically pointed out everyday racist behaviour in French society.


title: Protest song

text: Brassens wrote several songs protesting war, hate, intolerance ("Les Deux Oncles" [""The Two Uncles""], "La Guerre de 14–18" [""14–18 War""], "Mourir pour des idées" [""To Die for Ideas""] "Les Patriotes" [""The Patriots""] ...), against chauvinism ("La Ballade des gens qui sont nés quelque part" ["Ballad of People Who Are Born Somewhere"]), against bourgeoisie ("La Mauvaise Réputation" [""The bad reputation""], "Les Philistins" [""The Philistines""] ...). He was often called "anarchist" because of his songs on representatives of law and order (and religion) ("Le Gorille" [""The gorilla""] "Hécatombe" [""Slaughter""] "Le Nombril des femmes d'agents" [""The navel of cops wives""], "Le Mécréant" [""The miscreant""] ...).


title: Protest song

text: Ferré was also called an "anarchist". He sang against consumerism ("Vitrines" [""Shop Fronts""], "Chanson mécanisée" [""Mechanized Song""], "Il n'y a plus rien" [""There is nothing left""] ...), against French war ("Miss guéguerre" [""Miss Squabble""], "Pacific blues", "Regardez-les" [""Look at them""], "Mon général" [""My general""], "Les Temps difficiles" [""Hard Times""], "La Marseillaise"), death penalty ("Ni Dieu ni maître" [""No God no Master""], "La Mort des loups" [""The Death of the Wolves""]), Estate control ("La Gueuse", "La Complainte de la télé" [""Lament of TV""], "La Révolution" [""Revolution""], "Le Conditionnel de variétés" [""Middle of the road music conditional mood""]), illusion of representative democracy ("Ils ont voté" [""They voted""], "La Grève" [""Strike""]), dictatorships ("Franco la muerte", "Allende", "La Violence et l'Ennui" [""Words ... Words ... Words ... ""]), sexual hypocrisy and freedom ("Le Chien" [""The Dog""], "Le Mal" [""Evil""], "Ton style" [""Your style""], "La Damnation" [""Damnation""] ...).


title: Protest song

text: Brel's work is another ode to freedom ("Ces gens-là" [""These people""], "Les Bourgeois" [""The Bourgeois""], "Jaurès", "Les Bigotes" [""The bigots""], "Le Colonel" [""The colonel""], "Le Caporal Casse-Pompon" [""Corporal Break-Nots""]).


title: Protest song

text: Ton Steine Scherben, one of the first and most influential German language rock bands of the 1970s and early 1980s, were well known for the highly political lyrics of vocalist Rio Reiser. The band became a musical mouthpiece of new left movements, such as the squatting movement, during that time in Germany and their hometown of West Berlin in particular. Their lyrics were, at the beginning, anti-capitalist and anarchist, and the band had connections to members of the German Red Army Faction movement before they became illegal. Later songs were about more complex issues such as unemployment ("Mole Hill Rockers") or homosexuality ("Mama war so"). They also contributed to two full-length concept album about homosexuality, which were issued under the name "Brühwarm" (literally: boiling warm) in cooperation with a gay-revue group.


title: Protest song

text: A dissatisfied German youth in the late 1970s and early 1980s resulted in a strand of highly politicized German-language Punkrock ("Deutschpunk"), which mostly concerned itself with politically radical left-wing lyrics, mostly influenced by the Cold War. Probably the most important German-language punk band was Slime from Hamburg, who were the first band whose LP was banned because of political topics. Their songs "Deutschland" ("Germany"), "Bullenschweine", "Polizei SA/SS", and the anti-imperialist "Yankees raus" ("Yankees out") were banned, some of them are still banned today, because they propagated the use of violence against the police or compared the police to the SA and SS of Nazi Germany.


title: Protest song

text: The Cologne-based rock group BAP is known for their committed and intelligently written lyrics, dealing with discrimination and the power games of Germany's political elites in many of their songs. The song "Kristallnaach" (1982) is a point in case. It analyses the corruptibility of the present-day masses for new forms of fascism, while referring to the "Night of Broken Glass" that took place in 1938.


title: Protest song

text: In East Germany, protesting against the state was often prohibited. Despite this, the song Ermutigung by Wolf Biermann became a widely popular protest song against the SED government.


title: Protest song

text: Irish rebel music is a subgenre of Irish folk music, played on typically Irish instruments (such as the Fiddle, tin whistle, Uilleann pipes, accordion, bodhrán etc.) and acoustic guitars. The lyrics deal with the fight for Irish independence, people who were involved in liberation movements, the persecution and violence during Northern Ireland's Troubles and the history of Ireland's numerous rebellions.


title: Protest song

text: Among the many examples of the genre, some of the most famous are "A Nation Once Again", "Come out Ye Black and Tans", "Erin go Bragh", "The Fields of Athenry", "The Men Behind the Wire" and the Republic of Ireland's national anthem "Amhrán na bhFiann" ("The Soldier's Song"). Music of this genre has often courted controversy, and some of the more outwardly anti-British songs have been effectively banned from the airwaves in both England and the Republic of Ireland.


title: Protest song

text: Paul McCartney also made a contribution to the genre with his 1972 single "Give Ireland Back to the Irish", which he wrote as a reaction to Bloody Sunday in Northern Ireland on January 30, 1972. The song also faced an all-out ban in the UK, and has never been re-released or appeared on any Paul McCartney or Wings best-ofs. The same year McCartney's former colleague John Lennon released two protest songs concerning the hardships of war-torn Northern Ireland: "Sunday Bloody Sunday", written shortly after the 1972 massacre of Irish civil rights activists (which differs from U2's 1983 song of the same title in that it directly supports the Irish Republican cause and does not call for peace), and "The Luck of the Irish", both from his album "Some Time in New York City" (1972).


title: Protest song

text: The Wolfe Tones have become legendary in Ireland for their contribution to the Irish rebel genre. The band has been recording since 1963 and has attracted worldwide fame and attention through their renditions of traditional Irish songs and originals, dealing with the former conflict in Northern Ireland. In 2002 the Wolfe Tones' version of "A Nation Once Again", a nationalist song from the 19th century, was voted the greatest song in the world in a poll conducted by the BBC World Service.


title: Protest song

text: An Irish alternative rock/post punk band from Dublin, U2 broke with the rebel musical tradition when in 1983 they wrote their song "Sunday Bloody Sunday". The song makes reference to two separate massacres in Irish history of civilians by British forces – Bloody Sunday (1920) and Bloody Sunday 1972 – however, unlike other songs dealing with those events, the lyrics call for peace as opposed to revenge.


title: Protest song

text: The Cranberries' hit "Zombie", written during their English tour in 1993, is in memory of two boys, Jonathan Ball and Tim Parry, who were killed in an IRA bombing in Warrington.


title: Protest song

text: In 1966 Boudewijn de Groot released "Welterusten meneer de president" ("Good night mister president"), a song about the Vietnam War. The song spent 12 weeks in the Dutch Top 40 and to this day it remains an important song in nederpop and among Dutch protest songs. Following "Welterusten meneer de president", Boudewijn de Groot and Lennaert Nijgh, a Dutch lyricist, made more protest songs. The couple inspired other Dutch musicians, namely Armand and Robert Long.


title: Protest song

text: The protest songs in Portugal were mostly associated with the antifascist movement and developed chiefly among students and activists. The best known are songs by Paulo de Carvalho and José Afonso, respectively "E Depois do Adeus" (And After the Goodbye) and "Grândola Vila Morena"(Grândola Swarthy Town). They were chosen as a code to start the Carnation Revolution that would successfully triumph against the dictatorial regime. The first was written out of letters that the author, then fighting to maintain the colonies (a war that the general public was against) sent to his wife. Hence the title refers to his departure "goodbye" to the war. The other song was very explicit regarding his objective: ""O Povo é quem mais ordena / dentro de ti oh cidade"" (The people is the one who orders the most/ inside of you oh city). "E Depois do Adeus" was vague enough to elude the censorship and pass as an "end of love" song, which also accounts for the order of the broadcast.


title: Protest song

text: Of the two, Zeca Afonso was more prolific and more identified with the movement, so much so that another of his songs was the first choice for the code "Venham mais 5" (Let 5 more come). Other artists also used some craft to hide their meanings in the song or went into exile. One example is Adriano Correia de Oliveira that masked the explicit lyrics with the vocal tone making it difficult to distinguish the critical verse, from the refrain or even other verses. In no other song is this more noted that the ballad "Trova do Vento que Passa" (Song/Poem of the Passing Wind), whose lyrics by the writer Manuel Alegre were a direct criticism of the state. The music was by António Portugal but Correia used a typical Fado rhythm to hide such provocative verses as "Mesmo na noite mais triste/em tempo de sevidão/há sempre alguém que resiste/há sempre alguém que diz não" (even in the saddest night/in time of servitude/there is always someone who stands up/there is always someone who says No).


title: Protest song

text: Not only men but also women had an active participation, albeit in lesser numbers. Ermelinda Duarte, one of those women, wrote the song "Somos Livres" (We Are Free), for a 1972 theatre play called "Lisboa 72", masking a deep meaning with catchy children's music. Although the version of her singing the tune is the best known it was only recorded "after" the carnation revolution.


title: Protest song

text: Many other songwriters and singers, to generate awareness, used their talents to act in all of Portugal, sometimes without pay or transport. Fausto Bordalo Dias once sang into a mike so poorly made it needed a plastic cup to work. Other singers included the priest Francisco Fanhais, the writer José Jorge Letria; Fernando Tordo; Luís Cília; Amélia Muge; Janita Salomé; Manuel Freire; José Barata-Moura; the poet Ary dos Santos; José Mário Branco, Sérgio Godinho, Carlos Alberto Moniz, Maria do Amparo and Samuel.